Manchmal braucht es keinen Blick in den Wetterbericht, um zu wissen, dass es düster wird. Ein paar harte Sequenzen, ein kompromissloser Beat und diese unverkennbare Kälte reichen...

Source: MedienKonverter

Meersein, a German synthpop/dark wave project led by Jan Schütz, has announced the digital single...

Source: Side Line

The year turns its face away slowly, like a worker rinsing his hands at the end of a shift, water running dark with what the hours required. What remains is a held breath, a pause thick with endurance. Into that interval arrives this double single from Palindrones: two pieces that feel like lived-in statements rather than shared conditions. They speak from inside the long night many have known, yet they carry a warmth earned through contact, and through staying. Even the optimism of the turn of the millennium is magically captured here – with perhaps a little more hard-earned wisdom.

Palindrones are a South London dark electronic duo formed in 2020 by Jamie and Karen, born out of lockdown separation and sustained through connection at a distance. Their work turns on duality (symmetry and contradiction as method and meaning), where light and night, softness and force, digital pulse and human touch meet without cancelling one another. That balance carries through their recordings and into the room when they play live, where sound and visuals converge with a sense of shared lift.

Abraxas draws from Gnostic tradition, where the term names a composite force: deity, amulet, and cosmic cipher, holding good and evil within a single form, its seven Greek letters summing to 365: the full turning of days and heavens beyond the material world. That totality courses through the track itself. Rhythms strike and recoil, jagged yet deliberate, while melody moves forward with an insistent innocence that never quite forgets what it has seen. Joy lifts the surface, but knowledge adds gravity. Pain returns in cycles, less as affliction than awareness. Sacred impulse brushes against raw appetite; ascent and descent occur simultaneously. It feels made for New Year’s Eve: a moment of reckoning and release, where everything carried forward meets the promise of beginning again.

The Brightling Star widens the frame. Where the first track wrestles, this one gathers, bringing to mind particularly Yacht’s The Afterlife with its chant. Voices rise with calm resolve, breath finding a common cadence, feet setting down together on uncertain ground. The progression feels communal, each layer arriving with quiet inevitability, until the music stands upright in shared purpose. Fear loosens as bodies move side by side; distance collapses when eyes meet across the dark. At its core lies a simple conviction: individuality and unity can share a single pulse. It carries hope and renewal forward, finding lift in alignment, where separate forces meet and briefly hold their balance.

The video for The Brightling Star extends this sense of communion into the physical world, assembled from live performances across the UK throughout 2025. It watches the song circulate in real time, passing between bodies, faces, and raised hands, capturing the exchange of exhilaration between the crowd and Palindrones themselves. The camera lingers on that shared momentum, where scale and closeness coexist, and the music becomes a form of worship to the cosmos itself. Produced by Palindrones, with footage contributed by Sean Mooney, Chris Anderson, and Rob Claw Fox, the result feels lived-in and generous, shaped by nights spent together rather than staged for distance.

Watch the video for “The Brightling Star” below:

Together, these songs feel attuned to a threshold moment. They recognize what has been endured without rehearsing it endlessly. They suggest that renewal is neither sudden nor solitary. It comes through alignment, through listening, through the modest courage of staying open. As the calendar turns, this music offers an extended hand. That is enough.

Listen to Abraxas and The Brightling Star below and order the singles here.

Abraxas & The Brightling Star by Palindrones

Regular fixtures across the UK circuit, Palindrones have appeared at festivals including Resistanz, Whitby Goth Weekend, and Cable Festival, and shared stages with A Flock of Seagulls, In Strict Confidence, Beborn Beton, and Deep Forest, building a following grounded in unity, momentum, and release.

Follow PALINDRONES:

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The post Dark Electronic Duo Palindrones are Bathed in Violet in Their Video for “The Brightling Star” appeared first on Post-Punk.com.

Source: Post-Punk.com

The Italian band Plaster began as a duo in 2008 but evolved into a solo...

Source: Side Line

The beginnings of Ewiniar date back to 2017. However, the project only really took shape during the coronavirus pandemic. Marin summarizes: “In the beginning, we didn’t have a fixed idea of what the end result would sound like – apart from a clear leaning towards darker, more melancholic atmospheres. Throughout the process we tried different […]

Source: Orkus

It’s been 44 years since OMD released “Maid of Orleans (The Waltz Joan of Arc)” on January 15, 1982. Did you already know these 4 facts? ★ To avoid confusion with the previous single “Joan of Arc”, the song was renamed accordingly for the single release. ★ Both songs are about the Maid of Orleans […]

Source: Orkus

Massive Attack released the single “Unfinished Sympathy” 35 years ago. Did you already know these 5 facts? ★ Strictly speaking, the single was only released under half the band name Massive. – This was because the release coincided with the Gulf War, so “Attack” was dropped. ★ The track contains vocal and percussion samples, drum […]

Source: Orkus

Do you already know our new “DARK WAVE – Worldwide” playlist on Spotify? Let yourself be enchanted by the dark, electronic sounds of international artists from Clan of Xymox, Ductape to Project Pitchfork, Twin Tribes and Ultra Sunn.

Source: Orkus

Wie ein Paukenschlag sind Devil-M zurück und präsentieren mit „Astharat“ ihr bisher dichtestes, kompromisslosestes und radikalstes Werk. Deutschsprachige Texte vertiefen den Eindruck eines phänomenalen Meisterwerkes. Zum Wochenende nun der Videoclip „Marylin Medusa“

Source: Danse Macabre News

For decades, post-apocalyptic cinema has framed collapse as a cautionary spectacle: scorched cities, empty highways, a final reckoning rendered safely at a distance. But the older that imagery gets, the less it reads like science fiction, and the more it feels like a forecast we’ve been rehearsing in real time—resource by resource, decade by decade, decision by decision. The end of the world was once a genre. Now it’s a mood, a metric, and an inevitability we keep feeding.

With this in mind, French post-punk duo Buzzkill share “Wasteland”, the title track from their debut album WASTELAND, out now via Ganache Records and Cœur sur Toi. Formed in September 2024, the project pairs Nolwenn Boyet (lead vocals/synth) with bassist Ronni Gauderat, drawing on industrial, synth-punk, and cold wave traditions to shape a sound defined by saturated bass, nervous mechanical rhythms, icy synths, and a dense vocal presence. Their universe is cold, immersive, and intensely charged—designed to hold tension rather than resolve it.

“Wasteland” places its focus on the ecological and social consequences left to younger generations by decades of extraction, denial, and political inertia. The lyrics describe environments stripped of value and meaning, where resources have been exhausted and responsibility endlessly deferred by those in power. Awareness arrives not as revelation, but as confirmation: the damage is already visible, and appeals to faith, effort, or regret arrive too late to matter.

Rather than dramatizing disaster, the song documents its aftermath. Those who contributed to the collapse—through action, inaction, or privilege—are no longer insulated from its outcome. Prayer is reduced to habit, labor to futility, and belief to ritual without effect. The land itself becomes a record of that failure, transformed from shared resource into evidence and, ultimately, a site of consequence. In this framing, “Wasteland” is not about warning or prevention; it is about living inside what has already been lost.

Musically, Boyet and Gauderat reinforce this inevitability through discipline and pressure. Raw, brooding basslines grind forward with sustained insistence, locking into rigid tempos that feel industrial in both motion and intent. Crunchy snare hits, and mechanical rhythms drive the track with locomotive force, while synth lines rise and fall in cold, chiming arcs across the mix. Over it all, the vocal carries a haunting, ritualistic quality—almost a shamanistic lament in tone—suggesting fragments of belief carried over from an older world into one where faith no longer offers protection. The result is both brutal and contemplative, inviting movement even as it confronts the listener with ruin.

The accompanying video for “Wasteland” extends these themes through a first-person VR experience, placing the viewer directly inside the landscape the song describes. Rather than observing collapse from a distance, the camera adopts the perspective of someone moving through it—hands entering the frame, bodies assembling, structures looming, and fire erupting against vast, unforgiving terrain.

Gothic architecture, desert expanses, ritual imagery, and scorched horizons recur throughout the video, reinforcing the album’s post-apocalyptic framework. Figures gather around flames, silhouettes drift across open ground, and monumental ruins dominate the frame, suggesting a world shaped not by chaos but by consequence. The VR format collapses the boundary between witness and participant, mirroring the song’s insistence that no one remains outside the damage.

Watch the video for “Wasteland” below;

Buzzkill’s WASTELAND is out now via Ganache Records and Cœur sur Toi. Listen to the album below, and order it here.

Wasteland by BUZZKILL

Next Gigs:

Jan 17 — Le Dada / Toulouse
Jan 18 — Le Black Out / Montpellier
Mar 05 — Victoire 2 / Montpellier (with Pain Magazine)

Follow Buzzkill:

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The post French Post-Punk Duo Buzzkill Wander the Post-Apocalyptic Aftermath in “Wasteland” appeared first on Post-Punk.com.

