There is no time to stay and decide about the monster
it’s time to burn this village to the ground

Daniel Ouellette’s A Song for an Evacuation (There’s Another Monster in Town!) unfolds like a dispatch from a civilization perpetually rehearsing its own demise. It is exuberant, eccentric, and calculated in its chaos; a jubilant panic attack set to music. Ouellette, long known for his theatrical verve and his fondness for linguistic gymnastics, turns catastrophe into choreography, panic into pop.

The track opens with an almost ceremonial pulse, a rhythm both danceable and disquieting. Jenny Rae Mettee (Fun Never Starts) supplies a brilliant bed of synths that bubble, bounce, and periodically short-circuit, while Peter Linnane’s mastering preserves the track’s sharp edges and sense of spatial drama. The arrangement is tight yet elastic, each element pushing forward with purpose, never collapsing under its own exuberance.

Lyrically, the piece feels like a parable for an age addicted to urgency. Ouellette’s booming, operatic baritone narrates a collective sprint toward survival as strange sounds, jolts, and zaps signal disaster. His delivery oscillates between alarm and amusement. The citizens in his tale, tripping on their high heels, are both participants and spectators in their undoing. The refrain of regret – those who failed to turn around – reads like commentary on contemporary paralysis. Fear, he implies, has become our most reliable civic organizer.

Beneath the humour lies a clear-eyed critique. Ouellette constructs a carnival where the rides spin faster each year, powered by our own appetite for alarm. The “monster” is less a creature than a condition: a collective frenzy fed by endless news cycles, algorithmic agitation, and performative panic. It’s a study in feedback loops: how dread becomes data, how hysteria finds rhythm.

The video complements this absurdist anthropology. A fevered montage of silent film fragments, newsreel debris, and horror cinema archetypes collides across the screen. Faces of Lon Chaney and Boris Karloff flicker between collapsing architecture and staged explosions, as if early Hollywood were trying to warn us about the present. The result is a cultural palimpsest; centuries of spectacle compressed into a few manic minutes. Destruction, it suggests, has always been a form of entertainment, and perhaps the only constant audience is the one cheering through the smoke.

Watch the video for “A Song for an Evacuation (There’s another monster in town!)”

A Song for an Evacuation (There’s Another Monster In Town!) stands as a peculiar kind of pop journalism, broadcasting from the border between satire and prophecy. Ouellette offers neither comfort nor resolution. Instead, he gives us a mirror that moves to the beat: a dance of destruction, scored for the age of anxiety.

Listen to the single below and purchase it here.

A Song for an Evacuation (There’s another monster in town!) by Daniel Ouellette

Follow Daniel Ouellette:

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The post New Wave Cantor Daniel Ouellette Returns with Emergency Dispatch: “A Song for an Evacuation (There’s another monster in town!)” appeared first on Post-Punk.com.

Source: Post-Punk.com

There is no time to stay and decide about the monster
it’s time to burn this village to the ground

Daniel Ouellette’s A Song for an Evacuation (There’s Another Monster in Town!) unfolds like a dispatch from a civilization perpetually rehearsing its own demise. It is exuberant, eccentric, and calculated in its chaos; a jubilant panic attack set to music. Ouellette, long known for his theatrical verve and his fondness for linguistic gymnastics, turns catastrophe into choreography, panic into pop.

The track opens with an almost ceremonial pulse, a rhythm both danceable and disquieting. Jenny Rae Mettee (Fun Never Starts) supplies a brilliant bed of synths that bubble, bounce, and periodically short-circuit, while Peter Linnane’s mastering preserves the track’s sharp edges and sense of spatial drama. The arrangement is tight yet elastic, each element pushing forward with purpose, never collapsing under its own exuberance.

Lyrically, the piece feels like a parable for an age addicted to urgency. Ouellette’s booming, operatic baritone narrates a collective sprint toward survival as strange sounds, jolts, and zaps signal disaster. His delivery oscillates between alarm and amusement. The citizens in his tale, tripping on their high heels, are both participants and spectators in their undoing. The refrain of regret – those who failed to turn around – reads like commentary on contemporary paralysis. Fear, he implies, has become our most reliable civic organizer.

Beneath the humour lies a clear-eyed critique. Ouellette constructs a carnival where the rides spin faster each year, powered by our own appetite for alarm. The “monster” is less a creature than a condition: a collective frenzy fed by endless news cycles, algorithmic agitation, and performative panic. It’s a study in feedback loops: how dread becomes data, how hysteria finds rhythm.

The video complements this absurdist anthropology. A fevered montage of silent film fragments, newsreel debris, and horror cinema archetypes collides across the screen. Faces of Lon Chaney and Boris Karloff flicker between collapsing architecture and staged explosions, as if early Hollywood were trying to warn us about the present. The result is a cultural palimpsest; centuries of spectacle compressed into a few manic minutes. Destruction, it suggests, has always been a form of entertainment, and perhaps the only constant audience is the one cheering through the smoke.

Watch the video for “A Song for an Evacuation (There’s another monster in town!)”

A Song for an Evacuation (There’s Another Monster In Town!) stands as a peculiar kind of pop journalism, broadcasting from the border between satire and prophecy. Ouellette offers neither comfort nor resolution. Instead, he gives us a mirror that moves to the beat: a dance of destruction, scored for the age of anxiety.

Listen to the single below and purchase it here.

A Song for an Evacuation (There’s another monster in town!) by Daniel Ouellette

Follow Daniel Ouellette:

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Facebook
Bandcamp

The post New Wave Absurdist Daniel Ouellette Returns with Emergency Broadcast: “A Song for an Evacuation (There’s another monster in town!)” appeared first on Post-Punk.com.

Source: Post-Punk.com

Happy Halloween! Here’s a perfect anthem for your next nocturnal excursion: Not Under Your Spell by New York’s Frenchy and the Punk. The track bursts to life with a jolt—the kind that shakes you awake from a long sleep of compliance. The beat lands like a boot on a floorboard, sharp and deliberate, as Scott Helland’s guitar sears through the rhythm—lean, tense, and propulsive. Behind it, a synth line flickers like a fuse, ticking with the precision of a metronome set to rebellion.

Samantha Stephenson commands the microphone like a general addressing her legion of survivors. Her voice rises with the authority of conviction, each phrase a rallying cry against inertia. “Keep going if you’re going through hell,” she urges, and it sounds less like advice than a challenge hurled at the abyss. Her tone carries the urgency of lived experience, the cadence of someone who has learned to alchemize exhaustion into fire.

Scott Helland’s guitar answers with precision and pulse. A veteran of Western Massachusetts’ early hardcore punk scene, having played alongside J Mascis and Lou Barlow in Deep Wound, he brings a sense of economy to every riff. His playing isn’t ornamental; it’s architectural, building the scaffolding upon which Stephenson’s stunning vocal command ascends. The percussion hits with industrial resolve, the bassline anchoring everything in relentless motion.

What makes Not Under Your Spell magnetic is its synthesis of opposites: the mechanical and the human, the disciplined and the feral. Its structure is tight, but its emotion wild. The production feels alive with tension; every downbeat another small victory against defeat. It recalls the spirit of Siouxsie and The Banshees or The Damned.

The accompanying DIY video, shot and edited by the pair, captures a fevered montage of life on the road: clubs, highways, faces, fleeting moments, all dissolving into one restless reel of memory. It’s the visual echo of the song’s heartbeat: constant motion, perpetual renewal.

Watch the video for “Not Under Your Spell” below:

Formed in New York City in 1998, Frenchy and the Punk are the enduring partnership of French-born dancer and vocalist Samantha Stephenson and American guitarist Scott Helland. Together, they’ve forged an art-driven existence that blends punk, performance, and perseverance. From coffeehouses to festivals, they’ve carried their defiant energy across continents, building a devoted following on authenticity alone.

Their latest release, and first with Distortion Productions, captures everything that defines them. Not Under Your Spell is a commandment in 4/4 time: dance through the fire, sing through the fatigue, and keep moving until the spell breaks.

The duo has forged their own distinct path, touring the US and Europe with their artful two-person powerhouse of sound. To date, they’ve performed with Dead Can Dance’s Peter Ulrich and Dresden Dolls’ Brian Viglione, Thomas Dolby, Dinosaur Jr., The World Inferno Friendship Society, Rasputina, Cruxshadows, Aurelio Voltaire and Faun.

Listen to Not Under Your Spell below and order the single here.

Not Under Your Spell by Frenchy and the Punk

Follow Frenchy and the Punk:

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The post Frenchy and the Punk Forge Ahead in Their Video for Post-Punk Anthem “Not Under Your Spell” appeared first on Post-Punk.com.

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  Russian cinamtic post-rock outfit IWFYLS had spent the summer teasing the Without/Within album, which has not only arrived, but is supplemented with a full live performance of its 10 tracks. Recorded live at Omni Space in Beijing on December 29, 2024, the show can be viewed on YouTube as a demonstration of the band’s audiovisual presentation [..]

Source: RE:GEN Mag

  Vocalist/lyricist Diana Sawicka and producer/composer Fabian Filiks have teamed up to begin a new dark electronic project called The New Flesh, with “Don’t Make Me Wait” as the duo’s first single. With the band’s name referencing David Cronenberg’s Videodrome, so too does the lyrical and visual themes [..]

Source: RE:GEN Mag

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

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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.

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Wenn Ende November die Nächte noch länger werden, öffnet sich eine Tür, die besser verschlossen geblieben wäre – eine rote, um genau zu sein. Hinter ihr wartet...

Source: MedienKonverter

Piero Fragola’s Concrete Noir flickers between frequencies of lust, loss, and low-end revelation. Romance Ruins, the debut album and first release on the freshly minted Frequens Records, plays like a séance for the 21st century’s burnt-out romantics – those who still believe in beauty, even when it’s covered in the ashes of incinerated memory.

Fragola, a multimedia conjurer already known for We Love (on Ellen Allien’s BPitch Control) and ANGLE (Tiptop Audio Records), now builds his church of sound with modular bones from Florence, Italy. Every pulse and throb is hand-soldered on Tiptop Audio’s ART modular system: no presets, no shortcuts, just voltage sculpted into poetry. These aren’t skeletal sketches or aimless drones; they’re full-blooded songs that move with menace and grace, like a nightclub sermon from the ruins of Berlin or Florence.

Dream, the album’s eerie centerpiece, arrives like a broadcast from inside a cracked porcelain doll. The accompanying video could have been directed by Jan Švankmajer in collaboration with a sleep-deprived AI. Puppets twist and twitch, rooms decay under spectral light, and Fragola’s voice drifts through the static: neither machine nor man, but something caught in between. There’s a peculiar tenderness to it, a soft pulse beneath the mechanical ritual. It’s the sound of longing reassembled from spare parts.

Watch the video for “Dream” below:

Across Romance Ruins, Fragola smuggles melody into the machinery. The synths press against you, dense and deliberate. The beats hit with physical authority, as if the speakers were trying to remind you that electricity still has weight.  Romance Ruins feels like an art installation disguised as an album; each track a projection of emotion into circuitry. His background as a designer and lecturer seeps through every texture: this is not music made for playlists but for rooms, for bodies, for the kind of nights when time seems elastic and your pulse syncs to the bass.

The conceptual throughline, romanticism as destruction and rebirth, is delivered through instinct. Fragola’s romantic hero isn’t a Byronic dreamer, rather a scavenger, piecing together fragments of passion from electronic wreckage. The “ruins” in the title are of meaning itself.

Listen to Dream below and preorder Romance Ruins here.

Romance Ruins by Concrete Noir
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The post Puppets Twist Under Spectral Light in Italian Darkwave Act Concrete Noir’s Video for “Dream” appeared first on Post-Punk.com.

