Boy Harsher’s pivot toward cinema has been gathering momentum for years. Long before The Runner, the duo were already treating their music videos as short films: the David Lynch–inspired motel-room fever dream for “Face the Fire,” the obsessive noir-voyeur intensity of “Come Closer,” and the doomed vampire story of “Fate,” which plays like a nocturnal film carved down to a few bloody minutes. Their visuals have increasingly leaned into mood over explanation, a tendency sharpened through recurring collaborations with production team Muted Widows, whose work with the band pushes close-ups, negative space, and uneasy stillness into something that feels like scenes lifted from a larger, unseen feature. By the time The Runner arrived in 2022—an unruly fusion of genre impulses, haunted pop ritual, and blood-tinted surrealism—it was clear that Jae Matthews and Augustus Muller weren’t just scoring imaginary films; they were already halfway to making them. The cast underscored that shift: Kris Esfandiari of King Woman, Mariana Saldaña of BOAN, Cooper B. Handy, and unmasked industrial luminary Kontravoid all drifted through its uncanny frame, forming a constellation of underground figures orbiting Boy Harsher’s expanding visual world. The project paved the way for Matthews’ later screenplay work on werewolf film My Animal, and for Muller’s growing presence in both band and score work—including Safe Mind, his collaborative band with Handy, and an increasingly wide slate of tension-laden compositions.

Now that evolution has arrived in full. The pair have wrapped production on their first feature-length film, The Lonely Woman, a horror-thriller starring Chloë Sevigny, FKA twigs, Sturgill Simpson, and Bonnie “Prince” Billy. The film centers on a grieving woman haunted by the death of her first love inside a mountain tunnel, drawn toward forces described as “seductive and terrifying.” The casting feels pointed, especially with Sevigny, whose long-standing devotion to experimental cinema, queer nightlife, and fringe music has made her a fixture in the very worlds Boy Harsher came up through.

In announcing the project, the band finally acknowledged their sudden disappearance this fall. They explained that if anyone had been wondering where they went, the answer was simple: they were shooting a movie. Production wrapped during an overnight shoot that involved a kill scene, a haze of exhaustion, and what they described as the “drama” of making a first feature. Only then, they said, could they share the secret: the film is called The Lonely Woman.

They described the film as “a horror film, an erotic thriller, a creature feature, a weird one, a fun one, a sweet one,” and credited its completion to “our tremendous cast and crew.” They also thanked Chloë Sevigny directly “for giving everything to The Lonely Woman.”

More details—release information, stills, teasers, and, of course, music—have not been shared yet but are expected soon.

 

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The post FKA Twigs, Chloë Sevigny, and More Star in Boy Harsher Directed Horror-Thriller “The Lonely Woman” appeared first on Post-Punk.com.

Source: Post-Punk.com

New York post-punk stalwart Charlie Nieland storms back into view with Stories From The Borderlines, an album that feels like someone wired a confessional booth to a particle accelerator and hit the big red button. The veteran producer and post-punk polymath tears into his own history like a man mapping fault lines beneath his feet. Years with Her Vanished Grace, the knife-edge experiments of Lusterlit, and studio time with names the size of Blondie and Rufus Wainwright have sharpened his instincts.

The record begins as a flare on the horizon and expands into something closer to a living atlas. Nieland calls it “a kaleidoscope of styles,” and for once that tired phrase lifts off the page. “They are luminous secret rooms that reflect one human’s heart in a world at the precipice. Staying creative is resistance…Culture is not imaginary…These songs tell stories of growing up, of how we got severed, and how we connect.” He’s handing you a set of keys to rooms he spent years building, each with its own weather system, each humming with the tension of the past few years’ love, uncertainty, and family drama. “These songs are a geography of intention and intuition…Let’s find the switch.”

What he’s made here feels like a carved-out planet. The inspirations: David Bowie, Kate Bush, Peter Gabriel, Cocteau Twins, Thomas Dolby, Love & Rockets, The Cure – orbit the album. He played nearly everything himself, with drummer Billy Loose and guitarist Dan McAssey slipping into the frame like old allies who know the terrain well enough to add sparks without calling attention to their hands. “It’s a joy to be collaborating with them,” he says, and you can hear that joy pulse in the seams.

Photo by Alice Teeple
The album opener Cease To Turn studies duality with the patience of a scientist staring down a microscope. It moves from the personal to the planetary in a single breath, suggesting that identity forms in the gaps between collisions—worlds brushing past one another, memories dissolving before they’re named. Brutalist Monuments drags humanity to the mirror and forces us to look at what stares back: a species built on rubble, convinced its jagged edges mean progress. It’s a song about the architecture of error, showing how easily evolution trips into hubris and how quick we are to crown our own confusion as triumph.

Win (feat. spiritchild) turns the spotlight toward crisis as performance. Manufactured emergencies, outrage as oxygen, language sharpened into blades. The track cuts through the spectacle and exposes how fear becomes a mask welded to the face, how shame is cultivated like a crop, and how the only escape is recognizing the bone-deep interdependence we keep running from.

Drown feels like a dream where the tide doesn’t know the difference between myth and memory. Loss mutates into legend; catastrophe becomes choreography. Waves crash through the song like messages written for the dead, and the unanswered questions thrum beneath every line.

Hypnotized stalks the ruins of national mythology. Dragons, protectors, rituals…all crumbling under the weight of war, displacement, and political sleight of hand. It’s the sound of people realizing the creatures guarding their treasure never cared, never understood, and never could save them. Next, Back To Life peers into the wreckage of two people trying to reanimate a corpse: love warped by insecurity, regret, and the slow poison of self-doubt. The connection spirals between surrender and desperation, a fairy tale rewritten with cracked mirrors and spent prayers.

Redshift lifts everything skyward. A supernova of self-reassessment, the track uses astrophysics as therapy. Redshift (the stretching of light as it speeds away) becomes the metaphor for loosening the grip of old pain. Nieland bends time with patient guitars and a voice that rises like a lantern in the cold. Inner walls crumble; clarity cuts through like cosmic radiation.

Sentinel paints a watcher at the edge of everything—someone drifting between longing and distance, capturing moments as if they were vanishing fireflies. Time feels delicate here, fragile enough to slip through cupped hands. Control becomes a question, not an answer.

Then there’s Shame, paired with a wild timebending video by Hypnodoll with cinematography by Alice Teeple. This one thrums with the dangerous charge of obsession turned inward and outward at once. It digs into the lust and revulsion weaponized against the queer community, showing how fascination becomes its own battlefield. The cast: Billy Loose, Dan McAssey, Corey Tut, Larry Heinemann, Lianne Smith, Felice Rosser, Finley Hunt, Stephanie Marie, Susan Hwang, Katia Floreska, Jeb Colwell – turns the screen into a pressure chamber.

