THE MON – das Solo-Projekt von Urlo (UFOMAMMUT) – hat mit dem Video-Clip zu „The Fluorescent Sand“ eine weiteren Video-Clip des neuen und zweiteiligen Albums „Embrace The Abandon“ veröffentlicht.

Im Oktober ist mit „Mayhem“ die zweite Vorab-Single des Albums erschienen.

„Der Text erzählt von dem, was um uns herum geschieht: Der Himmel verwandelt sich immer mehr in eine Hölle, diejenigen, die uns führen sollten, sind von Macht geblendet und halten die Blitze in den Händen, die uns in die Zerstörung führen werden, ohne zu erkennen, dass dies auch ihr Schicksal sein wird. Das Chaos, das uns umgibt, ist ein Licht, das explodiert, ein Stern, der in den Händen derer leuchtet, die nichts anderes sehen können als den Strudel des Chaos selbst. Heute können wir mehr denn je nicht schweigen: Wir müssen gegen das Böse, das uns verschlingt, gegen die Gleichgültigkeit, die uns in den Abgrund zieht, aufschreien. Mayhem ist nicht nur ein Song, es ist ein notwendiger Schrei, Wut, die sich in Widerstand verwandelt, die Stimme, die die Stille durchbricht, bevor es zu spät ist“, erklärt Urlo.

Das Doppelalbum ist in zwei sich ergänzende Kapitel gegliedert – „Songs Of Abandon“, welches am 7. November 2025 via On Supernatural Cat Records erscheint, und „Songs Of Embrace“, das im Frühling 2026 zu erwarten sein wird, – und beschreibt eine Reise der Dualität: Verlust und Hingabe auf der einen Seite, Akzeptanz und Wiedergeburt auf der anderen. Vorab gibt es auch den Track „Your Eyes“ zu hören.

THE MON „Songs Of Abandon“ Tracklist
1. Smiling Dog
2. Two Stones
3. The Hidden Ghost
4. Hourglass
5. The Moon & The Devil
6. Mayhem (Video bei YouTube)
7. Little Bird
8. The Fluorescent Sand (Video bei YouTube)
9. Beautiful Star
10. Your Eyes (Visualizer bei YouTube)

Source: Vampster

Die Thrash / Groove Metal-Band DEVILZ BY DEFINITION hat mit „Devilz Knight“ ein neues Album angekündigt. Es ist nach „The Devilution“ (2016) und „Lost Days“ (2023) das dritte Album der Kanadier und wird am 6. Juni 2026 via SelfMadeRecords erscheinen. Vorab gibt es den Titeltrack zu hören.

DEVILZ BY DEFINITION Line-Up:
Bruce “Popz” Munro (guitar)
Jamie “Couv” Couvillon (guitar and vocals)
Teddy Robért (drums)
Kulstof (bass)

DEVILZ BY DEFINITION „Devilz Knight“ Tracklist
01 The Old #9
02 Trainwreck
03 Dehumanizer (C)
04 Angel Warfare
05 Liquid Death
06 I Am the One
07 Food Fight
08 Aggression
09 Provocation
10 Insufficient Funds (feat. Among the Rest)
11 Under the Road
12 Devilz Knight (Audio als Stream)
13 Alien

Source: Vampster

Die Blackened Caribbean Doom Metal-Band PRECIOUS BLOOD hat nach den Lyric-Videos zu „Old Man Abaddon“ und „El Muerte“ eine mit „Whore’s Grave“ nun einen Video-Clip ihres neuen Albums „False Prophets“ veröffentlicht.

Es ist nach der diesjährigen EP „Bloodfire“ das erste Album des US-amerikanischen Trios aus New York, das sich vom unvergänglichen Geist der Karibik, geprägt von einer brutalen Kolonialgeschichte, der unerschütterlichen Widerstandsfähigkeit ihrer Menschen und der Auseinandersetzung mit den dunkleren Seiten des menschlichen Daseins, darunter Tod, Sterblichkeit und die Komplexität menschlichen Leidens inspirieren ließ.

„False Prophets“ wurde von Joe Hogan in den Captain’s Cove Catskills Studios aufgenommen und gemixt und von AJ Tissian gemastert. Release-Termin war der 29. Oktober 2025. Vorab gab es auch zu „Bludgeoned & Charred“ einen Video-Clip.

PRECIOUS BLOOD Line-Up
AJ – guitar, vocals
Grace Perez – Drums, Vocals
Dave Kramer – Bass, Vocals

PRECIOUS BLOOD „False Prophets“ Tracklist
1) False Prophets
2) Bludgeoned & Charred (Video bei YouTube)
3) Footsteps of Babylon
4) Shadow of the Cross
5) Cemetery Burn
6) Old Man Abbadon (Lyric-Video bei YouTube)
7) El Muerte (Lyric-Video bei YouTube)
8) Whore’s Grave (Video bei YouTube)

Source: Vampster

Die Black’n’Roll / Dark Metal-Band THE VICE hat mit „The Red Tape Sessions“ eine neue EP angekündigt. Die drei Songs umfassende Scheibe wird am 5. Dezember 2025 via Noble Demon erscheinen. Vorab gibt es zum Opener „Cardinal Tropes“ einen Video-Clip.

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

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

Source: Vampster

Die Grindcore-Band CHAIRMAKER hat nach dem Opener „Ratlicker“ und „Hagiographers“ mit „Loud, Confident, and Wrong“ einen dritten Track ihres kommenden Albums „Leviathan Carcass“ veröffentlicht. Es ist der erste Release des Solo-Projekts von Neil Erskine (CHRONOCIDE) und wurde von Kevin Hare bei Deep Storm gemixt und gemastert. Das Cover-Artwork stammt von Arif Rot. Release-Termin ist der 14. November 2025.

CHAIRMAKER „Leviathan Carcass“ Tracklist
01 Ratlicker (Audio bei Bandcamp)
02 Powdered Nostalgia
03 Making Nails
04 Leviathan Carcass
05 Dead Optimists
06 Pigfucker
07 Micron-Thick Skin
08 Good Art by Shit People
09 Hagiographers (Audio bei Bandcamp)
10 Loud, Confident and Wrong (Audio bei Bandcamp)
11 Others’ Interests
12 Half a Puppy

Source: Vampster

October 18, 2025, Hamburg, Inselpark Arena Support: Alienare, Soulbound On October 18, the NoCut label family hosted a rendezvous at the Inselparkarena in Wilhelmsburg under the patronage of MONO INC. The event kicked off in an already packed hall (with room for around 4,000 people) with the North German synth-pop trio Alienare. With songs like […]

Source: Orkus

Die Grindcore-Band ROTTEN SOUND hat mit „Mass Extinction“ eine neue EP angekündigt. Es ist die elfte EP der Finnen und folgt auf das achte Album „Apocalypse“ (2023) nach. Release-Termin ist der 12. Dezember 2025 via Season of Mist. Vorab gibt es zu „Brave New World“ einen Video-Clip.