Source: Post-Punk.com

I wanna be where the boys are
But I’m not allowed
I wait outside of the boy’s bar
I wait for them to all come out
Originally released in 1985, “Boy” was the debut single by the American synth-pop band Book of Love and later appeared on their self-titled debut album in 1986. More than four decades on, the song’s chiming elegance and quiet ache remain instantly recognizable—qualities that made it ripe for rediscovery when it resurfaced in the 2025 film Companion. Now, Catherine Moan offers a considered reinterpretation that keeps the song’s emotional center intact while shifting its light.

Written by Theodore Ottaviano, “Boy” centers on a luminous, bell-like chime motif that gives the song its buoyant, almost weightless feel. The band’s trajectory changed when a demo landed with DJ and producer Ivan Ivan, who passed it along to Sire Records founder Seymour Stein, securing Book of Love a recording contract and a place within the era’s emerging synthpop vanguard.

Lyrically, “Boy” sketches a delicate emotional imbalance: a narrator drawn toward someone who remains just out of reach, emotionally and romantically misaligned. The song traces the quiet frustration of longing—affection offered freely, but never quite returned in the way it’s hoped for. In later interviews, Ottaviano clarified that the song was inspired by Boy Bar, an exclusive gay club in New York’s East Village, giving the track a specific cultural anchor beneath its universal sense of yearning. That tension—between brightness and ache, hope and resignation—is what gives “Boy” its lasting pull.

Catherine Moan leans into that duality, honing the song’s shimmer and allowing the melody to hover with the soft glow of her daydream vocals. As with her cover of Depeche Mode’s “Fools,” Moan shows a knack for approaching canonical material without flattening its emotional nuance.

The cover was created in collaboration with Trey Frye of Korine, extending a distinctly Philadelphia lineage shared by Moan, Frye, and Book of Love themselves. Frye’s understated production touch deepens the song’s sense of synth-pop reverie, reinforcing a throughline that connects generations of the city’s electronic underground. The result is reverent of the genre’s history while confidently reframing it through a contemporary, emotionally grounded lens. Subtle differences separate this version from the original, save for Catherine Moan’s sighing vocals, which gently shift the song’s emotional weight—allowing it to linger, still bright and still wistful, but newly attuned to the quiet, unresolved ache of unreturned affection.

Listen below:

Follow Catherine Moan:

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The post Catherine Moan Shares Cover of Book of Love’s Wistful Synthpop Classic “Boy” appeared first on Post-Punk.com.

Source: Post-Punk.com

We move through our days as if equipped for triumph, yet our hands are often empty when the reckoning comes. Effort does not guarantee arrival; devotion does not ensure endurance. Again and again, we discover that the very faculties we trust: resolve, patience, love – wear thin at the moment they are most needed. Loss arrives as a quiet inheritance, asking us to bear what no practice can fully teach. Perhaps this is the hidden weight of being human: to strive knowing the ground may give way, and to grieve knowing that even grief will someday ask more of us than we can give.

There are records that arrive like letters written in careful ink, composed over years when speaking aloud felt impossible. IT’S THE LONG GOODBYE stands among those. It carries the weight of days lived under pressure, when joy and damage share the same room and neither agrees to leave. The Twilight Sad understand firsthand how memory lodges in the body; here, that understanding becomes a plainspoken act of witness. The songs move with purpose, guitar lines tightening and releasing as if testing the strength of the ground beneath them, while Graham’s tender vocals at the centre sound steadied by necessity rather than comfort.

DESIGNED TO LOSE sets the tone. Its motion feels measured, its force earned. The song circles a familiar human trouble: how effort so often ends in surrender, how resolve can thin just when it is most required. There is only the sense of a man accounting for the cost of staying upright. Loss is not theatrical; it is practical, daily, exhausting.

Listen below:

IT’S THE LONG GOODBYE’s roots reach back to 2016, when triumph and catastrophe arrived in close succession. A tour high with The Cure dissolved into the slow erosion of illness, early onset frontotemporal dementia taking hold of James Graham’s mother. Much of the album was written while life appeared to be opening: marriage, parenthood…at the same time something essential was being cruelly erased. Years later, another tour ended early, with Graham’s mental health failing under accumulated strain. “And then my mum passed away in the January afterwards,” he says. The line lands without ornament, and that restraint defines the album’s strength.

Andy MacFarlane’s arrangements press forward with urgency, guitars stacked and straining, yet never overcrowded. They give the words a frame sturdy enough to bear them. Graham acknowledges the shift in his approach: “In the past I’ve used a lot of metaphors within my lyrics,” he says. “With this, there’s not as much…The record is heavily influenced by my mental health, grief and loss, and the need to be strong in positions where you’re not feeling it. It’s a very human story, I think – this is just my version of it. I feel that everybody goes through something like this. Everybody loses somebody. Everybody questions life.”

That sense of shared exposure is what carries the album beyond autobiography. Developed slowly, over seven years, it grew through distance and exchange: ideas stockpiled during lockdown, words traded back and forth. Robert Smith’s presence appears as texture and counsel, adding guitars, keys, and bass across several tracks, less as spectacle than as a steadying hand. The sessions at Battery Studios lend the work a quiet continuity with histories already written there.

““To know that I’m saying things that connect with other people, that’s such a powerful thing,” Graham reflects. “I want to be a relatable person that talks about things that can happen and give an opportunity for people to go, well, you’re not alone.” IT’S THE LONG GOODBYE offers that companionship honestly, acknowledging how often we fall short, and how speaking from that place can still hold us together.

Preorder IT’S THE LONG GOODBYE here. You can listen to DESIGNED TO LOSE below.

IT’S THE LONG GOODBYE by The Twilight Sad

The Twilight Sad will be on tour in the UK and Europe in April and May including a performance at the Roundhouse in London. The band also recently announced news of a second Glasgow Barrowland show in early May. This will be followed by a handful of dates performing as special guests to The Cure in June and July.

TOUR DATES

April 12 – Italy, Milan – Legend Club
April 14 – Switzerland, Zurich, Bogen F
April 15 – Germany, Munich, Ampere
April 16 – Germany, Berlin, Gretchen
April 18 – Denmark, Copenhagen, Loppen
April 19 – Norway, Oslo, Parkteateret
April 20 – Sweden, Stockholm, Slaktkyrkan
April 22 – Germany, Hamburg, Grünspan
April 23 – Netherlands, Utrecht, Tivolivredenburg Pandora Hall
April 25 – Germany, Cologne, Gebäude 9
April 26 – Belgium, Brussels, Rotonde – Botanique
April 27 – France, Paris, Le Trabendo
April 29 – UK, Bristol, Electric Bristol
April 30 – UK, London, Roundhouse
May 2 – UK, Manchester, New Century Hall
May 3 – UK, Newcastle upon Tyne, Boiler Shop
May 5 – Scotland, Glasgow, Barrowlands
May 6 – Scotland, Glasgow, Barrowlands
May 9 – Ireland, Dublin, Button Factory
July 24-26 – UK, Deer Shed Festival

LIVE DATES WITH THE CURE:

Sun 14 June – Italy, Firenze, Visarno Arena
Weds 24 June – Cardiff, Blackweir Fields
Fri 26 June – Dublin, Marley Park
Sun 28 June – Belfast, Belsonic
Weds 8 July – Slovakia, Pohoda Festival
Fri 10 July – Germany, Berlin, Wuhlheide
Sat 11 July – Germany, Berlin, Wuhlheide
Sun 12 July – Germany, Berlin, Wuhlheide

Follow The Twilight Sad:

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The post The Twilight Sad Announces New Album “It’s The Long Goodbye” — Listen to New Song “Designed to Lose” appeared first on Post-Punk.com.

Source: Post-Punk.com

  Late in 2025, Cold Cave announced a series of west voast tour dates to take place in February, with support from fellow Heartworm Press artists Buzz Kull and Rosa Anschütz. Now, the three have announced a run of dates for the east coast, which will add goth/rock legends Clan of Xymox [..]

Source: RE:GEN Mag

On 16 January 2026, Swedish electronic musician Carl Sjöström (Scapa Flow-member) will release his debut...

Source: Side Line

  Jeffrey Wilson has announced the release of Pull Me Toward the Dark, the third full-length album from his Deeper Graves outlet, in which he refines the core structural elements of the project toward a more emotional outlook. With “Where Do We Go From Here” presenting the first taste of the album, Wilson continues to explore moods and textures more rooted in shoegaze and post-punk [..]

Source: RE:GEN Mag

  Synthpunk trio HIRAKI has teamed up with shoegazing post-rockers Meejah for a collaborative EP to be released via Pelagic Records. The appropriately titled Interwoven sees the two bands blending their disparate styles across four tracks [..]

