Im Sommer 2026 kehren Bad Omens auf die europäischen Festivalbühnen zurück. Unter anderem stehen sie als einer der Headliner für das massive Line-up verschiedener großer Festivals in Europa auf dem Programm. Rund um diese Festivaltermine hat die Band nun zusätzlich zwei eigene Headliner-Shows in Deutschland für Düsseldorf und für Leipzig angekündigt. 
Weiterlesen …

Source: Hell Zone

A slow burn singes the edge of into ASH, the new s:cage piece built around Stephen SETO’s vivid fragments from the Matsu-age Fire Festival in Hanese Village. Flames surge, bones fold, landscapes tremble; the camera turns these rites into reminders that time is always thinning, spinning itself toward collapse and renewal. Nineteen years after the chaos that once defined the project, s:cage arrives with the sense that the wreckage finally arranged itself into something fractured yet poised.

The track moves with a quiet charge, a kind of whispered combustion. Minimal glitch murmurs against a backdrop; each clipped spark hits like a memory. It hums with the push-and-pull between breath and silence, arrival and departure, birth and erasure. The piece circles the idea of life as a brief flare, but refuses to stare into the void with resignation; instead, it acknowledges that everything dissolves, and yet the dissolving can feel warm.

The language of the artist frames it clearly: into ASH fire. bone reduced. into ASH. what remains. returning to this earth… what exists between now and then? It reads like field notes from someone trying to decode the midpoint between creation and disappearance, giving shape to that wavering zone where panic becomes clarity. The music treats that question with restraint, choosing small sparks over grand gestures, a single tremor instead of a storm.

The visualizer leans into the disorder. SETO turns glitch into a pulse, as if psychic static were leaking through the wires. Technology interrupts nature; nature pushes back. Fire dances with pixels. The result feels like a transmission from a place where the physical and the digital keep brushing past one another, leaving brief burns of meaning.

At the center of it all is a sense of drifting toward the inevitable with eyes open. “We end in a beautiful mess,” the album reminds us – a strange comfort, a final hand pressed against the glass before fading. It’s about walking the route toward it with alertness, gathering every spark you can, letting each one leave a mark before the wind takes it.

Watch below:

“Into ASH” is featured on the album we end in a beautiful mess. Listen below and order the LP
here.

we end in a beautiful mess by s:cage

Follow s:cage:

Bandcamp
Instagram
YouTube
Spotify
Apple Music

The post Industrial Artist s:cage Draws From the Ritual Fires of Matsu-age in the Video for “Into ASH” appeared first on Post-Punk.com.

Source: Post-Punk.com

You can almost smell the ozone when Ignis Absconditus hit the first note of their latest album, Transfigurations. It’s the sound of a band dragging their past behind them like a chain of smoking amp tubes and broken strings. They step into this record as if they’re building a shrine out of spare parts: wires, bones, abandoned riffs…then daring you to kneel before whatever it sparks to life.

Transfiguration opens like a lamp sputtering out its last light in a forgotten shrine, true to the name of the band, which translates from the Latin to “hidden fire.” Guitars drift with a kind of brittle calm, then warp into shapes that feel pulled from old myths scrawled on damp walls. Noctuaria’s voice moves through the mix with an eerie steadiness, with a slow draw of a trance that offers no map and no mercy.

If earlier work hinted at a worldview shaped by threshold spaces and buried symbols, this one barrels straight through. It’s a crooked temple built from distorted devotionals, basslines with teeth, and a voice that cuts through the gloom like a cold flame. For anyone drawn to post-punk unease, dark folk, avant-rock ritual, or the bleak devotional streak that once ran through Bauhaus, Christian Death, or the more dissonant corners of Voivod’s universe, this record reads like a half-burned scripture found in a locked drawer.

Watch the visualizer below, and preorder the album here.

Across ten tracks, Ignis Absconditus treats rock as raw material: something to melt down, twist, or puncture depending on the pressure of the moment. Sometimes it’s a cracked hymn, sometimes a jagged march, sometimes a whisper pressed against a wound. The production keeps everything close and almost claustrophobic, as if the microphones were pointed at a ritual instead of a rehearsal. Nothing breathes unless the band lets it.

The sense of unstable ceremony runs beneath every phrase. You get the feeling they are channeling half-formed apparitions, stray dreams, drifting symbols. Guitars wobble like heat on metal. Percussion clatters like machinery giving up its last ounce of patience. The pulse moves sideways, sometimes sinking, sometimes rising like something breaking the surface.

Their history – neofolk roots, strange 7-inches, that brief doom detour – haunts the corners without ever overwhelming their evolution.  Ignis Absconditus call it their most accomplished work to date. Maybe so. What it actually feels like is possession: two artists letting some inner tide drag them deeper into their own feral logic, unafraid of the wreckage or the revelation waiting on the other side. And honestly, that’s where their fire burns brightest.

Follow Ignis Absconditus:

Facebook
Instagram

The post Italian Duo Ignis Absconditus Conjure Dark Fire with “Transfiguration,” the Title Track from Forthcoming LP appeared first on Post-Punk.com.

Source: Post-Punk.com

You can almost smell the ozone when Ignis Absconditus hit the first note of their latest album, Transfigurations. It’s the sound of a band dragging their past behind them like a chain of smoking amp tubes and broken strings. They step into this record as if they’re building a shrine out of spare parts: wires, bones, abandoned riffs…then daring you to kneel before whatever it sparks to life.

Transfiguration opens like a lamp sputtering out its last light in a forgotten shrine, true to the name of the band, which translates from the Latin to “hidden fire.” Guitars drift with a kind of brittle calm, then warp into shapes that feel pulled from old myths scrawled on damp walls. Noctuaria’s voice moves through the mix with an eerie steadiness, with a slow draw of a trance that offers no map and no mercy.

If earlier work hinted at a worldview shaped by threshold spaces and buried symbols, this one barrels straight through. It’s a crooked temple built from distorted devotionals, basslines with teeth, and a voice that cuts through the gloom like a cold flame. For anyone drawn to post-punk unease, dark folk, avant-rock ritual, or the bleak devotional streak that once ran through Bauhaus, Christian Death, or the more dissonant corners of Voivod’s universe, this record reads like a half-burned scripture found in a locked drawer.

Watch the visualizer below, and preorder the album here.

Across ten tracks, Ignis Absconditus treats rock as raw material: something to melt down, twist, or puncture depending on the pressure of the moment. Sometimes it’s a cracked hymn, sometimes a jagged march, sometimes a whisper pressed against a wound. The production keeps everything close and almost claustrophobic, as if the microphones were pointed at a ritual instead of a rehearsal. Nothing breathes unless the band lets it.

The sense of unstable ceremony runs beneath every phrase. You get the feeling they are channeling half-formed apparitions, stray dreams, drifting symbols. Guitars wobble like heat on metal. Percussion clatters like machinery giving up its last ounce of patience. The pulse moves sideways, sometimes sinking, sometimes rising like something breaking the surface.

Their history – neofolk roots, strange 7-inches, that brief doom detour – haunts the corners without ever overwhelming their evolution.  Ignis Absconditus call it their most accomplished work to date. Maybe so. What it actually feels like is possession: two artists letting some inner tide drag them deeper into their own feral logic, unafraid of the wreckage or the revelation waiting on the other side. And honestly, that’s where their fire burns brightest.

Follow Ignis Absconditus:

Facebook
Instagram

The post Italian Duo Ignis Absconditus Conjures Dark Fire with “Transfiguration,” the Title Track from Forthcoming LP appeared first on Post-Punk.com.

Source: Post-Punk.com

You can almost smell the ozone when Ignis Absconditus hit the first note of their latest album, Transfigurations. It’s the sound of a band dragging their past behind them like a chain of smoking amp tubes and broken strings. They step into this record as if they’re building a shrine out of spare parts: wires, bones, abandoned riffs…then daring you to kneel before whatever it sparks to life.

Transfiguration opens like a lamp sputtering out its last light in a forgotten shrine, true to the name of the band, which translates from the Latin to “hidden fire.” Guitars drift with a kind of brittle calm, then warp into shapes that feel pulled from old myths scrawled on damp walls. Noctuaria’s voice moves through the mix with an eerie steadiness, with a slow draw of a trance that offers no map and no mercy.

If earlier work hinted at a worldview shaped by threshold spaces and buried symbols, this one barrels straight through. It’s a crooked temple built from distorted devotionals, basslines with teeth, and a voice that cuts through the gloom like a cold flame. For anyone drawn to post-punk unease, dark folk, avant-rock ritual, or the bleak devotional streak that once ran through Bauhaus, Christian Death, or the more dissonant corners of Voivod’s universe, this record reads like a half-burned scripture found in a locked drawer.

Watch the visualizer below, and preorder the album here.

Across ten tracks, Ignis Absconditus treats rock as raw material: something to melt down, twist, or puncture depending on the pressure of the moment. Sometimes it’s a cracked hymn, sometimes a jagged march, sometimes a whisper pressed against a wound. The production keeps everything close and almost claustrophobic, as if the microphones were pointed at a ritual instead of a rehearsal. Nothing breathes unless the band lets it.

The sense of unstable ceremony runs beneath every phrase. You get the feeling they are channeling half-formed apparitions, stray dreams, drifting symbols. Guitars wobble like heat on metal. Percussion clatters like machinery giving up its last ounce of patience. The pulse moves sideways, sometimes sinking, sometimes rising like something breaking the surface.

Their history – neofolk roots, strange 7-inches, that brief doom detour – haunts the corners without ever overwhelming their evolution.  Ignis Absconditus call it their most accomplished work to date. Maybe so. What it actually feels like is possession: two artists letting some inner tide drag them deeper into their own feral logic, unafraid of the wreckage or the revelation waiting on the other side. And honestly, that’s where their fire burns brightest.

Follow Ignis Absconditus:

Facebook
Instagram

The post Italian Duo Ignis Absconditus Conjure Dark Fire with “Transfiguration,” the Title Track from Forthcoming LP “Transfigurations” appeared first on Post-Punk.com.

Source: Post-Punk.com

You can almost smell the ozone when Ignis Absconditus hit the first note of their latest album, Transfigurations. It’s the sound of a band dragging their past behind them like a chain of smoking amp tubes and broken strings. They step into this record as if they’re building a shrine out of spare parts: wires, bones, abandoned riffs…then daring you to kneel before whatever it sparks to life.

Transfiguration opens like a lamp sputtering out its last light in a forgotten shrine, true to the name of the band, which translates from the Latin to “hidden fire.” Guitars drift with a kind of brittle calm, then warp into shapes that feel pulled from old myths scrawled on damp walls. Noctuaria’s voice moves through the mix with an eerie steadiness, with a slow draw of a trance that offers no map and no mercy.

If earlier work hinted at a worldview shaped by threshold spaces and buried symbols, this one barrels straight through. It’s a crooked temple built from distorted devotionals, basslines with teeth, and a voice that cuts through the gloom like a cold flame. For anyone drawn to post-punk unease, dark folk, avant-rock ritual, or the bleak devotional streak that once ran through Bauhaus, Christian Death, or the more dissonant corners of Voivod’s universe, this record reads like a half-burned scripture found in a locked drawer.

Watch the visualizer below, and preorder the album here.

Across ten tracks, Ignis Absconditus treats rock as raw material: something to melt down, twist, or puncture depending on the pressure of the moment. Sometimes it’s a cracked hymn, sometimes a jagged march, sometimes a whisper pressed against a wound. The production keeps everything close and almost claustrophobic, as if the microphones were pointed at a ritual instead of a rehearsal. Nothing breathes unless the band lets it.

The sense of unstable ceremony runs beneath every phrase. You get the feeling they are channeling half-formed apparitions, stray dreams, drifting symbols. Guitars wobble like heat on metal. Percussion clatters like machinery giving up its last ounce of patience. The pulse moves sideways, sometimes sinking, sometimes rising like something breaking the surface.

Their history – neofolk roots, strange 7-inches, that brief doom detour – haunts the corners without ever overwhelming their evolution.  Ignis Absconditus call it their most accomplished work to date. Maybe so. What it actually feels like is possession: two artists letting some inner tide drag them deeper into their own feral logic, unafraid of the wreckage or the revelation waiting on the other side. And honestly, that’s where their fire burns brightest.

Follow Ignis Absconditus:

Facebook
Instagram

The post Italian Duo Ignis Absconditus Conjure Dark Fire with Title Track from Forthcoming “Transfigurations” LP appeared first on Post-Punk.com.