„‚Brave New World‘ handelt davon, wie Fehlinformationen, Polarisierung, Verschwörungstheorien und Zensur die Menschen in einen Zustand des Misstrauens geführt haben. Unser starkes Gemeinschaftsgefühl wurde durch Skepsis und Angst ersetzt. Der Kampf um kohärente und verlässliche Informationen ist nun ein ständiger Kampf“, sagt die Band.

„Mass Extinction“ wurde von Janne Saksa aufgenommmen, von Jesse Gander gemixt und von Brad Boatright gemastert. Das Cover-Artwork stammt von Xavi Forné.

ROTTEN SOUND Line-Up:
Keijo Niinimaa — Vocals
Mika Aalto — Guitars
Sami Latva — Drums
Matti Raappana — Bass, Backing Vocals

ROTTEN SOUND „Mass Extinction“ Tracklist
1. Recycle (1:09)
2. Ride of the Future (0:45)
3. Gone (0:50)
4. Polarized (1:00)
5. Brave New World (1:21) (Video bei YouTube)
6. Empty Shells (1:05)
7. Idealist (1:35)
8. Mass Extinction (1:58)

ROTTEN SOUND Tourdaten 2026
January 9 – Hamburg, Germany @ Bambi Galore
January 10 – Göttingen, Germany @ Freihafen
January 11 – Maastricht, Germany @ Muziekgieterij
January 12 – Herford, Germany @ Kulturwerk
January 13 – Essen, Germany @ Don’t Panic Club & Pub
January 15 – Portugalete, Spain @ Groove
January 16 – Madrid, Spain @ Barracudas
January 17 – Lisbon, Portugal @ Xapada Fest
January 19 – Murcia, Spain @ Garage Beat Club
January 20 – Perpignan, France @ Perpignan
January 21 – Saint-Jean-de-Védas, France @ Secret Place
January 24 – Barcelona, Spain @ Winds of Metal Festival

Source: Vampster

This large format book presents an unforgettable selection of stunning art and fetish photography taken over the last 10+ years. Killer Heels Photography was awarded BEST PHOTOGRAPHER at the UK FETISH AWARDS in 2022 and 2023. Killer Heels Photography has its very own style, an unmistakable look. Specializing in latex fashion and fetish. “Latex is […]

Source: Orkus

Die Instrumental Desert / Psychedelic Rock-Band YAWNING MAN hat nach dem Opener „Burrito Power“ nun auch den Titeltrack ihres kommenden Albums „Pavement Ends“ veröffentlicht. Es ist das siebte Album der US-Amerikaner und wird am 14. November 2025 via Heavy Psych Sounds erscheinen. Vorab gibt es auch ein Video zu „Bomba Negra„.

„Pavement Ends“ wurde von Dan Joeright im Gatos Trail Studio aufgenommen und von Mike Shear gemixt. Das Cover-Artwork stammt von Diane Bennett.

YAWNING MAN Line-Up:
Gary Arce – guitar
Mario Lalli – bass
Bill Stinson – drums

YAWNING MAN „Pavement Ends“ Tracklist
1. Burrito Power (Audio bei YouTube)
2. Gestapo Pop
3. Bomba Negra (Video bei YouTube)
4. Dust Suppression
5. Pavement Ends (Audio bei YouTube)
6. Bad Time to be Alive

Source: Vampster

Southern California’s dark hearts are about to beat louder than ever. On Saturday, March 28, 2026, the first-ever Los Darks Festival descends upon Santa Ana Stadium, promising a full day of passion, nostalgia, and pure nocturnal energy. With full sets from each artist on a single stage, Los Darks unites generations of post-punk and goth devotees under one violet sky.

Headlined by Mexican rock legends Caifanes, the event celebrates the enduring link between Latin alternative music and the global goth scene. From their poetic lyricism to their mystical stage presence, Caifanes’ performance anchors the festival in emotional and cultural resonance, carrying decades of devotion that have made them icons across borders.

Joining them are California’s own The Growlers, whose surf-stained melancholia and desert-drunk swagger bring a kaleidoscopic twist to the darkness. Expect glitter, grit, and ghosts of 1960s psychedelia filtered through heartbreak and haze — a bittersweet reflection of the West Coast’s strangest sons.

Post-punk royalty Johnny Marr brings his shimmering guitar work and quiet authority to the bill — a living link between The Smiths’ immortal canon and the ever-evolving indie underground. His presence cements Los Darks as more than nostalgia; it’s a celebration of influence, lineage, and artistic endurance.

Modern darkwave torchbearers Twin Tribes return to Southern California with their hypnotic blend of synths, guitar, and bass — a sound that balances mechanical precision with aching human warmth. The Texas duo have become the face of a new generation of darkwave — modern minimalism steeped in devotion, loss, and longing.

Punk’s carnival spirit erupts with The Adicts, whose anarchic theatrics and clockwork-orange aesthetic guarantee chaos, color, and catharsis in equal measure. Their shout-along anthems remain as infectious and defiant as ever — a reminder that rebellion can still be joyful and brilliantly absurd.

Few acts embody gothic grandeur like London After Midnight. Their emotive performances and cinematic sound have defined the darker edges of the alternative world for decades — a fever dream of velvet and voltage that continues to entrance audiences across continents.

Rising global phenomenon Mareux brings his moody, synth-drenched romanticism to the home crowd. After taking the internet by storm with his viral cover of The Cure’s “The Perfect Girl,” Mareux has become one of the world’s most-streamed darkwave artists, balancing vulnerability and menace in every note.

Curated by Los Goths and Klub Nocturno, Los Darks 2026 marks a historic milestone as the first Latino-led goth festival in Southern California — a region whose thriving alternative scene is deeply rooted in Mexican-American, Central American, and Indigenous communities. This isn’t just a concert festival; it’s a celebration of a culture that has long defined the state’s underground — one rooted in identity, migration, and devotion to the dark and the divine.

And it’s about time there’s a festival that celebrates the Latino goth and alternative scene — a movement that has kept the night alive from backyard shows to global stages, carrying the torch for generations of outsiders who found beauty in the dark.

Tickets and information available at losdarkslive.com. The presale begins on Friday, November 7th, at 10 AM Pacific Standard Time.

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The post Los Darks Festival Announced with Caifanes, Johnny Marr, The Growlers, Twin Tribes, Mareux, and More! appeared first on Post-Punk.com.

