Liminal, the experimental psychedelic band from the Northern Rivers / Bundjalung Country, announce Hyper Normal, their new album out October 16 via Impressed Recordings. Marking the occasion comes new single ‘Glue Gun’. LISTEN HERE + WATCH HERE + PRE-SAVE LP HERE.

Led by Alako Myles on vocals and drums, Oscar Myles on vocals and guitar, Yuki Zillig on synth and Felix Kesteven on bass, Liminal create music that explodes your subconscious, mapping out oblique landscapes of occluded topicality. The group emerged from the grassroots psych scene along the East Coast, cultivating their distinct sound through self-produced recordings and hours-long jam sessions. Their reputation is growing: they were selected to play both the 2024 and 2025 Sydney SXSW festivals, opened for DJO with a wildly electronic set, and even launched their own community-focused festival, Anemoia, sharing the stage with acts such as Fungus and Nice Biscuit.

Today’s single ‘Glue Gun ’ is a Lynchian creation myth reckoning cast against a slinking R&B groove and spirals of circuit-bent synthesisers. Of the song, Liminal share: “The words on this are pretty dark; it’s exploring a lot of really fundamental things to do with the act of creating, while the token metaphor is totally ridiculous – similar to The Crop. This one has some really clinical textures to it thanks to a circuit-bent Akai S20. Basically just shorting the RAM at different points to mangle the sounds; most of the time it’s non-destructive so I did loads of different passes on the drums with reversed cymbal sounds. It’s a sort of electronic approach to the cool brush sounds Angelo Badalamenti was doing for the Twin Peaks soundtrack.”

Equal parts audacious and confounding, Hyper Normal is an audiophonic homage to the strangest corners of humanity; a tome of magical realist fables set to a kinetic assemblage of doom metal riffs, dive-bomb rave synths, knotty post-bop grooves, and magmatic rock music; an absolute monster of a release from a group unafraid to stray from the well-trodden path into more oblique landscapes, mapping their own insular logic and occluded topicality all the while.

The title Hyper Normal is pulled from “Hypernormalisation”, a term coined by Alexei Yurchak and popularised by Adam Curtis which describes a phenomenon where people accept a fake version of reality, producing a feeling of being alone in your own world; a psychological disorder affecting the collective consciousness. It’s an apt summation of Liminal’s thematic preoccupations: encroaching apocalypse, the ethical duties of authorship, and our ever-tenuous grasp of truth. Mastered by Beau Thomas (Aphex Twin, Burial), Hyper Normal radiates with creative possibility, flashing through everything from early prog-rock and metal to jazz fusion and acid house with a strange and alluring fluidity.

Earlier this year, Liminal’s video for ‘The Crop’ experienced a profound kind of niche virality: Close to a million views on a DIY video shot entirely in their lounge room and processed using Blender 3D, a Panasonic WJ-MX50 feedback loop, and face paint that left Alako Myles with green eyebrows for three weeks. Drawing from vintage 90s braindance CGI and old Warp Records VHS tapes, it’s a surreal five minutes of hypnotic weirdness and environmental parable that hits harder than a million-dollar budget ever could.