Mit „Maskenball“ legt Thomas Roth am 21. November 2025 eine Single vor, die seine langjährige Arbeit an der…

Source: monkeypress.de

Manchmal schreibt das Leben die besten Horrorstorys – oder eben vier Jungs aus Regen, die seit der Grundschule zusammen Musik machen und irgendwann beschlossen haben:...

Source: MedienKonverter

Kaum hat man also das Halloween-Make-up aus dem Teppich gekratzt und die letzten Kürbisse in die Biotonne geworfen, da werfen in Leipzig schon wieder die Nebelmaschinen ihre...

Source: MedienKonverter

Es gibt Geständnisse, die man dem Therapeuten anvertraut – und dann gibt’s ‘Confession’ von Absurd Minds. Am 21. November 2025 legen die Leipziger Electro-Philosophen ihr neues Sündenregister...

Source: MedienKonverter

Mitten im trübgrauen November – jenem Monat, in dem Deutschland kollektiv darüber diskutiert, ob es zu früh oder genau richtig für Lebkuchen ist – kommt aus Chemnitz...

Source: MedienKonverter

Der Spätherbst hat seinen eigenen Soundtrack: dieses sanfte Zittern in der Luft, als würden ferne Synthflächen über die Dächer der Städte streichen, während unten die Menschen im...

Source: MedienKonverter

Schon bevor der erste Ton von ’Oastar’ offiziell durchs heimische Soundsystem zieht, liegt etwas in der Luft, als würde irgendwo im Unterholz bereits leise ein Ritual vorbereitet....

Source: MedienKonverter

Mit ‘Into The Metadrome’ kehrt ‘Faderhead’ einmal mehr in jene dystopisch-neonflirrende Welt zurück, die er seit Jahren mit beeindruckender Konsequenz erschafft, ausbaut, verwirft, neu formt und dann...

Source: MedienKonverter

Am 12. und 13. August findet das M’era Luna Festival in Hildesheim statt. NDR Kultur überträgt zahlreiche Acts von der Hauptbühne im Videostream auf NDR.de. Die Auftritte gibt es im Anschluss auch als Video-on-Demand.

Source: Danse Macabre News

In Finnland hat bereits der Winter begonnen und Hateful Chains wappnen sich mit einem neuen Singlerelease inklusive Videoclip für Ende September. Soviel sei verraten: Der Song hat viel mit Floras Vergangenheit in einer christlichen Sekte zu tun und verarbeitet schonungslos das Thema um den instutionalisierten Glauben und seine abgründigen Lügenkonstrukte. Hier ist schon mal ein Making of…

Source: Danse Macabre News

Tod und Teufel spielen auf dem gleichnamigen Debutalbum auf zum Tanz! An ihrer Seite locket diverses bestrumpftes Dunkelvolk, irre und wild, umgarnend und betörend. Mit Feengesang, Dudelsack, Harfe, Shakuhachi und Querflöte, getragen und getrieben von einem satten düster punkigen Rockensemble wollen sie dich berühren, bewegen und deiner dunklen Seele Nahrung bieten. Totentanz Strumpfsockig verbinden Gothic, Mittelalter und Punk zu einer[…..]

Source: Danse Macabre News

Die New Wave / Cold Wave Band The Minimal Trees aus Stuttgart meldet sich mit ihrer neuen Single „Stay“ zurück. Gegründet 2017 als Nebenprojekt von The Swamp Surfers, kombinieren Nicole, Holger und Mike minimalistischen Elektro-Sound mit tiefgründigen Texten. Die Band bewegt sich musikalisch zwischen OMD, Joy Division und Gary Numan, mit einem Hauch von Dark Goth Wave à la Birthday[…..]

Source: Danse Macabre News

Eine feine Entdeckung sind White Birches aus Stockholm. Ihr Debüt liegt knapp 10 Jahre zurück und mit „A New Reign“ bekommt man einen durchgehend starken 3. Longplayer für die dunkle Jahreszeit präsentiert. Stell Dir Robyn mit ihrem 80’s Revival Pop in etwas düsterer vor, addiere die typisch nordische Melancholie mit sanftem Post Punk, Wave, Ambient, Elektronik und alternativen Pop-Einflüssen ( Echos von Bands wie Exitmusic) und als Sahnehäubchen eine sehr präsente Sängerin mit Jenny Gabrielsson Mare. Zwischen schleppend atmosphärischer, angenehm minimal dunkler Elektronik in ‚Breathing‘ oder ‚Salt The Earth‘ – Robyn-affinen 80’s-Pop im Titel-Song und ‚Part Of This‘, experimentellen Art Pop (Kate Bush lässt grüßen) in ‚Blood‘ und ‚Femton‘, Wave Pop mit viel Melancholie in ‚Primal‘ und ‚The Writings On The Wall‘ gibt es Stimmungstechnisch nie zu viele Ausschläge. Im Gegenteil man agiert auf den Punkt und das Zentrum bleibt eh die grossartige Stimme der Schwedin, die mit viel Gefühl, Eingängigkeit und einer eindringlichen Präsenz dieses dicht arrangierte Album trägt. Hier und da mit einem Hauch an wavigen Gitarren – dort mal feinen noisigen Drones – schabende Ambient-Klänge und mit einem der schönsten zuletzt gehörten Songs (‚Solace‘) endet dieses Kleinod moderner Wave-Klänge. Unaufgeregt, eindringlich, hymnisch, minimal und jederzeit melancholisch ist „A New Reign“ perfekt für die Winterzeit mit  klaren, sphärisch, meist elektronischen Tunes und hat mit dem abschließenden ‚Solars‘ sogar einen berührenden Überflieger von Song im Gepäck. Nordic Noir Wave Pop für Freunde skandinavischer Tonkunst mehr als nur eine Empfehlung!

