Die Black Metal-Band VIA DOLORIS hat einen Labeldeal bei Season of Mist unterschrieben. Im Zuge dessen wird das Solo-Projekt von Gildas le Pape sein neues Album sein neues Album „Guerre et Paix“ veröffentlichen. Als Session-Drummer stand dem Musiker Frost (SATYRICON, 1349) zur Verfügung.

„Guerre et Paix“ wurde von Nicolai Codling und Gildas le Pape gemixt und von Magnus Gulbrandsen gemastert. Release-Termin ist der 20. März 2026. Vorab gibt es zu „For The Glory“ einen Video-Clip.

„“For The Glory“ spiegelt den inneren Kampf wider, der „Guerre et Paix“ prägt: eine Konfrontation mit Leiden, die keine klare Lösung bietet. Die Harmonie bleibt bewusst ungelöst, was darauf hindeutet, dass Sinn nicht im Triumph liegt, sondern im Akt des Aushaltens selbst“, sagt Gildas le Pape.

VIA DOLORIS „Guerre et Paix“ Tracklist
1. Communion (06:29)
2. Un Franc Soleil (06:58)
3. Omniprésents (07:26)
4. For The Glory (07:38) (Video bei YouTube)
5. Ultime Tourment (10:12)
6. Visdommens Vei I (07:11)
7. Visdommens Vei II (02:05)

Source: Vampster

Die Symphonic Metal-Band MEMOIRA hat einen Video-Clip von ihrer neuen Single „Dollmaker“ veröffentlicht.

„Die Geschichte des Videos wird aus der Perspektive eines Puppenmachers erzählt, der sich verzweifelt einen eigenen Sohn wünscht, mit dem er die Freuden und Leiden des Lebens teilen kann. Er beschließt, eine Puppe aus Holz zu bauen, und hofft, dass sie zum Leben erwacht“, sagt Keyboarder Lassi Nuolivaara.

Davor haben die Niederländer unter anderem drei Alben veröffentlicht.

MEMOIRA Line-Up:
Krista Astrid Schröter – Vocals
Lassi Nuolivaara – Keyboards & Piano
Serdar Ilter – Guitars
Niko Laaksonen – Bass
Kimmo Puhakka – Drums

MEMOIRA „Dollmaker“ (Video bei YouTube)

Source: Vampster

Over four decades later, “Boys Don’t Cry” remains one of The Cure’s most immediately recognizable songs. Rooted as much in early-’60s pop songwriting as in the emerging punk and post-punk movements of the late ’70s, it favors concision, clarity, and melodic directness over atmosphere or sprawl. Written in 1978 and released as a standalone single in June 1979, separate from the band’s UK debut Three Imaginary Boys, its undeniable catchiness set it apart early on—already distinct from the darker, more elastic directions The Cure would soon pursue.

That melodic simplicity gives the song its emotional leverage. Boys Don’t Cry turns on vulnerability under pressure, framing heartbreak through self-restraint rather than release. The lyrics follow someone taught to keep feeling contained, even as it pushes back against control. That friction—between what is expected and what is felt—quietly establishes the band’s early emotional terrain, outlined here with clarity and economy.

The song’s broader recognition came later, particularly in the United States, where it appeared as the title track on the American edition of Three Imaginary Boys in 1980. College radio embraced it. Touring carried it further. Over time, it settled into the group’s core repertoire, an early statement that continued to resonate across decades.

That sense of distance between origin and afterlife became explicit in 1986. During sessions connected to the singles compilation Staring At The Sea – The Singles, the song was revisited, with the vocal re-recorded and the backing track subtly reshaped. Although the revised version—now issued as Boys Don’t Cry (86 Mix)—was created to promote the compilation, the album itself retained the original recording, leaving the new mix confined to its original 7-inch release.

This 1986 music video mirrors that same sense of temporal dislocation. Instead of showing the current band performing, it depicts the original trio—Robert Smith, Lol Tolhurst, and Michael Dempsey—as literal “boys.” Child actors mime the song against a constructed backdrop, representing the debut-era lineup. Behind them, separated by a translucent curtain, are silhouetted figures of the adult band members, their eyes glowing with fluorescent paint. Even though Michael Dempsey left shortly after Three Imaginary Boys, he is visually reintroduced alongside Lol and Robert.

That continuity extends to the song’s visual identity. The single’s sleeve uses a variant image from the Andy Vella shoot that also produced the Boys Don’t Cry poster, a photograph that became ubiquitous in goth teenagers’ bedrooms throughout the 1980s and beyond. Drawn from the same session, the sleeve image reflects how the song’s presentation circulated and endured alongside the music. Now, that chapter enters wider circulation. To mark the song’s 40th anniversary, Boys Don’t Cry (86 Mix) is being released digitally for the first time. The anniversary edition brings together the original 7-inch mix alongside the 12-inch version, accompanied by remastered B-sides Plastic Passion, Pillbox Tales, and Do The Hansa. All tracks have been remastered by Matt Colton.

Pre-order the single here.

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The post The Cure to Release 1986 Version of “Boys Don’t Cry” as a Single for 40th Anniversary appeared first on Post-Punk.com.

Source: Post-Punk.com

For four decades, The Chameleons have existed less as a nostalgia act and more as a quietly expanding influence — one whose reach has widened rather than narrowed with time. Their audience has grown outward, crossing generations and scenes, finding new listeners alongside those who have carried the songs forward since the beginning. Now, with Arctic Moon — their first full-length in over 24 years — the Manchester post-punk legends return to North America for a spring tour running from Minneapolis to Houston. The current lineup — Mark “Vox” Burgess, Reg Smithies, Stephen Rice, Danny Ashbury, and Todd Demma — arrives with renewed momentum, following widespread acclaim for Arctic Moon and recent live appearances that underscore why their melodic tension and emotional discipline continue to resonate well beyond their original era.

From the beginning, The Chameleons’ music moved with tension and lift: angular yet melodic guitar lines, built around hooks and melodies written — and played — with a discipline and clarity few of their peers could match. Moving fluidly between post-punk, gothic rock, and moments of dream pop, the band crossed genres and fandoms without diluting their intent. Emerging from Manchester, England, they have become one of the most essential groups in the shared history of post-punk, gothic rock, and dream pop — often undervalued, increasingly unavoidable.

Four decades on, their influence reads less like lineage and more like connective tissue. Traces of The Chameleons’ emotional architecture and structural precision surface in artists such as The Verve, Oasis, White Lies, The Slow Readers Club, Interpol, The Killers, and Editors. Across four albums — Script of the Bridge (1983), What Does Anything Mean? Basically! (1984), Strange Times (1986), and Why Call It Anything? (2001) — the band built a catalogue defined by restraint, physical intensity, and a live presence that carried weight without excess.

In 2024, two EPs quietly reset the ground. Where Are You? introduced three new compositions, while Tomorrow Remember Yesterday revisited five archival pieces, newly recorded and sharpened by time. Those releases cleared space. Arctic Moon opens the next volume — not as nostalgia, but as proof of continuity.

“There is an obvious maturity to the songwriting on this record, and anyone familiar with our past work will hear that this is a positive step forward,” says bassist and singer Vox. “While we’re proud of the band’s legacy, we really wanted to forge something fresh while retaining that profound and imaginative quality we’re known for. We think that we have managed to do that and deliver a very strong record.”

Listen to “Saviours Are A Dangerous Thing” below:

Joining The Chameleons on the road are The Veldt, a band whose history mirrors both ambition and attrition. Formed by identical twins Daniel and Danny Chavis, The Veldt emerged from Raleigh, North Carolina, with instincts shaped by gospel, Motown, Prince, Sun Ra, and Pink Floyd — an upbringing that made genre boundaries feel optional. After relocating to New York’s East Village and later expanding with bassist-programmer Hayato Nakao, the group developed a sound that resisted easy categorization. Their catalogue reflects patience, scope, and a refusal to compress identity into trend.

