Seit fast drei Jahrzehnten gehören ‘Absurd Minds’ zu den festen Größen der deutschen Dark-Electro- und Futurepop-Landschaft – eine jener Bands, die man sozusagen schon fast als Naturkonstante...

Source: MedienKonverter

Die schwedische Death / Black Metal-Band SPEGLAS stellt ihr Debütalbum „Endarkenment, Being & Death“ mit einer ersten Single vor: „The Spirit Postmortem“ kann man via YouTube hören und wurde von der philosophischen Lehre Friedrich Nietzsches beeinflusst.

Den Mix des Albums übernahm Simon Söderberg, das Mastering wiederum Magnus Lindberg. Erscheinen wird „Endarkenment, Being & Death“ am 27. Februar 2025 via Trust No One Recordings.

SPEGLAS „Endarkenment, Being & Death“ Tracklist

Woe
The Endarkenment
Incessant Severance
Dearth
The Spirit Postmortem (Audio bei YouTube)
Ailing
Hitherto Awry
Rage Upon The Dying Fire

SPEGLAS Line-up 2025
Isak Rosemarin – Vocals/Guitar
Alexi Hedlund – Guitar
Jesper Nyrelius –  Drums
Victor Berg – Bass

Source: Vampster

JAMIE’S ELSEWHERE veröffentlichten am 20. Juni 2025 ihre EP „Alchemical“. Jetzt hat die Band um Sänger Aaron Pauley (OF MICE & MEN) ein Live-Video zum Titelstück nachgelegt.

Für „Alchemical“ versprachen JAMIE’S ELSEWHERE u.a. ihre bislang „ehrlichsten und experimentellsten Songs“.

Einen ersten Höreindruck liefert das Musikvideo „Traveler“ bei YouTube.

Source: Vampster

Die Alternative Rock / Crossover-Band VUKOVI hat einen Clip zu „Bladed“ produziert. Entnommen ist die Nummer dem Album „My God Has Got A Gun“, das insgesamt elf Tracks umfasst.

Einen Eindruck vermitteln außerdem das Musikvideo zu ihrer Single „Gungho“, der Titeltrack „My God Has Got A Gun“ sowie der Clip zu „Misty Ecstasy“.

„My God Has Got A Gun“ erschien am 24. Januar 2025 via SharpTone Records auf CD, Vinyl und digital.

VUKOVI „My God Has Got A Gun“ Tracklist

THIS IS MY LIFE AND MY TRAUMA
GUNGHO (Video bei YouTube)
MY GOD HAS GOT A GUN (Video bei YouTube)
FALLEN BEYOND
FUC KIT UP
MISTY ECSTASY (Video bei YouTube)
SNO
COWBOY
PEEL
KITTY
BLADED (Video bei YouTube)

VUKOVI Line-up 2024
Janine Shilstone – Vocals
Hamish Reilly – Gitarre

Source: Vampster

„Black Dove“ ist der Titel der neuen Single aus dem Hause LEVELS. Zuletzt erschien außerdem „Covert One“ als Clip.

Die Tracks folgen der Auskopplung „Strange Things“ sowie der Digital-EP „Pulse“ (2024) nach, die seinerzeit über SharpTone Records erschienen ist.

Ob die neuen Songs auch erste Vorboten einer Studio-Platte sind, hat die Alternative Metal-Band nicht verraten.

Source: Vampster

Die Alternative Metal-Band MOODRING hat einen Plattenvertrag mit SharpTone Records abgeschlossen. Gemeinsam mit dem neuen Label hat man nun die Single „Cannibal“ veröffentlicht.

Auch das Stück „Half-Life“  ist als Single verfügbar. Ob auf den Track auch eine neue Platte folgen wird, ist noch nicht bekannt.

Source: Vampster

SNOVONNE meldet sich nach sieben Jahren mit neuer Musik zurück. „Soak“ ist als Musikvideo bei YouTube zu sehen und handelt von „emotionaler Reinigung“. Sängerin Sno erklärt zum Stück und zum Zeitpunkt ihrer Rückkehr:

„Der Herbst (der in dem Song oft erwähnt wird) war für mich schon immer etwas Besonderes – alle bedeutenden Veränderungen in meinem Leben fanden in dieser Jahreszeit statt. Es ist die Zeit des Jahres, die mich auseinandernimmt und mich auf eine andere, stärkere Weise wieder zusammenfügt. Das ist auch der Grund, warum es für mich sehr befreiend ist, nach sieben Jahren im Herbst zurückzukehren, mit einer neuen Single, die sich tatsächlich auf den Herbst bezieht.“

Source: Vampster

Die Alternative Rock / Metal-Band FUTURE PALACE hat einen neuen Labelpartner: Künftig veröffentlich das Trio seine Musik via Century Media. Um den Deal zu feiern, gibt es auch neue Musik. Nach „Cyclone“ ist jetzt auch „Deep Blue“ als Video bei YouTube abrufbar.

Zuletzt veröffentlichten FUTURE PALACE das Album „Distortion“ (2024).

FUTURE PALACE Line-up 2025
Maria Lessing — GesangManuel Kohlert — GitarreJohannes Früchtenicht — Schlagzeug

Fotogalerie: FUTURE PALACE – Summer Breeze 2024 – 16.08.2024

Source: Vampster

LIONS AT THE GATE veröffentlichen ihre Musik künftig via Reigning Phoenix Music. Der erste gemeinsame Track ist die Single „Burn The Candle„, zu der es auch ein Musikvideo gibt.

Den Hintergrund des Stücks erläutert Sänger Cristian Machado:

“Burn The Candle handelt von der Spaltung, die in unsere Gesellschaften getrieben wird. Hass wird vor unseren Augen normalisiert. Niemand ist dagegen immun, wir werden pausenlos dazu angehalten, Mauern um unsere Herzen zu bauen, weil da draußen Krieg herrscht und unser Ego in die Schlacht ziehen soll. Der Song ruft den Menschen zu, dass wir geteilt wie Schafe sind, die zur Schlachtbank geführt werden. So schwenken wir stolz das dreischneidige Schwert, das in die Seite der Menschheit getrieben wurde: Gier, Stolz, Lust. Ich weiß, dass wir irgendwann die Augen öffnen, aber wie lange wollen wir noch die Kerze an beiden Enden anzünden.”

LIONS AT THE GATE Line-up 2025
Cristian Machado — Vocals
Diego Verduzco — Rhythmus Gitarre
Ahrue Luster — Lead Gitarre
Josh Cuadra — Drums / Percussion

Source: Vampster

Die Metal / Punk-Band KARLOFF hat nach „A Pessimistic Soaring“ mit „Crown Kvlt Fate“ einen zweiten Track ihres kommenden Albums „Revered by Death“ veröffentlicht. Es ist nach „The Appearing“ (2022) das zweite Album der Deutschen aus Oldenburg rund um Gitarrist und Sänger Tom Hoffmann (GRAVEYARD GHOUL).

„Revered by Death“ wird am 23. Januar 2026 via Dying Victims Productions erscheinen.

KARLOFF Line-Up:
Tom Horrified – Electric Rhythm & Lead Guitar, Vocals
H. T. Steinbrecher – Drums & Percussion
773 – Electric Bass Guitar

KARLOFF „Revered by Death“ Tracklist
1. A Pessimistic Soaring (Audio bei YouTube)
2. Die Wiederkehr der Dunkelei
3. When The Flames Devour You All
4. On Weathered Altar
5. Prince Of Parasites
6. Regicide
7. Crown Kvlt Fate (Audio bei YouTube)
8. Elisabetha’s Revenge

Source: Vampster

Die Post-Rock-Band BRUECKEN hat mit „Years That Answer“ ein neues Album angekündigt. Es ist das dritte Album der Deutschen aus Oldenburg und verwendet erstmals seit 2017 wieder Vocals durch Gitarrist und Sänger Thorge Freidel.

