Das Darkwave / Darkpop / Dark Electro-Projekt AGNIS hat mit „Wicked Witch“ eine neue Single mitsamt Video-Clip veröffentlicht. Der Song folgt auf das zweite Album der Solo-Künstlerin Agnieszka Leśna, „Gothess“ (2025), nach.

AGNIS „Wicked Witch“ (Video bei YouTube)

Source: Vampster

Die Symphonic Metal-Band BELLE MORTE hat mit „Jorōgumo“ einen weiteren Video-Clip ihres aktuellen Albums „Pearl Hunting“ veröffentlicht. Der Song ist inspiriert von japanischer Folklore erzählt „Jorōgumo“ die Geschichte einer Spinnen-Dämonin, die ihre Beute mit Schönheit und Täuschung lockt.

Das Album enthält elf sorgfältig ausgearbeitete Tracks, von denen jeder in Zusammenarbeit mit einer Reihe von Gastmusikern aus der ganzen Welt produziert wurde. Release-Termin war der 25. Januar 2025 via Wormholedeath Records. Zuletzt ist der eröffnende Titeltrack als Lyric-Video erschienen.

Vorab ist nach den Singles „Blame me“ mit dem armenischen Duduk-Spieler Lernik Khachatrian, „Black Waters“ mit Maulana Malik Ibrahim aus Indonesien und „September“ mit dem portugiesischen Multi-Instrumentalist Ruben Monteiro als Gast und den Backing Vocals von Ada Rusinkiewicz (HETHET) mit „Exorcism“ mit Ulziisaikhan Khoroldamba aus der Mongolei, der mit einem traditionellen Streichinstrument (Mornin Khuur) und Kehlkopfgesang aufwartet, eine weitere Single erschienen.

Im September 2022 ist mit „Krew“ eine weitere Single mitsamt Video-Clip erschienen.

„Die Idee zu, Song entstand im Februar. Als der Krieg begann, waren wir völlig am Boden zerstört und untröstlich“, erklärt die Band. „Als belarussische Band haben wir starke Verbindungen zur Ukraine: Wir haben Verwandte und Freunde, die dort leben, und im Allgemeinen wurde sie von uns immer als eine Art Heimat empfunden. Außerdem wurde belarussisches Territorium von der russischen Armee benutzt, ein schrecklicher Verrat und eine Last der Schande.

Wir haben beschlossen, dieses Lied zu komponieren, um unsere komplexen Gefühle und unsere Suche nach einer Art Erlösung in der Kunst zu reflektieren. Von Anfang an hatten wir die Absicht, die Nähe von drei Sprachen und drei Kulturen zu zeigen. Deshalb haben wir auch die polnischen und ukrainischen Sänger Ada Rusinkiewicz (HETHET) und Alex Pilkevych einbezogen, um ihre eigenen Perspektiven zu reflektieren, und Yaroslav Dzhus, der die Bandura, ein traditionelles ukrainisches Volksinstrument, aufgenommen hat.“

Im Mai 2022 ist mit „Fallen Idol“ eine weitere Single erschienen. Die Single folgte dem 2021er-Debütalbum „Crime of Passion“ nach und bildete den Auftakt zu mehreren Stand-Alone-Songs.

„Damals, im Jahr 2020, als COVID startete, war es sehr schwierig, zu reisen und andere Orte zu besuchen“, erklärt die Band. „Dieses Gefühl der Isolation hat uns dazu inspiriert, es mit musikalischen Mitteln zu beheben. Wir kamen auf die Idee, eine Reihe von Singles in Zusammenarbeit mit Musikern aus verschiedenen Ländern zu machen, bei denen mindestens ein ethnisches Instrument zum Einsatz kommt. Auf diese Weise können wir unsere Gedanken in Zeit und Raum reisen lassen, obwohl unsere Körper dort bleiben, wo sie sind, eingesperrt in 4 Wänden.“

Die erste Reise verschlug die Weißrussen nach Finnland, wo Tero Kalliomäki (SAATTUE, EMBASSY OF SILENCE) die „Jouhikko“-Parts für „Fallen Idol“ aufgenommen hat.

BELLE MORTE Line-Up:
Sergey Butovsky – Bass
Rostislav Golubnichiy – Drums
Ilya Rogovoy – Guitars
Ilya Petrashkevich – Guitars
Maria Shumanskaya – Keyboards
Belle Morte – Vocals

BELLE MORTE „Pearl Hunting“ Tracklist
01 Pearl Hunting (Lyric-Video bei YouTube)
02 Fallen Idol (Audio bei Bandcamp)
03 Exorcism (Video bei YouTube)
04 Blame me (Audio bei YouTube)
05 Wintersleep Feat. Ella Zlotos, Marta Masciola
06 Losing Faith Feat. Carlos Carty
07 Black Waters (Audio bei YouTube)
08 Willow Feat. Emma Spinelli, Rúben Monteiro
09 September (Lyric-Video bei YouTube)
10 Jorōgumo Feat. Hisashi, Reigen Fujii, Souzan Kato (Video bei YouTube)
11 Krew (Video bei YouTube)
12 Exorcism (Acoustic Version)

Source: Vampster

Mit „Lords of Mayhem“ wird am 10. Dezember 2025 die neue EP der Epic Heavy Metal-Band NETHERDRED erscheinen. Es ist der erste Release der US-Amerikaner aus Tucson, Arizona. Vorab gibt es mit „Spellbound“ einen Video-Clip.

„Lords of Mayhem“ ist zudem das erste Kapitel einer Trilogie limitierter EPs, die jeweils von einer Graphic Novel begleitet werden, die das „Netherverse“ sowohl akustisch als auch visuell zum Leben erwecke.

NETHERDRED Line-Up:
Ryan Smith – Bass, Vocals (backing)
Trek Fitzgerald – Drums, Vocals (backing)
Dan Mayhew – Guitars (lead), Vocals (backing)
Sergey Gordiyenko – Guitars (rhythm), Vocals (backing)
Rachel Adamson – Vocals

NETHERDRED „Lords of Mayhem“ Tracklist
1. Necrodancer
2. The Hateful Undead
3. Lords of Mayhem
4. Spellbound (Video bei YouTube)

Source: Vampster

Die Doom-Death Metal-Band SHROUDED IN DARKNESS hat den Titeltrack ihrer neuen EP „The Path of Suffering“ als Video-Clip veröffentlicht. Die Scheibe, welche von Sänger und Keyboarder Daniel Tjernberg (DARK LEGACY) produziert und von DAN SWANÖ gemastert wurde, ist am 23. November 2025 erschienen.

Zuvor haben die Schweden bereits drei Alben veröffentlicht.

SHROUDED IN DARKNESS Line-Up
Daniel Tjernberg – Vocals and keyboards
Daniel Reese – Guitars
Mikael Vimonen – Bass and drums

SHROUDED IN DARKNESS „The Path of Suffering“ Tracklist
1. The Path of Suffering 05:45 (Video bei YouTube)
2. Army in the Sky 05:58

Source: Vampster

Das Festival GELSEN METAL ATTACK 2026 findet am 7. März 2026 in der Kaue Gelsenkirchen statt. Veranstaltet wird das Festival von der IkM Gelsenkirchen (https://ikm-ge.de/). Tickets gibt es für 25 Euro zu erwerben. Mit Spendenaktionen vor und während des Festivals wird zudem das Arche Noah Kinderhospiz in Gelsenkirchen-Ückendorf unterstützt.