Listen to “Everlasting Gobstopper”, produced by Robin Guthrie (Cocteau Twins), below:

Tour Dates:

Apr 7 — Minneapolis, MN @ Varsity Theater
Apr 8 — Madison, WI @ Majestic Theatre
Apr 10 — Chicago, IL @ Lincoln Hall
Apr 11 — Detroit, MI @ The Magic Stick
Apr 12 — Toronto, ON @ Mod Club
Apr 13 — Montreal, QC @ Théâtre Fairmount
Apr 14 — Somerville, MA @ Crystal Ballroom
Apr 16 — Brooklyn, NY @ Warsaw
Apr 17 — Washington, DC @ Black Cat
Apr 18 — Philadelphia, PA @ Underground Arts
Apr 19 — Asbury Park, NJ @ The Stone Pony
Apr 20 — Richmond, VA @ Richmond Music Hall
Apr 21 — Durham, NC @ Motorco Music Hall
Apr 23 — Tampa, FL @ New World Music Hall
Apr 24 — Orlando, FL @ The Social
Apr 25 — West Palm Beach, FL @ Respectable Street
Apr 26 — Jacksonville, FL @ Jack Rabbits
Apr 27 — Atlanta, GA @ Center Stage – The Loft
Apr 28 — Nashville, TN @ The Basement East
Apr 30 — Fort Worth, TX @ Tulips
May 1 — Austin, TX @ Mohawk (Outside)
May 2 — Houston, TX @ Numbers

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The post The Chameleons Announce Spring 2026 US Tour With The Veldt appeared first on Post-Punk.com.

Source: Post-Punk.com

Cabaret Voltaire have announced the first North American dates of their Final USA + Canada Tour, confirming a run of performances across the United States and Canada in May 2026. The newly revealed shows form part of a wider farewell cycle that also includes final UK and European tours, marking five decades since the group first emerged from Sheffield to redefine the possibilities of electronic music.

Formed in the early 1970s by Stephen ‘Mal’ Mallinder, Chris Watson, and Richard H. Kirk, Cabaret Voltaire were among the first British groups to fuse tape manipulation, found sound, early synthesizers, and confrontational visuals into a unified artistic practice. Drawing inspiration from Dadaist provocation and the realities of post-industrial Britain, the band rejected rock orthodoxy in favor of experimentation that would go on to shape industrial music, post-punk, electronic body music, and club culture itself.

Across a body of work that includes landmark releases such as Mix-Up, Red Mecca, and The Crackdown, Cabaret Voltaire bridged underground tape culture and the emerging electronic mainstream, influencing generations of artists while remaining resolutely independent in spirit. Watson departed the group in 1981, with Mallinder continuing alongside Kirk until the project went dormant in the mid-1990s.

After a long period of inactivity, Kirk revived Cabaret Voltaire in 2014 with a performance at Berlin’s Atonal Festival, followed by a final trilogy of studio releases — Shadow of Fear, BN9Drone, and Dekadrone — issued between 2020 and 2021. Kirk’s death in Autumn 2021 brought that chapter to a close. Mallinder and Watson have since stated unequivocally that no new recordings will be made under the Cabaret Voltaire name.

The newly announced North American dates mark the group’s return to the continent as part of this final live chapter. The shows will feature I Speak Machine as a special guest.

Tickets for the West Coast leg of the tour go on sale this Friday, January 23. East Coast dates will be announced later.

Final USA + Canada Tour — May 2026:

May 4, 2026 – Seattle, WA – Moore Theatre
May 6, 2026 – Vancouver, BC – Commodore Ballroom
May 8, 2026 – Portland, OR – Roseland Theater
May 10, 2026 – Denver, CO – Summit
May 12, 2026 – Los Angeles, CA – The Bellwether
May 15, 2026 – San Francisco, CA – The Warfield

More North American dates will be announced.

These USA and Canada performances follow the announcement of Cabaret Voltaire’s Final UK Tour in October 2026 and a series of Final European dates scheduled throughout March and June 2026, collectively bringing one of the most uncompromising and influential live legacies in electronic music to a close.

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The post Cabaret Voltaire Announce First North American Dates of Their Final Tour appeared first on Post-Punk.com.

Source: Post-Punk.com

Can’t remember where I lost myself

I wonder when push comes to shove

Will I be there to save the ones I love

With my back up against the wall 

Fear has a way of flattening time. It collapses the future into a single, brittle moment where every decision feels immediate and irreversible. Chaos stops being abstract once it acquires a human face—once violence appears arbitrary enough to arrive anywhere, without warning. The deepest anxiety comes not from danger itself, but from the possibility of standing one step too far back when someone you love needs protection. In that space, courage feels theoretical, calculation becomes corrosive, and every pause sharpens the cost of inaction. Survival turns provisional—an uneasy balance maintained with the knowledge that one barely perceptible misstep can unravel everything you thought you could hold together.

Madrid’s EDGES step directly into that pressure chamber with One Bad Move, a single that tightens rather than relieves the tension it introduces. The track advances with controlled urgency, its guitars and synth lines locking into a rigid, coiled geometry that mirrors the lyric’s emotional chokehold. Motion is constant but measured—forward momentum driven by restraint rather than release. Nick’s background in Southern California hardcore gives the song its physical insistence, while Cristina’s roots in Spain’s goth underground lend it a colder, steadier gravity. Together, they speak a shared language of risk: how far to lean in, when to hold, and what happens when hesitation costs more than action.

Lyrically, One Bad Move refuses reassurance. Strength appears as posture rather than certainty; resolve is something assumed, not guaranteed. Memory stutters under pressure. Confidence fractures once examined too closely. Exposure itself becomes a liability, transforming private fear into a public reckoning. The song lingers on the moment just before damage—when the question is no longer whether fear exists, but whether resolve arrives in time to counter it.

Sonically, EDGES draw a clear lineage from the clenched immediacy of F-Minus, The Nerve Agents, and AFI circa Black Sails in the Sunset, threading that intensity through the austerity and emotional pressure associated with Joy Division, The Sound, and The Chameleons. In a contemporary frame, the track aligns with the genre-crossing instincts of High Vis and Turnstile—where force and feeling are compressed into the same tight space, and emotional clarity arrives through impact rather than explanation.

Listen to One Bad Move below and order the single here.

One Bad Move by EDGES

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The post “With My Back Up Against the Wall” — Los Angeles Post-Punk Duo EDGES Share New Single “One Bad Move” appeared first on Post-Punk.com.

Source: Post-Punk.com

UK post-punk and alternative rock band And Also The Trees will release their new album...

Source: Side Line

MEGADETH hauen in den Sack. Nach 43 Jahren trägt Dave Mustaine sein Baby zu Grabe. Da macht es Sinn, dem siebzehnten und letzten Album den Namen der Band zu geben. Am Bass ist Dave LoMenzo bereits nach dem letzten Album zur Band zurückgekehrt, und auch der Posten des zweiten Gitarristen musste mal wieder umbesetzt werden. Für Kiko Loureiro ist nun WINTERSUN-Gitarrist Teemu Mäntysaari in der Band. Drummer Dirk Verbeuren ist seit 2016 dabei und somit neben MARTY FRIEDMAN und Shawn Drover einer von gerade mal drei Musikern, die es zehn Jahre lang in der Band gehalten hat. Länger war neben dem Chef nur Dave Ellefson dabei.

In der Karriere von MEGADETH gab es neben viel Licht auch den einen oder anderen Schatten
Dave Mustaine kann auf eine lange und wechselhafte Karriere mit MEGADETH zurückblicken. Neben Meilensteinen wie meinem Favoriten “Peace Sells… but who´s buying?”, “Rust In Peace” oder dem Mega-Seller “Countdown To Extinction” gab es auch immer mal wieder Durchhänger. Sei es die Phase von Ende der Neunziger bis Anfang der Nuller, in der man mit Alben wie “Risk” oder “The World Needs A Hero” so manchen Fan enttäuschte, als auch zu Beginn der 2010er, als man mit “Thirt3en” und “Super Collider” ebenfalls zwei eher mau aufgenommene Werke veröffentlichte.

Noch einmal mit Gefühl – Dave Mustaine knüpft auf “Megadeth” an die besten Zeiten der Band an
Andererseits kam man jedes Mal auch wieder mit starken Alben zurück und versöhnte die Fans. Generell muss man die Leistung, so lange mit einer Band am Start zu sein, einfach mal anerkennen, egal wie man nun zu MEGADETH steht. Ich persönlich habe die Band nach den starken “United Abominations” und “Endgame” eher ignoriert, auch weil mir Daves politische Irrlichterei auf die Nerven ging. Heutzutage ist man ja froh, wenn sich ein amerikanischer Musiker in diesem Alter nicht gleich als Faschisten-Fan outet. Da wirkt ein Dave Mustaine ja fast schon wieder sympathisch.