Today, featuring keyboardist Joe McGinty (Psychedelic Furs), is quieter in volume but heavier in emotional weight. It highlights the fragile rituals of love, the domestic miracles we overlook until they threaten to vanish. Love becomes a constellation you can lose track of in the dark, and the song treats the present moment like a relic worth dying beside. Finally, You Fell Down threads a story of escape, transfo∆rmation, and heartbreak—two kids running from who they were, only to collide with who they became. Childhood fantasies crumble as the world presses in. One person falls; the other freezes. The track leaves you standing in the wreckage of something once unstoppable.

Stories From The Borderlines is many things: a spark, a confession, a scrawl on the wall of the universe…but above all it’s a reminder that imagination is a survival instinct. Nieland leaps and drags us with him, shouting back through the turbulence: Let’s find the switch.

Listen to Stories From The Borderlines below and order the album here.

Stories From The Borderlines by Charlie Nieland

Follow Charlie Nieland:

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Apple Music
Spotify 

The post NYC Post-Punk Polymath Charlie Nieland Storms Back with “Stories From The Borderlines” LP appeared first on Post-Punk.com.

Source: Post-Punk.com

-> >;Mit ihrem fünften Album "The Stillness of Dissolution" begeben sich AUSTERE auf eine dunkle Reise, die durch die Abgründe der Zeit, die unausweichliche Rückkehr jeglicher Ordnung in den Zustand des Chaos und in die schwarze Leere führt. Oder in den Worten des Dichters: "… alles, was entsteht, ist wert, dass es zugrunde geht…". Dieses Album bringt wieder mehr Schwärze in den Sound der Australier, die damit eine leichte Kursänderung härter am Wind vornehmen; ohne sich der Nostalgie "alter Tage" hinzugeben. AUSTERE bleiben im selbstgesteckten Rahmen der reiferen und definierten Version ihres besonderen depressiven Black Metal Stils, der ihre Erfahrung und künstlerische Entwicklung widerspiegelt. AUSTERE entstanden aus einem Soloprojekt des Multi-Instrumentalisten und Sängers Desolate alias Mitchell Keepin, der sich im Jahr 2005 mit dem Schlagzeuger, Keyboarder und Sänger Sorrow aka Tim Yatras zusammenschloss. Mit frostigen Gitarren, spitzen Schreien und Wehklagen als Markenzeichen offenbarte AUSTEREs Debütalbum "Withering Illusions and Desolation" (2007) noch einen starken nordischen Einfluss. Das Zweitwerk "To Lay like Old Ashes" folgte im Jahr 2009 ebenfalls mit einem rohen Sound, überzeugte aber auch durch eine verfeinerte Produktion. Danach konzentrierten sich beide Musiker auf andere Projekte und AUSTERE ging in den Winterschlaf. Erst im Jahr 2021 fand das Duo erneut zusammen. Die Zahl der Anhänger war in den Jahren ihrer Abwesenheit dennoch rein durch Mundpropaganda stark angewachsen. AUSTERE sind zurück und tragen auf "The Stillness of Dissolution" schwarze Trauer. Doch darunter kleiden sich die Australier auch in all die subtilen Grautöne, die aus der kontinuierlichen Entwicklung ihrer Musik gewebt wurden, und aus dunkler Materie spannende neue Klangräume erschaffen.-> >;
-> >;
Tracklist:-> >;
1. Dissolved Exile-> >;
2. Time Awry-> >;
3. Redolent Foulness-> >;
4. The Downfall-> >;
5. Rusted Veins-> >;
6. Storm Within My Heart

Source: Prophecy

-> >;HEXVESSEL erkunden auf ihrem epischen siebten Album "Nocturne" liminale Räume, z.B. zwischen Licht und Dunkelheit sowie Natur und Einsamkeit. Die sich kontinuierlich wandelnde finnische Band besinnt sich wieder auf ihre Wurzeln im Folk und im psychedelischen Rock, indem sie akustische Zwischenspiele, kosmische Synthesizer und geisterhafte Pianoklänge kunstvoll mit den frostgesponnenen Fäden ihres Black Metal Geflechts verwebt. "Nocturne" klingt sowohl vertraut als auch unverhohlen progressiv, da HEXVESSEL ihre eigene Tradition mit einer frischen Neuerfindung ihres charakteristischen Sounds vermischen. Der Keim für dieses Meisterwerk wurde durch die Aufführung eines Auftragswerks beim Roadburn Festival 2024 gesetzt, das ursprünglich den Titel "Music for Gloaming: A Nocturne" trug. Mit diesem Album nimmt das Projekt eine ausgearbeitete physische Gestalt an. Dieses opus magnum verbindet den rauen Geist von Quorthons Black Metal mit dem komplexen Minimalismus zeitgenössischer Komponisten wie Philip Glass, György Ligeti und Avro Pärt. Den eklektischen Charakter von "Nocturne" unterstreichen ausgewählte Gastauftritte wie der ätherische Gesang von Saara Nevalainen oder die harschen Stimmen der Avantgarde Black Metal Vorreiter Yusaf Vicotnik Parvez (DHG/DØDHEIMSGARD) und ORANSSI PAZUZUs Juho Vanhanen. HEXVESSEL stammen zwar aus dem finnischen Tampere, die Band wurde aber vom englischen Sänger und Songwriter Kvohst alias Mat McNerney gegründet, nachdem er im Jahr 2009 in das nordische Land gezogen war. In vielerlei Hinsicht spiegeln HEXVESSEL die Natur ihres Gründers wider. Der Sänger und Songwriter war schon in vielen erfolgreichen Gruppen und Projekten aktiv, deren Spektrum von der britischen Black Metal Band CODE über einen Abstecher bei den norwegischen Legenden DHG bis hin zu den Rock-Shootingstars BEASTMILK reicht, die er später mit GRAVE PLEASURES fortsetzte. Mit "Nocturne" laden HEXVESSEL alle dunklen Seelen der Erde zu einem transzendentalen Nachtritual ein, das unter anderem die Klangvisionen von DARKTHRONE, TANGERINE DREAM und Philip Glass aus der toten Vergangenheit erweckt und mit neuem Leben erfüllt.-> >;
-> >;
Tracklist:-> >;
01. Opening-> >;
02. Sapphire Zephyrs -> >;
03. Inward Landscapes-> >;
04. A Dark lt; Graceful Wilderness -> >;
05. Spirit Masked Wolf -> >;
06. Nights Tender Reckoning -> >;
07. Mother Destroyer -> >;
08. Concealed Descent-> >;
09. Unworld-> >;
10. Phoebus-> >;
-> >;
Bonustracks (nur Artbook und Bundle)-> >;
"Music For Gloaming, A Nocturne By The Hexvessel Folk Assembly (Live At Roadburn Festival 2024)"-> >;
-> >;
01. Sapphire Zephyrs -> >;
02. Inward Landscapes-> >;
03. A Dark lt; Graceful Wilderness -> >;
04. Spirit Masked Wolf -> >;
05. Nights Tender Reckoning -> >;
06. Concealed Descent-> >;
07. Unworld-> >;
08. Phoebus-> >;
-> >;
-> >;
Bonus Tracks (nur Bundle)-> >;
-> >;
01. Under the Lake-> >;
02. Horse Tears (Goldfrapp-Cover)

