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30.10.2025 - Sirens, Sinners, and Cowboys — Leknes & The Layoffs Drift Into a Desert Bar Dreamland in Video for “Nahual”

The tables are floating in ale and semen, people dreaming of their dream to come true
I wrap my legs around one of the broad chested doñas and she sticks to me like glue

The camera opens on a blistered horizon. A truck crawls through the Oaxacan desert like a wounded animal, its engine coughing up prayers to the dust. Inside sits Stian Leknes, the man behind Leknes & The Layoffs, whose Nahual video feels less like a performance than a fevered confession from someone who’s seen too much and isn’t done seeing. The song, a foretaste of their upcoming album M.S. Playhead Volume I, thrums with a noir pulse, its organs and saxophones exhaling like lost souls in an after-hours chapel. We’ve seen this guy before in his previous video for San Miguel, but this one ups the drama of the storyline.

The film, directed by Leknes himself and assembled by Snorre Hovdal with gorgeous cinematography from Mala Onda Studios, looks like it was shot through a whiskey glass left sweating on a jukebox. There’s something ritualistic in its pacing: each shot held a moment too long, each face caught between repentance and relapse. Leknes pulls into a desolate bar that feels conjured from collective dream logic: part Wizard of Oz, part Blues Brothers, and part Star Wars cantina. Inside, the clientele are sirens and sinners, cowboys gone crooked by time. It’s a place where a beer costs your conscience and every song might start a fight.

“I aim to portray the big emotions, and often the darker sides of myself and people in general,” says Leknes. “M.S. Playhead is the character I use to explore many of these aspects, but I guess it’s a known issue that when you dig deep enough into a character, and its dark sides, it can eventually become quite hard to tell where you end and the character begins.”

That tension between author and alter ego runs through every frame. The editing and VFX by Hovdal turn the dust and heat into a hallucination; the colour grading slides from sunburnt ochre to the bruised blues of regret. The song itself, indebted to The Doors and Mark Lanegan as much as Leonard Cohen and Timber Timbre, trudges forward on toms that sound like heartbeats in exile.

Saxophones growl through the room like alley preachers, their notes spitting sparks against the smoke. Beneath it all, the drums swagger and stutter in a half-jazz delirium, pushing the whole mess forward with the precision of chaos. Leknes drags his audience through a fevered purgatory, passion laid bare and burning, the kind of descent where you crawl through every circle of hell just to find the bartender still pouring.

Violence blooms like a barroom flower. The camera doesn’t flinch. The sequence is choreographed chaos: bottles fly, fists connect, blood turns into choreography. Leknes, both witness and participant, becomes a kind of noir pilgrim. As he leaves the wreckage, he befriends a lone donkey and drifts into the sunset, neither redeemed nor damned, just returned to motion.

Nahual feels like a dispatch from the borderlands of psyche and geography alike; a world where the barroom becomes confessional, the landscape an accomplice, and the outlaw learns that exile and enlightenment share the same road out of town.

Watch the video for “Nahual” below:

Listen to Nahual below and order the single here.

Nahual by Leknes & The Layoffs

Follow Leknes & The Layoffs:

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The post Sirens, Sinners, and Cowboys — Leknes & The Layoffs Drift Into a Desert Bar Dreamland in Video for “Nahual” appeared first on Post-Punk.com.

Source: Post-Punk.com

30.10.2025 - SAMAEL: „Black Matter Manifesto“ – der erste neue Song seit Jahren

SAMAEL stellen acht Jahre nach dem Erscheinen ihres letzten Studioalbums „Hegemony“ einen neuen Song vor und haben ein Video zu „Black Matter Manifesto“ geteilt.