Das weiße Cover mit dem Bandmaskottchen Vic Rattlehead im Anzug wirkt edel und dürfte vor allem auf Vinyl richtig gut zur Geltung kommen. Für mich das beste Cover auf einem MEGADETH-Album seit langer, langer Zeit. Und auch musikalisch gibt Dave Mustaine sich auf dem letzten MEGADETH-Album keine Blöße und blickt dabei selbstbewusst auf seine Karriere zurück. In Form der abschließenden Interpretation von “Ride The Lightning“ sogar bis ganz an den Anfang. Seine Version des METALLICA-Klassikers, den er mitgeschrieben hat, ist natürlich stark, kommt aber an das Original nicht ran, und das liegt vor allem am Gesang. Da hat 80er James Hetfield dann doch die Nase vorn.

Auf ihrem letzten Album bieten MEGADETH den Fans noch mal einen Querschnitt durch ihre erfolgreichsten Zeiten
Ok, die richtig wilden Abfahrten der MEGADETH-Frühphase mit Chris Poland und Gar Samuelson spart Mustiane sich 2026. Was ich natürlich schade finde, allerdings auch nicht erwartet habe. So orientieren sich die Songs auf “Megadeth” größtenteils an der Phase von “Rust In Peace” bis “Youthanasia”. Mit “Tipping Point” eröffnet man das Album mit einem brettharten, klassischen Thrasher, von denen man auch im weiteren Verlauf noch den einen oder anderen in petto hat. “I Don´t Care” und “Another Bad Day” sind launische, schnodderige Rocker, während “Hey God?!” oder “Puppet Parade” auch gut auf “Countdown To Extinction” oder “Youthanasia” hätten stehen können. “Let There Be Shred” und “Made To Kill” sind weiteres Futter für die Thrasher. Das Finale (zumindest wenn man den Bonustrack “Ride The LIghtning” ausklammert”) “The Last Note” ist dann nochmal ein richtig starkes Stück zum Abschluss. Ein nachdenklich wirkender Up Tempo Groover, zwischendurch mit klassischen Gitarrenparts. Da hat Dave noch mal einen richtigen Volltreffer gelandet.

“Megadeth” ist ein würdiger Abschluss für die Band – das stärkste Album seit langer Zeit
Und das kann man durchaus auch für das gesamte Album sagen. Unter den zehn Songs ist kein einziger Ausfall, dafür aber eine ganze Menge richtig starker Stücke. Die sehr klare, aufgeräumte Produktion könnte dem einen oder anderen ein Stück zu steril sein, ich finde das Klangbild aber passend. Und dann ist da noch Teemu Mäntysaari, der auf dem Schwanengesang von MEGADETH absolute Weltklasse abliefert. Der Kerl dürfte nach dieser Vorstellung sicher eine Folgeanstellung finden, wenn bei MEGADETH nach der Absciedstour dann endgültig Sense ist. Das alles macht “Megadeth” für mich zum stärksten Album der Band, mindestens seit “Endgame”, vielleicht sogar seit “Youthanasia”. Auf jeden Fall ein mehr als würdiger Abschied!

Veröffentlichungsdatum: 23.01.2026

Spielzeit: 47:13

Line-Up:
Dave Mustaine – guitars, vocals
Teemu Mäntysaari – guitars
James LoMenzo – bass
Dirk Verbeuren – drums

Label: BLKIIBLK Records

Bandhomepage: https://www.megadeth.com
Bandcamp: https://officialmegadeth.bandcamp.com
Facebook: https://www.facebook.com/Megadeth
Instagram: https://www.instagram.com/megadeth

 

MEGADETH „Megadeth“ Tracklist
01. Tipping Point (Video bei YouTube)
02. I Don’t Care (Video bei YouTube)
03. Hey, God?!
04. Let There Be Shred (Video bei YouTube)
05. Puppet Parade (Video bei YouTube)
06. Another Bad Day
07. Made To Kill
08. Obey The Call
09. I Am War
10. The Last Note
11. Ride The Lightning (Bonus Track)

Source: Vampster

Die deutsche Melodic Death Metal Band ABROGATION verkündet die Veröffentlichung ihres neuen Studioalbums „Widerschein“, das am 20. März 2026 über Massacre Records erscheinen wird. Das Album wird als CD Digipak, schwarze Vinyl-LP und in digitalen Formaten erhältlich sein. Anlässlich der Albumankündigung präsentieren ABROGATION die erste Single „Morgenrot“, begleitet von einem offiziellen Musikvideo.
Listen: https://save-it.cc/massacre/morgenrot

 

Source: Amboss-Mag.de

  What a reversal of fortune for Lord of the Lost, from being denied entry into the U.S. less than a decade ago to now headlining the Dark Winter Tour of North America, joined by fellow dark rockers Wednesday 13 and The Birthday Massacre. To say the German outfit’s stock has risen on our shores over the past several years would be an understatement [..]

Source: RE:GEN Mag

  The fourth installment of Dark Force Fest will be taking place on the weekend of May 1-3, bringing forth another three days of some of the brightest stars in the dark underground community. Having made an initial announcement this past September, the final lineup of 36 bands along with the respective headliners for each of the festival’s three nights [..]

Source: RE:GEN Mag

Das neue Album „Öröklét“ der ungarischen Atmospheric/Melancholic Black Metaller WITCHER wurde am 4. November 2025 veröffentlich. Der dritte Videoclip aus dem Album zum Song „Örökség“ wurde nun bei Black Metal Promotion veröffentlicht.
https://witcherband.bandcamp.com/album/r-kl-t

„Wir wollten nicht einfach nur einen Videoclip drehen, sondern das ganze Jahr im Geiste des Songs erleben“, kommentiert WitcheR.

 

Source: Amboss-Mag.de

Into halls
Of ghastly marble carved in strangest forms
I gaze up to their towers and domes 

Ritual persists because unease never leaves us—but beneath repetition lies a more unsettling intuition: that order exists without our consent. When certainty collapses, we return to forms older than meaning—candles, circles, invocations—not to resolve anything, but to acknowledge a structure already in place. These acts assume design without comprehension, geometry without mercy. In moments of civic fracture and private dread, ritual becomes a way of standing still inside forces too vast to name. Presence is not faith but acquiescence—an admission that the world may be shaped by a mind that does not wake, and that our role is simply to move carefully within its dream.

From Athens, Greece, Reflection Black approaches The Architect in Slumber with that same sense of purposeful containment. There is a gothic punk charge in the rhythm and phrasing that nods to The Damned and Misfits: forward motion built on tight tension, the kind that turns mid-tempo into momentum. Guitars work in interlocked phrases, melodic yet stern; the vocal hooks arrive with clarity, held upright rather than thrown around the room. The track advances like a procession with its own internal law.

“The theme is inspired by dark fantasy and Lovecraftian horror,” says frontman Elis Alex. “It revolves around a divine architect and creator who sleeps, with our existence unfolding as part of his dreams and mind. During his slumber, he emanates structures that are both unearthly and magnificent, yet hiding also deathly and nightmarish horrors.”

The video, directed by Claudio Marino/Artax Film, absorbs this idea rather than illustrating it. Creation appears unconscious, beautiful and perilous by accident rather than intent. An invocation unfolds, the frame arranged as an altar: skulls laid with care, candles marking a perimeter, dried flowers holding memory in their brittle stems. Attera Nox inhabits the rite with measured gestures and a kind of disciplined stillness. The space reads as deliberate and sealed, a room temporarily removed from ordinary time.

Crucially, the film collapses distance. The camera’s patience makes participation feel inevitable. We are not watching a rite; we are standing inside its radius. What do the spirits say in response? They offer no speech. The reply arrives as alignment: a held breath, a shared stillness, the brief assurance that disorder has been acknowledged.

Watch the video for “The Architect In Slumber” below:



Reflection Black’s first EP, Entering Dreamtime, (2022, Razorbleed Productions) and debut full-length Last Stop to Nowhere (2023, Swiss Dark Nights), served as a first taste of their poison. Since then, the band has performed live along both local as well as international acts like Then Comes Silence, Darkways and Scheitan. In 2026, Reflection Black are unveiling their most potent material to date with their upcoming full-length album Burning Obsidian Star. This is a great taste of things to come.

Listen to The Architect In Slumber below and order the single here.