Source: Post-Punk.com

Some days are full, and you’re let down and lonely

A speck light, is breakin’ in

A new death, a new rise, a new dread, it’s all the same

A sent from the gutter with clear blue eyes

In Copenhagen, heartbreak becomes a form of architecture. On As It Reels, Catcase builds cathedrals out of absence, each song a room where desire and regret circle like moths. The six-piece doom-pop collective, once the private sketchbook of Lasse B. Beck, now hums with the pulse of a full-blooded band exorcising quiet ruin through melody.

Beck wrote these songs in the strange, airless days between Christmas and New Year’s Eve 2024. “It’s not an album that seeks to provide answers,” he says. “It is more of a mirror, reflecting the listener’s darkest moments and most hidden victories.” That mirror glows with distortion. The guitars shimmer with jangle that recalls The Go-Betweens and The Pastels, while the bass throbs in the lineage of Bleary Eyed and Strange Ranger. Synths sigh with the kind of grandeur once worshipped by Spiritualized, and Beck’s voice quivers through the ache like Molina after too many cigarettes.

The band channels the ghosts of alternative pop’s golden decades: the clean ache of sophisti-pop, the Motorik pulse of post-punk, the glittering sadness of early alt-dance…and fuses them into something immediate and lived-in. These aren’t references; more like hauntings: hints of The Church’s narcotic glow, Smashing Pumpkins’ wounded beauty, the cinematic melancholy of Nyxy Nyx, the doomed romanticism of The Tubs.

Technicolored Eyes, the first single from the album, opens like dawn breaking over hangovered streets. “The track draws inspiration from The Church’s Priest = Aura era, the Japanese horror-game composer Akira Yamaoka (Silent Hill in particular), Underworld, and a good measure of Smashing Pumpkins,” Beck explains. You can hear that insomnia in the bones of it: the bass moves like a heartbeat under glass; guitars smear the horizon; strings shimmer like a light you can’t quite reach.

The lyrics move through ruin, grace, and reawakening. The central figure burns, rebuilds, then rises “golden,” unbroken, untamed.

Beck recalls “walking home as the sun rises, overwhelmed, filled with this night’s experiences… in a stream of consciousness, where the night’s ordeals feel like a humming mass of impressions.” The track captures that dissolving moment — when last night still clings to your clothes but daylight is already accusing you of memory. “This once uplifting, driving wave of memories and self-understanding seeps away, becoming darker, more self-conscious.”

Listen to Technicolored Eyes below and pre-order As It Reels here.

Technicolored Eyes by Catcase

Recorded with producer Kristian Alexander at the Royal Danish Academy of Music, As It Reels sounds like the private journal of a music obsessive who’s been underlining the same lyric for years. There’s the quiet grandeur of The Go-Betweens’ Tallulah, the devotional swell of Spiritualized’s Ladies and Gentlemen We Are Floating in Space, and the contemporary ache of bands like Wishy and Bambara. Eschewing nostalgia, Beck reanimates his record collection: As It Reels feels like the work of someone learning how to be human again: tender, exhausted, alive.

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The post Copenhagen Ensemble Catcase Release Shimmering Doompop Single “Technicolored Eyes” appeared first on Post-Punk.com.

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In a cultural moment where music feels embalmed in its own nostalgia, Ash Barrett’s UNCAGED tears through the embalming fluid, howling like a poltergeist trapped in a pawn shop. It’s a record made of splinters and stubbornness, of busted amps and barbed emotion: equal parts junkyard liturgy and industrial exorcism.  UNCAGED is dirty and authentic…a grease-stained rebuttal to the sterile perfectionism of algorithmic music culture. Tired of the same cookie-cutter 80s nostalgia, Barrett is getting right down to the real nitty-gritty: the genesis of rock n’ roll itself. Barrett’s sound smashes the spectral lineage of Einstürzende Neubauten and Fad Gadget against the feral pulse of John Lee Hooker tapes played through a broken speaker. NOW we’re talking.

Beneath the chaos is a slick kind of order; a radical correction in the economy of authenticity. Barrett’s process, recorded on a battered Tascam eight-track with no EQ, no compression, and no pretense, re-centres music as a form of psychic survival rather than content production. That raw immediacy made UNCAGED the perfect inaugural release for Feral Crone Recordings, a new label devoted to risk, resilience, and the ruinous beauty of art that refuses to behave. Together, Barrett (very much ex-Tassel) and Sam An (Lana Del Rabies) are building a home for the dispossessed frequencies of the underground: the sound of resistance for a 21st century dystopia thrust upon us.

Listen to UNCAGED below and order the album here.

UNCAGED by Ash Barrett

For Sam An, Feral Crone is an act of insurgency. In an era when streaming platforms bleed artists dry and “independent” labels play by corporate rules, An wants to rebuild the sense of community that once kept the underground alive. Her vision is to connect outliers across genres and geographies: musicians, noise-makers, and experimenters who refuse to turn their pain into product. She’s cultivating solidarity, creating a refuge where artists can share resources, push boundaries, and survive the machinery that’s designed to chew them up.

In a very candid but brilliant interview, Barrett and An talk about the genesis of Feral Crone Recordings, Barrett’s new album UNCAGED, and their plans for what’s to come.

Interview with Ash Barrett:

UNCAGED marks your debut as a solo artist after your work with Tassel. What creative impulses or frustrations pushed you to break out on your own and explore new territory with this record?

I’ve always made things stream-of-consciously, like automatic writing or something. Some might deem that as “witchcraft” or some shit, but it’s just a loss of control and a lack of thinking. I just let shit flow and use whatever gear I can get my hands on, like Oujia board. I believe in God in my own weird little way, so it’s not evil – it’s a channel. If I try too hard, it winds up being fucking terrible, so everything is an accident. 

I didn’t even plan to make a record, but this record is really sour. Being around this mentality for so long of everything having to be mixed perfectly, fuck that – I made this whole record on a digital eight track with no EQ and no compression. Woven Barbed Wire crashed some bullshit AI plug-in anyways. You can’t tell what’s real anymore with AI and shit, but you can tell that my record is real. It’s grease under the fryer at your dead end job that you scrape into the garbage and sounds like a trashcan, it’s fucking human. 

Like half or more of the last tassel record wasn’t made with any intention. Like Drag was made during a night where there’s that fucked-up feeling of humidity, weird fucking shit happening around you, not just physical or interpersonal shit but the spiritual energy that’s encrypted in everything. I was probably having a panic attack, smoking Lucky Strikes and drinking those Circle K two dollar mixed drinks, spending my nights in a parking lot with some broken yellow street light strobing out against the concrete. It was made in like five minutes. Most of the sounds are just my voice. Total accident. 

I hated being in that band, though I love Tracy (a member of Tassel) forever. I’m really grateful for the rad people I’ve met. I mean, the last tour was fantastic, but I look around now and I rarely see anything I can relate to. The direction of UNCAGED just happened really, I mean after the tour all I could listen to was my John Lee Hooker tapes. I was sick of four on floor kicks and the 80s thing. I hate the 80s, I don’t even know the 80s, I grew up in the 2000s, it seems like everyone has forgotten about the Now, but I ultimately support anyone doing any form of self expression because that shit is medicine.

I don’t care to be a marketable “hot” person, whatever the fuck that means. I’m me, scars, cysts, pus and all, take it or leave it. You have to say go fuck yourself and fight back in the way you know how. I make records and play shows. I’ll show you a freak.

 

The album title suggests liberation or transformation. What does that concept mean to you personally, and how does it play out sonically or thematically across the record?

I really don’t know, I think records are like psychic documents. I broke a cycle of domination and atrophy and put it in the grave. The album is big, bad and fucking loud. I wanna hear what people think it means to them. I make healing music. It’s like exposure therapy. On the last tour I had experiences that never happened before in the band, I mean the last half of the set I was so just fucking out of it, no drugs involved, just all these old wounds were coming up. We all have our dark shit and this is the release. This is how you transform outta that shit and take your power back from all that wickedness.

 

Having come from the industrial world with Tassel (which was itself a band that evolved in style and genre), how did your production approach evolve for this project? Were there any specific sounds, instruments, or emotional states you wanted to highlight or move away from?

In Tassel, a lot of stuff was made on GarageBand for iPhone, Tracy started that. It was what was available at the time. On the last record we also used this computer that had an “activate windows” sign on it the entire time. We only had sixteen tracks and two sends cause that’s all I could afford, but that’s more than enough. A lot of tassel was also midi, cause that was what worked at the time, but we were sampling sounds from places we worked at and shit or my voice. UNCAGED was recorded almost entirely live on a Tascam digital 8-track that I got when I was sixteen while I worked at Safeway. Staring at a computer screen made me sick, having too many options made me bored, I just wanted to plug in. It was about how I played the physical instruments, not the effects. 

All the effects on the record are the shit that people were doing in the 50s, like in Memphis with Sun Records and shit. Reverb, Delay, Distortion. Boom, now I got a record. Nothing else. The bass and guitars weren’t tuned a single time during the recording of the album, all the vocals are a first take. I just had to relisten to the record to figure out what the fuck I was saying to write out the lyrics cause I was just coming up with all this shit on the spot. 

I was possessed by this really weird fucking energy, that’s why it sounds like falling into barbed wire and getting dragged through piss, shit, pus and blood. Before Tassel released the Steel Patch EP, I was making this gritty concrete music, then I lost sight of important aspects of myself and it just wasn’t the right time for that anyways. 

I definitely have never thought of myself as goth or anything like that, I mean I dig a lot of that early stuff but I like so much shit. One of the biggest influences in my life is Public Enemy, a lot of people would compare tassel to NIN and I would have to go, no you’re wrong, go listen to M.P.E. I don’t make genre records, I don’t make shit to fit in ‘cause even to the freaks, I’m a fucking freak. If you never had a chance, why waste it?

You’re releasing UNCAGED on Halloween, a date with strong symbolic weight for rebirth, ritual, and the uncanny. Was the timing intentional, and does the record carry any of that seasonal or spiritual resonance?

It wasn’t intentional at first, but it was totally fitting. My Octobers are always weird and haunted. Originally I was like, okay I want this to come out on October 3rd, so I made the second half of the record in two days. I wasn’t even planning to put it out when it was (just the tracks) KISS SUCK HOSPITAL through BASEMENT, but Sam An really believed in it and was starting her label Feral Crone Recordings and wanted to put it out. Then out of nowhere, this “guiding light” filled me and I recorded LUST UNLUST, GLUTTONY, BANG, NO PORNOGRAPHY and PUNISHMENT in two days. I then went down to the Pasadena Public Library and used their computer to bounce out my shit for Tracy to master it. That’s not to say there’s no significance, it’s like guiding spirits. I wound up just being like okay, let’s put it out on Halloween, I fucking love Halloween, it so happened to be a Friday, I didn’t even know. I guess I can say my visions were right. 

Something Sam and I talked about a lot was how October is a time where the veil is lifted and more is revealed. I’ve already seen it, the seedy shit in LA, which was like that film SE7EN or something. I mean, after finishing the record, I wound up driving 24 hours straight to a small town in the middle of nowhere in the South to reconnect and see my family after a long while. After so much time away, I almost forgot about certain things. Now we’re smoking cigarettes on the porch and drinking coffee, C4 energy drinks and I’m hauling and selling scrap metal to scrap yards. I mean I grew up white trash, the fact that I’m even here or that I’ve toured or had a record on vinyl is insane, I’m really grateful. I thought I would’ve been killed by now. I don’t have control over the records, it’s something else, it really is, I just edit everything down. I have this fucking weird psychic or whatever you wanna call it thing, my mom was found by kids in a paper bag in a dirt lot in Glendale as a newborn baby with the placenta still on her, just left there. Who knows where we come from. But all that to say, I think the record is perfect for Halloween, for rebirth. 

In Tassel, people saw this version of me live, deep throating a mic, dragging myself across the stage covered in fake blood, wrapped in duct tape, with barbed wire around my cock like a chastity cage. It was honest, but it was like a ghost. An entity. This record, I killed off a certain kind of wickedness I’ve seen time and time again in my life, by saying, “this is for the fucking freaks.”