(R.Bärs)

Source: BLACK Onlinemagazin

Die Modern Metalcore-Band GREAT AMERICAN GHOST stellt ihre neue Single „Scars“ mit einem Visualizer-Clip vor.

Es handelt sich dabei um das erste neue Material seit dem Album „Tragedy Of The Commons“ (2025).

Fotogalerie: GREAT AMERICAN GHOST – Backstage Werk, München – 27.09.2025

Source: Vampster

Die Alternative Rock-Künstlerin MOTHICA hat einen Plattenvertrag mit SharpTone Records abgeschlossen. Gemeinsam veröffentlichte man die Single „Evergreen Misery„, zu der es auch ein Musikvideo gibt.

Weiteres Material und Infos zu einer möglichen neuen Platte sollen noch folgen.

Source: Vampster

Mit „Hazard“ legt Long Distance Calling eine weitere Aufnahme aus ihrem kommenden Livealbum „Live At Lichtburg“ vor, das…

Source: monkeypress.de

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 Embryogötter erheben sich in den längsten Nächten des Jahres, Devil-M präsentieren ihr aktuelles Album Astharat in digital neu aufgelegtem Gewand: Das Remix-Album Embryogötter ist da!

Source: Danse Macabre News

Am 5.2. ist es soweit! Die deutschen Goth-Rock-Hoffnungsträger WISBORG sind zurück! Auf ihrer neuen Single „I Believe in Nothing“ lassen sie die 80er wieder aufleben und präsentieren sich stärker als je zuvor. Seid Ihr bereit? Der Vorbote des sehnlichst erwarteten, krönenden Abschlusses der Trilogie „Into The Void“ zeigt die Band voller unbändiger Lust auf Leben und Liebe vor dem Untergang[…..]

Source: Danse Macabre News

System Noire haben die Pandemie Zwangspause genutzt und eine umwerfende neue Digital EP im Gepäck mit einer klaren Message: NEW DARK NATION Hier der Trailer zur Veröffentlichung am 5.März.

Source: Danse Macabre News

Hier ist der erste Teaser zur neuen, sehnlichst erwarteten EP von Tommi Stumpff – Alles Idioten. Innerhalb einer Woche nach Bemusterung hat es die EP bereits an die Spitze der DAC Bullets geschafft. Bis zum Release des Albums sollte wohl die Pole Position machbar sein.

Source: Danse Macabre News

Der Leipziger Ausnahmekünstler Aquario unterzeichnet für sein Album Voyages bei Danse Macabre, In seinem Vorstellungsvideo erzählt er von seinem Album, seiner eigenen Reise und wie er im neuen Hafen angekommen ist.

Source: Danse Macabre News

Neu im Rooster von Danse Macabre: Die finnische Gothicrock Band Hateful Chains mit der charismatischen Flora Kok. Die Songs des ersten Album sind über viele Jahre entstanden und zeichnen eine ganz eigene musikalische Mischung zwischen Gothic- und Deathrock und schwermütigen Wave-Einflüssen. Im Vorstellungsvideo geben die Musiker aus Turku einen Einblick in das im April erschienende Album

Source: Danse Macabre News

The Snatcher ist zurück und es wird kalt! Zeitgeist, Emotionen und hypnotisch-elektronische Klänge – die neue EP von THE SNATCHER beinhaltet all das, und noch mehr. In Zeiten, in denen die soziale Kälte immer neue Tiefen erreicht, erklingt jedes Stück als Echo der Verhältnisse. THE SNATCHER wagt ein weiteres Mal den Blick in die Abgründe menschlichen Verhaltens und legt den[…..]

