Mesh have released an official video for “Fallen Angel”, the uptempo title track from their upcoming mini-album of the same name, due 27 November 2026 on Dependent Records. The British duo of Mark Hockings and Richard Silverthorn describe the nine-track mini-album as an addendum to this year’s album “The Truth Doesn’t Matter,” built from songs written during that album’s touring cycle.

Richard Silverthorn traces the song back to an earlier working title: “The track, ‘Fallen Angel,’ was born out of a piece of music with the working title ‘Pivot.'” “Mark came up with an inspired lyric and the finished song stood out as more than just a B-side. Enjoy!”

The video follows the release plan Mesh laid out when the mini-album’s tracklist was revealed in September: pre-orders opened 24 September alongside the fourth single from “The Truth Doesn’t Matter,” “Trying to Save You,” and the “Fallen Angel” title track itself arrived as a single on 21 October with this video, ahead of the full CD and vinyl release next month.

The mini-album combines four newly written songs (“Fallen Angel,” “Protect Your Neck,” “Not This Time” and “The Meeting of the Broken”) with the first physical release of “Tilt,” two versions of “Trying to Save You,” a live recording of “The Truth Doesn’t Matter,” and an extended version of “Fallen Angel” itself. Hockings and Silverthorn wrote, recorded and produced the record with Vaughn George on live keyboards and Sean Suleman on live drums, at Mesh HQ and The Summerhouse in Bristol, and mixed by Olaf Wollschläger and Mesh at Cottonbeat Studio in Burscheid, Germany. “Fallen Angel” is set for release as a jewel-case CD, a clear vinyl LP limited to 500 copies, and a standard black vinyl LP.

About Mesh

Mesh are a British electronic band from Bristol, formed in 1991 when singer Mark Hockings and keyboard player Richard Silverthorn met at a concert. Silverthorn’s former bandmate Neil Taylor soon joined on keyboards. Signed to the Swedish label Memento Materia, the trio released the EP “Fragile” in 1994, followed by the album “In This Place Forever” in 1996 and the breakthrough “The Point At Which It Falls Apart” in 1999. Sony Records picked the band up for 2002’s “Who Watches Over Me,” and 2006’s “We Collide” was produced by former Depeche Mode producer Gareth Jones.

Taylor left in 2006 and Hockings and Silverthorn continued as a duo with an augmented live line-up, signing to Dependent Records for Europe and Metropolis Records for the Americas. German producer Olaf Wollschläger, who produced 2009’s “A Perfect Solution,” has worked with the band on every record since. “Automation Baby” (2013) topped the European Alternative Charts, and “Looking Skyward” (2016) reached number 12 in Germany. Mesh announced “The Truth Doesn’t Matter” with the single “Exile” in January 2026, followed by “Hey Stranger” in February and “This World” in March, then toured behind the album through the spring. “Fallen Angel,” built from songs Hockings and Silverthorn wrote during that touring cycle, now carries the story into a mini-album of its own.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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Mesh will release the mini-album “Fallen Angel” on Dependent Records on 27 November 2026. The British duo of Mark Hockings and Richard Silverthorn describe the nine-track record as an addendum to this year’s album “The Truth Doesn’t Matter” rather than the start of a new chapter, built from songs that grew out of writing sessions the pair started after touring behind that record.

The label had asked for a fourth single from “The Truth Doesn’t Matter”; Hockings and Silverthorn instead wrote enough new material for close to half an album of additional songs. “Fallen Angel” combines four newly written tracks with remixes and a live recording, offering what the band calls a deeper dive into the themes of “The Truth Doesn’t Matter”.

Pre-orders for “Fallen Angel” open on 24 September, the same day the mini-album’s fourth single from that campaign, “Trying to Save You”, arrives on streaming platforms in a mix by Olaf Wollschläger. The title track follows as a single on 21 October with a new music video featuring the band, ahead of the full CD and vinyl release on 27 November. The tracklist:

• Fallen Angel
• Protect Your Neck
• Not This Time
• The Meeting of the Broken
• Tilt
• Trying to Save You (single mix)
• The Truth Doesn’t Matter (live, recorded on this tour)
• Fallen Angel (extended version)
• Trying to Save You (remix)

“Fallen Angel”, “Protect Your Neck”, “Not This Time” and “The Meeting of the Broken” are entirely new songs; “Tilt” receives its first physical release. Mark Hockings and Richard Silverthorn wrote and recorded all tracks and produced the mini-album with Vaughn George on live keyboards and Sean Suleman on live drums; it was recorded at Mesh HQ and The Summerhouse in Bristol, mixed by Olaf Wollschläger and Mesh at Cottonbeat Studio in Burscheid, Germany, with additional mastering by Wollschläger. Mark Hockings supplied the artwork and photography, with additional artwork, editing and layout by Nico Janse van Rensburg. “Fallen Angel” will be released as a jewel case CD, a limited clear vinyl LP capped at 500 copies, and a standard black vinyl LP; the CD and a KitAlbum Tour Edition will be available at Mesh’s live shows roughly six weeks ahead of the wider release. Distribution runs through SPKR.

At least two of the new songs will be played live starting with Mesh’s show in Krefeld, Germany, on 1 October. The band’s confirmed live dates through November:

• 1 October 2026 – Krefeld, Germany – Kulturfabrik
• 2 October 2026 – Braunschweig, Germany – Westand
• 3 October 2026 – Dresden, Germany – Reithalle Strasse E
• 4 October 2026 – Berlin, Germany – Kesselhaus
• 5 November 2026 – Łódź, Poland – Klub Scenografia
• 6 November 2026 – Halle/Saale, Germany – Capitol
• 7 November 2026 – Liberec, Czech Republic – Dům Kultury Liberec (Sever Synth Festival)

Hockings and Silverthorn also confirmed that “Looking Skyward” is set to return on red vinyl “very, very soon”, and that “Who Watches Over Me?” will receive a 25th-anniversary reissue in 2027 as an art book edition with refreshed artwork, following the return of its rights from Sony Music; that album will also return to streaming platforms next year. The details emerged during a Zoom Q&A with Hockings and Silverthorn on 22 September, which Mesh had previously teased as previewing an “unusual release”.