The Architect In Slumber by Reflection Black

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The post Carved in Strangest Forms — Greek Gothic Rockers Reflection Black Unveil Video for “The Architect In Slumber” appeared first on Post-Punk.com.

Source: Post-Punk.com

Nach ihrer Coverversion von „Enola Gay“ kehrt das Dark-Electronic-Projekt PURE OBSESSIONS & RED NIGHTS mit einem weiteren Klassiker aus den 80ern zurück. Die Band hat ihre eigene Interpretation des Eurythmics-Klassikers „Here Comes the Rain Again“ aus dem Jahr 1983 veröffentlicht, wobei sie den Synth-Pop-Charakter des Songs beibehalten und ihn gleichzeitig durch ihre dunklere elektronische Linse gefiltert hat.
https://pureobsessionsrednights.bandcamp.com/track/here-comes-the-rain-again-eurythmics-cover

Des Weiterenmacht die Band bald auch live Station in Deutschland:
27. Feb. Aaltra Chemnitz, Chemnitz
27. März Urban Spree, Berlin
28. März Ponyhof, Frankfurt

 

Source: Amboss-Mag.de

This slumber that you seek
Gave way to a cloudless vision
Blinded by a new reality
A victim to the darkest schism 
There is a pressure point at the center of Tiger Knives’ music where motion and doubt press close without resolution. Formed in Raleigh, North Carolina, the band have steadily refined a sound built on control, patience, and forward momentum, shaping songs that move with purpose while carrying their unease in full view. Over time, that balance has grown more exacting, less interested in release than in endurance.

Bitter End sharpens that focus. The single moves as if already committed to its path, tracing themes of hopelessness, drifting, and the quiet erosion of plans that never arrive intact. This is music concerned with time spent waiting, with futures that thin out rather than open up. The reckoning it stages is gradual, almost administrative, arriving through accumulation rather than in a single impact.

Lyrically, the song strips aspiration down to its frame. Dreams are hollowed. Direction gives way to suspension. The repeated line Time is not your friend settles into the track as a fixed condition, losing any sense of warning through repetition and becoming something closer to fact. We feel the inward shift that follows when expectation finally collapses.

Structure reinforces that emotional state. The recurring on and on marks duration, a steady turn that keeps the song advancing even as its subject remains stalled. Sleep offers no shelter; rest folds into unease, the deep end misjudged as safety. When the title phrase returns, it registers as recognition rather than closure, an outcome already absorbed.

Musically, restraint governs every choice. Guitars hang in chorus-laced suspension, tension held tight. Synths remain peripheral, lending a cool haze without overt color. The rhythm section maintains a narrow, unwavering line, guiding the song forward with controlled cadence. Repetition becomes resolve. We hear the influence of bands like The Dandy Warhols and The Brian Jonestown Massacre, but with the gothic drama of Type-O Negative.

The band’s DIY video extends these ideas visually. A glitch-heavy, psychedelic collage, it plays like an old film repurposed into an art project: degraded frames, warped motion, and fractured color pushing the sense of drift further outward. Together, song and video place Tiger Knives in a moment of clarity: plans unmet, direction uncertain, movement continuing anyway.

Watch below:



Listen to Bitter End below and order the single here.

Bitter End by Tiger Knives

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The post A Victim to the Darkest Schism — Raleigh Post-Punk Outfit Tiger Knives Unveil Video for “Bitter End” appeared first on Post-Punk.com.

Source: Post-Punk.com

Das Masters Of The Universe-Franchise kommt zurück auf die große Leinwand und der böse Skeletor wird von niemand anderem als Jared Leto verkörpert - alle Infos und einen Trailer hier bei uns!

Source: Sonic Seducer

The night of the fox
the day of the hawk
I’ll wait for you
at the devil’s door
Forever favorites And Also the Trees have returned with “The Silver Key” a shimmering new single that serves as the first taste of new music from The Devil’s Door, the band’s seventeenth studio record and the third with the current lineup of brothers Justin and Simon Huw Jones, drummer Paul Hill, bassist Grant Gordon, and clarinetist and multi-instrumentalist Colin Ozanne.

As always, And Also the Trees continue to delight, enchant, and deliver with a masterful mood piece. “The Silver Key” opens with a shimmering guitar line that evokes the beauty and texture of an electric mandolin. As the track takes flight, the rhythm section locks in beautifully, providing a slinky shuffle that is immediately seductive and alluring. The centerpiece of the track are the band’s trademark baritone vocals, swaying elegantly with the instruments with in perfect synchronicity. Each word is as masterfully chosen as ever, painting an impressionistic portrait of an ominous moonlit stroll through a crumbling European city, an evocative feeling that is perfectly mirrored in Sébastien Faits-Divers’ stunning video for the track.

Watch and listen to the track below:

The Devil’s Door is due out on vinyl, CD, and digital on February 27th and can be pre-ordered via Bandcamp. Check below for the full track listing and album artwork for The Devil’s Door, as well as the band’s 2026 European tour dates, which include festival appearances with dear friends The Cure:

And Also the Trees 2026 Tour Dates 

March 7th — La Nef De L’Eglise Notre Dame D’Harscamp — Namur, BE
March 18th — Le Grand Mix — Tourcoing, FR
March 19th — Joker’s Pub — Angers, FR
March 20th — Hydrophone — Lorient, FR
March 21st — Espace Culturel Buisson — Cherbourg, FR
March 22nd — La Gaité Lyrique — Paris, FR
April 4th — Death Disco Indoor Festival 2026 — Athens, GR
July 24th — Festival de Nîmes —Nîmes, FR
July 25th — Festival de Nîmes —Nîmes, FR
July 26th — Festival de Nîmes —Nîmes, FR

The Devil’s Door

1. The Silver Key
2. The Crosshair
3. Rooftop
4. The Child In You
5. Return Of The Reapers
6. The Trickster
7. I Lit A Light
8. The Rifleman’s Wedding
9. As I Dive
10. Beginning Of The End
11. Shared Fate

Follow And Also the Trees 

Website
Instagram
Facebook
Bandcamp

The post And Also the Trees Return with Vivid and Evocative Single “The Silver Key” appeared first on Post-Punk.com.

Source: Post-Punk.com

The night of the fox
the day of the hawk
I’ll wait for you
at the devil’s door
Forever favorites And Also the Trees have returned with “The Silver Key” a shimmering new single that serves as the first taste of new music from The Devil’s Door, the band’s seventeenth studio record and the third with the current lineup of brothers Justin and Simon Huw Jones, drummer Paul Hill, bassist Grant Gordon, and clarinetist and multi-instrumentalist Colin Ozanne.

As always, And Also the Trees continue to delight, enchant, and deliver with a masterful mood piece. “The Silver Key” opens with a shimmering guitar line that evokes the beauty and texture of an electric mandolin. As the track takes flight, the rhythm section locks in beautifully, providing a slinky shuffle that is immediately seductive and alluring. The centerpiece of the track are the band’s trademark baritone vocals, swaying elegantly with the instruments with in perfect synchronicity. Each word is as masterfully chosen as ever, painting an impressionistic portrait of an ominous moonlit stroll through a crumbling European city, an evocative feeling that is perfectly mirrored in Sébastien Faits-Divers’ stunning video for the track.

Watch and listen to the track below:

The Devil’s Door is due out on vinyl, CD, and digital on February 27th and can be pre-ordered via Bandcamp. Check below for the full track listing and album artwork for The Devil’s Door, as well as the band’s 2026 European tour dates, which include festival appearances with dear friends The Cure:

And Also the Trees 2026 Tour Dates 

March 7th — La Nef De L’Eglise Notre Dame D’Harscamp — Namur, BE
March 18th — Le Grand Mix — Tourcoing, FR
March 19th — Joker’s Pub — Angers, FR
March 20th — Hydrophone — Lorient, FR
March 21st — Espace Culturel Buisson — Cherbourg, FR
March 22nd — La Gaité Lyrique — Paris, FR
April 4th — Death Disco Indoor Festival 2026 — Athens, GR
July 24th — Festival de Nîmes —Nîmes, FR
July 25th — Festival de Nîmes —Nîmes, FR
July 26th — Festival de Nîmes —Nîmes, FR

The Devil’s Door

1. The Silver Key
2. The Crosshair
3. Rooftop
4. The Child In You
5. Return Of The Reapers
6. The Trickster
7. I Lit A Light
8. The Rifleman’s Wedding
9. As I Dive
10. Beginning Of The End
11. Shared Fate

Follow And Also the Trees 

Website
Instagram
Facebook
Bandcamp

The post And Also the Trees Return with Vivid Single “The Silver Key” appeared first on Post-Punk.com.

