British act Social Youth Cult has announced a debut album, titled The Lighthouse, cementing a rhythmic gothic sound developed over the nearly two years since the band’s foundation. Bandmates Shaun Greer, Holly Moore, Alex Thibaut, and Jack Stephenson see the record as shedding their earlier skin of darkwave-inspired composition [..]

Source: RE:GEN Mag

Our kiss tonight, could save or end your life.
Picture this: it’s 1986, a weekend strung between Manhattan’s Danceteria—that cathedral of chaos where punks, drag queens, and synth freaks preached the gospel of excess—and, decades later, Bushwick’s Bossa Nova Civic Club, where their descendants still dance through the fog. Liaisons Dangereuses is bleeding into Anne Clark’s “Our Darkness,” and the crowd is split between leather, lace, and neon. Somewhere between the coldwave cabal and the freestyle fever dream—that’s where Bustié would’ve belonged.

Angelika Padilla (aka Pogo Pope) of Bustié calls this concoction of 80s Freestyle, Electro, UK punk, and Janet Jackson via “Rhythm Nation 1814,” — “Anarcho Body Music.” And Padilla’s mission is as physical as it is political—dancefloor as direct action, synths as subversion. Joined by Esmé and Harry Figueroa, and featuring collaborations with Heather Galipo (CrowJane, Egrets on Ergot), Romy Hoffman (Agender, ROMY), Rosa Castillo, and Gina Kuhn (More Ephemerol), the EP is a manifesto wrapped in sequins and sweat.

The title track “Cruel Intentions” erupts with metallic bass synths and bongo-pad percussion that pulse like they’ve been smuggled from a lost underground acetate. Padilla’s voice cuts through the machinery—part command, part confession—channeling Anne Clark and Soma Holiday in equal measure. It’s a collision of minimal wave, dark disco, and synthpop that feels ritualistic: a hymn to desire and danger where each chorus threatens redemption or ruin. “Our kiss tonight could save or end your life,” Padilla warns, and you believe her.

A slower burn with dirge-weight basslines and icy string pads, “Icon” moves with liturgical grace. The drum programming marches with deliberate intensity, while Padilla’s lyrics read like devotional verse: blood oaths, divine servitude, the sacred and profane intertwined. It’s the sound of a nightclub congregation kneeling to the beat—half prayer, half possession.

“Wilt” wastes no time. Rippling bass synths and snare hits launch Padilla into a cold fury—detached at first, then flaring into operatic heartbreak. “Wilt like roses on the grave of our love,” she intones, the melody unraveling like smoke. It’s the EP’s cathartic centerpiece, balancing romance and rage, the funereal and the danceable.

Across its three tracks, Cruel Intentions is a declaration: queer, confrontational, and completely dance-driven. Bustié finds the perfect friction point between coldwave austerity and freestyle shimmer, making room for both heartbreak and resistance. You can file it beside Beta Evers, Animal Bodies, or Hard Corps, but it’s better to file it under its own invention—Anarcho Body Music. This is music that moves, provokes, and reclaims.

Listen to the EP below, and order here

Cruel Intentions by Bustié

Bustié will celebrate the release of Cruel Intentions with Ghost Cop and More Ephemerol (LA) at Trans-Pecos, Ridgewood, Queens — Sunday, October 26 · Doors 7 PM.

Follow Bustié: 

Instagram
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Spotify
YouTube 

The post Bustié’s Cruel Intentions EP — Dark Synth Desires and the Manifesto of “Anarcho Body Music” appeared first on Post-Punk.com.

Source: Post-Punk.com

Wie? Nur sieben Songs? Und das nach viereinhalb Jahren Wartezeit? Ja, bei bloßem Anblick der Tracklist des neuen…

Source: monkeypress.de

Seit zwei Jahrzehnten schreibt Jérôme Reuter unter dem Namen ROME eine der faszinierendsten Erfolgsgeschichten zwischen Chanson, Post-Punk und rebellischem Folk. Mit eindringlicher Stimme und poetischer Schärfe erschafft der Luxemburger Klangwelten, die vom martialischen Hymnus bis zur fragilen Ballade reichen – ein eigenes Universum zwischen Jacques Brel, Leonard Cohen und Nick Cave. https://www.romepage.org/

2025 feiert ROME das 20-jährige Bestehen mit der großen „One Fire Worldwide“-Tour. Gemeinsam mit Michel Spithoven (Drums) und Yann Dalscheid (Bass, Synths) bringt Reuter ein opulentes Set auf die Bühnen Europas – mit den großen Klassikern, neuem Material und der ungebrochenen Intensität eines Künstlers, der Geschichte nicht nur besingt, sondern spürbar macht.