Source: Post-Punk.com

Some artists build worlds; Lola G., the mind behind the ethereal Death Hags, builds an entire cosmology. Her new work, Orphée 53, sounds like it was transmitted from some flickering radio tower at the edge of dream and apocalypse; where the ghosts of musique concrète whisper through corrupted pop frequencies. It’s a record that feels alive, restless, sentient…the kind of art that looks you dead in the eye and asks, “You still think the future’s coming?”

Death Hags belongs to that rare breed of artists who understand that sound and image are two halves of the same fever dream. Her video for Orphée 53, stitched together from her own experimental films, public-domain skeletons, and atomic-age paranoia reels, evoke Chris Marker’s La Jetée as remixed by a digital medium trying to remember humanity. The flicker of Despotism, the morbid cartoon cavort of The Skeleton Dance, and the surreal hangover of Dream of a Rarebit Fiend all swirl together. It’s haunting, but not hopeless.

Musically, Orphée 53 lands somewhere between Broadcast’s spectral pop and the narcotic melancholy of Beach House, Chromatics, and Primitive Heart: synths throb and hum; voices drift in from a parallel dimension. The melodies shimmer, dissolve, reassemble. The title isn’t ornamental: Orphée 53 nods to Pierre Schaeffer and Pierre Henry’s 1953 Musique Concrète opera, a moment when the avant-garde dared to court the machine.

Death Hags reclaims that shock of modernity for the algorithmic age, making peace with chaos rather than clinging to nostalgia. “Letting go of the past,” she says, and the music takes her at her word: the loops erode, tape warps, the song disintegrates and reforms like memory itself.

There’s a literary pulse here too: Proust by way of a synthesizer. In an era obsessed with retro filters and “simpler times,” Lola G. asks the harder question: what if the noise of the present is the only real sound left?

Watch Orphée 53 below:

Death Hags has traversed both North America and Europe, lighting up stages at festivals such as SXSW, Pop Montreal, Left of the Dial, Echo Park Rising, and Savannah Stopover. Her music has found its way onto the silver screen as well, appearing in films by Christophe Honoré and Steven Soderbergh. Recently, she composed the score for Mirror Moves, while her track Metal Teeth was featured in the acclaimed documentary Queens of Pain.

In 2021, Death Hags stepped away from touring to immerse herself in BIG GREY SUN, an ambitious, seven-part hermit dream exploring transformation in all its forms: the journey through the underworld, the dark night of the soul, the alchemical process of becoming.  Dreamlike and largely instrumental, it drifts through the liminal space between sleep and waking — a haunting meditation on the void beyond reality, where we are no longer who we were, yet not quite who we will be.

Listen to Orphée 53 below and order BIG GREY SUN #5 here. The album comes in a lathe-cut 7″ picture disc.

BIG GREY SUN #5 [extended version] by Death Hags

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The post Los Angeles Artist Death Hags Unveils Video for Ethereal Synth Single “Orphée 53” appeared first on Post-Punk.com.

Source: Post-Punk.com

Mit „Feed The Crows“ legt Kllsignl seine bislang kompromissloseste Veröffentlichung vor. Die neue Single des Dark-Electro-Projekts ist am…

Source: monkeypress.de

Cobras spitting venom

has been a known behaviour

of the deadly snake for a thousand million years

I read a paper, and it’s not an old wives’ tale

There’s nothing tame about Princess Liar’s return. Julie Montan’s sixth studio album, Tell Me the Truth Do You Love Me or Not, arrives after three years of gestation — a serpentine work of fury, wit, and confrontation. Divided into six searing chapters, the record peels away every layer of pretence until only raw instinct remains. “Sometimes you gotta go down a snake to find home,” Montan says. “Become the master of your own dark materials — ‘the game’ thinks it sets the pace, but that’s neo-liberal capitalism forcing pace, lobotomising your connection to muse. Trust your own pace; decline the promise of $$$ from very bad men who only care to rob you blind.”

Filmed on location in Djabugay Country (Speewah) and Yidinji Country (Redlynch), Gimuy (Cairns, FNQ), the accompanying video isn’t just a single clip — it’s a full-album film, a living myth that blends ritual with rebellion. Across its frames, Princess Liar mutates between digital avatars and reptilian form, her eyes widening into slit-pupiled menace as she moves through cyber grids, bamboo cathedrals, and dreamlike Australian scrub. It’s part performance art, part punk ethnography — the kind of vision that feels both ancient and imminent, sacred and absurd.

Directed & Edited by Keziah Warren, with Photography and Cinematography by Toby Stanley and Art Direction by Julie Montan, the film stars Julie and her scaly co-star Dude the Python — the serpent familiar and silent witness to her transformation.

A vigilante thesis in riot grrrl and outsider punk, Tell Me the Truth Do You Love Me or Not stands shoulder to shoulder with X, Amyl and the Sniffers, The Pretenders, X-Ray Spex, The Slits, and L7. It’s a record that bares its teeth — snarling at the hollow promises of capitalism, dissecting false intimacy, and reclaiming the female voice as weapon, ritual, and remedy. Montan’s alter ego — the anthropomorphic, parsel-tongued Princess Liar — emerges here as a Leia turned Liar: a sworn enemy of AI, walking beside her light-sabre companion Dude the Python-of-Speewah, a mythic partnership of human and animal sight. Together they turn vengeance into philosophy, survival into spectacle.

Tell Me the Truth Do You Love Me or Not will be available exclusively on Bandcamp — and will not appear on Spotify — in protest of the platform’s exploitative practices.

Watch the full album video for Tell Me the Truth Do You Love Me or Not below:

Tell Me The Truth Do You Love Me Or Not is out now. Order Here

Tell Me the Truth Do You Love Me or Not by Princess Liar

Follow Princess Liar:

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The post Melbourne Post-Punk Outfit Princess Liar Unveils Venomous Full Album Sing-A-Long Video for “Tell Me The Truth Do You Love Me Or Not” appeared first on Post-Punk.com.

Source: Post-Punk.com

Cobras spitting venom
Has been a known behaviour
Of the deadly snake for a thousand million years
I read a paper and it’s not an old wives tale

Princess Liar’s new single Cobra Spit lunges from the speakers like a serpent startled mid-dream: fangs bared, rhythm coiled, ready to strike. After years away from the studio, experimental punk multi-instrumentalist Julie Montan re-emerges with her venom intact. The song, lifted from her EP Tell Me The Truth Do You Love Me Or Not, is a brilliant chemical burn: punk as social anthropology, performed through clenched teeth and laughter.