Source: Post-Punk.com

Die Heavy Rock-Band PLANET HUNTER hat für 30. Januar 2026 ein neues Album angekündigt. „Soothsayer“ erscheint via Sharkhound auf Vinyl sowie digital, eine weitere Hörprobe ist nun in Form von „Unholy Union“ via bandcamp verfügbar.

Zum vorherigen Preview-Song „1000 Years From Now“ gibt es außerdem ein Video.

PLANET HUNTER „Soothsayer“ Tracklist
1. 1000 Years From Now (Video bei YouTube)
2. Kaikora Lights
3. Ouija
4. Unholy Union (Audio bei bandcamp)
5. You’ll Be Happy
6. Cataract
7. Lazarus

Source: Vampster

Die Dark Rock-Band THE NOCTURNAL AFFAIR meldet sich mit einer neuen Single zurück: „Deep“ kann man sich als Video bei YouTube ansehen.

Das Stück ist gleichzeitig der Auftakt einer Reihe von Singles: Insgesamt sechs Stück sollen im Laufe des Jahres 2026 in Begleitung von zugehörigen Musikvideos erscheinen. „Deep“ wurde von Tanner Hendon und Wyatt Oates produziert sowie gemischt.

Source: Vampster

Die Psychedelic Rock-Band SUMMER OF HATE hat die Veröffentlichung ihres neuen Werks „Blood & Honey“ für 30. Januar 2026 angekündigt. Erscheinen wird das Doppel-Album via Tee Pee Records. Ab sofort verkürzt ein Clip zum Titelsong die Wartezeit.

Vorab haben die Portugiesen nach der Single „El Saif“ auch den Track „Alem“ ausgekoppelt.

SUMMER OF HATE Line-up 2026
João Martins – Guitar, Backing Vocals
Laura Calado – Vocals, Lyrics
Fábio Pereira – Bass
Pedro Lopes – Drums)
Ricardo Fonseca – Guitar
Xavier Valente – Guitar

Source: Vampster

Die Black Metal-Band LÖMSK hat ein neues Album aufgenommen. „Act II – Of Iron And Blood“ wurde von der Band selbst produziert, das Mastering übernahm Robert Kukla. Für das Artwork wiederum zeichnet Misanthropic Art verantwortlich.

Mit dem Vorabsong „Fields Of Elysium“ haben die Schweden bereits ein Stück ausgekoppelt.

„Act II – Of Iron And Blood“ erscheint am 6. März 2026 via Vendetta Records.

LÖMSK „Act II – Of Iron And Blood“ Tracklist

Fields of Elysium (Lyric-Video bei YouTube)
Of Iron and Blood
Requiem of Fire
Entropia
The Gathering Storm (not included on vinyl)
Chimaera
Stare Into the Void
Furia
The Silence Thereafter

Source: Vampster

HIRAKI und MEEJAH haben eine gemeinsame EP aufgenommen. „Interwoven“ ist eine Kollaboration beider Bands, die zu „einem großen Ensemble verschmelzen“. Wie sich die Schnittmenge der beiden Gruppen anhört, verrät die Single „Dead Calls„.

„Interwoven“ wurde von Klaus Q gemischt und erscheint am 13. März 2025 via Pelagic Records.

HIRAKI / MEEJAH „Interwoven“ Tracklist
01. Redirect Revenge
03. Preserve Manifest
02. All Contrast
04. Dead Calls (Video bei YouTube)

Source: Vampster

Jetzt Sonic Seducer abonnieren und eine von vielen teils limitierten und signierten CD-Prämien sichern! Aktuell im Angebot: Versengold. The Damned, Soulbound, Depeche Mode, Nick Cave, White Lies, The Other, Vogelfrey, Saltatio Mortis, Faun, Lord Of The Lost, Feuerschwanz, Nine Inch Nails, Mono Inc., The Cure und viele weitere! Wer ein 2-Jahres-Abo abschließt, kann sich außerdem ZUSÄTZLICH ein Gratisticket für das M'era Luna 2026 sichern!

Source: Sonic Seducer

Sweden’s electro duo Project-X is back after 16 years of studio silence. The new track...

Source: Side Line

The Polish dark electronic project Fractal returns to the Slovak label Aliens Production with the...

Source: Side Line

Dark Force Fest, the goth-industrial and dark alternative festival held at the Sheraton Parsippany “Castle”...

Source: Side Line

Dieses Jahr kommen Beyond Obsession auf "In My Blood" Tour - wir freuen uns, als Präsentatoren dabei zu sein! Alle Termine und weitere Infos hier.

Source: Sonic Seducer

Artist: RomeTitle: The HierophantGenre: NeofolkRelease Date: 19th December 2025Label: Trisol Music Group GmbH

Source: Reflections of Darkness

In den letzten Tagen haben The O'Reillys And The Paddyhats mehr als die Hälfte ihrer Besetzung verloren. Nun hat die Band eine Pause angekündigt - mehr Infos hier!

Source: Sonic Seducer

Am 13. März 2026 veröffentlichen MONSTROSITY nach sieben Jahren ein neues Album: „Screams from Beneath the Surface“ erscheint via Metal Blade Records.

Mit einem Video zu „The Colossal Rage“ stellt die Death Metal Band nun den ersten Track des kommenden Albums vor.

Zur aktuellen Besetzung von MONSTROSITY gehören Drummer und Bandgründer Lee Harrison, Gitarrist Matt Barnes (seit 2020 dabei), Bassist Mark Van Erp (MONSTROSITY-Member von 1900 bis 1995, seit 2022 wieder dabei) und Sänger Ed Webb (ex-MASSACRE, seit 2021 dabei).

Die Drum- und Bassaufnahmen sowie der Mix sind aus dem Audiohammer Studio, Produzent war Jason Suecof.  Gesangs- und Gitarrenaufnahmen und das Mastering entstanden im Morrisound Studio mit Jim Morris. Das Cover-Artwork ist von Timbul Cahyono.

MONSTROSITY „Screams From Beneath The Surface“ Tracklist & Cover
1. Banished To The Skies
2. The Colossal Rage (Video bei YouTube)
3. The Atrophied
4. Spiral
5. Fortunes Engraved In Blood
6. Vapors
7. The Thorns
8. Blood Works
9. The Dark Aura
10. Veil Of Disillusion

MONSTROSITY Line-up:
Ed Webb – vocals
Matt Barnes – guitars
Mark Van Erp – bass
Lee Harrison – drums

Source: Vampster

SODOM veröffentlichen am 27. Februar 2026 eine remasterte Version des Albums „Get What You Deserve“ und der remasterten EP „Bitte Mit Sahne“.

Die remasterte Version des Songs „Jabba The Hut“ kann man hier anchecken – das Video zeigt Camcorder-Material der Fotosessions für das Albumcover von „Get What You Deserve“ und „Aber Bitte Mit Sahne“:

Andy Brings kümmerte sich um den neuen Mix der Alben. Die Neuauflage erscheint als Box, als Bonus liegt außerdem das erste Konzert mit Atomic Steif und eine DVD mit weiteren Live-Shows bei. Neben dem originalen Hotelzimmer-Cover sind sowohl die zensierte Version mit Bandfoto als auch die ursprünglich geplante Version mit einem Knarrenheinz-Gemälde von Andreas Marschall Teil des Pakets.

Andy Brings wollte mit der neuen Version ein bestimmtes Ziel erreichen:

Ich wollte das Album, das im Original schon kaum Zutaten und null Ballast hat, noch weiter auf das absolute Maximum reduzieren. Keine Samples, keine Tricks, nur eine sehr angepisste Band auf einem kreativen und energiegeladenen Höhenflug.“

Tom Angelripper hat ein besonderes Verhältnis zu „Get What You Deserve“, das 1994 veröffentlicht wurde:

„Wir sind vor über 30 Jahren mit dem Album gegen den Strom geschwommen und tun es heute wieder. Nichts klingt wie diese Platte und das macht mich sehr stolz. Get What You Deserve war, ist und bleibt die Musik-gewordene Anti-Haltung. Mein persönliches Lieblingsalbum von Sodom!“

Autogrammstunde mit SODOM in Dortmund
Zur Veröffentlichung des Albums geben Tom Angelripper und Andy Brings in Dortmund eine Autogrammstunde.