Source: Prophecy

-> >;Mit ihrem vierten Album "Confessing Darkness" erweitern IMHA TARIKAT erneut alle Grenzen des Black Metal, ohne dabei die enge Verbindung zu dem harschen Stil zu verlieren. Das Genre war von Anfang an deutlich weniger eng definiert, als es eifersüchtige Gatekeeper und juvenile Sittenwächter oftmals unterstellt haben. Die deutschen Black Metal Erneuerer haben von Anfang an zahlreiche der Möglichkeiten genutzt, die das Genre zu bieten hat, und sich doch hörbar ihre eigenen Klangräume erschlossen. Ihr tonales Königreich ruht im Wesentlichen auf zwei Säulen: Musikalisch prägen ein unerbittlicher Vorwärtsdrang und eine unbändige Leidenschaft ihren Sound. "Confessing Darkness" entfesselt sogar noch mehr von dieser rohen Energie als jemals zuvor. Das andere tragende Element besteht aus einer tiefen emotionalen Intelligenz, die das Potential des Black Metal voll ausschöpft, jedes erdenkliche Gefühl auszudrücken – von der reinen Liebe bis zum finstersten Hass, von schweren Depressionen bis zu unbändiger Freude. Auch auf "Confessing Darkness" beruhen diese persönlichen Bekenntnisse auf nichts als der Wahrheit. Dabei hat IMHA TARIKATs lyrischer und musikalischer Kopf, Kerem Yilmaz alias Ruhsuz Cellât, das gesamte Album erstmals komplett im Studio aufgenommen, was dem Sound zugute kommt. Yilmaz hat sich zudem für kürzere, schärfere Attacken entschieden. Die Stücke auf "Confessing Darkness" kommen direkt und zügig auf den Punkt, und lassen sofort wieder los, sobald sich ihre zerstörerische Kraft voll entfaltet hat. IMHA TARIKAT präsentieren sich auf "Confessing Darkness" hörbar gereift. Obwohl ihrer Klanggewalt aufgrund von Erfahrung und hart errungenem musikalischen Wissen etwas von ihrem jugendlichen Ungestüm abgegeben hat, gewinnen die deutschen Black Metal Aufsteiger dadurch erheblich an Durchschlagskraft und Überzeugung. "Confessing Darkness" markiert zweifellos einen musikalischen Meilenstein für IMHA TARIKAT.-> >;
-> >;
Tracklist:-> >;
CD Digipak-> >;
1. Intro - Aufbruch-> >;
2. Wicked Shrine-> >;
3. Another Failed Ritual-> >;
4. Voices Of Bitter Epiphany-> >;
5. Excellent Grief-> >;
6. Confessing Darkness-> >;
7. Chamber Of Sin-> >;
8. Horns In The Smoke-> >;
9. Memoria Dei (Profanity And Devil)-> >;
10. Pitch Black Reflection-> >;
11. The Day I Died (Reborn Into Flames)-> >;
12. The Sun Goes Down (A Thin Lizzy Interpretation) (bonus track)-> >;
-> >;
Artbook CD:-> >;
1. Intro - Aufbruch-> >;
2. Wicked Shrine-> >;
3. Another Failed Ritual-> >;
4. Voices Of Bitter Epiphany-> >;
5. Excellent Grief-> >;
6. Confessing Darkness-> >;
7. Chamber Of Sin-> >;
8. Horns In The Smoke-> >;
9. Memoria Dei (Profanity And Devil)-> >;
10. Pitch Black Reflection-> >;
11. The Day I Died (Reborn Into Flames)-> >;
12. The Sun Goes Down (A Thin Lizzy Interpretation) (bonus track)-> >;
13. Schwarzflammensanktum (bonus track)-> >;
14. Architect Of No Hope (bonus track)-> >;
-> >;
Vinyl:-> >;
1. Intro - Aufbruch-> >;
2. Wicked Shrine-> >;
3. Another Failed Ritual-> >;
4. Voices Of Bitter Epiphany-> >;
5. Excellent Grief-> >;
6. Confessing Darkness-> >;
7. Chamber Of Sin-> >;
8. Horns In The Smoke-> >;
9. Memoria Dei (Profanity And Devil)-> >;
10. Pitch Black Reflection-> >;
11. The Day I Died (Reborn Into Flames)

Source: Prophecy

Hin und wieder beginnen große Bandgeschichten nicht mit einem Blitzschlag, sondern mit einem Gitarrenstück, das man vielleicht mal in einem Moment stiller Klarheit schreibt. Genau so war...

Source: MedienKonverter

Klar, es gibt sie noch, diese seltenen Novembertage, an denen man das Gefühl hat, die Welt brauche ein musikalisches Heizkissen – und genau hier grätschen ’A Spell...

Source: MedienKonverter

Wenn man über ‚Men Without Hats‘ spricht, spricht man über eine Band, die das Kunststück vollbracht hat, in den späten 70ern zu starten und trotzdem wie der...

Source: MedienKonverter

‘The Legendary Pink Dots’ begleiten die weltweite Underground-Szene seit Anfang der 1980er Jahre und haben dabei ein Klanguniversum erschaffen, das weniger wie das Werk einer klassischen Band...

Source: MedienKonverter

Während die meisten von uns gezwungen sind, zu Hause zu bleiben und auf Konzerte zu verzichten, haben sich einige Danse Macabre Bands dazu entschlossen, live aus ihren Homestudios und Proberäumen zu streamen. Darunter Oberer Totpunkt, Astari Nite und The Spiritual Bats.

Source: Danse Macabre News

Während Corona in Florida wütet, haben Astari Nite in Seelenruhe ihre neues und bisher ausgefeiltestes Album aufgenommen. Die Single gibt einen Vorgeschmack auf das tiefgründige Album der talentierten New Wave Musiker.

Source: Danse Macabre News

Das phänomenale neue Album „Here Lies“ von Astari Nite hat mit „Leave the winter on the ground“ eine musikalische Perle in der Trackliste, die schon jetzt verspricht ein wahrer Everblack zu werden. Das Video huldigt auf originelle Weise den vielen verstorbenen Größen der Szene, ohne die Gothic und Alternative in diesem Jahrzehnt wohl keine Rolle spielen würde. Astari Nite hatten[…..]

Source: Danse Macabre News

Norwegen und Deathrock – ein bisher unbekanntes Terrain. Umso reizvoller wenn die Wikinger von Batboner nach 10 Jahren gemeinsamen Experimentierens ein so vielschichtiges und für das Genre so zeitloses Album aufgenommen haben. Elemente aus Surf, Punk, Goth und Twist werden zu dem ureigenen Batboner Stil eingedampft. Assoziativ und reflektiv setzen sich die Texte mit vielen persönlichen Erfahrungen der Bandmitglieder aus[…..]

