UK based band Lunar & The Deception drops new single ‘Your Monsters’

Lunar & The Deception, the enigmatic London-based band, have unveiled their new single,’Your Monsters’, on February 3, 2026, via X-Ray Sound. This release paves the way for their upcoming album, The Somnambulist, arriving March 6, 2026. Their journey has seen them back Pussy Riot at Glastonbury Festival, electrify stages across London, and make waves at the 2022 Sync Summit Music Conference. Co-produced with Michael Rendall, known for his work with The Orb, Peter Murphy, and Killing Joke, the single arrives as the band’s live reputation soars. With accolades like Artist of the Week at Richer Sounds and a glowing 9/10 from Powerplay Magazine, Lunar & The Deception are carving out a bold path through indie rock, dream pop, and neo-psychedelia.

The London band, with ties to Durban and Nelspruit in South Africa, centers on vocalist Britt Xyra Dusk. She is a London-based songwriter and professional costume designer originally from South Africa, recognized for activism and captivating performances. Britt designs the band’s visuals, pulling from themes of ancient deities, prophetic sorcerers, and tribal warriors. Percussionist Hedge Seel, raised in Oxfordshire countryside near local monoliths, The Rollright Stones, expanded his rhythmic approach after his travels in Southeast Asia and India. The lineup includes experienced players like dub producer Thomas Hammond and sound engineer Greg Chapter. Mixing alt-rock, indie-rock, darkwave, dream-pop, gothic, and neo-psychedelia, they draw inspiration from the likes of Led Zeppelin, Radiohead, and Tool, to name a few. The band’s sound has been compared to the likes of Portishead, Evanescence, and Esben & The Witch.

‘Your Monsters’ opens with a cascade of piano keys over a subdued low-end bass line, Britt’s haunting vocals immediately setting a mood of quiet urgency. Guitars soon add a dark, swirling neo-psychedelic edge reminiscent of classic goth-rock’s dramatic weight. The band employs frequent modulations, shifting smoothly between major and minor chords to build tension, propelled by Hedge Seel’s deft drumming. These subtle twists shine through Britt’s smoky tone and layered harmonies. The chorus erupts into a powerful, anthemic cry, fusing the classical piano undercurrent with heavy guitar drive for a sound that feels both theatrical and crushing. As the song nears its end, strings and brass swell with cinematic grandeur while the lofty guitar and mystical vocal harmonies intersect and crescendo. The instruments finally fall away, leaving only an eddy of vocals; a hauntingly quiet yet cathartic end emerging from the fray.

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