Ort: EMP Store Dortmund, Potgasse 4
Datum: Freitag, 27.02.2026
Uhrzeit: 16:30 – 17:30 Uhr

 

 

SODOM „Get What You Deserve“  2026 Deluxe Box Set Edition Tracklist & Cover
LP1 – Get What You Deserve

(2026 Remaster)
Get What You Deserve
Jabba The Hutt (Video bei YouTube)
Jesus Screamer
Delight In Slaying
Die Stumme Ursel
Freaks Of Nature
Eat Me!
Unbury The Hatchet
Into Perdition
Sodomized
Fellows In Misery
Tribute To Moby Dick (Instrumental)
Silence Is Consent
Erwachet!
Gomorrah
Angel Dust

LP2 – Get What You Deserve

(Blitzkrieg Remix)
Get What You Deserve
Jabba The Hutt
Jesus Screamer
Delight In Slaying
Die Stumme Ursel
Freaks Of Nature
Eat Me!
Unbury The Hatchet
Into Perdition
Sodomized
Fellows In Misery
Tribute To Moby Dick (Instrumental)
Silence Is Consent
Erwachet!
Gomorrah
Angel Dust
 
LP3 – Aber bitte mit Sahne (2026 Remaster & Schweinskopf Remix*)

Aber bitte mit Sahne
Sodomized
Abuse
Skinned Alive ’93
Aber bitte mit Sahne*
Sodomized*
Abuse*
Skinned Alive ’93*

DVD – Reincarnation Live 1993

Live In Traunreut, Germany 1993
Live At Metal Blast, Netherlands 1993
Silence Is Consent raw video shoot & interview

LP4 & 5 – Live In Frischborn, Germany 1993

Sodomy And Lust
An Eye For An Eye
One Step Over The Line
Skinned Alive
Remember The Fallen
Tarred And Feathered
Ausgebombt
Better Of Dead
Reincarnation
Shellfire Defense
The Saw Is The Law
Bullet In The Head
Sodomized
Outbreak Of Evil
Ace Of Spades
Wachturm
Bombenhagel

Source: Vampster

Mit "Song Of Darkness" haben Leaves' Eyes den Titeltrack ihrer gleichnamigen kommenden EP ausgekoppelt. Mehr Infos und das Musikvideo hier bei uns!

Source: Sonic Seducer

Born Erased is a Bulgarian solo project inspired by Angel Simitchiev. He released his debut...

Source: Side Line

Behind the Swedish-American death metal trio Eye of Purgatory are Rogga Johansson(Paganizer, Ribspreader), Taylor Nordberg(Deicide, Inhuman Condition) and Jeramie Kling(Inhuman Condition, Overkill). On February 13, 2026, the new album “Darkborne” will be released, in which they effortlessly capture the spirit of Swedish death metal. It is dark and atmospheric, while at the same time exuding […]

Source: Orkus

Puscifer is the brainchild of Maynard James Keenan(Tool, A Perfect Circle), Mat Mitchell and Carina Round. The name comes from the US comedy series “Mr. Show”, in which Maynard plays a band member of an imaginary band called Puscifer. Since the band’s ten-year anniversary, Danny Lohner(Nine Inch Nails), Brad Wilk(Rage Against the Machine) and Tim […]

Source: Orkus

Die niederländische Punk Rock-Band SAVAGE BEAT hat mit „Bright Lights, Tall Shadows“ ein neues Album angekündigt. Das neue Album wurde von Steven van der Werff im Studio Mono in Amsterdam produziert und von Dan Randall gemastert. Release-Termin ist der 6. März 2026 via Wap Shoo Wap Records, Longshot Music und Mendeku Diskak.

SAVAGE BEAT Line-Up:
Marko Petrovic — Vocals
Rogier Heumakers — Bass, Backing Vocals
Lionn van der Horst — Drums, Backing Vocals
Gilian Profundo P. — Rhythm Guitar, Backing Vocals
David Aferiat — Lead Guitar, Backing Vocals

SAVAGE BEAT „Bright Lights, Tall Shadows“ Tracklist
01 Street Boogie Confidential
02 Cut To The Chase
03 Unhinged
04 Killer Inside
05 Blood On The Knees
06 Bright Lights, Tall Shadows
07 The Side Hustle
08 Worse For Wear
09 Three Chord Disciple
10 Tomorrow (Might Never Come) (Audio bei Bandcamp)

Source: Vampster

Die Melodic Death / Groove Metal-Band SELIAS hat einen Labeldeal bei Wormholedeath unterschrieben. Im Zuge haben die Kanadier ihr neues Album „Killkarma“ veröffentlicht. Es ist nach „Headshot“ (2024) das zweite Album der Band und ist am 7. November 2025 erschienen. Nach dem Video-Clip zu „Bullets“ gibt es mit „Cautionary Tale“ nun ein weiteres Video.

SELIAS Line-Up:
Guillaume Pascual – vocals & keyboards
Daniel Bouwman – drums
Jeff Hyde – bass
Steve Elias – guitars

SELIAS „Killkarma“ Tracklist
01 – The Day The World Went Away
02 – Abducted
03 – Bullets (Video bei YouTube)
04 – 888
05 – Beyond The Switch
06 – Don’t Tread On Me
07 – Cautionary Tale (Video bei YouTube)
08 – 88i8
09 – Six 6 Sicks
10 – Real Eyes Realize
11 – Ravens Call
12 – Flames
13 – My Time
14 – Twisted Path Reimagined

Source: Vampster

Die Schweizer Psychedelic / Garage Rock-Band HARVEY RUSHMORE & THE OCTOPUS hat mit dem Video-Clip zu „Cloud Driver“ eine zweite Single ihres kommenden Albums „Mindsuckers“ veröffentlicht. Das Album, welches von alten Horrorfilmen, B-Movies, KI-Dystopien und den zerfallenden Grenzen der Realität inspiriert ist, folgt auf das Album „Freedomspacecake“ nach.

„Mindsuckers“ wird am 13. März 2026 via Taxi Gauche Records erscheinen. Vorab gibt es auch zu „Acid River“ einen Video-Clip.

HARVEY RUSHMORE & THE OCTOPUS Line-Up:
Jakob Läser
Jonathan Meyer
Massimo Tondini
Stefan Cecere

HARVEY RUSHMORE & THE OCTOPUS „Mindsuckers“ Tracklist
1. Wet Rabbit
2. Hope
3. Bitterkraut
4. Painting Colours
5. Moon Reject
6. Cloud Driver (Video bei YouTube)
7. Acid River (Video bei YouTube)
8. Cosmic Waves
9. Mindsucker

Source: Vampster

Die Power Metal-Band EMBRACE OF SOULS hat einen Labeldeal bei Rockshots Records unterschrieben. Im Zuge dessen werden die Italiener ihr neues Album „The Battle Of The Dead“ veröffentlichen. Es ist nach „The Number of Destiny“ (2021) und „Forever Part of Me“ (2024) das dritte Album der von Drummer und Komponist Michele Olmi (CHRONOSFEAR, LAY OF THE AUTUMN) gegründeten Band. Ein Release-Termin steht noch aus.

EMBRACE OF SOULS Line-Up:
Michele Olmi – Drums
Giacomo Rossi – Vocals
Martina Mazzeo – Vocals
Xavier Rota – Bass
Giovanni Paolo Galeotti – Guitars
Davide Scuteri – Keyboards

Source: Vampster

Syrian-Armenian-American singer and producer KÁRYYN will release the new 10-track album “Physics Universal Love Language...

Source: Side Line

  Kira Sinister and Michael Albers had previously worked under the moniker of Sündenrausch, with 2022’s Original Sin being the band’s third and final release; now rebranded as The Original Sin, the band has announced a definitive reissue of that album with a radio edit of the title track [..]

Source: RE:GEN Mag

  After releasing a series of singles over the past several months, Jessica Perry and Jim Finley have announced their debut EP under the banner of Ghostbells, titled Catacouture. The EP marks the band’s first physical CD release, its six tracks presenting the duo’s danceably dark fusion [..]

Source: RE:GEN Mag

  Six years since the French alternative rock’s last release, Dust Lovers has returned with the unveiling of “Yes Life,” serving as the first single from the forthcoming Green Screens album. Veering from traditional rock modes toward a more experimental mix of post-punk, new wave, and cinematic alternative, the song is a reflection of anxiety in the modern age [..]