Source: Danse Macabre News

Die Band um die charismatische Lynn ist bereits seit einigen Jahren unterwegs und hat mit ihrem neuen Album „Ravenous“ bei Danse Macabre unterschrieben. Stilistisch bewegt sich das Projekt um die US-amerikanische Sängerin im Darkwave-Electronic Bereich, ohne auf härtere Gitarrenelemente zu verzichten. Die Künstlerin stell sich mit einem Video vor.

Source: Danse Macabre News

Das italienische Duo The Spiritual Bat hat ein wunderschönes neues Video veröffentlicht. Der Song Mission wurde gemeinsam mit der Violinistin Shir-Ran Yinon aufgenommen

Source: Danse Macabre News

Die russische Darkwave Legende gastierte bereits einige Male in Deutschland und ist in Russland längst ein Superstar, der sogar im öffentlichen Fernsehen stattfindet. Autocrator, das neue Werk setzt sich mit Despotismus und MAcht auseinander und wurde mit einem komplett neuen Team produziert. Hier die ersten Eindrücke

Source: Danse Macabre News

Die fantastische Electronic Pop Band um den ehemaligen S.P.O.C.K. Keybaorder Christer Hermodsson hat ihr Album Violently Beautiful endlich auf Danse Macabre re-released. Christer dazu:

Source: Danse Macabre News

Die neuen deutschen Todeslyriker von Oberer Totpunkt haben die Arbeiten am neuen Album abgeschlossen. Bis zum Release veröffentlicht die Hamburger Band jetzt regelmäßig Clips zu den Titeln des Albums. Als wahnsinniger Appetizer und gleichzeitig fulminanter Start zu Halloween macht die erste Auskopplung „DIA DE LOS MUERTOS“ rasende Lust auf mehr.

Source: Danse Macabre News

Nach dem Erfolg ihres fünften Longplayers „Unaufhaltsam“ (# 4 DAC, # 5 GEWC), aus dem insgesamt sage und schreibe sechs Singles ausgekoppelt wurden, wagen KONTRAST nun den Schritt zurück in die Vergangenheit: Der Song „Leben vor dem Tod“ entstand ursprünglich bereits 1995 (!) und kündigt in einer neuen, klanglich upgedateten Fassung die Wiederveröffentlichung des Albums „KONTRAST: Programm“ an, das anlässlich[…..]

Source: Danse Macabre News

SINNFLUT sind zurück – eindrucksvoller und mitreißender als je zuvor. „SCHNEE“ erzählt auf einfühlsame und doch brachiale Weise von den Umständen und Schicksalen einer Entführung. Ein komplexes Werk, das mit jedem Kapitel ein Teil der Vergangenheit offenbart. Stück für Stück zeichnet es das innere Bild der Gedankenwelt seiner Protagonisten und gibt dabei allmählich die Vielschichtigkeit der Wahrheit preis.

Source: Danse Macabre News

Die phänomenale Popsingle Struck ist eine Kollaboration der beiden Ausnahmekünstler Cristian Craver (CARV.R) und der The Voice Sängerin Casey Desmond. Heute wurde der Videoclip „Struck“ veröffentlicht, der nichts für zart besaitete Zeitgenossen ist. CARV.R wird im Laufe des kommenden Jahres ein Album veröffentlichen. Es bleibt spannend. Bis dahin viel Spaß mit der Single, die mit einer Fülle interessanter Remixe aufwartet.

Source: Danse Macabre News

Die phänomenale Popsingle Struck ist eine Kollaboration der beiden Ausnahmekünstler Cristian Craver (CARV.R) und der The Voice Sängerin Casey Desmond. Heute wurde der Videoclip „Struck“ veröffentlicht, der nichts für zart besaitete Zeitgenossen ist. CARV.R wird im Laufe des kommenden Jahres ein Album veröffentlichen. Es bleibt spannend. Bis dahin viel Spaß mit der Single, die mit einer Fülle interessanter Remixe aufwartet.

Source: Danse Macabre News

Dr. Tristan Behrens, der Vater der Musik KI a.k.a. Hexagon Machine hat ihr ein Userinterface spendiert und führt vor, wie die KI Musik komponiert. Auf Danse Macabre wurde vor kurzem erst das Album New Order MMXXC“ veröffentlich. Tristan erklärt die Funktionsweise seiner KI auf Basis des GPT-2 Natural Language Models.

Source: Danse Macabre News

Oberer Totpunkt erreichen mit ihrem neuen Album „Totentanz“ die Spitze der deutschen Alternativcharts. Wir freuen uns riesig und gratulieren herzlichst.

Source: Danse Macabre News

Das Elektro-Industrial Projekt von Khalid Ax veröffentlichte seine explosive Mixtur aus orientalischen Einflüssen und EBM Elementen letztes Jahr. Doch Khalid hat kontinuierlich weitergearbeitet und veröffentlich in kürze neue Tracks. Dazwischen gibt es einen Hocico Remix auf dem kommenden Sonic Seducer Heftsampler.

Source: Danse Macabre News

„WürgeEngel“, das Debut Album des Oberer Totpunkt Gitarristen verspricht heftige Doom and Death Einwürfe. Zum Antesten haben die Jungs ein paar Clips aufgenommen. Das Album ist am 17.6. erschienen und verspricht ein kurzweiliges Hörerlebnis für Freunde des brachialen Metals.

Source: Danse Macabre News

On the way to Southern Germany, Simon Kowalewski talked with Bruno (Das Ich) about early computer music, C64 computers, FM Synthesis and the times of SMPTE timecodes on taperecorders. Unfortunately the soundquality is not perfect as the camera was sticking in the aircondition. Leave a Like!

Source: Danse Macabre News

After his debut Album Khalid (A-X-Amun) worked hard to achieve a more minimalistic and danceable approach. „Re-Terminate“ fulfills all promises a successful development could give and offers darkest EBM elements with harsh vocals and arabic sound samples. Also Hocico recently created a remix for A-X-Amun which had been featured exclusive on Sonic Seducers last CD compilation. Of course Khalid has[…..]

Source: Danse Macabre News

  Two years since the Brighton band’s formation, Devilhusk has at last released Sleep Like the Dead via Brickeater Collective. The EP’s six tracks present the group’s mission to create music that “simply doesn’t exist yet,” bringing forth a forceful merging of nü-metalcore, breakcore, industrial, dubstep, hardcore [..]

Source: RE:GEN Mag

  Prophecy Productions has released the “Totem” single from Nytt Land, which serves as a taste of the forthcoming Aba Khan album. The song and the album see Anatoly and Natalia Pakhalenko continuing to build on the dark folk traditions of their native Siberia, inspired by the couple’s travels through the vast territory [..]