Source: Danse Macabre News

Nach der großartigen ersten Single & Video „Willkommen in der Unterwelt“ erscheint jetzt das Album der Gothic-Metaller Egomey. Die fünf jungen Musiker von Egomey begeben sich mit ihrem Erstlingswerk „Offenbarung“ auf die Spuren Dante Alighieris, stoßen mit ihrem facettenreichen Gemisch düsteren Darkmetals in ungeahnte Tiefen der Hölle vor. Schwarzmetallische Wurzeln umranken Neue Deutsche Härte und postmetallisches Chaos, getragen von wogender[…..]

Source: Danse Macabre News

Die fantastische Fetisch-Ritual-Dark-Wave Band Accolade veröffentlicht ihr neues Meisterwerk auf Danse Macabre im September. Accolade haben ein Video aufgenommen und lassen Euch an ihrem Leben und Wirken in Seattle teilhaben. Mit Spannung kann das vielschichtige Album der ehemaligen Wax Trax Band erwartet werden, das den Spagat zwischen Tanzbarkeit und zeitloser Meditation spielerisch schafft. Dead Can Dance on Elektro, just darker…

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

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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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
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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

Die sehr charismatischen Schweden, allen voran Frontmann ESKIL SIMONSSON , die ich vor ca. 3 Jahren in Bremen live genießen konnten, haben diesmal eine ganz besondere EP veröffentlicht : Es sind keine neuen Future Pop Songs, denn diese Platte ein Tribut in Gedenken an das ehemalige Band-Mitglied ANDREAS CATJAR DANIELSSON (1973 bis 2024 ) und sein Mitwirken in der „Electro Group“ COVENANT.  Die Gruppe,  die sich 1992 in Helsingborg gegründet hatte, erfüllt mit dieser Veröffentlichung vor allem auch einen sozialen wohltätigen Aspekt, denn die EP ehrt nicht nur den in  2024 verstorbenen 51-jährigen Künstler, sondern hilft auch seine Kinder und Familie zu unterstützen, die Einnahmen fließen also komplett an seine Familie, die Kosten der Produktion wird freundlicherweise vom DEPENDENT-Label des STEFAN HERWIG übernommen – eine tolle Geste. Die fünf Songs von der LP sind alle so ausgewählt worden, das es natürlich nur Tracks sind, die ANDREAS entweder nachbearbeitet hat oder gar von ihm selber konzipiert wurden. Schon beim Cover fällt auf, das die COVENANT Pixelmänner vor ihren Geräten nur zu zweit sind, ein Keyboard bleibt also unbesetzt und zu den Tracks selber sagt z.b. JOAKIM MONTELIUS, „das auf der EP eher die langsameren und ruhigeren Songs ausgewählt wurden“ – die gefallen den Jungs von COVENANT in Verbindung mit ANDREAS am besten. CATJAR selber war ein Künstler, der viele Klaviarturen der Musikausrichtung beherrschte, da sein Hauptjob wohl die Theatermusik war und er aber auch erstaunlicherweise dem Black Metal huldigte, da dies eines seiner Nebenprojekte war. Kurz zu den Songs : Als Fan von LEE HAZLEWOOD, den ich auch sehr vereehrt hatte, gibt es „A Rider On A White Horse“, sowie von YAZOO der Song „Winter Kills“. Die zwei Tracks „I Walk Slow“ und „Slow Dance“ enthalten sehr intensive, düstere Momente mit markanten Elektro Dark Wave Klängen sowie schweren Industrial Anleihen. Im „Nibelungenlied“ (1. Abenteuer) wird textlich von dem Epos im dunklen Ambient-Style erzählt. Hier kommt die Theateraffinität von ANDREAS durch, diese Arbeit war ein Teil der Adaption von FRIEDRICH HEBBELS „Die Nibelungen“ am Staatstheater Mainz in 2018. Ein Meisterwerk und auch hier ein Kunstthema, das mich schon lange Jahre begleitet. Obwohl CATJAR kein Gründungsmitglied von COVENANT war, er trat der Band ab 2013 bei, hat er doch fundamentale Spuren bei COVENANT hinterlassen und damit wird mit dieser EP daran erinnert.

(S.Erichsen)

Source: BLACK Onlinemagazin

Take my silence from me

Used to be your body

Now I’m just nobody…

From the first seconds of 62 Dead Balloons, it’s clear that Australian A Friend For Frank and Arizona’s calQtek have stepped into a room where nothing is cushioned and every feeling scrapes the paint. The project name alone hints at resignation wrapped in a grin, but the music pushes further: trembling, tense, and strangely tender.

What began as a simple request for “a song or two” between two long-time online collaborators quickly turned into a full-blown band. A Friend For Frank (AFFF), who has spent nearly three decades making vulnerable, emotionally heavy hip hop as Thorts, reached out to calQtek at a breaking point in his life. He needed somewhere to put the words he couldn’t carry anymore. “It started with one song, then another, then this song, ‘62 Dead Balloons,’” he recalls. “Once we made that song, we knew we had something special and decided to work on a project together.”