GELSEN METAL ATTACK 2026 Line-Up:
DARKNESS
OLD RUINS
THE VOID’S EMBRACE
SMORRAH
CORPORAL SHRED

Source: Vampster

Mit „Winterkronieken“ wird am 19. Dezember 2025 via Naturmacht Productions das neue Album der Atmospheric Black Metal-Band MELANCHOLIE erscheinen. Es ist das sechste Album des niederländischen Solo-Projekts von Robbert van Rumund. Vorab gibt es den Track „Vervlogen met de zwavelrook“ zu hören.

MELANCHOLIE „Winterkronieken“ Tracklist
1. Introductie
2. De treurwilg
3. Intermezzo
4. Vervlogen met de zwavelrook (Audio bei YouTube)
5. Elegie
6. Winterkronieken

Source: Vampster

Mit „Solitude“ ist am 28. November 2025 via Naturmacht Productions das neue Album der Depressive Black Metal-Band NORDICWINTER erscheinen. Es ist das achte Album des kanadischen Solo-Künstlers Yves „Evillair“ Allaire. Zum Opener „Whispers of the Frozen Abyss“ gibt es nun ein Lyric-Video.

NORDICWINTER „Solitude“ Tracklist
1. Whispers of the Frozen Abyss (Audio bei Bandcamp) (Lyric-Video bei YouTube)
2. The Howling Void (Video bei YouTube)
3. Echoes of a Dying Sun
4. The Sorrow of Eternal Frost
5. Eternal Night’s Embrace
6. As the Last Light Fades (Instrumental)

Source: Vampster

Die Death-Doom Metal-Band CHALICE OF SUFFERING hat einen Labeldeal bei My Kingdom Music unterschrieben. Im Zuge dessen werden die US-Amerikaner aus Minneapolis ihr neues Album „The Raven Cries One Last Time“ veröffentlichen. Erscheinen wird das nach „For You I Die“ (2016) und „Lost Eternally“ (2019) dritte Album der Band am 20. März 2026. Das Cover-Artwork stammt aus der Feder von Gogo Melone (AEONIAN SORROW).

CHALICE OF SUFFERING „The Raven Cries One Last Time“ Tracklist
1. Another Night In Pain
2. In The End…
3. All That Has Withered
4. Fading Memories
5. I Don’t Want To Fight…
6. The Raven Cries…

Source: Vampster

JOHN MACKO MUSIC hat nach „Utopia“ mit „Worthless“ ein weiteres Video des neuen Albums „Zero-Point Machine“ veröffentlicht. Es ist das erste Album des Modern Metal-Projekts von John Macko (FIFTH ANGEL).

„Zero-Point Machine“ wurde von Jacob Hansen produziert und ist am 2. November 2025 via Outcast Angel Music erschienen.

JOHN MACKO MUSIC Line-Up:
Georgie Chapple – Vocals and Lyrics
Adrian Thessenvitz – Guitars, Synths and Sound FX
John Macko – Bass
Ken Mary – Drums

JOHN MACKO MUSIC „Zero-Point Machine“ Tracklist
01 No Way Home
02 Worthless (Video bei YouTube)
03 Madness
04 Utopia (Lyric-Video bei YouTube)
05 Beauty of it
06 Violence
07 Singularity
08 Anastasia

Source: Vampster

Die Alternative Rock / Post-Metal-Band ŹRENICE hat mit „Śnienie“ ein neues Album angekündigt. Es ist das erste Album der Polen und wurde von Krzysztof Godycki im Studio Roslyn aufgenommen und von Haldor Grunberg bei Satanic Audio gemixt und gemastert. Erscheinen soll das Album im März 2026 über Via Nocturna.

Mit „Endymion“ gibt es einen Video-Clip zur ersten Vorab-Single, in welcher sich die Band mit einem der bewegendsten Themen unserer Zeit auseinandersetzt: der Erfahrung von Depressionen und dem Weg zur Wiederentdeckung eines Lebenssinns.

ŹRENICE Line-Up:
Kamila Kuś – vocal
Maciej Ciupa – drums
Łukasz Hawryluk – guitar
Hubert „Huwer“ Pomykała – bass
Krzysztof K. Pomykała – guitar

ŹRENICE „Endymion“ (Video bei YouTube)

Source: Vampster

Das ROCK HARD FESTIVAL 2026 findet auch 2026 am Pfingstwochenende im Amphitheater Gelsenkirchen statt, im kommenden Jahr also vom 22. bis 24. Mai 2026. Rock-Hard-Herausgeber Holger Stratmann verspricht:

„Wie immer versuchen wir, eine aufregende Mischung aus etablierten Dauerbrennern und Bands zu finden, die noch nie im Amphitheater zu Gast waren.“

Neu bestätigt sind diese Bands:

SAXON, HÄLLAS, WARLORD, THE NEPTUNE POWER FEDERATION, THE GREAT SEA

Gebucht und bestätigt sind außerdem schon diese Bands:

ARMORED SAINT
SLIME
LUCIFER
ANGEL WITCH
HIRAX
NECKBREAKKER
DARK TRANQUILLITY
MIKKEY DEE with friends playing MOTÖRHEAD classics
GUS G. & RONNIE ROMERO
CORONER
WYTCH HAZEL
AILED TO OBSCURITY. 

Zum Billing kommen nun noch 6 weitere Bands hinzu.

Karten für das ROCK HARD FESTIVAL 2026 sind seit Ende September erhältlich. Die 3-Tages-Tickets kosten 155.- Euro inklusive aller Gebühren, das Festivalticket plus Camping 209,50 Euro.

Bestellen kann man auf  shop.rockhard.de/de-de/rock-hard-festival. Digital-Tickets (print-at-home) gibt es auf stagedates.com.

Source: Vampster

Das PARTY.SAN OPEN AIR 2026 findet vom 6. bis 8. August statt, auf dem Flugplatz Obermehler-Schlotheim statt. Nun wurden auch CRAWL zum Billing hinzugefügt.

Außerdem spielen: TESTAMENT, JUNGLE ROT, SUNKEN,  AMORPHIS, HYPOCRISY, FIRESPAWN, DESASTER, MURDER SQUAD, DECEASED, WOLFBRIGADE, IN THE WOODS… HEXVESSEL, FLESHCRAWL, SEAR BLISS, WORMED, WHITE WARD, ENDONOMOS, TEMPLE OF DREAD, TULUS, SARCATOR, GUTTURAL SLUG, DESASTER, SORCERER, BAXAXAXA, GATES OF ISHTAR und MAMMOTH GRINDER.

Kartenvorverkauf PARTY.SAN OPEN AIR 2026
Das 3-Tages-Ticket gibt’s auf http://www.cudgel.de, im Moment kostet es rund 180 Euro.

Source: Vampster

Industrial music veterans KMFDM have announced their 24th studio album, ENEMY, which is set for release on February 6, 2026, via Metropolis Records. The album will be available on 2×LP (cut at 45 RPM), CD, and digital formats. ENEMY follows the band’s 2024 full-length LET GO, continuing their decades-long stream of near-annual releases.