„Years That Answer“ wurde von Roland Wiegner in der Tonmeisterei in Oldenburg gemixt und von Magnus Lindberg gemastert. Release-Termin ist der 27. Februar 2026 via Moment of Collapse Records.

BRUECKEN „Years That Answer“ Tracklist
1. Periapsis
2. Questions We Raise
3. Cadence
4. Dissolving
5. Onward Transmission
6. Chronostasis
7. Nightlines
8. Signs of Spring

Source: Vampster

Die finnische Alternative Rock-Band BLOCK OF FLATS hat mit „I Stand Below It All“ eine neue Single veröffentlicht.

Im Oktober hat die Band mit „Darkest Days“ eine weitere Single veröffentlicht. Der Song, der auf das Debütalbum „No Hope For The Hopeless“ (2023) folgt, tauche tief in Ängste und innere Konflikte ein und schildere Momente der Panik und Verzweiflung.

„Mit ‚Darkest Days‘ wollten wir etwas schaffen, das die Menschen dazu motiviert, auch in den schwierigsten Zeiten weiterzumachen“, sagt die Band.

BLOCK OF FLATS Line-Up
Jonne Nikkilä – Vocals
Jesse Kataja – Guitar
Kauri Koponen – Bass
Ossi Ågren – Drums

BLOCK OF FLATS „Darkest Days“ (Lyric-Video bei YouTube)

BLOCK OF FLATS „I Stand Below It All“ (Video bei YouTube)

Source: Vampster

Die Blackened Doom Metal / Stoner Blues Rock-Band ST. UNHOLYNESS hat nach dem Video-Clip zu „St. Unholyness“ mit dem Lyric-Video zu „Dampflok des Todes“ eine zweite Single ihres kommenden Albums „High Holy Haze“ veröffentlicht.

Es ist das erste Album der von Gitarristin und Sängerin Christina Earlymorn (BEING „ALIVE“ IS BEAUTIFUL, MACHTKLANG, Ex-FINSTERORT) gegründeten Band, der auch Bassist Mac Carrigan angehört.

„Dieses Album ist die Umsetzung der Narben meines Lebens in Riffs. Jeder Reflex auf meiner Chromgitarre ist eine Erinnerung daran, dass du stärker bist als der Krieg, den du in dir selbst führst“, sagt Christina Earlymorn.

„High Holy Haze“ wird am 25. Dezember 2025 erscheinen.

ST. UNHOLYNESS „High Holy Haze“ Tracklist
01 – Heaven´s Harem
02 – Through High Holy Haze
03 – Dampflok des Todes (Lyric-Video bei YouTube)
04 – Black Tooth Brothers (Abbott Brothers Tribute)
05 – Alchemist Blues
06 – Hate Response
07 – Loud and Proud
08 – St. Unholyness (Video bei YouTube)

Source: Vampster

Mit „Rising“ wird am 19. Dezember 2025 via Metalizer Records das neue Album der Heavy Metal-Band OLYMP erscheinen. Es ist nach „Olymp“ (2023) das zweite Album der Band aus Augsburg und wurde von Frontmann Sebastian Tölle (Ex-MORAL HAZARD) gemixt und gemastert. Das Cover-Artwork stammt erneut aus der Feder von Giulia Schmidt-Kaiser. Vorab gibt es mit „Olive Wreath“ ein Lyric-Video.

OLYMP Line-Up:
Sebastian Tölle – Lead Vocals / Guitars
Armin Feigl – Guitars
André Möbius – Bass / Backing Vocals
Dominik Rankl – Drums

OLYMP „Rising“ Tracklist
1. Prodromos
2. Olive Wreath (Lyric-Video bei YouTube)
3. Thread of Life
4. Fire and Brimstone
5. Olymp
6. Eternal Torment
7. Titan War
8. Orpheus
9. White Rose

Source: Vampster

Mit „Something Borrowed…Something New“ ist am 5. Dezember 2025 via Rockshots Records das neue Album der Southern Rock-Band GREYSTONE CANYON erschienen. Es ist nach „While the Wheels Still Turn“ und „We All Become Yesterday“ das dritte Album der Australier und ist – wie der Titel schon vermuten lässt – eine Mischung aus eigenen neuen Songs und (alten) Klassikern, welche die Band gecovert hat.

„Something Borrowed…Something New“ wurde gemeinsam mit Joel Taylor im Black Lodge Studio aufgenommen. Nach dem Video zum THIN LIZZY-Cover „Suicide“ gibt es mit „Stealing Our Freedom“ einen weiteren Video-Clip.

GREYSTONE CANYON Line-Up
Darren Cherry – guitar / vocals
Luke Wilson – drums
Rich Vella – guitar
Dave Poulter – bass

GREYSTONE CANYON „Something Borrowed…Something New“ Tracklist
01. Doctor, Doctor (UFO cover) – 04:16
02. Just Got Paid (ZZ TOP cover) – 03:35
03. Drives Us – 05:06
04. Immigrant Song (LED ZEPPELIN cover) – 02:21
05. Friend of the Fox – 03:57
06. Suicide (THIN LIZZY cover) – 05:14 (Video bei YouTube)
07. Hey, Hey, My, My (Into the Black) (NEIL YOUNG cover) – 03:22
08. AAF – 1:47
09. Stealing Our Freedom – 04:26 (Video bei YouTube)

Source: Vampster

Compulsions Analysis is an American solo project led by Nikolas Vudu. “Die Revealing” is the...

Source: Side Line

Two Phase U is a Uruguayan project founded in the late 1990s by Hernán González....

Source: Side Line

Die Melodic Death Metal-Band INTHRACED hat mit „Constellation Zero“ ein neues Album angekündigt. Es ist nach zwei EPs das erste Album der Finnen und wurde von Janne Korpela gemixt und von Mika Jussila gemastert. Das Cover-Artwork stammt von Robert „Holo Dreamz“ Horvath.

„Constellation Zero“ wird am 15. Mai 2026 via Inverse Records erscheinen. Vorab gibt es zu „Neon Frontiers“ ein Lyric-Video.

INTHRACED Line-Up:
Tommi Takkunen – Guitar & Vocals
Mirko Byman – Guitar
Eetu Kovapohja – Bass
Antti Ikonen – Drums

INTHRACED „Constellation Zero“ Tracklist
01. The Revenant
02. Neon Frontiers (Lyric-Video bei YouTube)
03. The Black Star
04. Darkest Chest
05. Constellation Zero
06. The Way Of The Voice
07. Lost Divinity

Source: Vampster

Die „Retrogarde Metal“-Band BARBARIAN hat mit „Mercy Swallower“ einen zweiten Track ihres kommenden Albums „Reek of God“ veröffentlicht. Es ist das sechste Album des italienischen Trios aus Florenz und wird am 23. Januar 2026 via Dying Victims Productions erscheinen. Vorab gibt es mit „Maxima Culpa“ auch einen Video-Clip.

BARBARIAN Line-Up:
Borys Crossburn – Guitars, Vocals
Cardinal Sinner – Bass
Sledgehammer – Drums

BARBARIAN „Reek of God“ Tracklist
1. Warning
2. Maxima Culpa (Video bei YouTube)
3. Sledgehammer
4. Eighth Sacrament
5. Shit He Forgives
6. Cardinal Sinner
7. Cancer Cross
8. Crossburn
9. Mercy Swallower (Audio bei YouTube)
10. Freak Magnet (L7 cover)
11. Retrogarde Metal
12. Crurifragium

Source: Vampster

Over 20 years have passed since the last Fictional album. Gerrit Thomas cannot be blamed for being inactive during this time. The pandemic, during which the first songs were written, was the deciding factor in getting active with the project again. Gerrit explains in our winter issue: “Fictional is the best fit for this album […]

Source: Orkus

Erasure’s lead single from their eighth studio album “Cowboy” was released on January 6, 1997, 29 years ago. Did you already know these 5 facts about “In My Arms”? ★ “In My Arms” made it to number 76 in the charts in Germany. ★ In the USA, the song was the first Erasure single after […]

Source: Orkus

Die Death Metal-Band BOUND TO PREVAIL hat mit „Enthroned in Torment“ ein neues Album angekündigt. Es ist das erste Album der Band aus Malta und wird am 7. Januar 2026 via Lethal Scissor Records erscheinen. Vorab gibt es zu „Consecrated Perdition“ ein Lyric-Video.