For calQtek — a producer, writer, and multimedia artist whose roots trace back to the experimental sci-fi project geppettoGESTAPO and the deeply conceptual The Vignette Marionettes and Dimension of Dreams — the partnership arrived at just the right kind of chaos. “We did the whole record over a month, swapping tracks,” he says. “I didn’t get any sleep during the initial sessions… it was madness but we were on this roll.” From there, the pair realised this was not just another collaboration, but the start of a group that needed its own name, its own language, and its own emotional landscape.

That name came from a particularly grim day. AFFF was smoking too much, not eating, and hardly sleeping. “One day I worked out that I had smoked 62 cigarettes in one day and thought to myself, ‘my lungs must be like dead balloons,’” he explains. With 99 Red Balloons floating somewhere in the back of his mind, “62 Dead Balloons” first surfaced as a song title — then as the name for the entire project. For calQtek, the phrase took on an even wider symbolism: mortality, self-destruction, and the slow deflation that comes with trying to outrun your own pain.

Both artists arrived here carrying heavy baggage. AFFF describes this as the hardest, most challenging time he has ever experienced: “I was at rock bottom, alone and extremely traumatised.” Some of the songs written in that state were so raw that he ultimately scrapped them because he couldn’t bear to hear them again. For his part, calQtek was circling his own bottom — wrestling with addiction and burnout — and found that channelling his energy into these songs was a way back to himself.

The video for 62 Dead Balloons, filmed by AFFF’s wife and long-time collaborator, photographer Kady Somerville, and directed and edited by A Friend For Frank himself, plays like a fevered confession delivered straight into the bark and undergrowth. A Friend For Frank staggers through the woods, face crowding the frame, speaking directly to the camera as if it’s the only witness left on earth. The edits slash and scatter…jumps, jolts, brief blurs of green and grit, mirroring the emotional freefall of the song itself. It’s a raw, restless dispatch, the kind of clip that feels discovered rather than filmed, as though the artist wandered into the trees with a burden too heavy to carry and decided to unload it on whatever lens would listen.

Watch the video below:

Although neither artist consciously set out to make a darkwave or post-punk track, the song’s palette of shadowed synths and low-registered vocals made the lineage impossible to ignore. AFFF explains, “I had no influences at all when writing this… my friends said it reminded them of goth, synth pop, post punk. That’s when I started listening to Lebanon Hanover, The Cure, The Sound, Joy Division, Depeche Mode. This was a whole new world for me — and now it’s all I’ve been listening to for the last 12 months.” For calQtek, those textures were already his natural vocabulary. “It’s probably a mix of ‘Pretty Hate Machine’-era NIN musically and Joy Division vocally,” he says. “When I first heard Trent or early Skinny Puppy, I gravitated toward the arpeggiated synths and the darkness. That’s the energy I’m looking to create with 62 Dead Balloons.” As they kept exchanging ideas, their shared influences expanded further — VNV Nation, Bauhaus, KMFDM, Nation of Language, and even obscure Eastern European coldwave artists. “AFFF is an archaeologist,” CalQtek laughs. “He digs and finds things I didn’t even know existed. Apparently, I didn’t know as much as I thought.”

Looking ahead, 62 Dead Balloons is already operating like a fully formed band rather than a tentative side project. Their debut album, Where Shadows Find Their Grace, is slated for release on April 11, 2026, and is currently being mixed and mastered by Christopher John Brown (Life Cult). Four more singles and videos will follow in quick succession, arriving on 12/12, 1/1, 2/2, and 3/3, each one unfurling another facet of the duo’s grief-stricken, genre-fluid world.

By the time that first album surfaces, they will be nearly finished with their second. “I have one more instrumental to write out of the twelve already written for the next record,” says calQtek. Physical formats are firmly on their wish list — tape, vinyl, anything that gives these songs a life beyond the timeline scroll.

Visually, they plan to keep things as close to home as the songs themselves. AFFF loves making videos with his wife and son, leaning into DIY setups, tripods, and intuition over big concepts. Live performance remains a more complicated frontier: AFFF, who is on the autism spectrum and hasn’t performed since 2013, is cautiously considering a return to the stage in Perth. If and when it happens, it will be on his terms. “I really want to work on this in the future and start performing again,” he says. “I’m hoping I can start doing shows next year.”

At the core of 62 Dead Balloons is a shared understanding of why music still matters — not as industry, not as commodity, but as a lifeline. AFFF puts it bluntly: “Without music life is meaningless.” His most vulnerable truth in this project is equally direct: “Don’t be silent. Express yourself. Don’t be scared to show who you really are… ask for help when you need it. Life is too short, and we only have one shot at this. Don’t waste it. Live.”