The first single, “Oubliette,” is slated for release on December 12th, offering an early look at the material ahead of the album’s arrival. The band describes it as one of the more melodic and dance-rock-driven tracks on the record, positioned to introduce the album’s thematic direction.

The core lineup of Sascha “Käpt’n K” Konietzko and Lucia Cifarelli remains central to the new release, alongside longtime drummer Andy Selway. ENEMY also marks the studio debut of London guitarist Tidor Nieddu, who joined the ensemble following their 40th-anniversary tour.

Additionally, Annabella Konietzko contributes her first songwriting credit to the band on the track “Yoü,” after previously appearing live with the group.

KMFDM frame the album within what they describe as a period of rising global instability, pointing to the resurgence of authoritarian politics and heightened social tension. This perspective shapes the record’s political emphasis and continues a thematic thread that has run through much of their catalog since the 1980s.

According to the press release, ENEMY spans a broad range of styles within the group’s established sound, including dance-rock, groove-based electronics, industrial metal, thrash-influenced material, funk-driven rhythms, and a dub-tinged reworking of a past track.

See the full tracklist below. and pre-order the album here

ENEMY Tracklist:

Enemy

Oubliette

L’État

Vampyr

Yoü

Outernational Intervention

A Okay

Stray Bullet 2.0

Catch & Kill

Gun Quarter Sue

The Second Coming

ENEMY arrives shortly before the band heads out on an 18-date European tour running from February 20 through March 12, 2026, with shows across Germany, France, Switzerland, Italy, Eastern Europe, and Scandinavia. The run includes stops in Cologne, Paris, Milan, Prague, Berlin, and Stockholm, marking their first extensive European circuit since their 40th-anniversary celebrations. The tour will feature I Ya Toyah as the primary support act, with Jesus On Extasy joining on select dates.

Following the European dates, KMFDM are also confirmed to appear at Sick New World in the United States twice in 2026 — first at the Las Vegas Festival Grounds on April 25, and later at Texas Motor Speedway in Fort Worth on October 24, placing the band alongside a lineup of industrial, metal, and alternative acts for the festival’s expanding multi-city footprint.

KMFDM — Europe 2026 Tour Dates:

20 Feb 2026 — Cologne, Germany — Essigfabrik

21 Feb 2026 — Oberhausen, Germany — Kulttempel

22 Feb 2026 — Eindhoven, Netherlands — Effenaar

23 Feb 2026 — Antwerp, Belgium — De Casino

24 Feb 2026 — Paris, France — Petit Bain

25 Feb 2026 — Lausanne, Switzerland — Les Docks

26 Feb 2026 — Winterthur, Switzerland — Gaswerk

27 Feb 2026 — Milan, Italy — Legend Club

01 Mar 2026 — Budapest, Hungary — A38

03 Mar 2026 — Bratislava, Slovakia — Majestic Music Club

04 Mar 2026 — Prague, Czech Republic — Palác Akropolis

05 Mar 2026 — Kraków, Poland — Hype Park

06 Mar 2026 — Berlin, Germany — Gretchen

07 Mar 2026 — Warsaw, Poland — Proxima

08 Mar 2026 — Leipzig, Germany — Täubchenthal

10 Mar 2026 — Gothenburg, Sweden — Pustervik

11 Mar 2026 — Stockholm, Sweden — Slaktkyrkan

12 Mar 2026 — Malmö, Sweden — Moriska Paviljongen

U.S. Festival Appearances — 2026

25 April 2026 — Las Vegas, NV — Sick New World (Las Vegas Festival Grounds)

24 October 2026 — Fort Worth, TX — Sick New World Texas (Texas Motor Speedway)

Follow KMFDM:

Website
Bandcamp
Merch
Facebook
Instagram 
YouTube
Spotify
Apple Music 

The post KMFDM to Release 24th Studio Album “ENEMY” via Metropolis Records in February 2026 appeared first on Post-Punk.com.

Source: Post-Punk.com

There’s a moment in every transformation when the mask stops fitting — when the persona you’ve held onto begins to sag at the edges, heavy with the weight of who you no longer are. Identity doesn’t crack all at once; it loosens in quiet rooms, in long drives, in the stillness between breaths. For Los Angeles-based artist MANIKVAMP, that moment becomes a reckoning in her latest video, My Mind Is Made Up. Here, the shifting of identity — its molting, its shedding, its rebirth — takes center stage as the next part of her Dead & Buried EP drags a different truth into the light.

A key turning point of this closing chapter, “My Mind Is Made Up,” crackles with dark alt-rock tension. It opens on an arpeggiated synth pulse before giving way to a slightly psychedelic guitar riff — a sound that nods to the ragged glory of early Hole and the low-end bruising of L7’s Bricks Are Heavy era. The vocals begin with a quick, tightly delivered cadence, almost percussive in their urgency, before shifting into longer, more drawn-out, dark alt-rock lines that feel deliberate, sharpened, and heavy with resolve. The bass chugs like a restless engine underneath, giving the whole track the momentum of a decision that can no longer be delayed.

Directed and edited by Gnarlos Wright, the video for “My Mind Is Made Up” opens on MANIKVAMP driving in the cold daylight, shaking her head as if trying to dislodge a thought she can no longer ignore. With her trademark punk-goth vamp look — cigarette burning between her fingers, eyeliner like war paint — she pulls up to a grand Victorian mansion layered with ghosts, antiques, and haunted velvet. It is not a ruin; it is a reliquary. Oil portraits stare from the walls. Heavy drapery holds secrets. Lamps flicker like faint memories. Stepping out of the car, she stands at the threshold like someone arriving at the house of an old self she has come to bury.

Inside, the camera lingers on intricate woodwork, tasseled lamps, ornate mirrors, and the lush theatricality of distressed goth glamour — somewhere between Rasputina’s cello-haunted Victoriana and Tim Burton’s shadow-soaked whimsy. MANIKVAMP moves through the rooms like a decaying Victorian vampire, not collapsing but shedding — pacing corridors as if each antique were an echo of the persona she is preparing to leave behind. Her presence disrupts the stillness. The walls seem to watch. Identity hangs in the air like dust.

Then, as the track deepens, masked figures begin to appear — slipping through doorframes, emerging behind banisters, flickering at the edges of lamplight. Their presence evokes the quiet dread of The Strangers, but here they function as something more symbolic: iterations of the self, expectations from the past, pressures from the scene, shadows of the persona being hunted down from the inside. They are the many faces of MANIKVAMP’s own creation, now closing in.

The tension between sound and setting becomes the axis on which the whole video turns. The gritty alt-rock churn pushes forward with the determination of someone finally committing to change, while the opulent interior wraps around her like the last luxurious trap of an identity she no longer wishes to inhabit. She is both the ghost and the hunter, both the past and the future, both the persona and the executioner. The title is not a metaphor. Her mind is made up.

In Dead & Buried’s architecture, “My Mind Is Made Up” marks the moment when the decision crystallizes. If “Silent Screams” captured isolation and overwhelm, and “Quiet My Mind” mapped the claustrophobia of internal noise, then this is where the exit appears — where she stops pleading for quiet and instead chooses to dismantle the persona entirely. The masked hunters, the mansion, the cigarette glow, the moving shadows: all of it points toward the inevitable third act, in which she does what they cannot — kill the character herself.