BOUND TO PREVAIL Line-Up:
Keith Fenech – guitars
Kevin Mifsud – bass
Alan Briffa – vocals
Jean Vella – guitars
Mark Farrugia Sant’Angelo – drums

BOUND TO PREVAIL „Enthroned in Torment“ Tracklist
01. The Nevergod
02. Into the Depths
03. Defier of Empires
04. Consecrated Perdition (Lyric-Video bei YouTube)
05. Atone in Blasphemy
06. Dawn of Emptiness
07. Tomb of the Graveless
08. Enthroned in Torment

Source: Vampster

Die Black’n’Roll / Dark Metal-Band THE VICE hat nach dem Opener „Cardinal Tropes“ mit „Waltz de Anima“ einen weiteren Video-Clip ihrer neuen EP „The Red Tape Sessions“ veröffentlicht. Die drei Songs umfassende Scheibe ist am 5. Dezember 2025 via Noble Demon erschienen.

THE VICE Line-Up:
Rickard – Vocals & Guitars
Charlie – Bass
Petter – Drums
Joel Öhman – Guitar

THE VICE „The Red Tape Sessions“ Tracklist
01. Cardinal Tropes (Video bei YouTube)
02. Lilies of the Field
03. Waltz de Anima (Video bei YouTube)

Source: Vampster

SPONSORED POST The Finnish duo Marrasmaa was founded in the summer of 2012. What is special about the formation is that their music is played with two kanteles. The kantele “is an old Finnish instrument that is only played by a few people today,” explain Janne Ojala and Juho Piirto. What’s the story behind the […]

Source: Orkus

Die Heavy Metal-Band TURBO´S TRIBUNAL hat mit „Mills of Tribunal“ ein neues Album angekündigt. Es ist das erste Album des dänischen Solo-Projekts von Andreas Thunbo. Release-Termin ist der 23. Januar 2026 via Jawbreaker Records. Vorab gibt es den Track „Draw The Line“ zu hören.

TURBO´S TRIBUNAL „Mills of Tribunal“ Tracklist
1. Summon The Tribunal
2. Draw The Line (Audio bei Bandcamp)
3. Satan Is Here
4. The Sky Comes Alive
5. Deliberation
6. Death Gallop
7. Boogieman (Father of Evil)
8. Men Of The World
9. Mills Of Tribunal
10. Sealing Fates

Source: Vampster

Die Heavy Metal / Hard Rock-Band THUNDER RISING hat einen Labeldeal bei Wormholedeath unterschrieben. Im Zuge dessen werden die Italiener ihr neues Album „Horizon Line“ veröffentlichen. Ein Release-Termin steht noch aus. Nach dem Lyric-Video zu „Master of Destiny“ gibt es mit dem Lyric-Video zu „The Prisoner“ nun die zweite Vorab-Single.

THUNDER RISING Line-Up:
Frank Caruso – Guitar And Backing Vocals
Alessio Spini – Lead And Backing Vocals
Gabriele Baroni – Bass
Enzo Caruso – Keyboards And Backing Vocals
Corrado “Nail” Ciceri – Drums

THUNDER RISING „Horizon Line“ Tracklist
1. Can’t Forget Your Voice
2. Master of Destiny (Lyric-Video bei YouTube)
3. Live Forever
4. What’s Going On Tonight
5. Born To Ride
6. Prelude25
7. She Can’t Hold You Back
8. Bloody Axe
9. Personal vampire
10. Mad Machine
11. The Prisoner (Lyric-Video bei YouTube)
12. Dreaming Song To You
13. Dangerous Speed

Source: Vampster

Do you already know our new “Gothic Metal World” playlist on Spotify? It contains international highlights in the field of gothic metal such as Amaranth, Paradise Lost, Cradle of Filth, Type O Negative, Lacuna Coil, Lacrimosa and Samsas Traum. Let yourself be seduced by the dark, harmonious soundscape.

Source: Orkus

Die Modern Metalcore / Metal-Band HEXBLOOM hat mit „Celestial Doom“ eine neue Single mitsamt Video-Clip veröffentlicht.

„Der Song beschreibt ein Szenario, in dem die Erde unbewohnbar geworden ist und die Menschheit gezwungen ist, sich auf der Suche nach einer neuen Heimat den Sternen zuzuwenden. Er bietet einen Einblick in eine Zeit, in der der Preis für das Überleben eine Reise über unsere eigene Welt hinaus ist. Der Text reflektiert sowohl die Hoffnung als auch die Verzweiflung, die ein Neuanfang auf einem fremden Planeten mit sich bringen könnte – und wirft die Frage auf: Was sind wir bereit zurückzulassen, um die Existenz der Menschheit zu sichern?“, sagt Sänger Eepi Karppinen.

Im Frühjahr hat die Band mit „Haze“ eine erste Single veröffentlicht.

„Der Song handelt von Ängsten und Belastungen aus der Vergangenheit und wie man sie überwinden kann. Es ist auch ein Lied darüber, diesen besonderen Menschen zu finden, der bereit ist, dir zu helfen, die Vergangenheit loszulassen und zu lernen, wieder in die Welt zu vertrauen“, sagt Sänger Eepi Karppinen (Ex-CREST).

Es sind die ersten Releases des finnischen Trios und wurden von Gitarrist Juuso Javanainen (WITHOUT WARNING, Ex-CREST) produziert.

HEXBLOOM Line-up:
Eepi Karppinen // vocals
Juuso Javanainen // guitar
Tero Loponen // guitar
Topias Muhonen // drums

HEXBLOOM „Haze“ (Video bei YouTube)

HEXBLOOM „Celestial Doom“ (Video bei YouTube)

Source: Vampster

Die Melodic D06eath Metal-Band AMONGRUINS hat mit „Red Divine“ eine erste Single ihres kommenden Albums „Advent of Chaos“ veröffentlicht. Es ist das vierte Album der Griechen aus Athen und wird am 20. Februar 2026 via Theogonia Records erscheinen.

„Advent of Chaos“ wurde ein weiteres Mal von Saku Moilanen in den Deep Noise Studios gemixt und gemastert. Das Cover-Artwork stammt von Nikos Stavridakis.

„Es ist ein Album über Zerstörung, Wiedergeburt und die chaotischen Kräfte, die unsere Welt prägen“, sagt die Band.

AMONGRUINS Line-Up:
Sotiris “Sverd” – Vocals, Bass
Thanos – Guitars
Alex Flouros – Guitars
Scott Naylor – Drums

AMONGRUINS „Red Divine“ (Lyric-Video bei YouTube)

Source: Vampster

A pulse divides the liquid sky

And leaves no sign of how or why

Light unravels the seam

Between silence and dream

The Haunting of Us, the new album from BlakLight, opens like a cold draft slipping beneath a locked door: quiet at first, then undeniable, widening into a presence that settles across the entire room. With their fourth album, the Los Angeles trio turns inward with sharper focus and broader reach, shaping a body of work steeped in emotional erosion, intimate reckoning, and the volatile stillness that forms when desire meets collapse. Their arrangements feel lived-in yet restless, expanding into new spaces while retaining the band’s instinct for tension carried through melody, rhythm, and breath.