Source: RE:GEN Mag

On or around January 1, 2026, subscribers found playback on Napster abruptly cut off while...

Source: Side Line

MAYHEM kehren mit ihrem siebten Studioalbum „Liturgy of Death“ zurück und haben daraus die Single „Life is a Corpse You Drag“ veröffentlicht. Das Album präsentiert den Tod nicht als Ende, sondern als universelles Gesetz, das alles Leben berührt und die Zerbrechlichkeit der menschlichen Existenz offenbart. „Liturgy of Death“ erscheint am 6. Februar 2026.
Album-Preorder: https://mayhemband.lnk.to/LiturgyOfDeathNE

Attila comments on the new track: „Life Is a Corpse You Drag is not a slogan, but a ritual and a realization. It names an ancient law: consciousness as burden, the body as vessel, faith as a seal on a grave already closed. There is no comfort in this recognition but there is release. If we have been dead all along, there is nothing left to lose. […]“

 

Source: Amboss-Mag.de

Das italienische Blackened Post Punk Ensemble PONTE DEL DIAVOLO präsentiert mit „Lunga vita alla necrosi“ die neueste Single aus ihrem kommenden Album „De Venom Natura“. Das Album erscheint am 13. Februar via Season Of Mist. Zu „Lunga vita alla necrosi“ wurde nun ein Lyric-Video veröffentlicht.
Pre-order & pre-save: https://orcd.co/pontedeldiavolovenomnatura

Info zum Song:
Als einer der aggressivsten und psychologisch aufgeladensten Momente auf De Venom Natura versetzt die Single den Hörer in eine klaustrophobische Welt, in der Faszination und Abscheu nebeneinander existieren und damit die zentrale Idee des Albums widerspiegeln, dass Gift sowohl Verführung als auch Zerstörung bedeutet.

 

Source: Amboss-Mag.de

Spring will truly be paradisiacal! Because Ladytron ‘s new album entitled “Paradises” will be released on March 20, 2026. You can already enjoy a single release with “Caught in the Blink of an Eye”: Ladytron tour dates:March 19, 2026 UK-Liverpool, Arts Club Theatre20. March 2026 UK-Newcastle, Digital21. March 2026 UK-Manchester, GorillaMay 29, 2026 CA-Los Angeles, […]

Source: Orkus

Philadelphia-based electronic ensemble Markiemodel has returned with a brand new single. Titled “Cryodon Cis,” the single is a fast and furious industrial-rock rave-up, full of pummeling percussion and deep, caustic synth workouts. The track continues in the similar tradition as Markie’s previous work, tapping into the sleazy, lo-fi, psychedelic underworld of one of music’s most celebrated towns. One could easily imagine the track playing at blistering volumes in a sweaty basement dance club or in a beautifully tense, scene in a Greg Araki film. “Croydon Cis” is the first taste of new music from ‘You’re Welcome To The Synth Sludge Salon’ Vol. I., the project’s first full-length album, due out on February 13th of this year.

The video for “Croydon Cis” doubles down on the track’s infectious, yet gritty energy with a series of kaleidoscopic images, effects, and detached performance clips, evoking a psychedelic rave the likes which have not been seen since Andy Warhol’s Factory days. The clip features the current Markiemodel lineup of Shari Vari (Void Vision), J Buzolits (Illinois), Bryan Binsack, and naturally, Markie, who has been a fixture of the underground electronic scene since 1991. The video was directed by Ryan Bossert, who also provided visual effects and editing.

Check out the video for “Crydon Cis” below:

Follow Markiemodel:

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The post Philadelphia’s Markiemodel Groove with Glitter and Grit in “Cryodon Cis” appeared first on Post-Punk.com.

Source: Post-Punk.com

Und noch einmal der Mastermind von Dawn And Dusk Entwined, nur diesmal tatsächlich mit kosmisch-düsterem Dark Ambient. Kompromisslos und kalt, inspiriert von Bret Easton Ellis ‚Unter Null‘ darfst Du dich gerne von der abstrakten Lichtlosigkeit dieser Platte verschlingen lassen. Bist Du sozialisiert mit dem ästhetischen Sound von Cold Meat Industry, Horrorfilm-Soundtracks, Polygon, Nightmare Lodge, Runes Order, Atom Infant Incubator und all den vielen anderen vergessenen, obskuren Projekten der verrückten 90er Jahre? Dürfen melodische Synths, sakrale Atmosphären und futuristisch kalte Sprach-Samples auf pure Schwärze treffen, dann kannst Du mit Godwin Point nostalgisch schweben. Pulsierende Flächen, wohl temperierte Drum-Fragmente, abweisend kosmisch-leere Szenarien – die aber eher selten bis in den schroffen Death-Industrial vordringen – haben was von einem vergessenen John Carpenter-Soundtrack (‚return at the old house‘). ‚the only true thing left‘ klingt verwaist, spröde und verloren. Stimmen, verloren aus dem Jenseits, sprechen mit Dir. Atmosphärisch düstere Sound-Schwaden, ambiente, unruhige in Hall getauchte Bombast-Fäden und auch ein Hauch Neoklassik finden spielerisch zusammen und genau diese Mischung macht hier den Nostalgie-Effekt. Soundtrack-lastig, schwebend, isoliert und schwarz und doch mit sanft-ätherischen Melodie-Schnipseln versehen, lädt dies alles zum abendlich entspannten Zuhören ein.  Die knappe Dreiviertelstunde ist für diese Art Musik eher überschaubar, gibt dem ganzen aber damit auch eine Fokussierung und Kurzweil. Wer die urbane Kälte, die innere Leere innerhalb der Charaktere eines Bret E.Ellis Romans kennt, findet hier eine musikalische Interpretation eben dieser Welt. Abweisend, kalt, unnahbar ziehen die Sounds ihre Spur aus Tristesse und Monotonie. Für Freunde des Soundtrack-artigen Dark Ambient, des oben genannten skandinavischen Label und der weiteren genannten Künstler ist hier eine lohnenswerte Kulisse geschaffen worden.

(Rajko Bärs)

Source: BLACK Onlinemagazin

  This spring will see a new release of alternative and experimental hip-hop from Dälek, with the reveal of the “Better Than” single and lyric video offering the first taste. Written and produced by the duo of MC Dälek (Will Brooks) and Mike Manteca (Mike Mare), the track presents what the band calls “A new wall of sound built only of the absolutely necessary elements” [..]

Source: RE:GEN Mag

  Italian new wave and post-punk outfit Vikowski will soon be releasing its sophomore full-length album, titled Consistency, via Icy Cold Records. The band was founded initially as the synthpop solo outlet for Vincenzo Coppeta, with Lorenzo Pisanello and Alessandro Panzeri eventually joining [..]

Source: RE:GEN Mag

Hinter diesem Release lag der Wunsch vom Hauptakteur David S., der „Crossed Paths“-Veröffentlichung aus dem Jahre 2020 und vielen eher nach Demo-Aufnahmen klingenden Songs Abhilfe zu schaffen. Ich kenne diese Aufnahmen nicht um hier Vergleiche herbeizuführen. Für mich passt dieser Release-Termin in seiner Abfolge eher perfekt zu den beiden bereits stimmig-hervorragenden Vorgängern. Dawn And Dusk Entwined, die in den 90’s eher dem traditionellen, angenehm orchestralen Dark Ambient nahestanden, sind nun längst mit ihrer Ausrichtung im melodischen Cold/Dark Wave, also eingängigeren Sounds angekommen. Viele flächige Synths, der stets in Hall getauchte, immer etwas dumpf und düster abgemischte Gesang, hat Charme und irgendwo zwischen alten Kilian Camera, den wavigen Sixth Comm und vor allem den düsteren Synth-Flächen der Italiener von Runes Order findet man sich hier im Kosmos des Franzosen wieder. Der Opener und Titelsong ist ein kleiner, feiner düsterer Wave-Hit mit prägnantem Refrain und schöner Dramaturgie. ‚No Matter What the Pain‘ funktioniert ebenfalls mit schönen Synthie-Sound, wavigen Flächen und düsterem Input. Ruhige Piano-Stücke wie ‚The Shrine‘ bieten Kontraste, dass mit seinen treibenden, schwebend-kosmischen Flächen und Sprechgesang versehene ‚dédales‘ hat diese Nacht-Atmosphäre der benannten Runes Order oder deren Landsleuten von Nightmare Lodge. Das ist minimalster Cold Wave mit viel Atmosphäre, aber man muss mit dem französisch-monotonen Sprechgesang auf Du sein. Mit der wundervollen Ballade ‚entre chien et Coup‘ hat man mich so richtig an den Eiern – was für ein schmerzvoll intimer Track. Eine schluchzende Frauenstimme, trauriges Piano, dunkle Synths und minimale Loops vereinen das schönste von Rise And Fall Of A Decade, In The Nursery, End Of Orgy – aber auch manch stilles Nachtstück der urbanen Popper von M83 fällt mir da ein. Das berührt ungemein und schreit einfach nach mehr. ‚Beyond‘ ist mit seinem schleppend-dumpfen Doom-Wave nah an Lycia, wenn auch gewisse Neo Klassik Sounds diesen Vergleich dann eher hinken lassen. Dieses Projekt schreit mit seiner schwermütigen Aura, den schwerelosen Synth-Flächen immer satt nach Winter, Dunkelheit und heute bin ich nicht mal vor die Tür gekommen – so trist und grau war dieser Tag. Minimal, kalt und schwarz erklingen ‚This is Happening‘ und ‚We Are Next‘ – es groovt stoisch mit kühlen Flächen und müden Vocals und auch hier vibrieren Echos der starken Momente von Runes Order. ‚Crepuscule‘ klingt einsam – schwebender Ambient mit Sprechgesang und atmet die Aura der alten Zeit, wo diese Art elektronisch dunkler Wave mit Bands wie Kirlian Camera, Clair Obscur, That Summer, Twice A Men oder den frühen Frozen Autumn einfach mit berührend-emotionalen Dark Wave auf der regelmässigen Tagesordnung standen und das feine Cover von ‚Every DreamHome a Heartache‘ findet sich hier auch noch am Ende des Albums ein. Ich mag die tristen Stimmungen, das simple und Graue im Sound des Franzosen und „Remains Of Loss“ klingt am Ende ja auch genauso.