About Mesh

Mesh formed in 1991 in the UK when vocalist and guitarist Mark Hockings and keyboard player and vocalist Richard Silverthorn began writing together, later joined by keyboardist Neil Taylor. The band released the “Fragile” EP in 1994 and its debut album, “In This Place Forever”, in 1996, followed by “The Point at Which It Falls Apart” in 1999, reissued in a 25th-anniversary edition in 2024. The major-label release “Who Watches Over Me?” in 2002 widened the band’s European audience, especially in Germany, and 2006’s “We Collide” was produced with former Depeche Mode collaborator Gareth Jones. “Automation Baby” (2013) reached number 33 on the German album chart, and “Looking Skyward” (2016) climbed to number 12 there. Mesh continued as the core duo of Hockings and Silverthorn, touring with drummer Sean Suleman and additional live keyboard players, and added Vaughn George to the live lineup in April 2023. Hockings also records solo as Blackcarburning, releasing the album “Watching Sleepers” and the EP “Divide Us”. Mesh’s most recent album, “The Truth Doesn’t Matter”, arrived in 2026 on Dependent Records, preceded by the singles “Exile”, “Hey Stranger” and “This World” and followed by a European tour; “Fallen Angel”, out 27 November 2026, extends that album cycle with new songs, remixes and a live recording.

Britta Pirkko

For almost 15 years I’ve been writing about music, interviewing artists and reviewing releases for Peek-A-Boo Magazine. Recently, I also launched my own WordPress website, where I continue to share interviews, reviews and news from the underground scene. The darker side of music has been part of my life for more than 30 years, with a passion for everything from ’80s synthpop and New Wave to EBM, Futurepop and dark electronic music in general. Also Metal and Rock is part of my world. Away from the scene, I work in a public library, where books are part of my everyday life. I enjoy both fiction and non-fiction, especially books on politics, religion, health and travel. I’m also a fan of thrillers and horror films. When I’m not listening to music or reading, you’ll usually find me exploring nature, enjoying a good sauna, experimenting with vegan cooking, or travelling to my second home, Finland. I’ve always believed the underground has the best stories. My job is simply to help tell them

Mesh will host a live online Q&A titled “An Hour With Mesh” on 22 September 2026, previewing new material and further details of what the British electronic duo describe as an “unusual release”. Mark Hockings and Richard Silverthorn will take part in the one-hour Zoom session, which also allows fans to submit their own questions in advance.

The Q&A is scheduled for 19:00 BST / 20:00 CET on 22 September, with registration open via mesh.co.uk/qa. The session will give an early listen to new music alongside an explanation of the concept behind the upcoming release, though Mesh have not yet detailed what format or title it will take.

The duo spent much of 2026 touring behind the album “The Truth Doesn’t Matter”, released on Dependent Records and preceded by the singles “Exile”, “Hey Stranger” and “This World”. The band’s own description of the newly teased material as “unusual” sets it apart from that album cycle, though no release date has been confirmed for it.

About Mesh

Mesh are the British electronic duo of vocalist Mark Hockings and Richard Silverthorn, active since the mid-1990s and among the longer-running acts in the UK electropop and synth-driven alternative scene. The band’s catalogue includes the 1999 debut “The Point at Which It Falls Apart”, reissued in a 25th-anniversary edition in 2024, through to 2026’s “The Truth Doesn’t Matter” on Dependent Records. Hockings also records as Blackcarburning, releasing the album “Watching Sleepers” and the EP “Divide Us” alongside his work in the band.

Britta Pirkko

For almost 15 years I’ve been writing about music, interviewing artists and reviewing releases for Peek-A-Boo Magazine. Recently, I also launched my own WordPress website, where I continue to share interviews, reviews and news from the underground scene. The darker side of music has been part of my life for more than 30 years, with a passion for everything from ’80s synthpop and New Wave to EBM, Futurepop and dark electronic music in general. Also Metal and Rock is part of my world. Away from the scene, I work in a public library, where books are part of my everyday life. I enjoy both fiction and non-fiction, especially books on politics, religion, health and travel. I’m also a fan of thrillers and horror films. When I’m not listening to music or reading, you’ll usually find me exploring nature, enjoying a good sauna, experimenting with vegan cooking, or travelling to my second home, Finland. I’ve always believed the underground has the best stories. My job is simply to help tell them

Few bands have achieved such a rapid development and enduring status in the Electronic music scene as Mesh. Founded in Bristol in 1991 by Mark Hockings and Richard Silverthorn, the British band evolved from a synth-driven group into an act with a highly distinctive blend of Electro-Pop, dark synth textures, subtle Rock influences, and deeply personal lyrics. From their earliest records, their music generated immense enthusiasm, which only continued to grow over the years. Their list of hits is almost too long to recount, and every new album generated a buzz. Following Neil Taylor’s departure in 2007, Mesh continued as the creative duo of Hockings and Silverthorn. Although a long period passed without a new studio album after the release of “Looking Skyward” (2016), Mesh never truly fell off the radar, largely because they continued to perform live. Eventually, the duo returned to the studio to begin writing new music. Their new album, “The Truth Doesn’t Matter (The Complete Truth)”, released on Dependent, marks Mesh’s ninth studio album. Despite the long hiatus, the band’s musical identity—or, indeed, its DNA—has remained completely intact. It is a strong record that stays true to the group’s distinctive sound and finest traditions. This interview took place during their current tour, which has also seen the band’s live lineup evolve. Mark and Richard are now joined on stage by drummer Sean Suleman and keyboardist Vaughn George. I reached out to Mark Hockings to look back briefly on 35 years of Mesh and, of course, to discuss the band’s current album and the road ahead. (Courtesy by Inferno Sound Diaries)

Mesh on 35 years and the decade after ‘Looking Skyward’

Q: This year, you celebrate Mesh’s 35th anniversary, and your debut album “In This Place Forever” was released exactly 30 years ago. Which memories and absolute highlights immediately come to mind?

Mark: It only seems like yesterday we started out, yet it really was a lifetime ago. I suppose our first album/EP “Fragile” getting made, our first shows in Bristol, our first shows in Sweden, our first shows in Germany, our first record signing to Memento Materia, our first big festivals, giving up work when we got signed to Orbit/Home Records, going on tour on a real tour bus, touring in the USA, every new album we ever released, every live show we ever played. As you can tell, we love it all. It’s been just one long adventure and we are still making memories.

Q: Moving forward in time for a moment: it has been 10 years since you released a new studio album following “Looking Skyward”. That’s something we weren’t used to from you—how do you explain that gap, and when did you begin working on the new album?

Mark: I think we just needed a bit of a break from writing and the whole album release cycle. It really is quite a commitment once you say ‘yes’ to a new album. It’s a lot of work and you have to be prepared to launch into it 100%. We did spend that time doing some writing, but we mostly played shows like the “Retrospective” tour and “The Point At Which It Falls Apart” re-release tour. We don’t consider any of this ‘lost’ time and was very valuable in further building up our following. We were able to come back to writing full of energy and fresh ideas. I think ultimately our releases this year will make up for the 10 years of waiting.

‘The Truth Doesn’t Matter’ and its post-truth title

Q: What formed the foundation of the ideas and influences behind “The Truth Doesn’t Matter – The Complete Truth”?