Watch the video for “My Mind Is Made Up” below:

On Dead & Buried, MANIKVAMP stages a funeral for the self she no longer wishes to inhabit. Composed with longtime collaborator Scotty from Wisconsin, the EP moves through the burial ritual one track at a time, preparing not just an end but a deliberate rebirth. “It represents a funeral… the symbolic burial of the MANIKVAMP character and everything she stood for,” she explains. “I realized I had outgrown that version of myself and needed to put it to rest to move forward.”

Across the EP, each song serves its role:

“Silent Screams” — the overwhelm, the suffocation, the swallowing of the persona.
“Quiet My Mind” — the impossible plea for silence amid expectation and noise.
“My Mind Is Made Up” — the turning point, the decision, the realization that escape must be chosen, not granted.
“Dead & Buried” — the execution, the burial, the emergence of something new.

This is not a rebrand. It is a self-chosen extinction. A controlled burn. A ritual closure for a persona born from survival and sharpened by pain. “While it started as a way to own my mental illnesses, it eventually began to glorify them,” she admits. The new name — still unrevealed — will be the opposite of MANIKVAMP, the person who steps out of the coffin rebuilt, refocused, and aligned with healing rather than survival.

“No matter how out of control your life gets, you can always find your way back to yourself and reinvent yourself,” she says. “Every ending comes with a new beginning.”

The MANIKVAMP era is nearly buried. The person who rises afterward is already sharpening the blade.

Follow MANIKVAMP:

Instagram
Spotify
Apple Music
YouTube
LinkTree

The post ManikVamp Haunts a Victorian Gothic Mansion in Video for “My Mind Is Made Up” appeared first on Post-Punk.com.

Source: Post-Punk.com

There’s a moment in life when the mind stops wrestling with permanence and lets the truth settle in the ribs: everything shifts, everyone vanishes, every bright pulse we love softens into echo. To make peace with that is its own quiet rite…some days it comes tenderly, like a soft tide against the ankle; other days it lands with the blunt report of a door shutting behind you. Yet in this uneasy accord with passing time, a strange, steady beauty takes shape, reminding us that meaning hides within the fleeting.

Redder Moon’s No One Lives Forever, off the album If You’re Falling, Dive, steps directly into that territory, letting mortality sit beside melody without sermon or spectacle. The bittersweet song from this Kansas City act moves with a slow-burning thrum—a melancholic strain of gothic new wave built on bass that thuds like a distant pulse, guitar sustain hanging in the air like fog, percussion that shivers and sighs, and synths that ripple like a mournful wind. The voice at the center carries a hush edged with warning: close, steady, sure of the storm it names. You can hear faint constellations of mid-80s reverie flickering through the arrangement: Tears For Fears, Howard Jones, Talk Talk, even the soft-glow ache of Mr. Mister. Threaded between those influences is a subtle Ultravox-like shimmer—an undercurrent of romantic tension and melodic steel that lifts the track into something more haunted, more stately. These echoes guide the song toward a kind of hymn for the beyond, channeling awareness of impermanence into motion rather than stillness.

The video, shot in black and white, deepens the sense of time-bending at the margins. We see the artist walk through manicured gardens and past a Victorian manor, and the columns of tomblike stonework, each step passing through a world that feels both present and vaguely lost. The camera drifts through archways and corridors of hedges, keeping a gentle distance, as if the lens itself is remembering rather than witnessing. Light spills softly across the frame, turning each location into a whispered recollection—an image already sliding away even as we look at it.

Watch the video for “No One Lives Forever” below:

Together, the song and its visual companion create a meditation on impermanence that doesn’t collapse into gloom. Instead, Redder Moon invites us to listen closely to the quiet hum of our hours, to the small measure of fire still carried inside the body, to the strange solace found in understanding that nothing—and no one—is permanent in the mortal world, and that this truth, approached with grace, can turn into strength.

Listen to No One Lives Forever below and order If You’re Falling, Dive on purple vinyl
 here.

If You’re Falling, Dive by Redder Moon

Follow Redder Moon:

Instagram
Spotify
Bandcamp

The post Redder Moon Wanders the Grounds of an Old Victorian House in Video for Melancholic Track “No One Lives Forever” appeared first on Post-Punk.com.

Source: Post-Punk.com

Valuable time capsuleULTRAVOX“The Collection (Deluxe Edition)“Album (Chrysalis Records)Release: December 05, 2025 With the new deluxe edition of “The Collection”, Ultravox celebrate an era in which synth-pop and new wave became art forms. It is released in a lavishly expanded version with four CDs and two Blu-rays. The classics have been audibly remastered and there are […]

Source: Orkus

Since their formation in 2014, Motel Transylvania have developed an unmistakable signature – dark, theatrical, yet deeply human. “Generation Lost” opened a new chapter, a new beginning born out of turmoil. “During the writing process, we experimented, without rules, without patterns,” recalls singer and creative head of the band Toxi in our winter issue. Motel […]

Source: Orkus

Tom Shear will forever be associated with the rise of Future-Pop, even if the term...

Source: Side Line

US electronic project halovox has released the new digital single “First Bite“. The track appears...

Source: Side Line

Norwegian synthpop / futurepop duo State of Anguish release their new single “Unpreferred” today, 5...

Source: Side Line

Brussels post-punk band The Names release the digital “Procrastination” EP today, 5 December 2025, via...

Source: Side Line

Manchmal gibt es diese Veröffentlichungen, bei denen man schon nach den ersten Sekunden spürt, dass hier gerade ein kleines Stück Bandgeschichte geschrieben wird. Genau so ein Moment...

Source: MedienKonverter

Der Dezember hat diese herrliche Fähigkeit, uns gleichzeitig zu überfordern und einzuwickeln – und dann erscheint ’Dirk Serries’ mit „Zonal Disturbances III“ und wischt mit einem einzigen...

Source: MedienKonverter

Heute ist Bandcamp Friday – und während sich die halbe Szene darüber freut, ein paar Prozent mehr in die eigene Kaffeekasse zu spülen, schmeißt ’Knight$’ einfach ein...

Source: MedienKonverter

Irgendwo zwischen digitalem Overload, Chatbot-Krise und dem letzten Versuch, die Kaffeemaschine davon abzuhalten, ein Update zu verlangen, melden sich 'Robots of the 80s'...

Source: MedienKonverter

Pennsylvania post-punk outfit Painted Dog began as a private experiment in a Pittsburgh bedroom, where songwriter James gathered scraps of melody and late-night impulse into rough sketches. Those sketches soon demanded more limbs. Justin stepped in with sharp lead lines, Jon followed with another guitar voice that carved its own angles, Ryan anchored the low end with a steady churn, and Evan’s drumming stitched the whole thing together with a pulse that felt half feral, half ceremonial. The name (suggested by Jon) landed quickly. Wild enough. Scrappy enough. Accurate enough.

Painted Dog’s first live show arrived in a cramped basement in a student neighborhood, shortly after stages reopened in the uneasy aftermath of the pandemic. The crowd packed in tightly, hungry for noise and release. The room shook in a way that told James the bedroom recordings had finally found their proper habitat. That moment became the blueprint for every performance that followed—urgent, unruly, and impossible to fake.