For calQtek, the mission is to “self-reflect relentlessly and make every mistake beautiful.” Together, they describe 62 Dead Balloons as “genre fluid,” unbound by tradition and unified instead by feeling. Each song stands alone; each track is a new attempt at turning the worst possible days into something that looks, if not like hope, then at least like proof that someone else has been there too.

Now, with Where Shadows Find Their Grace on the horizon, a second record already in motion, and an unflinching commitment to making the uncomfortable bearable through song, 62 Dead Balloons feels less like reinvention and more like revelation.

In the meantime, find 62 Dead Balloons‘ enponymous debut single on Bandcamp below:

62 Dead Balloons by 62 DEAD BALLOONS

Follow 62 Dead Balloons:

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Follow calQtek:

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The post “Take My Sadness From Me” — Darkwave Project 62 Dead Balloons Exhales Sorrow and Trauma in Video for Eponymous Single appeared first on Post-Punk.com.

Source: Post-Punk.com

Sinking my way below the sea

The air escapes me I no longer breathe

And now I’m downing in the flood

The holy water fills my lungs

There are hours in a life when faith rises like a warm lantern in the dark, its glow steadying the hand and softening the terrors that crowd the mind. And yet, in that same radiance, a shadow lengthens…for the very doctrines meant to cradle the spirit can also press upon it, close as a damp shroud. The hymns that promise refuge may become commands, the gentle murmur of comfort turning into a narrow corridor where one’s truer self is asked to bow, fold, and disappear. In this tension between solace and suffocation, religion reveals its most human (and most haunting) face.

Alex Okami has a knack for turning private upheaval into something that feels like a transmission straight from the ribcage. Holy Water arrives in a surge: thick, pressure-packed, and humming with the kind of clarity that comes when you stop pretending the walls are closing in. He’s been brewing this one for years; you can hear the long-haul weight in every chord he drags into the light, channeling NIN, Twin Tribes, AFI, and Clan of Xymox in his stylings.

The track moves with a steady churn: guitars circling like they’ve been pacing the same locked room forever, drums planting their feet with a stubborn thud. His voice drops into the mix like an anchor – low, deliberate, and steady enough to make the floorboards feel untrustworthy. There’s a nervous brightness to the riff, the kind that comes from staring too long at something forbidden. All that talk of sinking and rising becomes less poetic metaphor and more like a record of the body under spiritual stress. The flood he’s recounting in the lyrics could just as easily be memory, guilt, or the familiar tug of something that once promised comfort but now bites back.

The lyrics spell out a person fighting a tide that keeps changing its name. One moment it feels like faith, the next it feels like punishment. What’s supposed to lift him up ends up pressing him down, inch by inch, until breath and will start trading places. It’s the oldest struggle on earth, but Okami pins it with a blunt, almost physical tension that avoids pretense. No pretty poses. Just the slow sink.

He then breaks it wide open: “You could say Holy Water has been a song that’s been spinning in my head, in one way or another, most of my life,” he confesses. “It’s really an expression born of being raised in a Mexican family of devout Catholics. Ultimately looking in the mirror and asking myself, How devout am I?”

That question hangs over the whole track. Not as an answer, not as absolution, just a stark recognition that religion can cradle you, choke you, and dare you. Here, Okami doesn’t tidy up these big feelings; he simply opens the door and lets the flood rush in.

Watch the video for “Holy Water” below:



Listen to Holy Water below and order the single here.

Holy Water by Alex Okami

Alex Okami will be supporting Corbeau Hangs on a 3-date Texas run to promote the new single.

November 21 Austin, TX Chess Club
November 22 San Antonio, TX Paper Tiger
November 23 Houston, TX Barbarellas

Follow Alex Okami:

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The post Alex Okami Drowns in Doctrine with Brooding Darkwave Single “Holy Water” appeared first on Post-Punk.com.

Source: Post-Punk.com

There’s a particular kind of demon that never claws from under the bed – it lives behind the eyes, pacing the skull, rattling every quiet moment like a rusted cage. You don’t outrun that kind of presence; you bargain with it, sing to it, sometimes even build a whole persona around it just to survive. For Los Angeles-based artist MANIKVAMP, that demon became both muse and mask – and on her final EP under that name, Dead & Buried, she finally drags it into the light.

A focus point of this closing chapter is “Quiet My Mind,” the second track on the EP and the first proper entry in a three-part video cycle. Musically, the song opens with brooding gothic rock bass strums that seem dredged up from a mausoleum PA, before propulsive drums break through like a pulse returning after a long blackout. The mood is part California deathrock — you could picture MANIKVAMP easily holding her own alongside 45 Grave or Cinema Strange — part London Batcave murk in the tradition of Alien Sex Fiend, and part early, grimy mid-’90s goth and dark alt rock, the kind that drifted through the Nothing Records universe between ’94 and ’96.