(Rajko Bärs)

Source: BLACK Onlinemagazin

Das Grafschafter Metalfest geht 2026 in die dritte Runde!
Konnte man 2024 schon mit u.a. LIK und KNIFE und 2025 u.a. mit STILLBIRTH und MOTORJESUS glänzen, ist der Headliner für dieses Jahr größer ausgefallen!
RAGE headlinen die diesjährige Ausgabe!
Ansonsten sind noch die von mir hoch geschätzten Scalpture mit dabei.
Der Rest des Line-Up sieht wie folgt aus:
Aran Angmar, Necrotesque, Mvsochist, Kozoria,
Symbtomy, Abrupt Demise und A Place To Fall.

Das Indoorfestival findet am 14.03.2026 in der alten Weberei in Nordhorn statt
und das Amboss Magazin wird für euch vor Ort sein und mit einem Festivalbericht aufwarten, der zudem auch Fotos des Abends enthalten wird.
Die Early Bird Tickets sind ausverkauft.
Aber auch ohne diese seit ihr für schlappe 27€ an diesem Tag dabei,
der um 14h startet.

Wir freuen uns auf den Tag!

Source: Amboss-Mag.de

Eigentlich bin ich dem düsteren Industrial/Electro gar nicht mehr so unbedingt zugewandt, aber bei MARTIN SANE und seinem Projekt mit dem kryptisch, futuristischen Namen – der von den psychiatrischen Begriffen fixiert/sediert abgeleitet wurde – macht man mal gerne eine Ausnahme. Denn auch die bisherigen Top 5 Alben des Künstlers aus Wiesbaden  konnten absolut überzeugen. Die komplex verschachtelten, teils aber auch flächig, sphärisch angehauchten dunklen Elektro Sound-Landschaften a la DISMANTLED, INTERLACE, FLA, SKINNY PUPPY, YELWORC – teils auch mit „a bissel“ WUMPSCUT und THE RETROSIC, VELVET ACID CHRIST angereichert – mit Sprachsamples und melodischen Einschlag und wirklich sehr „angenehm“ verzerrter Stimme. Da gibts ja auch andere negativ Beispiele, diese hier sind schon so richtig professionell und „fett“ umgesetzt. worden. Solch hochwertig produzierte Platten in dem Genre gibt es leider immer seltener. Die dramaturgisch geschickt in Szene gesetzten 8 Songs mit teils überraschend umgesetzten Wendungen, wie in „Darkness Visible“ von Mastermind MARTIN SANE, präsentieren den geneigten Fans wieder Dark Elektro in Höchstform mit atmosphärischen sowie apokalyptischen Endzeit-Klanglandschaften und komplexen, dichten Arrangements, die sich beim konzentrierten Hören ins Gehirn fräsen. Die meisten der Songs bewegen sich im Midtempobeat und werden auf jeden Fall wieder klassische EBM Elektro Retro Anhänger sowie auch moderne Industrialfreaks ansprechen, MARTIN SANE hat sich natürlich längst seinen Status in der Elekcroszene erspielt und genießt hier große und verdiente Popularität. Das Konzept des Album ist die 8, die für Unendlichkeit steht, also auch 8 Songs mit jeweils 8 Minuten Spielzeit. Die thematischen Inhalte behandeln dann natürlich solch fragile Themen wie  Religion, den Tod im Allgemeinen und des Menschen’s größter Wunsch – die Unsterblichkeit. Und schon beim Opener „The Unborn“ und auch in „Lesson in Humility“ glänzen die voluminösen Tracks mit schicken Filmähnlichen Flächen oder man nehme die wabernden Synths in „New Eden“, was es fast zu einem Future Pop Track macht. In „Oathbreaker“  gefallen mir die melodisch geführten „Vocals“ stimmlich sehr gut, haben hier mehr Raum und der Rausschmeißer „An Unquiet Mind“ ist wieder so ein genialer Killer-Track vom Allerfeinsten. Und dabei heißt es immer, das sich solche Bands nicht mehr weiterentwickeln und in dem Bereich wäre alles gesagt. Im Fall von FIX8:SED8 darf man sagen, das der „Bursche“ sich einfach nicht an diese Aussagen hält, da jede neue Veröffentlichung immer wieder nur so vor Kreativität und Einfallsreichtum strotzt – man muß also nicht permanent neue Ausdrucksformen präsentieren, sondern mit den bisherigen Techniken und Elementen nur neue Wege und Entwicklungen suchen.

(S.Erichsen)

Source: BLACK Onlinemagazin

Am 27. März 2026 veröffentlichen BLACK LABEL SOCIETY ihr neues Album“Engines of Demolition“, mit „Name In Blood“ gibt es nun ein weiteres Video zu einem Song des Albums:

„‚Engines of Demolition‘ ist eine ehrliche Reise durch die Höhen und Tiefen der letzten vier Jahre, von Anfang bis Ende, mit einigen der höchsten Höhen und tiefsten Tiefen und allem, was dazwischen liegt“, sagt Sänger/Gitarrist Zakk Wylde.

Die Songs des Albums schrieb Zakk Wylde überwiegend 2022 während PANTERAs „Celebration World Tour”, 2025 entstand dann die Ballade„Ozzy’s Song”.

Weitere Songs des Albums hat die Band bereits im vergangenen Jahr veröffentloicxht:

 

BLACK LABEL SOCIETY „Engines of Demolition“ Tracklist
1. Name In Blood (Video bei YouTube)
2. Gatherer of Souls
3. The Hand of Tomorrows Grave
4. Better Days & Wiser Times
5. Broken and Blind (Video bei YouTube)
6. The Gallows (Video bei YouTube)
7. Above & Below
8. Back To Me
9. Lord Humungus
10. Pedal To The Floor
11. Broken Pieces
12. The Stranger
13. Ozzy’s Song

BLACK LABEL SOCIETY Line-up
Zakk Wylde – vocals, guitar, piano
John (JD) DeServio – bass
Jeff Fabb – drums
Dario Lorina – guitar

Source: Vampster

GAEREA haben mit „Loss“ ein neues Studioalbum angekündigt. Erscheinen wird die Platte am 20. März 2026 via Century Media auf CD, Vinyl sowie digital. Das Video zur dritten Single „Phoenix“ ist heute ab 18 Uhr zu sehen: 

 

Mit dem Musikvideo „Hellbound“ haben GAEREA im Dezember die zweite Single veröffentlicht. 

 

Außerdem gibt es den Clip „Submerged“ im Stream.