Source: Post-Punk.com

Die Leipziger Goth Rock Band THE FRIGHT hat ihren neuen Song „Death“ zusammen mit einem Musikvideo via Danse Macabre Records veröffentlicht. „Death“ markiert den Beginn einer zusammenhängenden Reise: Die gleichnamige EP (VÖ: Januar 2026) umfasst fünf Songs – Death, Endless Rain, Autumn Leaves, Trust und Hollow Eyes – die thematisch und visuell ein geschlossenes Werk bilden. Jeder Track ist ein Fragment eines größeren Mosaiks aus Vergänglichkeit, Verlust und Schönheit im Untergang. Die Single erscheint begleitet von einem Musikvideo, gedreht unter der Regie von Athena Paras (cinegoth.com), das den Tod als Figur zwischen Erlösung und Verführung zeigt – düster, filmisch, voller Symbolik. Visuell zieht sich dabei ein rotes Spitzenmotiv durch das gesamte Projekt: ein Symbol für das Leben, das sich in Schönheit auflöst, und für die Verbindung aller fünf Songs der kommenden EP.
Listen: https://links.the-fright.de/death

 

Source: Amboss-Mag.de

A particular electricity runs through the Los Angeles underground music scene, where old dreams metamorphose into new shapes, and where an artist like Debra Fogarty can hold court for decades without ever losing her intensity. Founded in 1998, Diva Destruction emerged at a moment when few were willing to merge classical musicianship with the sharper edges of industrial and dark electronic music. Yet Fogarty—trained in piano, fluent in early digital production, and instinctively attuned to emotional candor—was already building the blueprint for a sound that wouldn’t reach full cultural resurgence until decades later. Long before today’s darkwave revival, she was crafting the fusion of expressive keyboards, charged electronics, and unguarded honesty that defined late-90s and early-2000s goth club culture. From the delirium of The Broken Ones to the enduring ache of Enslaved, she shaped an aesthetic that proved both ahead of its time and foundational to the genre’s present momentum. Fogarty has long understood how to turn raw feeling into structure—each track a coded confession, sharpened in cold light yet guided by an unmistakably human pulse.

Now comes the Das Ich remix of All I Want, a meeting of dark electronic music luminaries who thrive in the grander corners of the alternative sphere. Here, legendary German industrial band Das Ich takes Fogarty’s newest single and pushes it into a zone where celebration collides with dramatic escalation. The result is a piece that builds, swells, and reshapes itself with a restless, dance-driven sense of motion.

Fogarty frames the original track as a rare expression of joy, a revelation in itself: “I wrote it about the love of my life. I usually write songs about horrible heartbreak and cruelty, but this song is a real turning point since my life has finally changed so much for the better!” That shift in tone becomes the axis on which the remix spins. Brightness becomes fuel. Strength becomes theatre. Das Ich taps into her melodic confidence and draws out a heavier, more gleaming architecture beneath it, amplifying the contrast between delight and force.

Their shared grounding in classical technique becomes a sly signature, especially when Fogarty proclaims: “Imagine if Beethoven wrote an intense song for the dance floor! Both Diva Destruction and Das Ich are classically trained musicians who joined forces to create a dramatic dance song with the sound of an epic symphony!” The remix answers that challenge with grandeur, but never with excess; it feels like a storm rehearsed, then released at the perfect moment.

Listen to All I Want (Das Ich Remix) below:

There is no rebirth without destruction, and Debra Fogarty has always understood this better than most. The past year has seen her step forward with a renewed and unmistakable force—co-headlining Wave Gotik Treffen’s vast center stage, returning to Los Angeles after two decades to a crowd that had long been waiting for her, and commanding festival audiences in Mexico City and Santiago. These weren’t markers of a comeback but confirmations of continuity: Diva Destruction hadn’t vanished at all. She was gathering strength, consolidating her fire, and choosing the exact moment to strike with precision.

Follow Diva Destruction: 

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TikTok
YouTube
Facebook
Spotify

Diva Destruction. Photo by Nishelle Walker
The post Darkwave Luminary Diva Destruction Returns With Das Ich Remix of “All I Want” appeared first on Post-Punk.com.

Source: Post-Punk.com

Nach fünf Jahren der Stille melden sich die deutschen Alternative-Metal-Pioniere PYOGENESIS mit einer neuen Zusammenarbeit zurück: der Single und dem Musikvideo „All I Am Is Bleeding“, die gemeinsam mit der Horror-Punk-Institution THE OTHER entstanden sind. Der Track markiert den offiziellen Beginn einer neuen kreativen Ära für PYOGENESIS, die derzeit an ihrem nächsten Studioalbum arbeiten, dessen Veröffentlichung für Anfang 2027 geplant ist.
Liste: https://save-it.cc/hamburg-records/all-i-am-is-bleeding

Frontmann Flo V. Schwarz kommentiert:
„Ich habe diesen Text aus einem Schmerz heraus geschrieben, der Teil meiner Persönlichkeit geworden ist. Es ist einer der emotionalsten Songs, die ich je geschrieben und gesungen habe. ‚All I am is bleeding‘ ist mein Herz, das ohne Haut zum Schutz entblößt ist.“

 

Source: Amboss-Mag.de

Also, wer heute früh in Leipzig die letzten goldbraunen Blätter des Jahres über den Asphalt wehen sah, der ahnt es vermutlich bereits: Pfingsten rückt näher, und damit...

Source: MedienKonverter

Kommendes Jahr kommen Evanescence wieder auf Tour und bringen Poppy und Nova Twins mit. Unter anderem spielen die Bands fünf mal in Deutschland - die Termine hier!

Source: Sonic Seducer

Der Dezember zeigt sich gerade von seiner üblichen Mischung aus Wetterchaos und Festtagsstress, doch mitten hinein platzt eine Nachricht, die elektronische Herzen sofort auf Betriebstemperatur...

Source: MedienKonverter

David Byrne and Brian Eno have been bending the musical map for decades: scribbling new borders, torching old ones, and leaving the rest of us sifting through the glowing rubble. Their fingerprints are everywhere: on art-rock blueprints, on dance-floor daydreams, on every guitar player who ever thought rhythm could think for itself. T Shirt, their latest co-conspiracy, slips right into that legacy with the casual grace of someone tossing their coat on your chair and commandeering the whole room before you’ve even stood up.

The song arrives with a steady hum: lean, steady, slightly cheeky, and Byrne unfurls a lyrical confession that feels handwritten on the soft cotton he keeps pointing at. Here, slogans serve as lifelines. Garments become confessionals. A life is reduced and expanded through little messages pressed near the heart. There’s humour in the simplicity, but there’s also a pulse of sincerity running underneath. Byrne knows the trick: the smaller the message, the sharper it cuts.

His voice moves with that unmistakable Byrne wobble, half-smile, half-sermon, drifting across a bed of glossy electronics that feel naturally Eno-coded. Nothing is rushed. Nothing is fussed over. The song strolls forward, holding out its thesis with the unselfconscious warmth of a friend telling you a truth they’ve carried for years. The arrangement keeps a clean frame: bright keys, crisp percussion, a few glints of texture, and lets the focus stay exactly where it should: on a man trying to speak plainly in a world that long ago misplaced free speech.

That odd, beautiful Byrne sincerity is on full display here. He’s comfortable with his quirks now; he says so himself. Age, for him, isn’t a shroud, but a kind of permission slip. He talks about stepping outside the usual limits, about treating each song as a leap into unmapped territory. You hear that wanderlust here…quiet, steady, confident, but never overstated. When he mentions that the best collaborations are the ones that understand the destination without needing a map, you can sense the truth of it in T Shirt. He and Eno walk the same road again, side by side, heading toward some unknown horizon.

Listen to T Shirt below and order the single here.

T Shirt by David Byrne

Who Is the Sky?, Byrne’s first album since American Utopia, arrives under the Matador banner, buoyed by Kid Harpoon’s production and Ghost Train Orchestra’s sharp arrangements. The guest list stretches from Hayley Williams to St. Vincent to Tom Skinner, each adding small sparks without crowding Byrne’s center of gravity. The tour around it has drawn raves—Minneapolis crowned it their big winner, NPR dropped in for a Chicago night, and fans have been treating “T Shirt” as a highlight, a quiet anthem stitched into the set.

The dates continue across North America before heading to New Zealand, Australia, and Europe in the New Year. Full details and tickets can be found here.

North America:

12/02/2025 – Atlanta, GA – Fox Theatre
12/03/2025 – Atlanta, GA – Fox Theatre
12/05/2025 – Miami, FL – Fillmore Miami Beach At Jackie Gleason Theatre
12/06/2025 – Miami, FL – Fillmore Miami Beach At Jackie Gleason Theatre

Australia & New Zealand:

01/14/2026 – Auckland, New Zealand – Spark Arena
01/17/2026 – Brisbane, Australia – Brisbane Entertainment Center
01/21/2026 – Sydney, Australia – ICC Sydney Theatre
01/22/2026 – Melbourne, Australia – Sidney Myer Music Bowl
01/24/2026 – Adelaide, Australia – Adelaide Entertainment Centre Arena
01/27/2026 – Perth, Australia – RAC Arena

Europe & United Kingdom:

02/12/2026 – Berlin, Germany – Tempodrom
02/15/2026 – Amsterdam, Netherlands – AFAS Live
02/16/2026 – Amsterdam, Netherlands – AFAS Live
02/18/2026 – Brussels, Belgium – Forest National
02/21/2026 – Milan, Italy – Teatro degli Arcimboldi
02/22/2026 – Milan, Italy – Teatro degli Arcimboldi
02/24/2026 – Frankfurt, Germany – Jahrhunderthalle
02/26/2026 – Esch-sur-Alzette, Luxembourg – Rockhal Main Hall
02/27/2026 – Zurich, Switzerland – The Hall
03/02/2026 – Cardiff, UK – Utilita Arena
03/03/2026 – London, UK – Eventim Apollo
03/04/2026 – London, UK – Eventim Apollo
03/06/2026 – Glasgow, UK – SEC Armadillo
03/07/2026 – Glasgow, UK – SEC Armadillo
03/09/2026 – Manchester, UK – o2 Apollo
03/10/2026 – Manchester, UK – o2 Apollo
03/11/2026 – Manchester, UK – o2 Apollo
03/13/2026 – Dublin, Ireland – 3Arena
03/15/2026 – London, UK – Eventim Apollo
03/16/2026 – London, UK – Eventim Apollo
03/18/2026 – Paris, France – La Seine Musicale
03/19/2026 – Paris, France – La Seine Musicale

Follow David Byrne:

Website

Instagram

TikTok

The post David Byrne Releases New Single “T Shirt,” Co-Written by Longtime Collaborator Brian Eno appeared first on Post-Punk.com.

Source: Post-Punk.com

David Byrne and Brian Eno have been bending the musical map for decades: scribbling new borders, torching old ones, and leaving the rest of us sifting through the glowing rubble. Their fingerprints are everywhere: on art-rock blueprints, on dance-floor daydreams, on every guitar player who ever thought rhythm could think for itself. T Shirt, their latest co-conspiracy, slips right into that legacy with the casual grace of someone tossing their coat on your chair and commandeering the whole room before you’ve even stood up.

The song arrives with a steady hum: lean, steady, slightly cheeky, and Byrne unfurls a lyrical confession that feels handwritten on the soft cotton he keeps pointing at. Here, slogans serve as lifelines. Garments become confessionals. A life is reduced and expanded through little messages pressed near the heart. There’s humour in the simplicity, but there’s also a pulse of sincerity running underneath. Byrne knows the trick: the smaller the message, the sharper it cuts.

His voice moves with that unmistakable Byrne wobble, half-smile, half-sermon, drifting across a bed of glossy electronics that feel naturally Eno-coded. Nothing is rushed. Nothing is fussed over. The song strolls forward, holding out its thesis with the unselfconscious warmth of a friend telling you a truth they’ve carried for years. The arrangement keeps a clean frame: bright keys, crisp percussion, a few glints of texture, and lets the focus stay exactly where it should: on a man trying to speak plainly in a world that long ago misplaced free speech.

That odd, beautiful Byrne sincerity is on full display here. He’s comfortable with his quirks now; he says so himself. Age, for him, isn’t a shroud, but a kind of permission slip. He talks about stepping outside the usual limits, about treating each song as a leap into unmapped territory. You hear that wanderlust here…quiet, steady, confident, but never overstated. When he mentions that the best collaborations are the ones that understand the destination without needing a map, you can sense the truth of it in T Shirt. He and Eno walk the same road again, side by side, heading toward some unknown horizon.

Listen to T Shirt below and order the single here.

T Shirt by David Byrne

Who Is the Sky?, Byrne’s first album since American Utopia, arrives under the Matador banner, buoyed by Kid Harpoon’s production and Ghost Train Orchestra’s sharp arrangements. The guest list stretches from Hayley Williams to St. Vincent to Tom Skinner, each adding small sparks without crowding Byrne’s center of gravity. The tour around it has drawn raves—Minneapolis crowned it their big winner, NPR dropped in for a Chicago night, and fans have been treating “T Shirt” as a highlight, a quiet anthem stitched into the set.