Mark: It has not been difficult to find inspiration for this record. The rate of change of social and political norms has been unprecedented. We are in the middle of a huge technological shift that will forever change the way we work and communicate. The way that we all filter and process these changes will be key to how the World will look in the next few years. “The Truth Doesn’t Matter” is in parts a damning commentary on the World, but also offers hope for the future. If we can develop our skeptical skills and bring back some empathy then and we might just be OK. We are going through a huge learning period and I think we might just turn it all around. The mostly bland and disappointing use of all this new technology will hopefully give way to spectacular and life changing uses that will change all of our lives for the better.

Q: With the album title, you seem to refer to so-called ‘post-truth’ realities. To what extent is this record an expression of criticism, or perhaps resignation—even acceptance—of that condition? And if truth no longer matters, what remains as a moral or emotional compass for humanity, and for artists who are, after all, only human?

Mark: The title is more cynical than a statement of what I truly believe. It’s more of commentary on the ‘I believe this is true, and here are others that agree with me’ echo chamber type mentality that seems so have become gradually worse over time. The internet feeds such things of course. Ultimately the title suggests that you can actually spend your life mis-informed of basic truths and there is a high chance that your life will not be any worse for it because you will be in the company of the like-minded.

On the face of it you could say that those people don’t matter and what is the harm in letting then be. But I’m not sure that these people are harmless. The danger comes when people try to re-write important social history or reverse the progress of technology, political leadership, social care, awareness and tolerance. So actually the truth does matter. It matters a lot.

The personal songs on ‘The Truth Doesn’t Matter’

Q: Perhaps I’m misinterpreting certain titles, but songs like “I Lost A Friend Today” and “Trying To Save You” suggest more personal themes or experiences. What do these tracks convey exactly, and do they carry a deeper or more emotional significance for you?

Mark: Yes, there are still personal songs on the album. “I Lost A Friend Today” is particularly personal. There needs to be room left for those intimate spaces on our albums I think. We rarely write an album completely based on a theme, but rather the theme exposes itself when the work is complete. We feel that the political, the emotional, the light and the dark can easily coexist on a single record and yet still present as a coherent piece. That coherence is as much to do with the construction of the music as the lyrics.

Q: Despite the melodic and danceable nature of your music, there has always been a darker, melancholic undercurrent. I find it fascinating how these elements coexist—people dancing intensely to songs that deal with serious themes. How do you view that contrast?

Mark: I think we’ve always tried focus on the emotional side of all of our tracks. Yet is important to us to create energy if it helps to push that emotion to the fore. It can seem like a dichotomy when analysed in this way, but to us it has always made perfect sense to us. There are quiet emotions and there are loud emotions. There are sad emotions and there are angry emotions. It’s a spectrum that requires a different musical backdrop every time.

Mark Hockings on art funding, streaming and the album format

Q: In a world that often seems to be deteriorating, Art—including music—serves as an outlet and a source of hope. At the same time, we see increasingly conservative governments and world leaders cutting funding for the Arts. How do you interpret this contradiction, and how do you see the role of Art and music evolving?

Mark: It may be true that the funding of publicly funded art is generally being cut all over the World, however it feels like there is more creativity out there than there has ever been. People are able to make great music, film and art with the cheapest of tools. They have free platforms that give them an outlet for that art. I think you just have to go and find it. Gone are the days when a small number of intellectuals influence the way our culture moves. There are very few blockers in your way if you want to make art in some form. Most people are not out to make money, or become famous doing this. It just makes them happy. I think this is a really great thing. We just have to re-adjust the way we discover art and music. It just requires a little more effort possibly. But isn’t that part of the fun?

Q: At a time when everything is accelerating and constantly evolving, I sometimes wonder what purpose an album still serves. With streaming platforms and algorithm-driven playlists and social media dominating how people listen to music, does releasing an album become a form of resistance—a deliberate ‘no’ to that evolution?

Mark: We still think it’s important to give people a coherent piece of work. To take an idea and run with it. We still like the format of the physical album, the journey, the depth, the story, the artwork. The album set a theme like a film or a book. The songs are the scenes or the chapters. Hopefully the album tells a story and the listener is left with an experience or a memory when they listen to it a whole. We understand that things are moving possibly in a different direction, but I don’t think this a denial thing, like being resistant to new technology or delivery platforms. I believe that people are genuinely missing out on the album format as a way of consuming music, and I think that streaming services could do more to make music more of an experience.

How Mesh wrote and recorded the new album

Q: As mentioned earlier, it has been 10 years since your previous studio album. Has your way of collaborating changed during that time? And how have studio practices or production tools evolved for you—especially with the rise of technologies like AI?

Mark: Collaboration tools have improved certainly. Our main program Cubase has a remote client that we use when working with our mix engineer Olaf in Germany. This is partially made possible due to faster network connections available now. A lot of retro gear is cheaper and more available due to companies like Behringer. Controversial possibly, but they have made expensive classic synths affordable to a lot of people. A.I has certainly made mastering tools a lot easier to use for final productions, but we tend to still rely on the skills of people like Olaf to deal with that still. Tools like Suno AI, particularly Suno studio might have their place in bringing ideas to the table, but those platforms are still a little predicable in their results. Ultimately I suspect we will use such things to generate sounds and loops not unlike using sample packs or services like splice. I don’t see anything wrong with any of this stuff really. Ultimately the artist is the filter for ideas and where those ideas come from is largely irrelevant. Exciting times though.

Q: The album features several short interludes. What role do they play within the broader context of the record? And could you also tell us more about the album’s Deluxe Edition?

Mark: The interludes we call “Particles” and are used to add a bit of colour to the record or to change moods in the flow. When you take the confines of the lyrics out of the equation then you can be a little more free in the way you manage the structure of those pieces. We are able to try a few sound design experiments that would be difficult if words were involved. So they are just little mood changing experiments that are fun to write.

The deluxe edition contains a few tracks that we either couldn’t fit on the physical CD/vinyl or we didn’t think necessarily fitted on the album quite as well as the final track list. That is subjective obviously, but we spend a long time considering such things. That said, I love the additional tracks on the extended version.

Q: Is there a particular stereotypical modus operandi when it comes to creating a song or an album, or how does that process actually work—more specifically for the new album?

Mark: Not really. We just swap ideas and see what happens. The difficult part is just getting started. We need a couple of good songs finished before the ball really starts to roll. Generally Rich will give me some music and I’ll write a song around that, or I’ll make a demo and Rich will work on it. But the process varies. We get together to work on final vocals, final mixes, final arrangements etc. It’s much more collaborative towards the end of the process than at the start. We tend to need to get together a nucleus of tracks and then step back and see a) where is this going? And b) what are we missing? But tracks sometimes just appear out of nowhere – like “Exile” for example. This was written after we’d mixed the final album and was added at the very last minute. Happy accidents or hard work? Difficult to be sure.