Source: RE:GEN Mag

  Berlin-based artist Sascha Ring has earned a considerable reputation as a composer and producer of experimental and ambient electronica, with Mute Records announcing the release of his sixth full-length album under the banner of Apparat. A Hum of Maybe will be delivering Ring’s most personal material to date, touching on the challenges he’s faced over the last six years [..]

Source: RE:GEN Mag

  Marie Lando, better known as GrabYourFace, has unveiled the music video for “All I Have is Love, All I Do is Destroy” as the third single from her most recent album. True to the song’s lyrical themes of accepting blame in a failed relationship, the video sees Lando in a despondent state as she performs a series of daily rituals [..]

Source: RE:GEN Mag

The French sad electronica/dream pop artist GRABYOURFACE has released a new video for the track...

Source: Side Line

Berlin-based musician and producer Apparat, the project of Sascha Ring, has announced his sixth studio...

Source: Side Line

Atlanta, Georgia-based darkwave duo Now After Nothing have released a new video for their track...

Source: Side Line

lying cheating vile dogs
i’ll see you in the dirt before i see you at all
im the oldest man alive

Minneapolis might call him synth pop, but Lindy‘s new single, The Oldest Man Alive, from Songs Vol. 2 with Thr33bola, doesn’t sit politely on any shelf. Lindy comes at you like someone who’s been up three nights straight staring at the ceiling fan, counting every tick of existence. Side A of the album features Lindy’s peculiar incantations; Side B is Thr33bola’s parallel universe. Together, they feel like two strange radio stations bleeding into one receiver at three in the morning.

Thr33bola and Lindy
Cocteau Twins, R. Stevie Moore, John Cale, and The Psychedelic Furs are somewhere in Songs Vol. 2’s alchemical pot, but Lindy throws them in like loose pages torn from half-burned books. He admits it plainly: “Most of my music is a therapeutic tool,” and with this track, therapy looks a lot like an exorcism taped on a four-track that’s been dropped down a flight of stairs.

The lyrics chew through their own spine. They speak from a body carrying too many years, even if most of those years were spent collapsing and resurrecting in the same cramped room. You hear someone staggering forward anyway, muttering about betrayal and sickness and the small cruelties people toss around like coins. He insists he’s the “oldest man alive,” and for a few minutes you believe him. The lines sketch a figure who fight-walks through the world, grabbing snakes “by the throat,” spitting at the “lying cheating vile dogs,” and brushing dust off wounds he won’t show again. The sense of age isn’t physical…it’s spiritual corrosion, the kind that settles in when every gesture feels like a dare from the universe.

The production feeds that sentiment. Distorted vocals wobble through the mix like broken machinery humming under a streetlamp. There’s something mysterious, something eerie, but not in the haunted-house sense; more like a pawn shop keyboard channeling They Might Be Giants on a paranormal day, or Bruce Haack’s ghost fiddling with Gary War’s delay pedals. It’s jagged, a little warm, and absolutely personal.

The video, filmed by Keaton Miller, leans into the strangeness with quiet conviction. A figure in a balaclava drifts through a nighttime park, seen under a full moon that feels too bright for comfort. Every movement is slowed to a trance-walk. He prays, he pauses, he looks like he’s waiting for a sign taped to the bottom of the sky. Miller splices in stock footage and bits of historical art, as if memory itself keeps interrupting the present. The mixture unsettles, charms, and ultimately deepens the portrait: a man carrying centuries in his bones while wandering past playground equipment at midnight.

The Oldest Man Alive gives us Lindy as a cracked prophet of his own psyche: bleary, bold, and standing dead center in his peculiar mission of survival.

Watch below:



Listen to The Oldest Man Alive below and order Songs Vol. 2 here.

Songs Vol. 2 by Lindy

Follow Lindy:

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The post Minneapolis Artist Lindy Drifts Through the Night in Video for Haunting Lo-Fi Synth Dirge “The Oldest Man Alive” appeared first on Post-Punk.com.

Source: Post-Punk.com

looking glass, do you see,

a future filled up with you & me?

all around, fight the sound,

of a world that’s turned upside down

Julien Martinez  – moonlit Texan wanderer turned Brooklyn night-owl –  shows up with into black under his Kind Kid moniker like someone dragging a half-burned diary into the studio and daring the tape machine to blink. The song moves with a strange, steady glow, the sort that rises when two people hold each other too tightly while the world creaks at the seams. Martinez isn’t writing a love song so much as a temporary late-hour pact: two bodies wrapped together, bargaining with fate, whispering promises they know time probably won’t honour. They keep whispering anyway…that’s where the voltage lives.

A bright, bouncing beat gives the track its spine, the drums walking forward with a kind of stubborn optimism even while the lyrics sketch out a relationship fraying at the edges. Martinez answers himself in call-and-response lines that feel like an argument between hope and exhaustion. And then that guitar arrives, cutting through the haze with the clarity of a cracked bell, giving the song a lift it shouldn’t logically have. You can practically envision two silhouettes dancing in a living room lit only by the weak glow of a streetlamp, trying to pretend the dawn won’t bring the same doubts they’ve been dodging for months.

The production by Garret De Block gives everything a soft blur around the edges, while Trey Frye’s mastering keeps the punch intact. Kind Kid’s blend of post-punk, indie, and new wave shows up without leaning on any nostalgic gimmicks; instead it feels like Martinez is channeling whatever storm was in his chest the night he wrote it. There’s a quiet bravery to the way he lays the lyrics bare: pledges to stay, to soothe, to wait by the phone, to carry someone else’s loneliness on his back. These aren’t grand declarations; they’re small, trembling offerings made in the dark.

Listen to into black below and order the single here.

into black by kind kid

Martinez may be one person, but Kind Kid sounds like a heart with its own weather system, rumbling forward through the night, refusing to give up on connection even as the sky turns.

Follow Kind Kid:

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Threads
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The post Hope and Dancing Silhouettes — Brooklyn’s kind kid Returns with Buoyant Pop Track “Into Black” appeared first on Post-Punk.com.

Source: Post-Punk.com

-> >;Ein Meisterwerk des monumentalen bombastischen Dark Romantic Metal-> >;
-> >;
Mit "Songs Of Moors And Misty Fields" perfektionierte Schwadorf 1997 seinen düsteren Metal voll klassischer Romantik und traditioneller Folklore. Das Album verweist noch auf das Debüt "A Wintersunset..." liefert aber bereits die Blaupause für die folgende Entwicklung in ruhigere Folk-Gefilde.-> >;
-> >;
Edition:-> >;
- Gatefold-LP (gold/oxblood-marmoriertes Vinyl) inkl. gefütterte Innenhüllen und Schutzhülle

Source: Prophecy

Melbourne’s screensaver never dealt in half-measures, but Three Lens Approach plays like they finally decided to quit apologizing for restraint and just let the electricity spill everywhere. The band (Krystal Maynard, Christopher Stephenson, James Beck, Dorian Vary, and Jonnine Nokes) move like five mismatched transmitters catching interference from the same feverish broadcast. There’s a charge to the whole affair, like someone kicked the plug out of the wall mid-party and everyone kept dancing anyway.