The dates continue across North America before heading to New Zealand, Australia, and Europe in the New Year. Full details and tickets can be found here.

North America:

12/02/2025 – Atlanta, GA – Fox Theatre
12/03/2025 – Atlanta, GA – Fox Theatre
12/05/2025 – Miami, FL – Fillmore Miami Beach At Jackie Gleason Theatre
12/06/2025 – Miami, FL – Fillmore Miami Beach At Jackie Gleason Theatre

Australia & New Zealand:

01/14/2026 – Auckland, New Zealand – Spark Arena
01/17/2026 – Brisbane, Australia – Brisbane Entertainment Center
01/21/2026 – Sydney, Australia – ICC Sydney Theatre
01/22/2026 – Melbourne, Australia – Sidney Myer Music Bowl
01/24/2026 – Adelaide, Australia – Adelaide Entertainment Centre Arena
01/27/2026 – Perth, Australia – RAC Arena

Europe & United Kingdom:

02/12/2026 – Berlin, Germany – Tempodrom
02/15/2026 – Amsterdam, Netherlands – AFAS Live
02/16/2026 – Amsterdam, Netherlands – AFAS Live
02/18/2026 – Brussels, Belgium – Forest National
02/21/2026 – Milan, Italy – Teatro degli Arcimboldi
02/22/2026 – Milan, Italy – Teatro degli Arcimboldi
02/24/2026 – Frankfurt, Germany – Jahrhunderthalle
02/26/2026 – Esch-sur-Alzette, Luxembourg – Rockhal Main Hall
02/27/2026 – Zurich, Switzerland – The Hall
03/02/2026 – Cardiff, UK – Utilita Arena
03/03/2026 – London, UK – Eventim Apollo
03/04/2026 – London, UK – Eventim Apollo
03/06/2026 – Glasgow, UK – SEC Armadillo
03/07/2026 – Glasgow, UK – SEC Armadillo
03/09/2026 – Manchester, UK – o2 Apollo
03/10/2026 – Manchester, UK – o2 Apollo
03/11/2026 – Manchester, UK – o2 Apollo
03/13/2026 – Dublin, Ireland – 3Arena
03/15/2026 – London, UK – Eventim Apollo
03/16/2026 – London, UK – Eventim Apollo
03/18/2026 – Paris, France – La Seine Musicale
03/19/2026 – Paris, France – La Seine Musicale

Follow David Byrne:

Website

Instagram

TikTok

The post David Byrne Collaborates with Brian Eno on New Single “T Shirt” appeared first on Post-Punk.com.

Source: Post-Punk.com

Unsere exklusiven Sonderausgaben, Chronik-Bücher, limitierten Vinyls und weiteren Produkte warten – NUR NOCH HEUTE zum besten Preis in unserem Shop mit 15% Black Friday-Rabatt!

Source: Sonic Seducer

Nachdem Anne Nurmi die jüngste Lacrimosa-Tour aus schwerwiegenden gesundheitlichen Gründen hatte absagen müssen, meldet sie sich nun wieder zu Wort. Mehr Infos hier!

Source: Sonic Seducer

Elektronische Musik steht immer auch im Spannungsverhältnis zu neuen technologischen Revolutionen. New Wave und Synthpop hätten nie den Siegeszug ohne die ersten erschwinglichen Computer angetreten, Industrial und Hiphop wären ohne Sampling kaum so stilprägend gewesen. Künstliche Intelligenz ist somit nur ein neues Betätigungsfeld für moderne elektronische Musiker, zumal die gesellschaftlichen Umwälzungen, welche von dieser Technologie zu erwarten sind, kaum abzuschätzen[…..]

Source: Danse Macabre News

Das französische Darkwave Projekt Dageist meldet sich mit dem fantastischen, düster-treibenden Track „The Abyss Of Years“ zurück und veröffentlicht ein großartiges Video des Regisseurs Christophe Bonamis.

Source: Danse Macabre News

Heute, 28.4.2023 um 19:00 wird das neue Video von evo-lution, „Vorwärts“ auf Youtube veröffentlicht.

Source: Danse Macabre News

Die USA sind Heimat einer neuen Gothic-Rock-Band namens „The Waning Moon“, die den markanten Sound der 90er Jahre aufgreift und ihn mit einer frischen, zeitgemäßen Note versieht. Sie hauchen dem nostalgischen Gothic-Rock neues Leben ein, ohne dabei die charakteristischen Elemente zu verlieren, die das Genre so einzigartig machen.

Source: Danse Macabre News

Die USA sind Heimat einer neuen Gothic-Rock-Band namens „The Waning Moon“, die den markanten Sound der 90er Jahre aufgreift und ihn mit einer frischen, zeitgemäßen Note versieht. Sie hauchen dem nostalgischen Gothic-Rock neues Leben ein, ohne dabei die charakteristischen Elemente zu verlieren, die das Genre so einzigartig machen.

Source: Danse Macabre News

Hexagon Machine, ein Vorreiter in der Symbiose von Mensch und künstlicher Intelligenz, kündigt das vierte und mit Hochspannung erwartete Album „Techgnosis 3C3“ für den 30.6.2023 an. Dieser neue Meilenstein folgt auf die erfolgreiche „MMXXI“-Trilogie, die Zuhörer durch die beeindruckenden Klangwelten von „Robot Uprising“, „Digital Dawn“ und „New Order“ führte. „Techgnosis 3C3“ zielt darauf ab, erneut die musikalischen Parameter zu verschieben[…..]

Source: Danse Macabre News

Lynn‘ s Intention kehrt zurück! „Defend Against Life“, das langersehnte neue Album, erscheint 2023! Mit tanzbaren hämmernden Drums, Synthesizern und manchmal sogar Gitarren, fortwährenden düsteren Fantasien über die Welt und den Schmerz, in ihr zu leben, führt Lynn den Faden aus den vorherigen Alben mit dunklem Sarkasmus und sogar verdrehtem Humor fort!

Source: Danse Macabre News

Bruno Kramm, bekannt für seine Arbeit mit der Band „Das Ich“, hat Charlie Chaplins berühmte Rede an die Menschlichkeit bereits 2015 neu vertont. Chaplins Rede, ursprünglich ein Teil seines Films „Der große Diktator“ aus dem Jahr 1940, ist eine leidenschaftliche und rührende Botschaft von Liebe und Zusammenhalt, die im krassen Gegensatz zur brutalen Realität des Zweiten Weltkriegs stand.

Source: Danse Macabre News

Zwei Tage Festivalstimmung am Kölner Tanzbrunnen: mit OMD, Front 242, Deine Lakaien, Lord of the Lost, Combichrist, Welle Erdball, Unzucht. Das Ich und Oberer Totpunkt sind auch dabei.

Source: Danse Macabre News

Mit tiefem Bedauern haben wir vom Ableben unseres Künstlers und Freundes Tommi Stumpff erfahren, der am 28. Juli nach einem langen Kampf gegen seine schwere Krankheit in Düsseldorf verstarb. Tommi Stumpff hinterlässt eine einzigartige künstlerische Spur als Visionär, Rebell und Nonkonformist.

Source: Danse Macabre News

THE BLACKEST ONE: 17.-19.8.2023.WIR FREUEN UNS AUF DAS Stella Nomine Festival mit DAS ICH BAND, ::OT:: Oberer Totpunkt, Ost+Front, GRENDEL painbastard u.v.a.

Source: Danse Macabre News

Das WISDOM TOOTH FESTIVAL 2026 hat einen Termin: Stattfinden wird das Event am 24. und 25. Juli 2026 erneut im „Wildbachstadion“ Hochstein in 86657 Bissingen.

Tickets sichern kann man sich schon jetzt: Im Vorverkauf sind die Wochenend-Tickets derzeit Preis von 82,-€ erhältlich. Erwerben kann man Karten für das Festival über den neu eingerichteten Online-Shop. Die Bezahlung erfolgt ausschließlich per Vorkasse.

Für Camping vor Ort wird eine Gebühr von 8,-€ erhoben, Kinder bis einschießlich zwölf Jahren genießen freien Eintritt.

Nun hat das WISDOM TOOTH FESTIVAL den ersten Headliner bekannt gegeben: DOMINUM werden 2026 zum ersten Mal auf dem Open Air auftreten. Details zum weiteren Line-up sollen baldmöglichst folgen.

Unseren Festivalbericht zur diesjährigen Auflage lest ihr hier:

>> WISDOM TOOTH FESTIVAL 2025 – Der Festivalbericht <<

Source: Vampster

Die Alternative Metal-Band THE VEER UNION hat ein neues Album angekündigt: „Reinvention“ erscheint am 20. Februar 2026 via Arising Empire. Mit der Single „Meet Your Maker“ ist jetzt eine weitere Hörprobe verfügbar.

Mit „Caught In The Crossfire“ gibt es außerdem die dritte Single von „Reinvention“, das Video kann man bei YouTube ansehen:

Im Juli haben die Kanadier ein Video zur Single „Sea Of Fear“ geteilt. Ausgekoppelt hat die Gruppe außerdem „My Empire“ sowie „Sunk Your Teeth In„.

THE VEER UNION „Reinvention“ Tracklist
01. Caught In The Crossfire (Video bei YouTube)
02. Dying Light
03. Feel Again
04. Hole In My Head
05. Meet Your Maker (Video bei YouTube)
06. My Empire (Video bei YouTube)
07. Never Say Never
08. Sea of Fear (Video bei YouTube)
09. Sunk Your Teeth In (Video bei YouTube)
10. Venom in my Veins

THE VEER UNION „Reinvention“ Artwork

Source: Vampster

LIONHEART melden sich mit neuer Platte zurück: „Valley Of Death II“ erscheint am 9. Januar 2026 via Arising Empire, die erste Single „Bulletproof“ gibt es vorab als Video zu sehen. Jetzt hat die Gruppe mit dem zweiten Preview-Song nachgelegt: „Roll Call“ bei YouTube.

Anfang 2026 geht die Metallic Hardcore-Band außerdem auf Europatour. Begleitet wird das Gespann von MADBALL, GIDEON sowie SLOPE.

LIONHEART „Valley Of Death II“ Tracklist
1. Bulletproof (Video bei YouTube)
2. Chewing Through The Leash ft Kubl
3. Ice Cold
4. Valley of Death II
5. No Peace
6. Roll Call (Visualizer bei YouTube)
7. Salt The Earth
8. Release The Dogs
9. In Love With The Pain
10. Death Grip ft A Day To Remember

LIONHEART, MADBALL, GIDEON, SLOPE Tourdaten 2026

09.01.26 – Germany, Münster – Skaters Palace
10.01.26 – Germany, Leipzig – Haus Auensee
11.01.26 – Germany, Berlin – Astra
12.01.26 – Czech Republic, Prague – Lucerna Music
13.01.26 – Austria, Wien – SiMM City
14.01.26 – Germany, Nürnberg – Z-Bau
15.01.26 – Germany, München– Tonhalle
16.01.26 – Germany, Wiesbaden – Schlachthof
17.01.26 – Switzerland, Solothurn – Kofmehl
18.01.26 – France, Paris – Bataclan
20.01.26 – Netherlands, Tilburg – 013
21.01.26 – Germany, Stuttgart – Im Wizemann
22.01.26 – Germany, Bremen – Modernes
23.01.26 – Germany, Köln – Carlswerk Victoria
24.01.26 – Belgium, Antwerp – Trix

LIONHEART Line-up 2025
Rob Watson Vocals
Nick Warner Guitar
Walle Etzel Guitar
Richard Mathews Bass
Jay Scott Drums

Source: Vampster

Die Progressive Rock-Band BIG BIG TRAIN veröffentlicht am 6. Februar 2026 ihr neues Album „Woodcut“. Es handelt sich dabei um ein Konzeptalbum, das eine Geschichte erzählen soll, wie Bassist Gregory Spawton erläutert:

„Woodcut erzählt die Geschichte einer Figur, die wir The Artist nennen und die mit ihrer Kreativität und ihrem Leben zu kämpfen hat. Eines Tages gelingt es ihm, einen Holzschnitt zu schaffen, den er als schön und einzigartig empfindet. Vielleicht ist es ein Traum oder vielleicht ist es das echte Leben, aber er findet sich plötzlich in der Holzschnitt-Szene und in einer alternativen Welt wieder.”

„Woodcut“ erscheint via InsideOut Music auf CD, Vinyl sowie digital. Eine erste Single ist mit „The Artist“ vorab verfügbar.

Live vortstellen wird die Band ihr neues Material dann im Herbst 2026. In der Schweiz sowie in Deutschland ist jeweils eine Show angesetzt (Termine s. unten).