Feeling disgust and hatred, music fuses it into love, for the estranged. I hope people feel relief when they hear this shit, cause punk and rock n’ roll has always been the thing I went to sleep with. When you have no one, or you’re living in fear of losing your life, it’s that energy that drives the natural instinct to survive.

Were there any specific moments during the making of UNCAGED, a breakthrough, a challenge, or a revelation, that felt like the heart of the album for you?

Oh definitely. I lived so many life times while making this record. The first chunk was made in my empty apartment in Phoenix when I was completely alone and like I didn’t talk to hardly anyone, the life I had previously, which was killing me, was completely erased, people and all. I don’t mean loneliness as if it’s bad, to be clear. I was recording these songs then going out in the street to smoke cigarettes while I was mixing them down to one track by hand, turning knobs and shit, like making a dub record while people were just watching me from the end of the street while I’m mixing this record. 

I seriously didn’t think this record was going to come out, I was done with it so many times, just not interested. My spiritual path only progressed as I finished it, so who fucking knows. This probably sounds like some hippie shit, but I can assure you I’m anything but that. 

PUNISHMENT, I’ve never heard anything that harnesses the sound of domination so clearly. Not just physical and sexual, but when you’re poor and there’s people with money around you and you’re at their bidding, when you have nowhere to go, so you have to neglect yourself for someone else’s pleasure. 

When I first listened to it I had a vision of a kid, like Michael Myers in the Rob Zombie remake, just going insane in their bedroom with nothing in it realizing they’re queer, this kid just just sits in the same corner and stares at the ground in trance and intensity, cause mom’s working doubles at the grocery store and is never home. That’s PUNISHMENT. My records are for those kids.

Interview with Sam An:

Feral Crone Recordings launches with UNCAGED as its first release. What inspired you to create the label, and what kinds of artists or sounds do you hope to champion under its banner?

I’ve known for years that some of my motivation for building opportunities for myself as an artist was a part of a long term plan I’ve had to be able to connect and platform other artists in music and other mediums. 

I used to curate DIY art shows before starting Lana Del Rabies, and I have always been energized by connecting artists and musicians from scenes that normally wouldn’t interact. I like to do this a lot in my own work, whether it is for the promo materials Lana Del Rabies releases, or remix albums that pull together artists from completely different subcultures. 

Collaboration brings a lot of resources, perspectives and skills that underground art and artists need to survive, I think. Artists (especially musicians) tend to stay in their lanes of who they are around the most or who their most accessible audience is, which makes sense, but it doesn’t do anything for the culture.

I do think in times where (especially in the USA) there is dwindling support for music/art that doesn’t exist solely as a product, and younger artists are struggling more, starting a label that prioritizes the conviction and quality of dark, risk-taking music and art over genre purity and internet aesthetic trends seems important. 

I also enjoy expanding the horizons of music fans, which I think is especially important now, given how risk-averse and algorithmic the music industry has become in the last five years or so. 

I’ve had to figure out a lot myself in terms of getting my work out there because it doesn’t fit  more genre-oriented labels. I think it’s a good time to use my resourcefulness for something bigger.

The name Feral Crone conjures imagery of power, age, rejection of social norms, and the wild feminine. How does that symbolism tie into your vision for the label’s identity and community?

I don’t think those themes were entirely conscious with choosing the name but it makes sense, they’re relevant to the ethos of the label. I had “feral crone” in my bios online because it summed up my “deal” as an artist and my personality that was also amusing to me (I need to have a sense of humor about things). Some people actually already thought that was a label I was on. 

I call myself that because I have always been a bit rogue in how I do things as a person and in my art. Despite the ability to connect with a lot of different communities, I have always had to build things myself because I can’t compromise my work for an easier path. I am also used to being misunderstood and I know the name “Lana Del Rabies” didn’t make that any easier on my career. 

I also have stuck it out with my work and had to personally evolve during some chaotic times, so that is where the “Crone” part comes in I think. It’s less about gender and more about being willing to become wiser and more authentic on the less obvious path. “Feral” is more about being drawn to risks and real, raw expression. 

Feral Crone Recordings is a platform for artists who are dedicated to making music (and other art forms) with those values. It is likely going to be a platform for my work as well, but the intention long term is to build a community of artists and fans that want more from dark music.

There is a specific quality, dedication, and realness I am seeking in the artists I want to work with long term. I am hoping to connect those artists with each other and a global community that appreciates them. 

What made Ash Barrett and UNCAGED the right starting point for the label’s catalogue? Was there something about this album that encapsulated the ethos you want Feral Crone to represent?

Honestly, UNCAGED and Ash are the main reason I started the label at this moment. Feral Crone was more of a “in the next five years” thing, but the right circumstances came up quickly to do it now with that record. 

Ash and I are both from Arizona and his former band Tassel were an important part of platforming a sort of “comeback” that Lana Del Rabies had. Phoenix was a difficult place to be as an artist in the peak pandemic years, and Tassel was one of the few bands that I felt were trying things in a smart way in dark music. I appreciated their support a lot.

Ash and I have a lot in common in terms of our visions for the future of music and our motivations for creating and performing. We’ve talked a lot about how the kind of upbringings we each had in Arizona gave us a type of survivalist grit when it comes to our art as well.

UNCAGED is a record that was fervently made by him because it simply had to be. I could describe it in genre-jargon cliches, but I’d prefer that people approach it without any preconceptions. 

I will say that I have a lot of respect for the confrontational output Ash has that still holds a very intentional vision, artistically. Especially considering the platform Tassel had, he could have easily created a more digestible record if his intentions prioritised short-term virality and making popular “content”, and I’m glad that he didn’t.

You’ve long been known for your own experimental work as Lana Del Rabies. How has stepping into the role of label founder shifted your relationship with music, collaboration, and artistic control?

…Collaboration, resource building, and perspective-broadening are kind of the point for me as an artist and a person who bridges different scenes and artistic mediums. Any success I have wanted or built for myself has honestly had a bigger goal of being connected to something more meaningful than the depressing hellscape of our current global reality.

The biggest difference for me as a label runner versus being an artistic collaborator is implementing tools to set artists up for success and staying out of the way artistically, unless they are seeking that kind of advice. 

I think a lot of artists these days, especially younger ones, are expected to make their work for the internet. To keep my project going, I have had to learn the rules of the internet and the industry and make them work for me or break them altogether.

I am interested in being able to take what is special about these artists and art and to communicate that effectively to people who may not normally seek them out. I also want to experiment with new and old ways of letting artists express themselves that don’t beholden them to streaming numbers and views.

Obviously numbers have a factor in the longevity of a career, but there is a space between the niches of obscure music and resonating with audiences around the world. I would like Feral Crone to occupy and support artists in that space.

As the label grows, do you envision Feral Crone Recordings as primarily a home for artists in the industrial/experimental realm, or are you aiming to blur genre boundaries even further?

Genre is not a priority with the label. Obviously I am more drawn to dark art and music, and I find music that innovates upon genres much more inspiring. I feel lucky to have started my project in a time where “internet music” meant making sounds that had never been heard before and having the ability to share them with the world, instead of making 30 second soundtracks for outfit tutorials. People can like those things, but that shouldn’t be the main function of music, which somehow is where we are culturally right now. 

Follow Ash Barrett:

Instagram
TikTok
YouTube

Follow Feral Crone Recordings: 

Instagram
YouTube
Bandcamp

The post UNCAGED — A No-Holds-Barred Interview With Ash Barrett on His Debut With Feral Crone Recordings appeared first on Post-Punk.com.

Source: Post-Punk.com

In a cultural moment where music feels embalmed in its own nostalgia, Ash Barrett’s UNCAGED tears through the embalming fluid, howling like a poltergeist trapped in a pawn shop. It’s a record made of splinters and stubbornness, of busted amps and barbed emotion: equal parts junkyard liturgy and industrial exorcism.  UNCAGED is dirty and authentic…a grease-stained rebuttal to the sterile perfectionism of algorithmic music culture. Tired of the same cookie-cutter 80s nostalgia, Barrett is getting right down to the real nitty-gritty: the genesis of rock n’ roll itself. Barrett’s sound smashes the spectral lineage of Einstürzende Neubauten and Fad Gadget against the feral pulse of John Lee Hooker tapes played through a broken speaker. NOW we’re talking.

Beneath the chaos is a slick kind of order; a radical correction in the economy of authenticity. Barrett’s process, recorded on a battered Tascam eight-track with no EQ, no compression, and no pretense, re-centres music as a form of psychic survival rather than content production. That raw immediacy made UNCAGED the perfect inaugural release for Feral Crone Recordings, a new label devoted to risk, resilience, and the ruinous beauty of art that refuses to behave. Together, Barrett (very much ex-Tassel) and Sam An (Lana Del Rabies) are building a home for the dispossessed frequencies of the underground: the sound of resistance for a 21st century dystopia thrust upon us.

Listen to UNCAGED below and order the album here.

UNCAGED by Ash Barrett

For Sam An, Feral Crone is an act of insurgency. In an era when streaming platforms bleed artists dry and “independent” labels play by corporate rules, An wants to rebuild the sense of community that once kept the underground alive. Her vision is to connect outliers across genres and geographies: musicians, noise-makers, and experimenters who refuse to turn their pain into product. She’s cultivating solidarity, creating a refuge where artists can share resources, push boundaries, and survive the machinery that’s designed to chew them up.

In a very candid but brilliant interview, Barrett and An talk about the genesis of Feral Crone Recordings, Barrett’s new album UNCAGED, and their plans for what’s to come.

Interview with Ash Barrett:

UNCAGED marks your debut as a solo artist after your work with Tassel. What creative impulses or frustrations pushed you to break out on your own and explore new territory with this record?

I’ve always made things stream-of-consciously, like automatic writing or something. Some might deem that as “witchcraft” or some shit, but it’s just a loss of control and a lack of thinking. I just let shit flow and use whatever gear I can get my hands on, like Oujia board. I believe in God in my own weird little way, so it’s not evil – it’s a channel. If I try too hard, it winds up being fucking terrible, so everything is an accident. 

I didn’t even plan to make a record, but this record is really sour. Being around this mentality for so long of everything having to be mixed perfectly, fuck that – I made this whole record on a digital eight track with no EQ and no compression. Woven Barbed Wire crashed some bullshit AI plug-in anyways. You can’t tell what’s real anymore with AI and shit, but you can tell that my record is real. It’s grease under the fryer at your dead end job that you scrape into the garbage and sounds like a trashcan, it’s fucking human. 

Like half or more of the last tassel record wasn’t made with any intention. Like Drag was made during a night where there’s that fucked-up feeling of humidity, weird fucking shit happening around you, not just physical or interpersonal shit but the spiritual energy that’s encrypted in everything. I was probably having a panic attack, smoking Lucky Strikes and drinking those Circle K two dollar mixed drinks, spending my nights in a parking lot with some broken yellow street light strobing out against the concrete. It was made in like five minutes. Most of the sounds are just my voice. Total accident. 

I hated being in that band, though I love Tracy (a member of Tassel) forever. I’m really grateful for the rad people I’ve met. I mean, the last tour was fantastic, but I look around now and I rarely see anything I can relate to. The direction of UNCAGED just happened really, I mean after the tour all I could listen to was my John Lee Hooker tapes. I was sick of four on floor kicks and the 80s thing. I hate the 80s, I don’t even know the 80s, I grew up in the 2000s, it seems like everyone has forgotten about the Now, but I ultimately support anyone doing any form of self expression because that shit is medicine.

I don’t care to be a marketable “hot” person, whatever the fuck that means. I’m me, scars, cysts, pus and all, take it or leave it. You have to say go fuck yourself and fight back in the way you know how. I make records and play shows. I’ll show you a freak.

 

The album title suggests liberation or transformation. What does that concept mean to you personally, and how does it play out sonically or thematically across the record?

