Kenzi Hale has been on a hot streak of single releases, not just with FIRES, but now with a new release from her collaboration with Deconbrio. Released on May 25, “Dead Celebrity” marks the second single from Someone Else’s Reflection [..]

Source: RE:GEN Mag

  This past Friday saw the release of “Outspoken Rage (BLEED),” the latest single from LOWFLOOR, continuing to showcase the artist’s blend of classic electro/EBM rhythms and industrial textures. Along with the accompanying visualizer [..]

Source: RE:GEN Mag

  Anna Jordan has announced details for her sixth full-length effort as The Allegorist, titled From Birth Until Death. As its title suggests, the album presents an auditory depiction of the stages of life, with each track reflecting the various events [..]

Source: RE:GEN Mag

  Since the release of her Ecdysis album early last year, Alison Lewis – a.k.a. Zoè Zanias – has kept busy with a steady stream of remix and standalone singles. Today’s reveal of “Cataclysm” is the latest in this series, presenting the title track to the artist’s fifth full-length album [..]

Source: RE:GEN Mag

  JP Anderson and Sum Grrrl – the duo better known as Rabbit Junk – dive deeper into the more electronic aspects of the band’s sound with today’s release of the “Kings and Corpses” single. The synth hook, lyrics, and even cover art evoke the transient nature of monarchs and pharaohs, all just as fated to die [..]

Source: RE:GEN Mag

  Following up on last year’s release of the Generation Loss debut is the new remix companion from Riots on Rewind, the collaborative project of James Church and XSRY. Centering on the titular track of “The Nature of Power Lines,” the maxi-single delivers a stylistic blend of glitch-laden IDM and experimental electro [..]

Source: RE:GEN Mag

  Re:Mission Entertainment has announced a newly remastered edition of the eighth studio album from electro/industrial mainstays Mentallo & The Fixer. Produced by Dwayne and Gary Dassing, the original album was released in 2001 via Metropolis Records [..]

Source: RE:GEN Mag

When the morning’s cry is on my mind is running over time. Can you help me?
Should I stay just to stare right into the sun? You tell me.
The Horrors spin a cinematic reel of restless reverie with the black-and-white beauty of their latest single and video, “LA Runaway,” drawn from their evocatively atmospheric album, “Night Life” – easily some of the best work the band has produced in their already brilliant two decades of existence.

The Horrors are constantly expanding their palette of colours; from their initial Lord Sutch deathrock rattles to their gorgeous psychedelic endeavours, they heartily embrace a new direction. LA Runaway drifts deftly into territory charted by the ringing guitars of early U2 and the passion of Big Country and Chameleons; its lush layers, eerie atmospherics, and collegiate cool whisk listeners straight to 1987’s college radio airwaves. Faris Badwan delivers vocals radiant and resilient, surging through emotional turbulence with buoyancy that contrasts compellingly against the lyrics’ anxious undertow.

Director Neelam Khan Vela frames the band amidst kaleidoscopic, expressionist angles and urban wanderings, channeling the chiaroscuro charm of Anton Corbijn’s photographic chronicles. The whole video is awash in nostalgia and nuance, presented in grainy textures reminiscent of vintage Super 8 films unearthed from forgotten attic boxes. Footage flicks between kinetic onstage glimpses and stylish strolls through the backstreets of Los Angeles, enhancing the track’s themes of flight, isolation, and anxious pursuit of liberation. The video brims with sophistication, yet embraces DIY aesthetics…a striking synthesis that feels personal and potent.

LA Runaway is pure Horrors: stylized, surreal, and saturated with emotional tension; a shimmering snapshot from a band perpetually reinventing their visual vocabulary and musical voyage.

Watch below:

Listen to LA Runaway below:

Night Life is The Horrors’ first LP since 2017’s V and the 2021 EPs Lout and Against the Blade, marking the first time The Horrors step forward without their original lineup: absent are keyboardist Tom Furse and drummer Joe Spurgeon. In 2021, the Southend stalwarts announced their shift to a four-piece after Furse decided to step away, stating he’s “more of a maker than a performer,” leaving the rigors of touring behind.

Faris Badwan and Rhys Webb began crafting demos in Webb’s North London flat, the foundation of a record later shaped in Los Angeles with Yves Rothman, known for his work with Yves Tumor and Blondshell. Hayward’s guitar scrawled its final strokes back in London, with Kidd contributing from afar.

“The Night Life here is not the vim and vigour of pubs and clubs,” says the band. “It’s the thoughts that happen under the cover of darkness; the places your mind takes you when the rest of the world is asleep.”

The band’s sixth album showcases a refined roster: Faris Badwan’s brooding baritone still leads, with Rhys Webb’s bass rumbling beneath, while Joshua Hayward’s jagged guitar lines slice through. New blood comes from Amelia Kidd’s atmospheric keys and Jordan Cook, formerly of Telegram, on drums. Their sound, now sharper with experience, reflects both maturity and melancholy.

Catch The Horrors live this summer and autumn. Get your tickets here.

12 Jun Dark Mofo Festival 2025 Hobart, Australia
27 Jun Sofia Live Festival, Sofia, Bulgaria
12 Jul Siren Festival 2025, Cagliari, Italy
20 Jul Dour Festival 2025 Dour, Belgium
06 Sep Misty Fields Festival 2025 Heusden, Netherlands
19 Nov National Stadium, Dublin Dublin, Ireland
21 Nov The Crossing, Birmingham, United Kingdom
23 Nov CHALK, Brighton, United Kingdom
24 Nov Y Plas, Cardiff, United Kingdom
25 Nov QMU, Glasgow, United Kingdom
26 Nov Project House, Leeds, United Kingdom
28 Nov New Century Hall, Manchester, United Kingdom

29 Nov O2 Forum, Kentish Town, London, United Kingdom

Follow The Horrors:

Instagram
Facebook
YouTube

The post The Horrors Escape Towards the Monochrome Shadows of Palm Trees in Video for “LA Runaway” appeared first on Post-Punk.com.

Source: Post-Punk.com

Choices I make will haunt me forever
I’d rather remain at the crossroad
Remain undecided
Undecided, for now
In the hush of midnight solitude, each choice we have presented to us looms like a trembling flame, casting shadows of consequence across uncertain walls. Life, fragile as breath upon a windowpane, compels us forward even as we falter, afraid to misstep into the boundless dark of possibility. Our hearts strain beneath the weight of infinite paths, haunted by the specter of what might have been, paralyzed by the chance of regret. Yet, in this turmoil lies the grace of our humanity: to risk, to fail, to seek redemption amid our flawed decisions, moving ever onward through the uncertain night toward our quiet destiny.

Amsterdam-based bedroom beatmaker, Raf Duran, dives deep into digital depths, wrestling inner woes with synth-laden solace. His compositions capture the chaos of our crumbling climate, the specters of sentient AI, impending extinction events, and whispers of World War III. Yet amidst these dire themes, Duran spins dancefloor delights that draw listeners into a bittersweet boogie, conjuring echoes of Kraftwerk’s clinical coolness, Ladytron’s luscious layers, DEVO’s dystopian decadence, and Pet Shop Boys’ poised pop polish.

Following last year’s spirited single, Violence In Your Eyes, Duran returns with Undecided, a softly stirring synthpop reflection resonant of Bronski Beat’s heartfelt Smalltown Boy and mid-tempo Pet Shop Boys elegance. Here, he confesses to the quiet crisis of choice, the subtle terror of steering life’s path wrongly…a digital diary of indecision expressed in lush, luminous layers of sound. It’s existential electro, intimately inviting listeners to embrace their uncertainties on a rhythmically restless ride.

The minimalist video, directed by photographer Maarten Nauw, enhances the track’s introspective essence. Filmed partly in Paris, a city renowned for reflective wanderings and contemplative strolls along the Seine, it captures the restless, melancholic charm of aimless exploration. Nauw’s visual narrative, sparse yet evocative, frames the city’s timeless streets as a backdrop for overthinking life’s intricate crossroads, seamlessly mirroring the delicate balance of anxiety and allure woven throughout Duran’s music.

Watch the video for “Undecided” below:

Additionally, Undecided is complemented by two tracks traditionally considered b-sides, though, in today’s streaming landscape, perhaps best regarded as a mini-EP in their own right. Both songs, Decision Time and Avoidance, delve deeply into themes of procrastination and the anxiety surrounding crucial choices. Decision Time delivers a contemporary blast of futuristic synthpop, while Avoidance evokes a nostalgic nod to early-Eighties textures reminiscent of The Human League.

Initially, Avoidance seems to echo the lead track’s introspective uncertainty, yet it intriguingly doubles as a subtle commentary on society’s collective inertia in confronting the climate crisis. Closing the trio fittingly, Decision Time pushes listeners beyond indecision and avoidance, urging them to confront the inevitable moment of choice head-on.

Follow Raf Duran:

Website
Instagram
Facebook
YouTube
Spotify

The post Dutch Artist Raf Duran Unveils Video for Hazy Synthpop Daydream “Undecided’ appeared first on Post-Punk.com.

Source: Post-Punk.com

Ankündigung für das:

Summerbreeeeeeeze!
Vier Tage volles Brett! In Dinkelsbühl bebt vom 13-16. August vier Tage lang wieder die Alb. Wieso sollte man aber genau dieses Metalevent besuchen?