BIG BIG TRAIN „Woodcut“ Tracklist
1. Inkwell Black 00:56
2. The Artist 07:16 (Video bei YouTube)
3. The Lie of the Land 02:55
4. The Sharpest Blade 04:16
5. Albion Press 05:46
6. Arcadia 05:46
7. Second Press 00:37
8. Warp and Weft 03:45
9. Chimaera 05:37
10. Dead Point 05:28
11. Light Without Heat 03:22
12. Dreams in Black and White 02:34
13. Cut and Run 06:19
14. Hawthorn White 01:54
15. Counting Stars 05:40
16. Last Stand 03:34

BIG BIG TRAIN Tourdaten 2026

Freitag, 25. September The Stables, Milton Keynes, Großbritannien
Samstag, 26. September The Asylum, Birmingham, Großbritannien
Sonntag, 27. September Komedia, Bath, Großbritannien
Montag, 28. September The Apex, Bury St Edmunds, Großbritannien
Mittwoch, 30. September The Spirit Of 66, Verviers, Belgien
Donnerstag, 1. Oktober Colos-Saal, Aschaffenburg, Deutschland
Freitag, 2. Oktober Poppodium Boerderij, Zoetermeer, Niederlande
Samstag, 3. Oktober De Pul, Uden, Niederlande
Sonntag, 4. Oktober TBA, Frankreich
Dienstag, 6. Oktober La Sala, Madrid, Spanien
Mittwoch, 7. Oktober Razzmatazz 2, Barcelona, Spanien
Freitag, 9. Oktober Teatro Astra, Schio, Italien
Samstag, 10. Oktober Phenomenon, Fontaneto d’Agogna, Italien
Sonntag, 11. Oktober Z7, Pratteln, Schweiz
Dienstag, 13. Oktober RNCM Theatre, Manchester, Großbritannien
Mittwoch, 14. Oktober Playhouse, Whitley Bay, Großbritannien
Donnerstag, 15. Oktober Slay, Glasgow, Großbritannien
Samstag, 17. Oktober O2 Shepherd’s Bush Empire, London, Großbritannien

Source: Vampster

The Washington, D.C.-based dark romantic electro-rock band Amulet has released the seven-track EP “Purification” through...

Source: Side Line

Qual’s next offering, Love Zone, kicks in like a steel door hurled off its hinges: no fanfare, no polite introduction, just a blunt plunge into William Maybelline’s personal funhouse of ruin. The album—Qual’s fourth LP, arriving November 28, 2025 via Fabrika Records—extends a decade-long descent that began with 2015’s Sable, where Maybelline first carved out a lair of minimal synth, old-school EBM, and analog-scarred industrial electronics.

Built entirely from hardware and steered by Maybelline’s sharpened instinct for abrasion, Love Zone continues his excavation of digital decay, A.I. aftermath, and our dopamine-fried dependence on the screen’s hypnotic glow—a world where there’s always a pill for every ill, and every cure tastes faintly like corrosion. Mixed by Owen Pratt of Uncanny Valley—whose clientele spans Post Malone, Alice Cooper, Arcade Fire, Ryuichi Sakamoto, and Lana Del Rey—the album bears a full, organic punch that meshes cleanly with Maybelline’s hardwired vision.

Come With Me hurls its weight forward, thick with industrial clang and synthetic bile, as if Maybelline has found a way to grind paranoia into powder and shoot it straight through the speakers. Technoid hammers land with the force of a factory floor in free-fall, calling back to the industrial tribalism of Sleep Chamber. There’s a rough electricity in the air—the kind you feel before a substation fails and the whole block goes dim. Hardware piles high, knobs twist with missionary zeal, and a voice scraped raw from nights staring down the future like it owes him money.

The self-directed lyric video for Come With Me cranks the delirium further. Scenes dart between toppled monuments, sterile corridors, and warped lo-fi fragments of nature. It’s George Orwell poured into a blender and spiked with a smirk: bleak yet weirdly playful, like a cosmic prank pulled on a dying world. Qual stands in the center of it wearing the expression of someone who has read the last page of the book and doesn’t care for the ending.

Watch Come With Me below:

If Sable hinted at a disposition for murk and menace, Love Zone grabs that thread and knots it tighter. The A-side traces a vicious arc: technoid punishment, deranged circuitry, and splintered emotion. Come With Me fires first, followed by the bruised throb of For a Moment of Happiness—a slower, more mournful descent than Qual devotees might expect, revealing a facet of Maybelline’s palette that usually hides behind steel plating.

Flip to the B-side, and the floors cave in. Death and Destruction and Beyond This Madness arrive as studies in rancid deterioration, stomping through rusted ruins like condemned machinery still clinging to function. The title track, Love Zone, is abrasive eroticism incarnate—metal meeting flesh with intent. And then there’s Scrolling Your Brains Outs, a classic Qual closer saturated in hard-driven gloom that hits where it hurts, a final message from a brain drowning in the infinite scroll.

Love Zone lands with two vinyl variants—magenta and cyan, each limited to 500 copies. The album scorches, scrapes, provokes, and cackles through the wreckage…a transmission from a bunker where the calendar has collapsed, and the machines have taken over the night shift. Maybelline lurches through these tracks like a doomsday courier, delivering cracked messages from the fringes.

Listen to Love Zone on Spotify and order the album here.

Love Zone by Qual

Qual will tour Latin America and the US in spring 2026 and will perform at Wave Gotik Treffen in Germany in May. See Dates below.

Tour Dates — 2026

February — Latin America

06/02 — Amón Solar, San José (Costa Rica)
07/02 — Ansia, Bogotá
08/02 — (TBA) Lima
12/02 — Unione e Benevolenza, Buenos Aires
13/02 — Santiago Gothic Event, Santiago
14/02 — Madame Club, São Paulo
27/02 — Blue Shell, Cologne

April — USA

03/04 — The Rebel Lounge, Phoenix, AZ
04/04 — Numbers, Houston, TX
08/04 — HQ, Denver, CO
09/04 — Substation, Seattle, WA
11/04 — The Farmhouse Collective, Riverside, CA
12/04 — La Santa, Orange County, CA

May — Europe

24/05 — Wave Gotik Treffen, Stadtbad Leipzig

Follow Qual

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The post Industrial-EBM Mastermind Qual Returns With Video for “Come With Me” — New Album “Love Zone” Out Now! appeared first on Post-Punk.com.

Source: Post-Punk.com

Barcelona’s Huir materializes once more with an ominous darkwave track: Storm, a brooding charge of ions and voltage, with a melody that cracks through the air like a sudden bolt. Ana Of The Head and David Solazo — one armed with synths and vox, the other slinging guitar lines and percussive bursts — established this dark synth duo barely three years ago, but Storm arrives with the force and clarity of thunder that’s been gathering for far longer.

With Storm, Ana delivers her lines like she’s tightening a knot around the throat of the void itself. One moment, she’s all steel and straight-spined declaration; the next, she sinks into a sultry whisper. Sparse alliteration slips through her phrasing, sharp enough to cut the static. Meanwhile, Solazo pours in guitar streaks that glow like coals and drum hits that sound stolen from some dim basement rite. The whole thing moves with a dense electric surge.

Lyrically, they’re staring down tempests, both cosmic and internal; there is talk of being crushed, but unbreakable—talk of refusing to relinquish whatever spark keeps you upright in the maelstrom. Huir writes about endurance like it’s something mundane…because the alternative is nothing less than spiritual rot.

The mood skews toward the forgotten corners of late-’80s cinema, the kind where teenagers in leather jackets outrun curses under flickering boardwalk lights. Storm could have slipped onto The Lost Boys soundtrack without anyone blinking, all smoke machines and crucifixes and that weird California gothic mood that made everything feel bigger than life. Storm feels built for fog, strobe lights, and pounding hearts.

Listen to Storm below and order the single, out now via Cold Transmission, here.

Storm by HUIR

Huir emerged in 2022, and by the following year had made their way to La Distilleria in Italy to shape their debut EP Triumphal Arch Lovers with Maurizio Baggio — the same meticulous hand behind Boy Harsher and The Soft Moon’s most pressurized moments. Baggio returns for Storm, taking on production, mixing, and mastering duties to channel the track’s voltage into something sharp and unmistakably theirs.

With momentum building, Huir have already locked in several key festival slots across Europe. They’ll close out the year, appear at Ombra in Barcelona on December 6, followed by Death Disco Festival in Győr, Hungary (May 30–31, 2026), Eastside Open Air in Halle (Saale), Germany (July 3–4, 2026), and Sounds from the Heart Festival in Zürich (October 24–25, 2026).

Tour Dates

December 6, 2025 — Ombra 2025, Barcelona, Spain
May 30–31, 2026 — Death Disco Festival, Győr, Hungary
July 3–4, 2026 — Eastside Open Air 2026, Halle (Saale), Germany
October 24–25, 2026 — Sounds from the Heart Festival 2026, Zürich, Switzerland

Follow Huir:

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YouTube
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Bandcamp

The post Barcelona Duo HUIR Weather Out Adversity with Tempestuous Darkwave Single “Storm” appeared first on Post-Punk.com.

Source: Post-Punk.com

Our empty bodies offering to the universal dust

As we become vessels for the stars

Greece’s Reflection Black operates with the certainty of a band that knows exactly where its pulse lives. Athens shapes their atmosphere, but the group’s identity comes from the chemistry Elis Alex has forged across years of studio alchemy and stage work. With Dreams Fade to Nothing, their momentum tightens into something leaner and more immediate.

The guitars drive the mood with clean precision, cutting across the mix in bright lines. Vocals glide through with a tone that hooks without strain, giving the melody room to breathe. Bass and drums move in tight formation, building a low, rolling pressure that holds the track together. The layers align easily, each one adding shape without crowding the others.

The lyrics drift through a half-lit realm where sleep becomes a doorway and the self unhooks from gravity. Bodies turn weightless, carried toward astral distance, chasing a hunger for the void’s quiet pull. Light slips away, forms dissolve, and what’s left is a spirit leaning into the infinite, embracing the moment where dreams lose their shape and fall away.

“Dreams Fade to Nothing explores astral projection, a journey of the spirit in search of transcendence, where fulfillment comes only through embracing the emptiness of the higher planes,” says Alex. It’s a description that pairs well with the song’s lift—lyrics reaching upward while the arrangement keeps everything steady underfoot.

There’s also a streak of lineage in their approach: you can hear hints of The Chameleons in the tall, ringing guitar lines – those chords that feel like they’re stretching toward the skyline. The low-end weight nods toward Killing Joke, a sense of propulsion that moves with purpose rather than chaos. And somewhere in the vocal phrasing, there’s a ghost of The Damned’s theatrical bite, the ability to sound both dead-serious and a little unhinged in the same breath.

The accompanying video, produced by Jim Georgosopoulos, extends the track’s atmosphere into something tactile. The band performs in a forest caught between dusk and pitch-black, the trees forming a crooked frame around them. Between the performance cuts, a ritual unfolds—pagan symbols, firelit gestures, an air of deliberate secrecy. Nothing feels staged for shock; instead, the visuals mirror the song’s tone: deliberate, focused, and rooted in the group’s fascination with the esoteric.

Watch the video for “Dreams Fade to Nothing” below:

Reflection Black have spent the past few years refining their direction through EPs, a full-length, and a growing presence onstage beside names like Then Comes Silence and Scheitan. Dreams Fade to Nothing lands as their most concentrated statement yet: a track built on clarity, belief in their instincts, and a drive that carries easily into the next phase of their catalogue.

Listen to Dreams Fade To Nothing below and order the single here.

Dreams Fade to Nothing by Reflection Black

Follow Reflection Black:

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The post Greece’s Reflection Black Returns in Video for Candlelit Gothic Rock Single “Dreams Fade to Nothing” appeared first on Post-Punk.com.

Source: Post-Punk.com

Please wake up, my souls obscured in death’s blight

I feel times standing still you’re all I know

Accursed into this ache, I feel so hollow

In their latest offering, Please, Wake Up, DECEITS shape a tale of longing with the same quiet gravity that settles over a room when confession finally breaks through the throat. The song moves as if written by someone kneeling before the edge of their own dusk, hands trembling, heart thudding like a stubborn engine that refuses to die. Its first breath arrives with a hush, yet somewhere beneath that hush, you hear the faint churn of hope.

The band draws from familiar lineages yet tilts them toward their own lived world, letting the Chicano pulse of Los Angeles seep into the bones of their arrangement. Bass moves in low, steady strides, as though tracing the ground for a lost path. Percussion swings with a dancer’s patience, steadying the song even as its voice quivers. Guitars glow, clean and spare, while keyboards drift above them in soft arcs of smoke. The music feels built from breath and recollection, stitched together with care that is more devotional than decorative.