A new element here is the imprint of Omar Quiñones, whose arrival thickens the album’s architecture. Synth lines stretch and coil with new precision; rhythmic patterns push with an almost gravitational pull, drawing each song toward a deeper internal pressure. Guitarist Pano Coromelas — whose work lights up “Leave a Light On” and “Suddenly It Falls Apart” — also adds a subtle but essential contour, a kind of emotional filament threading through the machinery.

With The Haunting of Us, BlakLight sounds more deliberate, more carved, as though chiseling their way through obsessions, reconciliations, and the bruised corners of memory.

The album opens with Everything’s Gone Wrong, ushered in by metallic synths that scrape and simmer as if testing the room’s temperature. Percussive cracks follow—sharp, brittle sounds that seem to split along invisible hairline fractures. Then the vocal rises from below: crooned, smoky, distant, as though carried up through the floorboards. Lyrically, the song charts the collapse of self under emotional strain, tracing how intimacy corrodes, how memory blurs, how one can drift into becoming a stranger to their own reflection. A synth-piano melody threads itself through the chorus, lending the unraveling a strange, fragile grace.



Cruel pivots into club territory. Synths churn in slow rotational waves before locking into a tight bassline, and then the beat drops: a clean synthpop stride with hints of futurepop gloss. Impossible not to move to, but beneath the movement lies a story of toxic romance and spectral touch: a lover drifting in and out, cutting close, then vanishing. The chorus embodies that cycle: bright, immediate, and edged with danger. Leave a Light On starts with a low metallic synth pulse before a guitar melody slips into frame, soft but urgent. Horns accent the vocal lines, lending the track a ballroom-like sweep. Its disco pulse carries lyrics about a connection dissolving into numbness, with time accelerating, memories thinning, and the last shred of shared truth reduced to a single light left burning for someone who may never return.

Buried Alive bursts forward with airy choral sighs, quick keys, and buzzing synths. The vocal is resolute but shaken, reflecting the song’s theme: obsession turning into a burial shroud. The lyrics describe a fixation so consuming it becomes its own tomb: love as spell, love as ruin, love as something one cannot escape, no matter the cost. You Will Never Be Alone lowers the temperature with somber piano, drifting synths, and a gentle shuffle of drums. Bell-like tones brighten the corners. The lyrics evoke two people clinging to each other at the precipice, promising refuge even as everything around them cracks. Love becomes both anchor and storm.

The Haunting of Us races forward on rapid arpeggios and icy textures. The vocal trembles with urgency as the song describes a relationship dissolving at cosmic scale: time stalling, bodies thinning into vapour, devotion tested at the edge of collapse. Blind Vision features some of the album’s most unusual synth tones: blooming like dark flowers, rippling, receding. A late-night dance beat forms beneath. The lyrics unravel identity in flux: being seen, then unseen, manipulated, forgotten—yet still searching for renewal.

Judas Kiss leans into retro darkwave: cold, eerie synths and guitar-like accents underscore a narrative of betrayal, old wounds reopened, and questions left to rot in silence. The lyrics return to youthful dreams curdled into disillusionment. Under the Surface blends chiming, guitar-like synths with 90s alt-rock DNA and softer darkwave contours. Here the lyrics confront blame, emotional drift, and the faint threads of shared humanity, even while doubt gnaws at every claim of truth.

Suddenly It Falls Apart closes the album on crystalline bells and drifting tones, a twilight hymn. The lyrics meditate on erasure, transformation, and the certainty of being forgotten: worlds collapsing, identities dissolving, everything replaced by something unrecognizable.

Listen to The Haunting of Us below and order the album here.

The Haunting of Us by BlakLight

The Haunting of Us is BlakLight at their strongest…expansive, deliberate, dwelling in the places where beauty frays into something harder, stranger, and achingly true.

Following the release, BlakLight will take their new material to the stage with performances already confirmed for Dark Force Fest 2026 and Germany’s legendary Wave-Gotik-Treffen, with additional European dates to be announced.

Follow BlakLight:

Instagram
Facebook
TikTok
YouTube
Bluesky
Spotify
Bandcamp

The post Los Angeles Dark Synthpop Trio BlakLight Carve Love, Ruin, and Memory Into Sharp Relief on “The Haunting of Us” appeared first on Post-Punk.com.

Source: Post-Punk.com

CO-ED DORMS arrives like a small civic disturbance: four people dragging neo-classical intent through post-industrial grit, hammering post-punk revival energy into a performance-art crucible. Their arsenal is improbable but exacting: monologue-driven spoken-word tirades, a classically trained violin carving clean lines through the murk, a fuzz-bass that gnashes like a broken generator, and a live drummer routed through effects pedals until the kit behaves like a sentient, mildly panicked machine.

The effect lands in the uncanny middle ground between Cake’s sardonic smirk, Tuxedomoon’s downtown unease, King Missile’s absurdist brinksmanship, and Faith No More’s theatrical bite: spoken-word poetry slamming against punk urgency, shoegaze blur, and chamber-music poise. It’s a sound that shouldn’t balance, but insists on its own crooked equilibrium, muttering at the world with a clarity that feels both unhinged and overdue.

The record opens in a kind of cracked cathedral of modern chatter, where meaning drifts like paint fumes and The Pigeon staggers through its own cluttered agora, swatting at trend-choked voices and hollow declarations. With its thick basslines, rapidly bleating sax, and spoken-word vocal snarl, it feels like a dispatch from a campus where no one listens yet everyone performs, where creation is confused with credentials, and where the real struggle is simply to hear oneself think. COED-DORMS frame that din, not as a low-grade spiritual emergency, but an appeal to wake from the narcotic glow of the feed and remember that art is a human act, not a marketing trick.

Feeling Good (Oh, Yeah) continues the band’s avant swagger, strolling in like a man swinging his arms under a forgiving sun, delighted for once that the world hasn’t found him yet. A buoyant, rubber-band bassline underpins the strut, keeping everything light on its feet even as the tension coils. Then the refrain erupts with dramatic, rapid string stabs — a breathless volley that cuts straight through the mix, prodding the vocal hook upward with manic insistence. But even here, in this borrowed brightness, the shadow mutters its reminders. The track knows that joy is weather: fleeting, movable, a temporary lease on a body that remembers storm systems too well. There’s a melancholy baked into the grin, a readiness for the inevitable downturn, and the cheap grace of enjoying the moment anyway.

Violins zig-zag a ackadaisical lament about Money that gives way to a snarl, dragging the listener back into the fluorescent cruelty of labor. Here, work is a cosmic joke played on the underpaid, the exhausted, and the terminally online. The song, replete with a dramatic violin solo, hammers at the absurdity of performing pride in a job that devours identity, mocking the myth that choosing drudgery is somehow noble. It’s a litany of neighbors decaying under lawn care and liquour, a meditation on a society so broke it laughs just to kill the silence.

Breaking from the present entirely, The Horseman’s Tail has a western feel to its rhythms, sound, and melody, while a southern vocal drawl sinks into a dust-choked parable of a killer collapsing under his own history. Led by a powerful violin, the song plays like an American Gothic tale told by lantern light. No salvation waits in scripture or medicine; only the slow rot of consequence. He stumbles through the land as if reenacting every cautionary tale ever muttered on a porch at dusk, one more tough man felled by a world that never gave him softness.

There’s a cadence to Strut’s delivery that feels part Birthday Party, Part “Apples and Oranges” Pink Floyd, but with the former’s Western twang. Though ultimately sounding like a towncryer in Tombstone, the song drags us back to the modern digital grindstone, spitting bile at the culture of shortcuts and recycled gestures. It’s a manifesto written on a smudged napkin at closing time: stop pandering, stop mimicking, stop mistaking technical polish for vision. The band lashes out in defense of the sacred belief that art must bruise a little to matter. It’s an exhortation to walk one’s own crooked path rather than chase algorithms.