Das Schöne am Breeze ist die freundliche Atmosphäre. Es ist ein gewachsenes Festival und viele Besucher kommen seit Jahrzehnten. Dazu gehöre auch ich, 2003 bin ich das erste Mal dabei gewesen und bin Abends in Abtsgmünd wieder den Berg hochgekrochen. Das waren Zeiten… Das geht natürlich jetzt viel bequemer mit dem Bus oder zu Fuß über die Campgroundebene direkt am Gelände. Man kennt sich, man respektiert sich (Anwohner gleichermaßen wie Besucher), Vielfalt wird musikalisch und menschlich gelebt und gefeiert. Die Helfer und Mitarbeiter sind mit Herzblut dabei und das merkt man auch sehr.

2025 geht auch das neue und wichtige Awareness Konzept an den Start, das allen Besucherinnen und Besuchern ein noch besseres Gefühl vermitteln soll. Achtet auf das Augenzeichen, hier könnt ihr euch hinwenden, wenn ihr euch diskriminierend behandelt fühlt. It’s all about the community.

Natürlich auch wichtig: Die Bands! 125 Stück! Das Summerbreeze Line Up ist jetzt komplett und das ist wirklich ein Hammer auf den Kopp! Es gibt neben den Headlinern (Machine Head, Gojira, Blind Guardian, In Extremo) vor allem viele neue Bands aus allen möglichen Nischen zu entdecken.

Den Link zum Line Up:
https://www.summer-breeze.de/de/bands/

Tickets
3-Tages-Tickets für das Summer Breeze 2025 sind ab 239,99 Euro verfügbar. Wer das Festival nicht über die gesamte Dauer besuchen kann, hat die Möglichkeit, sich seinen Lieblingstag für einen Kurzbesuch auszusuchen. Tages-Tickets ab 89,99 Euro -> http://www.summer-breeze.shop

Source: Amboss-Mag.de

When will I know
When will I say
The words you need to hear
You need to hear
Dotsun Moon, the Buffalo, NY-based brainchild of multi-instrumentalist Richard Flierl, resurfaces with the lush and layered new single, Save Us. Ever since the project’s hazy nocturnal debut 4 A.M. dropped in 2011, Flierl has persistently pursued dream-laden atmospheres and crystalline guitar reveries, gently drifting through various iterations and lineup evolutions. Now firmly settled into his role as vocalist, he conjures a delicate blend of shoegaze guitars and atmospheric indie-rock influences, evoking ethereal shades of bands like M83 and New Order.

“You’d be forgiven if M83 comes to mind,” Flierl quips. “The inspiration stops at the power of the intro and allows me to launch into the bass and guitar influences that are pronounced throughout this album. The song is a fun yet urgent call to someone important to let me in and find the good around us.”

Save Us dives headfirst into the tender turmoil of early relationships – those uncertain first steps where affection and anxiety collide in equal measure. Each chord reverberates with the whispered prayers of lovers fumbling forward, desperately hoping to evade heartbreak yet deeply aware of its inevitability. Flierl vividly captures the fragile optimism of fledgling romance, exposing the paradox of believing in a connection where communication has scarcely bloomed, leaving lovers suspended in confusion masked by quiet harmony.

This single elegantly balances dreamy melodies and understated rhythms, emphasizing the profound emotional dissonance of feeling simultaneously hopeful and helpless. With subtle vocals wrapped gently in reverb and richly textured guitars echoing softly beneath, the track immerses listeners in that vulnerable space between sincerity and self-delusion. Dotsun Moon skillfully mirrors how easily genuine affection blurs into sweet illusion, evoking the moment when lovers cling to each other, hoping to be saved from themselves.

The video is a curious montage of dispatches from the future, as we see a variety of human souls melding with binary code and machine.

Watch the video for Save Us below.

Tiger marks a bold departure from previous offerings, with Flierl stepping confidently into a fully solo endeavor, delivering each note and vocal line entirely on his own. Previously accented by female vocals, Dotsun Moon’s evolving vision now showcases a strikingly intimate and introspective direction. Richly textured and profoundly personal, the music gracefully balances moments of euphoric release with a grounding emotional resonance. Engineered and mastered by Doug White at Watchmen Studios in Lockport, NY, the record was collaboratively mixed on-site by Flierl and White.

“This is a huge change to prior releases, which have powerful female singers at the center,” says Flierl. “On this album, I am on vocals and all the songs are written and played by me from guitars and bass to keyboards, drums and programming. Doug White at Watchmen Studios brought decades of recording and mixing knowledge to the recordings that allows the songs to truly shine.”

Over the years, Dotsun Moon has performed with such notable artists as Mary Ognibene (The Lovely Intangibles) and Buffalo Music Hall of Famer Maria Sebastian, having also played shows with Joywave, Vanishing Kids and The Lost Patrol, not to mention Pride Festival.

Tiger, set for release on June 27, is available for pre-order here. Preview the album below:

Tiger by Dotsun Moon

In the spring, Dotsun Moon unveiled new videos for the lush singles Bring Love and Give Up The Tears, each brimming with dreamy atmospheres and heartfelt intensity. These tracks offer a gauzy plea to dismantle emotional walls and seek collective optimism, even when love feels like a gamble in shadowed uncertainty. Immersed in expansive waves of reverb, they embody the thrill and delicate uncertainty inherent in fresh romance, a heartfelt appeal to preserve what might yet flourish before it’s irrevocably lost.

Watch Never Had A Heart, Bring Love and Give Up The Tears below:

Follow Dotsun Moon:

Website
Bandcamp
Facebook
Instagram
BlueSky
YouTube
Spotify
Apple Music 

The post Buffalo Dreamgaze Artist Dotsun Moon Explores the Mysteries of New Love in “Save Us” appeared first on Post-Punk.com.

Source: Post-Punk.com

The train…never comesSo don’t you look backKeep your eyes on trackWhen the sky’s blue and black
Dream Bodies, the latest, twilight-kissed venture from Steven Fleet (Magic Wands, VV and the Void, Night Nail, Boytronic), glides through nocturnal nebulae of darkwave, dreampop, and post-punk. The Sisters of Mercy’s brooding sway drifts beside Cocteau Twins’ cathedral peals, braiding with Chameleons-esque currents of spectral shimmer and cryptic cadence.

Don’t Look Back arrives with stardust history. Dexy Valentine first drafted the tune during her Starlit Motel sessions with Fleet; years later, he revives it, preserving the locomotive bass and core chords while stoking fresh synth swells, glistening guitar filigrees, and a vivid middle break. Drums dart with Krautrock constancy – quick, clear, and relentless – beneath gauzy, ghost-lit spirals that vault toward astral-prog altitude, the entire passage rushing like moon-charged gusts along abandoned avenues. Vocals hover in the half-light, monk-like and magnetic, invoking Echo and the Bunnymen’s enigmatic grace, Clan of Xymox’s cold serrated romance, and the glacial grandeur of Sad Lovers and Giants.

Lyrically, Don’t Look Back traces fleeting visions of loss and renewal, urging eyes forward while the firmament shifts from indigo to jet. Memories whisper in passing, yet perseverance paves the path ahead, inviting wanderers to trust celestial coordinates when dusk deepens to absolute black, departure beckons, guided by star-scripted futures and the boundless lure of unexplored horizons.

Listen to Don’t Look Back below, and order the single here:

In the past, with his other musical projects, Fleet has toured the US/Europe and shared stages with the likes of the Chameleons.

Follow Dream Bodies:

Instagram
Bandcamp
YouTube
Spotify

The post I’ll Let Stars Decide — Dream Bodies Unveils Cosmic Coldwave Single “Don’t Look Back” appeared first on Post-Punk.com.

Source: Post-Punk.com

Forrest Gump wäre sich sicher: Diese Band ist wie eine Schachtel Pralinen, man weiß nie, was man bekommt. Dafür wissen wir wiederum, was wir bei THE CALLOUS DAOBOYS nicht bekommen: Kreativen Bankrott erklären müssen die US-Amerikaner auf ihrem Drittwerk gewiss nicht. Im Gegenteil, ist „I Don’t Want To See You In Heaven” die Kulmination ihrer bisherigen Entwicklung.

Trotz Mathcore-Chaos war das Sextett ja schon immer auch für catchy Exkursionen und zuckersüße Melodien zu haben. Dieses Faible rückt die Formation noch prominenter in den Vordergrund, indem es mit dem funkig-relaxten „Lemon“ und der unverschämt eingängigen Single „Distracted By The Mona Lisa“ plötzlich auch die Vorzüge klassischer Songschemata für sich entdeckt. Vor allem Letzterer ist nicht nur ein heimlicher Alternative-Metal-Hit, sondern in seiner Authentizität sogar unerwartet rührend: eine Liebeserklärung von DAOBOYS-Frontmann Carson Pace an seine Muse, an seine Leidenschaft.

THE CALLOUS DAOBOYS schlagen wie gewohnt wilde Haken, vergessen aber nicht einen entsprechenden Gegenpol
Vielleicht bezeichnet der Sänger auch deshalb das Konzept hinter der Platte als „Museum des Scheiterns“ – weil der eingeschlagene Weg ein unsicherer ist und er dennoch nicht anders kann, als sich seiner Passion zu verschreiben. Inszeniert als eine Art Rückschau, begleiten wir den Bandkopf und seine Kollegen mittels Spoken-Word-Passagen durch diese „Sammlung vergessener Träume“, wie es die Band im Intro nennt.