The sound of their debut single Midnight City occupies a tension point. Post-punk atmosphere collides with raucous cow-punk drive, giving the songs a restless pace and the feeling of headlights cutting through back roads. Jagged guitars scrape against raw rhythm, while the mood shifts like a city block after midnight, one of those stretches where something could break or bloom depending on which turn you take – or notorious Pittsburgh hill you brave. The lineage is visible without being imitative: the scraped-nerve volatility of The Stooges, the possessed swing of The Birthday Party, the desert-heat howl of The Gun Club.

Listen to Midnight City below

And while the A-side of their debut single Midnight City barrels forward with its headlights-on intensity, the flip—Midnight Rose—shows a different face. There’s a bruised, half-lit melancholy threaded through its twang, the propulsive guitars, bass, and drums taking on a weight that recalls Rowland S. Howard’s post-Birthday Party tension in These Immortal Souls, and the slow-burn ache of Lowlife—particularly the way the Grangemouth outfit’s song “Again and Again” lingers in the air long after it’s gone.

Painted Dog’s debut LP, Mirror, arrives via Play Alone Records, gathering tracks written across the years as Painted Dog shifted from isolated demos to a full band capable of meeting the songs head-on. The band’s album release show will rock Pittsburgh’s Brillobox on December 13.

In the meantime, order the Midnight City/Rose single here.

Midnight City/Rose by Painted Dog

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The post Pittsburgh Post-Punk Outfit Painted Dog Release Twangy Debut Single “Midnight City” appeared first on Post-Punk.com.

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There is an electricity to Second Idol’s Mongrel that flickers like a body remembering its earliest bruises — not to shrink from them, but to rise taller in spite of every mark. One of the most compelling acts emerging from Australia’s alternative world, Second Idol delivers a debut album charged by identity, inheritance, and the tension of living between worlds. There is conviction here, but also curiosity; tenderness, but also a blade. Each track feels pressed together from many histories until something jagged and bright begins to take shape — a record that studies belonging with equal parts honesty and heat.

The quartet — Kate Farquharson, Theia Joyeaux, Sunny Josan, and Afeef Iqbal — move with the shared voltage of second-generation Australians whose lived experiences crackle beneath every verse. Their cultural lineages, their queerness, their personal histories: none of these are adornments. They are the engine. To hear Mongrel is to hear people disentangling the threads between self and society, then knotting them back together into a shape that finally feels like home.

Produced, mixed, and mastered by Clayton Segelov with engineering by Angie Watson at The Brain Studios in Sydney, the album is sharp-edged and deliberate. It reaches toward feminism, gender politics, postcolonial tension, diaspora, desire, heartbreak, and the relentless undertow of a country confronting its own fractures.

Alongside previewing the album, Second Idol opened up to Post-Punk.com about the forces shaping each of Mongrel’s songs—their full track-by-track breakdown — paired with our impressions and vocalist/guitarist Kate Farquharson’s deeper insights into the songs.

Second Idol. Photo by Ben Westover
Second Idol’s Mongrel. Track by Track:
Silicone Maggot

The album begins with a rush of unease: a deep, fuzz-drenched bassline setting an ominous undertow while the vocals arrive taut and wary, like a warning in the half-light. As the tension builds, rhythmic psychedelic guitars curl around the voice, each line cutting through the mix like a whispered threat.

The band describes “Silicone Maggot” as a study in imposter syndrome — that chest-tightening moment when you walk into a room and instantly feel out of place. Yet the track arcs toward empowerment rather than defeat.

Expanding on this, Kate speaks of the “deep twisting feeling in your gut” that convinces you you don’t belong, comparing it to imagined “maggots wriggling,” a false narrative planted by anxiety. She emphasizes the song ultimately reclaims space: “You DO belong here. You NEED to be here. You deserve to take up space.”

Boxing Ring

“Boxing Ring” lands with the crack of a storm. The guitar’s drone pulls taut like the ropes of a ring, while the rhythm section bounces with the lightness of footwork before the fight. Vocals slice in sharp and punk-edged, cutting through a melody that circles overhead like weather threatening to break. Angular guitar strikes fall like icy rain as tension gathers.

The band frames it as an anthem for women and gender-diverse musicians — a rebuttal to tokenism and the industry’s habit of turning solidarity into spectacle. Its message burns clean and fierce.

For Kate Farquharson, the metaphor is painfully literal. She describes the industry as “a circus” where artists are pedestalized, undermined, or “led to slaughter” for speaking up. The track channels that tension into refusal — a declaration of solidarity forged against the grind.

Postcolonial Blues

A slow, deliberate drumline marches the song forward with generational weight. Guitars flicker at the edges while the vocals smoke and seethe, slipping into punk sneers that crack the stillness. Two minutes in, the track explodes into shoegaze-thick distortion — a punch of catharsis that retreats and resurges like memory itself.

The band explains that “Postcolonial Blues” wrestles with the complexities of being Australian while rooted in Sri Lankan and Scottish lineage. It draws from Farquharson’s upbringing in Kempsey, where racism and belonging shaped her earliest sense of self.

Speaking with visceral specificity, Kate recalls writing the song while staring at a 1960s photo of her aunty and grandfather in Colombo. From that image unfurled questions of colonial legacy and national identity, intensified by Australia’s 2023 “No” vote rejecting the Indigenous Voice. “How do I navigate this world as a postcolonial being?” she asks. The song inhabits these questions rather than resolving them.

Spineless Wonders

“Spineless Wonders” shifts the album into colder terrain. A thick, old-school post-punk bassline takes the lead, steady and bruised, while quivering coldwave guitars lace a frozen gothic melody. The mantra “It doesn’t matter to me” hangs with unsettling resignation before the title’s refrain hits like a whispered insult across a dim room.

The band says the track grew out of a sinuous jam session that evolved into a critique of political cowardice. Power, corruption, and moral vacancy slither at its core.

Kate calls it “a gothic painting of power, corruption and lies,” with the titular “spineless wonder” representing politicians and abusers of authority who “wander/wonder free.” Her lyrics twist through the arrangement like a blade.

The Harbinger

A thick, resonant snare opens the track like a door slammed in warning before the vocals seize the room with clarity. A repeated “oh” softens the blow, letting the song spill into a tempest of early-’90s alt-rock and shoegaze — guitars swirling with longing and restraint. The melancholy lingers like thunder refusing to break.

The band describes the song as a meditation on broken promises — friendships that fade, abandonments that leave quiet devastation in their wake.

In her notes, Kate writes of longing for honesty amid exhaustion: “You’re tender and you’re tired but you’re looking for glimmers of hope.” She closes the song with a vow to live truthfully: “Live a little for me. Save a little for me.”

Third Culture Kids

Charging forward with restless urgency, “Third Culture Kids” pairs rapid drums with fuzz-thick bass, its teeth bared in a satirical snarl. The line “nowhere ever feels like home” lands with a sting sharpened by humor — half-wound, half-joke.

Second Idol calls it their “POC rage song,” built on a tension between no-wave chaos and punk precision.

For Kate, the song cuts close to the bone. She recalls hearing the taunt “You flew here, we grew here” as a child — a weaponized reminder that belonging is conditional. The track examines the pressure to assimilate, the ache of carrying multiple identities, and the sense of being split across borders both visible and invisible.