I really don’t know, I think records are like psychic documents. I broke a cycle of domination and atrophy and put it in the grave. The album is big, bad and fucking loud. I wanna hear what people think it means to them. I make healing music. It’s like exposure therapy. On the last tour I had experiences that never happened before in the band, I mean the last half of the set I was so just fucking out of it, no drugs involved, just all these old wounds were coming up. We all have our dark shit and this is the release. This is how you transform outta that shit and take your power back from all that wickedness.

 

Having come from the industrial world with Tassel (which was itself a band that evolved in style and genre), how did your production approach evolve for this project? Were there any specific sounds, instruments, or emotional states you wanted to highlight or move away from?

In Tassel, a lot of stuff was made on GarageBand for iPhone, Tracy started that. It was what was available at the time. On the last record we also used this computer that had an “activate windows” sign on it the entire time. We only had sixteen tracks and two sends cause that’s all I could afford, but that’s more than enough. A lot of tassel was also midi, cause that was what worked at the time, but we were sampling sounds from places we worked at and shit or my voice. UNCAGED was recorded almost entirely live on a Tascam digital 8-track that I got when I was sixteen while I worked at Safeway. Staring at a computer screen made me sick, having too many options made me bored, I just wanted to plug in. It was about how I played the physical instruments, not the effects. 

All the effects on the record are the shit that people were doing in the 50s, like in Memphis with Sun Records and shit. Reverb, Delay, Distortion. Boom, now I got a record. Nothing else. The bass and guitars weren’t tuned a single time during the recording of the album, all the vocals are a first take. I just had to relisten to the record to figure out what the fuck I was saying to write out the lyrics cause I was just coming up with all this shit on the spot. 

I was possessed by this really weird fucking energy, that’s why it sounds like falling into barbed wire and getting dragged through piss, shit, pus and blood. Before Tassel released the Steel Patch EP, I was making this gritty concrete music, then I lost sight of important aspects of myself and it just wasn’t the right time for that anyways. 

I definitely have never thought of myself as goth or anything like that, I mean I dig a lot of that early stuff but I like so much shit. One of the biggest influences in my life is Public Enemy, a lot of people would compare tassel to NIN and I would have to go, no you’re wrong, go listen to M.P.E. I don’t make genre records, I don’t make shit to fit in ‘cause even to the freaks, I’m a fucking freak. If you never had a chance, why waste it?

You’re releasing UNCAGED on Halloween, a date with strong symbolic weight for rebirth, ritual, and the uncanny. Was the timing intentional, and does the record carry any of that seasonal or spiritual resonance?

It wasn’t intentional at first, but it was totally fitting. My Octobers are always weird and haunted. Originally I was like, okay I want this to come out on October 3rd, so I made the second half of the record in two days. I wasn’t even planning to put it out when it was (just the tracks) KISS SUCK HOSPITAL through BASEMENT, but Sam An really believed in it and was starting her label Feral Crone Recordings and wanted to put it out. Then out of nowhere, this “guiding light” filled me and I recorded LUST UNLUST, GLUTTONY, BANG, NO PORNOGRAPHY and PUNISHMENT in two days. I then went down to the Pasadena Public Library and used their computer to bounce out my shit for Tracy to master it. That’s not to say there’s no significance, it’s like guiding spirits. I wound up just being like okay, let’s put it out on Halloween, I fucking love Halloween, it so happened to be a Friday, I didn’t even know. I guess I can say my visions were right. 

Something Sam and I talked about a lot was how October is a time where the veil is lifted and more is revealed. I’ve already seen it, the seedy shit in LA, which was like that film SE7EN or something. I mean, after finishing the record, I wound up driving 24 hours straight to a small town in the middle of nowhere in the South to reconnect and see my family after a long while. After so much time away, I almost forgot about certain things. Now we’re smoking cigarettes on the porch and drinking coffee, C4 energy drinks and I’m hauling and selling scrap metal to scrap yards. I mean I grew up white trash, the fact that I’m even here or that I’ve toured or had a record on vinyl is insane, I’m really grateful. I thought I would’ve been killed by now. I don’t have control over the records, it’s something else, it really is, I just edit everything down. I have this fucking weird psychic or whatever you wanna call it thing, my mom was found by kids in a paper bag in a dirt lot in Glendale as a newborn baby with the placenta still on her, just left there. Who knows where we come from. But all that to say, I think the record is perfect for Halloween, for rebirth. 

In Tassel, people saw this version of me live, deep throating a mic, dragging myself across the stage covered in fake blood, wrapped in duct tape, with barbed wire around my cock like a chastity cage. It was honest, but it was like a ghost. An entity. This record, I killed off a certain kind of wickedness I’ve seen time and time again in my life, by saying, “this is for the fucking freaks.”

Feeling disgust and hatred, music fuses it into love, for the estranged. I hope people feel relief when they hear this shit, cause punk and rock n’ roll has always been the thing I went to sleep with. When you have no one, or you’re living in fear of losing your life, it’s that energy that drives the natural instinct to survive.

Were there any specific moments during the making of UNCAGED, a breakthrough, a challenge, or a revelation, that felt like the heart of the album for you?

Oh definitely. I lived so many life times while making this record. The first chunk was made in my empty apartment in Phoenix when I was completely alone and like I didn’t talk to hardly anyone, the life I had previously, which was killing me, was completely erased, people and all. I don’t mean loneliness as if it’s bad, to be clear. I was recording these songs then going out in the street to smoke cigarettes while I was mixing them down to one track by hand, turning knobs and shit, like making a dub record while people were just watching me from the end of the street while I’m mixing this record. 

I seriously didn’t think this record was going to come out, I was done with it so many times, just not interested. My spiritual path only progressed as I finished it, so who fucking knows. This probably sounds like some hippie shit, but I can assure you I’m anything but that. 

PUNISHMENT, I’ve never heard anything that harnesses the sound of domination so clearly. Not just physical and sexual, but when you’re poor and there’s people with money around you and you’re at their bidding, when you have nowhere to go, so you have to neglect yourself for someone else’s pleasure. 

When I first listened to it I had a vision of a kid, like Michael Myers in the Rob Zombie remake, just going insane in their bedroom with nothing in it realizing they’re queer, this kid just just sits in the same corner and stares at the ground in trance and intensity, cause mom’s working doubles at the grocery store and is never home. That’s PUNISHMENT. My records are for those kids.

Interview with Sam An:

Feral Crone Recordings launches with UNCAGED as its first release. What inspired you to create the label, and what kinds of artists or sounds do you hope to champion under its banner?

I’ve known for years that some of my motivation for building opportunities for myself as an artist was a part of a long term plan I’ve had to be able to connect and platform other artists in music and other mediums. 

I used to curate DIY art shows before starting Lana Del Rabies, and I have always been energized by connecting artists and musicians from scenes that normally wouldn’t interact. I like to do this a lot in my own work, whether it is for the promo materials Lana Del Rabies releases, or remix albums that pull together artists from completely different subcultures. 

Collaboration brings a lot of resources, perspectives and skills that underground art and artists need to survive, I think. Artists (especially musicians) tend to stay in their lanes of who they are around the most or who their most accessible audience is, which makes sense, but it doesn’t do anything for the culture.

I do think in times where (especially in the USA) there is dwindling support for music/art that doesn’t exist solely as a product, and younger artists are struggling more, starting a label that prioritizes the conviction and quality of dark, risk-taking music and art over genre purity and internet aesthetic trends seems important. 

I also enjoy expanding the horizons of music fans, which I think is especially important now, given how risk-averse and algorithmic the music industry has become in the last five years or so. 

I’ve had to figure out a lot myself in terms of getting my work out there because it doesn’t fit  more genre-oriented labels. I think it’s a good time to use my resourcefulness for something bigger.

The name Feral Crone conjures imagery of power, age, rejection of social norms, and the wild feminine. How does that symbolism tie into your vision for the label’s identity and community?

I don’t think those themes were entirely conscious with choosing the name but it makes sense, they’re relevant to the ethos of the label. I had “feral crone” in my bios online because it summed up my “deal” as an artist and my personality that was also amusing to me (I need to have a sense of humor about things). Some people actually already thought that was a label I was on. 

I call myself that because I have always been a bit rogue in how I do things as a person and in my art. Despite the ability to connect with a lot of different communities, I have always had to build things myself because I can’t compromise my work for an easier path. I am also used to being misunderstood and I know the name “Lana Del Rabies” didn’t make that any easier on my career. 

I also have stuck it out with my work and had to personally evolve during some chaotic times, so that is where the “Crone” part comes in I think. It’s less about gender and more about being willing to become wiser and more authentic on the less obvious path. “Feral” is more about being drawn to risks and real, raw expression. 

Feral Crone Recordings is a platform for artists who are dedicated to making music (and other art forms) with those values. It is likely going to be a platform for my work as well, but the intention long term is to build a community of artists and fans that want more from dark music.

There is a specific quality, dedication, and realness I am seeking in the artists I want to work with long term. I am hoping to connect those artists with each other and a global community that appreciates them. 

What made Ash Barrett and UNCAGED the right starting point for the label’s catalogue? Was there something about this album that encapsulated the ethos you want Feral Crone to represent?

Honestly, UNCAGED and Ash are the main reason I started the label at this moment. Feral Crone was more of a “in the next five years” thing, but the right circumstances came up quickly to do it now with that record. 

Ash and I are both from Arizona and his former band Tassel were an important part of platforming a sort of “comeback” that Lana Del Rabies had. Phoenix was a difficult place to be as an artist in the peak pandemic years, and Tassel was one of the few bands that I felt were trying things in a smart way in dark music. I appreciated their support a lot.

Ash and I have a lot in common in terms of our visions for the future of music and our motivations for creating and performing. We’ve talked a lot about how the kind of upbringings we each had in Arizona gave us a type of survivalist grit when it comes to our art as well.

UNCAGED is a record that was fervently made by him because it simply had to be. I could describe it in genre-jargon cliches, but I’d prefer that people approach it without any preconceptions. 

I will say that I have a lot of respect for the confrontational output Ash has that still holds a very intentional vision, artistically. Especially considering the platform Tassel had, he could have easily created a more digestible record if his intentions prioritised short-term virality and making popular “content”, and I’m glad that he didn’t.

You’ve long been known for your own experimental work as Lana Del Rabies. How has stepping into the role of label founder shifted your relationship with music, collaboration, and artistic control?

…Collaboration, resource building, and perspective-broadening are kind of the point for me as an artist and a person who bridges different scenes and artistic mediums. Any success I have wanted or built for myself has honestly had a bigger goal of being connected to something more meaningful than the depressing hellscape of our current global reality.

The biggest difference for me as a label runner versus being an artistic collaborator is implementing tools to set artists up for success and staying out of the way artistically, unless they are seeking that kind of advice. 

I think a lot of artists these days, especially younger ones, are expected to make their work for the internet. To keep my project going, I have had to learn the rules of the internet and the industry and make them work for me or break them altogether.

I am interested in being able to take what is special about these artists and art and to communicate that effectively to people who may not normally seek them out. I also want to experiment with new and old ways of letting artists express themselves that don’t beholden them to streaming numbers and views.

Obviously numbers have a factor in the longevity of a career, but there is a space between the niches of obscure music and resonating with audiences around the world. I would like Feral Crone to occupy and support artists in that space.

As the label grows, do you envision Feral Crone Recordings as primarily a home for artists in the industrial/experimental realm, or are you aiming to blur genre boundaries even further?

Genre is not a priority with the label. Obviously I am more drawn to dark art and music, and I find music that innovates upon genres much more inspiring. I feel lucky to have started my project in a time where “internet music” meant making sounds that had never been heard before and having the ability to share them with the world, instead of making 30 second soundtracks for outfit tutorials. People can like those things, but that shouldn’t be the main function of music, which somehow is where we are culturally right now. 