Das hier manchmal auftretende Pathos tauschen THE CALLOUS DAOBOYS aber schnell gegen gewohnt ungezügelte Verhaltensweisen ein. „Schizophrenia Legacy“ schlägt zum Auftakt wilde Mathcore-Haken, spielt mit Takten, Dissonanzen und einer verqueren E-Geige, bringt mit Saxofon, Lounge-Atmosphäre und regulärem Klargesang jedoch zwischendurch auch Ordnung in die Chose. Jaulende Gitarren und verspulte Riffs gehören im folgenden „Full Moon Guidance“ sowie dem galligen „Tears On Lambo Leather“ ebenfalls zum guten Ton, wobei die sechs Musiker nie vergessen, Panic Chords und Screams einen entsprechenden Gegenpol zu spendieren.

Plötzliche Breaks und ganze Genrewechsel gehören auf „I Don’t Want To See You In Heaven“ zum guten Ton
Die Kontraste im Verlauf von „I Don’t Want To See You In Heaven“ sind somit enorm, sowohl auf Song- als auch auf Albumebene. Die hibbeligen Synthesizer in „Two-Headed Trout“ beleben beispielsweise den sonst direkt gehaltenen Groove, wohingegen „The Demon Of Unreality Limping Like A Dog“ zu Beginn erst etwas MESHUGGAH einfließen lässt und dann mit so vielen Wendungen aufwartet, dass wir Carsons Hundegebell zum Ende hin fast als Fußnote verbuchen möchten.

Zwischen THE DILLINGER ESCAPE PLAN in den chaotischen Augenblicken und den emotionalen Ausbrüchen im Stile GLASSJAWs bzw. FINCHs („Distracted By The Mona Lisa“) finden THE CALLOUS DAOBOYS dennoch eine eigene Stimme. Unvorbereitet trifft uns dabei vor allem „Body Horror For Birds“, wo sich Sänger Carson Pace vor bluesigem Hintergrund den Schmerz von der Seele singt. Doch selbst im kompromisslosen „Idiot Temptation Force“ überraschen plötzliche Breaks und Genrewechsel.

THE CALLOUS DAOBOYS erklimmen die nächste Stufe: „I Don’t Want To See You In Heaven“ überrascht mit Detailfülle und Suchtpotenzial
Auf die Spitze aber treibt es letztendlich das fast zwölfminütige „III. Country Song In Reverse“, das nach langsamem Auftakt nahezu alle Facetten der Band nacheinander durchläuft, sich zur Halbzeit vor BJÖRKs „Pagan Poetry“ verneigt und schließlich in einem intensiven Finale samt Saxofon-Solo sein Ende findet. Jedes noch so kleine Detail auf diesem Album aufzuschlüsseln wäre jedoch nicht nur bloße Sisiphos-Arbeit, sondern würde zugleich den Spaß am Entdecken vorwegnehmen.

„I Don’t Want To See You In Heaven” ist allein durch seine Fülle an kreativen Einfällen ein Erlebnis, entwickelt dank der clever gesetzten Hooks aber gleichzeitig Suchtpotenzial, ohne hoffnungslos zu überfordern. Was genau man also bei THE CALLOUS DAOBOYS bekommt, kann man auch im Jahr 2025 nicht mit Gewissheit voraussagen. Was das unberechenbare Drittwerk der Mathcore-Hoffnung der oft zitierten Pralinenschachtel aber voraus hat, liegt dagegen auf der Hand: Genießen kann man dessen Inhalt deutlich öfter als nur ein einziges Mal.

Veröffentlichungstermin: 16.05.2025

Spielzeit: 57:19

Line-Up
Carson Pace – Gesang
Daniel Hodsdon – Gitarre
Maddie Caffrey – Gitarre
Jackie Buckalew – Bass
Amber Christman – Violine, Synthesizer
Matthew Hague – Schlagzeug

Produziert von Carson Pace und Dom Maduri

Label: MNRK Heavy

Homepage: https://thecallousdaoboys.com/
Facebook: https://www.facebook.com/thecallousdaoboys/
Instagram: https://www.instagram.com/thecallousdaoboys/
Bandcamp: https://thecallousdaoboys.bandcamp.com/

THE CALLOUS DAOBOYS “I Don’t Want To See You In Heaven” Tracklist
1. I. Collection of Forgotten Dreams
2. Schizophrenia Legacy
3. Full Moon Guidance (Video bei YouTube)
4. Two-Headed Trout (Video bei YouTube)
5. Tears on Lambo Leather (feat. Orthodox)
6. Lemon (Video bei YouTube)
7. Body Horror For Birds (feat. 1st VOWS)
8. The Demon of Unreality Limping Like A Dog (Video bei YouTube)
9. Idiot Temptation Force
10. Douchebag Safari
11. Distracted by the Mona Lisa (Video bei YouTube)
12. II. Opt Out
13. III. Country Song In Reverse (feat. low before the breeze)

Source: Vampster

Über 50 Stunden Klassiker mit VV, Lord Of The Lost, Within Temptation, Gothminister, Hocico, Motionless In White, Rammstein, Eisbrecher, Powerwolf, Nightwish, Lacrimosa, VNV Nation, The 69 Eyes und vielen mehr!

Source: Sonic Seducer

„On a Quest for Aberdeen“ ist die neueste Single von  GLORYHAMMER, der Track führt die Geschichte von Angus McFife V fort:

„Die Reise von Angus McFife V geht weiter – einer geheimnisvollen Figur, die erstmals 2022 in der Single ‚Fly Away‘ enthüllt wurde. Seine Entdeckung der Raumfahrt führt ihn zu den Ruinen von Space Dundee – ein Jahr nach den Ereignissen von ‚Space 1992‘. Enttäuscht und niedergeschlagen, aber niemals besiegt, beginnt er seine Suche nach der goldenen Festung von Aberdeen – nur um sich schließlich gefangen und umzingelt in den HEAVENS OF THE DEMONFLAME wiederzufinden.“

Live kann man die Band bei der „Dundax Ascendant Summer“ Tour sehen.

GLORYHAMMER  Dundax Ascendant Summer Tour 2025
*w/ Visions of Atlantis
13.06.25 PL – Krakow / Hype Park
14.06.25 PL – Pyrkon Fantasy Festival
15.06.25 NL – Into The Grave
16.06.25 DE – Lehre / Zollhausverein
18.06.25 DE – Copenhagen / Copenhell
19.06.25 BE – Graspop Metal Meeting
20.06.25 DE – Essen / Turock
21.06.25 – To Be Announced
22.06.25 CH – Solothurn / Kofmehl
27.06.25 ES – Rock Imperium Festival
28.06.25 – To Be Announced
30.06.25 IT – San Polo D’Enza / Bilbao
02.07.25 HU – Rockmaraton
04.07.25 DE – Nürnberg / Hirsch*
05.07.25 DE – Rockharz Festival
06.07.25 DE – Plane’r’Fest
07.07.25 DE – Karlsruhe / Substage
09.07.25 DE – Memmingen / Kaminwerk*
10.07.25 SI – Ljubljana / Kino Siska*
11.07.25 CZ – Area 53 Festival
12.07.25 CZ – Masters of Rock
13.07.25 EE – Exist Festival
14.07.25 EE – Baltic Open Air*

Source: Vampster

Schandmaul haben die erste Single mit dem neuen Sänger Till Herence veröffentlicht - mehr Infos und das Musikvideo hier!

Source: Sonic Seducer

“Transformers” fans know this: exactly 14 years ago to the day, on May 27, 2011, LINKIN PARK released the song “Iridescent”, which was used for the soundtrack of “Transformers 3: The Dark Side of the Moon”. However, this was nothing new, as LINKIN PARK also contributed songs to the other films about the toy-based quick-change […]

Source: Orkus

With “Modular”, M/A/T are releasing a foretaste of their debut album, which will be released in 2025. The duo from Hamburg has dedicated itself to electro characterized by its synth bass sequences, which “Modular” also clearly proves. M/A/T oscillate between dark electro and EBM. Lyrically, the album looks to the future, but it paints a […]

Source: Orkus

Die Death Metal-Band NEW WORLD DEPRESSION hat einen Plattenvertrag bei Testimony Records unterschrieben, die Münsterländer werden in Laufe des Jahres über das Label ihr siebtes Album veröffentlichen. Die neue Platte entstand Anfang 2025 im Soundloge Studio, Produzent war Jörg Uken.

Titel und Veröffentlichungsdatum des Nachfolgers von „Interment Of Sins“ (erschienen 2023) sind noch nicht bekannt.
 
NEW WORLD DEPRESSION Line-up:
Sascha „Hütte“ Twardon – vocals
Julian Schulz – guitar
Ritchie Bellis – guitar
Stefan „Sig“ Plüth – drums
Sascha Müller – bass

NEW WORLD DEPRESSION Konzerttermine 2025
31 May 2025 Solingen (DE) Cobra, Doomed to Death Festival
20 JUN 2025 Słupsk (DE) Motor Rock Pub
21 JUN 2025 Chojnice (PL) Chojnickie Centrum Kultury, InterTony Festival
12 JUL 2025 Schwerin (DE) Club Zenit +Benediction
12 JUL 2025 Saarbrücken (DE) Garage +Benediction
20 SEP 2025 Villingen (DE) Klosterhof, Black Forest Fest VIII

Source: Vampster

Darauf mussten wir 35 Jahre warten: Die schwedische Death Doom Metal-Band ETERNAL DARKNESS bringt am 18. Juli 2025 ihr Album „Eternal Darkness“ via Pulverised Records raus. Die Platte ist zugleich Debüt- und Abschiedsalbum der Band.