Here MANIKVAMP’s vocals lean hard into that era too: scorched, strange, and resolutely melodic, like a broadcast from a lost late-night alt channel when the videos got weirder and the eyeliner heavier. Whatever faint echoes of relationship turmoil once lingered in the earliest drafts have long since dissolved. Within the architecture of Dead & Buried, “Quiet My Mind” stops being about another person entirely — it becomes a confrontation with the self, a mind snarling back at its own static, a private battleground where escape feels both urgent and impossible.

On Dead & Buried, all of that history coils into a single, deliberate strike. The EP – composed and refined with her longtime friend Scotty from Wisconsin – plays like a ritual to bury the MANIKVAMP persona she built to survive. Nowhere is that more vivid than in the “Quiet My Mind” music video, filmed and edited by Gnarlos Wright.

Visually, it’s pure classic goth and deathrock with a mid-’90s sense of decay and creepiness. Extreme close-ups of bleached, otherworldly eyes stare through the lens like haunted contact-lens commercials from hell. Orange-red hair spills across the frame in oily streaks; teeth bare in a crooked smile; mascara trails down the face like old ink. In one sequence, MANIKVAMP writhes in front of a massive industrial fan haloed in sickly green light, as if strapped to the backline of some forgotten warehouse show.

Later, we’re in a red-walled bedroom, candles flickering against ornate bedposts and baroque headboard carvings, the whole scene looking like a lovechild of a Hollywood cemetery photoshoot and a cable-access horror show from 1995. Bodies twist, collapse, reach for release that never quite arrives. The camera lingers on her face pressed against the sheets, then on a glowing bulb cupped in her hands – a tiny, burning thought she can’t quite put down.

Inside that coffin of colour and texture is the real subject: a mind in limbo, trapped in its own private chamber, trying to plot an escape route from itself. What began as a song about a past relationship has become, in this context, a hymn to burnout and overstimulation – the mania of the stage, the online noise, the persona that began as protection and mutated into a cage.

Watch the video for “Quiet My Mind” below:



MANIKVAMP’s story starts long before the Dead & Buried EP, back in the fallout after high school when she’d all but abandoned music. Years of escapism, partying, and repeated rock bottoms left her untethered. The way back began with poems, then lyrics, then melodies that came “as a sudden, powerful outpouring,” and with them, a name.

“‘Manik’ is me owning the label of being called ‘crazy’ and unstable, which used to hurt me until I decided to reclaim it,” she explains. “‘Vamp’ comes from my lifelong love of vampires and all things witchy. So, MANIKVAMP was born from that fusion—owning my mental illness and wrapping it in a dark, powerful aesthetic.”

Her 2020 debut project Yesterdayz Mourning was essentially an exorcism on tape – raw therapy sessions over beats, grief, and trauma poured straight into the mic. From there, the sound refused to sit still: pop-punk, post-punk, EDM, darkwave, industrial, metal-trap, alt-rock, sometimes switching languages mid-set. She came up in the underground goth scene as a promoter first, stitching together DIY line-ups and community, before taking the stage herself. That network of producers and musicians pushed her deeper into the underground, sharpening what had begun as survival songs into a fully-fledged live persona.

In 2024, that grind was recognised when she took home Best Upcoming Underground Artist at the Underground Goth Awards – voted in by the very community she’d been helping to build. “It showed me that all the hard work and burnout from performing had paid off in a way that had nothing to do with streams or followers,” she says. “It was a powerful and healing acknowledgment.”

Across the EP, MANIKVAMP stages a funeral for the self she no longer wants to inhabit.

“It represents a funeral,” she says of Dead & Buried. “It’s the symbolic burial of the MANIKVAMP character and everything she stood for. It’s about me realizing I had outgrown that version of myself and needed to put it to rest to move forward.”

The four songs trace that realisation step by step:

“Silent Screams” sinks into isolation and overwhelm, the feeling of being swallowed by your own persona.

“Quiet My Mind” chases the impossible silence, trying to muffle the static of expectation and attention.

“My Mind Is Made Up” is the turning point, where the decision to step away crystallises. In its forthcoming video, a group of vampire hunters prepares for the kill – a stand-in for external pressures and the industry’s appetite for self-destructive characters.

“Dead & Buried” closes the ritual with a twist: she takes the stake meant for her and kills MANIKVAMP herself, intercut with real footage from her journey. In the end-credits vision of fairy nymphs and a cocoon, the burial becomes the seed of another life.

This is more than a rebrand; it’s self-annihilation as a form of harm reduction. “While it started as a way to own my mental illnesses, it eventually began to glorify them,” she admits. The new name – not yet revealed – will be the opposite of MANIKVAMP, representing the person who walked out of the crypt: more focused, in control, and aligned with her healing, while still carrying that raw emotional core into whatever comes next.