Little Girl

A gentle, stabbing melody guides “Little Girl,” with guitars strumming like piano chords — soft but deliberate. Beneath this, post-punk bass and guitar shift subtly while the refrain “my little girl” carries the wistful ache of addressing a younger self frozen in memory.

The band describes it as a letter to childhood — a reflection on femininity, identity, and the strange magic of escaping into imagination.

Kate paints that world vividly: the jewelry box with its spinning ballerina, smocked dresses sewn by her mother, dancing to Strictly Ballroom, the crooked charm of Fantasy Glades. The song became a way to soothe old wounds — a return to a self left waiting.

Dear X (Bonus Track)

“Dear X” gathers everything — confession, ache, and catharsis — into one final storm. It swells like a cathedral filled with climbing voices, guitars swirling between shoegaze haze and metallic collision before settling into a pulse-driven groove. The song rises and falls in waves, each surge carving deeper into the emotional terrain beneath.

Originally released in 2022 and remastered for this album, the band call it a “tsunami of sound” reflecting emotional illiteracy and fractured relationships.

Kate describes it as an overwhelming outpouring of everything unspoken — a flood of words that never found release until now.

Ultimately, Mongrel is an album that feels lived-in — stitched from the fragments we inherit, the names we drag behind us, the grief we learn to outgrow, and the ugliness we grit our teeth through. Second Idol never sermonizes or sand down the edges. Instead, they lay every shard on the table, let it hum with heat and sorrow, and refuse to shrink from its complexity. It’s a debut that stands tall inside its contradictions, its histories, and its hungry determination to keep going.

Order the album here and here, and listen below:

Second Idol · Mongrel
Second Idol Live shows:

6 December, Gang Gang Cafe — supporting The Maggie Pills (Canberra)
7 December 2025, Loud Women Festival Australia — Crowbar Sydney
14 December 2025, Loud Women Festival Australia — Bergy Bandroom (Melbourne)

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The post Sydney’s Second Idol Traces the Fault Lines of Heritage and Hurt on Their Debut LP “Mongrel” (Track by Track Review) appeared first on Post-Punk.com.

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Rafael Anton Irisarri’s life has always carried the hum of elsewhere. Born in Puerto Rico, raised in the uneasy slipstream between San Juan and the mainland, he grew up with the kind of cultural dislocation that lingers in the bones long before it ever reaches the page. That split: geographic, emotional, historical, breathes inside his music. Every piece he makes feels shaped by an invisible pull across coastlines, memories, and the quiet hours where technology, silence, and longing hang together like unsettled air.

Known for collapsing ambient drift, experimental abrasion, and modern classical contour into a single language, Irisarri approaches composition as if all elements. – guitar resonance, remix fragments, bowed textures, manipulation, decay – were strands of one extended gesture. A restless collaborator, he arranges polyphony the way some people arrange light: through careful angles, through slow shifts, through gravity.

Now he offers a new opus: Points of Inaccessibility, arriving 6 February 2026 on BioVinyl through Black Knoll Editions. It began inside the stark corridors of the former Pieter Baan Centre in Utrecht, a psychiatric prison whose architecture pressed itself into the early recordings. Irisarri walked the building’s empty rooms with microphones, capturing bowed guitar drones and long-resonant harmonics that clung to the concrete surroundings. Dutch visual artist Jaco Schilp projected shifting point clouds during the sessions, though the album itself was ultimately reassembled by Irisarri alone in New York, the prison’s ghost acoustics folded into a new shape.

“Points of Inaccessibility came from thinking about how disconnection feels in an age obsessed with connection,” Irisarri explains. “We are constantly online, constantly visible, yet we drift further apart. The real distance isn’t geographic anymore, it’s emotional.”

He speaks just as plainly about the effect of the building: “Inside that old psychiatric prison in Utrecht, the air felt heavy with the residue of other lives. The sound carried traces of silence, as if the walls remembered things that had been forgotten.”

The resulting record steps through drone terrain, blurred harmonic drift, and stark quiet with a sense of pressure rather than spectacle. It continues Irisarri’s long-running study of memory and emotional distance—how rooms hold stories, how bodies hold unanswered questions, how dissolution and recollection cling to one another…bringing to mind the work of composers Caleb Burhans and Max Richter.

One of the album’s central instrumental pieces, Breaking the Unison, arrives from a place of personal heaviness. “I reached a point in my life where resignation started to feel like the only thing left,” Irisarri says. “That kind of heaviness gets sharper when so much of our connection happens through screens, where everything is visible but nothing feels grounded. You start carrying emotions that have nowhere to go. That is where this track began. Breaking the Unison carries that weight in its sound, with strings that strain upward and distorted guitars that feel like a pressure finally breaking through the surface.”

Listen to Breaking the Unison below and order Points of Inaccessibility here.

Points of Inaccessibility by Rafael Anton Irisarri

Long before this album, Irisarri shaped Seattle’s early-2000s electronic milieu, unveiling Glider under his alias The Sight Below; a release that pushed hazy guitars and submerged rhythmic logic into something that would define a new branch of ambient-techno. That instinct to move freely between drone, post-classical forms, and improvisational immediacy has carried through his entire career.

In 2010 he established Black Knoll Studio, and after relocating to the Hudson Valley in 2014, became one of the most trusted mastering engineers in independent music. His work spans Terry Riley, Ryuichi Sakamoto, William Basinski, MONO, Devendra Banhart, Grouper, Emeralds, Julianna Barwick, and countless others. Across labels and continents, his presence is a quiet anchor.

As a live performer, Irisarri prefers places built for reverberation rather than distraction: churches, factories, synagogues, planetariums, tunnels, abandoned hangars. These alternate sites sharpen the physical dimension of his work; spaces where stone, glass, steel, and air shape the listening body as much as the music itself. He often revitalizes overlooked or forgotten structures through sound, letting their histories breathe through resonance.

With Points of Inaccessibility, Irisarri turns again toward the distances we rarely name. The prison in Utrecht, the migrations of his childhood, the endless screen-mediated ache of the present—all of it swirls beneath the surface. This is music built from rooms that remember, from dislocation that never quite softens, from a life lived between points no map can fully chart.

See Rafael Anton Irisarri on the following dates:

23 January 2026 — House of Music Hungary, Budapest
1 February 2026 — LABA, Iruña-Pamplona
6 February 2026 — St Paul’s Sessions, Amphitheater of the Athens Conservatoire
14 February 2026 — Casa Montjuïc, Barcelona
4 May 2026 — Dig That Treasure Festival, London

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The post NYC Ambient Artist Rafael Anton Irisarri Confronts the Cold Glow of Disconnection on “Breaking the Unison” appeared first on Post-Punk.com.

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Musician Thomas Bagnoli has long worked in the shadows of experimental collaboration, but The Melancholy Hours marks a turn inward: an exploration shaped by quiet pressure rather than grand gesture. With IN SAUDADE, released through Spirit Goth’s Memorycard imprint, he assembles a suite of ambient instrumentals that feel less like compositions and more like half-kept confidences, passed through cracked light and patient static.