Und so klingt die erste Single des Vermächtnisses von ETERNAL DARKNESS:

ETERNAL DARKNESS „Eternal Darkness“ Tracklist
 

1. The Beyond (Video bei YouTube)
2. Pungent Awakening
3. Funeral
4. Grief
5. Into Crematory
6. When Life Ends
7. Death Above All
8. Til Death

ETERNAL DARKNESS Line-up:

Janne Heikkinen – Vocals
Make Pesonen – Drums
Jeff Hausel – Bass
John Carlsson – Guitars (lead)
Kristian Henriksson – Guitars (rhythm)

Source: Vampster

Tempodrom, Berlin, Germany 24th May 2025Hurts - “15 Years of Happiness” - Support: Roe Byrne The Tempodrom in Berlin became a cathedral of nostalgia and emotion on May 24, 2025, as HURTS celebrated 15 years since their breakthrough debut with a special anniversary tour. Marking a return to the roots of their career, the British Synth-Pop duo brought ‘Happiness’ to life on stage, playing the iconic album in full for the first time in years - and much more.

Source: Reflections of Darkness

I conducted this interview a few years ago during one of the Out of Line Weekender festivals. But for one reason or another, something always came up that delayed my work on it. Over the years, I’ve come to learn what a great person and musician Elliott is, and I truly appreciate how he has supported my homeland, Ukraine, since the beginning of this terrible war. Today, I’m truly proud to finally share this interview with you.

Source: Reflections of Darkness

Ihr wollt Sonic Seducer bequem nach Hause geliefert bekommen, aber nicht gleich ein Abo abschließen? Wie wäre es mit dem Sonic Seducer Probe-Abo? Zum Vorzugspreis von 14,99 Euro erhaltet Ihr zwei Ausgaben und Prämien zu Depeche Mode, Subway To Sally und Placebo!

Source: Sonic Seducer

Das von uns präsentierte M'era Luna Festival hat sein Rahmenprogramm für 2025 bekannt gegeben. Was Euch neben den Bands in diesem Jahr noch an Programmpunkten erwartet, erfahrt Ihr hier!

Source: Sonic Seducer

Electro-industrial act Protokoll 19 has released a new single “Trivialized”. The track is issued independently...

Source: Side Line

Swedish post-punk act AVFALL will release their new single “Biologismus Fatale” on June 13. The...

Source: Side Line

Polish experimental project Berbeluha has released the new album “Drama from Nietzsche”, available now on...

Source: Side Line

Die Deathcore-Band DISTANT hat eine neue Remix-Version ihres Songs „The Undying“ veröffentlicht. Ursprünglich war der Track auf „Tsukuyomi: The Origin“ (2024), für die überarbeitete Version „(Un)Dying“ zeichnet Code:Pandorum verantwortlich.

Source: Vampster

The German combo Minusheart returns with their sixth full-length album. The group has been active...

Source: Side Line

Today would be Christopher Lee ‘s 102nd birthday. If he had not died nine years ago at the age of 93, he would have been celebrating his 70th birthday. Did you know?– Ian Fleming – the author of “James Bond” and Lee’s (step-)great cousin – stated that Christopher Lee was a source of inspiration for […]

Source: Orkus

Today Siouxsie Sioux (Siouxsie and the Banshees) celebrates her 67th birthday. We wish her all the best! Did you know?– As Susan Janet Ballion, an artist was born in 1957 who was to inspire countless musicians and undoubtedly have a lasting influence on music history.– Even Siouxsie Sioux’s iconic look still inspires people to reach […]

Source: Orkus

Finally a new issue of the magazine for latex & rubber fetishists – HEAVY RUBBER is a legend. This time there’s excitement with the Satanic Sisters, Lola Noir, Domina R, Irresistable Iris, Frankinsella, Underworld Girls and many, many more! Rubber, masks and heavy rubber! The issue is anything but everyday or normal! Order now in […]

Source: Orkus

Mit „The Puppeteers“ ist am 16. Mai 2025 die neue EP der US-amerikanischen Power / Thrash Metal-Band ANUBIS erschienen. Die Scheibe folgt auf das 2024er-Album „Dark Paradise“ nach.

„Diese EP markiert das Ende einer Ära für uns – ein Abgesang, der ein Kapitel mit Feuer abschließt, bevor wir in dunklere, schwerere Gewässer eintauchen“, erklärt Bassist Will Buckley, der damit das neue und erweiterte Line-Up anspricht.

„Nun, vor einigen Monaten haben wir beschlossen, unseren Live-Growler für Songs wie „Devour“ und „Strife“, Hanna Preston, zu einem Vollzeitmitglied zu machen und uns voll und ganz auf einen dualen Clean/Harsh-Gesangsansatz einzulassen. Das war eine ziemlich große Entscheidung, und eine, die unweigerlich zu einer Verschiebung hin zu einem härteren Sound führen wird. Das Problem ist, dass wir zu dieser Zeit gerade unser zweites Album fertiggestellt hatten, das offensichtlich unseren früheren Sound und Songwriting-Ansatz widerspiegelt. Anstatt also einen ganzen Albumzyklus lang für Material aufzutreten, das nicht mit der aktuellen Besetzung im Hinterkopf geschrieben wurde, beschlossen wir, die drei Songs zu nehmen, die am meisten an unseren bisherigen traditionellen Sound erinnern – Thrash-infizierter Power Metal – und sie als eine eigene EP als ‚Abschied‘ vom klassischen Sound zu veröffentlichen, um so auf dem zweiten Album Platz für Material zu schaffen, das die modernere Version von ANUBIS widerspiegelt“, erklärt Sänger Devin Reiche.

Mit „The Hood Collector“ gibt es nun ein weiteres Lyric-Video.

„Dieser Song ist unsere Hommage an Daryl Davis: ein Jazzmusiker, der behauptet, über 200 ehemalige Klan-Mitglieder persönlich bekehrt und dazu gebracht zu haben, ihrem hasserfüllten Verhalten abzuschwören – jeder von ihnen gab ihm als symbolische Geste seine Kapuze und sein Gewand“, sagt Sänger Devin Reiche.

ANUBIS „The Puppeteers“ Tracklist
1. Face the Puppeteers
2. The Hood Collector (Lyric-Video bei YouTube)
3. Leper Lord (Lyric-Video bei YouTube)

Source: Vampster

Die Cybergrind-Band BLIND EQUATION hat mit „A Funeral In Purgatory“ ein neues Album angekündigt. Es ist das dritte Album der US-Amerikaner aus Chicago und wird am 18. Juli 2025 via via Prosthetic Records erscheinen.

„Die übergreifende Bedeutung des Albums ist, dass wir, auch wenn wir mit diesen schwierigen Zeiten in unserem Leben zu tun haben, weitermachen und sie durchstehen müssen, um die besseren Momente zu erreichen. Egal was passiert, das Leben wird uns immer wieder zerstören und viele Dinge werden vielleicht nie gelöst werden oder eine Antwort in Sicht sein, aber wir müssen weitermachen & unser Bestes tun, um dagegen anzukämpfen“, sagt Bandleader James McHenry.

Vorab gibt es zu „Nothing“ einen Video-Clip.

BLIND EQUATION „A Funeral In Purgatory“ Tracklist
1. This Eternal Curse
2. Nothing (Video bei YouTube)
3. it feels like the end (ft. JOHNNASCUS)
4. A Funeral
5. +‧+ ̊ ཐི⋆✟⋆ཋྀ ̊+‧+
6. …in purgatory
7. Flashback
8. Mourn
9. Relinquished Dreams
10. Still
11. Incomplete

Source: Vampster

Without love
You’re just making a fool of yourself
Without love
You’re just jerking off inside someone else
There comes a moment, swift and terrible in its purity, when one realizes the love they have long cherished; believed sacred, tender, eternal, was merely a shadow cast by desire, loneliness, or a fragile ego. All previous declarations, fervent yet hollow, quietly crumble like weathered paper beneath steady rain. Only then, stripped bare of artifice, in painful yet exquisite solitude, does the heart truly grasp love’s magnitude. Love, once imagined simple, reveals itself as vast, demanding courage to accept its rawness. It emerges as life’s one true necessity – inescapable, absolute – filling the profound emptiness hidden beneath mere illusions of devotion.

Passionate and cerebral as ever, the almighty Pulp expand upon this revelation with the soul-soothing anthem Got To Have Love. The track is a sumptuous blend of soul and disco, effortlessly channeling Gamble and Huff and punctuated by a Barry White-esque spoken interlude…one could easily imagine it belted out by Harold Melvin & the Blue Notes or Donna Summer.

Described by Jarvis Cocker as a “slightly hysterical song that tries to talk about love as I see it now,” it implores us to stop posturing and embrace the vulnerability of authentic “L-O-V-E luv.” With swaggering declarations and razor-sharp wit, Got To Have Love insists that without love’s tremendous life force, existence becomes little more than hollow performance; a masquerade of self-denial parading as survival. It’s a compelling plea to awaken, confront our fears, and finally speak aloud what genuinely matters. Amen.