Follow Ash Barrett:

Instagram
TikTok
YouTube

Follow Feral Crone Recordings: 

Instagram
YouTube
Bandcamp

The post UNCAGED — A No Holds Barred Interview With Ash Barret on His Debut With Feral Crone Recordings appeared first on Post-Punk.com.

Source: Post-Punk.com

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

Punk legends The Damned are back with a spectral new single, “There’s A Ghost In My House,” accompanied by a vivid new video directed by Gilbert Trejo. The track is the first preview from their upcoming Not Like Everybody Else LP — a full-length covers album and heartfelt tribute to the band’s late founding guitarist, Brian James, out January 23, 2026, via earMUSIC (and BFD/The Orchard in North America).

Recorded in a blistering five days of emotion and creative fire at Revolver Studio in Los Angeles, the album finds The Damned — Dave Vanian on vocals, Captain Sensible on guitar, Rat Scabies on drums, Paul Gray on bass, and joined by longtime keyboardist Monty Oxymoron — reconnecting with the raw energy that started it all. Not Like Everybody Else marks the first time in forty years that Rat Scabies has returned to the studio with the band.

The Damned are no strangers to covers — their history is littered with smart, subversive re-imaginings, from their early takes on “Help!” and “Alone Again Or” to their chaotic live versions of garage and psych classics. But Not Like Everybody Else feels different: this one comes straight from the heart. It’s a celebration of the records that shaped them and the guitarist who started it all, while proving the band’s pulse still beats as hard as ever — five decades in.

Kicking off with R. Dean Taylor’s “There’s A Ghost In My House” and moving through classics like Pink Floyd’s “See Emily Play” and The Animals’ “When I Was Young,” the album closes with a powerful farewell: “The Last Time” by The Rolling Stones — featuring Brian James himself, taken from his final live performance with The Damned in Birmingham and lovingly remixed for this release.

“There’s A Ghost In My House,” originally penned by Motown songwriter R. Dean Taylor, becomes something altogether new in their hands: a tense, nocturnal anthem pulsing with Captain Sensible’s sharp guitar and Dave Vanian’s deep, magnetic croon. It’s both homage and possession — a Northern Soul classic filtered through The Damned’s unmistakable gloom-and-glam alchemy.

The accompanying video, shot entirely in stark black and white by Gilbert Trejo (son of actor Danny Trejo), stitches together electric moments from The Damned’s recent U.S. tour — including their appearance at the inaugural CBGB Festival in Brooklyn. It’s pure stage possession: Dave Vanian prowls and leans into the crowd with theatrical intensity, Captain Sensible slashes at his guitar in his signature striped shirt, Rat Scabies hammers the drums with renewed fury, and Paul Gray and Monty Oxymoron drive the chaos from the wings. Between shots of heaving audiences and giant backdrops emblazoned with The Damned logo, Trejo captures the enduring magnetism of a band fifty years in — still loud, still unholy, still alive. The monochrome palette adds a ghostly quality, turning the performance into both celebration and séance, a communion between punk’s past and present.

Watch the video for “There’s A Ghost In My House” below:

Not Like Everybody Else assembles ten songs that trace Brian James’s earliest influences — from British R&B to Detroit proto-punk — reimagined through The Damned’s singular lens. The tracklist reads like a roadmap to their roots:

There’s A Ghost In My House (R. Dean Taylor)
Summer In The City (The Lovin’ Spoonful)
Making Time (The Creation)
Gimme Danger (Iggy & The Stooges)
See Emily Play (Pink Floyd)
I’m Not Like Everybody Else (The Kinks)
Heart Full of Soul (The Yardbirds)
You Must Be a Witch (The Lollipop Shoppe)
When I Was Young (The Animals)
The Last Time (The Rolling Stones) — featuring Brian James’s final performance

To celebrate the album, The Damned will play a one-off covers show at the Albert Hall, Manchester, on January 28, 2026, performing songs from Not Like Everybody Else alongside fan-favourite covers that have marked their career. It promises to be an unforgettable night honouring Brian James and the band’s shared history. Fans who order the album through the Official Album Store starting October 29 will receive early access to tickets for the release show. Three exclusive 7” vinyl singles featuring previously unreleased B-sides will also be available for pre-sale.

Set to coincide with The Damned’s 50th-anniversary celebrations, Not Like Everybody Else is a heartfelt homage and a testament to the enduring spirit of one of punk’s most pioneering bands. Fifty years of The Damned also means fifty years of punk — with the 1976 explosion now hitting its half-century.

The Damned have announced a special 50th-anniversary show at OVO Arena Wembley on Saturday, April 11, 2026, marking five decades since the band first erupted as one of the founders of British punk rock. The milestone celebration will feature special guests The Loveless featuring Marc Almond, Peter Hook And The Light, and The Courettes.

Pre-order Not Like Everybody Else on vinyl, CD, and digital formats here.

Follow The Damned:

Website
Instagram
Facebook
Twitter
Spotify

The post The Damned Release Video for “There’s A Ghost In My House” — Covers Album “Not Like Everybody Else” Announced! appeared first on Post-Punk.com.

Source: Post-Punk.com

Punk legends The Damned are back with a spectral new single, “There’s A Ghost In My House,” accompanied by a vivid new video directed by Gilbert Trejo. The track is the first preview from their upcoming Not Like Everybody Else LP — a full-length covers album and heartfelt tribute to the band’s late founding guitarist, Brian James, out January 23, 2026, via earMUSIC (and BFD/The Orchard in North America).

Recorded in a blistering five days of emotion and creative fire at Revolver Studio in Los Angeles, the album finds The Damned — Dave Vanian on vocals, Captain Sensible on guitar, Rat Scabies on drums, Paul Gray on bass, and joined by longtime keyboardist Monty Oxymoron — reconnecting with the raw energy that started it all. Not Like Everybody Else marks the first time in forty years that Rat Scabies has returned to the studio with the band.

The Damned are no strangers to covers — their history is littered with smart, subversive re-imaginings, from their early takes on “Help!” and “Alone Again Or” to their chaotic live versions of garage and psych classics. But Not Like Everybody Else feels different: this one comes straight from the heart. It’s a celebration of the records that shaped them and the guitarist who started it all, while proving the band’s pulse still beats as hard as ever — five decades in.

Kicking off with R. Dean Taylor’s “There’s A Ghost In My House” and moving through classics like Pink Floyd’s “See Emily Play” and The Animals’ “When I Was Young,” the album closes with a powerful farewell: “The Last Time” by The Rolling Stones — featuring Brian James himself, taken from his final live performance with The Damned in Birmingham and lovingly remixed for this release.

“There’s A Ghost In My House,” originally penned by Motown songwriter R. Dean Taylor, becomes something altogether new in their hands: a tense, nocturnal anthem pulsing with Captain Sensible’s sharp guitar and Dave Vanian’s deep, magnetic croon. It’s both homage and possession — a Northern Soul classic filtered through The Damned’s unmistakable gloom-and-glam alchemy.

The accompanying video, shot entirely in stark black and white by Gilbert Trejo (son of actor Danny Trejo), stitches together electric moments from The Damned’s recent U.S. tour — including their appearance at the inaugural CBGB Festival in Brooklyn. It’s pure stage possession: Dave Vanian prowls and leans into the crowd with theatrical intensity, Captain Sensible slashes at his guitar in his signature striped shirt, Rat Scabies hammers the drums with renewed fury, and Paul Gray and Monty Oxymoron drive the chaos from the wings. Between shots of heaving audiences and giant backdrops emblazoned with The Damned logo, Trejo captures the enduring magnetism of a band fifty years in — still loud, still unholy, still alive. The monochrome palette adds a ghostly quality, turning the performance into both celebration and séance, a communion between punk’s past and present.

Watch the video for “There’s A Ghost In My House” below:

Not Like Everybody Else assembles ten songs that trace Brian James’s earliest influences — from British R&B to Detroit proto-punk — reimagined through The Damned’s singular lens. The tracklist reads like a roadmap to their roots:

There’s A Ghost In My House (R. Dean Taylor)
Summer In The City (The Lovin’ Spoonful)
Making Time (The Creation)
Gimme Danger (Iggy & The Stooges)
See Emily Play (Pink Floyd)
I’m Not Like Everybody Else (The Kinks)
Heart Full of Soul (The Yardbirds)
You Must Be a Witch (The Lollipop Shoppe)
When I Was Young (The Animals)
The Last Time (The Rolling Stones) — featuring Brian James’s final performance

To celebrate the album, The Damned will play a one-off covers show at the Albert Hall, Manchester, on January 28, 2026, performing songs from Not Like Everybody Else alongside fan-favourite covers that have marked their career. It promises to be an unforgettable night honouring Brian James and the band’s shared history. Fans who order the album through the Official Album Store starting October 29 will receive early access to tickets for the release show. Three exclusive 7” vinyl singles featuring previously unreleased B-sides will also be available for pre-sale.

Set to coincide with The Damned’s 50th-anniversary celebrations, Not Like Everybody Else is a heartfelt homage and a testament to the enduring spirit of one of punk’s most pioneering bands. Fifty years of The Damned also means fifty years of punk — with the 1976 explosion now hitting its half-century.

The Damned have announced a special 50th-anniversary show at OVO Arena Wembley on Saturday, April 11, 2026, marking five decades since the band first erupted as one of the founders of British punk rock. The milestone celebration will feature special guests The Loveless featuring Marc Almond, Peter Hook And The Light, and The Courettes.

Pre-order Not Like Everybody Else on vinyl, CD, and digital formats here.

Follow The Damned:

Website
Instagram
Facebook
Twitter
Spotify

The post The Dammed Release Video for “There’s A Ghost In My House” —Covers Album “Not Like Everybody Else” Announced! appeared first on Post-Punk.com.

Source: Post-Punk.com

Chameleons Album: Arctic Moon Category: Alternative / Post-Punk Label: Metropolis Records Release Date: 2025-09-12 Author: River Atkinson (RioTDS) [..]

Source: RE:GEN Mag

Various Artists Album: Wish You Were Here (Pink Floyd Tribute – 50 Years Later) Category: Compilations / Progressive / Psychedelic Rock Label: Pale Wizard Records Release Date: 2025-09-12 Author: Ilker Yücel (Ilker81x) [..]

Source: RE:GEN Mag

Double Eyelid Album: Edgar Allan Poe’s The Tell-Tale Heart Category: Goth / Doom Label: Self-released Release Date: 2025-10-10 Author: Ilker Yücel (Ilker81x) [..]

Source: RE:GEN Mag

Pitch Black Manor Album: The Sleepover Set Category: Goth / Rock / Post-Punk Label: Self-released Release Date: 2025-10-03 Author: Ilker Yücel (Ilker81x) [..]

Source: RE:GEN Mag

VOWWS Album: I’ll Fill Your House with an Army Category: Alt. Rock / Electro / Darkwave Label: Out of Line Music Release Date: 2025-10-24 Author: River Atkinson (RioTDS) [..]

Source: RE:GEN Mag

Light of Eternity Album: Distraction EP Category: Post-Rock / Post-Punk / Industrial Label: Self-released Release Date: 2025-10-03 Author: Ilker Yücel (Ilker81x) [..]

Source: RE:GEN Mag

  David Dutton has had a busy year supporting the acclaimed III I II album from genCAB, and now, he’s joining in the Halloween festivities with the release of the “Open Grave” single. The song is filled with his signature melodic vocals, energetic rhythms, sophisticated electronic arrangements [..]

Source: RE:GEN Mag

Some bands brood better. Black Ferns, led by Seattle’s Zoran Macesic, seethe in slow motion, like a storm trapped in amber. Their latest single Modern Days, from the forthcoming album Di Lodus, feels like the report of a civilization disintegrating at the edges of its own reflection. The song drips with exhaustion and grace, each note collapsing into the next as if time itself were slightly off its hinges.