At the center stands a measured, wounded, and almost prayer-like vocal. The lyrics speak to someone who is, perhaps, gone or unreachable, begging for a return of light in a life grown dim. It’s not grief in the grand, tragic sense; it’s the grief that grows slowly in the quiet hours, that lays its hands on a person and makes their thoughts move heavy as wet cloth. The plea is constant, circling, near liturgical. “Wake up” becomes less a request to another person and more a lantern held toward the singer’s own spirit.

As the song progresses, its pace tightens. The bass grows more insistent, the drums take longer strides, and the guitars widen into a slow burn that edges toward release. The bridge offers a moment of suspension – an inhalation before the plunge – held aloft by keyboards that ring like distant bells calling across a field. Then comes the swell, a crest of sound where voice and instruments rise together, not in fury but in something like exhausted yearning.

Listen to Please, Wake Up below:



DECEITS began as a pact between lifelong friends Kevin Moreno and Francisco Saenz in late 2021—two kids from Los Angeles who grew up with Spanish-language rhythms in their blood and post-punk in their bones. What started in bedrooms and borrowed rehearsal rooms has since grown into one of the city’s most steadfast underground forces, a group whose songs feel pulled from late-night sidewalks and half-forgotten memories. Their following didn’t arrive overnight; it gathered slowly, like a circle of candles around a stage, drawn to the way the band lets longing and lift coexist in every measure.

Their debut album, If There’s No Heaven…, arrived in November 2023—an independent release that moved through the scene on word of mouth and worn-out shoe leather. Tracks such as “Drowning in an Empty Sea” and “Mi Amor, Mi Vampira” became quiet staples, the kind of songs traded between friends with the promise that they would land somewhere deep. The acclaim carried the band across the U.S., into a sold-out night at the El Rey Theatre, and eventually onto the bill for Cruel World 2025.

Rooted in devotion to groups like The Cure, New Order, Motorama, The Chameleons, and Caifanes, DECEITS shape their influences into something unmistakably their own—brighter in color, heavier in heart, guided by the pulse of the communities that raised them. Today, the band moves forward as a trio: Kevin “Puppy” Moreno on vocals, bass, keyboards, and guitar; Francisco Saenz on percussion; and Skylar Francise on guitar. Together, they build songs that feel like messages left on a doorstep at dusk—quiet, urgent, and meant for whoever needs them most.

Catch DECEITS live. Tickets available here.

Dec. 5 — Fox Theater Pomona, Pomona CA
Dec. 14 — The Roxy Theater, Hollywood CA

Follow DECEITS:

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The post Into This Ache — Los Angeles Post-Punk Trio Deceits Unveil Gothic Love Story “Please, Wake Up” appeared first on Post-Punk.com.

Source: Post-Punk.com

Our senses are blown away

They’re spilling from within

Gone in a wild and crazy dance

I’ll save bliss for good

Corpus Delicti return with Liminal as though stepping across an invisible border, carrying decades of instinct and impulse into a present that feels both sharpened and strangely weightless. Franck Amendola’s hand in the production gives the record a tautness, a kind of inward electricity, while Graeme Durham’s mastering at The Exchange lends it a quiet severity. The group sounds assured, aware of their own history yet keen to redraw its lines. Liminal itself stretches in several directions: melody acts as the gravity; no matter how far the pieces drift, they settle around that core.

Fate feels like the band speaking plainly, without posture: the words circle ageing, yearning, the slow erosion of certainty. A tired spirit keeps pressing forward, seeking a glimmer somewhere distant: oceans bright, emotions turned gold, the possibility of stepping outside the constant crush of days. Pride, fear, and the residue of old wounds make guest appearances, but the song leans toward escape, toward the simple relief of space.

The video for Fate, directed by Elliot Pietrapiana and Sébastien Pietrapiana, works like a hand-held confession. VHS textures bleed into one another: quick glances backstage, tight stairwells, the odd stillness before a set. Then the crush of bodies, the warmth of breath shared in dim corners, the kind of communal pulse that once defined small-club culture. It plays like a diary salvaged from the back pocket of someone who never stopped believing in the power of collective noise. You see the band, the crowd, the fleeting exchanges…evidence that the right room can feel like a home you didn’t know you’d been searching for.

Watch Fate below:

What Fate suggests, and what Liminal confirms, is that Corpus Delicti continue to move with purpose. They carry the past, but they also step lightly into the next chapter, tracing the contours of connection, longing, and the brief sparks that make it all feel necessary.

Liminal is out now! Order the album here

Liminal by Corpus Delicti

To mark the arrival of Liminal, Corpus Delicti will bring the album to life onstage at an exclusive release show in Paris. On Saturday, November 29th, 2025, the band will take over La Maroquinerie for a night that promises communion, a surge of post-punk legacy, and that unmistakable charge that has followed the band since the beginning.

Follow Corpus Delecti:

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The post French Gothic Rock Icons Corpus Delicti Unveil Video for “Fate” — New Album “Liminal” Out Now! appeared first on Post-Punk.com.

Source: Post-Punk.com

TRAITRS roll back into view like they’ve been thawed out of some Toronto ice vault, slinging their new dirge-turned-daybreak I Was Ill, You Were Wrong with the kind of conviction that makes you wonder what the hell everyone else has been doing during their four-year absence. Their previous offering, Burn In Heaven, cracked the seal; this one spills the guts.

The track moves like a ghost trapped in a steel corridor: echoing synths doling out quick chills, guitars rising in jagged sweeps, and vocals pacing through the gloom with steady, unblinking calm. TRAITRS are dropping confessions like bricks, letting each line clatter across the floor until the whole place vibrates. Their “most vulnerable terrain to date” is less soft-focus diary page than someone scrawling a cosmic warning on a frostbitten window.

This song goes straight for the bone, wearing its heart on its sleeve. The fear of endings, the dread of isolation, that human wish to pretend the hourglass is ornamental – I Was Ill, You Were Wrong cuts through these illusions without a hint of sermonizing. Instead, they deliver a steady, hypnotic insistence; a reminder that the walls we build are paper, and the wind is coming. We do not have infinite tomorrows.

“I felt that song connected me to everything and everyone, it is the one thing we all share and have in common,” Shawn Tucker says, and you can hear that reach: wide, unashamed, desperate in the way honesty always is. “It is also a wake up call to live the life you want to live. We only have one chance at this so go dance in the rain.”

Listen to I Was Ill, You Were Wrong below and order the single here.

I Was Ill, You Were Wrong by TRAITRS

Possessor, arriving March 13th, 2026, threatens to dive even deeper. Tucker calls it “the most personal record I have ever written,” conjured during a Toronto winter that sounded more like a siege. Storm-lashed days, emotional avalanches, lyrics carved out like warnings left in a frozen field. The band locked in, zeroed their focus, and shaped each piece until it matched the bleak radiance of the world outside their windows.

I Was Ill, You Were Wrong is the crack in the ice. TRAITRS step through it with steady hands and sharpened intent.

Formed in Toronto, TRAITRS have built an international following through relentless touring and a discography that blends classic coldwave influences with a modern cinematic edge. Their work has been described by critics as evocative and deeply human, driven by themes of grief, isolation, ecstatic release, and the darker corners of the subconscious.

To support Possessor, TRAITRS will embark on an extensive European and North American tour throughout spring 2026. The run includes headline shows, as well as select dates supporting She Past Away, Lebanon Hanover, and Ultra Sunn.

Tour Dates:

March 31th, 2026 – Canada Toronto Lee’s Palace
March 14th, 2026 – Canada Montreal Bar Le Ritz
April 14th, 2026 – USA West Palm Beach Respectable Street (SPA Support)
April 15th, 2026 – USA Tampa Orpheum (SPA Support)
April 16th, 2026 – USA Dallas Ferris Wheelers (SPA Support)
April 17th, 2026 – USA San Antonio Paper Tiger (SPA Support)
April 21st, 2026 – USA Seattle The Crocodile (LH Support)
April 22nd, 2026 – USA Portland Crystal Ballroom (LH Support)
April 24th, 2026 – USA SLC Metro Music Hall (LH Support)
April 26th, 2026 – USA Los Angeles The Roxy
April 29th, 2026 – USA Las Vegas Swan Dive (LH Support)
May 1st, 2026 – USA Phoenix The Marquee Theater (LH Support)
May 2nd, 2026 – USA Denver
May 5th, 2026 – USA Chicago Sleeping Village
May 6th, 2026 – USA Indianapolis Spellbound Indy
May 7th, 2026 – USA Detroit Small’s
May 8th, 2026 – USA Columbus Ace of Cups (ULTRA SUNN Support)
May 9th, 2026 – USA Pittsburgh Spirit (ULTRA SUNN Support)
May 11th, 2026 – USA Richmond Fallout
May 12th, 2026 – USA Philly Johnny’s Brenda
May 13th, 2026 – USA Brooklyn Elsewhere
May 14th, 2026 – USA Boston Middle East Upstairs
May 15th, 2026 – CAN Ottawa House of Targ

Follow TRAITRS:

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YouTube
Spotify
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The post Toronto Post-Punk Duo TRAITRS Release New Single “I Was Ill, You Were Wrong” From Forthcoming Album “Possessor” — 2026 North American Tour Announced! appeared first on Post-Punk.com.

Source: Post-Punk.com

REPTYLE
„Blazed Shades & Thorned Veils“
(Goth Rock)

Wertung: Empfehlung!

VÖ: 21.11.2025

Label: Icy Cold Records

Webseite: Homepage / Facebook / Bandcamp

Die Bielefelder Goth Rock Institution REPTYLE kredenzt uns 4 Jahre nach dem wegweisenden „Decrypt the Void“ und fast 27 Jahre nach ihrer Gründung im Jahr 1998 ein wirklich herausragendes Werk, welches nicht nur Alt-Gothrocker begeistern wird. Ich bin geneigt zu sagen, jeder einzelne Song ist ein schwarzglänzendes Juwel!

Das Intro zum gelungenen Opener „Spectre of Decline“ ist eine akustische Nebelmaschine. Und gleich zu Beginn setzt man eine markante Wegmarke Richtung tiefer Atmosphäre. 6 Minuten verführerische Gitarre, eingängiger Gesang, verspielte sphärische Keys, durchdringender Bass und energisches Schlagzeug. Alles perfekt zusammengefügt und bis ins Detail durchdacht, nicht nur hier erweisen sich die Fünf als Uhrmacher des Goth Rocks. Textlich scheint Sergio Leone auf Cioran zu treffen, wobei die Metapher-artigen Aphorismen von durchdringender Dunkelheit leben und eine gewaltige Bildsprache beherbergen. „Never complain“ scheint die Schlagzahl leicht zu erhöhen, während aus dem Keller eine verführerische Klangstruktur langsam und Stufe für Stufe das Interior einer alten, abbruchreifen Diskothek erreicht. Eine gemütliche dunkle Umgebung wird Stroboskop-artig kurz erleuchtet. Die Melodie fast verträumt, während der Refrain krachend in die Szenerie dringt. Energie frisst Harmonie und Harmonie frisst Energie. Ein galantes Spiel der Kräfte.

Bei „Souls Damnation“ wird ein einsamer Bass geschickt mit sphärischen Klängen verziert und als der Gesang einsetzt ist man ein Gefangener der dunklen Harmonien, obwohl im Untergrund ein leicht schräger Ton die Szenerie spielerisch mit Energie versorgt. Der Songaufbau besitzt im Mittelteil ein Key-lastiges Zwischenspiel, welches dem Gesamtkonstrukt eine galante Wärme verleiht. Der Text ist erneut von bedrückender Eloquenz. Die Worte sind messerscharf und erinnern an eine moderne Version der schwarzen Romantik des 18. Jahrhunderts. Was die Band und vor allem Kais Stimmbänder mit dem dunklen „Raging Somberness“ machen, ist wirklich großes Kino. Ein packender Goth Rock Song, der im Mark eine wohlig phobische Atmosphäre besitzt. Die Instrumentierung ist druckvoll, dennoch immer mit einem unterschwelligen melancholischen Touch versehen. Besonders, wenn Kai leicht flüsternd ein bisschen Kinski imitiert, bekommt man leichte Gänsehaut und der Fluchtinstinkt setzt ein. Das folgende „Damascence“ liefert einen ruhigen, fast entspannten Klangkosmos. Die Musik schleicht wie auf einer Sänfte dahin und balanciert zwischen schwermütig und gefühlvoll, während Kai den letzten Weg auf die andere Seite mit bedrückenden Worten beschreibt.