Source: RE:GEN Mag

Collecting three of the most influential figures to emerge from the British pop realignment of the early 1980s, The Human League’s Generations Tour brings together Soft Cell and Alison Moyet for a 21-date North American tour this summer. Less a nostalgia exercise than a convergence of parallel histories, the run opens June 2 in San Diego and concludes July 2 in Niagara Falls, threading through major cities including Los Angeles, Dallas, Nashville, Chicago, New York, and Philadelphia.

The tour promises a full evening spanning classic singles, deeper catalogue material, and newer work – songs that did not merely define a moment around 1980 but helped reframe what pop music could accommodate emotionally, aesthetically, and socially. Emerging during a brief but fertile period, all three artists rose quickly and endured not through trend alignment but through a recalibration of pop’s expressive limits.

“Since our debut in 1980, we have always enjoyed an awesome welcome in America and we’re really thrilled to be embarking on a coast-to-coast tour of the U.S. in 2026,” says Philip Oakey of The Human League. “Sharing the stage on this visit will be two of the best and most iconic music acts of our generation, Soft Cell and Alison Moyet. Both are personal favorites. We’re looking forward to being part of the bill of a lifetime and, once more, getting the chance to play in some of our best loved places in the world. We can’t wait.”

For Soft Cell’s Marc Almond, the tour carries both admiration and a sense of continuity between artists who reshaped the same landscape from different angles.

“The opportunity to tour with the Human League is just incredible,” adds Marc Almond of Soft Cell. “They are legendary, and I know they will do an unforgettable show, having not toured the U.S. for over a decade, and Alison Moyet is such a talented artist and a wonderful singer. Honestly, it will be an absolute honor to be part of the bill with these artists.”

Alison Moyet situates the tour in physical presence: the immediacy of live performance as a space for reconnection. “Live work really matters to me,” Moyet explains. “I love the physical feeling that singing gives me. It’s totally primal and euphoric. On stage, I remember how to connect with myself. I am honoured to have been invited to share a stage on this tour with The Human League and Soft Cell. Stunning artists that reframed our music scene and by cutting their own shapes, made it possible for people like me to launch.”

Between them, the three artists authored a series of cultural pressure points: The Human League’s Don’t You Want Me, Fascination, and Human; Soft Cell’s Tainted Love and later collaborations such as Purple Zone with Pet Shop Boys; and Alison Moyet’s work with Yazoo alongside solo landmarks including Love Resurrection. These songs continue to circulate as templates still informing club culture, pop production, and the visual grammar of alternative music decades on.

Since 1978, The Human League have released nine studio albums, including the multi-platinum DARE, alongside four EPs, more than thirty singles, and numerous compilations. Their chart success on both sides of the pond sits alongside a longer narrative of independence and endurance, with over 40 million records sold worldwide.

Soft Cell formed in 1979 after Marc Almond met Dave Ball at Leeds College, united by a shared interest in “catchy but twisted pop songs.” Their 1981 cover of Gloria Jones’ Tainted Love became a global phenomenon, reaching No. 1 in 17 countries and setting a Guinness World Record for the longest consecutive run on the U.S. Billboard Hot 100 at the time. Often cited as electro pioneers, their influence extends across genres and generations, with collaborations ranging from Pet Shop Boys to Nine Inch Nails. Their forthcoming album Danceteria, completed just days before Dave Ball’s death, will be released in summer 2026; this tour is dedicated to his memory.

Alison Moyet’s trajectory from punk beginnings to Yazoo to her solo debut with Alf by the age of 23 has remained singular. Across ten solo albums, multiple BRIT Awards, a GRAMMY nomination, and a recent first-class degree in Fine Art Printmaking, she continues to evolve on her own terms. In 2024, she marked 40 years as a solo artist with the Top 10 album Key, launched the podcast 40 Moyet Moments, and completed a 59-date world tour in 2025.

Tickets for The Generations Tour go on general sale Friday, January 23, at 10:00 am local time, with various presales available in advance.

Artist Presale begins on Wednesday, January 21st at 10 am local time.
Local/Venue Presale starts on Thursday, January 22nd at 10 am local time.
Spotify Presale opens on Thursday, January 22nd at 12 noon local time.
General On Sale commences on Friday, January 23rd at 10 am local time.

Tour Dates:

June 2 — San Diego, CA — Cal Coast Credit Union Open Air Theatre
June 4 — Los Angeles, CA — Hollywood Bowl
June 5 — San Francisco, CA — The Warfield
June 6 — Wheatland, CA — Hard Rock Live
June 8 — Seattle, WA — Marymoor Live
June 11 — Salt Lake City, UT — Red Butte Garden Amphitheatre
June 12 — Las Vegas, NV — Fontainebleau Las Vegas
June 13 — Mesa, AZ — Mesa Amphitheatre
June 16 — Dallas, TX — Texas Trust CU Theatre
June 17 — New Orleans, LA — Saenger Theatre
June 19 — Atlanta, GA — Fox Theatre
June 20 — Charlotte, NC — The Amp Ballantyne
June 21 — Nashville, TN — Grand Ole Opry
June 23 — Chicago, IL — The Chicago Theatre
June 24 — Detroit, MI — Masonic Temple Detroit
June 26 — New York, NY — Radio City Music Hall
June 27 — Boston, MA — Wang Theatre
June 28 — Philadelphia, PA — The Met Philadelphia
June 30 — Vienna, VA — Filene Center (tickets on sale February 27)
July 1 — Northfield, OH — MGM Northfield
July 2 — Niagara Falls, ON — Fallsview Casino Resort

 

The post The Human League Announces All-Star Generations US Tour With Soft Cell and Alison Moyet appeared first on Post-Punk.com.

Source: Post-Punk.com

Collecting three of the most influential figures to emerge from the British pop realignment of the early 1980s, The Human League’s Generations Tour brings together Soft Cell and Alison Moyet for a 21-date North American tour this summer. Less a nostalgia exercise than a convergence of parallel histories, the run opens June 2 in San Diego and concludes July 2 in Niagara Falls, threading through major cities including Los Angeles, Dallas, Nashville, Chicago, New York, and Philadelphia.

The tour promises a full evening spanning classic singles, deeper catalogue material, and newer work – songs that did not merely define a moment around 1980 but helped reframe what pop music could accommodate emotionally, aesthetically, and socially. Emerging during a brief but fertile period, all three artists rose quickly and endured not through trend alignment but through a recalibration of pop’s expressive limits.

“Since our debut in 1980, we have always enjoyed an awesome welcome in America and we’re really thrilled to be embarking on a coast-to-coast tour of the U.S. in 2026,” says Philip Oakey of The Human League. “Sharing the stage on this visit will be two of the best and most iconic music acts of our generation, Soft Cell and Alison Moyet. Both are personal favorites. We’re looking forward to being part of the bill of a lifetime and, once more, getting the chance to play in some of our best loved places in the world. We can’t wait.”

For Soft Cell’s Marc Almond, the tour carries both admiration and a sense of continuity between artists who reshaped the same landscape from different angles.

“The opportunity to tour with the Human League is just incredible,” adds Marc Almond of Soft Cell. “They are legendary, and I know they will do an unforgettable show, having not toured the U.S. for over a decade, and Alison Moyet is such a talented artist and a wonderful singer. Honestly, it will be an absolute honor to be part of the bill with these artists.”

Alison Moyet situates the tour in physical presence: the immediacy of live performance as a space for reconnection. “Live work really matters to me,” Moyet explains. “I love the physical feeling that singing gives me. It’s totally primal and euphoric. On stage, I remember how to connect with myself. I am honoured to have been invited to share a stage on this tour with The Human League and Soft Cell. Stunning artists that reframed our music scene and by cutting their own shapes, made it possible for people like me to launch.”

Between them, the three artists authored a series of cultural pressure points: The Human League’s Don’t You Want Me, Fascination, and Human; Soft Cell’s Tainted Love and later collaborations such as Purple Zone with Pet Shop Boys; and Alison Moyet’s work with Yazoo alongside solo landmarks including Love Resurrection. These songs continue to circulate as templates still informing club culture, pop production, and the visual grammar of alternative music decades on.