The track opens with a piano that sounds like something salvaged from a half-burned lounge. Over it, Macesic’s voice moves between confessional murmur and spectral invocation, threading themes of isolation, decay, and the eerie ritual of departure. There’s an emotional economy that recalls the clarity of economic despair more than romantic tragedy. It’s not indulgent gloom; it’s a measured audit of the spirit in late capitalism’s waiting room.

The production is sparse yet intentional. The arrangement’s industrial textures pulse beneath brittle synths, each chord weighed down by the machinery of repetition. There are traces of Love and Rockets’ metropolitan melancholy, the spectral beauty of Echo & The Bunnymen, and the narcotic glaze of The Dandy Warhols and Primal Scream, all absorbed into a sound that feels singularly uneasy and magnetic. It’s music for the inbox you’ll never clear, for the city you’ve lived in too long. Producer Lincoln Traveller gives the track a sense of cold clarity – every echo accounted for, every hum with a purpose.

Modern Days features a video directed by Macesic and filmed by talented videographer Sherri Jerome. The film stars Opal Peachy, veteran of Seattle’s avant-garde theatre troupes Nordo & Nebula, as a woman methodically packing her final belongings while a restless spirit inhabits the house. The haunting is psychological rather than gothic; it’s the phantom of attachment, of every object insisting on one last sentimental valuation before abandonment.

In an era of distraction, Black Ferns feel like a quiet alarm, one that rings somewhere deep inside the architecture of attention. Modern Days is a ledger entry for everything we lost while refreshing the feed.

Watch the video for “Modern Days” below:



Di Lodus promises an expansion of this uneasy equilibrium. The 11-track album navigates emotional turbulence through cold, synth-driven compositions anchored by jagged guitar work and ghostly vocal layers. It’s a collection that suggests a world teetering between collapse and creation, where every note is both an elegy and an experiment.

Listen to Modern Days below and order the single here.

Modern Days – Single by Black Ferns

Follow Black Ferns:

YouTube
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The post A Haunting Farewell — Seattle’s Black Ferns Pack the Ghosts of Departure in Video for “Modern Days” appeared first on Post-Punk.com.

Source: Post-Punk.com

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

Details

Tour starts 14.03.2026

Source: Shout.ru

Mit der hypnotischen Single „Cloudmachine“ meldet sich die italienische Musikerin Julinko eindrucksvoll zurück und kündigt zugleich ihr neues…

Source: monkeypress.de

GET THE SHOT melden sich mit einer neuen Single zurück: Ansehen kann man sich das Musikvideo zu „Torture Your Corpse“ bei YouTube. Produziert hat den Song Maxime Lacroix, das Mastering übernahm Alan Douches. Es handelt sich dabei um den ersten Track mit dem neuen Sänger Mathieu Dhani.

Source: Vampster

Ein neues Live-Album haben ROTTING CHRIST im Frühjahr 2025 herausgebracht, um ihr 35-jähriges Jubiläum zu feiern. Aufgenommen wurde hierfür das Konzert aus dem Lycabettus Hill Theater in Athen. Jetzt haben die Griechen für 12. Dezember 2025 eine BluRay-Fassung des Konzerts angekündigt – dazu gibt es den Mitschnitt „Like Father, Like Son„.

Ebenfalls kann man sich den Mitschnitt von „Sorrowful Farewell“ bei YouTube ansehen.

Der Track ist die dritte Single, bereits veröffentlicht wurden „Δαιμόνων Βρώσις“ und „Kata Ton Daimona Eaftou (Κατά τον Δαίμονα Εαυτού)“.

„35 Years Of Evil Existence – Live in Lycabettus“ umfasst 25 Tracks aus allen Schaffensperioden der Griechen. Erschienen ist das Album ursprünglich am 4. April 2025 via Season of Mist.

ROTTING CHRIST „35 Years Of Evil Existence – Live in Lycabettus“ Artwork

ROTTING CHRIST „35 Years Of Evil Existence – Live in Lycabettus“ Tracklist

666
P’Unchaw Kachun- Tuta Kachun
Fire God and Fear
Kata Ton Demona Eaftou (Mitschnitt bei YouTube)
Apage Satana
Dies Irae
Demonon Vrosis (Video bei YouTube)
Aealo
Like Father, Like Son (Video bei YouTube)
King of a Stellar War
Shadows Follow
Archon
The Sign of Evil Existence
Fgmenth Thy Gift
Societas Satanas
Forest of N’gai
Sorrowful Farewell (Video bei YouTube)
Among Two Storms
After Dark I Feel
Athanatoi Este
Nemecic
In Yumen Xibalba
Grandis Spiritus Diavolos
The Raven
Under the Name of Legion

Fotogalerie: ROTTING CHRIST – Summer Breeze – 15.08.2024

Source: Vampster

Die Doom Metal-Band NORNES stellt ihr Debütalbum „Thou Hast Done Nothing“ mit einem kurzen Albumteaser vor und hat außerdem eine erste Single geteilt: „Oneness“ bei YouTube.

Angekündigt haben die Franzosen die Platte für den 28. November 2025, sie erscheint via Sleeping Church Records.

NORNES „Thou Hast Done Nothing“ Tracklist

Never Ending Failure
A Rose to The Sword
Our Love of Absurd
Perceptions in Grey
Oneness (Audio bei YouTube)

NORNES Line-up 2025
Rom – guitars/vocals
Adrien – guitars/vocals
Noé – Drums
Ju – bass/vocals

Source: Vampster

French post-punk/gothic rock band Corpus Delicti will release the new album “Liminal” on November 28,...

Source: Side Line

Alethea Leventhal’s US ethereal darkwave/dream-pop project Ships In The Night has issued a new video...

Source: Side Line

US electro-industrial act genCAB releases the new single “Open Grave” today, 31 October 2025, via...

Source: Side Line

Das Thrash Metal-Projekt um Multiinstrumentalist Nick Schlesinger stellt seine Debütsingle „Tunnel Vision“ mit einem Visualizer-Clip bei YouTube vor.

Für die Vocals zeichnet Sänger Simon Gordon (KILL II THIS) verantwortlich.

Source: Vampster

VILLAGERS OF IOANNINA CITY bereiten die Veröffentlichung ihres neuen Studioalbums vor: Erscheinen soll „Venceremos“ im Frühjahr 2026 via Napalm Records. Das Cover-Artwork gestaltete Fotis Carthis. Während weitere Details noch ausstehen, ist für März und April 2026 bereits eine Europatournee angekündigt.

VILLAGERS OF IOANNINA CITY Tourdaten 2026

05.03.26 / Skopje – MKC
06.03.26 / Novi Sad – SKCNS Fabrika
07.03.26 / Zagreb – Boogaloo
08.03.26 / Wien – Szene (AT)
10.03.26 / Prague – Rock Café
11.03.26 / Krakow – Hype Park
12.03.26 / Warsaw – Proxima
13.03.26 / Berlin – Hole⁴⁴
14.03.26 / Hamburg – Bahnhof Pauli
15.03.26 / Copenhagen – Lille Vega
17.03.26 / Köln – Bürgerhaus Stollwerck
18.03.26 / Haarlem – Patronaat
19.03.26 / Tilburg – O13 Poppodium20.03.26 / Paris – Le Trabendo
21.03.26 / Lille – The Black Lab
22.03.26 / Nantes – Le Ferrailleur
25.03.26 / Bordeaux – Le Rocher de Palmer
26.03.26 / Toulouse – Le Metronum
27.03.26 / Vitoria-Gasteiz – Helldorado
28.03.26 / Barcelona – Sala Bóveda
29.03.26 / Madrid – Nazca
31.03.26 / Montpellier – Antirouille
01.04.26 / Milano – Legend Club
02.04.26 / Aarau – KIFF (CH)
03.04.26 / Guebwiller – La Nef Des Dominicains
04.04.26 / Stuttgart – Im Wizemann
05.04.26 / Ljubljana – Orto Bar
07.04.26 / Bratislava – Randal Club
08.04.26 / Budapest – A38 Hajó

Source: Vampster

Das Blackened Doom Metal-Projekt CELESTIELLE hat für 12. Dezember 2025 eine neue EP angekündigt. „Requiem“ enthält sieben Tracks, zwei davon gibt es vorab als Hörprobe: „Beyond The Cursed“ sowie „Eye For An Eye„.

Live erleben kann man CELESTIELLE am 19. Dezember 2025 in Rüsselsheim, wo THIRD WAVE im Rind ihr zehnjähriges Jubiläum feiern werden.

CELESTIELLE „Requiem“ Tracklist
1. CRUCIFY HIM
2. BEYOND THE CURSED (Audio bei bandcamp)
3. EYE FOR AN EYE (Audio bei bandcamp)
4. AS ABOVE, SO BELOW
5. THE HUNTRESS
6. REQUIEM
7. ROTTING FLESH

Source: Vampster

Die Metal-Titanen Kreator veröffentlichen mit „Tränenpalast“ ihre zweite Single aus dem kommenden Album „Krushers Of The World“, das…

Source: monkeypress.de

JINJER stellen ihr aktuelles Album „Duél“ live vor: Anfang 2026 geht die Band auf Europatour, in Deutschland spielen die UkrainerInnen in Köln, Stuttgart, Wiesbaden, München, Leipzig, Berlin und Hamburg. Um die Wartezeit bis zur Tournee zu verkürzen hat die Formation jetzt ein Live-Video zum Song „Duél“ veröffentlicht – es wurde am 23. Februar 2025 im Hordern Pavillion in Sydney aufgezeichnet.

Als Supportbands sind UNPROCESSED sowie TEXTURES dabei. JINJER-Bassist Eugene Abdukhanov erklärt, warum die Wahl auf diese beiden Bands fiel: 

„2017 teilten wir zum ersten Mal mit UNPROCESSED die Bühne und sie haben uns sofort beeindruckt. Nicht nur wegen ihres musikalischen Talents und ihrer Entschlossenheit, ihren eigenen Weg zu gehen. Sondern auch, weil sie einfach tolle Typen sind. TEXTURES waren schon immer eine große Inspiration für uns. Ich erinnere mich noch gut an die frühen Tourneen vor 13 oder 14 Jahren, als wir in unserem kleinen Van unterwegs waren und das TEXTURES-Album „Silhouettes“ rauf und runter hörten. Sie haben mich und die Band musikalisch geprägt, und ihre Wiedervereinigung ist ein großer Gewinn für die gesamte Progressive-Metal-Szene. Es ist etwas ganz Besonderes, UNPROCESSED und TEXTURES auf dieser Tour dabei zu haben und  jeden Abend mit ihnen auf der Bühne zu stehen.“

 

Die Wartezeit bis zu den Live-Terminen verkürzt ein Vocal-Performance-Video zum Stück „Hedonist„.