Live:
25.10. Köln, Yard Club
26.10. Frankfurt, Nachtleben
29.10. München, Backstage
30.10. Wien, Viper Room
01.11. Dresden, Bunker
02.11. Berlin, Frannz Club
03.11. Hamburg, Nochtwache

 

Source: Amboss-Mag.de

Das aufstrebende Witchhouse-Projekt Haunted House hat am 18. Oktober 2025 seine zweite Single „Silent Moon“ veröffentlicht – ein…

Source: monkeypress.de

Mit „KITE on Ice“ hebt das schwedische Synthpop-Duo KITE sein ohnehin außergewöhnliches Live-Konzept auf eine neue Ebene: Die…

Source: monkeypress.de

Los Angeles im Jahr 1988: Nebel, Neonlicht, ein Walkman mit ausgelaufenen Batterien – und irgendwo dazwischen fünf Jungs mit zu viel Kajal und zu wenig Sonnenschein. Negative...

Source: MedienKonverter

Hach - Berlin, du bist echt ein echtes Abenteuer. Eigentlich wollten sich Till Lindemann und Joey Kelly am kommenden Montag gemütlich im Astra Kulturhaus niederlassen, um ihr...

Source: MedienKonverter

Mit ihrer neuen Single „Darkest Days“ meldet sich die finnische Band Block Of Flats eindrucksvoll zurück. Der Song,…

Source: monkeypress.de

Das belgische Label Alfa Matrix setzt ein starkes Zeichen für die internationale Dark-Electro- und Industrial-Community: Mit „Matrix+ Downloaded…

Source: monkeypress.de

Earlier this year, Cubic released the EP “EFM01”—also available on vinyl. Now, the project returns...

Source: Side Line

Vier Jahre, drei Alben – und kein bisschen Licht. 'Dark Minimal Project' haben sich mit ihrem neuen Werk „Pleasure Is A Sin“ endgültig in die oberste Liga...

Source: MedienKonverter

Although Versus Goliath originally come from the alternative scene, they are increasingly gaining support from the black scene – and it is precisely there that their live performances with elements of chanting always come as a surprise. “We often notice that there’s a certain amount of skepticism at first,” says singer Florian in our September/October […]

Source: Orkus

On January 16, 2026, Edenbridge will release their twelfth album “Set the Dark on Fire”. Back on the Steamhammer/SPV label, they conquer new worlds of sound without being unfaithful to their very own sounds. The basic sound turns out to be somewhat heavier and harmonizes wonderfully with the lyrical and visual direction of Edenbridge. Powerful […]

Source: Orkus

Die Metalcore-Band DAWN VALLY hat nach „Orange“ mit „Graves“ eine weitere neue Single veröffentlicht.

„“Graves“ ist ein Lied über Verrat und die damit verbundenen Gefühle. Ich habe mich in meine Gedankenwelt zurückgezogen, um die Worte zu finden“, sagt der neue Sänger Zac Emmons (Ex-POUND OF FLESH).

Die Song sollen Teil einer neuen EP sein, welche die Kanadier 2026 veröffentlichen werden.

DAWN VALLY Line-Up:
Joe Bartolo (Drums)
Antonio Bratta (Guitar)
Zac Emmons (Vocals)
Jeff Bartolo (Bass)

DAWN VALLY „Orange“ (Lyric-Video bei YouTube)

DAWN VALLY „Graves“ (Video bei YouTube)

Source: Vampster

Die Black Metal-Band ORM hat mit „Rigdom“ einen zweiten Track ihres kommenden Albums „Guld“ veröffentlicht. Es ist das vierte Album der Dänen aus Kopenhagen und untersuche die selbstzerstörerische Kultivierung negativer Emotionen durch die moderne Menschheit – ein eitles und manipuliertes Streben nach Perfektion und Anerkennung, das zu Angst, Isolation und Untergang führt.