Since 1978, The Human League have released nine studio albums, including the multi-platinum DARE, alongside four EPs, more than thirty singles, and numerous compilations. Their chart success on both sides of the pond sits alongside a longer narrative of independence and endurance, with over 40 million records sold worldwide.

Soft Cell formed in 1979 after Marc Almond met Dave Ball at Leeds College, united by a shared interest in “catchy but twisted pop songs.” Their 1981 cover of Gloria Jones’ Tainted Love became a global phenomenon, reaching No. 1 in 17 countries and setting a Guinness World Record for the longest consecutive run on the U.S. Billboard Hot 100 at the time. Often cited as electro pioneers, their influence extends across genres and generations, with collaborations ranging from Pet Shop Boys to Nine Inch Nails. Their forthcoming album Danceteria, completed just days before Dave Ball’s death, will be released in summer 2026; this tour is dedicated to his memory.

Alison Moyet’s trajectory from punk beginnings to Yazoo to her solo debut with Alf by the age of 23 has remained singular. Across ten solo albums, multiple BRIT Awards, a GRAMMY nomination, and a recent first-class degree in Fine Art Printmaking, she continues to evolve on her own terms. In 2024, she marked 40 years as a solo artist with the Top 10 album Key, launched the podcast 40 Moyet Moments, and completed a 59-date world tour in 2025.

Tickets for The Generations Tour go on general sale Friday, January 23 at 10:00am local time, with various presales available in advance.

June 2 — San Diego, CA — Cal Coast Credit Union Open Air Theatre
June 4 — Los Angeles, CA — Hollywood Bowl
June 5 — San Francisco, CA — The Warfield
June 6 — Wheatland, CA — Hard Rock Live
June 8 — Seattle, WA — Marymoor Live
June 11 — Salt Lake City, UT — Red Butte Garden Amphitheatre
June 12 — Las Vegas, NV — Fontainebleau Las Vegas
June 13 — Mesa, AZ — Mesa Amphitheatre
June 16 — Dallas, TX — Texas Trust CU Theatre
June 17 — New Orleans, LA — Saenger Theatre
June 19 — Atlanta, GA — Fox Theatre
June 20 — Charlotte, NC — The Amp Ballantyne
June 21 — Nashville, TN — Grand Ole Opry
June 23 — Chicago, IL — The Chicago Theatre
June 24 — Detroit, MI — Masonic Temple Detroit
June 26 — New York, NY — Radio City Music Hall
June 27 — Boston, MA — Wang Theatre
June 28 — Philadelphia, PA — The Met Philadelphia
June 30 — Vienna, VA — Filene Center (tickets on sale February 27)
July 1 — Northfield, OH — MGM Northfield
July 2 — Niagara Falls, ON — Fallsview Casino Resort

 

The post The Human League to Embark All-Star Synth-pop Generations Tour With Soft Cell and Alison Moyet appeared first on Post-Punk.com.

Source: Post-Punk.com

On January 13, 1986, Cocteau Twins released the compilation album “The Pink Opaque”. Did you already know these 5 facts? ★ “The Pink Opaque” consists of songs recorded between 1982 and 1985. ★ The release was initiated by the British label 4AD as well as the American Relativity Records. ★ The compilation was the first […]

Source: Orkus

VIA DOLORIS stellen den neuen Song „For The Glory“ vor, eine zentrale Komposition aus ihrem kommenden Debütalbum „Guerre et Paix“. Der Song, der im Mittelpunkt des Albums steht, zeichnet einen langsamen Aufstieg vom inneren Zusammenbruch hin zu einem fragilen Selbstbewusstsein nach und fängt die zentrale Spannung des Projekts zwischen Ausdauer und Kapitulation ein. Das Schlagzeugspiel von Frost (1349, Satyricon) vermittelt ein physisches Gefühl von Beharrlichkeit, geerdet und unnachgiebig, und verstärkt den Fokus des Tracks auf Überleben statt Eroberung. „Guerre et Paix“ erscheint am 20. März über Season of Mist.
Pre-order & pre-save: https://orcd.co/viadolorisguerreetpaix

 

Source: Amboss-Mag.de

We were looking into the abyss
you held my hand and swore we’d dive
soon betrayed by paralysis
you said — maybe in another life

When belief collapses, it doesn’t disappear — it mutates. Faith in God, in institutions, in the idea that the world is governed by mercy gives way to something narrower and more difficult: the responsibility of how to act once those structures fail. The world imagined here is already damaged — polluted skies, emptied streets, families reduced to movement rather than destination. Parents walk forward with children not because they expect salvation, but because stopping would mean surrender. Lovers stand at the edge of loss, caught between devotion and paralysis. Death is no longer abstract; it is addressed directly, spoken to as a presence that listens. In this landscape, purity is no longer innocence or moral perfection. It becomes an internal discipline — something guarded, defended, carried through ruin as proof that humanity survives not through belief, but through endurance.

Moonstone, by Italian artist Kæry Ann, lives inside that constant tension, singing from within it rather than above it, shaping survival into sound. Sung in both Latin and English, Moonstone treats language as rite and reckoning. Latin phrases carry the weight of prayer without shelter, their repetition steady, almost geological. Vocals rise in medieval choral forms, disciplined and severe, then fracture into something exposed, where pain is allowed to speak without translation. Guitars move with dramatic force — at times ceremonial, at times sharply emotional — pressing forward with urgency that recalls the bruised immediacy of Hole, the ritual gravity of Dead Can Dance, and the raw pivots of Pixies.

Puritatem Tuam Interiorem Serva opens the record like an inscription, urging the preservation of inner purity against a sky choked with moral fallout. Its mantra — to keep what is human intact even as toxicity spreads — becomes the album’s quiet thesis. Todeslied follows not with fear, but with surrender, addressing death as transformation rather than rupture, its structure unfolding slowly, breath by breath, until dissolution feels less like an ending than a release.

The Road grounds the album in motion and responsibility, following a parent and child through abandoned streets where faith has failed but care persists. Statues rot, houses become tombs, mercy recedes — yet walking together becomes an act of resistance. Humanity survives here not through belief, but through hope, tears, and the refusal to abandon one another in a world that no longer knows compassion.

Hero and Leander, accompanied by a stark video by Davide Saleri, reframes myth as private devastation. Grief becomes physical, internalized, marked by memory that refuses erasure. Love does not rescue; it endures, scarred and awake. The song’s central image — devotion halted by paralysis — lingers as one of the album’s most devastating truths.

Mariner’s Song drifts between devotion and guilt, its departure sealed by vision rather than choice. Prayer collapses into rage, confession into motion, as the sea becomes both witness and escape. Shores in Flames, a Bathory cover, widens the album’s scope to elemental destruction and historical erasure, situating personal loss within cycles of annihilation that predate and outlast the individual.

The closing White Dress turns fire into agency. Inheritance, expectation, and imposed identity burn away, leaving movement where captivity once stood. The figure at its center escapes not through absolution, but through rupture — crawling, howling, severing the past to reclaim the body as one’s own.

Listen to Moonstone below and order the album here.

Moonstone by Kæry Ann

Released after Songs of Grace and Ruin (2023, Anomic Records), Moonstone deepens Kæry Ann’s world without softening it. Doom weight, ritual folk, and exposed feeling converge here; the album offers presence rather than comfort, standing close where collapse and release share the same ground.

Moonstone will be presented on a European tour this winter in the following cities:

Tour Dates:

January 22 — Carmen Town — Brescia, Italy
February 5 — A38 — Budapest, Hungary
February 6 — Arena (3Raum) — Vienna, Austria
February 7 — Altes Spital — Viechtach, Germany
February 8 — Kinett — Kusel, Germany
February 9 — Z10 — Karlsruhe, Germany
February 10 — FZW — Dortmund, Germany
February 11 — Beautiful Noise — Siegen, Germany
February 12 — Slow Club — Freiburg, Germany
February 13 — BLO-Ateliers — Berlin, Germany
February 14 — Råhuset — Copenhagen, Denmark
February 15 — Deichdiele — Hamburg, Germany
February 18 — Black Shelter — Nantes, France
February 20 — Royal Baden — Baden, Switzerland
February 21 — CIQ — Milan, Italy

Follow Kæry Ann:

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Bandcamp

The post Looking into the Abyss — Italian Dreamgaze Artist Kæry Ann Unveils New Album “Moonstone” Ahead of European Tour! appeared first on Post-Punk.com.

Source: Post-Punk.com