JINJER, UNPROCESSED, TEXTURES „Duél“ Tour 2026

23.01.26 DE – Köln / Palladium24.01.26 NL – Tilburg / O1325.01.26 BE – Brussels / AB Brussels27.01.26 UK – Glasgow / SWG3 28.01.26 IE – Dublin / Olympia 29.01.26 UK – Manchester / O2 Ritz 30.01.26 UK – Birmingham / O2 Birmingham Institute 31.01.26 UK – London / O2 Kentish Town Forum 02.02.26 FR – Paris / L’Olympia03.02.26 FR – Lyon / Transbordeur04.02.26 FR – Toulouse / Bikini07.02.26 ES – Madrid / Wagon 08.02.26 ES – Bilbao / Santana 27 11.02.26 CH – Zürich / X-tra12.02.26 DE – Stuttgart / LKA13.02.26 DE – Wiesbaden / Schlachthof14.02.26 DE – München / Tonhalle16.02.26 HU – Budapest / Barba Negra17.02.26 AT – Wien / Gasometer19.02.26 CZ – Prague / Sasazu20.02.26 DE – Leipzig / Felsenkeller21.02.26 DE – Berlin / Astra22.02.26 PL – Warsaw / Progresja 24.02.26 FI – Helsinki / Kulttuuritalo 25.02.26 FI – Tampere / Tavara Asema 27.02.26 SE – Stockholm / Fållan 28.02.26 NO – Oslo / Sentrum Scene 01.03.26 DK – Copenhagen / Amager Bio02.03.26 DE – Hamburg / Grosse Freiheit 36

JINJER FESTIVALS 2025

03.06.25 LT – Vilnius / Compesa Hall04.06.25 SE – Sölvesborg / Sweden Rock06.06.25 PL – Gdańsk / Mystic Festival07.06.25 DE – Nuremberg / Rock im Park08.06.25 DE – Nürburg / Rock am Ring10.06.25 SI – Laibach / Mediacenter12.06.25 AT – Nickelsdorf / Nova Rock Festival13.06.25 FI – Turku / Rock Fest14.06.25 CH – Interlaken / Greenfield Festival15.06.25 UK – Donington Park / Download Festival17.06.25 BG – Sofia / Maimunarnika19.06.25 FR – Clisson / Hellfest20.06.25 BE – Dessel / Graspop Metal Meeting22.06.25 IT – Milan / Dissonance Fest25.06.25 ES – Viveiro / Resurrection Fest26.06.25 NL – Ysselsteyn / Jera On Air28.06.25 NO – Oslo / Tons Of Rock29.06.25 PT – Lisbon / Evil Live Festival02.07.25 DK – Roskilde / Roskilde Festival

 

JINJER – Zenith, München – 16.11.2024 – Konzertfotos

Source: Vampster

Für  „A Tribute To The Reaper“ haben Bands ihre Versionen von CHILDREN OF BODOM-Songs aufgenommen, die Coverversionen werden zunächst digital als Singles veröffentlicht. Außerdem erscheinen alle Songs gebündelt auf dem CD-Sampler „A Tribute To The Reaper“, der ab Ende Oktober 2025 allen Bestellungen im offiziellen CHILDREN OF BODOM-Shop kostenlos beigelegt wird.

Nun haben GLADENFOLD ihre Version von „Towards Dead End“ online gestellt.

Die Neuinterpretation von „Homeland“ der deutschen Melodic Death Metal-Band PARASITE INC. ist ebenfalls als Stream verfügbar. Zudem gibt es „Needled 24/7“ in der Version von BLOODORN.

Weitere Cover sind in Arbeit, das Label deutet an, dass es auch eine offizielle Veröffentlichung auf CD und Vinyl geben könnte. Hinter dem Projekt steht das Label Reaper Music und die Bands, die dort unter Vertrag sind.

Bislang gibt es diese Coverversionen:

ELVENKING – „Children Of Decadence“
PARASITE INC. – „Homeland“ (IneartheD-Cover)
BLOODORN – „Needled 24/7“ (Video bei YouTube)
HORIZON IGNITED – „Sixpounder“ (Audio bei YouTube)
GLADENFOLD – „Towards Dead End“ (Video bei YouTube)
FINAL STRIKE – „Bodom After Midnight“
KAMBRIUM – „Angels Don’t Kill“
MILKING THE GOATMACHINE – „Hate Me!“
SUOTANA – „Hatebreeder“

Source: Vampster

DALI, das Rock-Projekt von Danny Müller-Sixer (DUERER), präsentiert seine neue Single „Gratisbadetuch„.

Textlich dreht sich der Song um das Verlangen, „einfach ‚Nein‘ zu sagen“, um damit auch dem Gefühl zu entsagen, ständig erreichbar sein zu müssen oder sich gesellschaftlichen Zwängen zu fügen.

Source: Vampster

Fünf Jahre nach ihrem Album “Haunted” kehren THE OTHER wieder – und zwar an Halloween. Am 31. Oktober 2025 veröffentlichte die Horrorpunk-Band ihr neues Album „Alienated“. Zum Release gibt es ein Musikvideo zu „Hier sein„.

Mit „A Ghost From The ’80s“ haben die Horrorpunks zuvor die zweite Single daraus geteilt. Reinhören kann man darüber hinaus in „I Give You The Creeps„.

Neu ist auch die Besetzung der Band, Sänger Rod Usher arbeitet jetzt mit den Gitarristen J. Ends und Van Tom zusammen, Drummer Jag Boone und der zurückgekehrte THE OTHER- Original-Bassist Andy Only vervollständigen das Line-up.

Zum Release von “Alienated” gehen The Other auf Tour. Mit dabei bei der „Hell Nights Tour“ sind außerdem WEDNESDAY 13, BLITZKID und CALABRESE.

THE OTHER „Hell Nights Tour“ 2025
28.10.2025 DE Berlin, Astra
29.10.2025 DE Hamburg, Große Freiheit 36
30.10.2025 DE Hannover, Faust
31.10.2025 DE Köln, Carlswerk
01.11.2025 DE Leipzig, Felsenkeller
Vorsicht, der VVK hat bereits begonnen!

Im April veröffentlichten THE OTHER eine Coverversion des 80er-Jahre-Songs „Dancing With Tears In My Eyes“.

THE OTHER „Alienated“ Cover

Source: Vampster

 LEPROUS veröffentlichten am 24. Oktober 2025 das Livealbum “An Evening Of Atonement” via InsideOutMusic. Einen Höreindruck verschafft der Mitschnitt „Passing“ bei YouTube.

Für das Album schnitten die Norweger ihr Konzert am 7. Februar 2025 im Poppodium 013 im niederländischen Tilburg mit. Für einen weiteren Eindruck sorgt „Atonement / The Sky Is Red (Outro)“ bei YouTube.

LEPROUS blicken zurück auf das Konzert und erinnern sich:

Im Januar 2025 begannen wir, die bislang größten Konzerte unserer Karriere zu geben und traten in ausverkauften Konzerten in europäischen Großstädten auf. Wir wollten ein Spektakel bieten und spielten jeden Abend in zwei Sets Songs aus unserem Backkatalog, kombiniert mit unserer bisher größten Produktion. Der Höhepunkt war „An Evening of Atonement“ – live aufgenommen im wunderbaren 013 Poppodium in Tilburg.
„Melodies of Atonement“ war eine Entwicklung für Leprous – wir haben die orchestralen Elemente, die die letzten Alben geprägt hatten, hinter uns gelassen und uns stattdessen darauf konzentriert, wie WIR als fünf Musiker zusammen klingen – fokussierter, eindringlicher und roher. Diese Songs auf der Bühne zu spielen, war aufregend – und eine spezielle Setlist zu erstellen, die sich durch die verschiedenen musikalischen Veränderungen unserer Karriere zog, war eine spannende Herausforderung.

Als erste Kostprobe veröffentlichten LEPROUS den Mitschnitt von “Like A Sunken Ship (Live In Tilburg 2025)”:

LEPROUS – “An Evening Of Atonement” Tracklist & Cover
Disc One: CD 1 / Act 1 (61:55):
1. Silently Walking Alone (Live In Tilburg 2025) (05:53)
2. The Price (Live In Tilburg 2025) (05:13)
3. Illuminate (Live In Tilburg 2025) (04:24)
4. I Hear The Sirens (Live In Tilburg 2025) (04:52)
5. Like A Sunken Ship (Live In Tilburg 2025) (04:05) (Video bei YouTube)
6. Forced Entry (Live In Tilburg 2025) (10:14)
7. Out Of Here (Live In Tilburg 2025) (04:17)
8. Alleviate (Live In Tilburg 2025) (03:41)
9. Distant Bells (Live In Tilburg 2025) (08:41)
10. Foe (Live In Tilburg 2025) (03:27)
11. Nighttime Disguise (Live In Tilburg 2025) (07:01)

Disc Two: CD 2 / Act 2 (64:37):
1. Unfree My Soul (Live In Tilburg 2025) (05:44)
2. On Hold (Live In Tilburg 2025) (09:01)
3. Below (Live In Tilburg 2025) (05:57)
4. Passing (Live In Tilburg 2025) (08:49) (Mitschnitt bei YouTube)
5. Faceless (Live In Tilburg 2025) (07:22)
6. Castaway Angels (Live In Tilburg 2025) (07:03)
7. From The Flame (Live In Tilburg 2025) (03:59)
8. Slave (Live In Tilburg 2025) (06:49)
9. Atonement (Live In Tilburg 2025) (05:02) (Mitschnitt bei YouTube)
10. The Sky Is Red (Outro) (Live In Tilburg 2025) (04:45)

Disc Three: Blu-ray (173:12 min.):
Live In Tilburg 2025 (Concert) (146:42 min.)

Act 1:
1. Silently Walking Alone (Live In Tilburg 2025) (05:54)
2. The Price (Live In Tilburg 2025) (05:11)
3. Illuminate (Live In Tilburg 2025) (04:24)
4. I Hear The Sirens (Live In Tilburg 2025) (04:53)
5. Like A Sunken Ship (Live In Tilburg 2025) (04:41)
6. Forced Entry (Live In Tilburg 2025) (10:20)
7. Out Of Here (Live In Tilburg 2025) (04:17)
8. Alleviate (Live In Tilburg 2025) (03:41)
9. Distant Bells (Live In Tilburg 2025) (08:34)
10. Foe (Live In Tilburg 2025) (03:27)
11. Nighttime Disguise (Live In Tilburg 2025) (07:01)

Act 2:
12. Unfree My Soul (Live In Tilburg 2025) (05:23)
13. On Hold (Live In Tilburg 2025) (07:45)
14. Below (Live In Tilburg 2025) (07:12)
15. Passing (Live In Tilburg 2025) (08:53)
16. Faceless (Live In Tilburg 2025) (07:22)
17. Castaway Angels (Live In Tilburg 2025) (07:07)
18. From The Flame (Live In Tilburg 2025) (03:52)
19. Slave (Live In Tilburg 2025) (06:49)
20. Atonement (Live In Tilburg 2025) (04:43)
21. The Sky Is Red (Outro) (Live In Tilburg 2025) (04:45)

Im Herbst 2025 sind LEPROUS auf Headline-Tour durch Europa.

Auch in Deutschland macht das Gespann halt: Konzerte sind in München, Frankfurt, Dortmund, Berlin, Hamburg und Stuttgart geplant. Außerdem ist eine Show in Fribourg (CH) angesetzt.Als Support verpflichteten die Norweger GÅTE sowie ROYAL SORROW.

LEPROUS, GÅTE, ROYAL SORROW Tourdaten 2025

29.10. – RENNES (France) – L’antipode
30.10. – BORDEAUX (France) – Le Rocher Palmer
31.10. – PERPIGNAN (France) – El Médiator
01.11. – MURCIA (Spain) – Mamba Club
02.11. – LISBON (Portugal) – Republica da Musica
03.11. – PORTO (Portugal) – Hard Club
05.11. – BARCELONA (Spain) – Sala Apolo
06.11. – MONTPELIER (France) – Rockstore
07.11. – MILAN (Italy) – Live Club
08.11. – FRIBOURG (Switzerland) – Fri-Son
09.11. – MÜNCHEN (Germany) – Backstage Werk
10.11. – FRANKFURT (Germany) – Batschkapp
11.11. – DORTMUND (Germany) – FZW
13.11. – STOCKHOLM (Sweden) – Fallan ohne GÅTE
14.11. – TRONDHEIM (Norway) – Havet ohne GÅTE
15.11. – SKIEN (Norway) – Ibsenhuset ohne GÅTE
16.11. – GOTHENBURG (Sweden) – Pustervik
17.11. – COPENHAGEN (Denmark) – Amager Bio
18.11. – BERLIN (Germany) – Kesselhaus
19.11. – HAMBURG (Germany) – Docks
20.11. – ANTWERP (Belgium) – Trix
21.11. – STUTTGART (Germany) – Im Wizemann
22.11. – LUXEMBOURG (Luxembourg) – Rockhal
23.11. – LILLE (France) – Theatre Bethune

Source: Vampster

J.B.O. arbeiten künftig mit Perception, einem Sub-Label von Reigning Phoenix Music, zusammen. Die erste Platte unter neuer Flagge trägt den Titel „Haus Of The Rising Fun“ und wird am 9. Januar 2026 erscheinen. Einen Vorgeschmack auf die Veröffentlichung gibt es nun in Form von „Mein Arsch„.