Last September, revelers at Brooklyn’s Kings Theatre were treated to the first live performance of Got To Have Love. Originally penned in 1999, the song spent twenty-six years languishing unfinished; a casualty of a true writer’s block for the ages. Jarvis Cocker explains the reason for the prolonged delay:

“Love is a word I was unable to say until I was approaching 40,” he says. “I listened to love songs all the time, but couldn’t use the word in real life. The words to this song are me having a word with myself about this state of affairs. I gave myself a real talking-to. I have now learnt how to say it whilst keeping a straight face. You’ve got to have love. Oh yes you have.”

Jarvis Cocker himself directed the video, seamlessly weaving in vintage footage from Tony Palmer’s classic 1977 documentary, The Wigan Casino, which captures Northern Soul’s beating heart with electrifying intimacy. Set within the iconic Lancashire nightclub, Palmer’s film vividly portrays working-class youth dancing until dawn to obscure American soul singles, spotlighting their sweat-drenched escapism, obsessive record collecting, and the fierce camaraderie forged on the dance floor. For Cocker, whose art thrives on gritty authenticity and emotional rawness, these scenes must have resonated profoundly; Cocker champions the overlooked and mundane, elevating ordinary life experiences to euphoric poetry.

Well. How about some in 2025?

At long last, Pulp have returned, prising open a bold new chapter with More, their first album since 2001’s We Love Life. Recorded in just three electrifying weeks at London’s Orbb Studio last November with producer James Ford, this is a record of rare immediacy…Jarvis Cocker himself noting it’s the quickest Pulp album ever laid down.

Dedicated to the band’s dearly departed bassist Steve Mackey, More arrives on June 6th via Rough Trade, draped as always in dry wit and widescreen swagger, but this time sharpened to a sleeker, steelier edge. Richard Hawley and Jason Buckle each pen one track, while the Eno clan lends spectral backing to another. Richard Jones orchestrates strings for the Elysian Collective, providing a lush and stirring thrum beneath the sheen.

Global listening parties celebrating the release of More will launch at record stores worldwide beginning May 29. Dates for US parties will be announced May 27…stay tuned for updates here.

Pulp will be winding their way around Europe and North America this summer, making stops in Glasgow, London, DC, Philadelphia, NYC, Boston, Toronto, Detroit and more.  It is a brief blitz rather than a drawn-out affair, but the impact is set to be seismic: Jarvis Cocker and company remain cultural shape-shifters, bringing More to life with the same spiky elegance and deadpan drama that once pinned pop to the margins and made it strange again. This September, Pulp and LCD Soundsystem will co-command the Hollywood Bowl for two nights of nostalgia, smirk, and synth beneath California skies…skies that once promised everything but will soon instead deliver disco-drenched existentialism.

…ARE YOU READY?

PULP – 2025 TOUR DATES

Saturday 7 June – Glasgow OVO Hydro
Tuesday 10 June – Dublin 3Arena
Friday 13 June – London The O2
Saturday 14 June – London The O2
Thursday 19 June – Birmingham Utilita Arena
Saturday 21 June – Manchester Co-op Live
Thursday 10 July – Bilbao BBK Live
Monday 14 July – Montreux Jazz Festival
Friday 25 July – Sheffield Tramlines
Saturday 2 August – Incheon Pentaport Rock Festival
Friday 15 August – Saint Malo La Route Du Rock
Thursday 4 September – Atlanta Tabernacle
Saturday 6 September – Washington, DC The Anthem
Tuesday 9 September – Philadelphia The Met
Thursday 11 September – NYC Forest Hills Stadium
Saturday 13 September – Boston Suffolk Downs
Tuesday 16 September – Toronto Budweiser Stage
Wednesday 17 September – Detroit Masonic Temple
Saturday 20 September – Minneapolis The Armory
Monday 22 September – Denver Red Rocks Amphitheatre
Thursday 25 September – Los Angeles Hollywood Bowl
Friday 26 September – Los Angeles Hollywood Bowl

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The post Pulp Debuts Video for Soulful Dance Single “Got To Have Love” appeared first on Post-Punk.com.

Source: Post-Punk.com

Die Acoustic Doom Metal-Band DOLVEN hat mit „Sun Bleached Stones“ den Opener ihres kommenden Albums „In My Grave…Silence“ als Video-Clip veröffentlicht.

„Dieses Lied handelt von dem Kummer, den ich jedes Jahr beim Besuch des Grabes meines Vaters empfinde“, sagt Gitarrist Nick Wusz. „Im Laufe der Jahre werden die Gräber und Steine, die das Grab meines Vaters umgeben, von Moos überwuchert, von der Sonne gebleicht, und doch ist es jedes Mal, wenn ich es besuche, genau dasselbe. Ich bin erstaunt, dass ich in naher Zukunft auch in der Erde sein werde. Der Zyklus wiederholt sich.“

Es ist das dritte Album der US-Amerikaner aus Portland (Oregon) und wird am 13. Juni 2025 via Winding Stair Records (Vinyl) und Fiadh Productions (CD und Tape) erscheinen.

„In My Grave…Silence“, das von Bassist Jason Walton (AGALLOCH) bei Earth In Sound aufgenommen wurde, wurde von DAN SWANÖ gemixt und gemastert. Das Cover-Artwork stammt von Alexandr. Vorab gibt es den Track „You’ve Chosen“ zu hören.

„Dies ist ein Lied über die Verwirrung des Älterwerdens, darüber, dass wir in einer Welt, die uns langsam zu Tode prügelt, reif sein müssen. Viele Menschen kämpfen mit Verletzlichkeit und der Entleerung des Egos, was dazu führt, dass sie allein sind, verbittert und sich fragen, warum die Welt sie so beschissen behandelt. Je älter ich werde, desto mehr stelle ich fest, dass die Menschen sich nicht ändern… das macht mich sehr traurig. Aber scheiß drauf, ich muss mein Leben so gut wie möglich leben, trotz der Stagnation um mich herum“, sagt Gitarrist Nick Wusz (SNARES OF SIXES).

DOLVEN Line-Up
Nick Wusz – guitars
Jason Walton – bass
Jori Apedaile – vocals
Hunter Ginn – percussion

DOLVEN „In My Grave…Silence“ Tracklist
1. Sun Bleached Stones (Video bei YouTube)
2. Beside Me
3. You’ve Chosen (Audio bei Bandcamp)
4. Standing Among the Ruins
5. Just Like all the Rest
6. Anymore
7. Seeking Solace

Source: Vampster

Die Heavy Metal-Band RENEGADE ANGEL hat mit „Steal the Fire“ eine neue EP angekündigt. Es ist die vierte EP der Finnen rund um Komponist Jani Pöysä, der wiederum eine Reihe um Musiker um sich scharte – wie etwa Gitarrist SAMULI FEDERLEY (STANDING OVATION, REVERSION). Ein Release-Termin steht noch aus.

Vorab gibt es jedoch einen Video-Clip zum Titeltrack. Der Song ist inspiriert vom Mythos des Prometheus, der den Göttern trotzte, um der Menschheit das Feuer zu bringen.

RENEGADE ANGEL Line-Up
Vocals: Eduardo Tavasci
Guitars: Samuli Federley
Bass: Aleks Dolgy
Synth and orchestration: Silverio Simioni
Drums: Vangelis Moraitis
Music, lyrics, arrangement: Jani Pöysä

RENEGADE ANGEL „Steal the Fire“ (Video bei YouTube)

Source: Vampster

Die Dark Industrial-Band WARD XVI hat nach „Blood Is The New Black“ mit „We Are Legion“ einen weiteren Video-Clip ihres kommenden Albums „Id3ntity“ veröffentlicht. Es ist nach „The Art of Manipulation“ (2017) und „Metamorphosis“ (2020) das dritte Album der Engländer aus Preston und schließt eine erzählerische Trilogie ab.

„Id3ntity“ wurde von Mark Winterburn aufgenommen und gemixt und wird am 11. Juli 2025 via Earache erscheinen.

WARD XVI Line-Up
Psychoberrie – vocals, programming, keyboards/ synth
Doktor Von Stottenstein – guitars, vocals
Wolfy Huntsman – bass, vocals
Bam Bam Bedlam – drums
Rico Rameres – vocals / theatrics
Nurse Betty – theatrics

WARD XVI „Id3ntity“ Tracklist
01 Regeneration
02 Into The Wilderness
03 What’s In The Box?
04 Macabaret
05 Interlude
06 Blood Is The New Black (Video bei YouTube)
07 At The Window
08 I Spit On Your Grave
09 Interlude 2
10 Darkest Desire
11 Amoeba Of Madness
12 Interlude 3
13 We Are Legion (Video bei YouTube)

Source: Vampster

Die Heavy / Speed Metal-Band HUNGER hat mit „Ruler of the Wolves“ eine neue EP angekündigt. Es ist der erste Release der Spanier rund um Gitarristin Jara Solís (SINNER RAGE). Release-Termin ist der 5. September 2025 via Jawbreaker Records. Vorab gibt es den Track „Hunger“ zu hören.