SAMAEL-Sänger Vorph sagt über „Black Matter Manifesto“:

„Gegensätze im Leben sind seit Langem ein wiederkehrendes Thema in den Lyrics der Band – in ‚Black Matter Manifesto‘ finden sie endlich Erlösung. Die Suche nach Harmonie endet dort, wo Dunkelheit herrscht.“

SAMAEL Konzerttermine 2025 /2026
07.11.25 GR – Athen / Gazarte
08.11.25 GR – Thessaloniki / Eightball Club
28.03.26 DE – Hirschaid / Braincrusher Fest
04.04.26 NO – Oslo / Inferno Festival

SAMAEL sind:
Vorph – Gitarre, Gesang
Xy – Drum-Programming, Keyboards, Samples und Percussion
Drop – Gitarre
Ales – Bass

Source: Vampster

30.10.2025 - Interview: Waiting for Words - October 2025

Interview withZeN Smith (vocals) from Waiting for WordsAs the “French Kings of Synthpop” just celebrated 35 years, WAITING FOR WORDS, far from being turned toward its past, is active like never before. Exploring more in depths their stunning new album, ‘Dignity’, a completely reworked / reconstructed / rearranged version by some other talented French musicians, ‘Fatherless Child’ is now available while five EPs complete the journey with non-album B-Sides, splendid covers and a bunch of remixes and old school 12” Extended Versions.

Source: Reflections of Darkness

30.10.2025 - Anne Bennett Joins Forces with Ben Christo of The Sisters of Mercy for New Single “Closing the Dark”

There’s a sense, listening to Anne Bennett’s Closing The Dark, that the transmission is arriving from another dimension: somewhere between a séance and a signal jammed by cosmic interference. Her voice feels like smoke curling through the woods as she writes from the threshold where anxiety, desire, and death share a drink and whisper secrets.

“Closing the Dark is a dark rock track that dives deep into the suffocating weight of anxiety and the spiral of catastrophizing thoughts that consume us when the world feels too heavy,” says Bennett. Her words read like a classified report from the psyche; encrypted and luminous. You can almost hear the tape hiss of the subconscious, the whirr of a mind replaying the same unease until it becomes rhythm.

Bennett’s vocals hover between incantation and confession, part radio transmission, part prayer to a god she no longer believes in. Born and raised in Salem, Massachusetts, her haunting, melancholic vocals soar over dark melodies concerning death, love, heaven and hell. The song’s heartbeat is steady, synthetic, and human all at once; a machine teaching itself to feel.

Co-writer Ben Christo (The Sisters of Mercy) lends an unholy gravity: the architecture of gothic grandeur built from guitar and grief.

What Bennett explores here isn’t simply the self, but the self collapsing. Closing The Dark explores the deepest corners of the human experience, from the tender complexities of love and lust to the inevitable reality of death, where she weaves melodies that echo with raw emotion and delicate intensity. There’s something ritualistic in an acceptance of the algorithm of existence, where love and decay are interchangeable variables.

The production, handled by Matt McJunkins (A Perfect Circle), has the sheen of late-night electricity. Guitars and synths intersect like thoughts colliding mid-dream, while Jeff Friedl (Devo, A Perfect Circle) punctuates each measure as though decoding Morse from the underworld.

One feels as if they’ve witnessed an experiment in emotional alchemy, where pain becomes data, and data becomes art. Closing The Dark isn’t merely a song. It’s the echo of a dream, a dispatch from the anxious frontier between heaven, hell, and whatever remains when the radio goes silent.

Listen to “Closing the Dark” below:

Anne Bennett channels the haunted beauty of her hometown of Salem, Massachusetts, into music that blurs the border between confession and invocation. With a voice that feels both spectral and human, she transforms personal turmoil into ritual, melding the sacred and profane through her blend of Gothic Rock, doom-tinged blues, and ethereal electronics. Her songs are transmissions from the liminal: dispatches from where faith fractures and desire lingers. Read our in-depth interview with Bennett about her creative process, spirituality, and more here.

Follow Anne Bennett:

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The post Anne Bennett Joins Forces with Ben Christo of The Sisters of Mercy for New Single “Closing the Dark” appeared first on Post-Punk.com.