The album tilts again into the hypnotic dread of The Wall, where dark spoken-word bile is spewed over jazzy industrial experimentation — where a simple surface becomes an oracle of memory, absence, and encroaching heat. The song, or perhaps the poem, transforms a blank expanse into a treacherous companion, one that embraces until the embrace becomes unbearable. It is the quiet horror of being alone too long with something that cannot speak back.

The album’s short interlude, QUIET DOWN, hammers down its request for peace and quiet, offering a grim little comedy of the aging ear, a neighbour mourning the empire of silence he believes he once ruled. Beneath his scolding lies loneliness, the sick ache of realizing that joy has moved next door and won’t shut up.

Next, Milk Drinker settles into a slower, more contemplative sway — post-punk bass gently pulsing beneath a soft mesh of strings, the whole thing moving with a restraint that feels almost resigned. The somber detachment doesn’t explode outward so much as unfold inward, like someone muttering through an existential crisis they can barely admit they’re having. Absurdity, privilege, and wounded pride still shape the lyric’s strange monologue, spiraling from mock-philosophy into dairy-soaked grievance, but the delivery feels quieter, more bruised than bombastic. The song skewers entitlement not by shouting it down, but by revealing how insecurity slips on the mask of authority when no one is looking. It becomes a subtle, darkly funny hymn to the ways people rationalize their comforts even as the world around them cracks — a smirk delivered under the breath instead of through a bullhorn.

Murder on Main Street arrives with a ’60s beat-poet groove and a crime-narrator’s hush, the rhythm shuffling forward like a gumshoe keeping his collar high against the rain. The strings stab in slow, Hitchcockian pulses — a Psycho motif dragged through Southern grit — giving the track that unmistakable Bad Seeds tension without tipping fully into pastiche. It’s less murder ballad than murder manifesto, delivered with a weary conviction that suggests the story has been lived, not invented.

As the song unfolds, its noir veneer begins to fray. What starts as a rain-soaked investigation — footprints, suspicion, breath fogging in a streetlamp’s glow — gradually dissolves into something quieter and far more devastating: a confession of economic despair. The narrator isn’t hunting a killer; he’s explaining why he created one. Cornered by circumstance, boxed in by a world that’s grown too tight around him, he stages his own disappearance in a last, impossible bid to secure a future for the person he loves.

In its final breaths, the album suggests that the true American tragedies aren’t crimes at all, but the desperate choices people make when the world leaves no room to breathe.

Listen to CO-ED DORMS below and order the album here.

CO-ED DORMS by CO-ED DORMS

Follow CO-ED DORMS:

Instagram
Spotify
Bandcamp

The post Experimental Post-Punk Outfit CO-ED DORMS Spin Murder, Money, and Modern Malaise Into Gothic Americana Poetry with Self-titled LP appeared first on Post-Punk.com.

Source: Post-Punk.com

Collaborations often emerge from the most unexpected places, and Yuu Yuu is proof of that. On one side are Dead Astronauts, the Belize-and-Switzerland-based duo who’ve carved out a bittersweet, neon-bruised corner of synthwave, darkwave, and post-punk, forever dancing between brightness and ruin. On the other is Kakuma Refugee Camp, a nearly thirty-year-old crossroads in Kenya’s Turkana region, home to more than 160,000 people and an astonishing cultural engine. Kakuma is its own musical republic: Congolese polyrhythms, South Sudanese chants, Somali phrasing, Ethiopian modal turns, Burundian cadence, Ugandan warmth. When these worlds meet, they spark a vivid collision that feels spiritually charged and culturally vibrant.

Kakuma’s musical lineage is built from necessity, joy, memory, and survival. Artists gather in open courtyards, on dust-packed earth, under tin roofs, shaping songs that carry entire homelands inside them. Advocates have long argued that Kakuma should be recognized as a living cultural center; its hybrid forms and shared artistry are proof of what can grow in a place marked by displacement. Dead Astronauts, with their strange blend of sweetness and ruin, step into this landscape like travelers arriving with their own set of fractured stars.

Across the three versions of Yuu Yuu, something rare occurs: a blending of worlds that neither dilutes nor conceals. Instead, each piece highlights the individuality of every cultural thread: the Kenyan pulse, the Belizean heat, the Swiss chill, the ‘90s global-electronic experimentation, the ancient and the new moving side by side. The result is a luminous exchange born of distance, history, and shared desire. Yuu Yuu becomes less a song than a meeting ground, a place where rhythms migrate, voices find new echoes, and collaboration becomes an act of connection across borders that paperwork could never define.

“This was our first collaboration of this kind as a band, and from the moment we heard the live version of Yuu Yuu, we knew we were part of something truly special, a small piece of the Kakuma story,” says the band. “It was important to us to preserve the song’s original spiritual meaning and honour the beliefs of the artists who inspired it. Our lyrics aimed to highlight that depth while keeping it authentic to Dead Astronauts…We wanted to celebrate the creative evolution happening among local artists in Kakuma Refugee Camp by blending multiple styles into something new, collaborative, and spiritual.”

The original version of Yuu Yuu wastes no time establishing its multiversal DNA. A firm techno backbone holds the tempo, while house textures press against the rhythm like warm hands shaping clay. In the remixes classic orchestral hits – those staccato bursts that defined a certain strain of ‘90s experimentation – drop in with dramatic punctuation, echoing the adventurous spirit of early Enigma, the atmospheric breadth of Moby’s cross-continental sampling, and the wild openness of that decade’s global electronic bloom. African live drums, played with the confidence of countless traditions converging, drive the song forward with magnetic force. Layered voices rise in interlocking patterns, each calling toward the next. The sound feels communal without sentimentality, ceremonial without pretense.

Dead Astronauts’ Dead in Belize version reframes the piece with a cooler, twilight touch. Their synthwave lift and darkwave undertones fold around the original as if building a new horizon line. The orchestral hits return here like distant recollections of the ‘90s – familiar shapes refracted through new colour. The band’s trademark blend of wounded glamour and bright gloom interacts gently with Kakuma’s spiritual core, finding unexpected kinship across continents. You can hear Belize, Kenya, Switzerland, and some unnamed dream of global electronic culture meeting in the same breath.

Finally, the Kenyan live performance, the genesis of the collaboration, anchors the release. The open air becomes part of the arrangement: wind grazing the microphones, conversations drifting at the margins, children’s voices rising in the background. The percussion lands with the conviction of a community gathered close. Voices stack and spill into one another. It is the sound of a place that has built an entire musical ecosystem from the fragments of many homes.

Partial proceeds from the release will support the Kakuma Sound initiative, amplifying human creativity, endurance, and unity through the voices of local musicians sharing their stories with the world.

Listen to Yuu Yuu below and order the EP here.

Yuu Yuu by Dead Astronauts feat. Kakuma Sound

Follow Dead Astronauts:

Website
Bandcamp
Facebook
Instagram

 

The post Synthwave Duo Dead Astronauts Collaborate with Kakuma Sound on “Yuu Yuu” Refugee Benefit Single appeared first on Post-Punk.com.

Source: Post-Punk.com

Collaborations often emerge from the most unexpected places, and Yuu Yuu is proof of that. On one side are Dead Astronauts, the Belize-and-Switzerland-based duo who’ve carved out a bittersweet, neon-bruised corner of synthwave, darkwave, and post-punk, forever dancing between brightness and ruin. On the other is Kakuma Refugee Camp, a nearly thirty-year-old crossroads in Kenya’s Turkana region, home to more than 160,000 people and an astonishing cultural engine. Kakuma is its own musical republic: Congolese polyrhythms, South Sudanese chants, Somali phrasing, Ethiopian modal turns, Burundian cadence, Ugandan warmth. When these worlds meet, they spark a vivid collision that feels spiritually charged and culturally vibrant.