HUNGER Line-Up:
Dizzy D. – vocals
Jara Solís – guitars
Rudolf V. – guitars
Vick Rodríguez – bass

Session-Musiker
Fabio Alessandrini (BONFIRE, ANNIHILATOR) – drums

HUNGER „Ruler of the Wolves“ Tracklist
1. Descent Into Abyss
2. Hunger (Audio bei YouTube)
3. Ruler of the Wolves
4. Sabotage
5. Evil Omen
6. Beware the Demons (STORMWITCH cover)

Source: Vampster

Die Doom-Death Metal-Band OBSIDIAN SCAPES hat mit „Endless Sea of Dead Mirrors“ einen ersten Track ihres kommenden Albums „Death Chants Echo from Aphotic Void“ veröffentlicht. Es ist nach einer selbstbetitelten EP das erste Album der Deutschen aus Zwickau und wird am 6. Juni 2025 via Darkness Shall Rise Productions erscheinen.

OBSIDIAN SCAPES „Death Chants Echo from Aphotic Void“ Tracklist
1. The Pettiness Of Life (11:16)
2. My Utter Contempt For The Sun (11:11)
3. Endless Sea of Dead Mirrors (7:53) (Audio bei Bandcamp)
4. Despise Everything (9:13)
5. Trapped in Equilibrium (11:51)

Source: Vampster

Die Heavy Metal-Band TEMTRIS hat mit „Queen of Crows“ ein neues Album angekündigt. Es ist das achte Album der Australier und das erste mit dem neuen Gitarrist Donovan Taylor.

„Queen of Crows“ wurde von Andrew Malin gemixt und gemastert und wird am 8. August 2025 via Wormholedeath Records erscheinen. Vorab gibt es zu „The World is Bleeding Out“ einen Video-Clip.

TEMTRIS Line-Up:
Genevieve Rodda – Vocals
Anthony Fox – Guitars
Donovan Taylor – Guitars
Vane Danov – Bass
Nicholas Bolin – Drums

TEMTRIS „Queen of Crows“ Tracklist
1. Evil Lies
2. Scars of Betrayal
3. The Risk
4. Narcosis
5. Murder of Crows
6. Dying to Believe
7. Carnival of Tears
8. No One Is Listening
9. The World Is Bleeding Out (Video bei YouTube)

Source: Vampster

Die Punk-Band SEX BEAT hat mit „Punching Bag“ einen dritten Track ihres kommenden Albums „Crack“ veröffentlicht. Es ist nach „Call Me“ (2023) das zweite Album der Berliner Band. Release-Termin ist der 20. Juni 2025 via This Charming Man Records. Vorab gibt es nach „This Machine Kills No One“ auch den Titeltrack als Video-Clip.

SEX BEAT „Crack“ Tracklist
1. Crack (Video bei YouTube)
2. This Machine Kills No One (Video bei YouTube)
3. No Wah-Wah
4. Punching Bag (Audio als Stream)
5. To Hell
6. All Men Are Enemies
7. Rosa’s in Spain
8. Hungry Ghost

Source: Vampster

Die Doom Metal-Band MARGARITA WITCH CULT hat mit „Strung Out In Hell“ ein neues Album angekündigt. Es ist nach „Margarita Witch Cult“ (2023) das zweite Album des englischen Trios aus Birmingham und wurde von Mark Gittins im Megatone Studio in Birmingham produziert. Release-Termin ist der 18. Juli 2025 via Heavy Psych Sounds Records.

MARGARITA WITCH CULT Line-Up:
Scott Abbott – Vocals & Guitar
George Casual – Drums
Jim Thing – Bass

MARGARITA WITCH CULT „Strung Out In Hell“ Tracklist
1. Crawl Home To Your Coffin
2. Scream Bloody Murder
3. Conqueror Worm
4. Witches Candle
5. White Wedding
6. Mars Rover
7. Dig Your Way Out
8. The Fool
9. Who Put Bella In The Wych Elm

Source: Vampster

Black hole horizon in space and time
No matter where you begin
Collapsing boundaries of your own design
Even light will be pulled in
Charlie Nieland returns from the edge of the event horizon with Redshift, a radiant reverie from his forthcoming The Ocean Understands EP, arriving June 20. With this latest single, the veteran producer and post-punk polymath catapults his sound into the stratosphere, drawing on a constellation of experience that includes stints with dream pop stalwarts Her Vanished Grace, experimental duo Lusterlit, and production work with Blondie and Rufus Wainwright.

Redshift is a supernova of sentiment and self-discovery. Set adrift in a universe of chromatic confusion and celestial compression, the track frames personal transformation through the lens of astrophysics. Redshift, the phenomenon where light stretches as it speeds away, becomes metaphor: for letting go, for drifting from past pain, and for redefining your own gravitational pull.

Nieland bends light and time with layered guitars, restless rhythms, and a voice that hums with quiet conviction. His introspective tenor, gentle yet grounded, pairs beautifully with luminous guitar lines, striking a balance between the melancholic grace of Nick Drake, the world-weariness of Richard Hawley, and the soaring calm of Pink Floyd’s David Gilmour. As black hole metaphors collapse inner walls, a sharp clarity emerges, slicing through like cosmic rays in a frozen vacuum. Rather than recoil from the vertigo of existential drift, Nieland finds solid ground in the steady determination to move ahead.

Photo: Alice Teeple

Lyrically, Nieland trades planets for pain and nebulae for nuance. He speaks not from the safety of escape velocity, but from the still center of acceptance, reminding us that light, even when bent or buried, can be reclaimed. Redshift finds freedom in facing the fractured past and forming something stronger: a chosen family forged in trust, tenderness, and shared orbit. As the EP title The Ocean Understands suggests, there’s a tidal pull to Nieland’s work; a deep sense of motion and magnitude. But here in Redshift, he’s not swept away. He steers the ship straight through the starstuff, steady, luminous, and loud.

“Redshift is a slice of dream pop about growing up – as viewed from space,” Nieland explains. “The book STRAY, by Tanya Marquardt, got me thinking about how we choose new families when we’re alienated from our birth ones. This coincided with another thing I was reading about Steven Hawking and astrophysics. The song became a little field guide on how to put your own story into a cosmic context…There’s an eerie freedom to embracing life when the universe is pulling apart. While in lockdown, I’d made up a modal exercise for the guitar and it was a perfect shimmering fit for this, with Billy Loose’s symphonic drums bringing it all down to earth.”

For those drawn to the drama of dream pop, the patience of post-rock, and the curious poetry of the cosmos, Redshift is your guiding star.

You can also listen to the track below and pre-order The Ocean Understands here.

The Ocean Understands by Charlie Nieland

Earlier this year, Charlie Nieland unveiled the reverb-soaked lead single Drown, accompanied by a striking video directed by the multi-talented artist Hypnodoll. Drawing from a dystopian vision, this mythical, psychedelic siren song plunges into the chaos of an authoritarian past, filtered through fragmented futures. As it navigates the wreckage of the present, Drown seeks glimmers of grace amid violent, surging tides.

“With its mind-melting imagery, the video for Drown…is beautiful and deranged,” Nieland reflects on Hypnodoll’s artistry. “She conjures storytelling just out or rational reach, playing tag with the ancient and futuristic in a way that perfectly compliments the song. Collaborating with her is such a thrill.”

Follow Charlie Nieland:

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The post NYC Artist Charlie Nieland Gazes into the Cosmos in Radiant Video for “Redshift” appeared first on Post-Punk.com.

Source: Post-Punk.com

The thorns they scratch so silently
Reminder of what’s come to be
You’re gone, there is no turning back
My universe is turning black
Boston newcomers Burn Kit burst forward with their emotionally charged single, High Spirits Don’t Live Here, featured prominently on their debut EP, Fallen Rose. With this heartfelt anthem of despair, the band delves into the heavy emotional aftermath of loss, vividly illustrating the void left behind in spaces once filled with warmth and connection. Known already for their fiercely energetic stage presence, Burn Kit presents a more intimate side, exploring the intense emptiness and profound ache associated with mourning.

Listeners will find unmistakable echoes of post-punk pioneers: Joy Division, Wire, and Gang of Four, threaded through Burn Kit’s debut, with flickers of early R.E.M. and The Damned lending further nuance to their taut, emotionally charged sound.

High Spirits Don’t Live Here stares absence in the face. It captures how once-familiar spaces can turn hollow, how comfort curdles into unease, and how memory can sting sharper than silence. Valentino’s voice trembles with purpose, threading through the chiming, cutting guitars of Joshua and Frank. Twin bass lines from Padraic and Christopher create a slow-building pressure beneath, locked in step with Andrew’s deliberate, heartbeat percussion. The song blooms with striking imagery: fallen petals, thorn-pricked grief, and the suffocating stillness of aftermath. “High Spirits Don’t Live Here” transforms pain into presence with startling precision.

Directed by Austin Kranick and filmed in a historic cemetery chapel in Dover, New Hampshire, the accompanying video deepens the track’s emotional pull. Set against a snow-draped graveyard, it opens with tolling bells and mourners stepping from a hearse. Inside the chapel, the band performs in manic gloom, while Valentino prowls outside among the headstones, bouquet in hand. With its unexpected visual cues and cinematic flair, the video mirrors the song’s quiet devastation and sense of ritual farewell.