Based in North Queensland, Australia, Montan channels something ancient and personal in this song—summoning the power of Chrissie Hynde, the passion of Siouxsie, the fury of Shirley Manson, the conviction of Sinéad O’Connor, and the raw intensity of PJ Harvey. Here she distills that into a hiss and a smirk… a venomous self-defense ritual masquerading as a punk incantation.

Tell Me The Truth Do You Love Me Or Not promises six tracks of poetic warfare and raw confrontation, but Cobra Spit plants its flag first. It’s the sound of someone shedding their skin in public: messy, fearless, and vital.

“Sometimes you gotta go down a snake to find home,” she says, “become the master of your own dark materials.” It’s both invitation and warning. The lyrics turn biology into philosophy: cobras spit to survive, not to conquer. Montan translates that instinct into a metaphor for endurance in a collapsing, capitalist circus.

Cobra Spit unfolds in jolts: jagged guitars, urgent percussion, vocals that sound like they’ve been dragged through barbed wire and blessed with holy water. Each verse coils tighter around its prey, then snaps back with a sardonic grin. “If you want to break my bones, you better sharpen your wit real quick,” she taunts, a line that lands like a switchblade to the ego – yet with an almost scientific detachment that feels more punk than any sneer could.

Montan delivers an ethnography of feral female power. Her voice cuts through the static with the authority of someone who’s stared down both art-school pretenders and industry parasites. Her work occupies a rare space between biology and protest, where myth bleeds into survival instinct. She is the snake and the scholar, sputtering venom and sermon.

Filmed on location in Djabugay Country (Speewah) and Yidinji Country (Redlynch), Gimuy (Cairns, FNQ), the video for “Cobra Spit” unfolds like a fevered dream — part ritual, part glitch. Between flashes of pixelated avatars and serpent-like transformation, Princess Liar morphs into something both human and mythic: a cobra-eyed visage stalking through digital and physical realms. The surreal imagery — lizard masks in bamboo thickets, skulls and snakes on altars, and a gridded cyber-void where her slit pupils flare like warning lights — mirrors the track’s volatile pulse, fusing punk provocation with absurdist theatre. Directed & Edited by Keziah Warren, Photography/Cinematography Toby Stanley, Art Direction Julie Montan, the video stars Julie and Dude the Python.

Watch the video for “Cobra Spit” below:


Listen to Cobra Spit below and order Tell Me The Truth Do You Love Me Or Not here.

Tell Me The Truth Do You Love Me Or Not by Princess Liar

Follow Princess Liar: 

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The post Australian Post-Punk Outfit Princess Liar Unveils Video for Venomous New Single “Cobra Spit” appeared first on Post-Punk.com.

Source: Post-Punk.com

This body desires tangled up barbed wire

Slowly losing touch with all reality

There’s something beautifully grotesque about watching the human animal come undone to its own inventions. The Body Song, the latest offering from Texan Cmdr Cody, feels like a love letter to that unraveling: a dance of electronics and sinew, where the flesh forgets itself in the beat. In an age where our screens pulse harder than our hearts, this track demands surrender.

Cmdr Cody, a self-produced solo artist, builds collisions between the analogue and the digital; between punk’s raw nerve and electronica’s mechanical pulse. The result isn’t clean or polite. It’s messy, visceral, and completely human, like DAF if they’d crashed Devo’s synthesizers into Suicide’s amplifier stack and let the feedback form a new religion.

Repetitive retro synth lines grind against gritty organ tones, drums punch with robotic precision, and somewhere between the distortion and groove, a strange transcendence takes root. It’s dance music for people who don’t trust happiness: the kind you feel in your gut rather than your feet. Each note seems to claw at the boundaries of the body, reminding you that rhythm can both liberate and enslave. There’s a distinctly retro-futurist edge to it all—the kind of synthpunk powered by old-school circuitry that sounds as if it were booted up from a forgotten Megadrive cartridge, buzzing with 16-bit aggression and raw, electric grit.

Lyrically, Cmdr Cody nails that primal contradiction: the desire to lose control and the terror of actually doing it. It’s the sound of disassociation disguised as movement, of someone trying to shake their way free from the static of modern life.

Listen to The Body Song below and order the single here.

The Body Song by Cmdr Cody

The Body Song feels like an MRI of the soul: flashing lights, humming voltage, and the uneasy recognition that maybe the machine knows you better than you know yourself.

Follow CMDR CODY:

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The post Cmdr Cody Releases Dance-Driven Old-School Synth-Punk Single “The Body Song” appeared first on Post-Punk.com.

Source: Post-Punk.com

Mit „We Bring the Beat“ eröffnet Aesthetic Perfection eine neue Phase ihrer Bandgeschichte. Nach mehreren Jahren auf eigenständigem…

Source: monkeypress.de

  Kaylie Cortez has certainly been busy as a member of groups like AL1CE, FleischKrieg, and Ghosts in the Graveyard, and she has now announced the latest release under her solo moniker of Nuda. The forthcoming Trigger – Remix Compilation presents eight variations of the titular track, including the original album version [..]

Source: RE:GEN Mag

  Just as the dark electro outfit’s previous single dealt with the legend of the wendigo, KLLSIGNL now takes listeners further into the forest with today’s release of “Feed the Crows.” The song and its accompanying video present a descent into the chaos of ancient and primal forces of nature, the darkened blend of industrial, trap, and deathcore influences [..]

Source: RE:GEN Mag

  Fernando’s Eyes – the solo outlet of Principe Valiente vocalist Fernando Honorato – has announced a companion piece to the Center of Your World debut, showcasing a series of remixes and previously unreleased bonus tracks. The album highlights the artist’s collaborative spirit with reinterpretations created by the likes of Magic Wands, The Foreign Resort, Albert Severin, Jaakko Eino Kalevi [..]

Source: RE:GEN Mag

  Adam V. Jones is back with the new single from his industrial/post-punk and gothic electronic outlet Mortal Realm, titled “With a Heavy Heart.” Making its premiere here on ReGen Magazine one day ahead of its official release, the song expands on the parameters laid down by the Stab in the Dark album, wrought with dark atmospheres [..]

Source: RE:GEN Mag

  Venamoris is back with a new single to signify the duo’s love for the winter holiday season. Evoking the ethereal and surreal ambience of a Lynchian tale with the rhythmic jazziness of Portishead, “Dreaming of You” sees Paula and Dave Lombardo immersing listeners in a soundscape white with snow [..]

Source: RE:GEN Mag

  Even after more than four decades, Attrition remains one of the goth/industrial scene’s most active entities, as Martin Bowes has unveiled the “Critical Mass” single. The track originally appeared on the Photographs III compilation EP from Mexican label Dark Side [..]