Touring ‘The Truth Doesn’t Matter’ in 2026

Q: At the time of this interview, you’ve already played a lot of live shows, and the tour is still ongoing. What have been the highlights so far? What do you enjoy most about touring and performing in different countries, at different festivals, and in a variety of venues?

Mark: The highlights have been the people and the enthusiasm and love they have shown us. It’s been quite humbling. Can never get used to it. We pushed ourselves to make this tour a really special production and I think we surpassed our expectations on how the show looked and sounded. Touring is just fun. We love the whole process to be honest. The shows, the fans, the travelling in the tour bus, the friendship and the shared experience. Every venue is different, every crowd is different. Festivals can be fun, but a very different thing as the audience is not necessarily there to see you. Its a different challenge, but just as rewarding off you get it right.

Q: I’ve always wondered how a band prepares for a tour like this. What’s involved in getting everything ready? Could you also tell us a bit about the crew that travels with you? And when you’re not on stage, how do you spend your time on the road, and what do you do to stay in good shape throughout the tour?

Mark: There are months of preparation involved in a tour like this. The music has to be completely reprogrammed for live, hardware and software has to be prepared/written especially for the tour. Video plays a big role in our stage show and this also takes months to author and sync to the live sequencing. So essentially we are straight out of the studio from the album, then straight back into it again. There are a huge amount of logistics involved around video, lighting, merch, crew, travel, support bands etc. it’s a huge undertaking.

We have the best crew and many of them we have worked with for many, many years. I think there were 14 of us on the bus for this tour.

Touring seems to be a lot of hanging about interspersed with intense periods of activity. But the time passes too fast. It’s a lot of fun. We all keep reasonably fit. Myself and Rich do a lot of cycling. Sean does a lot of gym work. You can’t do. Much once you are actually on tour, so the prep is important.

About Mesh

Mesh formed in Bristol in 1991 around Mark Hockings and Richard Silverthorn, later joined by Neil Taylor. The mini-album “Fragile” appeared in 1994, and the debut album “In This Place Forever” followed in 1996 on the Swedish label Memento Materia, which also issued “The Point At Which It Falls Apart” in 1999. “Who Watches Over Me?” came out in 2002 through Home Records, and “We Collide” in 2006 on Königskinder Schallplatten. Taylor left in 2007 and the band has worked as a duo since.

Dependent Records has carried every Mesh studio album since “A Perfect Solution” in 2009, followed by “Automation>>Baby” in 2013 and “Looking Skyward” in 2016; Metropolis Records handled several of those records in the United States. In September 2024 the duo issued a 25th anniversary reissue of “The Point at Which It Falls Apart”. Hockings also records as Blackcarburning, which released the MCD “Divide Us” in 2022 and the debut album “Watching Sleepers” in June 2023.

“The Truth Doesn’t Matter” was released on 27 March 2026 through Dependent Records and runs sixteen tracks. It was trailed by three video singles: “Exile” in January 2026, “Hey Stranger” in February and “This World” in March. A box set titled “The Complete Truth” pairs the album on double vinyl with a bonus LP of additional tracks and alternate versions, two CDs, an artbook edition, postcards, a poster and a hand-numbered signed certificate, limited to 500 copies. The “The Truth Doesn’t Matter” tour opened after the release, with Hockings and Silverthorn joined on stage by drummer Sean Suleman and keyboardist Vaughn George.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

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British alternative electronic duo Mesh opened “The Truth Doesn’t Matter” Tour 2026 on April 2 with a sold-out show at Kulttempel in Oberhausen. The run follows the March 27 release of “The Truth Doesn’t Matter” via Dependent Records, with the next stop scheduled for Berlin’s Huxleys on April 3.

The 16-track release includes the singles “Exile“, “Hey Stranger“, and “This World“, plus “Bury Me Again” featuring Mari Kattman.

“The Truth Doesn’t Matter” is available digitally on Bandcamp and in CD, 48-page artbook 2CD, and gatefold 2LP editions. However the gatefold 2LP and deluxe box/artbook configurations are sold out.

Mesh 2026 ‘The Truth Doesn’t Matter’ tour

Mesh will support the album with an extensive European and UK tour in 2026 under the same title. The first leg in April covers Germany and the Czech Republic, with shows in Oberhausen, Berlin, Hamburg, Leipzig, Prague, Munich, Frankfurt, Cologne and Hannover. The band then move to the UK in May for concerts in Bristol, London and Sheffield, followed by Scandinavian dates in Malmö, Gothenburg and Copenhagen, a summer open-air appearance in Taunton, and an additional date in Liberec in November.

• 03 Apr 2026 – Berlin, Huxleys, Germany
• 04 Apr 2026 – Hamburg, Docks, Germany
• 05 Apr 2026 – Leipzig, Felsenkeller, Germany
• 06 Apr 2026 – Prague, Lucerna Music Bar, Czech Republic
• 08 Apr 2026 – Munich, Backstage, Germany
• 09 Apr 2026 – Frankfurt am Main, Batschkapp, Germany
• 10 Apr 2026 – Cologne, Carlswerk Victoria, Germany
• 11 Apr 2026 – Hanover, Pavillon, Germany
• 01 May 2026 – Bristol, Trinity, UK
• 02 May 2026 – London, 229 Club, UK
• 03 May 2026 – Sheffield, Corporation, UK
• 14 May 2026 – Malmö, Plan B, Sweden
• 15 May 2026 – Gothenburg, Musikens Hus, Sweden
• 16 May 2026 – Copenhagen, Viften, Denmark
• 30 Aug 2026 – Taunton, Electric Summer, UK

About Mesh

Mesh are a British electronic alternative duo from Bristol, England, formed in 1991 by vocalist and guitarist Mark Hockings and keyboardist, guitarist and backing vocalist Richard Silverthorn, with Neil Taylor joining on keyboards in the early years. The creative split developed early: Silverthorn composes most of the music, while Hockings writes the lyrics and handles lead vocals. The trio first signed to Swedish label Memento Materia and issued the EP “Fragile” in 1994, followed by the debut album “In This Place Forever” in 1996 and the compilation “Fragmente” in 1998, which gathered early material.

Their second full-length “The Point at Which It Falls Apart” arrived in 1999 and has recently been revisited as a 25th-anniversary hardcover artbook edition. In 2000, the band worked with German producer Mark ’Oh on the single “Waves”, which entered the German charts, before moving to Sony for “Who Watches Over Me?” in 2002.