The chapel, unused for funeral services in decades, had since been repurposed as a cemetery office, though little had changed inside. Original pews and a dusty lectionary remained, lending a ghostly authenticity to the shoot. But what truly startled the band was the discovery of a chain-operated casket lift rising from the basement. As they recount it, the moment felt like a close encounter with the reaper himself:

“We oiled up the old chain crank and somehow got that platform functioning again,” Valentino remembers. “It hadn’t been moved in forever and was very heavy. On one of our test runs (fortunately with no one on or below it) the platform came off track and it fell to the ground from up high. Anyone below it would have been killed instantly. That was a good lesson learned for the first take. So we sent the casket up without me in it and I entered it for the first shot once it was already up on the stage and off the lift. We were cautious that the floor in front of the stage might give out and fall down 12-15 feet at any point. Luckily it stayed securely for the rest of the shoot.”

“The music video centers around death,” says Valentino. “It is obviously a symbolic representation…if you pay attention to small detail, you will see a clip where I’m sunken in the snow on my knees, singing to the gravestone of the person that I miss….The setting we chose sets the tone for the emotional basis of this video by letting the viewer in on this lightly-attended, frigid, dark funeral service for an unrevealed person. It is the listener’s choice who that person is.”

“One thing that will always stick in our minds is how unbelievably freezing this was,” he continues. “It was the coldest day in this area that I can think of in recent history. There was no heat or water in the chapel and hardly any working electricity. If the power blew, we would have been in trouble. We’re so lucky it didn’t. Our limbs were numb all day as negative temperatures haunted us both inside and outside the building. The snow-covered graveyard footage, the EP front and back cover… it was as cold as it looks, if not colder.”

Watch below:

Burn Kit exploded onto the music scene by performing 140 shows across five international tours in just their first year, including extensive journeys through Europe, North America, and even Hawaii alongside The Dwarves. Recently, they joined punk legends Dead Boys for an electrifying U.S. tour, with round two set to kick off this September. Driven by deep personal connections and a shared creative vision, Burn Kit channels raw emotion into their music, particularly highlighted by the presciently tragic song “High Spirits Don’t Live Here,” which ironically foreshadowed a profound personal loss experienced by the band’s songwriter.

Their commitment to authentic, physical music releases mirrors their ethos of human connectivity and a longing for genuine, tangible experiences—epitomized by releasing their EP on vinyl. Musically inspired by Boston’s vibrant punk scene, Burn Kit meticulously crafts their sound with layered guitars, chorus-drenched bass reminiscent of Peter Hook, and dynamic songwriting that prioritizes emotion and immediacy. The band draws heavily on non-musical influences, especially nature and real-world interactions, infusing their soundscapes with a sense of beauty, nostalgia, and existential depth, evident in tracks like “Fallen Rose” and “When You Know You, You Know.”

Listen to “High Spirits Don’t Live Here” below. The Fallen Rose EP boasts two more captivating tracks and is available for order on a  7” vinyl record here.

Fallen Rose by Burn Kit

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The post Boston Post-Punk Outfit Burn Kit Haunt a Snow-Draped Cemetery Chapel in Their Video for “High Spirits Don’t Live Here” appeared first on Post-Punk.com.

Source: Post-Punk.com

Brooklyn’s Television Overdose, better known as TVOD, has dropped their delightfully disillusioned debut, Party Time, available now via Mothland. With a sardonic sneer and glazed-over gazes, TVOD serves up a soundtrack to a shindig at the end of days, where the party’s still going even though no one’s really celebrating.

The title track delivers a dose of dystopian disco, drenched in synth-heavy unease reminiscent of eerie, late-’70s horror scores. When the band shouts, “What time is it?” the weary, half-hearted response, “Party time!” echoes with apathy rather than excitement, like a party invitation issued at the brink of collapse. Shades of Faith No More’s sardonic We Care A Lot, Black Flag’s sarcastically lethargic TV Party, and Beastie Boys’ begrudging battle cry Fight For Your Right To Party permeate the track, yet TVOD injects their brand of modern malaise. (You might even catch a hint of their namesake song in their style.)

“We had a bunch of friends come over to do backup vocals on Party Time, says the band. “We recorded ourselves getting drunk in the studio and had producers Félix and Sam record themselves talking shit about us in French for the end of the song.”

It’s less celebration and more sedation, capturing revelers numbed by substances and resigned to their ritualistic revelry. Party Time invites listeners to a nihilistic night-out, where the world’s ending outside, but the music’s loud enough to drown out the dread and piss off the neighbours. TVOD’s debut is a bleak, brilliantly bored bash, because when everything’s falling apart, why not dance and dope through the decay?

The cheerfully sinister stop-motion cutout spectacle, meticulously crafte by animator Callum Scott-Dyson, plays out like a handcrafted hallucination. This DIY delirium depicts rows of hollow-eyed office drones, zombified modern-day minions slogging through soulless factory shifts. Punching out, they shuffle home exhausted, shedding corporate cocoons to reveal their true forms: chaos demons chasing chemical comforts, desperate to dull the drone of existence. Outside, the city burns, apocalypse advancing unnoticed as the narcotic numbness of the eternal party quietly devours them. It’s bleak folk art from the end of the line, a quaintly grotesque portrait of humanity medicating itself into oblivion.

“I became email pen pals with Callum, a UK artist currently living in Seoul, South Korea,” says TVOD’s Tyler Wright. “He reached out with some of his claymation and 2D card cut-out videos and asked if we wanted to use them for anything. I thought his work was sick, so I sent him our song Party Time and asked if he’d be down to make something for it. He dug the track and sent me this loose idea about someone living a boring, paranoid life while hiding this wild party personality in their head—a kind of mental escape hatch. That concept hit home hard. He really got what I was trying to say lyrically. Callum handled the visuals using this super hands-on process: he created a full script, hand-drew and cut out every single element, and shot everything frame by frame using stop-motion on a green screen.The level of detail and care he put into it blew me away.”

Watch the video for “Party Time” below:

True to its title, Party Time plunges headlong into exhilaration edged with existential dread. Beneath the dancefloor decadence hides a dazed desperation, lyrics soaked in booze, blurring away troubles in a numb haze. The album surges with raw, reckless emotions: chaos wrapped in nostalgia, aching longing tangled with manic elation, pain dulled by chemical comforts, and bleary-eyed introspection amidst the end-of-days revelry.

“In short, it’s hangxiety-induced punk to dance or mosh to,” the band concludes.

Listen to Party Time below and order the album here.

Party Time by TVOD

TVOD spoke with Post-Punk.com about the music video, their evolving sound and the new track.

You’ve described Party Time as ‘hangxiety-induced punk’—can you talk about how partying, or escapism, and self-reflection coexist throughout the album?

There’s a lot more to this LP than just drinking beers and getting shit-hammered with your buddies. It focuses on aspects of the late-night lifestyle that most music tends to stray away from. The album deals primarily with the negative effects of substance abuse and addiction. It reflects the darker sides of regularly painting the town red and describes how consecutive late nights can alter your brain chemistry—changing you into a demon (Devil) you hardly even recognize. Just like the bottle says, I hope this album encourages people to try to enjoy responsibly. Many of these songs detail my own struggles with diving too far into the deep end of a good time, trying to escape the past.

The music video is such a unique collaboration—what was it like handing off such a personal track to a visual artist, and did Callum’s interpretation surprise you in any way?
It was definitely a leap of faith trusting someone the band and I had never met in real life. When we were first exchanging emails and he pitched his vision for what he wanted to make, I knew we had to work with him. He really understood the vibe we were trying to convey with the song—that it was more than just another basic party anthem. He got that most people live these mundane, structured lives, and a lot of us turn to drugs and alcohol to escape that. It’s not all just red solo cups, bikinis, and getting high on lobotomies. If we don’t practice self-care, it can lead to all sorts of problems—like making you destroy an entire city with your acid vomit.

With such a unique blend of ‘post-punk, egg punk, and krautrock,’ how would you describe the evolution of TVOD’s sound since you first started in 2019? What can fans expect from Party Time that’s different from your previous work?
I think they can expect to hear us experimenting more with the boundaries of various genres. Even though Party Time is technically a “punk” album, we let our other musical inspirations shine on this one too. We all listen to a wide range of music in and out of the tour van—jazz, hip-hop, old country, funk, hardcore, etc.—and if we did it right, I think the listener will be able to hear all of that. I also think we’ve grown a lot as a band from being on the road so much the past couple of years. We’ve really become this big family. I love being in this traveling circus with my guys.

TVOD is excited to announce the North American leg of their 2025 tour, kicking off with several dates across Canada and culminating at the Evolution Festival in St. Louis, Missouri. See list of full dates below:

Tour Dates:

5/28 – Luxembourg, LX @ Rotondes
5/29 – Bruxelles, BE @ Volta
5/30 – Antwerp, BE @ TRIX
5/31 – Strasbourg, FR @ Pelpass Festival
6/2 – Paris, FR @ La Maroquinerie
6/3 – Orléans, FR @ Astrolabe
6/4 – Clermont-Ferrand, FR @ Coopérative de Mai
6/5 – Düdingen, CH @ Bad Bonn
6/6 – Lourmarin, FR @ Yeah! Festival
6/7 – Lisle, FR @ Lisle Sauvage
6/8 – Saint-Brieuc, FR @ Art Rock Festival
6/10 – Dijon, FR @ La Vapeur
6/11 – Lille, FR @ L’Aeronef
6/12 – Tours, FR @ Aucard de Tours Festival
6/13 – Metz, FR @ Les Trinitaires
6/14 – Hilvarenbeek, NL @ Best Kept Secret
6/16 – Hannover, DE @ Nordstadtbraut
6/17 – Kiel, DE @ Hansa 48
6/18 – Hamburg, DE @ MS Hedi
6/19 – Dresden, DE @ TBD
6/20 – Leipzig, DE @ NBL
6/21 – Berlin, DE @ Kastanienkeller
6/22 – Prague, CZ @ Bike Jesus
7/3 – Burlington, VT @ Radio Bean
7/4 – Quebec, QC @ FEQ 
7/5 – Montreal, QC @ Le Ritz PDB 
7/6 – Ottawa, ON @ 7/6 –  House of Targ w/ CDSM
8/8 – Brooklyn, NY @ Baby’s All Right (Album launch party) 
 8/30 – Salisbury, UK @ End of the Road Festival 
9/27 – St. Louis, MO @ Evolution Festival

Follow TVOD:

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The post Brooklyn Post-Punk Outfit TVOD Unleash Apocalyptic Animated Video for “Party Time” — European Tour Currently Underway appeared first on Post-Punk.com.