Source: Post-Punk.com

30.10.2025 - David Galas unveils ‘Syndrome’ from upcoming album ‘The Nihilist’ (These Hands Melt, 12 December 2025)

American darkwave/post-punk artist David Galas releases the single and video “Syndrome”, taken from his forthcoming...

Source: Side Line

30.10.2025 - Swans launch European tour; UK dates start next week – ‘Birthing’ out now via Mute / Young God

Swans, the New York experimental rock group led by Michael Gira, are on a European...

Source: Side Line

30.10.2025 - Marianne Nowottny Unveils Surreal Video for Smokey Noir Cover of David Bowie’s “I’m Deranged”

Marianne Nowottny’s rendition of David Bowie’s I’m Deranged opens like a séance with the past – less an imitation than a dialogue across time. The song, engineered by Gordon Raphael (The Strokes, Regina Spektor), retains the pulse of Bowie’s original yet breathes with a different fever. Where Bowie’s 1995 version glided through the labyrinth of paranoia, Nowottny wanders its corridors barefoot, gathering fragments of melody like torn photographs. Her phrasing, deliberate and disquieting, seems to bend the air around her voice, as if the song were collapsing under its own strange gravity.

In Bowie’s hands, I’m Deranged was the confession of a mind unspooling in real time, a modern prayer to disintegration. Nowottny’s version sounds like its aftermath, a voice sifting through the wreckage. Her delivery is neither theatrical nor restrained; it’s that rare thing in music, an act of surrender without sentimentality. The arrangement lurches with a kind of deranged elegance: jazzy, bizarre, and almost weightless, where guitars hum like anxious thoughts and the percussion shuffles with broken-time insistence.

The accompanying DIY video deepens the delirium. We see her sprinting through the desolate beauty of a resort, pursued by demons both literal and imagined. The setting evokes a fever dream of modern decay: manicured emptiness, architecture as asylum. There’s humour in its horror, a wink behind the mask, as if Nowottny were teasing her own torment. The visual absurdity suits the song perfectly: it’s the theatre of the subconscious, performed in broad daylight.

Her version of I’m Deranged doesn’t seek to clarify Bowie’s delirium but rather extends it, tracing the outline of madness until it resembles grace. In her hands, derangement becomes a way of making sense of the static. The result feels perilously alive, like a transmission Bowie might have sent from another frequency, one to which Nowottny has at last dialed in.

Watch the video for “I’m Deranged” below:

Nowottny has been unsettling the avant-garde since her 1998 debut Afraid of Me, hailed by New York Press as “one of the most astonishing debuts ever.” That same spirit of audacity runs through this album of covers. It’s less a reinvention than a reincarnation: old favourites reimagined as human disarray.

According to the artist, “This album was almost never made!” What followed was an ordeal of “starts, stops and revisions,” as hard drives crashed and sessions vanished into “digital oblivion.” That technological purgatory feels embedded in this track. The production trembles with ghost data—notes glint and dissolve, pianos stagger forward as if resurrected from damaged memory. It’s music caught between erasure and resurrection, and Nowottny treats that tension as her canvas. “I found solace pouring myself into these songs,” she said, “and reaching out to musicians and personal friends internationally to collaborate.”

Listen to I’m Deranged below and order Marzanna here.

Marzanna by Marianne Nowottny

Follow Marianne Nowottny:

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The post Marianne Nowottny Unveils Surreal Video for Smokey Noir Cover of David Bowie’s “I’m Deranged” appeared first on Post-Punk.com.

Source: Post-Punk.com

30.10.2025 - ReView: Jarboe – Disburden Disciple (25th Anniversary Remaster)

Jarboe Album: Disburden Disciple (25th Anniversary Remaster) Category: Alternative / Experimental Label: The Circle Music Release Date: 2025-04-25 Author: Colin Andrew MacDougall (VexationsandtheVile) [..]