Kakuma’s musical lineage is built from necessity, joy, memory, and survival. Artists gather in open courtyards, on dust-packed earth, under tin roofs, shaping songs that carry entire homelands inside them. Advocates have long argued that Kakuma should be recognized as a living cultural center; its hybrid forms and shared artistry are proof of what can grow in a place marked by displacement. Dead Astronauts, with their strange blend of sweetness and ruin, step into this landscape like travelers arriving with their own set of fractured stars.

Across the three versions of Yuu Yuu, something rare occurs: a blending of worlds that neither dilutes nor conceals. Instead, each piece highlights the individuality of every cultural thread: the Kenyan pulse, the Belizean heat, the Swiss chill, the ‘90s global-electronic experimentation, the ancient and the new moving side by side. The result is a luminous exchange born of distance, history, and shared desire. Yuu Yuu becomes less a song than a meeting ground, a place where rhythms migrate, voices find new echoes, and collaboration becomes an act of connection across borders that paperwork could never define.

“This was our first collaboration of this kind as a band, and from the moment we heard the live version of Yuu Yuu, we knew we were part of something truly special, a small piece of the Kakuma story,” says the band. “It was important to us to preserve the song’s original spiritual meaning and honour the beliefs of the artists who inspired it. Our lyrics aimed to highlight that depth while keeping it authentic to Dead Astronauts…We wanted to celebrate the creative evolution happening among local artists in Kakuma Refugee Camp by blending multiple styles into something new, collaborative, and spiritual.”

The original version of Yuu Yuu wastes no time establishing its multiversal DNA. A firm techno backbone holds the tempo, while house textures press against the rhythm like warm hands shaping clay. In the remixes classic orchestral hits – those staccato bursts that defined a certain strain of ‘90s experimentation – drop in with dramatic punctuation, echoing the adventurous spirit of early Enigma, the atmospheric breadth of Moby’s cross-continental sampling, and the wild openness of that decade’s global electronic bloom. African live drums, played with the confidence of countless traditions converging, drive the song forward with magnetic force. Layered voices rise in interlocking patterns, each calling toward the next. The sound feels communal without sentimentality, ceremonial without pretense.

Dead Astronauts’ Dead in Belize version reframes the piece with a cooler, twilight touch. Their synthwave lift and darkwave undertones fold around the original as if building a new horizon line. The orchestral hits return here like distant recollections of the ‘90s – familiar shapes refracted through new colour. The band’s trademark blend of wounded glamour and bright gloom interacts gently with Kakuma’s spiritual core, finding unexpected kinship across continents. You can hear Belize, Kenya, Switzerland, and some unnamed dream of global electronic culture meeting in the same breath.

Finally, the Kenyan live performance, the genesis of the collaboration, anchors the release. The open air becomes part of the arrangement: wind grazing the microphones, conversations drifting at the margins, children’s voices rising in the background. The percussion lands with the conviction of a community gathered close. Voices stack and spill into one another. It is the sound of a place that has built an entire musical ecosystem from the fragments of many homes.

Partial proceeds from the release will support the Kakuma Sound initiative, amplifying human creativity, endurance, and unity through the voices of local musicians sharing their stories with the world.

Listen to Yuu Yuu below and order the EP here.

Yuu Yuu by Dead Astronauts feat. Kakuma Sound

Follow Dead Astronauts:

Website
Bandcamp
Facebook
Instagram

 

The post Synthpop Duo Dead Astronauts Collaborate with Kakuma Sound on “Yuu Yuu” Refugee Benefit Single appeared first on Post-Punk.com.

Source: Post-Punk.com

  Lesley Rankine – better known by the mononym of Ruby – has never been one to withhold her acerbic outlook on the injustices of the world, with today’s reveal of “The Age of Stupid” being her latest indictment on the human race. Produced by Rankine and mixed by Scott Firth, the song sees her collaborating with fellow Pigface alumni and exploratory musician Ali Jafri [..]

Source: RE:GEN Mag

Floating in the dark seasThe tides washing over meThe cold still haunts meAll alone inside of my head

The cave you fear to enter holds the treasure you seek.  Joseph Campbell’s old line turns like a key in a locked room, and C Z A R I N A’s Dagger In The Heart steps through that opening without a second’s pause. The track rises through the dark as if the night itself were bracing for confession. Her voice enters with a quiet quake: gentle, unguarded, before gathering height and clarity, bearing the resolve of someone ready to confront the depths rather than run from them.

The lyrics trace a solitary drift through emotional turbulence: disorientation folding into cold isolation, and then into a fragile, hard-won resolve. Celestial signs return like distant guides, offering small bearings in the swell of waves, darkness, and memory. Yet beneath all this pressure lies a soft, persistent pull toward connection and the faint tint of dawn. The piece becomes a study in endurance.

Musically, the song unfurls in arcs. Synth lines widen the horizon; orchestral fire fans out, retracts, and rises again; choir tones hover like rites drifting from ancient stone. The movement feels tidal, building toward a sharpened intensity. Beneath these layers lives a warrior-queen ferocity: a rise of the divine feminine, not as emblem but as force, shaped by trial and tempered resolve. Her heroine’s path unfolds moment by moment, each ascent earned.

The Kitsunés’ self-directed video expands this ascent into a realm drawn from Asian cosmology and the vast awe of childhood epics. Imagine Labyrinth. Legend, or The Neverending Story, viewed through a different lens: landscapes with sacred hush, creatures shaped by folktale, skies carrying old warnings. In her hand, she carries a Foo Dog: small, talismanic, echoing those handheld tokens of Perseus’s mythic quests. Known as guardians of yin and yang, these figures symbolize protection and balance. Here, the Foo Dog becomes a guide between transformations, a compact sentinel that steadies her as she crosses thresholds and sheds old forms.

Watch the video for “Dagger in The Heart” below:

Dagger In The Heart reads as a vow carried through darkness toward the stubborn promise of light. She enters that proverbial cave, snatches the treasure, and steps back into a world shaped by her own becoming. As Carl Jung once said: “Our heart glows, and secret unrest gnaws at the root of our being. Dealing with the unconscious has become a question of life for us.”

As C Z A R I N A, Vero Faye Kitsuné walks the line between ancient rite and future gleam, standing at the crossroads of disciplines. A New York native now rooted in Galicia’s wind-carved coast, she moves fluidly through a wide constellation of darker forms: progressive darkwave, gleaming synthpop, Futurepop’s sharpened pulse, and the sweeping arcs of prog rock. Her output doesn’t sit within these realms so much as thread them together, building a world where myth, machinery, and emotion converge under her singular vision.

Listen to Dagger In The Heart below and order the single here.

Dagger In The Heart by C Z A R I N A

Follow C Z A R I N A:

Instagram
YouTube
Facebook
Spotify

The post Ethereal Darkwave Artist C Z A R I N A Pays Homage to 80s Fantasy Films With Video for “Dagger In The Heart” appeared first on Post-Punk.com.

Source: Post-Punk.com

  Mortal Realm has unleashed “Rot (and Decompose)” as the second single to come from the gothic electro/industrial outfit in 2025, following up on the widely acclaimed Stab in the Dark debut in 2024. Picking up where the “With a Heavy Heart” single left off last month, the song sees Adam V. Jones continuing to push Mortal Realm into dark sonic and lyrical territory [..]

Source: RE:GEN Mag

  Infacted Recordings has unveiled “Pressure” as the latest single from electro/industrial act J:Dead, marking the band’s first release of new material in nearly two years. The single marks the beginning of what founder Jay Taylor explains will be a campaign lasting 12 months, releasing a new single per month in an effort to capture on record the same intensity [..]