Source: RE:GEN Mag

I’ve got tunnel vision ‘cause I know
I know what things used to make me feel
I’m not your puppet, I am what I am
Let’s disappear, love, take my hand 

There comes a season when the heart, wearied by its own repetitions, turns inward and finds itself a stranger. The old joys, once bright as morning, have dulled into ritual, and the pulse of living seems borrowed from a machine. Yet beneath the weight of habit stirs the wish to feel again, to stand once more in one’s own sunlight, to breathe the first air of life without memory, and remember that the soul, though buried in routine, still hungers for astonishment. It is not escape one seeks, but resurrection…a quiet return to being alive.

From Uppsala’s damp rehearsal rooms to Stockholm’s sharper studios, SILUETT has arrived like a cold front: precise, relentless, and charged with discontent. Their forthcoming album, Visitors, released jointly by Velouria Recordz and Distinkt Records, is a study in post-punk discipline. The debut single, Blindside, offers a declaration of purpose: to find motion in stagnation and clarity amid noise.

There is a rigour to SILUETT’s construction. The band’s pedigree (members drawn from Rotten Mind, Earth Girls, Real Tears, and Siamese Twins) grants them a vocabulary fluent in both anarchic urgency and melodic precision. The guitars ring with economy, less a flourish than a function, slicing through layers of synth that hum like distant machinery. The percussion strikes with mechanical insistence, recalling the industrial pulse of an age when rhythm was both rebellion and routine. Each component operates within strict parameters, yet together they achieve a collective propulsion that feels electric in its restraint.

SILUETT’s sound operates as an act of memory and resistance. It recalls the austerity of early 1980s Britain in the sense that alienation could be weaponized into art, while reframing it through Sweden’s clean precision and digital polish. The production is unyielding, yet it never sterilizes emotion; rather, it isolates it, examines it under bright light, and exposes its pulse. Guitars stretch like tension wires; the bass anchors with minimalist insistence; synths drift upward, not as escape but as signal.

Lyrically, Blindside wrestles with the inertia of modern life. The words evoke a sense of displacement familiar to anyone whose ambitions have been dulled by repetition. Beneath its immediacy lies an understanding of political fatigue: the exhaustion of navigating systems designed to sustain disillusionment. Yet there’s movement in that exhaustion. The refrain becomes a rallying point, a small reclamation of agency through rhythm and repetition.

Watch the video for “Blindside” below:



Listen to Blindside below and order the single here.

VR20-S1 – SILUETT “Blindside” by SILUETT

In the global landscape of post-punk revivalism, SILUETT’s arrival feels unusually deliberate. They understand that revival, to be meaningful, must interrogate the past rather than imitate it. Visitors promises to expand that inquiry: a confrontation with nostalgia, a reconstruction of mood into method. Sweden has long excelled at exporting pop precision; SILUETT instead exports a form of disciplined unease: music that questions the comfort of knowing where the exit is, even as it points you toward it.

Follow SILUETT:

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The post “Away From All This Sorrow” — Swedish Post-Punk Outfit SILUETT Debut Video for “Blindside” appeared first on Post-Punk.com.

Source: Post-Punk.com

You’re a rabbit that no longer runs

A cop planting evidence just for the fun

You’re lusting for something that no one has done

And you’re on to something now

The mythology of the “girlboss” is a triumph of propaganda: an illusion that recasts exploitation as “empowerment.” Under the banner of liberation, corporate systems have merely refined their mechanisms of control, persuading women to internalize the very hierarchies that subjugate them. The rhetoric of “having it all” obscures the fact that labour conditions have worsened – not improved – for most. Multilevel marketing schemes and performative empowerment slogans serve the same purpose as any ideology of domination: to mask the transfer of wealth upward, to sanctify self-exploitation as progress, and to transform systemic inequity into a personal failure to hustle harder.

MIDNIGHTCHOIR (New Yorkers Patrick Bobilin and Sarah Simon) tear into the corporate catechism of empowerment-as-exploitation with sharpened synths and a sense of dark humour that cuts cleaner than cynicism ever could. It’s a record that looks the workplace in the eye and asks: what did ambition cost you, and who sent the bill?

Girls, the centerpiece of Debtors Disco, transforms the empty language of self-advancement into a confession booth for the burned-out and overworked. Bobilin delivers his lines like leaked corporate memos, each one tightening into an indictment. Simon answers with the poise of an oracle from the HR department of hell, murmuring that power is just “a four letter word / for something that you can hold.” The track dismantles the illusion that control can be purchased or that freedom arrives through promotion…until it stops feeling like social commentary and starts reflecting back as a funhouse mirror under harsh fluorescent lights.

Filmed partly outside the Federal Reserve, the video for Girls, co-directed guerrilla-style by Bobilin and Alice Teeple, captures this tension with sharp, theatrical precision. Amid the marble monoliths of the Financial District, the duo performs within the architecture that enshrines inequality. The setting becomes pure satire: prophets of equality standing on the steps of capitalism’s temple, transforming it into an altar for the false religion of self-optimization.

Watch the video for “Girls” below:

Debtors Disco lands like a fluorescent manifesto from the cubicle inferno. Elsewhere on the album, songs like No Country and Keep Your Revolution stretch that same tension across punk, pop, and post-goth forms. The album’s humour is acidic, its heart still beating beneath the machinery. When the closer finally fades, it leaves the aftertaste of espresso and overtime – an anthem for anyone who’s realized the dream was just another job description. In the end, MIDNIGHTCHOIR stage liberation’s postmortem, and they do it with a grin.

Working with Ben Greenberg (Drab Majesty, Uniform), the band found a kindred spirit who helped amplify both the light and gravity in their sound. Fresh off a performance alongside French New Wave legends Martin Dupont, MIDNIGHTCHOIR continue to carve their place in the lineage of artists who turn disillusionment into dance. 

Debtors Disco arrives on all streaming platforms today, followed by a release show 7 November at Alphaville in Brooklyn with None Shall Remain, 12090 A.D., and DJ Alex English. Get your tickets here.

Follow MIDNIGHTCHOIR:

Website
Spotify
Instagram
YouTube

The post NYC Darkwavers MIDNIGHTCHOIR Stand at the Steps of Capitalism in Video for “Girls” — New LP “Debtors” Disco Out Now! appeared first on Post-Punk.com.