„Gallow Watcher“ lebt von seiner gedrückten Stimmung. Zu Beginn und mittendrin lässt Kai seine erzählenden Stimmbänder durch den „Verzerrer“ laufen, was dem Song eine schräge Note verleiht. Die Hookline wird dann wieder clean und betörend inszeniert. Zum Ende hin wird es ein wenig elegisch. Früher hätte es bei ca. 3 Minuten eine wilde Temposteigerung gegeben, heuer frönt man mehr der Düsternis und lässt den Song ausgleiten. Das schwungvolle und tanzbare „Silence and the cold“ holt uns dann wieder aus der versunkenen Tagträumerei. Das folgende „Ultimate Negation“ könnte auf die Negation der Negation von Hegel verweisen und erweist sich als verführerischer Song, der sich zwischen hoffnungsloser Western-Kälte und warmen Klangspektrum ein Zuhause sucht. Kai klingt hier in den ruhigen Phasen verträumt und klagend und negiert den Eindruck zum Ende hin mit unterschwelliger Aggression.

Fazit: REPTYLE machen genau da weiter, wo sie bei „Decrypt the Void“ aufgehört haben. Betörender, tiefdunkler und melodischer Goth Rock. Genial, wie sich das Album bei jedem Hören weiter entblättert und man immer wieder neue Facetten entdeckt und jedes mal aufs Neue begeistert wird. Zwar war ich sofort angetan, aber im Vergleich zum Vorgänger machte ich Abstriche. Das hat sich geändert. Qualitativ unterscheiden diese beiden Alben nur Nuancen. Soll heißen: Der erste Platz ist doppelt besetzt. Das Album markiert zudem die triumphale Rückkehr des Gründungsmitglieds und Keyboarders Andreas „Kufi“ Schulze und verbindet die Kernmelodien ihrer frühen Jahre mit einer frischen, kraftvollen Energie. Das grandiose Werk gibt es als Limited-Edition colored vinyl (gatefold) und CD mit exklusiver Bonus Disc. Diese zusätzliche 5 Track CD ist extrem hörenswert und liefert einen „Whispers in the Shadow“ Drum-lastigen Remix von „Never Complain“ sowie eine dunkle Version des THE CHURCH Klassikers „Reptile“ von 1988 (Der Titel passt natürlich wie die Faust aufs Ypsilon). Hinzu kommen eine neue Version des ersten REPTYLE Stückes „Anyway Grateful“, „Remix the dead“ und zu guter Letzt eine Liveversion von „Into her Desert“. (andreas)

Source: Amboss-Mag.de

Mit „Erde 666“ geben KADAVRIK erstmals einen musikalischen Einblick in das kommende gleichnamige Album, welches im Winter 25/26 erscheinen soll. http://www.kadavrik.com

Info:
Nach einer Dekade im kreativen Exil bringen KadavriK mit „Erde 666“ ein Album raus, das erneut einen musikalischen Wendepunkt markiert. Während Titelsong „Erde 666“ mit seinem verspielten Keyboards noch am ehesten an frühe Werke erinnert, mischen die 5 Überlänge-Tracks Doom-Sludge und Metal-Epik zur KadavriK-Rezeptur hinzu.

KadavriK haben sich 2003 am Niederrhein gegründet, vier Alben im Spektrum zwischen Melodic Death und Black Metal veröffentlicht sowie Touren mit Bands wie Napalm Death, Gorgoroth und Graveworm auf dem Buckel. Zuletzt haben die fünf Freunde lange an ihrem DIY-Projekt „Erde 666“ gefeilt.

 

Source: Amboss-Mag.de

Die Band, oder besser das Projekt, welches namensgebend für eine ganze Genrebezeichung, also für den Angst-Pop steht, hat nach nunmehr 10 Jahren der Stille ein grandioses Album veröffentlicht. Electical heißt es. Und es ist sicherlich nicht still. Im Gegenteil. November Növelet schaffen mit ihrem vierten Album einen Höhepunkt. Das heißt, dieses Album ist eine Punktlandung auf genau diesem. 

Die bestbekannten analogen Knartzsounds und Kratzflächen sind hier immer an den Stellen, an die sie die fachkundige Hörerschaft nach mehrmaligem Hören auch ausmachen würde. Gewohnt elektrisierend auch die Stimmen von Mr. und Mrs. Arafna. Gleichwohl elegant. Allerdings vom Höreindruck noch etwas mehr als auf den Vorgängeralben. Und etwas popiger als in früheren Jahren. Da gab es nämlich noch eine hörbare Nähe und Beziehung zu Haus Arafna. Denken wir etwa an „Rules of Agony“. Doch nicht minder packend und abseits, also noch im Unter- oder Hintergrund des Musikbetriebes, der nur allzu durchschnittliche Alben, schnell wieder vergessener Interpreten produziert.

Aber gehen wir rein: Als ersten Höhepunkt, gleich nach dem Opener „No Love to give“, ist das mitreißende „All the Blames“ zu hören. Im Anschluss daran dann „Möwen“. Dieser Titel ist schon seit einer Weile auf youtube zu hören und zu sehen als quasi Vorgeschmack auf das Album. Wunderbar im Downtempo gehalten danach dann das Instrumental „The Cathedral“. Dunkel, finster, wie in oder aus einer Höhle oder eben Kathedrale. Und schließlich als Abschluss der A-Seite das Titelstück „Electrical“. Ein catchy, ergreifender Titel, der eine mitreißende Melodie und Dance Appeal hat.

Die B-Seite beginnt mit „I look into Faces“, ein Titel, der wegen des Einsatzes eines irgendwie bekannt klingenden Synthesizers durchaus an die finsteren 1980er Jahre erinnert. Ebenfalls erwähnenswert das zwischen Storm 1 und 2 eingeklemmte „Catching the Stars“. Hier im Hintergrund dann auch mal die Stimme von Mr. Arafna. Worauf dann noch „The Root of your Fear“ und „Cry for Blood“ folgen. Letzteres besticht dann wieder, und zwar mit einer Synthie-Hookline, die tanzbar zumindest Köpfe und Knie mitwippen lässt.

Abschließend noch eine Anekdote: Ich habe mich vor einer Weile mit einem Bekannten darüber unterhalten, warum aktuell, das heißt in Anbetracht von Kriegen und Gefahren das Klima betreffend, die Musik als Kunst nicht wie in den atomgeschwängerten 1980er Jahren generell finsterer wird. Ich vermute, habe ich ihm gesagt, weil die meisten sich individuell an ein Mittleres, einen Durchschnitt, das Durchschnittliche angepasst haben. Doch zum Glück nicht überall und alle. Dieses Album ist ein Paradebeispiel dafür. Das Album besticht durch eine wahrlich luftige Fülle analoger, schneidender Sounds, Melodien und Flächen. Schrille High-Hats blubbernde Bässe und klar verhallte Stimmen. Auf 780 Stück limitiert und mit Postkaten und Aufkleber versehen, dürfte es sicher schnell vergriffen sein. Also hier, auch wenn sicher nicht nötig, nochmal eine Kaufempfehlung. Es lohnt sich in jeder Hinsicht. (awk)

Source: BLACK Onlinemagazin

Das aktuelle Album „Weltenbühne“ von TYSKE LUDDER hallt gerade noch ordentlich nach, weshalb bei dieser Gelegenheit auch gleich mal an deren zweites Werk „Dalmarnock“ erinnert sei. Genauer gesagt die erstmalige Veröffentlichung dessen im Vinyl-Format, da das Original 1995 bei KM Music und die Neuauflage 2006 über Black Rain nur auf CD erschienen sind. Emmo.biz Records hat sich deshalb, wie auch schon des Debüts „Bombt die Mörder“, angenommen und „Dalmarnock“ neu bzw. extra für das Format neu mastern lassen und in transparent grünes Vinyl gepresst. Auf Grund der beschränkten Spielzeit einer LP musste man leider wieder auf zwei Titel des Original-Albums verzichten, was jedoch dem kernigen Pogo Electro der Friesen keinen Abbruch tut. Dieser klingt auch auf dem analogen Material Dank des Mastering durch Koltron richtig fett und durch die Reduzierung der Titel sogar deutlich gestraffter. Neben Krachern wie „Extrem“, Hexenjagd“ und „Maßnahmen zur Erhaltung der Macht“, ist selbst auch noch das flotte SPK-Cover von „Crack!“ mit hier enthalten. 222 Exemplare wurden davon gepresst + weitere 77 Stück im extra grünen Splatter-Vinyl mit zusätzlicher Fahne in einem Stoffbeutel. Von beiden Editionen sind einige wenige Restexemplare noch direkt beim Label zu volksnahen Preisen erhältlich. Als kleinen Tipp könnte man das übrigens gleich bei einer Bestellung mit dem absolut empfehlenswerten Kurt Tucholsky-Gedächtnis-Werk „Weltenbühne“ verknüpfen! (Marco Fiebag)

Source: BLACK Onlinemagazin

Simone “Hellvis” Salvatori, guitarist, singer and frontman/founder of the neofolk act Spiritual Front, but also a solo artist, was kind enough to answer our questions, here at the ElectoWelt OnLine Music Magazine, just before the band takes the stage at the mighty Death Disco Open Air Festival 2025 in Athens Technopolis!

∴ Interview by: Malice F ∴

1. EW: Hello Simone! Thank you so much for finding the time to do our interview, just before Spiritual Front’s live performance at Death Disco open air festival at Technopolis Athens! Apart from the upcoming SF gigs scheduled, how do we find you these days?

Simone Salvatori: Ciao, thank you so much! Well, busy time doing new stuff, working as daily jobs, waiting for Morgue Ensemble and The Lust Syndicate to be released. Life is basicallyba long tragic wait.

2. EW: George P. and me have been following your music with love and admiration many years now, since SPIRITUAL FRONT’s beginnings in 1999 when your first album “Songs for the Will” was released. I wouldn’t categorize SF in the neofolk genre, I never thought of you like this, but SF’s dark lyrical landscapes and romantic tango ballads staying at the same time true to your Italian heritage are very defining qualities for SF music legacy. So, what about Suicidal nihilistic pop, a term under which you have described your music in the past, does it still express Spiritual Front’s music and art? I could probably understand nihilistic, but I am not sure about the suicidal part.

Simone Salvatori: You got the point, I never considered SF as a ‘neofolk’ bands, I mean if you intend that boring bands exposing runes,singing about frozen forests and all these things, not my cup of tea. If you intend a different form of folk, maybe yes, but it’ s a question of terms. About sounds, in the very beginning I was influenced by some of those bands, I mean the early scene, but not now, it’ s so boring to listen to them now. But, as said, it was long time ago, thank god. When I use the worde suicide pop, it s because I like the contrast between these two, suicide is the total, definitive refusal, the last act of denial, pop is something easy, something to share , something that belong to everyone. I lile to idea of keeping them both in my music.

3. EW: Pier Paolo Pasolini, Fassbender influences in your lyrics, and generally you have a cinematic approach regarding your artistic expression, you are telling stories when you sing, in your wonderful videos for SF tracks and when you perform. We can see a lot of talent here, did you ever consider an actor’s or director’s career and turned it down for some reason? Please share!

Simone Salvatori: That would be amazing ahahahh, well, I attended theater schools when I was younger. I always consider these form of arts a whole thing,or a sort of that. It’ s hard to consider cinema without a good soundtrack, ot’ s hard to look at something without imaging a sound, listen to some good record without imaging something happen, things appearing. Yes, those directors influenced me a lot, on a personal and artistic level. Life couldnt be the same without them, those were people who showed us how to see and feel life, those were born to teach us how to make it.

4. EW: We have seen religious themes too, some have even called them provocative or misunderstood your work in this matter. What is your stand regarding religion and inner and is your intention to provoke in an effort to maybe bring the attention of audiences in specific matters that are important to you?

Simone Salvatori: Religion played an important role in my life, I grew in a nuns school when I was kid, some images, some sounds, some odors, some punishments are still so deeply rooted in me. Religion is basically more than a belief, especially if you live in a place like Rome, it s a matter that requests more than a phrase, religion is part of our culture, even if you are not religious, it’ s a thing that have modified and created your own culture and way of living, your philosophy. I don’ t consider myself catholic at all, but I would lie if I would tell you ‘it’ s not my culture’, we are drowned in jesus.

5. EW: What kind of music do you prefer listening to nowadays? is there any kind of guilty pleasures that you might have in music and would like to share with us?

Simone Salvatori: Except hip hop, I basically listen to a lot of things, from new wave to thrash metal, from americana to industrial, from krautrock to ebm, from powernoise to indie pop.

Guilty pleasure? Mmmm , these days Im listening a lot of Chappell Roan.

6. EW: George P. has another question for you! Could you please name your top 5 albums you can’t live without?

Simone Salvatori: Hard questions maybe, not in order:

The Smiths: Hateful of Hollow”
Swans: ”White Light from the Mouth of Infinity”
Celtic Frost: ”Into the Pandemonium”
Scott Walker: ..(Hard to choose among the first 4…) …let’s say the album: ”Scott 3”
Death: ”Leprosy”

7. EW: SF’s homage to a legendary 80s band like the Smiths with Big mouth strikes again was incredible and we can see it was carried out with respect and love to the band and the legends they are. Did you have the chance during your artistic approach and creation road of this album to get in touch with Morrissey or Johnny Marr from the band for the project or have any kind of feedback about your work on this album?