For now, though, all roads lead back to that one plea: quiet. Not silence from the outside world – there will always be more shows, more releases, more noise – but a moment where the chorus in your head stops screaming long enough to hear who you’ve become.

“No matter how out of control your life gets, you can always find your way back to yourself and reinvent yourself,” MANIKVAMP says. “Every ending comes with a new beginning. The song may end, but the story continues to write itself.”

The MANIKVAMP chapter is dead and buried. The person who survived it is very much alive – and already writing the next spell.

The Dead & Buried EP dropped on October 21st, 2025, timed with a new moon – “the fade to black, the end of a cycle, and the potent beginning of a new one.”

Listen below:

Follow MANIKVAMP:

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The post Los Angeles Arist MANIKVAMP Exorcises the Demons in Her Head With Video for “Quiet My Mind” — “Dead & Buried” EP Out Now! appeared first on Post-Punk.com.

Source: Post-Punk.com

Feuerschwanz haben einen dynamischen Live-Clip zu "Knightclub" ft. Dag (SDP) von der Lords Of Fyre-Tour mit Lord Of The Lost veröffentlicht. Mehr Infos, den Clip und die kommenden Tourdates hier!

Source: Sonic Seducer

Bevor es Anfang des Jahres auf Tour geht, haben Stoneman heute ein Musikvideo zu "Helene" veröffentlicht. Hier bei uns anschauen!

Source: Sonic Seducer

I’m sitting here waiting for light
I’m sitting here under dark skies
Give me hope because I can’t find it

Tombstones In Their Eyes rise again with Alive and Well, a track that sounds like it clawed its way through the desert, dust in its teeth, sparks under its tongue. It follows Under Dark Skies, but this time there’s a different kind of charge: controlled chaos, bruised brightness, the kind of feeling you get when the power comes back on after you’ve given up hope.

This one carries weight because it carries grief. It’s dedicated to guitarist Paul Boutin, who left this world far too soon. As Paul Lovecraft, he kept releasing music even after doctors carved too close to the very cords that carried his voice. He met John Treanor a decade back at Kitten Robot Studios, two musicians orbiting the same cracked universe until eventually landing in the same band. And here he is again, all over the track, leaving fingerprints on every note.

The lineup is a small constellation: John Treanor on vocals and guitar, Paul Boutin on guitar, Nic Nifoussi on bass, Paul Roessler on keyboards, Stephen Striegel on drums and percussion, plus backing vocals from Courtney Davies, Clea Cullen, and Joel Wasko. They don’t play like a group—they sound like a collective memory trying to stay alive through sheer volume.

The song is powerful: voice circles the same bruised horizon, begging for a glint of something real—light, hope, faith, truth—anything to break the gloom long enough to reject it or embrace it. It’s a chant from a soul parked at the edge of dawn, stuck beneath unending heaviness.

The truth lands with a thud in Treanor’s own words: “When our beloved friend and guitar player lost his life on 10/18/25, we were shocked, confused and incredibly saddened. Paul was so kind, generous, intelligent and always optimistic. Being in TITE was a source of pride and joy for Paul. He was so easy to be around and was dedicated, driving many hours for practices and shows, always bringing his cheerfulness and optimism. We miss him greatly and are glad he is all over this record,” says John Treanor.

Treanor continues with a gut-punch of clarity: “We were initially going to scrap Alive and Well as a single after Paul’s passing (for obvious reasons), but because it was one of Paul’s favourites and a song on which he played guitar, we are going ahead with the release. The lyrics are about rising out of desperate circumstances with newfound strength – something Paul himself experienced, having dragged himself out of his own difficulties to ultimately rebuild a life full of joy and purpose. While not planned that way, Alive and Well ended up being a statement of intent – a story of a journey from despair to strength.”

You feel every inch of that intention: no sermon, no self-help sparkle, just a band trying to punch through the gloom and reach something worth holding.

The video comes from Italian multi-arts visionary Francesca Bonci, whose work with Federale, Philip Parfitt, Peter G. Holmström, and Rachel Goswell already put her in a world of her own. Her images don’t explain the music, they orbit it, distort it, nudge it into stranger shapes.

Watch below:

Alive and Well arrives about a year after Asylum Harbour, but the new record is built from upheaval: personal storms, old chapters closing, new ones cracking open. Paul Roessler recorded and engineered it, dragging his years with The Screamers, Nina Hagen, and 45 Grave into the frame. John Treanor co-produced, while multi-platinum engineer Alex DeYoung mastered the whole beast into a final blaze.

On December 5, Under Dark Skies lands via Little Cloud Records (US) and Shore Dive Records (UK/EU), vinyl included.

Listen to Alive and Well below and order the single here.

Alive and Well (Single) by Tombstones In Their Eyes

See more videos from Tombstones In Their Eyes (Under Dark, and Gimme Some Pain):

Follow Tombstones In Their Eyes:

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The post Los Angeles Shoegazers Tombstones In Their Eyes Rise Again in Video for Soaring Single “Alive And Well” appeared first on Post-Punk.com.