Source: RE:GEN Mag

  Before Elvira, before Lily Munster, there was Vampira – the horror host and cult figure created and performed by Maila Nurmi, who in the ’50s introduced audiences to vintage and B-grade horror movies. Now, the goth/rock trio of Ashes Fallen is honoring the iconic performer for what would’ve been her 103rd birthday with the remix of “Vampira – The Ballad of Maila” [..]

Source: RE:GEN Mag

  From the London dark electro duo’s third album comes Abraxas & The Brightling Star, a double A-side single from Palindrones. “Abraxas” was featured on the band’s Chapter Two: The Slender Blade, marking the third album track to receive a single release [..]

Source: RE:GEN Mag

  From Manchester comes Trianglecuts as the post-punk and darkwave duo presents “A Way to Escape” as its latest single. With repetitions of “I’m a survivor” and “I’ll never give up,” the song delivers a hypnotic anthem [..]

Source: RE:GEN Mag

  Even after 50 years, Salò, or The 120 Days of Sodom remains one of the most controversial entries in cinematic history, as much for its horrific content as for the circumstances surrounding its creation. It’s perhaps no surprise then that its soundtrack had never been released in any format before now – that changes now as Cold Spring has announced the release [..]

Source: RE:GEN Mag

Die in Stockholm ansässige Dark-Metal-Formation THE VICE hat das Musikvideo zu „Waltz de Anima“ veröffentlicht – dem Schlusstrack ihrer frisch erschienenen 3-Track-EP „The Red Tape Sessions“, die ab sofort über Noble Demon erhältlich ist.
Listen: https://music.nobledemon.com/redtape

Zur Entstehung des Songs sagt die Band:
„Waltz de Anima ist unserer Meinung nach definitiv unser bisher epischster Track. Der Refrain war das erste Fragment, das entstand, und er fühlte sich sofort wie einer dieser ‚großen Refrains‘ an, die wir schon lange schreiben wollten, die uns aber bislang einfach nicht zufallen wollten. Schon mit der ersten Demo wussten wir, dass das Stück etwas Besonderes ist. Es hat einen majestätischen, fast königlichen Klang, den wir beim Schreiben des restlichen Songs immer im Hinterkopf behielten. Und mit diesem seltsamen, verrauchten Jazzclub-Flair der frühen 1900er im Intro sowie dem Zwischenspiel, das an die Feste der Bourgeoisie in riesigen Ballsälen vergangener Jahrhunderte erinnert – oder an eine verdrehte Nacht in der königlichen Oper oder im Ballett – ist es uns, glaube ich, ganz gut gelungen, diese Stimmung über den gesamten Song hinweg einzufangen.“

 

Source: Amboss-Mag.de

JOURS PÂLES ist ein Projekt von Spellbound (Sänger von AORLHAC) und mit „Résonances“ wurde nun das neue Album auf Les Acteurs de l’Ombre Productions veröffentlicht. Das zentrale Thema des Albums sind die Schwierigkeiten, die mit der Trennung eines Vaters von seinem Kind verbunden sind. Musikalisch im melancholischen bis krachigen Prog Dark Metal Bereich angesiedelt, kann man sich auf dem YouTube Kanal von „Atmospheric Black Metal Albums“ das gesamte Werk anhören.
Preorders: https://lesacteursdelombre.net/product-category/preorders

 

Source: Amboss-Mag.de

All the tears I cry dry as they glide

down from my eyes,

by the way that leads us to sundown

Sundown arrives as a steady, clear-eyed step forward for Hermidgets, the second signal from a forthcoming third album built entirely from the artist’s own hands. The track moves with deliberate pacing: measured, close-up, and unhurried, letting its electronic framework reveal itself piece by piece rather than through any grand gesture. Hermidgets, eschewing spectacle, instead shapes the material with a quiet confidence, leaning into mood, contour, and restraint.

The opening moments set the tone: synth layers gather in muted gradations, carrying a dusk-like heaviness that never tips into bleakness. A bassline enters with a slow, insistent pulse, grounding the track in something physical and steady. It provides the spine the song leans against while everything else curls around it: small melodic shapes, brief flares of texture, and subtle rhythmic movements that feel considered rather than ornamental.

Hermidgets’ vocals sit close to the mix. There’s a weariness of someone speaking after a long pause, choosing their words with precision. The delivery favours clarity over flourish, which gives the lyrics a kind of candid weight. The song reflects on the dissolution of something once central – whether a relationship, a habit, or a personal equilibrium that once held firm. Instead of leaning into dramatics, Hermidgets gives us the smaller moments: the drift between two people who once moved in sync; the quiet accumulation of distance; the growing sense that familiar gestures have lost their shape.The effect is intimate without being sentimental.

Musically, the track occupies a zone shaped by dark synth-pop and modern nocturnal electronics, drawing from an understanding of past influences without becoming beholden to them. Motifs rise, recede, and return in softened contours. Small changes in tone and rhythm do the heavy lifting, giving the piece momentum even as its atmosphere stays hushed. Hermidgets’ sense for pacing is sharp – the song unfolds in a way that feels guided by internal logic rather than formula.

The accompanying video continues the artist’s long-running approach to anonymity. Instead of presenting a performer, the piece works with shifting abstractions and a monochrome palette. Forms appear, dissolve, and reform, echoing the track’s thematic focus on distance and erasure. The absence of the artist’s face reinforces the project’s philosophy: allow the work to speak on its own terms, free from personal framing. After half a decade of this practice, it feels like more than a signature…it’s part of the project’s identity.

Watch the video for “Sundown” below:

Hermidgets’ latest single Sundown suggests an album that may lean into emotional precision over spectacle, structure over drama. Hermidgets appears most interested in tracing the internal angles of loss and change—quiet experiences, rendered with clarity. The track stands as one of the artist’s strongest pieces to date: focused, thoughtful, and shaped with a seriousness of intent that signals a compelling chapter ahead.

Hermidgets previously released The Mire (2020) and NIHIL (2024), gradually shaping a coherent, emotionally resonant artistic identity. Sundown was mixed by Matteo Sandri, known for his work with Sananda Maitreya, and mastered by Giovanni Versari (Muse).

Listen to Sundown below and order the single here.

Sundown by Hermidgets

Follow Hermidgets:

Website
Instagram
Bandcamp
Spotify
Facebook

The post Enigmatic Synthpop Artist Hermidgets Wanders the Night in Eerie Video for “Sundown” appeared first on Post-Punk.com.

Source: Post-Punk.com

Buzz Kull‘s Marc Dwyer has spent years tracing his own map of the electronic underworld, sketching out moods where restraint brushes up against raw voltage, where minimal synth pressure meets the cold, clipped machinery of industrial dance. His approach feels honed, almost ceremonial: each track a small chamber built for memory, motion, and the quiet turbulence that gathers in the ribs during the late hours.

Buzz Kull’s upcoming EP, Deep Hate, presses that vision into a lean, concentrated form: four songs move with a hard, unwavering line, as if the night itself has adopted a rhythm and decided to march. There’s a charge in their construction – machines breathing in tight formation, voices cut from steel, melodies bent into shapes that feel devotional in their severity.

The video for Just A Memory slips through Sydney’s transit arteries: trains easing into view, buses gliding past storefronts, cars stitching the highway while crowds funnel toward unknown errands. The images land like frayed recollections; soft at the edges, but rooted in a particular season of one’s life, a cluster of impressions that refuse to settle into order.

That same sensation runs through Just A Memory: a spastic synth line lifting and twisting with industrial tint and a sly streak of funk, the rhythm carrying the listener forward as if caught in a current of travel, time rushing past the window. The lineage reaches back to the steel-rimmed mood of mid-’80s Depeche Mode and the hard-angled body charge of Front 242, though filtered through a 21st-century gaze. Nothing here loosens its grip. Nothing drifts. This track is lean, charged, and precise: music built for the hidden corridors of the night. Dwyer captures the pulse of those wandering between venues, between moods, between selves…listeners adrift yet alert, guided by rhythm alone.