Album-Release-Shows zu „Loss“
GAEREA kündigen Album-Release-Shows zu „Loss“ an – etwas, das sie so noch nie gemacht haben: 

„Wir möchten euch zu unserer Album-Release-Show von ‚Loss‘ einladen. Wir werden das gesamte Album für euch spielen, jeden einzelnen Song. Jeder Abend beginnt mit der kompletten Aufführung des neuen Albums, begleitet von exklusiven Visuals und einem Bühnenbild, das speziell für diese Shows entworfen wurde. Der Abend wird dann mit einem zweiten Set fortgesetzt, in dem die bisher kraftvollsten Songs der Band wiederaufgenommen werden: zwei komplette Auftritte an einem Abend.“

Es wird nur zwei Shows geben, bei denen GAEREA „Loss“ in seiner Gesamtheit spielen wird: 

20. März (BE) Brüssel – Botanique; Tickets: botanique.be/en/concert/gaerea-2026

21. März (NL) Amsterdam – Melkweg; Tickets: ticketmaster.nl/event/

GAEREA „Loss“ Tracklist

Luminary
Submerged (Video bei YouTube)
Hellbound (Video bei YouTube)
Uncontrolled
Phoenix (Video bei YouTube)
Cyclone
LBRNTH
Nomad
Stardust

GAEREA „Loss“ Artwork

Fotogalerie: GAEREA – Summer Breeze 2025 – 16.08.2025

Source: Vampster

Mit einem Video zu „Sanity Is Lost“ stellen RESURRECTED einen ersten Song ihres kommenden Albums „Perpetual“ vor. Das achte Album der deutschen Death Metal Band erscheint am 10. April 10, 2026.

 

„‚Sanity Is Lost‘ ist eine vernichtende Midtempo-Nummer, der tief imOld-School-Death-Metal verwurzelt ist“, beschreibt Schlagzeuger Dennis Thiele. „Er wird von dreckigen Grooves, dichten Riffs und unerbittlicher Härte angetrieben. Wir kanalisieren die rohe Brutalität des klassischen Death Metal der CANNIBAL CORPSE-Ära. In der Mitte des Songs beschleunigt sich das Tempo zu einem gewalttätigen Ausbruch, der die Intensität bis zum Zerreißen steigert. Es ist eine gnadenlose Erinnerung daran, dass, sobald die Wucht zuschlägt, die Vernunft wirklich verloren ist.“

Das Video ist inspiriert von Deutschlands schwerstem Bergbauunglück: Am 20. Februar 1946 kamen bei einer Explosion in der Zeche Monopol Schacht Grimberg mehr als 400 Menschen ums Leben.

RESURRECTED „Perpetual“ Tracklist & Cover
1. Unholy Intercession
2. Human Wrath
3. Forever Damned
4. Into Mighty Death
5. Sanity Is Lost (Video bei YouTube)
6. Decomposed
7. Immaculate Deception
8. Echoes of Creation
9. Perpetual
10. Infernal Desire (MALEVOLENT CREATION Cover)

Source: Vampster

German techno/EBM project Robotiko Rejekto sees its classic 1987 single “Rejekto!” return on vinyl as...

Source: Side Line

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

Das Wave-Gotik-Treffen hat eine Reihe neuer Bands für 2026 bestätigt! Wen Ihr nach aktuellem Stand in diesem Jahr live erleben könnt, erfahrt Ihr hier!

Source: Sonic Seducer

Die Rock’n’Roll-Band THE DEVILS ist 2026 auf Tour, die Italiener aus Neapel sind ab Februar 2026 auch in Deutschland zu sehen.

THE DEVILS Tour 2026
28.01  IT  Montecarotto (AN), Off 61
29.01  IT  Como, Joshua Blues Club
30.01  GER  Isny, Juze
31.01  GER  Karlsruhe, Alte Hackerei
01.02  AU  Andelsbuch, Jöslar
02.02  GER  München, Unter Deck  
03.02  GER  Ulm, Kradhalle
04.02  GER  Aachen, Musikbunker  
05.02  GER  Oberhausen, Druckluft
06.02  GER  Köln, EDP
07.02  GER  Erfurt, Frau Korte
08.02  GER  Bremen, Eisen
09.02  GER  Hamburg, Hafenklang
10.02  GER  Hannover, Cafe Glocksee
11.02  GER  Münster, Heile Welt
12.02  GER  Rostock, Dieter (M.A.U. Club)
13.02  GER  Wilhelmshaven, Kling Klang
14.02  NL  Coevorden, MFC
15.02  NL  Utrecht, dBs
16.02  BEL  Westerlo, Jake’s Place
17.02  BEL  Antwerpen, Djingel Djangel
18.02  GER  Mannheim, 7er Club
19.02  CH  Basel, Quarterdeck
20.02  AU  Feldkirch, Rauch Club
21.02  CH  Kreuzlingen, Horst Klub
22.02  IT  Milano, Barrio’s Live
23.02  IT  Mercato Saraceno (FC), Mulinarte
25.02  IT  Torino, Blah Blah w/The Fuzztones
26.02  IT  Bologna, Freak Out
27.02  IT  Ossi (SS), Alex Bar
28.02  IT  Cagliari, Cueva Rock

Source: Vampster

ZYX Music marks four decades of Frankfurt’s Techno Club with the limited coloured 2LP “40...

Source: Side Line

ULVER
„Neverland“
(Ambient Electronica)

Wertung: Empfehlung!

VÖ: 31.12.2025

Label: House Of Mythology

Webseite: Bandcamp / Instagram / Spotify

Zum Jahresabschluss gab es nochmal ein von mir schwer erwartetes Highlight, wie ich hoffte. ULVER veröffentlichten ein neues Album, was mit der Beschreibung, dass einige Hörer Echos von „Perdition City“ (von 2000) und den „Silence“ EPs (von 2001) wahrnehmen würden.
Das fixte mich total an. „Perdition City“ hat mich damals total gepackt. Mit den beiden Silence EPs hatte ich anfangs so meine Schwierigkeiten, aber mittlerweile liebe ich sie. Die letzten 3 Alben, die mir auch gut gefielen, waren ja eher in üblichen Song- und Produktionsstrukturen unterwegs. Das hat mir auch gefallen, aber was ULVER auf „Neverland“ bieten ist das, was ich gerne von ihnen haben möchte.
Im Infosheet steht: „Pop music from in-between worlds? A sonic hallucination? Or better: a collage of dreams. It’s up to you.” Das trifft es ganz gut auf den Punkt!
Mit „Fear In A Handful Of Dust“ beginnt das neue musikalische Abenteuer!
Vogelgezwitscher und Ambient begleiten einen gesprochenen Text. Ich persönlich muss sagen, dass mir die Stimme nicht so gefällt, aber ich habe auch keine Ahnung und konnte nichts dazu finden, wer das spricht und woher es kommt.
„Elephant Trunk“ startet mit einem schönen Klavier und baut sich immer weiter auf, schöner Track. Für mich ist so etwas die perfekte Musik, die ich mir zum Einschlafen anmache. Von den beiden Soundtracks zu „Lyckantropen Themes“ und Svidd Neger“ scheinen sie einiges gelernt zu haben. Diese Gefühle kommen hier auch immer wieder auf und zwar in einem ausschließlich positiven Sinne.
Großen Einfluss hat hier sicherlich auch die Berliner Schule gehabt, wobei ich Tangerine Dream nennen möchte, auch wenn ich sehr großer Verehrer der fühen Werke von Klaus Schulze bin.
„A Sonic Hallucination“ aus dem Infosheet scheint mir am besten als Beschreibung zu passen, denn jedes Mal wenn ich bewusst tief in die Scheibe abtauche, habe ich das Gefühl, dass ich letztes Mal irgendetwas anderes in jenem oder welchen Song wahrgenommen habe. Hier höre ich plötzlich ein kleines Hintergrundgeräusch das mir vorher nicht bewusst zu Ohren gekommen ist, da empfinde ich plötzlich den Song ganz anders als beim letzten Mal.
„People Of The Hills“ und „Hark! Hark! The Dogs Do Bark“ zum Beispiel, war mir beim ersten Hören durch den Beat zu strukturiert, eingängig, zugänglich. Jetzt, nach mindestens 20 Durchgängen, gefällt mir der Track ganz gut, gehört aber nicht zu dem, was ich am liebsten von ULVER hören möchte.
Ich würde mich weit aus dem Fenster lehnen wollen und behaupten, dass „Neverland“ eine der rundesten, besten Scheiben von ULVER darstellt. Selbst wenn ich stellenweise meine Kritikpunkte habe, die sich allerdings auf allerhöchstem Niveau befinden.
Ich bin begeistert und das 13 Monate nach „Liminal Animals“, die ich schon sehr gefeiert habe.
Bisher ist die Platte nur digital erschienen, aber es wird am 27.02.2026 auch physische Releases als Jewelcase-CD und in einige Vinylvarianten geben.
Der Standard ist black bio vinyl,
und dann gibt es noch 300 Kopien in crystal clear vinyl,
1000 Kopien in marbled transparent blue & white vinyl,
33 Kopien in blue liquid-filled vinyl,
33 Kopien in orange liquid-filled vinyl,
und 33 Kopien in yellow liquid-filled vinyl.
Ich denke da werde ich zugreifen müssen. Auch um mir das überraschende Cover in Großformat erarbeiten zu können. (hendrik)