Source: Post-Punk.com

Gute Neuigkeiten für Fans von Peter Heppner: Der Musiker hat ein neues Album für 2026 angekündigt! Alle Infos hier.

Source: Sonic Seducer

Mit "Kreatur der Nacht" haben Wisborg soeben die erste neue Single vom kommenden Album veröffentlicht! Mehr Infos und das Musikvideo mit Celene Nox hier bei uns.

Source: Sonic Seducer

The Nosferatu (UK) bring their classic gothic rock to Black Temple Athens Club, Saturday 11 October.
+Special Guests – Grey Gallows (Gr).

+ Aftershow Guest DJ Set by: Malice F & George P (ElectroWelt)
 

The Nosferatu will be performing more classic songs taken from their back catalogue, some that have not been heard live in many years.

 

 

Το Black Temple σε συνεργασία με την Orlock Promotions παρουσιάζουν:
 
The Nosferatu (UK) + Grey Gallows Live in Athens + DJs George P / Malice F
 
Σάββατο 11 Οκτωβρίου 2025

Black Temple, Ιάκχου 17, Γκάζι, 118 54 Αθήνα

Πόρτες: 20:30

https://www.facebook.com/templeliveclub
https://www.instagram.com/templeathens
 
ΤΙΜΕΣ ΕΙΣΙΤΗΡΙΩΝ:
• Early Bird: €14 (Περιορισμένος αριθμός)
• Προπώληση: €17
• Ταμείο: €20
 
Ticket Link : https://cometogether.live/…/the-nosferatu-uk-grey…
 
ΦΥΣΙΚΗ ΠΡΟΠΩΛΗΣΗ ΣΤΟ:
Le Disque Noir Records Shop
Θεμιστοκλέους 29, Αθήνα, τηλ.: 211 214 3554.

 

 
Στις 11 Οκτωβρίου 2025 το θρυλικό βρετανικό gothic rock συγκρότημα The Nosferatu επιστρέφει στην Αθήνα, μετά από μια εξαιρετικά επιτυχημένη λατινοαμερικανική περιοδεία, κατά την οποία επισκέφθηκε το Μεξικό, την Κόστα Ρίκα, το Περού, τη Χιλή και τη Βραζιλία και πρόκειται να εμφανιστεί στο Amphi Festival και το Wave Gothic Treffen Festival το 2025.
 
Οι The Nosferatu είναι ένα βρετανικό γοτθικό ροκ συγκρότημα που επιδίδεται σε ξεσηκωτικούς ροκ ύμνους, με βαριές κιθάρες και περίτεχνες ενορχηστρώσεις, σε συνδυασμό με τα χαρακτηριστικά βαρύτονα φωνητικά του είδους.
Οι The Nosferatu σχηματίστηκαν από τις στάχτες της αρχικής εποχής Rise των Nosferatu, ενός συγκροτήματος που σχηματίστηκε το 1987. Το συγκρότημα κατέχει μια θρυλική θέση στη gothic rock σκηνή και είναι διάσημο για την κινηματογραφική του προσέγγιση σε κομμάτια όπως τα “Rise”, “Dark Angel” και “Alone”.
 
Louis DeWray – Φωνητικά (Αρχικό Μέλος)
Vlad Janicek – Μπάσο (Ιδρυτικό Μέλος)
Rob Leydon – Κιθάρα (Eden House)
Simon Rippin – Τύμπανα (Fields Of The Nephilim / NFD)
 
https://www.thenosferatu.com
https://www.facebook.com/thenosferatuofficial
 
Ειδικοί καλεσμένοι είναι οι Grey Gallows, ένα dark wave ντουέτο με έδρα την Πάτρα που σχηματίστηκε το 2017. Οι επιρροές τους εντοπίζονται στο ευρύτερο φάσμα της σκοτεινής μουσικής της δεκαετίας του ’80.
 
+ Djs George P. + Malice F. 

Source: ElectroWelt.com

We're happy to announce the cooperation with the german band DEAD BEES IN BOURBON for their debut album to be released in autumn this year.

If you like Post Punk, Wave and Indie Rock, you most likely will like DEAD BEES IN BOURBON. In the classic band line-up (Drums, Bass,
Guitar) paired with electronic sequences and soundscapes, DEAD BEES IN BOURBON create their dark, sometimes rough but always catchy and harmonious music with a unique female voice.

After the self-released EP "Shots'N'Pleasures" from 2024 the band is already working on the songs for the upcoming longplayer. In the forthcoming weeks and months the music videos for new singles will be produced and released in late summer and early autumn before the album.

The band will also play more live shows this year. We will keep you updated with more news ...

Source: EchoZone.de