A run of albums on Dependent Records followed: “We Collide” in 2006, co-produced with Gareth Jones; “A Perfect Solution” in 2009, later reworked as the 2011 remix album “An Alternative Solution”; “Automation Baby” in 2013; and “Looking Skyward” in 2016.

Mesh have also released live recordings such as “On This Tour Forever”, the orchestral-enhanced “Live at Neues Gewandhaus Leipzig”, and the “Touring Skyward – A Tour Movie” set.

Frontman Mark Hockings would later on launch the Blackcarburning project releasing the debut album “Watching Sleepers“.

Today Mesh operate primarily as the Hockings/Silverthorn duo in the studio while expanding to a four-piece live line-up with drummer Sean Suleman and live keyboardist and backing vocalist Vaughn George for concerts and tours.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

side-line.com

Time flies, and it has already been ten years since Mesh released their previous album, “Looking Skyward”. The band, led by Mark Hockings and Richard Silverthorn, returns after two earlier singles with “The Truth Doesn’t Matter”, an album featuring no fewer than 16 tracks, available in a deluxe edition with additional material—primarily alternative edits. As the title suggests, it deals with lies spreading through the current zeitgeist.

Musically, Mesh remains true to the successful formula they introduced more than 30 years ago. It is a highly distinctive form of Electro-Pop that can sound somewhat dark and sometimes even aggressive, thanks to the addition of an EBM-style bass line, yet the melodic choruses—perfect for singing along at the top of your lungs—are carefully crafted. The melodic aspect is also strengthened by the guitar, which often sounds unobtrusive in the overall mix, yet is an essential element of Mesh’s sound and passionate approach. On top of that, there is the unique voice of Mark Hockings, who has lost none of his original charisma and power. Once again, Mesh has delivered several brilliant songs with the necessary care, power, and talent. The already well-known “Exile” remains a gem, but the album contains several others, ranging from heavier tracks to softer, dreamier songs that simply sound beautiful and sensitive. The album also includes several short instrumental interludes that do not add much real value, but there is still plenty of beauty to discover on this new work.

Mesh is back with another brilliant record, as they have delivered many times before. Without a doubt, a new masterpiece. (Rating:9).

Listen to “Exile”:

Read the news on ‘The Truth Doesn’t Matter’.

About Mesh

Mesh are a British electronic alternative duo from Bristol, England, formed in 1991 by vocalist and guitarist Mark Hockings and keyboardist, guitarist and backing vocalist Richard Silverthorn, with Neil Taylor joining on keyboards in the early years. The creative split developed early: Silverthorn composes most of the music, while Hockings writes the lyrics and handles lead vocals. The trio first signed to Swedish label Memento Materia and issued the EP “Fragile” in 1994, followed by the debut album “In This Place Forever” in 1996 and the compilation “Fragmente” in 1998.

Their second full-length, “The Point at Which It Falls Apart“, arrived in 1999 and was later revisited as a 25th-anniversary hardcover artbook edition. In 2000, the band worked with German producer Mark ‘Oh on the single “Waves”, which entered the German charts, before moving to Sony for “Who Watches Over Me?” in 2002.

A run of albums on Dependent Records followed: “We Collide” in 2006, co-produced with Gareth Jones; “A Perfect Solution” in 2009, later reworked as the 2011 remix album “An Alternative Solution”; “Automation Baby” in 2013; and “Looking Skyward” in 2016. The band have also issued live recordings such as “On This Tour Forever”, the orchestral “Live at Neues Gewandhaus Leipzig”, and the “Touring Skyward – A Tour Movie” set.

Frontman Mark Hockings later launched the Blackcarburning project, releasing the debut album “Watching Sleepers“. Today Mesh operate mainly as the Hockings and Silverthorn duo in the studio, expanding to a four-piece live line-up with drummer Sean Suleman and keyboardist and backing vocalist Vaughn George. “The Truth Doesn’t Matter”, released on 27 March 2026 via Dependent Records, is their first studio album since “Looking Skyward” in 2016.

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Bristol electro poprock duo Mesh have released the video single “This World“, taken from their ninth studio album “The Truth Doesn’t Matter”, which is scheduled for March 27, 2026 via Dependent Records. Earlier the band already released the singles “This World“, “Exile“, and “Hey Stranger“.

Richard Silverthorn explains how the track was born: “I lingered in front of a piano and my mind wandered into cinematic film score territory and continued into how these soundtracks or epic pieces of music set an emotional landscape for the film. This was my train of thought when I wrote what was to become ‘This World’. Then Mark added the underpinning modular lines which gave this uneasy dynamic.”

Mark Hockings adds: “This is a really beautiful song in my opinion. It came together by a huge group effort with Rich’s solid and emotional instrumentation, lyrics that just seemed to come together, and Olaf (Wollschläger)‘s inspired production and arrangement changes. It turned out to be one of my favourites on this album.”

The clip was directed and produced by Kieran Gallop of GLK Media and features actor Jack Hewitt. Hewitt is a UK actor who played the role of Billy in “Upgraded” (2024) and Stable Boy in “Assassin’s Guild” (2024).

Mesh 2026 ‘The Truth Doesn’t Matter’ tour

Mesh will support the album with an extensive European and UK tour in 2026 under the same title. The first leg in April covers Germany and the Czech Republic, with shows in Oberhausen, Berlin, Hamburg, Leipzig, Prague, Munich, Frankfurt, Cologne and Hannover. The band then move to the UK in May for concerts in Bristol, London and Sheffield, followed by Scandinavian dates in Malmö, Gothenburg and Copenhagen, a summer open-air appearance in Taunton, and an additional date in Liberec in November.

• 02 Apr 2026 – Oberhausen, Kulttempel, Germany (sold out)
• 03 Apr 2026 – Berlin, Huxleys, Germany
• 04 Apr 2026 – Hamburg, Docks, Germany
• 05 Apr 2026 – Leipzig, Felsenkeller, Germany
• 06 Apr 2026 – Prague, Lucerna Music Bar, Czech Republic
• 08 Apr 2026 – Munich, Backstage, Germany
• 09 Apr 2026 – Frankfurt am Main, Batschkapp, Germany
• 10 Apr 2026 – Cologne, Carlswerk Victoria, Germany
• 11 Apr 2026 – Hanover, Pavillon, Germany
• 01 May 2026 – Bristol, Trinity, UK
• 02 May 2026 – London, 229 Club, UK
• 03 May 2026 – Sheffield, Corporation, UK
• 14 May 2026 – Malmö, Plan B, Sweden
• 15 May 2026 – Gothenburg, Musikens Hus, Sweden
• 16 May 2026 – Copenhagen, Viften, Denmark
• 30 Aug 2026 – Taunton, Electric Summer, UK

About Mesh

Mesh are a British electronic alternative duo from Bristol, England, formed in 1991 by vocalist and guitarist Mark Hockings and keyboardist, guitarist and backing vocalist Richard Silverthorn, with Neil Taylor joining on keyboards in the early years. The creative split developed early: Silverthorn composes most of the music, while Hockings writes the lyrics and handles lead vocals. The trio first signed to Swedish label Memento Materia and issued the EP “Fragile” in 1994, followed by the debut album “In This Place Forever” in 1996 and the compilation “Fragmente” in 1998, which gathered early material.