At the end of the year there was one more highlight I had been eagerly awaiting – or at least hoping for. ULVER released a new album, accompanied by the description that some listeners might perceive echoes of “Perdition City” (from 2000) and the “Silence” EPs (from 2001).
That totally hooked me. “Perdition City” completely grabbed me back then. I initially had some difficulties with the two Silence EPs, but by now I absolutely love them.
The last three albums, which I also enjoyed a lot, were more rooted in familiar song structures and production styles. I liked that as well, but what ULVER present on “Neverland” is exactly what I personally want from them.
The info sheet says: “Pop music from in-between worlds? A sonic hallucination? Or better: a collage of dreams. It’s up to you.” That really hits the nail on the head.
The new musical adventure begins with “Fear In A Handful Of Dust”. Birdsong and ambient textures accompany a spoken text. Personally, I have to say that I don’t really like the voice, but I have no idea who is speaking, where it comes from, and I couldn’t find any information about it.
“Elephant Trunk” starts with a beautiful piano and gradually builds up – a lovely track. For me, this is the perfect kind of music to put on when falling asleep.
It seems that they learned a lot from the two soundtracks “Lyckantropen Themes” and “Svidd Neger”. Those feelings keep resurfacing here as well, and exclusively in a positive sense.
The influence of the Berlin School is certainly strong here. I would mention Tangerine Dream in this context, even though I am a huge admirer of Klaus Schulze’s early works.
The phrase “A Sonic Hallucination” from the info sheet feels like the most fitting description. Every time I consciously dive deep into the album, I get the feeling that I noticed something different in one or another track compared to the last listen. Suddenly I hear a small background noise that I hadn’t perceived before, or a song feels completely different than it did last time.
For example, “People Of The Hills” and “Hark! Hark! The Dogs Do Bark” initially felt too structured, too catchy and accessible because of the beat. Now, after at least 20 listens, I like the track quite a bit – although it’s not among the kinds of ULVER songs I enjoy the most.
I would go out on a limb and claim that “Neverland” is one of ULVER’s most cohesive and best albums. Even if I do have some points of criticism here and there, they are complaints on an extremely high level.
I am thrilled – and that just 13 months after “Liminal Animals”, which I already celebrated a lot.
So far, the album has only been released digitally, but physical editions will follow on February 27, 2026, as a jewel case CD and in several vinyl variants.
The standard edition comes on black bio vinyl,there will also be 300 copies on crystal clear vinyl,1,000 copies on marbled transparent blue & white vinyl,33 copies on blue liquid-filled vinyl,33 copies on orange liquid-filled vinyl,and 33 copies on yellow liquid-filled vinyl.
I think I’ll have to grab one of those – if only to fully appreciate the surprising cover artwork in large format. (hendrik)

Source: Amboss-Mag.de

Mit "Mitternacht" haben Wisborg eine weitere Single vom kommenden Album "Phantomschmerz" ausgekoppelt. Mehr Infos und das Musikvideo hier bei uns!

Source: Sonic Seducer

FILTH IS ETERNAL kündigen den Nachfolger ihres Albums „Find Out“ an: „Impossible World“ erscheint am 17. März 2026 via MNRK Heavy.

Mit „Stay Melted“ hat die Punk/Indie-Band  aus Seattle eine erste Single veröffentlicht:

Mit der neuen Platte geht die Band neue Wege, wie Sängerin Lis DiAngelo erklärt:

„Ich denke, die größte Veränderung  ist, dass wir mehr Melodie, Harmonie und Gesang im Allgemeinen einsetzen. Wir arbeiten mit noch immer mit Aggression, bewegen uns aber gleichzeitig in Richtung von etwas Schönem und Wahrhaftigem.“

Auf „Impossible World“ sind Gastberitäge von Johnny Whitney (BLOOD BROTHERS), Joe Trohman (FALL OUT BOY), Gina Gleason (BARONESS) und LAUREN LAVIN zu hören.

 

FILTH IS ETERNAL „Impossible World“ Tracklist & Cover
1. Stay Melted (Video bei YouTube)
2. Long Way
3. Hellfire
4. Acetylene
5. Weather & Rose
6. Desire
7. Total War
8. Bad Faith
9. Outbreak
10. So Below
11. Slipstream
12. Skorpio

Filth Is Eternal Line-up: 
Lis DiAngelo (vocals)
Brian McClelland (guitar)
Logan Miller (bass)
Josh Pehrson (drums)

 

Source: Vampster

-> >;LANTLOS fangen die "Unergründliche Leichtigkeit des Seins" so vollendet ein wie kaum eine andere Band, die unter dem Einfluss des Black Metal begann – was sich mittlerweile wie eine Million Jahre her anfühlt. Auf dem sechsten Studioalbum "Nowhere in Between Forever" führt der kreative Kopf und einziges Bandmitglied Markus Skye (früher bekannt als Markus Siegenhort alias Herbst) die musikalische Richtung des Vorgängers "Wildhund" mindestens einen Schritt weiter. "Nowhere in Between Forever“ bietet eine spirituelle Reise in die glitzernde Welt der Neunzigerjahre, als einfach alles möglich schien. Das Album bietet eine Sammlung von Hits, die fest im aktuellen LANTLOS-Sound wurzeln und zudem um Elemente aus der digitalen Klangwelt im letzten Jahrzehnt des vergangenen Jahrtausends ergänzt werden. Andererseits bietet das Album keineswegs reine Nostalgie. Wie Skye anmerkt, hat er ganz bewusst ein hohles Gefühl von Plastik und Künstlichkeit in die Songs von "Nowhere in Between Forever" eingebaut – als subtile Vorboten finsterer Zeiten am Horizont. Diese musikalischen Wendungen verbinden die lockeren, scheinbar sonnigen und sogar poppigen Alternative Rock und Metal Tracks mit der dunklen Vergangenheit von LANTLOS. Mit "Nowhere in Between Forever" bestätigen LANTLOS sowohl die stilistische Evolution ihrer letzten beiden Alben als auch ihre bemerkenswerte Fähigkeit, mit fast beängstigender Leichtigkeit fesselnde Songs und wunderschöne Melodien zu kreieren. Achtung: Jeder Song auf "Nowhere in Between Forever" bricht Herzen!-> >;
-> >;
Tracklist:-> >;
01. Daisies-> >;
02. Cherries-> >;
03. Oxygen-> >;
04. Jeanet-> >;
05. Numb TV Superstar-> >;
06. Solar Death-> >;
07. AutoGuard-> >;
08. Planets-> >;
09. Ghost-> >;
10. Clockworks-> >;
11. Windhunter

Source: Prophecy

  Swedish synthpop duo Francesca e Luigi has released “Italopils Mi Amor” as the band’s latest single. The title and lyrics referencing a lager produced by Stockholm Brewing Co., appropriate to the song being an ode to alcohol as an ingredient in breaking down the walls [..]

Source: RE:GEN Mag

  Dais Records has announced the release of the Carnival EP from Fort Worth heavy metal shoegazers trauma ray, picking up where the band’s Chameleon debut album left off. Core songwriters Jonathan Perez and Uriel Avila welcome contributions from guitarist Coleman Pruitt, and others, to result in what Avila says is “the most collaborative we’ve been [..]

Source: RE:GEN Mag

  SUNN O))) has announced details for the forthcoming self-titled tenth album, marking the experimental metal band’s first full-length release of new material in over five years. The record heralds the first time the core duo of Stephen O’Malley and Greg Anderson crafted the instrumentation without any collaborators or outside performers [..]

Source: RE:GEN Mag

HIGHER POWER haben ein Video zu „Count The Miles“ veröffentlicht – der Song stammt vom aktuellen Album „There’s Love In This World If You Want It“.

„There’s Love In This World If You Want It“ erschien im Juni 2025 als sogenannter „Shadow Drop“ ohne vorherige Ankündigung, die physische Version auf Tonträger folgte am 19. September 2025 via Nuclear Blast.

Frontmann Jimmy Wizard äußert sich zur Platte:

„Dieses Album ist die natürliche klangliche Weiterentwicklung von Higher Power als Band. Es ist das erste Mal, dass wir bewusst ein Album selbst produziert haben – und ich bin zum ersten Mal wirklich erfreut, etwas zu veröffentlichen, das sich für uns als Individuen und als Band absolut authentisch anfühlt.“

Eine Single hatte die Formation ebenfalls ausgekoppelt: „All The Rage“ bei YouTube.