The record spirals around a single question: who controls the dial? “The theme of the album is power,” Maynard says, referring to the power binding our conversations, our governments, and the trembling foundation of a planet being slow-cooked in real time. “How we wield it through language and action, how society is affected by the existing power structures, the consequences of the absence of it and how we harness it emotionally and intellectually as individuals, and as the collective. Written against the backdrop of genocide in Gaza, the rise of the right, the rollback of human rights, whilst the battle for climate change rages against soaring temperatures and rising sea levels, it’s only natural that these topics are absorbed into the themes of the album.”

And you can hear it: every track wired with that pressure, letting off steam in bursts. The band cite that magic zone between 1977 and ’82 as inspiration, but they splinter it into their own asymmetric ritual: motorik throb, no wave racket, basslines that step into the room shoulder-first, and a devotion to 70s dance records that keeps everything limber rather than nostalgic.

Executive Function twitches like someone pacing a too-small apartment at 3AM. Anxiety bottled inside angular guitar stabs and synth lines pitching sideways. Maynard’s monotone delivery feels like dispatches from a fraying nervous system. Every piece of the arrangement moves with precision and impatience—like the song’s trying to outrun itself. Symptom Check is another tightened spring, but this one slips into strange shapes. Picture early Genesis stuck in a basement with X, both trying to translate disco into hieroglyphs. There’s a warped funhouse vibe—bright lights refracted through a cracked lens.

In Context Is Everything, the Moog rises like a waking creature and then Maynard lands on top of it, dead calm and razor-focused. The track struts forward on that moreish disco beat, guitar curling around the edges, bassline driving like it’s late for curfew. “Context Is Everything is an ode to the confusion of the modern world and the idea of ‘context collapse,’” she explains. “The world we live in moves at a frantic pace and often there is no time to gather context. Communication and language has always been a tool of power to twist and manipulate information but even more so in these current times where politicians and oligarchs seek to control global narratives to suit their agendas . By the time news reaches you , it may arrive with little or any of its original context. What is printed, what is omitted makes a difference, language matters and context is everything. The title of the album refers to the way that perspective plays a vital role in how we view everything, the world around us. Thinking of multiple perspectives allows us to see life through a more humanist lens.”

Soft Touch is a pressure cooker disguised as a dance-floor heater. The track hits like a shaking finger finally slamming down on the table. “Thematically, Soft Touch deals with the ongoing dilemma of learning to say no in a time where systems want us to behave in certain compliant manner…” James Beck explains, and the tension rattles every bar.

Maynard sharpens the point: “More and more we’re watching our governments take weak stances or no stance on huge issues: whether it’s the genocide in Gaza, establishing a meaningful emissions target or the rising violence against women in this country… Soft Touch is a relentless dance floor banger… Lives are at stake, temperatures rise and we need to draw hard lines for change, yet often we’re content to sit on the fence, to be a push over – to be a ‘soft touch.”

Next comes Drip Feeding, a Devo-by-way-of-Killing Joke tremour. Time signatures zigzag, synths chirp like malfunctioning lab equipment, and the whole thing feels like someone wired panic attacks to a drum machine. The Wear and Tear of Living features industrial textures, relentless percussion, and vocals sharp enough to leave marks. The Siouxsie-like drum patterns make everything feel ritualistic, like you’re witnessing a ceremony you weren’t meant to see. Upstream is a breather, but not a balm. The vocals warm, drifting through strange alien synth shapes. You can practically feel the room temperature drop a few degrees.

Telepathic Apathy has a bassline steady as a metronome, synths glowing like 80s console lights, and Maynard croons as though singing from somewhere an inch outside her own body. Solid Facts is fast, fractured, deliriously direct. Psychedelic guitar shreds across yelping vocals, everything shaking loose from the center. Permanence opens with a UFO whirr, then locks into a motorik pace that never lets up. Feels like a forgotten European art-punk 12” accidentally left on 72 RPM: too fast, too bright, electrifying.

Listen to Three Lens Approach below and order the album here.

Three Lens Approach by screensaver

Three Lens Approach moves like a warning flare shot across a collapsing horizon. No sermons, no tidy moral. Just five musicians channeling the world’s pressure cooker into something that kicks, sweats, trembles, and insists on being felt. screensaver aren’t documenting the chaos…they’re swallowed up in it, transmitting whatever they can before the signal cuts. If you want anything expanded, louder, meaner, or more chaotic, just say the word.

On Three Lens Approach, screensaver reach a new of level of confidence in expanding the sonic world they have built on their first LPs, Expressions of Interest (Upset the Rhythm) and Decent Shapes (Poison City Records/Upset the Rhythm).

Tour Dates (Tickets here)

Friday 21 November – The Dart and Marlin, Warrnambool + High Angle Beams
Saturday 22 November – The Hotel Metro, Adelaide + Placement, Hägöl, White Columns
Friday 28 November – The Croatian Club, Newcastle  + Laura Panic, The Pee Wee 50’s, Sheena Dali’s Swedish Magazines
Saturday 29 November – Waywards, Sydney  + Enclave, Boiling Hot Politician, Arditi Daggers
Sunday 30 November – Dissent Cafe, Canberra + Evadell, Nuta Mantis

Follow screensaver:

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Bandcamp
Spotify

The post Melbourne Post-Punk Outfit screensaver Examines Power, Pressure, and Perspective With “Three Lens Approach” appeared first on Post-Punk.com.

Source: Post-Punk.com

Walls of marble, limbs of steel
We built it alone
A kingdom undersea submerged in me
That we’d call home

Ladytron have been standing in their own electrical weather system for so long that it’s easy to forget how many musicians crawled out of the lakes they evaporated. Twenty-plus years of voltage, sequencers, glamour, and stoic poise…then, bang: Paradises, arriving March 20th via Nettwerk, finds them kicking the door again like the club never closed and the calendar never bothered to turn.

They teased the faithful with two signals: first, the cryptic drift of I Believe in You, then October’s thumper I See Red. Now they hurl Kingdom Undersea into the fray, a track that moves like a marine engine possessed. Propulsive machine funk, it thunders along with a relentless balearic piano riff dancing on a booming bassline, while vocalists Helen Marnie and Daniel Hunt serve a rare duet; a nautical lament, a riddle of symbols and longing…walls of marble, limbs of steel, with the pair shadowed by a ghostly choir of lovesick Fairlight voices. It’s an icy dark-disco cut shot through with sharp house-piano stabs, the kind of underwater club fever that hits like a rogue current. There’s even a faint trace of Madchester spirit in that piano, like a late-night DJ smuggling contraband euphoria into a submarine.