Their second full-length “The Point at Which It Falls Apart” arrived in 1999 and has recently been revisited as a 25th-anniversary hardcover artbook edition. In 2000, the band worked with German producer Mark ’Oh on the single “Waves”, which entered the German charts, before moving to Sony for “Who Watches Over Me?” in 2002.

A run of albums on Dependent Records followed: “We Collide” in 2006, co-produced with Gareth Jones; “A Perfect Solution” in 2009, later reworked as the 2011 remix album “An Alternative Solution”; “Automation Baby” in 2013; and “Looking Skyward” in 2016.

Mesh have also released live recordings such as “On This Tour Forever”, the orchestral-enhanced “Live at Neues Gewandhaus Leipzig”, and the “Touring Skyward – A Tour Movie” set.

Frontman Mark Hockings would later on launch the Blackcarburning project releasing the debut album “Watching Sleepers“.

Today Mesh operate primarily as the Hockings/Silverthorn duo in the studio while expanding to a four-piece live line-up with drummer Sean Suleman and live keyboardist and backing vocalist Vaughn George for concerts and tours.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

side-line.com

British electronic alternative duo Mesh unveil the new video single “Hey Stranger” as the latest preview from their forthcoming studio album “The Truth Doesn’t Matter“, scheduled for release on March 27, 2026 via Dependent Records. The track appears as song thirteen on the 16-track album and follows January’s advance single “Exile”. The video was directed by Kieran Gallop (GLK Media) with Mike Evans and Madeline Griffin in the lead acting roles.

Thematically “Hey Stranger” focuses on change, distance and communication breakdown. Songwriter and multi-instrumentalist Richard Silverthorn says that the track went through multiple arrangements before taking its final form. “A song might take on many different forms before its eventual album version as ‘Hey Stranger’ definitely has done”, he says. “The track starts in a very minimalistic way and gradually builds up towards its climax through a crescendo of choir and strings. Lyrically, this song is bound to speak to many as it explores themes of change and disconnection with people.”

Vocalist and lyricist Mark Hockings adds that the composition was initially not intended as a main single. “I wrote ‘Hey Stranger’ several years ago and the song has gone through several iterations over time”, he says. “We were originally looking at this track as just a fall-back or B-side. Some lyrical additions and a fresh look at the arrangement later, ‘Hey Stranger’ had transformed it into something much more. I am not in favour of dwelling on a single song over long periods of time, but in this case our unusual patience has paid off well – at least in my mind.”

The track also features as part of the bonus material in the “The Full Truth” companion disc, with at least two alternate versions (“Hey Stranger” radio version and “Hey Stranger” straight mix).

Below is the previous single “Exile“.

Mesh album ‘The Truth Doesn’t Matter’: formats and full tracklist

All tracks of the new album were written and recorded by Mark Hockings and Richard Silverthorn at Mesh HQ and The Summerhouse in Bristol, UK. Mixing took place at Cottonbeat Studio in Burscheid, Germany, with producer Olaf Wollschläger working alongside the band, and mastering handled by Mesh with additional mastering by Wollschläger.

Guest vocalist Mari Kattman contributes additional vocals to “Bury Me Again” elsewhere on the album and is scheduled to appear at selected dates of the 2026 tour line-up.

“The Truth Doesn’t Matter” marks their eighth studio album and the second full-length in collaboration with Dependent since “Looking Skyward“.

The album contains sixteen tracks:

1. “The Truth Doesn’t Matter”
2. “A Storm Is Coming”
3. “I Lost a Friend Today”
4. “Polygraph”
5. “Trying to Save You”
6. “Bury Me Again”
7. “I Bleed through You”
8. “Kill Us with Silence”
9. “1031030”
10. “This World”
11. “Exile”
12. “Everything as It Should Be”
13. “Hey Stranger”
14. “Cipher”
15. “Not Everyone Is Lonely”
16. “Be Kind”

Confirmed physical formats include:

• A 48-page hardcover 2CD artbook including the exclusive 9-track bonus CD “The Full Truth”.
• A gatefold black vinyl 2-LP edition of the main album.
• A standard jewelcase CD edition.
• A limited complete boxset (500 copies) combining the double vinyl album, an exclusive vinyl version of the bonus material, the full artbook and additional items, accompanied by a hand-numbered certificate signed by Mesh. This boxset is already marked as sold out in label communications.

Mesh 2026 ‘The Truth Doesn’t Matter’ tour

Mesh will support the album with an extensive European and UK tour in 2026 under the same title. The first leg in April covers Germany and the Czech Republic, with shows in Oberhausen, Berlin, Hamburg, Leipzig, Prague, Munich, Frankfurt, Cologne and Hannover. The band then move to the UK in May for concerts in Bristol, London and Sheffield, followed by Scandinavian dates in Malmö, Gothenburg and Copenhagen, a summer open-air appearance in Taunton, and an additional date in Liberec in November.

• 02 APR 2026 Oberhausen (DE) Kulttempel
• 03 APR 2026 Berlin (DE) Huxleys
• 04 APR 2026 Hamburg (DE) Docks
• 05 APR 2026 Leipzig (DE) Felsenkeller
• 06 APR 2026 Praha (CZ) Lucerna Music Bar
• 08 APR 2026 München (DE) Backstage
• 09 APR 2026 Frankfurt (DE) Batschkapp
• 10 APR 2026 Köln (DE) Carlswerk Victoria
• 11 APR 2026 Hannover (DE) Pavillon
• 01 MAY 2026 Bristol (UK) Trinity
• 02 MAY 2026 London (UK) 229 Club
• 03 MAY 2026 Sheffield (UK Corporation
• 14 MAY 2026 Malmö (SE) Plan B
• 15 MAY 2026 Göteborg (SE) Musikens Hus
• 16 MAY 2026 København (DK) Viften
• 30 AUG 2026 Taunton (UK) Vivary Park Open Air, Electric Summer +Howard Jones
• 11 NOV 2026 Liberec (CZ) Dům kultury

About Mesh

Mesh are a British electronic alternative duo from Bristol, England, formed in 1991 by vocalist and guitarist Mark Hockings and keyboardist, guitarist and backing vocalist Richard Silverthorn, with Neil Taylor joining on keyboards in the early years. The creative split developed early: Silverthorn composes most of the music, while Hockings writes the lyrics and handles lead vocals. The trio first signed to Swedish label Memento Materia and issued the EP “Fragile” in 1994, followed by the debut album “In This Place Forever” in 1996 and the compilation “Fragmente” in 1998, which gathered early material.