Simone Salvatori: Oh no never, never try to get in touch with your fav artists. Morrissey lived in Rome for a long time, I had the chance to meet him, but I always refused, didn t have the courage to meet him, try to imagine this: for you, he’ s a something special, for him….u just another boring fan,). 

Except some rare cases, I ve always been disappointed by the artists I liked, probably, as said before, is just a matter of expectations.

8. EW: It’s quite impressive that SF contributed to the soundtracks of the TV series “Las Vegas” and the motion picture “Saw 2” as well as further independent films, theatre, and even modern ballet productions, some trivia that some fans maybe are not aware about SF. Are there any additional artistic desires you would like to pursue and fulfil further? Personally, or with SF.

Simone Salvatori: I’d love to do a soundtrack for a western movie.

9. EW: It seems that in the last years minimal synth wave has become a huge music trend again, and creation of music mainly in a digital way though PCs or even smart phones nowadays. What is your opinion of the dark wave scene currently, do you find any of these new musical releases interesting?

Simone Salvatori: It sucks, everytime I hear bands like Lebanon hanover I wonder how music could be so shitty . This trend gave the chance to many incompetents with no talents to play music and records, I mean, it could be ok, I’ m not Malmsteen, but those, c’ mon, it’ s crap, few bands are ok, but 80% are total crap. They should thank god hype is on their side, but dunno how long it will lasts, people are not stupid, they will soon realize what kind of swindle these bands, tons of reverb and flanger and cheap drum machine won’ t save them from the final conflict

10. EW: A few words please for LUST SYNDICATE, your side project, expressing yourself in more old school industrial paths. Is it still active, would you consider presenting this work live to an audience? It would be a worthy addition to Wave Gotik Treffen’s (WGT) roster for instance.

Simone Salvatori: The new album is frozen since 3 years, I had some issues with a couple of label, at the moment is ready to be released by Time to kill records next year. We played at some festivals after the first album, Wgt included. Let’ s see what the 2026 will bring. The new albun ‘we are your enemy’ is very cool, good songs, very catchy but politically exposed. You will like it!

11. EW: Amphi 2025 recent live SF headliner gig was awesome! We kept discussing how much we missed you guys live! You were fantastic on stage, your communication with your fans was intense too. What should we expect seeing you live at Death Disco Open Air on Sunday? New tracks or more classic SF setlist?

Simone Salvatori: Thank you!! Amphi has never been easy for us, there’s always some problem, but we had fun, I love our loyal fanbase. No new tracks this time, we are still working on ’em. But if you invite us to play again on 2026 we ll give you some new killer tracks

12. EW: We know SF will continue touring, you have some scheduled live gigs. Your last album Amour Braque’, was released in 2018 and it was incredibly melodic, dramatic and stimulating, very much in the SPIRITUAL FRONT atmosphere we love. Will there be also new SF music or even a new collaboration coming soon?

Simone Salvatori: We are going to record the new album on late october, we have many new songs,Prophecy records is going to release also a special limited edition double album, let s see who will be the extra guests, at the moment we are just focused on how to make it good! There many intense, lovely songs, Im pretty sure you ll liked it, especially if you loved Amour braque.

EW: Coming to the end of our interview, feel free to share with us any message you would like to, with your fans attending the Death Disco Open Air Festival 2025!

Simone Salvatori: Thank you so much for supporting us, we love Greece, and we always had a special relations with our greek supporters. It’ s always a pleasure to come back in Athens, I ve many good records about it. The last confused memory ended with me totally drunk dancing in a italodisco club. Lovely night!

EW: Thank you again for your time and for the music we love! We can’t wait to see you live on stage today, as always!

Don’t miss SPIRITUAL FRONT live at Death Disco open-air festival in Athens, on Sunday 21th September 2025 at Technopolis Athens!

 

Source: ElectroWelt.com

Death Disco Open Air Festival 2025

Sat 20 – Sun 21 September 2025

Athens Technopolis Open Air – Athens Greece.

2 Days – 2 Stages – 14 Acts.

Tickets: 90€

Tickets Presale HERE

Σάββατο 20 + Κυριακή 21 Σεπτεμβρίου 2025, 2 Μέρες, 2 Stages, 14 Συγκροτήματα!

Anne Clark & Band
Peter Hook and the Light
Anja Huwe / XMal Deutschland
The Chameleons
Cold Cave
Corpus Delicti
Eddie Dark
Buzz Kull
Klangstabil
Spiritual Front
Aux Animaux
More bands T.B.A.

RUNNING ORDER & TIMETABLE:
 

⸻

Saturday, September 20

Open Air Stage (Doors open at 18:00)
• Peter Hook & The Light – 22:30
• Anja Huwe / Xmal Deutschland – 20:50
• Cold Cave – 19:20
• Valisia Odell – 18:20

Dreadbox Stage (Doors open at 18:30)
• Buzz Kull – 21:40
• Blakaut – 20:10
• Aux Animaux – 18:50

⸻

Sunday, September 21

Open Air Stage (Doors open at 18:00)
• The Chameleons – 22:35
• Anne Clark & Band – 20:45
• Klangstabil – 19:20
• Incirrina – 18:20

Dreadbox Stage (Doors open at 18:30)
• Eddie Dark – 21:45
• Corpus Delicti – 20:10
• Spiritual Front – 18:50

 

⸻

DeepFish Stage (Doors open at 18:00)

One of the key additions to this year’s festival is the brand-new indoor DeepFish Stage. Inspired by the beloved little fish featured in this year’s artwork, it is located right next to Technopolis’ main courtyard and will host the Official Band & Festival Merchandise along with the Signing / Meet & Greet Sessions*.

It will also serve as the hub for our sponsors:
• Dreadbox will showcase a pop-up store and interactive booth, giving visitors the chance to experiment with their legendary synths and explore new sonic possibilities. Selected festival artists will also drop by for exclusive showcases and live sessions, turning the space into a hotspot for analog experimentation and creative exchange.
• Full Moon will open a pop-up store featuring their signature dark aesthetic collection. Whether you’re looking for the perfect outfit, a unique accessory, or something magical for your altar—you’ll find it under the light of the full moon.
• Proki Tattoo Studio will set up a unique pop-up tattoo space, ready to welcome you and leave their mark on your skin with some of the most striking tattoo designs out there.

For all these reasons, the DeepFish Stage will be an essential stop during your stay at Technopolis.

 
 

Το Σάββατο 20 και τη Κυριακή 21 Σεπτεμβρίου 2025 το Death Disco Open Air Festival επιστρέφει!

lineup per stage:
 

Open Air Stage
Peter Hook & The Light · Anne Clark & Band · Anja Huwe / Xmal Deutschland · The Chameleons · Cold Cave · Klangstabil · Incirrina · Valisia Odell
 

Dreadbox Stage:
Buzz Kull · Corpus Delicti · Eddie Dark · Spiritual Front · Blakaut · Aux Animaux.

 
 
Μετά από ένα συγκλονιστικό καλοκαιρινό πρώτο εγχείρημα τον Ιούλιο του 2023 στη Τεχνόπολη του Δήμου Αθηναίων και την επιτυχημένη indoor εκδοχή του τον χειμώνα του 2024 στο Fuzz Live Music Club, η ομάδα του Death Disco επιστρέφει στις αρχές του Φθινοπώρου του 2025. Με headliners τη Νew Wave ποιήτρια και πρωτεργάτη της ηλεκτρονικής μουσικής Αnne Clark από τη μια, και τον Peter Hook, τον ίσως σημαντικότερο μπασίστα όλων των εποχών και τον μοναδικό άνθρωπο στη γη που κρατάει ζωντανό το πνεύμα των Joy Division, το Death Disco βάζει με το καλημέρα τις βάσεις για ένα ακόμα άχαστο διήμερο Open Air Festival.

H Anne Clark, έχοντας στη φαρέτρα της μια εντυπωσιακή δισκογραφία και μερικά από τα πιο εμβληματικά singles όλων των εποχών (με μπροστάρη το απόλυτο club hit “Οur Darkness” που μέχρι και σήμερα βρίσκει με την ίδια ευκολία τον χώρο του στα σκοτεινά αλλά και στα ηλεκτρονικά / techno dancefloors) και με την ώθηση που της έδωσε η πρόσφατη sold out ευρωπαϊκή της περιοδεία, επιστρέφει στην Αθήνα με full band,17 ολόκληρα χρόνια μετά την τελευταία της επίσκεψη.

O Peter Hook, με τη δουλειά του στους Joy Division και τους Νew Order να θεωρείται αξεπέραστη, έρχεται με τη μπάντα του τους Peter Hook and Τhe Light, να μας παρουσιάσει ένα σετ αποκλειστικά βασισμένο σε αυτά τα δύο μεγαθήρια της post punk / new wave / synth pop μουσικής. Μαζί τους ένα ακόμα εμβληματικό post punk σχήμα του Μanchester, οι Chameleons. Ένα από τα πιο επιδραστικά και ταυτόχρονα παραγκωνισμένα σχήματα της εναλλακτικής μουσικής των 80’s, που στις μέρες μας βρίσκει την αναγνώριση που του αξίζει με μπάντες σαν τους Interpol και τους Oasis να τους αναφέρουν σαν μεγάλη τους επιρροή και να θεωρούνται πλέον μια από τις μεγαλύτερες post punk μπάντες όλων των εποχών.

Το νέο αίμα της σκηνής εκπροσωπείται επάξια με τους Buzz Kull του Αυστραλού Marc Dwyer. Mετά τη sold out εμφάνισή τους στις αρχές του 2024, επιστρέφουν στην Αθήνα με το μοναδικό ΕBM / Industrial / Cold Wave δημιούργημά τους, ότι πιο φρέσκο και καινοτόμο έχει να προσφέρει η σύγχρονη “dark” μουσική. 

Η πρώτη πεντάδα συγκροτημάτων, συμπληρώνεται με τους Γερμανούς Κlangstabil, που επιστρέφουν το 2025 στη συναυλιακή δράση για να αποδείξουν σε όλο το κόσμο και από σκηνής γιατί θεωρούνται το κορυφαίο σχήμα της IDM / Electro μουσικής.

Το Σάββατο 20 και τη Κυριακή 21 Σεπτεμβρίου 2025, η Αθήνα θα είναι και πάλι στο συναυλιακό επίκεντρο της “σκοτεινής” μουσικής. Με ένα line up που θα κάνει και πάλι τα κεφάλια της εναλλακτικής σκηνής να γυρίσουν προς τη χώρα μας, το Death Disco Open Air 2025 θα είναι το απόλυτο εγχώριο – και ένα από τα σημαντικότερα παγκοσμίως – συναυλιακό γεγονός της σκοτεινής σκηνής μέσα στο 2025. Εσύ θα λείπεις?

Προπώληση

https://www.ticketmaster.gr/death-disco-open-air-festival-2025_sen_2007061.html

Πληροφορίες:

Τεχνόπολη Δήμου Αθηναίων

Διεύθυνση: Πειραιώς 100, Αθήνα
Τηλέφωνο: 2130109300
Τεχνόπολη Δήμου Αθηναίων

 

 

 

Source: ElectroWelt.com

Solar Fake (DE) + Seadrake (SWE/DE) + Empire In Dust (DE) – Live @ Death Disco Athens Club, Athens Gr.

Date: Saturday November 01, 2025
Venue: Death Disco
Adress: Ogigou 16 & Lepeniotou 24, Psirri, Athens, Greece
Doors at 21:00.
 

 
Το Σάββατο 1 Νοεμβρίου, το εντυπωσιακά δραστήριο ελληνικό fan club τους υποδέχεται για άλλη μια φορά στο Death Disco τους μοναδικούς Solar Fake για μία δυνατή εμφάνιση γεμάτη ηλεκτρονική ενέργεια, σκοτεινή pop αισθητική και έντονο συναίσθημα.
 
Το αγαπημένο electro project του Sven Friedrich επιστρέφει στην Ελλάδα για να μας παρασύρει σε μια βραδιά γεμάτη πάθος, ρυθμό και ένταση.
 