HIGHER POWER „There’s Love In This World If You Want It“ Tracklist
01. Absolute Bloom
02. Count The Miles (Video bei YouTube)
03. All The Rage (Video bei YouTube)
04. Better
05. Two Doors Down
06. Lunar Tuesday
07. Kaleidoscope
08. Wide Awake
09. My Sweet Surrender

HIGHER POWER „There’s Love In This World If You Want It“ Artwork

Source: Vampster

Am 27. Februar 2026 veröffentlichen CRYPTIC SHIFT ihr neues Album „Overspace & Supertime“ via Metal Blade Records. Mit einem Video zu „Hexagonal Eyes (Diverity Trepaphymphasyzm)“ stellt die Progressive Death Metal Band nun den ersten Song daraus vor:

 

„Das Konzept von Overspace & Supertime beschreibt eine Alternative zur Story des Vorgängeralbums ‚Visitations From Enceladus‘ und führt unseren Charakter in neue Dimensionen mit größeren Abenteuer  und noch bizarreren Begegnungen“, erklärt Schlagzeuger Ryan Sheperson. „Mit dieser neuen Science-Fiction-Geschichte sind auch unsere Anstrengungen gestiegen, die ultimative Astrodeath-Soundscape zu erschaffen. Das Album nimmt den Hörer mit auf eine spannende Reise voller überraschender Wendungen.“

 

Jack Helliwell hat „Overspace & Supertime“ produziert, das Mastering ist von Greg Chandler. Das Artwork kommt von Jesse Jacobi.

CRYPTIC SHIFT „Overspace & Supertime“ Tracklist& Cover
1. Cryogenically Frozen
2. Stratocumulus Evergaol
3. Hyperspace Topography
4. Hexagonal Eyes (Diverity Trepaphymphasyzm) (Video bei YouTube)
5. Overspace & Supertime

CRYPTIC SHIFT Line-Up: 
Alexander Bradley – vocals, guitars
Joss Farrington – guitars
John Riley – bass
Ryan Sheperson – drums

Source: Vampster

David Galas, who rose to prominence through his involvement with Lycia, and was also active...

Source: Side Line

With a loaded heart I played a deadly game 
There is a moment in every experiment when the data begins to speak back. In Kill Shot, NYC artist Vexillary opens that moment wide, allowing tension, desire, and consequence to orbit one another with the patience of celestial bodies bound by gravity rather than will.

Kill Shot arrives as a transmission from the near future, polished yet perilous, built on precision and restraint. Its motion feels measured, as though every element has been placed with the care of a probe sent across vast distance: no excess weight, no wasted gesture. Beats advance with intent, then withdraw into stillness, creating space for anticipation to grow. In that space, meaning accumulates.

Vexillary’s background in chemistry lingers here like an invisible equation. Elements combine, react, and stabilize. Brooding electronics meet controlled force, yielding something sleek, deliberate, and quietly dangerous. The structure holds, even as emotion presses against its edges. This balance between desire and discipline, motion and pause, gives the piece its charge.

In this tense, EBM-driven song with a haunting female vocal from Baylee, a loaded heart plays a deadly game; letting inevitability do the heavy lifting.  Hunter and h(a)unted exchange positions like planets swapping light and darkness along their paths. Triumph appears to be an acceptance that the pursuit itself can be the point, even when resolution remains out of reach. From our small position in the cosmos, we listen and recognize the pattern. Desire accelerates; risk sharpens focus; meaning forms where forces meet. Kill Shot offers a clear signal, sent with care, across the dark between intentions and outcomes.

There is also romance, although not the kind that promises safety. This is attraction under pressure, intimacy shaped by risk. Love and conflict share the same coordinates, their signals overlapping until separation becomes impossible. The track understands this overlap and leans into it, allowing tension to speak more clearly than release ever could. Thematically, it suggests that even in failure, there’s triumph, and that the pursuit itself may have always been the point.

In the self-directed video, the protagonist (played by Sarah Shattuck) embarks on a journey of self-discovery, only to destroy it once and for all. It serves as an allegory for self-sabotage, echoing the music’s fascination with the paradoxical joys of failure.

Watch the video for “Kill Shot” below:

Vexillary is the brainchild of New York–based producer Reza Seirafi, whose work is guided by a scientific approach to sound design and an enduring undercurrent of gloom. After releasing six EPs across independent labels over the course of a decade, Seirafi founded his own imprint, con:trace, in 2021. Its first full-length statement, Full Frontal Lunacy, arrived as a tightly focused concept album charting madness and collapse. The following year’s Crash and Yearn pushed further, sharpening its production and leaning into beat-driven emotional momentum as his voice continued to take shape.

That trajectory deepened in 2024 with Horror in Dub, a bass-heavy descent that explored fear and beauty through a dub-inflected techno frame. The album’s themes were later extended through Horror ReDubs, a companion remix release featuring Leon Switch, Blush Response, VHS Head, and others, broadening the record’s reach and resonance.

Now, in 2026, Vexillary prepares to unveil his most expansive work yet: Digital Suspiria. Fusing futuristic polish with harsher inherited forms, the album marks a decisive new phase, one where songwriting, vocal presence, and conceptual weight move firmly to the foreground. Polished yet raw, synthetic yet haunted, Digital Suspiria positions Vexillary at the forefront of the dark electronic underground.

In the wider arc of Digital Suspiria, Kill Shot functions like a star whose light reveals the shape of the system around it. It points toward a body of work concerned with proximity, consequence, and the strange beauty found when control is tested. Polished surfaces conceal volatile forces beneath, reminding us that order and danger often coexist.

Listen to Kill Shot below and order the single here.

Kill Shot by Vexillary

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The post A Glitch in the Code of Love and War — NYC Electronic Music Artist Vexillary Releases Video for “Kill Shot” appeared first on Post-Punk.com.

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A symphony of quarks I shatter

Never to be pieced together

A symphony of quarks I shatter

Never to be pieced together again 

There is a particular sorrow that returns quietly, like a season you never asked to see again. It arrives carrying memory rather than news, and with it the long accounting of choices once made in fear. Love, when squandered, does not vanish; it lingers, asking to be measured against what we were too weak to protect. Grief circles this reckoning, not as spectacle but as habit, a rhythm learned by the body. Regret becomes cyclical because the heart keeps revisiting the moment where surrender first seemed easier than care, and survival meant turning away rather than staying.

Pain here moves with the certainty of a calendar page turned against one’s will. It’s January Again, the haunting new single and video from 62 Dead Balloons, settles into its duration like a room entered too many times to pretend surprise, each measure carrying the knowledge of what repetition does to the spirit. The vocal arrives restrained, low, steady, as if conserving strength for the long work of telling the truth. Nothing is overstated. Each phrase sounds weighed before release, shaped by the understanding that confession alone does not absolve anything.

The music holds its posture carefully. Electronic tones stretch and withdraw, industrial edges kept purposeful rather than theatrical. There is patience in the pacing, an acceptance that reckoning cannot be rushed. Geoff Metts’ guitar contribution deepens this sense of shared damage as recognition; another presence standing inside the same weather. Together, the voices feel like parallel testimonies, aware of each other, bound by similar bruises.

A portrait of regret surfaces that has learned its own routines. Love appears as something mishandled through fear, addiction, and exhaustion. The song understands how weakness can masquerade as relief, how self-destruction often arrives quietly, framed as necessity. Identity erodes in small concessions, repeated until they form habit. There is no plea for absolution, only an accounting. Time passes, wounds scar rather than close, and the cycle resumes with brutal familiarity. Yet the act of naming this recurrence carries its own resolve. The song stands upright within its cold season, refusing escape, documenting the cost of survival with clear eyes. It becomes a marker rather than a cure—proof that awareness, however painful, remains a form of staying alive.

That same resolve carries into the powerful self-directed video, which places AFFF against a seaside tempest, the external chaos mirroring the weather inside. The imagery feels exposed and unguarded, matching the song’s emotional gravity. It is a vulnerable, raw statement, marked by the courage required to confront such darkness during the most unforgiving stretch of the year.

Watch below:

The name 62 Dead Balloons alone tells you how close to the edge this music lives. AFFF recalls the moment with unsettling clarity: “One day I worked out that I had smoked 62 cigarettes in one day and thought to myself, ‘my lungs must be like dead balloons.’”

For calQtek, it stretched further, into thoughts of mortality, self-sabotage, and the slow leak that comes from running from pain too long. Both artists arrive carrying wreckage. AFFF doesn’t soften it: “I was at rock bottom, alone and extremely traumatised.” Some songs written during that stretch were abandoned, too exposed to revisit. calQtek, wrestling addiction and burnout, channels his own collapse into the sessions. There’s no posturing here, no safety glass. The record grows out of necessity, not ambition.

Live performances are being carefully considered: AFFF is on the autism spectrum and the pressures of performing onstage can prove a challenge. “I really want to work on this in the future and start performing again,” he says. “I’m hoping I can start doing shows next year.”