Their second full-length “The Point at Which It Falls Apart” arrived in 1999 and has recently been revisited as a 25th-anniversary hardcover artbook edition. In 2000, the band worked with German producer Mark ’Oh on the single “Waves”, which entered the German charts, before moving to Sony for “Who Watches Over Me?” in 2002.

A run of albums on Dependent Records followed: “We Collide” in 2006, co-produced with Gareth Jones; “A Perfect Solution” in 2009, later reworked as the 2011 remix album “An Alternative Solution”; “Automation Baby” in 2013; and “Looking Skyward” in 2016.

Mesh have also released live recordings such as “On This Tour Forever”, the orchestral-enhanced “Live at Neues Gewandhaus Leipzig”, and the “Touring Skyward – A Tour Movie” set.

Frontman Mark Hockings would later on launch the Blackcarburning project releasing the debut album “Watching Sleepers“.

Today Mesh operate primarily as the Hockings/Silverthorn duo in the studio while expanding to a four-piece live line-up with drummer Sean Suleman and live keyboardist and backing vocalist Vaughn George for concerts and tours.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

side-line.com

British electronic alternative duo Mesh have released the video single “Exile“, their first new song in nine years, and confirmed details of the forthcoming studio album “The Truth Doesn’t Matter” which we already announced a while back on Side-Line. The album is scheduled for release on March 27, 2026 via Dependent Records, with pre-orders available now.

“Exile”, the first new song to be released by Mesh since the 2016 full-length “Looking Skyward”, appears as an edit of the album’s opening track. Below is the official video, directed and shot by Kieran Gallop (GLK Media) and featuring Olivia Heath.

Mesh about writing and recording “Exile”

The band says that “Exile” went through a two-stage creation process, with the instrumental groundwork laid in Bristol and the lyrics completed during the album mixing sessions in Germany.

Composer and multi-instrumentalist Richard Silverthorn explains how the music took shape: “I was trying to write some music that was uplifting but had a dark and moody undertone. I had the chord structure and the chorus, but felt something was missing. That’s when I added the arpeggio type line at the start. This changed the character of the song and gave it that hypnotic, driving feel. It is the glue that holds it all together. After we had finished mixing the album and almost a year after the music was written, Mark sent me the track with the vocals added. It was one of those moments when I knew immediately that this track had to be the single. It was as quick as that.”

Vocalist and lyricist Mark Hockings describes how the words were written under time pressure around the final mixes with producer Olaf Wollschläger in Burscheid, Germany: “We were about to go to Germany to mix the album with Olaf, I still had a couple of instrumentals from Rich which had no lyrics or vocals. I loaded one into Cubasis on my phone and started working on it in dead time during the mixing. I needed inspiration, and Judit, the wife of our producer Olaf, gave me the only English books that she had: ‘Chicken Soup for the Soul – Stories for a Better World’ by various authors, and ‘The Man Who Fell to Earth’, which is a Bowie biography. I was also reading Heinlein’s ‘Stranger in a Strange Land’ on my pad. The lyrics kind of just fell out of those influences. I recorded the vocals on the phone outside on Olaf’s balcony and recorded them properly when I got home. It was all very last minute, but worth that last push.”

The finished version of “Exile” was mixed by Olaf Wollschläger together with Mesh at Cottonbeat Studio in Burscheid.

About the new Mesh album “The Truth Doesn’t Matter”

Mesh describe the theme of “The Truth Doesn’t Matter” as being about an “age of post-factual lies”. All tracks were written and recorded by Mark Hockings and Richard Silverthorn at Mesh HQ and The Summerhouse in Bristol, UK. Mixing was handled by Olaf Wollschläger together with the band at Cottonbeat Studio in Burscheid, Germany, with mastering credited to Mesh and supplementary mastering by Wollschläger.

Guest vocalist Mari Kattman contributes additional vocals to “Bury Me Again” and will also appears in a few concerts as part of the 2026 tour line-up.

The 16-track album includes the following tracks:

1. “The Truth Doesn’t Matter”
2. “A Storm Is Coming”
3. “I Lost a Friend Today”
4. “Polygraph”
5. “Trying to Save You”
6. “Bury Me Again”
7. “I Bleed through You”
8. “Kill Us with Silence”
9. “1031030”
10. “This World”
11. “Exile”
12. “Everything as It Should Be”
13. “Hey Stranger”
14. “Cipher”
15. “Not Everyone Is Lonely”
16. “Be Kind”

“The Truth Doesn’t Matter” will be released in several physical editions on Dependent Records:

• Limited boxset (500 copies): A deluxe boxset containing the standard album on double vinyl, an exclusive vinyl version of the bonus CD, an artbook and other items, accompanied by a hand-numbered certificate signed by Mesh.
• 48-page hardcover 2CD artbook: This edition includes the main album on CD plus an exclusive nine-track bonus CD titled “The Full Truth”, packaged in a 48-page hardcover artbook with expanded visuals and credits.
• Gatefold black vinyl 2LP: A standard double vinyl pressing housed in a gatefold sleeve, featuring the 16-track album.
• Jewelcase CD: A regular CD edition in a jewelcase for the core album.

Mesh 2026 “The Truth Doesn’t Matter” tour

The release of “The Truth Doesn’t Matter” is accompanied by an extensive European and UK tour throughout 2026 under the same title. The first leg covers Germany and the Czech Republic in April, followed by UK shows in May, Scandinavian dates, a summer open-air performance, and an additional Czech date in November.

Current tour dates announced include:

• 02 April 2026 – Oberhausen (DE), Kulttempel – sold out
• 03 April 2026 – Berlin (DE), Huxleys
• 04 April 2026 – Hamburg (DE), Docks
• 05 April 2026 – Leipzig (DE), Felsenkeller
• 06 April 2026 – Praha (CZ), Lucerna Music Bar
• 08 April 2026 – München (DE), Backstage
• 09 April 2026 – Frankfurt (DE), Batschkapp
• 10 April 2026 – Köln (DE), Carlswerk Victoria
• 11 April 2026 – Hannover (DE), Pavillon
• 01 May 2026 – Bristol (UK), Trinity
• 02 May 2026 – London (UK), 229 Club
• 03 May 2026 – Sheffield (UK), Corporation
• 14 May 2026 – Malmö (SE), Plan B
• 15 May 2026 – Göteborg (SE), Musikens Hus
• 16 May 2026 – København (DK), Viften
• 30 August 2026 – Taunton (UK), Vivary Park Open Air, Electric Summer (with Howard Jones)
• 11 November 2026 – Liberec (CZ), Dům kultury

About Mesh

Mesh are a British electronic alternative duo from Bristol, England, formed in 1991 by vocalist and guitarist Mark Hockings and keyboardist, guitarist and backing vocalist Richard Silverthorn, with Neil Taylor joining on keyboards in the early years. While Silverthorn composes the music, Hockings writes the lyrics and delivers lead vocals.