Kingdom Undersea lands like a periscope rising through impossible depths, aiming straight at a dark house dancefloor glowing somewhere far above the waves. The accompanying clip, “a montage of futuristic glitches, overlays, televisions and static as we watch the band play in a strange room that looks like something out of the future the 1980s believed in,” feels like a transmission from another timeline where Ladytron never took a breath, never paused, never let the machines cool.

The video was shot inside an analogue contraption originally built for those acid-house provocateurs, The KLF. You see Marnie, Hunt, Mira Aroyo, percussionist Peter Kelly, and multi-instrumentalist Andrew Hunt framed inside a maze of glitches, static bursts, overlays, and televisions emitting distorted colour: five figures playing in a room that looks like the future the 1980s hallucinated after too many strobe blasts.

Watch Kingdom Undersea below:

Ladytron’s history hovers like a low voltage. Raised in late-millennium Liverpool basements, briefly miscast as electroclash, they built their own weather system instead, one where cheap keyboards glimmered and pop sounded equal parts machinery and ritual. That haunting climate remains.

Paradises looks ready to strike like a flare in the middle of the ocean; it is an album blazing with ambition, colour, and the kind of emotional voltage this band wires into their sleep. Daniel Hunt steered production while Jim Abbiss handled the mix, and he doesn’t mince words: “When I heard the demos for Paradises, I was truly blown away. The variety in songwriting and arrangements reminded me of Witching Hour, but with its own unique atmosphere, sonics, and attitude.”

Helen Marnie adds, “It was like a homecoming. We just fit. His enthusiasm is contagious, and having that in the room really creates a kind of magic.”

“I wanted to write from that perspective and channel that fun feeling of first working together back in the late ’90s when we had nothing to lose,” adds Mira Aroyo.

Marnie echoes it: “Feeling at ease brings the best out of us, and there was a buzz in the studio about the material that felt new.”

And Hunt explains the speed like someone rediscovering the taste of his own blood: “Every time I went into the studio, I’d come out after an hour with a new track. The key motivation was fun. Everything became fun again…There’s an itch we never scratched, which is that despite our origins in the DJ world, we never actually made a ‘disco’ record. Albeit, ‘disco’ in our context has a somewhat different meaning.”

Fans have always heard fragments of proto-house, early electro, and disco refracted across Ladytron’s catalogue. Paradises pushes that impulse right to the front, letting that foundation become something fresh, unsteady, hungry.

Ladytron will also return to the stage with a limited run of UK shows in 2026. They’ll reemerge in their hometown of Liverpool, followed by dates in Manchester and Newcastle. For more information, go here.

LADYTRON 2026 UK TOUR DATES:

March 19 – Liverpool, UK @ Arts Club Theatre
March 20 – Newcastle, UK @ Digital
March 21 – Manchester, UK @ Gorilla

Follow Ladytron:

Website
Instagram
Facebook

The post Ladytron Submerge into Icy Cathode-Ray Bathed Depths With Video for “Kingdom Undersea” — New Album “Paradises” Announced appeared first on Post-Punk.com.

Source: Post-Punk.com

None Shall Remain walks into the room like a gang of night-shift philosophers who’ve been up too long, seen too much, and decided the only honest thing left is to tell you exactly how rotten the wiring inside the modern psyche has become. They’re a New York outfit in the geographic sense, but spiritually they come from the basement party that never ends, where the beer is warm, the amps are cracked, and everyone is dancing because if they stop they’ll remember what the daylight looks like. Their music kicks the door in wearing steel-toed boots, then asks you why you locked it in the first place. Peter Michell, Matt Bronner, Cesar Marin, and Stas Poletaev arrive from wildly different worlds: heat, cold, chaos, quiet…but when they lock in, all that distance snaps into a single jolt. Their backgrounds collide rather than blend, forging a sound that feels startlingly new yet strangely familiar, like a forgotten broadcast you’re certain you once lived through.

Their latest dispatch, I Don’t Care, is a bare-bones post-punk anthem sharpened into something closer to a dare. It’s the sound of a person living on the edge of existential burnout, wandering the streets of their own skull like a tenant who forgot which room held the light switches. The bassline: gritty, repetitive, stubborn as a cigarette burn on a leather jacket, stalks time itself. The whole song feels like it was built from scavenged parts: a drum pulse that mutters instead of shouts, a guitar tone that grinds like a subway rail at 3 a.m., and faux English vocals that slip between spoken and sung with the cool disaffection of someone who stopped believing in salvation somewhere around the second chorus.

There’s freedom in that refusal to the whole crooked carnival. When the voice at the center declares they don’t care, it’s not apathy; it’s liberation. It’s a middle finger raised to the grind, the debt, the heartbreak, the inbox that fills faster than the soul can empty. It’s a release valve disguised as a mantra. And as the track tightens its grip, that release becomes contagious: suddenly you’re the one shrugging off expectations like a coat that never fit.

Of course, None Shall Remain didn’t spring from the void fully formed. They’ve hauled their sound across clubs, lofts, and dimly lit caverns from Brooklyn to Jersey to Long Island, turning small rooms into pressure chambers. Their catalogue moves through darkwave, goth-rock grit, and post-punk propulsion, but the common thread is the bloodshot honesty beating underneath it all. They’re a band obsessed with the tug-of-war between death and desire, numbness and need, collapse and reinvention…songs carved from the emotional shorthand of people trying not to disappear.

I Don’t Care offers something better than answers: a reason to keep going even when the world feels like a funeral procession run by clowns. It’s lean, mean, and strangely comforting, proof that sometimes the cleanest path back to feeling alive is simply living.

Listen to I Don’t Care below and order the single here.

I Don’t Care by None Shall Remain

Follow None Shall Remain:

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Bandcamp
YouTube
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Apple Music

The post NYC Outfit None Shall Remain Releases Nihilistic Post-Punk Anthem “I Don’t Care” appeared first on Post-Punk.com.

Source: Post-Punk.com

After a long time there is new music from the Netherlands in the form of the video single "Don't Pray".

The lyrics of this track are a powerful commentary on the hypocrisy and emptiness of religious institutions and the people who lead them. The band's use of strong imagery and striking metaphors paints a vivid picture of their message, making it impossible to ignore.

The lyrics are delivered with a raw and emotional intensity that perfectly captures the frustration and disillusionment of the song's subject, encapsulating the band's disdain for the phoniness and insincerity of those in power. The backing vocals by Yvette Winkler (singer with Dark Wave band ‘Vaselyne’) perfectly complement Frank Weyzig’s voice, creating a harmonious blend that captures the emotions of the lyrics.

The band's alternative indie wave style is on full display here, showcasing their unique blend of influences and their ability to create something truly original.

Overall, "Don't Pray" is a standout track that showcases Born For Bliss's powerful songwriting and musicianship.

The band is currently working feverishly on new songs.

More news coming soon...

Source: EchoZone.de

We are happy to announce the cooperation with the German duo THE GRAB SOCIETY.