Source: Post-Punk.com

You’re a rabbit that no longer runs

A cop planting evidence just for the fun

You’re lusting for something that no one has done

And you’re on to something now

The mythology of the “girlboss” is a triumph of propaganda: an illusion that recasts exploitation as “empowerment.” Under the banner of liberation, corporate systems have merely refined their mechanisms of control, persuading women to internalize the very hierarchies that subjugate them. The rhetoric of “having it all” obscures the fact that labour conditions have worsened – not improved – for most. Multilevel marketing schemes and performative empowerment slogans serve the same purpose as any ideology of domination: to mask the transfer of wealth upward, to sanctify self-exploitation as progress, and to transform systemic inequity into a personal failure to hustle harder.

MIDNIGHTCHOIR (New Yorkers Patrick Bobilin and Sarah Simon) tear into the corporate catechism of empowerment-as-exploitation with sharpened synths and a sense of dark humour that cuts cleaner than cynicism ever could. It’s a record that looks the workplace in the eye and asks: what did ambition cost you, and who sent the bill?

Girls, the centerpiece of Debtors Disco, transforms the empty language of self-advancement into a confession booth for the burned-out and overworked. Bobilin delivers his lines like leaked corporate memos, each one tightening into an indictment. Simon answers with the poise of an oracle from the HR department of hell, murmuring that power is just “a four letter word / for something that you can hold.” The track dismantles the illusion that control can be purchased or that freedom arrives through promotion…until it stops feeling like social commentary and starts reflecting back as a funhouse mirror under harsh fluorescent lights.

Filmed partly outside the Federal Reserve, the video for Girls, co-directed guerrilla-style by Bobilin and Alice Teeple, captures this tension with sharp, theatrical precision. Amid the marble monoliths of the Financial District, the duo performs within the architecture that enshrines inequality. The setting becomes pure satire: prophets of equality standing on the steps of capitalism’s temple, transforming it into an altar for the false religion of self-optimization.

Watch the video for “Girls” below:

Debtors Disco lands like a fluorescent manifesto from the cubicle inferno. Elsewhere on the album, songs like No Country and Keep Your Revolution stretch that same tension across punk, pop, and post-goth forms. The album’s humour is acidic, its heart still beating beneath the machinery. When the closer finally fades, it leaves the aftertaste of espresso and overtime – an anthem for anyone who’s realized the dream was just another job description. In the end, MIDNIGHTCHOIR stage liberation’s postmortem, and they do it with a grin.

Working with Ben Greenberg (Drab Majesty, Uniform), the band found a kindred spirit who helped amplify both the light and gravity in their sound. Fresh off a performance alongside French New Wave legends Martin Dupont, MIDNIGHTCHOIR continue to carve their place in the lineage of artists who turn disillusionment into dance. 

Debtors Disco arrives on all streaming platforms today, followed by a release show 7 November at Alphaville in Brooklyn with None Shall Remain, 12090 A.D., and DJ Alex English. Get your tickets here.

Follow MIDNIGHTCHOIR:

Website
Spotify
Instagram
YouTube

The post NYC Darkwavers MIDNIGHTCHOIR Stand at the Steps of the Shrine of Capitalism in Video for “Girls” — New LP “Debtors” Disco Out Now! appeared first on Post-Punk.com.

Source: Post-Punk.com

Nachdem sie über zwei Jahrzehnte lang die Konturen der französischen Dark-Progressive-Metal-Szene geprägt haben, kehren THE OLD DEAD TREE mit „Time Has Come“ zurück, der zweiten Singleauskopplung aus ihrer kommenden EP „London Sessions“. Der Track wurde in den Abbey Road Studios mit François-Maxime Boutault (Behemoth, Dagoba) aufgenommen und von Tony Lindgren (Opeth, Paradise Lost) gemastert. Er fängt einen entscheidenden Moment in der Entwicklung der Band ein, in dem Intensität und Emotion in perfekter Spannung aufeinandertreffen.

„London Sessions2 wird am 28. November auf allen Plattformen veröffentlicht.
Pre-save: https://orcd.co/todtlondonsessions

 

Source: Amboss-Mag.de

Es riecht nach feuchter Erde, nach altem Holz und einem Hauch von etwas Unheimlichem – denn Chimehours graben mit ihrem Debütalbum „Underneath The Earth“ tief in den...

Source: MedienKonverter

Das Summer Breeze Open Air baut weiter an seinem Line-up für die Ausgabe 2026. Mit der Bekanntgabe von…

Source: monkeypress.de

Two weeks ago the Norwegian alternative dark rock band Seigmen released ‘Dissonans’, part two of their planned...

Source: Side Line

Zwei Ausgaben zum Sonderpreis: Sichert Euch Sonic Seducer Mega Pack 04-2025 mit den Ausgaben 03-25 + 04-25! Mit Eisbrecher (exkl. Song) + Epica, + Rammstein + VNV Nation + Lacrimosa + Unheilig + Sisters Of Mercy + Silke Bischoff + Lord Of The Lost + Saltatio Mortis und mehr!

Source: Sonic Seducer

Interview withSally Dige (music, vocals) With ‘Holding the Sun’, SALLY DIGE steps into a new chapter of her artistic universe - one that feels at once stripped-back and incandescent. Known for her earlier work rooted in synths, nocturnal moods, and electronic precision, she now turns toward mandolin, balalaika, harp, choir and acoustic textures, building songs that feel more like living rituals than “tracks” in the traditional sense.

Source: Reflections of Darkness

Ein Muss für Fans: Sichert Euch unsere neue DEPECHE MODE Edition inklusive XXL-Wandkalender 2026 zum 20. Jubiläum von „Playing The Angel“! Streng limitiert auf 999 Exemplare weltweit und nur hier erhältlich - wer sich noch eines der letzten Exemplare sichern möchte, sollte sich beeilen!

Source: Sonic Seducer

Interview withSally Dirge (music, vocals) With ‘Holding the Sun’, SALLY DIRGE steps into a new chapter of her artistic universe - one that feels at once stripped-back and incandescent. Known for her earlier work rooted in synths, nocturnal moods, and electronic precision, she now turns toward mandolin, balalaika, harp, choir and acoustic textures, building songs that feel more like living rituals than “tracks” in the traditional sense.

Source: Reflections of Darkness

Artist: Assemblage 23Title: NullGenre: Electro-Industrial / Synth-PopRelease Date: 7th November 2025Label: Metropolis Records

Source: Reflections of Darkness

Source: Vampster

Source: Vampster

The new single that Subway to Sally have recorded together with Schandmaul is epic. “Räuber und Narren” breathes freedom and good humor in equal measure. For all fans of the physical, the rousing single is also available as a strictly limited 12” vinyl. Experience Subway to Sally & Schandmaul live:December 12, 2025 DE- Pratteln13. December […]

Source: Orkus

Passend zur diesjährigen Eisheilige Nacht Tour haben Subway To Sally und Schandmaul den gemeinsamen Song "Räuber und Narren" veröffentlicht - das Video und alle gemeinsamen Live-Dates hier!