Source: Post-Punk.com

Als im vorigen Jahr via Sacred Bones Records das Frühwerk von X MAL DEUTSCHLAND gebündelt wieder verfügbar gemacht wurde und zeitgleich die ehemalige Frontdame Anja Huwe überraschend mit einem Solo-Album aufwartete, machte schon mal die Ankündigung die Runde, das 4AD ebenso das komplette dort erschienene Material der Band neu aufzuarbeiten gedenke. Nachdem sich Anfang der 80er Jahre das Interesse an der Band in Deutschland in Grenzen hielt, gingen X Mal Deutschland nämlich in England mit den COCTEAU TWINS auf Tour und bekamen im Anschluss einen Vertrag bei dem schon damals renommierten Label von Ivo Watts angeboten. Daraus resultierten insgesamt vier Veröffentlichungen, die jetzt in einer schönen 3LP-Vinyl-Box und parallel als Doppel-CD vorliegen. Außer einem neuen Remastering gibt es dazu auch ein neues sehr ansprechendes Artwork und neben den beiden legendären Alben „Fetisch“ und „Tocsin“, wurden nun die seiner Zeit flankierenden Singles „Incubus Succubus II“ und „Qual“ ebenso dem Set hinzugefügt. Zwar sind die Songs auf „Fetisch“ immer noch rau und roh, aber schon nicht mehr so punkig wie auf dem oben erwähnten ersten Aufnahmen für ZickZack, zumal das Konzept der reinen Frauenband durch zwei männliche Musiker aufgeweicht wurde. Mit „Tocsin“ fand man dann zum typischen X MAL DEUTSCHLAND-Sound, der später ein großer Einfluss für kommende Gothic Dark Wave-Bands mit Frontfrau wurde und die Band letztendlich sogar in Major Label-Gefilde führte. Die Kombination aus eisig klirrenden Gitarren und experimentellen Rhythmen mit dem sirenenhaften Gesang ist seit dem Legion! Dazu dann noch die Wahnsinns-Optik aus Polar-Augen, blonder Toupier-Mähne und unvergleichlichen Tanzstil von Anja Huwe, welche zur Alternativ-Blaupause für Gothic Girls wurde, die eben nicht wie Siouxsie aussehen wollten. Erstaunlich auch, das X MAL DEUTSCHLAND damals mit deutschen Gesang insbesondere in England Erfolg hatten und das zu einer Zeit, wo im internationalen Musikgeschäft die englische Sprache quasi Pflicht war. Somit kann man eventuell Parallelen zu dem späteren weltweiten Erfolg von RAMMSTEIN ziehen und deshalb um so verwunderlicher, dass seit dem Ende von X MAL DEUTSCHLAND das komplette Werk nie neu wiederveröffentlicht wurde. Das rege Interesse und Medienecho auf die „Early Singles“ im vorigen Jahr hat ja nun jedoch hoffentlich den Boden fruchtbar für „Gift: The 4AD Years“ bereitet und so diese eigentlich längst überfällige Würdigung der Band möglich gemacht. Man darf gespannt sein, ob die beiden letzten Werke „Viva“ und „Devils“ von X MAL DEUTSCHLAND auch noch eine aktuelle Aufarbeitung erfahren und bis dahin darf man genüsslich in den „4AD Years“ schwelgen! (Marco Fiebag)

Source: BLACK Onlinemagazin

I am a feather talking to a kingTogether we toughtI am the fever of the everlastingTogether we leave chaos behind usEach drop of water becomes pure
French duo Vivid Vision bursts forth from Bordeaux, brandishing a bold blend of blistering post-punk energy wrapped in plush velvet charisma. Guitarist and vocalist Raoul and multi-instrumentalist Mathieu, commanding synthesizers, bass, organs, and relentless drum machines, ignite their sound in a collision of pure power and sleek sophistication.

Originally steeped in esoteric progressive rock, their meeting marked a metamorphosis into an electric entity charged with angular post-punk pulse and subtle threads of ancient mysticism. Vivid Vision serves up a striking dualism, fusing futuristic precision with primal whispers from forgotten ages. Echoes of Sonic Youth’s angular assault, Psychotic Monks’ raw rites, the steely minimalism of SUUNS, Liars’ hypnotic layers, the curiously languid barking of The Fall, and the enigmatic rhythms of Beak, resonate throughout their presentation.

Their latest visual offering, masterfully filmed by Raphaël Cartelier, features a trio of tracks unfolding within the skeletal remains of an old tube radio factory. Abandoned electronics lie scattered like relics of technology’s twilight, bathed in a flood of natural brilliance pouring through towering glass panes. Mathieu’s intricate array of synths resembles an autonomous automaton gazing vacantly, while Raoul’s antique lyre-shaped guitar slices the air, a blurred ballet of motion and melody.

The sonic ceremony ignites with Sacrifice, anchored by a warped organ melody and weighty bass reverberations. Its arpeggiated sequences shimmer playfully beneath cryptic verses that echo myths of Mesopotamian deities. The chorus, a crystalline chant asserting purity’s paradox, insists each droplet attains its immaculate form.

Women in Masks surges forward, driven by raw guitars drenched in flanger effects. It sketches a surreal lakescape inhabited by basket-bearing tribes of women drifting on straw vessels, fishing for glittering gold and fragile hopes. Mathieu’s menacing bass line foreshadows a fierce finale, a dance-floor dirge hammered into euphoria.

Closing this compelling set is Time and Line, an immediate, infectious drum machine-driven punk proclamation. It drags listeners into a nightmare dimension where reality reduces to flat forms, plunging towards existential asphyxiation. Only the elemental glow of fire persists, a solitary beacon amid structural collapse, propelled relentlessly by racing rhythms and Raoul’s saturated guitar spirals.

Vivid Vision’s energized exploration pulls listeners into a ceremonial space, a meeting ground of rhythm, razor-edged cool, and mystic contemplation: sonic sermons crafted from contradictions and delivered with daring dynamism.

Watch below:

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The post French Post-Punk Duo Vivid Vision Debut Mini Concert Filmed at Old Tube Radio Factory appeared first on Post-Punk.com.

Source: Post-Punk.com

Die Alternative / Modern Metal-Band ILLUMINA A.D. hat nach dem Video-Clip zu „Aperio“ und dem Video-Clip zu „The Black Guardian“ mit dem Video-Clip zu „Crystal Grave“ eine dritte Single ihres kommenden Albums „Days of Blood & Fire“ veröffentlicht. Es ist das erste Album der US-Amerikaner aus Albuquerque, die 2014 mit der EP „Tapestry of Lies“ debütierten.

„Days of Blood & Fire“ sei ein Zeugnis für Widerstandsfähigkeit und Trotz im Angesicht von Widrigkeiten und wird am 6. Juni 2025 erscheinen.

ILLUMINA A.D. Line-Up
Nepthisis – vocals
Alexander Bane – guitars
Justin Cavis – drums
Austin Von Hentschel – bass
Justin Ennis – guitars

ILLUMINA A.D. „Aperio“ (Video bei YouTube)

ILLUMINA A.D. „The Black Guardian“ (Video bei YouTube)

ILLUMINA A.D. „Crystal Grave“ (Video bei YouTube)

Source: Vampster

Die Alternative / Modern Metal-Band ILLUMINA A.D. hat nach dem Video-Clip zu „Aperio“ und dem Video-Clip zu „The Black Guardian“ mit dem Video-Clip zu „Crystal Grave“ eine dritte Single ihres kommenden Albums „Days of Blood & Fire“ veröffentlicht. Es ist das erste Album der US-Amerikaner aus Albuquerque, die 2014 mit der EP „Tapestry of Lies“ debütierten.

„Days of Blood & Fire“ sei ein Zeugnis für Widerstandsfähigkeit und Trotz im Angesicht von Widrigkeiten und wird am 6. Juni 2025 erscheinen.

ILLUMINA A.D. Line-Up
Nepthisis – vocals
Alexander Bane – guitars
Justin Cavis – drums
Austin Von Hentschel – bass
Justin Ennis – guitars

ILLUMINA A.D. „Aperio“ (Video bei YouTube)

ILLUMINA A.D. „The Black Guardian“ (Video bei YouTube)

ILLUMINA A.D. „Crystal Grave“ (Video bei YouTube)

Source: Vampster