At its core, 62 Dead Balloons runs on a shared belief that music still serves a purpose beyond release schedules and market logic. AFFF states it without flourish: “Without music life is meaningless.” He goes further, offering a credo that doubles as a warning: “Don’t be silent. Express yourself. Don’t be scared to show who you really are… ask for help when you need it. Life is too short, and we only have one shot at this. Don’t waste it. Live.”

calQtek frames the work as an ongoing discipline, a commitment to “self-reflect relentlessly and make every mistake beautiful.” Together, they describe the project as “genre fluid,” united less by form than by feeling.

Listen to It’s January Again below and order the single here.

It’s January Again by 62 DEAD BALLOONS

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The post Breaking Waves of Sadness — 62 Dead Balloons Unveil Video for “It’s January Again” (feat. Geoff Metts) appeared first on Post-Punk.com.

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I feel I’m nothing at all
The fallout blurs me out
Nostalgia is a survival instinct in an era defined by acceleration. As our days compress and our attention fractures, memory becomes a kind of gravitational refuge,an attempt to anchor meaning while the present outruns comprehension. We revisit past sensations to remember how time once felt inhabitable. In a culture obsessed with velocity, nostalgia offers resistance through reflection, asking us to slow our internal clocks even as the world insists on speed. It is a quiet negotiation between who we were, who we are, and who we fear we might miss becoming.

In the vast calendar of human time, certain numbers gather a gravity beyond arithmetic. Twenty-seven is one of them, forever marked by the infamous 27 Club, where talent, expectation, and abrupt endings have been folded into cultural memory. It is a number burdened with myth and projection, less a milestone than a mirror. With their new single 27, Kodaclips knowingly engage with that weight, releasing the track on January 9th, 2026, via Bronson Recordings, tracing a subtle arc of transformation rather than legend.

The band’s renewed formation (Lorenzo Ricci on guitar, Sonny Sbrighi on bass, Linda Capuano on lead vocals, Francesco Casadei Lelli handling drums and synthesizers, and Samuele Bernardi on guitar) moves with shared purpose. Musically, “27” balances mass and momentum. Guitars rise in layered formations, a steady rhythm advances with patience, and Capuano’s voice travels above it all with measured clarity. Her arrival signals a shift in trajectory, a fresh human frequency threading through structures informed by post-punk’s enduring drive and the softened horizons of shoegaze past and present. Echoes of lineage: Echo & the Bunnymen, Joy Division, Slowdive, Lush, Ride, The Veldt, float through the composition like familiar stars, not as destinations but as reference points in a larger sky.

At its core, the song contemplates velocity and stillness. It listens closely to the anxiety of watching time accelerate, of sensing one’s footing slip while the world rushes ahead. Kodaclips articulate this tension plainly and without ornament. “27 is about standing still as everything else keeps moving faster than you can keep up,” the band explains. “It sits with nostalgia, self-doubt, and the quiet fear that you’re falling behind when even the simplest moments feel unreachable.” The lyric “our days fly by” lands with the weight of an observable truth, familiar to anyone who has measured their life against the clock.

Federico Canducci’s accompanying video extends this meditation into the physical realm. Performance sequences dissolve into forested passages, where a solitary figure searches among trees for something unnamed. The images suggest inquiry rather than resolution, a visual corollary to the song’s sense of suspended arrival.

27 stands as the opening signal of a two-part release planned for early 2026. In this moment, Kodaclips offer a song that watches the universe turn, attentive to how quickly it spins—and to how much courage it takes to pause and look.

Watch the video for “27” below:

Formed in the latter half of 2021 amid the scenic sprawl of Cesena, just inland from Italy’s north Adriatic Coast, Kodaclips was forged from a circle of four friends whose artistic paths converged with shared intent. Drawing from a wide orbit of influences, the band folds psychedelia, stoner rock, and progressive structures into a framework shaped by ’90s sensibilities and the raw emotional pull of post-punk. That foundation is further deepened by an affinity for second-wave shoegaze, particularly the growing italogaze movement.

Self-produced, recorded at Farmhouse Studio in Rimini by Ricci, shaped in the mix by Andrea Volpato in Seattle, and finalized through Manuel Volpe at Okum Produzioni, 27 carries the imprint of many rooms and many hands, aligned across distance.

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The post Our Days Fly By — Italian Shoegaze Outfit Kodaclips Drift in Nostalgia With Video for “27” appeared first on Post-Punk.com.

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Grief arrives like a signal from deep space: ancient, delayed, undeniable. It tells us that something once luminous has moved and transformed beyond our immediate sight. In our solitude we imagine ourselves isolated points, adrift in the dark, yet every atom of us was forged in shared fires. Memory, love, and voice persist the way starlight does: long after the source has changed. The pain comes from the mismatch between what we feel and what is true. We sense connection, but cannot fully see it. Loneliness, then, is not proof of separation, but evidence of a bond too vast for our small perspective.

SRSQ (pronounced “seer skew”) returns with a ballad that moves at the speed of breath and bruise. Kennedy Ashlyn sings as if standing inside a familiar room, each phrase carried with care, each silence allowed its weight. Allen Daniel’s drums keep a patient watch, marking time while memory moves freely. At the center is Cash: Ashlyn’s best friend, gone since 2016, whose presence arrives as guidance as Ashlyn charts a course through turbulent waters. The song gathers loss by accretion: moments pressed together, love grown heavy, endurance learned the hard way. A remembered voice cuts through excess and despair, offering instruction simple enough to save a life.

“I didn’t plan to get this candid about the creation of and meaning behind this song, but recent events in my personal life have compelled me to open up a bit and share some honesty behind the lyrics,” admits Ashlyn. “I wrote this song on the edge of a pretty dark place, a place where I lived for many years, and still find myself in from time to time. I was living alone for the first time in my life in the house that I grew up in, fresh out of a nearly eight-year relationship, drinking tequila and Gatorade and banging my head against writer’s block. I had just come out of a(nother) great wave of loss (and loss, and loss) and was stumbling around in the grey ache of grief — again. Grappling with existential loneliness — again. A feeling so familiar that it sometimes feels like I was forged in it. I went to pour myself another tall glass of mostly tequila, when I suddenly heard my best friend’s voice in my ear: “Drink water.” …hearing her voice so clearly brought me to my knees. But in that brief moment of lucidity, I was reminded that she is still with me and that we are never really alone.”

The song hits hard, particularly during the holidays, when feelings of grief well up with memories of their lives. The theme behind Born Alone, Die Alone, as the title suggests, is a heavy one – but not without hope. Perhaps everything we assume to understand about the inner workings of the cosmos is merely the tip of the iceberg.

“I believe that what makes the human experience particularly difficult is our limited awareness of how connected we truly are,” Ashlyn continues. “From our perspective of being a human on this earth, we can’t understand, but I think deep down we “know”? and that dissonance is what causes us so much grief and suffering. The illusion of alone-ness is the curse of the human condition. I continue to grapple with but no longer stand behind the final refrain of this song — “we are born alone, and we die alone.” I don’t think that we die alone; I believe we die from the illusion that we ever were. I hope this song and this message brings you comfort and peace, or at the very least, brief respite from the illusion of alone-ness.”

The song leaves a small but steady truth in the listener’s hands: that Cash remains in spirit through acts of kindness and care beyond the veil; that connection survives distance and death; that sometimes staying alive begins with listening closely and choosing water over oblivion.

Watch Born Alone, Die Alone below:



SRSQ is the singular vision of singer and musician Kennedy Ashlyn, an operatic post-punk siren whose work transforms private grief into shared reckoning. Emerging from a stormy sea of public tragedy with Unreality (2018), Ashlyn arrived fully formed: commanding, devotional, and unafraid of emotional magnitude. Cast ashore in Los Angeles, she learned to walk on dry land in her own two heels with Ever Crashing (2022), expanding SRSQ’s palette while solidifying a worldwide reputation as a “diva of depression.”

Now, Ashlyn is stripping away the opera gloves, taking full control of every facet of SRSQ. Shoegaze drifts into pop, drama meets directness, and the lines between artist, genre, and medium dissolve. Her work is shaped by lived loss, a guiding force that continues to surface in moments of clarity and care. Rather than accepting isolation as fate, SRSQ questions the illusion of aloneness, reaching beyond the underground toward connection, recognition, and relief.

“It’s pronounced SEER-skew, and she’ll make you cry…”

Listen to Born Alone, Die Alone below and order the single here.

Born Alone, Die Alone by SRSQ

Catch SRSQ live this winter:

Jan 16 The Holland Project Reno, NV

Jan 17 Cafe Colonial Sacramento, CA

Jan 18 Thee Stork Club Oakland, CA

Feb 14 Roxy Theatre West Hollywood, CA

Feb 15 Valley Bar Phoenix, AZ

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The post Dreampop Songstress SRSQ Dispels the Illusions that Separate us With Hopeful New Single “Born Alone, Die Alone” appeared first on Post-Punk.com.

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