Source: Sonic Seducer

This is the sixth album by French artist Alban Blaising, better known as Feu Follet....

Source: Side Line

Today Sonja Kraushofer (L’Âme Immortelle, Persephone) celebrates her 46th birthday! Even if ladies don’t talk about their age, of course, we mention it with amazement, as you wouldn’t know it from looking at the likeable Austrian. We wish her all the best! Did you know? – Thomas Rainer and Sonja Kraushofer founded L’Âme Immortelle in […]

Source: Orkus

Michel “Bodenski” Boden celebrates his 59th birthday today. We wish the lyricist and guitarist of Subway to Sally all the best! Did you know?– As a founding member, Subway to Sally has been his life since 1992.– He released his first (and so far only) solo album in 2012, entitled “Auto!”.– His wife Jeano is […]

Source: Orkus

If he had not taken his own life at the age of 34 on April 1, 1998, Rozz Willams would be celebrating his 61st birthday today. As the founder of Christian Death (and later Shadow Project), he is considered a pioneer of American Gothic Rock/Death Rock. The albums “Only Theatre of Pain” (1982) and “Catastrophe […]

Source: Orkus

Das ist auch so eine Band die ich unbedingt nochmal live sehen möchte, weil ich mir diesen „Zeitlupen Shoegaze versus Slow Dream Pop“ auf der Bühne so fast gar nicht vorstellen kann. Das schon dritte Album dieser entschleunigten „Kuschel Core“ Gruppe aus dem texanischen El Paso mit dem coolen Bandnamen, der ja eigentlich eine sehr schlechte Angewohnheit suggeriert, begeistert mich aber genauso wie die 2 vorangegangenen Platten „Cigarettes after Sex“ und „Cry“.  Der Unterschied ist hier nur, dass die in 2008 gegründete Gruppe auf der neuen Veröffentlichung ab und zu etwas leichte Dynamik in Form von Rhythmus in ihre Tracks gepackt hat. Das war bisher nicht so, da lief alles wie in einem vor sich hin treibenden Fluß. Jedes Lied war perfekt melancholisch und ruhig entspannt ausbalanciert und somit fast wie eine komplett, dahin dämmernde Ambient-Platte, die ebenfalls am Stück konsumierbar sein sollte. Außerdem dachte ich bisher, das die Front-Voice einer Frau gehört – nur hab ich mich da sicher wie viele andere Fans ganz arg getäuscht, denn diese faszinierende, dich langsam einlullende und himmlisch, traumhaft, androgyne Stimme gehört tatsächlich GREG GONZALEZ. Und ihre Platten schafften es bisher auch alle unter die Top 50 der Albumcharts zu kommen, außer in den USA, was wirklich seltsam anmutet. Die 10 Songs nun bieten wieder exzellenten und hypnotischen Pop Noir der gehobenen Sorte, der wieder etwas mehr in den 80er beheimatet ist als bisher. Zudem gefällt mir das Thema der Platte außerordentlich gut, es geht nämlich um eine 4Jahre dauernde L.A. Beziehung von GREG mit all ihren spannenden Facetten. Das Trio, also GREG,  JACOB TOMSKY und RANDY MILLER zelebrieren uns ihre ureigenste Version des fragilen ambienten und ätherischen Dream Pop in Perfektion und man könnte sogar an einen Mix aus z.b. SLOWDIVE versus THE SLOW SHOW und BEACH HOUSE meets HAMMOCK denken, die diese sinnlich und intimen Soundcapes auch verwenden. Mit den Sehnsuchtsliedern könnte man auch die Zeit anhalten. Die atmosphärisch dichten und spärischen Klanglandschaften mit prägnanten Bassläufen und prickelnden Gitarren, die eher im niedrigen BPM Bereich angesiedelt sind, wirken wie bei den Tracks „Holding you, Holding me“ oder „Kissing forever“ und „Dreams from Bunker Hill“ so wie im Final Track „Ambient Slide“  wie in Zuckerwatte verpackt, sind aber alle direkt auf den Punkt gebracht, soll heißen, die Halleffekte wurden genau passend auf Stimme und Gitarren abgestimmt und erhalten so genau den organischen Klangraum und „Wall of Sound“, der ihre emotionalen Songs so einzigartig macht. Im übrigen werden die gebuchten Hallen der Konzerte immer größer und das liegt sicherlich auch an den guten Verkaufszahlen ihrer Platten, man gönne sich nur mal die Live Privat Session Paris vom Arte Konzert auf YouTube. Also genießt die Platte bei einem Herbstspaziergang im nebelverhangenen Park oder bei einem Tee auf der gemütlichen Couch und laßt dabei wehmütige Herzschmerz Erinnerungen schwelgen, diese Platte hat genau dafür alles an Bord.

(S.Erichsen)