Die Nummer folgt auf den Preview-Song „Stinkefinger„.

Die zweite Auskopplung „Bussi“ kann man sich als Lyric-Video ansehen, während die erste Single „Ka-Fump!“ darüber hinaus als Clip bei YouTube zu sehen ist.

Im Zuge dessen geht die Fun-Metal-Band Ende 2025 / Anfang 2026 erneut auf Headline-Tournee durch Deutschland und die Schweiz.

J.B.O. „Haus Of The Rising Fun“ Tracklist

Ma Ma Ma Metal
Haus Of The Rising Fun
Vito, wir machen Krach
I Kissed A Girl
Stinkefinger (Video bei YouTube)
Ka-Fump! (Video bei YouTube)
Power sucht Wolf
Nur für euch
Weißt schon, was ich meine
Bussi (Lyric-Video bei YouTube)
Ein sehr gutes Lied (nicht auf Vinyl!)
Woke On The Smater
Mein Arsch (Lyric-Video bei YouTube)

J.B.O. Tourdaten 2025/2026
Support: BRUNHILDE (*) Local Support (**)

09.05.2025 DE Celle – CD-Kaserne *
10.05.2025 DE Sangerhausen – Mammuthalle *
15.05.2025 DE Berlin – Astra Kulturhaus *
16.05.2025 DE Voltlage – Frühlingsfest  *
17.05.2025 DE Vacha – Vachwerk *
22.05.2025 CH Langenthal – OldCapitol **
23.05.2025 DE Stadtschwarzach – 150 Jahre Feuerwehr  **
24.05.2025 DE Rastatt – BadnerHalle *

Sommer-Konzerte

12.06.2025 DE Saalfeld – Marktfest
13.06.2025 DE Flensburg – Courtyard Sessions
14.06.2025 DE Gifhorn – Unser Aller Festival
27.06.2025 DE Rainau-Schwabsberg – Rock am Limes
29.06.2025 DE Feuchtwangen-Dorfgütingen – Moos MeadoW Festival
02.07.2025 DE Ballenstedt – Rockharz Open Air *AUSVERKAUFT*
05.07.2025 DE Bad Dürkheim – Rock im Wingert
18.07.2025 DE Wertheim – Burg („Explizite Lyrik“-Show)
19.07.2025 DE Eggebek – Shelter Festival
26.07.2025 DE Obing – Festwoche am See
08.08.2025 DE Zossen – Area 1-1-2
09.08.2025 DE Böbing – OpenAir

Herbst-Konzerte

10.10.2025 AT Klagenfurt – VZK Veranstaltungszentrum („Explizite Lyrik“-Show)
11.10.2025 AT Wörgl – VZ Komma („Explizite Lyrik“-Show)
24.10.2025 DE Thalmässing – Music-Adventure
25.10.2025 DE Bächingen – 75 Jahre Musikverein „Eintracht“
28./29.11.2025 DE Weißenhäuser Strand/Ostsee – Metal Hammer Paradise

„Tour Of The Rising Fun“

04.12.2025 CH Rubigen – Mühle Hunziken
05.12.2025 DE München – Backstage
27.12.2025 DE Jena – F-Haus
28.12.2025 DE Münster – Sputnikhalle
29.12.2025 DE Würzburg – Posthalle
02.01.2026 DE Nürnberg – Löwensaal
09.01.2026 DE Hamburg – Markthalle
10.01.2026 DE Oberhausen – Turbinenhalle
16.01.2026 DE Hannover – Pavillon
17.01.2026 DE Mutterstadt – Palatinum
23.01.2026 DE Stuttgart – LKA Longhorn
24.01.2026 DE Saarbrücken – Garage
30.01.2026 DE Sondershausen – Stocksen 2.0
31.01.2026 DE Hallstadt – Vamos
06.02.2026 CH Seewen – Gaswerk Eventbar
07.02.2026 DE Gummersbach – Halle 32
13.02.2026 DE Halle – Steintor-Varieté
14.02.2026 DE Regensburg-Obertraubling – Eventhall Airport
20.02.2026 DE Ramstein – Congress Center
07.03.2026 DE Bayreuth – Das Zentrum
13.03.2026 DE Köln – Carlswerk Victoria
14.03.2026 DE Herford – KulturWerk

J.B.O. Line-up 2025
Hannes „G. Laber“ Holzmann Gesang, GitarreVeit „Vito C.“ Kutzer Gesang, GitarreRalph Bach BassWolfram Kellner Schlagzeug

Fotogalerie: J.B.O. – Summer Breeze 2024 – 15.08.2024

Source: Vampster

FIVE FINGER DEATH PUNCH  haben am 24. Oktober 2025 den zweiten Teil ihrer Best-Of-Compilation rausgebracht. “20 Years Of Five Finger Death Punch – Best Of Volume 2” enthält Neuaufnahmen von FFDP-Songs,  da die Original-Masteraufnahmen vom ehemaligen Label der Band ohne ihr Wissen verkauft wurden. Zum Release teilten die US-Amerikaner ein Lyric-Video zu „Cold„.

Als erste Single von „Best Of – Volume 2“ erschien die 2025er Version von “The End” featuring BABYMETAL.

FIVE FINGER DEATH PUNCH: “20 Years Of Five Finger Death Punch – Best Of Volume 2”
1. Hell To Pay (2025 Version)
2. The End (feat. BABYMETAL) (2025 Version) (Video bei YouTube)
3. M.I.N.E (End This Way) (2025 Version)
4. Hard To See (2025 Version)
5. Got Your Six (2025 Version)
6. Cold (2025 Version) (Lyric-Video bei YouTube)
7. Burn MF (2025 Version)
8. Never Enough (2025 Version)
9. Sham Pain (2025 Version)
10. Blue On Black (2025 Version)
11. I Apologize (2025 Version)
12. Trouble (2025 Version)
13. When The Seasons Change (2025 Version)
14. Cradle To The Grave (2025 Version)
15. My Nemesis (2025 Version)
16. Walk Away (2025 Version)
17. Wash It All Away (Live)
18. Wrong Side Of Heaven (Live)
19. Jekyll And Hyde (Live)

Source: Vampster

Die Brutal Surf Death Metal-Band STILLBIRTH stellt mit einem Video zu „Trapped In Darkness“ einen weiteren Song vom neuen Album „Survival Protocol“ vor:

Die vorherigen Auskopplungen „Throne Of Bones“ sowie „Sacrificial Slaughter“ sind ebenfalls in Bild und Ton abrufbar.

„Survival Protocol“ist das neunte Album der Deutschen, das Konzeptalbum erzählt die Geschichte eines unbekannten Helden, der eine nukleare Apokalypse überlebt. Die Erzählung begann bereits auf dem Album „Annihilation of Mankind“ und knüpft an „Homo Deus“ an: Der wahre Schöpfer steigt vom Himmel herab, und der epische Kampf um die Vorherrschaft auf dem Planeten beginnt. Die Menschheit ist fast ausgelöscht, nur eine Handvoll Überlebender kann ins All fliehen. Nach einer langen Reise entdecken sie einen bewohnbaren Planeten und beginnen, ihn zu kolonisieren. Die Ereignisse dieser Reise werden in den Tracks von „Survival Protocol“ erzählt.

„Survival Protocol“, das von Gitarrist und Sänger Lukas Swiaczny bei Demigod Recordings gemixt und gemastert wurde, erschien am 31. Oktober 2025 via Reigning Phoenix Music. Seit Juli gibt es auch zu „Baptized In Blood“ einen Video-Clip.

„Der Song beschreibt einen epischen Kampf mit titanischen, gottähnlichen Kreaturen, die die neue Welt bewohnen. Nachdem sie den Spitzenprädator überlebt haben, stehen die Menschen nun einem weiteren scheinbar unbesiegbaren Feind gegenüber. Ihre primitiven Waffen erweisen sich als nutzlos, aber angetrieben von vergangenen Siegen geben sie nicht auf. Es ist David gegen Goliath auf einem fremden Planeten“, erklärt die Band.

STILLBIRTH Line-Up:
Lukas Swiaczny – Vocals
Martin Grupe – Drums
Lukas Kaminski – Bass
Leonard Thoma – Guitar
Szymon Skiba – Guitar

STILLBIRTH „Survival Protocol“ Tracklist
1. Existence Erased
2. Trapped In Darkness (Video bei YouTube)
3. Throne Of Bones (Video bei YouTube)
4. Apex Predator
5. Baptized In Blood (Video bei YouTube)
6. Cult Of The Green
7. Sacrificial Slaughter (Video bei YouTube)
8. The Survival Protocol
9. Kill To Rule

Im Herbst 2025 waren STILLBIRTH auf Europatour. Begleitet wurde die Band von DEHUMANIZING ITATRAIN WORSHIP, PHRYMERIAL sowie je nach Termin EMBRACE YOUR PUNISHMENT bzw. KANINE (Termine s. unten).

STILLBIRTH, DEHUMANIZING ITATRAIN WORSHIP, PHHRYMERIAL Tourdaten 2025
Support: EMBRACE YOUR PUNISHMENT

26.09.2025 DE Oberhausen – Helvete
27.09.2025 DE Naumburg (Saale) – Tank
28.09.2025 DE München – Backstage (Club)
29.09.2025 AT Wien – Viper Room
30.09.2025 AT Graz – Explosiv
01.10.2025 IT Paderno Dugnano (MI) – Slaughter Club
02.10.2025 DE Weinheim – Café Central
03.10.2025 FR Paris – Glazart

kein zusätzlicher Support:

04.10.2025 CH Luzern – Metal Storm Over Luzern
05.10.2025 DE Kassel – Goldgrube

Support: KANINE:

07.10.2025 DE Vechta – Gulfhaus
08.10.2025 DK Kongens Lyngby – Templet
09.10.2025 DE Hamburg – Bambi Galore
10.10.2025 NL Alkmaar – HAL 25
11.10.2025 BE Liège – Deathtoberfest

Source: Vampster

TROY THE BAND präsentieren ihr neues, noch unbetiteltes Album mit der Single „Porous„. Bei dem Stück handelt es sich um eine Kollaboration mit Sängerin Soozi Chameleone.

Die Single markiert das erste neue Material seit dem Album „Cataclysm“ (2024). Der Nachfolger ist für 2026 angekündigt.

TROY THE BAND Line-up 2025
Sean Durbin – Bass
Sean Burn – Guitar
Jack Revans – Drums

Source: Vampster

Am 17. Oktober 2025 veröffentlichten HUMAN FORTRESS ihr neues Album „Stronghold“ via Massacre Records. Zur ersten Single „The Abyss Of Our Souls“ gab es bereits ein Video, nun folgt mit „The Darkest Hour“ ein weiterer Track.

Nachgelegt hat die Gruppe zwischenzeitlich mit der zweiten Single „Pain„.

Produziert wurde das Album von der Band  im Soundhoops Studio, für Mix und Mastering ist Alex Krull verantwortlich.

HUMAN FORTRESS „Stronghold“ Tracklist

Stronghold
The End Of The World
Pain (Lyric-Video bei YouTube)
Mesh Of Lies
The Abyss Of Our Souls (Video bei YouTube)
Under The Gun
Silent Scream
Death Calls My Name
Road To Nowhere
The Darkest Hour (Audio bei YouTube)

HUMAN FORTRESS Line-up:

Gus Monsanto – Gesang
Todd Wolf – Gitarre
Volker Trost – Gitarre
Axel Herbst – Keyboard
André Hort – Bass
Apostolos Zaios – Schlagzeug

Source: Vampster

“Predator: Badlands” hits the cinemas worldwide on November 7 2025 in IMAX and RealD 3D....

Source: Side Line