The idea of composing a song together gave rise to a whole project: The Grab Society. Ulf Müller (Projekt Ich, M.U.N.T Connection, VOUL, SMOTCH, U.M. Fiedel, Tränenwelten, Mission Zanzibar, 2MBK) and Manfred Thomaser (!distain, Arsine Tibé, DEMOKRATIE, The Independent Season) dig and reach for electro, pop, wave and experiment. On April, 28th 2023, the new adventure of the two begins with the debut single "Outsider". More info coming soon here.

Source: EchoZone.de

We are very happy to announce the cooperation with the Darkwave Electro Duo DAS FORTLEBEN.

Linguistic wit + word acrobatics, paired with electronic club sounds - sometimes hard, sometimes soft!

Originally as a solo project by Luke J.B. Rafka brought to life in 2010 for the public, it has now grown into a grandiose 2-man project. While Luke puts world events into words without inhibition V-nerV has been providing the electronic background since 2016. electronic background in the form of his compositions.

The first single "Spiegel der Gesellschaft" will be released on February 24th with the original song, a club edit and remixes by Relate, Superikone, ANTIAGE, Das(X)Periment and U.M. Fiedel and the first partby the song "Ein Gespräch zwischen Sonne & Erde". Parallel to the single, a video will be released which was created by Maik E. Baptist.

Further single releases are planned for the rest of the year.
More news coming soon ...

Source: EchoZone.de

We are happy to announce the release of WINTER's new studio album "Looking Further Back" in cooperation with Wintergothic Records in April 2023.

This time, "Looking Further Back" presents newly mixed highlights from earlier times as well, but not exclusively. In fact, only six of the eleven titles are previously released material. Five songs are brand new and as of yet unreleased. (There are even six new tracks on the CD, the CD bonus track is already a foretaste of the new album “Heroes”, which will be released in autumn).

WINTER stays true to his course with "Looking Further Back". And that means that he basically doesn't have a rigorous line here either. Again, he moves within his self-defined framework, somewhere between AOR rock, hard rock, pop, wave and gothic. As always with a proper 80s touch and a feeling for catchy choruses that get stuck in the listener's ear.

The album will be released on CD (with a bonus track), as well as digitally and on strictly limited (300 copies) Black Dust splatter vinyl.

Source: EchoZone.de

April has it all. Once again the Beckum-based HEMESATH are going on TOUR with the NDH actors from MAERZFELD and will be standing their ground in Cologne from April 8th on the mostly German stages. As in spring 2022, HEMESATH will heat up the audience with the songs from the second studio album "So Schön" and thus pass on the audience at the individual stations to the headliners of MAERZFELD at least at operating temperature.

HEMESATH warm up before the start of the TOUR and will be supported by their colleagues PROTZ on two concert evenings in March (10.03. and 11.03.).

HEMESATH – german rock music with an edge

Centered around the charismatic vocalist and actor Christopher Zumbült the five musicians celebrate hard german rock.

Two guitars and a powerful rhythm-section create the foundation for the energetic sound combined with melodic and catchy refrains.

2023-03-10 - DE - Beckum HEMESATH + PROTZ
2023-03-11 - DE - Erfurt HEMESATH + PROTZ

2023-04-08 - DE - Köln HEMESATH - So Schön-Tour
2023-04-09 - NL - Weert HEMESATH - So Schön-Tour
2023-04-20 - DE - Geiselwind HEMESATH - So Schön-Tour
2023-04-21 - DE - Krefeld HEMESATH - So Schön-Tour
2023-04-22 - DE - Flensburg HEMESATH - So Schön-Tour
2023-05-04 - DE - Bensheim HEMESATH - So Schön-Tour
2023-05-05 - DE - Selb HEMESATH - So Schön-Tour
2023-05-06 - DE - Wolfenbüttel HEMESATH - So Schön-Tour
2023-05-20 - DE - Siegburg HEMESATH - So Schön-Tour
2023-05-21 - DE - Hamburg HEMESATH - So Schön-Tour

Source: EchoZone.de

"With the new video single "Viva La Insomnia featuring A-X-Amun" Merry Chicklit starts the year 2023 and thus initiates a whole series of single and video releases which will lead to the release of the new studio album in autumn.

Her last single "Feuer speit das Ungeheuer" was very successful with number 5 (best position in 8 weeks) in the German Alternative Charts (DAC).

"Viva La Insomnia featuring A-X-Amun" is the insane mix of drum ‘n’ bass beats, borderline trip hop and crazy vocals. A new way / wave of electro punk pop!

Merry Chicklit features the project A-X-Amun signed on the Danse Macabre label.

Khalid's and Eva's vocals together create excitement, power and drama! The song is exciting with surprising twists. Nevertheless, pop structures and pretty melodies can be found as well.

More news coming soon.

Source: EchoZone.de

In 2017, PORN released their third album “The Ogre Inside - Act I”, the first act of a trilogy based on the enigmatic character Mr Strangler. In 2019, the band released the second act of its trilogy, “The Darkest Of Human Desires – Act II”. Now, on March 27th, 2020, PORN return with the final act: “No Monsters In God's Eyes – Act III”.

After collaborating with Tom Baker (responsible for the mastering of legendary albums like Marilyn Manson's “Antichrist Superstar”, NIN's “Downward Spiral”, Ministry's “Psalm 69” or Rob Zombie's “Hellbilly Deluxe”), PORN entrusted Brian Lucey (Magic Garden Studio in Los Angeles) with the mastering of this album. Lucey previously worked with Ghost, Marilyn Manson, Depeche Mode, Arctic Monkeys, Royal Blood ...

PORN have released several singles from the new album in the past couple of months and the new single for the track "Low Winter Hope, Pt.2" will be published on feb, 21st along with a music video.

The band will also play some more shows in april:

2020-04-03 - FR - Paris La Boule Noire
2020-04-04 - FR - Nantes Le Ferrailleur
(more dates tba. soon)

Source: EchoZone.de

We're proud to announce the cooperation with german based band THANATEROS for future single and album releases. The band is already working on new material to be released next year and hopefully will play live shows again in the near future.

In the meantime we will also take care of the current longplayer INSOMNIA in terms of promotion and distribution incl. a special release through ECHOZONE in autumn this year. More news and details about this coming soon.

Source: EchoZone.de

We're happy to announce the return to ECHOZONE of german based Electro band MINUSHEART for the release of their brand new album this spring. There will be a new single and video coming beginning of april and more to be announced soon.

The band will also play more shows this year incl. some festivals. Additional dates to follow.

2020-02-21 - DE - Aachen Dark Ritz Festival 2020 [#1]
2020-03-07 - DE - Übach-palenberg Dark Club Festival 2020 [#2]
2020-04-25 - DE - Aachen Record Release Party & After Show Party
2020-12-26 - DE - Aachen The Wild Rover Irish Pub

[#1] + EGOamp / Mauerschlag
[#2] + Reptyle / The House Of Usher (Gothic Rock Band) / Scintilla Anima / Rio Black Band / Ground Nero

Source: EchoZone.de