Watch the video for “Just a Memory” below:

Throughout his forthcoming new EP Deep Hate, Dwyer hones every contour. The drums land with disciplined force; the synths grind, then slip into a quieter glide; the vocals surface like coded messages carried in from the edge of the room. Longing threads through it all—a pressure trapped beneath glass, cooler and more unresolved than any florid confession. Each track narrows the aperture, pulling the listener toward the throb of the nocturnal city and the peculiar solitude that thrives inside its ceaseless motion.

Buzz Kull channels that tension with uncommon steadiness. Deep Hate is a record that feels engineered for the late hour—when streets thin, thoughts drift toward the corners avoided in daylight, and the neon blur becomes its own form of communion.

Deep Hate is out Feb 13, 2026, via Heartworm Press. The CD and digital releases will include remixes by PIG, Kontravoid, Cold Cave, and Spike Hellis.

Listen to Just A Memory below and preorder the album here.

Deep Hate by Buzz Kull

Buzz Kull is performing live this December in Australia, with North American dates to follow in 2026 with Cold Cave and Rosa Anschütz.

Buzz Kull Live Dates:

Dec 18 Enmore Theatre Newtown, NSW Australia

Dec 20 The Tivoli Brisbane, QLD Australia

Feb 15 The Chapel San Francisco, CA

Feb 20 Music Box San Diego, CA

Feb 21 Fremont Country Club Las Vegas, NV

Feb 26 Neptune Theatre Seattle, WA

Follow Buzz Kull:

Facebook
Instagram
Spotify

The post Buzz Kull Returns With Video for Funky EBM Track “Just A Memory” — New EP “Deep Hate” Announced! appeared first on Post-Punk.com.

Source: Post-Punk.com

Buzz Kull‘s Marc Dwyer has spent years tracing his own map of the electronic underworld, sketching out moods where restraint brushes up against raw voltage, where minimal synth pressure meets the cold, clipped machinery of industrial dance. His approach feels honed, almost ceremonial: each track a small chamber built for memory, motion, and the quiet turbulence that gathers in the ribs during the late hours.

Buzz Kull’s upcoming EP, Deep Hate, presses that vision into a lean, concentrated form: four songs move with a hard, unwavering line, as if the night itself has adopted a rhythm and decided to march. There’s a charge in their construction – machines breathing in tight formation, voices cut from steel, melodies bent into shapes that feel devotional in their severity.

The video for Just A Memory slips through Sydney’s transit arteries: trains easing into view, buses gliding past storefronts, cars stitching the highway while crowds funnel toward unknown errands. The images land like frayed recollections; soft at the edges, but rooted in a particular season of one’s life, a cluster of impressions that refuse to settle into order.

That same sensation runs through Just A Memory: a spastic synth line lifting and twisting with industrial tint and a sly streak of funk, the rhythm carrying the listener forward as if caught in a current of travel, time rushing past the window. The lineage reaches back to the steel-rimmed mood of mid-’80s Depeche Mode and the hard-angled body charge of Front 242, though filtered through a 21st-century gaze. Nothing here loosens its grip. Nothing drifts. This track is lean, charged, and precise: music built for the hidden corridors of the night. Dwyer captures the pulse of those wandering between venues, between moods, between selves…listeners adrift yet alert, guided by rhythm alone.

Watch the video for “Just a Memory” below:

Throughout his forthcoming new LP Deep Hate, Dwyer hones every contour. The drums land with disciplined force; the synths grind, then slip into a quieter glide; the vocals surface like coded messages carried in from the edge of the room. Longing threads through it all—a pressure trapped beneath glass, cooler and more unresolved than any florid confession. Each track narrows the aperture, pulling the listener toward the throb of the nocturnal city and the peculiar solitude that thrives inside its ceaseless motion.

Buzz Kull channels that tension with uncommon steadiness. Deep Hate is an album that feels engineered for the late hour—when streets thin, thoughts drift toward the corners avoided in daylight, and the neon blur becomes its own form of communion.

Deep Hate is out Feb 13, 2026, via Heartworm Press. The CD and digital releases will include remixes by PIG, Kontravoid, Cold Cave, and Spike Hellis. Listen to Just A Memory below and preorder the album here.

Deep Hate by Buzz Kull

Buzz Kull is performing live this December in Australia, with North American dates to follow in 2026 with Cold Cave and Rosa Anschütz.

Buzz Kull Live Dates:

Dec 18 Enmore Theatre Newtown, NSW Australia

Dec 20 The Tivoli Brisbane, QLD Australia

Feb 15 The Chapel San Francisco, CA

Feb 20 Music Box San Diego, CA

Feb 21 Fremont Country Club Las Vegas, NV

Feb 26 Neptune Theatre Seattle, WA

Follow Buzz Kull:

Facebook
Instagram
Spotify

The post Buzz Kull Returns With Video for Funky EBM Track “Just A Memory” — New Album “Deep Hate” Announced! appeared first on Post-Punk.com.

Source: Post-Punk.com

Mit "Darkest Side Of Earth" haben Gothminister die erste Single von ihrem kommenden neuen Album ausgekoppelt. Mehr Infos und das Video hier bei uns!

Source: Sonic Seducer

Gothminister usher in a new era with the new single “Darkest Side of Earth”. Dense gothic-industrial power meets cinematic bombast as the downfall and rebirth of empires in a broken world are sung about. What makes the song so special? For the first time, Gothminister himself – Bjørn Alexander Brem – mixed and mastered the […]

Source: Orkus

NYC-based electronic darlings Coatie Pop simply continue to enchant and amaze – between their energetic live performances and stellar recorded output, they’ve been building a well-deserved, deeply devoted following throughout the boroughs and beyond. Last year’s Unknown God was one of our favorite records of the year, and the duo have spent much of 2025 touring behind the album. For a full crash course on the band be sure to check out last year’s interview.

Meanwhile, we are honored to premiere the video and digital single release of “Surrender Your Heart,” a brand new cover of the classic Missing Persons single, released via Synthicide. Many readers should already be familiar with the original track from the band’s sophomore record Rhyme & Reason from 1984 . Watch and listen to Coatie Pop’s cover below:

Coatie Pop’s magnetic rendition of “Surrender Your Heart” is a true delight, perfectly capturing the melancholy magic of the original track while also injecting it with Coatie Pop’s own beguiling and high energy take on darkwave, synth pop, and trip-hop. The track has been a staple in the band’s live in recent years, and it’s wonderful to have this recorded version to add to the band’s ever-growing catalogue.

Vocalist Courtney Watkins offers a few words about the cover:

“After we had a performance at Eris Evolution, somebody came up and said how much I reminded them of this song – I’d never heard it before but I loved the cover image of Dale Bozzio so I actually got around to listening to it. It quickly became a song I had on repeat as the lyrics and melody resonated strongly with me. Watkins and I both felt that this song would be perfect for a cover, as there was so much room to transform it into something for the dance floor – especially the Synthicide one.”

The video, which plays perfectly into the track’s sensuality and beauty, features both Mr. and Mrs. Watkins dancing and performing the track amongst a kaleidoscopic backdrop, with images of the duo layered on top of each other. The video was directed by Hamish McCallion, who shares these words about the video itself:

‘My intent with project was to make a music video that felt like you found it on a VHS from some dusty attic…And I wanted it to reflect Coatie Pop’s elegant live stage presence”

Check out the digital single release of the track below, and be sure to be on the lookout for more things to come from both Synthicide and Coatie Pop.

Surrender Your Heart by Coatie Pop

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The post NYC Electronic Duo Coatie Pop Unveil Mesmerizing Cover of “Surrender Your Heart” appeared first on Post-Punk.com.

Source: Post-Punk.com

Details

Release 28.11.2025

Source: Shout.ru