Source: BLACK Onlinemagazin

„Der Tod, ein flüchtiger Atem – alles endet und beginnt zugleich. Und wer diesen Atem gespürt hat, wird wissen, dass Trennung nur ein Wort ist, erfunden von jenen, die noch warten müssen.“ Finistère – the End of the World. Der Mythenumrankte Ort am Ende der Welt, wo die Sonne vom Meer verschluckt wird. Ist es ein Übergang in eine andere Dimension, Transformation, Tod,  Auflösung oder Neuanfang? Als ich Mastermind Artaud Seth beim diesjährigen WGT in Leipzig ein Paar Minuten seiner Zeit stehlen durfte, deutete er kryptisch ein eventuelles Ende der Aktivitäten seines Projektes an bzw. rief „Finistère“ als mögliches finales Opus aus. Man kennt die Geschichte um den Vorgänger Garden of Delight, also warten wir dies mal ganz entspannt ab. Ich muss immer wieder staunen, mit welcher Schaffenskraft, Tiefe und Konsequenz der Musiker die Merciful Nuns auf ein Level gehievt und installiert hat in den letzten Jahren – Atmosphäre, Sound, Video-Ästhetik und okkulter Überbau eine Synchronität in Sachen Qualität erfahren, die innerhalb des modernen Goth Rock schon ein Alleinstellungmerkmal innehaben. Höre ich „Finistère“, die vielen Stimmungen, Dynamiken, der sogartige Kreislauf zwischen hypnotisch dunklem Trance Rock (‚Astralith‘), der vor Pink Floyd Einflüssen nicht zurück schreckt – klassischen, teils metallischen Goth Rock Zitaten in ‚Occvlanth‘ und ‚The Tower‘ mit sehr gelungenen weiblichen Vocals von Aeleth Kaven, schwebend-sphärisch, brüchig emotionalen Strukturen in ‚The Memorial‘ oder auch ‚Memorial’s Grey‘, dann fällt mir aktuell nichts Vergleichbares innerhalb der dunklen Szene ein. Der konzeptionelle Überbau, die mal erzählerischen, mal emotional berstenden Vocals, textliche Komplexität, Welten die sich offerieren, Fragen die gestellt werden, dunkle Räume die geöffnet werden. Artaud und das hat sich in den letzten Videos/Singles bereits mehrfach angedeutet (u.a. ‚Weltunter‘), weiß einer scheidenden Welt mit einiger Melancholie und Endlichkeit den Spiegel zu offerieren („A Bullet in my Head will bleed – Oh bury me beneath Your Feet..) Komplexität, Transzendenz und ein hohes Maß an verdichteter Atmosphäre innerhalb des visuell, textlichen Inhaltes, vor allem aber in der Musik macht den musikalischen Ausdruck nach dem bereits bärenstarken „Oneironauts“ nochmal tiefer, düsterer und erhabener. Sakrale, von tiefen Sound-Teppichen geprägte Strukturen, Samples und okkulter, fast surreal anmutender Mystik Rock (‚Black Monoliths‘) fundamentieren den Status des Projektes. A.Seth führt leidenschaftlich als Astral-Reisender, Prophet und mahnender Erzähler durchs Szenario. Die Band hat längst ihren kosmisch-transzendenten Sound gefunden und dieser ist wabernd, Nebelverhangen, düster intensiv in jeder Sekunde und wenn Du den verzweifelten Unterton im Titelsong hörst, ob in der normalen Version oder auf der Bonus-CD in einer Art düster ambienten Alternative, weisst Du meine Attribute richtig einzuordnen. Mächtig, mahnend, emotional, dynamisch und absolut Tiefe-generierend bringen Dich die Musiker an ferne Menschenleere Orte, heben Genre-Kategorien spielerisch auf und agieren mal kraftvoll düster, aber auch voller Melancholie verletzlich und entrückt. Jeder Song hat sein eigenes Licht/Finsternis – es fügt sich alles wie von selbst zu einem großen Ganzen und wenn Du so willst, betrachte die knapp 70 Minuten „Finistère“ als das „Elysium“ der Merciful Nuns. Wäre hier Schluss, so sag ich von Herzen: Danke für die musikalischen Reisen.

(R.Bärs)

Source: BLACK Onlinemagazin

Sonic Seducer 11-2025: Divine Art Kalender 2026 + CD: White Lies „Night Light“ +  The Cure + Hocico / Prayers + Merciful Nuns + Moonspell + And One + Nine Inch Nails + Saltatio Mortis + Lord Of The Lost + Mono Inc. & mehr!

Source: Sonic Seducer

Wenn jemand weiß, warum Halloween mehr ist als ein Party-Event mit Plastikspinnen, dann Rod Usher, Frontmann von The Other. Seit über zwanzig Jahren führt er die dunkle Karawane des Horror Punk an – mit Songs, die nach Friedhofsnebel, Blutmond und einem Schuss Glam klingen. Für den Sonic Seducer hat er 13 schaurig-schöne Gründe gesammelt, warum Halloween unser aller Fest ist.

Source: Sonic Seducer

Mit "Lauter Lügen" ft. Hämatom hat das Erfolgsprojekt Dämmerland von Annie Hurdy Gurdy, Hannes Braun (Kissin' Dynamite) und Malte Hoyer (Versengold) eine weitere Single vom kommenden Album ausgekoppelt. Mehr Infos und den Track im Stream hier!

Source: Sonic Seducer

Gothminister haben pünktlich zu Halloween sechs Musikvideos zu einem epischen Film zusammengefasst - "We Come Alive - The Pandemonium Saga" in voller Länge könnt Ihr hier bei uns streamen!

Source: Sonic Seducer

We are the echoes of a memory,
Lost in the ruins of an untold century,
We are the ghosts of a future torn,
In this toxic love, we are reborn.

Crá Croí, the Cork-born duo whose name translates loosely from Irish as “heartache” or “vexation of spirit,” arrive like sirens from the fallout shelter. Their debut single, Radiation Romance, doesn’t introduce itself so much as detonate on site. It’s the sound of two people slow-dancing at the edge of annihilation, spinning through decay with the grace of those who know there’s no tomorrow.

RG, the architect of this collapse, builds with precision, stripped of sentimentality but rich with atmosphere. Guitars slice through the mix like flashbulbs in a blackout, while the synths pulse with a cold luminescence, recalling the industrial heartbeat of the 1980s without succumbing to nostalgia. CD’s thundering voice enters like a flare over the wasteland, singing of doomed affection as if addressing the last transmission from a dead satellite, with a tone both intimate and terminal.

The song unfolds with an unnerving logic; each verse feels like a confession scratched into a bunker wall. The chorus, however, is pure melodic contagion that burrows deep, reminding the listener that even at the end of civilization, people still fall in love, still ache, still burn. Beneath the irony lies a very real tenderness, the kind that festers when hope is in short supply.

Lyrically, Radiation Romance reads like a dispatch from the ruins of a failed utopia. The pair writes of dying stars, broken glass, and the bittersweet act of surviving together in a poisoned paradise. The apocalypse here isn’t a spectacle; it’s domestic. Two lovers trapped in the same echo chamber, holding hands as the Geiger counter ticks out the rhythm of their passion. The song moves beyond despair into something stranger…acceptance, maybe even transcendence.

Visually, Crá Croí complement their sound with imagery that feels torn from a Cold War fever dream. Their accompanying video cloaks them in shadow and static, flickering with fragments of romance and radiation warnings, a collage of beauty and contamination. Every aesthetic decision serves the same thesis: love is radioactive, and we’re all glowing from exposure.

Watch the video for “Radiation Romance” below:

For all its ruin and rubble, Radiation Romance is meticulously built. There’s discipline beneath the disorder. RG and CD, operating entirely outside the machinery of major labels, have forged a complete vision: independent, cerebral, and strangely seductive. If this is their opening salvo, then Crá Croí are not simply playing at apocalypse, they’re documenting it, bottle by bottle, kiss by kiss, beat by beat, until the lights finally go out.

Listen to the single below, and order here

Radiation Romance by Crá Croí

Follow Crá Croí:

Facebook
Instagram
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TikTok
LinkTree

The post A Lovesong for Endtimes — Cork Post-Punk Duo Crá Croí Make a Stellar Debut With “Radiation Romance” appeared first on Post-Punk.com.

Source: Post-Punk.com