Across its span, the EP moves with a restrained pulse, drifting between soft abrasion and near-weightless hush. Bagnoli doesn’t aim for immersion so much as suggestion—tonal smudges, faded chords, and thin strands of melody that gather and disperse before fully taking shape. Each piece feels tentative by design, circling the edges of recollection without trying to anchor itself to certainty.

Its lineage traces toward Windy & Carl’s long arcs, Slowdive’s suspended instrumentals, and Bowery Electric’s vapour-thin calm, yet Bagnoli pares away the romantic sweep. What remains is spare: tones that tremble at their fringes, small frictions under a soft glow, a sense of arrival that dissolves even as you notice it. The palette holds warmth, but resists comfort; everything here leans into the moment just before memory sharpens, and the moment just after it dims.

Recorded in East London with producer Arthur Pegis, the four tracks unfold like slight studies—examinations of texture, restraint, and emotional residue. Pegis tightens the grain, heightening the contrasts between decay and clarity, letting each softened guitar line or gentle distortion behave like a clue in some private correspondence.

The invocation of the Portuguese saudade signals the EP’s intention: not to explain an emotion, but to gesture toward one that remains ungraspable. These pieces move as though handling a photograph whose subject you recognize instantly, but whose context forever escapes you.

Summer opens with the tentative unfurling of a day not yet decided. A low drone gathers beneath delicate reverberations, while sparse snare taps lightly disturb the stillness. The textures shimmer without urgency, settling into a pale drift that feels almost like light refracted into rain—gentle, momentary, impossible to hold.

Azure steps further inward. Percussion wanders like someone pacing a dim hallway, while the guitar traces darker, inward-turning circles. Scraped tones and muted scratches widen the grain, creating a faint undertow of unease. A slim melodic thread winds through the center, contemplative and unresolved. Breath-like synth pads expand the space until everything dissolves into the hush of water—tide collapsing into memory, memory collapsing into tide.

Vestige hovers in a tremor of pulses, its percussion reduced to soft clatter and distant flicker. The piece evokes classic shoegaze in its sensation rather than in its architecture—its blurred edges signaling something glimpsed rather than stated. A washed guitar line rises, recedes, and rises again, eventually giving way to chords that reach a little further into the light. It feels like the moment a forgotten feeling stirs, only to slip away before you can name it.

Calima closes the EP by opening its largest interior. Guitars expand in slow, cathedral-like arcs, their tones brushed with metallic resonance and drifting percussive shivers. The arrangement glows with a soft, upward pull—never grand, but gently luminous. The chords keep reaching through the haze, gathering everything the record has held back and releasing it in a long, steady breath.

This is music meant for the quiet hours—when the city thins, when thoughts drift unguarded, when every window reflects a half-formed idea. IN SAUDADE offers a place to pause inside that stillness: a space where unanswered questions breathe, and where something once held close returns in the faintest, softest glow.

Listen to In Saudade below and order the album here or here.

In Saudade by The Melancholy Hours

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The post Remembrance of Things Lost — London’s The Melancholy Hours Drifts Into the Dreamscape of Ambient Shoegaze EP “In Saudade” appeared first on Post-Punk.com.

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I don’t want to play that game

I don’t want to be involved

With that nepotism at all

He was left, left behind

Seattle’s Painted Vein makes music that takes the familiar pressures of a world built on handshakes and half-truths and presses them into a track wired with dread, devotion, and the weary courage to name what corrodes. The project’s mastermind, Andrea Volpato, sings as if speaking into a wind that has carried away too many faces; the lines arrive sharp, stripped of ceremony, heavy with the memories of those lost and the hollow brightness of those who stayed to perform their smiles. Their latest single, Left Behind, moves in this space.

The music drives hard, drawing on the dense churn of shoegaze and post-punk; nodding to the wiry tension of Pixies, the thick, sludged emotional heft of Ride, Chapterhouse, and The Smashing Pumpkins. Even some baggy grooves of Madchester make their way in the chorus, filtered through a bittersweet minor-chord haze. The track feels weary but unwavering, fed up with the world’s petty pantomimes, yet still holding tight to a private ember of meaning.

At its center stands a vow: Wherever you are, you’re here. Volpato delivers it like someone placing a hand on a closed door, hoping it still leads somewhere…a tremor of longing, the fragile insistence that presence can persist even in absence. The song becomes a vessel built from exhaustion and devotion, steering through nepotism, performance, and the general hum of daily nonsense toward something plain and unguarded.

The accompanying video, filmed between Seattle and North Bend and directed by IM DONE with Andrea Volpato, carries the Pacific Northwest’s misted hush straight into the frame – an atmosphere any Twin Peaks devotee will instantly recognize. Late-night coffees in a roadside diner, long drives through wet timberland, and a low thrum of unease guide the eye. The Lynchian streak is unmistakable, yet filtered through a modern, brittle dystopia, shaped by the same restless stirrings of the psyche that coil beneath the song itself.

Watch the video for “Left Behind” below:

Listen to Left Behind below and order the single here.

Left Behind by Painted Vein

Written, recorded, and mixed by Volpato at Fox Studio Seattle, and mastered by Grammy Award-winner Giovanni Versari, the track bears the grain of work hewn close to the skin. The album lets the Pacific Northwest’s misted quiet seep into the frame…an invitation instantly recognizable to any Twin Peaks devotee.

Left Behind marks a striking return for Painted Vein: a piece worn thin at the edges yet still burning with its own inward glow, tethered to the people who shaped it and the world that tried, and failed, to blunt its force.

Painted Vein will be making their way across the Atlantic this month for a whirlwind European tour, winding through Germany, the Netherlands, the UK, France, Switzerland, and finally Italy.

Tour Dates

Dec 06, 2025 — Werne, DE — Culture Club Flöz K.
Dec 07, 2025 — Berlin, DE — Urban Spree
Dec 08, 2025 — Dresden, DE — Ostpol
Dec 09, 2025 — Karlsruhe, DE — Z10
Dec 11, 2025 — Groningen, NL — Vera
Dec 12, 2025 — Amsterdam, NL — Toekomstmuziek
Dec 13, 2025 — Deal, UK — The Lighthouse
Dec 14, 2025 — Bristol, UK — The Lanes
Dec 15, 2025 — London, UK — Shacklewell
Dec 16, 2025 — Paris, FR — Supersonic
Dec 17, 2025 — Bern, CH — Café Kairo
Dec 18, 2025 — Milan, IT — TBA

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The post Twilight Drives and Coffees at a Roadside Diner — Seattle Shoegazer Painted Vein Unveils Video for “Left Behind” appeared first on Post-Punk.com.

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Our “Dark Christmas” playlist on Spotify will definitely get you in the right mood. – Beyond “conventional” Christmas songs, we have selected the darkest tracks that are not exclusively limited to the theme of “Christmas”, but reflect the darkness of the season. Take a look and let our playlist accompany you: Do you already have […]

Source: Orkus

Do you already know our new “Dark Metal Duets” playlist on Spotify? It contains unforgettable duets from the scene such as Nightwish, Lacuna Coil, Within Temptation, Epica, Theatre of Tragedy, Moonspell, Paradise Lost and many more. Have a listen:

Source: Orkus

German artist Alexander Donat continues to be ultra-creative, releasing numerous productions under his various projects....