Signed initially to Swedish label Memento Materia, Mesh released the EP “Fragile” in 1994, followed by their debut album “In This Place Forever” in 1996. A compilation titled “Fragmente” arrived in 1998, consolidating early material before the 1999 studio album “The Point At Which It Falls Apart”.

The early 2000s saw Mesh move onto a major-label platform with “Who Watches Over Me?” (2002), supported by singles such as “Leave You Nothing”. Subsequent records “We Collide” (2006), co-produced with Gareth Jones, “A Perfect Solution” (2009), “Automation Baby” (2013) and “Looking Skyward” (2016) followed including several hit singles like “Crash”, “Born to Lie”, “Adjust Your Set”, “Kill Your Darlings” and “Runway”.

Live, Mesh expanded to a four-piece configuration, adding drummer Sean Suleman and live keyboardist Vaughn George, which remains the standard line-up for recent tours. The band have repeatedly toured across Germany, Scandinavia and the UK, including appearances at festivals such as Amphi and Infest. In 2017, they released the orchestral live set “Live at Neues Gewandhaus Leipzig“.

In 2024, the band marked the 25th anniversary of “The Point At Which It Falls Apart” with a remixed and expanded reissue, continuing a re-examination of their catalogue in collaboration with Dependent Records.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

side-line.com

British dark synthpop duo Mesh will return to the stage in April 2026 with a newly announced European tour titled “The Truth Doesn’t Matter.” The tour will include eight shows in Germany and one date in the Czech Republic, with performances set in Oberhausen, Berlin, Hamburg, Leipzig, Prague, Munich, Frankfurt, Cologne, and Hannover.

The tour is scheduled in advance of Mesh’s forthcoming studio album, which will be officially announced later this year. According to the band, these concerts will mark a continuation of their electronic sound evolution and serve as a prelude to the new material currently in production.

The announcement follows the release of the remastered 25th anniversary edition of their 1999 sophomore album “The Point at Which It Falls Apart.” This new version was issued on November 22, 2024 via Dependent Records and is available as a 48-page 2CD hardcover artbook. The reissue includes all twelve original tracks, newly remastered by Olaf Wollschläger at Cottonbeat Studio in Germany.

Confirmed tour dates – Mesh live in Europe 2026

• 02 APR – Oberhausen (DE), Kulttempel
• 03 APR – Berlin (DE), Huxleys
• 04 APR – Hamburg (DE), Docks
• 05 APR – Leipzig (DE), Felsenkeller
• 06 APR – Prague (CZ), Lucerna Music Bar
• 08 APR – Munich (DE), Backstage
• 09 APR – Frankfurt (DE), Batschkapp
• 10 APR – Cologne (DE), Carlswerk Victoria
• 11 APR – Hannover (DE), Pavillon

About Mesh

Mesh was formed in 1991 in Bristol, UK by vocalist and guitarist Mark Hockings and keyboardist Richard Silverthorn. Neil Taylor later joined on keyboards. The band’s early output included the “Fragile” EP (1994) and debut album “In This Place Forever” (1996). Their second album, “The Point at Which It Falls Apart,” released in 1999, marked a key turning point, both artistically and commercially.

In 2002, Mesh signed with a major label for “Who Watches Over Me,” and their 2006 album “We Collide” was produced by Gareth Jones (Depeche Mode). Later releases included “A Perfect Solution” (2009), “Automation Baby” (2013), and “Looking Skyward” (2016).

They expanded their live lineup with drummer Sean Suleman and keyboardist Vaughn George, who joined in 2023. As of 2025, Mark Hockings and Richard Silverthorn are finalizing material for their next studio album. Read the review of ‘The Truth Doesn’t Matter’.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

side-line.com

COP International will release the “Los Angeles – From The Ashes” charity compilation tomorrow. You can already pre-order it now for 10 USD. The release will only be available through Bandcamp.

The devastating fires in Los Angeles also destroyed “one of the most vibrant artist communities in the world” so COP International’s Christian says. “Many of our friends, collaborators, and fellow artists were displaced, with some losing everything. Among those deeply affected was Louise Fraser of Muricidae Music, a beloved COP International artist, who lost her home in the tragedy. In the face of this devastation, we knew we had to take action. This is our response: “Los Angeles – Out of Ashes”—a massive 75-track Bandcamp compilation, bringing together an extraordinary community of artists, labels, and supporters.”

All net income from the release will be donated directly to the American Red Cross, helping fire victims and aiding ongoing relief efforts. Since it’s Bandcamp Friday tomorrow, Bandcamp will waive its fee, ensuring that every dollar goes to those in need.

The 75 bands included are: Black Needle Noise, Blackcarburning, Dogtablet, Stoneburner, Inertia, Carrellee, The Halo Trees, I Ya Toyah, Jane Jensen Music, Muricidae Music, NØIR, Die Kammer, Black Angel, Night Ritualz, SJÖBLOM, Red Lorry Yellow Lorry, Chris Connelly & Dan Milligan, The Cassandra Complex, KY music, Louise Fraser, G.W. Childs IV, Junksista, Johnny Tupolev, unitcode:machine, Deathline International, The Russian White, Icon of Coil Official, Brigade Enzephalon, Monody, Lights of Euphoria, Black Nail Cabaret, Ruined Conflict, Solemnshapes, A Projection, Magic Wands, Beborn Beton, TORUL, Lost Signal, Orange Sector (offiziell), Interface, genCAB, MESH, Destroy Me Again, Sapphira Vee, Dstrtd Sgnl, Klack, TREASVRE, xotox, Frontal Boundary, nolongerhuman, Bellhead, V2A, Metamorph, Red Lokust, WESENBERG, Psyclon 9, Flesh Field, Principe Valiente, Death By Love, Winema Suehead, Sick Jokes, Chiasm, The Hunger, Vaselyne, Solar Fake, Girls Under Glass, NORMORIA, Stabbing Westward, Jesus On Extasy, The Shadow Majlis, Amulet, Suicide Queen, Ego Likeness, Schattenmann, Beasto Blanco.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

side-line.com