Οι Solar Fake είναι ένα από τα σημαντικότερα συγκροτήματα της ευρωπαϊκής dark electro/synthpop σκηνής. Δημιουργήθηκαν το 2007 από τον Sven Friedrich, γνωστό από τους Dreadful Shadows και Zeraphine, και από τότε έχουν διαγράψει μια σταθερά ανοδική πορεία.
Ο ήχος τους συνδυάζει επιδέξια τα στοιχεία της μελωδικής synthpop με την επιθετικότητα της EBM και του industrial, δημιουργώντας ένα μοναδικό ηχητικό αποτύπωμα που είναι ταυτόχρονα χορευτικό και συναισθηματικά φορτισμένο.
Με εξαιρετικές κυκλοφορίες όπως τα “Another Manic Episode”, “You Win. Who Cares?” και το πρόσφατο “Don’t Push This Button”, έχουν εδραιωθεί ως ένα από τα πιο επιδραστικά σχήματα του είδους.
Οι ζωντανές τους εμφανίσεις είναι εκρηκτικές, με τον Sven Friedrich να οδηγεί το κοινό σε μια έντονη μουσική εμπειρία. Οι Solar Fake έχουν εμφανιστεί σε μεγάλα φεστιβάλ όπως το M’era Luna, Amphi και Wave-Gotik-Treffen, ενώ έχουν περιοδεύσει σε όλη την Ευρώπη – και όχι μόνο.
 

Support θα είναι οι Σουηδογερμανοί Seadrake και οι Γερμανοί Empire In Dust.

Οι Seadrake αποτελούνται από τον Rickard Gunarrson (Lowe,Statemachine) και τον Μatthias Thurk (ex-Minerve) έχοντας σαν guest τραγουδιστή τον Sir Boyfriend.
Έχουν στενή σχέση με τους Solar Fake καθώς έχουν περιοδεύσει μαζί το 2019 και το 2022.
 

Οι EMPIRE IN DUST είναι το ντουέτο δημιούργημα του παραγωγού και τραγουδιστή Manuel Mundt.
Ο Manuel περιγράφει τη μουσική τους σαν ένα μείγμα future pop,EBM,darkwave και synth rock.
Μέχρι στιγμής έχουν κυκλοφορήσει το άλμπουμ ‘Α Place To Rest’
ενώ μέσα στο 2025 αναμένεται η νέα τους δουλειά με τίτλο ‘Riven’.
 

Ώρα προσέλευσης: 21:00
Προπώληση εισιτηρίων: 20€
Ταμείο: 25€.

 

Source: ElectroWelt.com

 
ElectroWelt Team Guest DJ set @ Death Disco Open Air Festival 2025:
Sunday 21 Sept 2025 @ Death Disco Athens Club
DJane Malice F + DJ George P
 
The Death Disco Open Air Festival 2025 doesn’t stop at the two main concert days in Technopolis.
The experience extends with a unique warm-up party and the traditional after show parties, all taking place at the infamous club Death Disco!
 

3 Day Warm Up & Aftershow Parties – Dj sets by: Leo Skiadas (Death Disco), Nick Drivas (Death Disco), Traum_9 (Kalte Nacht), Manos K. (The Man & His Failures), George P. (Electrowelt), Malice F. (Electrowelt), Marquis (Bloody Pleasures), S. Terezis (Death Disco).

DEATH DISCO OPEN AIR FESTIVAL 2025 – PRE SALE TICKETS

DEATH DISCO ATHENS CLUB

Club Address: Ωγύγου 16, Αθήνα 105 54 / Club phone: (0030) 6951632086 

 

Source: ElectroWelt.com

Nick Cave & The Bad Seeds will play Preston Park in Brighton on Friday 31 July 2026 – their only UK show of the year. 

“I am thrilled beyond words to return to my beloved Brighton with The Bad Seeds to play Preston Park. It’s a homecoming! It’s going to be big, bad and beautiful. An epic show!!!” 
– Nick Cave.

 

Fan presale begins 10am Thursday 25 September – visit nickcavebrighton.com to register now for presale access.
 
Tickets on general sale 10am Friday 26 September.

Sign Up for access to the first tickets HERE.

Brighton has been central to Nick Cave’s life and work for many years, inspiring countless songs, lyrics and films, and woven deeply into the history of the Bad Seeds. His connection to the city is unique and enduring, making Preston Park 2026 a moment in the city’s history. 

 

Source: ElectroWelt.com

Chameleons – Arctic Moon

‘Arctic Moon’ is the first full-length studio album by Chameleons in 24 years and the first to feature the current group line-up. It contains seven new songs that include the recent single ‘Saviours Are A Dangerous Thing’ STREAM   VIDEO, a re-recorded version of ‘Where Are You?’ (2024 single), plus longer compositions such as the slow-burning epic ‘David Bowie Takes My Hand’.

Although signalling something of a departure from the sound of their earlier albums, ‘Arctic Moon’ nevertheless remains rooted in the same emotional depth, spirit and intensity that has always defined their output.

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

Chameleons have spent the summer touring on both sides of the Atlantic, with their latest headlining US trek also incorporating a dozen dates with The Psychedelic Furs. UK shows included an appearance at the Forever Now festival held at Milton Keynes Bowl, The Guardian reporting that the “gnarled angst and integrity of Manchester’s ultimate cult band remains intact.”

Another North American tour commences shortly after the release of ‘Arctic Moon’, followed by mainland European dates from late October and a previously announced UK tour in November TOUR & TICKET INFO HERE.

Long cited as a hugely influential act, having inspired the likes of (The) Verve, Oasis, Interpol, The Killers, Editors and White Lies, Chameleons are renowned for their transformative catalogue and intense, emotionally charged live performances, creating a legacy that extends far beyond their four previously issued studio albums. Their widely acclaimed debut, ‘Script of the Bridge’ (1983), has been cited by many as a masterpiece way ahead of its time, and was followed by ‘What Does Anything Mean? Basically!’ (1984), ‘Strange Times’ (1986) and ‘Why Call It Anything?’ (2001).

Their unique sound swiftly gained an audience with its mix of melancholic yet energetic and powerful tunes, hypnotic, ethereal riffs and a potent, timeless lyrical style. They are considered one of the most influential guitar bands of the ’80s and ’90s, contributing substantially to the post-punk, shoegaze and indie scenes.

2024 saw the release of two EPs that kicked off a new chapter for the band. ‘Where Are You?’ consisted of three new songs, while ‘Tomorrow Remember Yesterday’ featured five re-recorded archive tracks. The well-received ‘Saviours Are A Dangerous Thing’ was issued in late May 2025, setting the scene for ‘Arctic Moon’, an album that sees Chameleons propelling forward musically while retaining the essence that has made them iconic.

ARCTIC MOON TRACKLISTING:

1  Where Are You?
2  Lady Strange
3  Feels Like The End Of The World
4  Free Me
5  Magnolia
6  David Bowie Takes My Hand
7  Saviours Are A Dangerous Thing

Source: ElectroWelt.com

When Andreas Catjar-Danielsson left this world in the very early morning of July 29, 2024, it still came as a shock to his relatives and friends including his former band mates in COVENANT. Although the musicians had known for a while that their beloved friend and colleague was losing his epic struggle with cancer, the realisation of it actually happening landed with such a massive impact that nobody ever could have prepared for.

Exactly a year after this dreadful day, COVENANT have announced the “Andreas EP”, which is the Swedes’ first release in nearly a decade. The EP is a tribute to the dear friend and colleague lost but also intended for charity as all proceeds will be going to Andreas Catjar-Danielsson’s widow and their two children. “Andreas EP” contains five experimental tracks including two cover versions by YAZOO (“Winter Kills”) and LEE HAZLEWOOD (‘A Rider on a White Horse’).
 

COVENANT were conceived in the city of Helsingborg in Sweden’s southernmost province of Skåne, only a short boat trip away from Helsingør on the Danish side of the water in 1988 by a bunch of young lads that were inspired by the flourishing scene of European electronic music spearheaded by bands such as DEPECHE MODE, KRAFTWERK, THE HUMAN LEAGUE, and FRONT 242 to name but a few. COVENANT chose their name as a symbol of the especially strong bond of friendship that they shared.
 
Emerging from the parent’s basements and recording in their bedrooms, COVENANT were invited to publish their song ‘The Replicant’ on a label sampler in 1992, which created such a buzz that it was followed by a record deal. It took two more years, before the Swedes’ album debut ‘Dreams of a Cryotank’ detonated onto the electro scene with a massive impact in December 1994. The rest is already musical history.
 
Throughout their outstanding career, which is currently spanning nine acclaimed studio full-lengths and two live albums, COVENANT have always moved forward, searched for new exciting ways of expression, and pushed the boundaries of electronic music. Emotional intelligence combined with excellent musical craftsmanship, and a knack for catchy tunes has brought the Northern Europeans to the forefront of electronic music and made them a household name of the scene.

Dependent Records support this charity with all their hearts and will waive all proceeds from the “Andreas EP”.
 

Release date: October 17, 2025 / Dependent Records

Tracklist
A Side
1. A Rider on a White Horse [Lee Hazlewood cover]
2. Walk Slow
3. Slow Dance
B Side
1. Das Nibelungenlied
2. Winter Kills [Yazoo cover]

Current line-up
Eskil Simonsson – vocals, electronics
Joakim Montelius – electronics

Guest musicians
Erica Li Lundqvist – backing vocals on ‘A Rider on a White Horse’
Andriana Seecker – backing vocals on ‘Winter Kills’

Recording by Andreas Catjar-Danielsson & Eskil Simonsson at various studios
Mixing by Andreas Catjar-Danielsson & Eskil Simonsson
Mastering by Vincent Uhlig (DE)

Artwork, design & layout by Tobias Green with Nico J

Shop
https://spkr.store/collections/covenant

Available formats
“Andreas EP” will be available as a limited edition black vinyl EP. All proceeds will go to Andreas Catjar-Danielsson’s wife and children.

 

Source: ElectroWelt.com

OMEN CODE reveal the grimdark cyperpunk track ‘Brutal + Pure‘ as the first single extracted from their forthcoming debut album “Alpha State“, which has been set to impact on December 5, 2025.

OMEN CODE comment: “This is probably my favourite track on ‘Alpha State'”, Kevin Gould writes. “I like the structure and the meaty mid-tempo pace. In this track many of my favourite elements come together. The chorus impacts as a solid wall of sound and Agi’s final verse sounds desperate… almost like he is pleading. Do you hear it, too?”

Tracklist
1. Isolate
2. Deform
3. Dead Zone
4. Ultra Fear
5. Apartment 213
6. Submerge
7. Tensor
8. Atrophy
9. Incubate
10. Contagion
11. Paralyze
12. Brutal + Pure

 

With their debut album “Alpha State”, OMEN CODE deliver the sound of the future – and the future is grim and dark! Their future is also firmly built upon the remains of the past. Certainly constructed to fill the dance floor, the international duo channels the bleak, cold precision of mid-tempo FRONT LINE ASSEMBLY and the cinematic story-telling soundscapes of John Carpenter electronics into a thrilling sound that is both resurrecting a classic 80s vibe and also fresh at the same time.

OMEN CODE are the new rising star on the EBM firmament. Deep, dark, and gritty industrial sounds are channelled into captivating mid-tempo tracks that create the atmospheric feeling of a dystopian future ruled by technology and marked by social decline.

This grimdark science fiction approach is not meant to indicate that OMEN CODE embrace any political agenda or message. Rather the international duo took inspiration from the writings of Philip K. Dick and Alfred Bester as well as cinematic masterpieces by British director Ridley Scott such as “Alien” and “Blade Runner” among others. 

OMEN CODE were originally intended as a one-time project by Kevin Gould. The engineer, programmer, and lyricist was a member of the English Industrial EBM trio JOHNSON ENGINEERING CO. together with Sean Bailey and Ian Hicks, which released the album “Unleash” in 1988. He went on to found the electro-industrial act ELECTRO ASSASSIN with Ian Taylor. Following the release of “Jamming the Voice of the Universe” (1992), Taylor was replaced by Richard McKinlay with whom the next albums “Bioculture” (1993) and “The Divine Invasion” (1995) were recorded.

When vocalist and lyricist Agi Taralas was hand-picked from a stack of applications for the frontman position, the chemistry between the two artists proved so productive and strong that Gould and Taralas decided together to turn OMEN CODE into a permanent project that would also aim to perform live. The vocalist had already left his mark on the scene in a joint project with German electronic musician Stefan Böhm under the moniker OUR BANSHEE that released an album entitled “4200” in 2017.

Whether you want to indulge in shady dreams and evoke sinister futuristic images in cinemascopic visions or just move to dark electronics on the dancefloor, OMEN CODE offer the perfect soundscapes for both approaches to their music with the grandiose debut album “Alpha State”!

Line-up
Kevin Gould – engineer, programming, track construction, lyrics 
Agi Taralas – vocals, lyrics

Recorded & engineered by Omen Code at Trauma Lab., London (UK)
Mixed by Kevin Gould at Trauma Lab., London (UK)
Mastering by Kev Gould at Trauma Lab., London (UK)

Artwork & layout by Nico Janse van Rensburg, SF & Sinan Jafan

Links
www.facebook.com/omencodeofficial
www.instagram.com/omen_code

Shop: https://spkr.store/collections/omen-code

Source: ElectroWelt.com