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Pittsburgh-based post-punk / shoegaze outfit Lowsunday has released “Low Sunday Ghost Machine – White EP”...

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We Are Rewind and Duran Duran have unveiled the WE-001 Duran Duran Special Edition portable...

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Transatlantic ethereal wave / shoegaze trio Mercury’s Antennae close 2025 with a new four-track digital...

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San Diego-based independent label Breathing Records marks its official launch with the 10-track compilation “Inhale...

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German gothic rock band Advocatus Dei will release their second album “Nein” on 19 December...

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German industrial metal quartet Devil-M have released their fourth album “Titanomachie” on 30 November 2025...

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KMFDM, the Hamburg-originating industrial rock and industrial metal group, will release their new studio album...

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Madrid-based musician and filmmaker NAVAZO has released “Presa“, a dark synthwave single that serves as...

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English composer and former Magazine / Nick Cave & The Bad Seeds bassist Barry Adamson...

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Berlin-based EBM / industrial-electro project Miss Construction return with the new single “Back Again” on...

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Uchylak’s “Zimna Gmina” is the new digital album from Wrocław-based producer Łukasz Bejnar, released via...

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Influential experimental artist Jarboe, known for her years in Swans, will release her new album...

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Icelandic artist Björk is preparing new music tied to a forthcoming studio album that will...

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What you said of patience

Burned into my brain

Leave your body bare and muddied

I love you all the same

Sometimes it’s only a brief brush of a hand, the kind of passing contact that sends a quiet shiver through the body before the mind can name the reason. The skin reacts first, the soul a breath behind, both registering a shift that feels small yet strangely consequential—and with Death Bells’ latest single, Shiver, that subtle jolt becomes the song’s guiding pulse.

Recorded in 2024 under the steady hands of Griffin James and mixed by James Trevascus, the track finds the Australian-born, Los Angeles-based duo sharpening their focus. Seasoned musicians Remy Veselis and William Canning are masters of tension, stretching a moment until it quivers, and here they press closer to the flame, letting devotion smudge the edges of reason.

Shiver leans into the tremor of surrender, mapping how loyalty can press against the body with equal parts solace and strain. Each line offers breath, water, fault, and fate in turn, tightening the frame as connection gathers force. The instrumentation deepens that pull: guitars reminiscent of The Cure and Killing Joke tunnel through the hushed volatility, anchored by a bassline that recalls early coldwave and post-punk, folded into an arrangement that leans toward mid-’80s alt-rock anthems tempered by the blurred lift of early shoegaze— crashing and rising with a near-ceremonial weight. Canning’s voice, brushed with distortion, moves like breath against cold glass: close enough to fog the surface, charged enough to leave a mark. The whole track hums with that namesake shiver—a physical reminder of how connection can jolt the body before the mind has time to speak.

Director Jeremy Stith shapes the accompanying video as a fractured transmission from some half-remembered place. VHS grit, analogue drag, and spectral fragments collide, building a kind of unstable shrine to the song’s themes. Faces blur. Bodies loom and dissolve. The footage behaves like memory under strain—recognizable one second, disobedient the next. Stith allows the imperfections to do the heavy lifting: warped tape, streaked frames, and a low hum of disruption that suggests both intimacy and distance. The setting feels suspended outside chronology. The effect is quietly hypnotic, a reminder that love often appears as a form of distortion—something that rearranges perception while heightening sensation.

Watch the video for Shiver below:



Shiver stands as another step in Death Bells’ continued evolution, a piece that threads devotion through distortion and lets the resulting tension bloom. Stith’s video meets the song at its most fragile point, holding space for touch, tremor, and transformation—those rare moments when surrender becomes a kind of clarity, and a connection reshapes the room around it.

Listen to Shiver below and order the single here.

Shiver by Death Bells

To celebrate the release of their new single, Death Bells will be throwing a single launch show at Oblivion in Los Angeles on Friday, December 5th.

Tickets are here.

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The post LA-Based Australian Post-Punk Expats Death Bells Brush Against the Soul in Video for “Shiver” appeared first on Post-Punk.com.

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SIIE is a Swiss–German duo that has released numerous singles this year, culminating in this...

Source: Side Line

I played my lucky number
You do as you please
If you keep looking for trouble
It’s gonna find you in your sleep

Ritual Howls tend to dwell in the liminal spaces between decay and beauty, but on Bad Idea, drawn from their latest album Ruin, they slip into something starker: the hush that settles when the world stops arguing with itself. The Detroit trio moves with the gravity of a late-hour confession, each measure stretched thin as if time itself were listening. The vocals unspool like a private admission left on a dead phone line, while the rhythm sits low and deliberate, guiding the track as though through ash and half-light.

The band combines a cinematic blend of twangy industrial-rock that could fuel a post-apocalyptic dance floor. A collaboration between Paul Bancell (vocals, guitar), Chris Samuels (synth, samples, drum machine), and Ben Saginaw (bass), Ritual Howls creates expansive arrangements sculpted with masterful production. Bad Idea is no exception.

The track starts off with hushed spoken word before dipping into a great gothic bassline and mysterious atmospheric guitar work. The tone feels sinister and menacing, a cross between Bauhaus and Sisters of Mercy, with measured use of their dark theatricality. A faint dusting of Ritual Howls’ trademark industrialized spaghetti western tension cinches the mood, the kind that keeps the horizon taut and waiting.

The lyrics sketch a portrait of someone stumbling through regret, avoidance, and self-sabotage. They retreat from connection, blame themselves for vanishing without closure, and admit to fear that needs tending even as they destroy what they cultivate. Trouble follows their patterns, leaving the other person bewildered while they drift further into isolation and resignation.

The absinthe-tinged video deepens the spell with footage from Rizz of VOWWS, a visual element the band has folded into their live set.

“We then took that, edited it, changed the color, and processed it for the video,” the band explains. What unfurls is a drifting procession of slow-motion gestures and a dizzying nighttime drive, a moving tableau that leans into the track’s sway rather than illustrating it outright. It feels like watching a figure glide past the edges of their own life, held in breathless suspension.

Watch the video for “Bad Idea” below:



In the end, Bad Idea stands as a quiet storm: measured, patient, and steeped in that familiar Ritual Howls quality where dread and longing share the same dimly lit room, a fitting omen for the world Ruin promises to open.

Listen to Bad Idea below and order Ruin here.

Ruin by Ritual Howls
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The post Looking for Trouble — Detroit Post-Punk Trio Ritual Howls Take a Nocturnal Drive in Video for “Bad Idea” appeared first on Post-Punk.com.

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Weststadthalle, Essen, Germany29th November 2025Obsidian Echoes 2025 with Lebanon Hanover, Cold Cave, Ultra Sunn, Selofan, Rue Oberkampf, Ash Code & Soft AnalogThe inaugural Obsidian Echoes Festival opened the doors of the Weststadthalle to a crowd of roughly 600 - 700 darkly dressed enthusiasts, ready for a marathon of Darkwave, Post Punk and New Wave. Although doors opened a good thirty minutes later than advertised, any impatience quickly dissolved once the night’s atmosphere settled in - a carefully curated blend of nostalgia and modern electronics, where icy minimalism met warm synth-driven melancholy.

Source: Reflections of Darkness