„Guld“ wurde von Gitarrist und Sänger Simon Sonne Andersen produziert und von Brad Boatright gemastert. Das Cover-Artwork stammt von Asger W. Krogh. Release-Termin ist der 31. Oktober 2025 via Indisciplinarian. Vorab gibt es zu „Undfangen“ auch ein Lyric-Video.

ORM Line-Up:
Simon Sonne Andersen – guitar, vocals
Theis Wilmer Poulsen – guitar, vocals
Adam Bjørn Schønemann-Warming – drums
Malthe Yde Tiufkær – bass

ORM „Guld“ Tracklist
1. Af Magt
2. Undfangen (Lyric-Video bei YouTube)
3. Rigdom (Audio als Stream)
4. Udskammet
5. Martret

Source: Vampster

Als die Dämmerung über Leipzig hereinbrach, versammelten sich Hunderte von Fans vor dem geschichtsträchtigen Haus Auensee – gespannt auf eine Nacht, in der Licht und Schatten verschmelzen sollten.

Das Haus Auensee, eingebettet am gleichnamigen See, ist eine traditionsreiche Konzertlocation mit ansprechender Akustik und klassizistischem Charme. Mit einer Kapazität bis etwa 3.600 Personen im Stehbereich bietet es ausreichend Raum, um auch große Shows aufzunehmen, ohne den intimen Charakter zu verlieren.Die Tore öffneten sich bereits gegen 17:00 Uhr, das Konzert selbst begann 18:30 Uhr. Schon beim Einlass war die gespannte Vorfreude unter den Konzertgästen spürbar. Was auffiel: Das Alter der Fans war ein Querschnitt beinahe aller Generationen – von eingefleischten Szenegängern bis zu neugierigen Neueinsteigern. 


Als Opener standen THE DARK SIDE OF THE MOON, die sich selbst als Cinematic Metal bezeichnen, auf der Bühne. Ihr Set war eher ruhig, die Beleuchtung dezent, aber der Sound glasklar.

Eingängige Songs, teilweise bekannt aus Film und Fernsehen, schufen trotz metallischer Untermalung wiederholt ein Gefühl der Vertrautheit.

Das Publikum lauschte aufmerksam den vielen auf der Setlist stehenden Covern, unter anderem aus den Serien Vikings und Game of Thrones, die größtenteils aus dem 2023 über Napalm Records erschienenen Debütalbum von THE DARK SIDE OF THE MOON „Metamorphosis“ stammen, das bekannte Filmsongs neu interpretiert.

THE DARK SIDE OF THE MOON Setlist

The Gates of Time

First Light

If I Had a Heart (FEVER RAY Cover)

New Horizons

Jenny of Oldstones (FLORENCE + THE MACHINE Cover)

No Time to Die (BILLIE EILISH Cover)

Can’t Catch Me Now (OLIVIA RODRIGO Cover)

Legends Never Die (AGAINST THE CURRENT Cover)

Der Kontrast zu THE DARK SIDE OF THE MOON folgte mit LORD OF THE LOST – einer Band, die Dunkelheit, Emotion und Vielschichtigkeit in ihrer Musik gekonnt und ungemein eingängig vereint. Das Set eröffnete mit drei Songs aus dem kürzlich erschienenen Album „Opus Noir 1“: „Moonstruck“, „I Will Die in It“ und „Damage“. Diesmal wurde die Performance sogar von Feuer, Funkenfontänen und weiterer Pyrotechnik begleitet – ein Spektakel, das man bislang vor allem von Festivalauftritten der Band kannte.

Die aufwendig inszenierte Lichtshow verstärkte die düstere Atmosphäre des neuen Materials und tauchte die Bühne in ein Spiel aus Licht und Dunkelheit.

Natürlich fehlten auch die älteren, bekannten und beliebten Stücke nicht: „La Bomba“, „Blood for Blood“ und „Die Tomorrow“ sorgten für ausgelassene Stimmung im Publikum, das begeistert mitklatschte und -tanzte und, nachdem Chris Harms eine kleine Anleitung hierzu gab, sogar einen kleinen „One Man Circle Pit“ auf die Beine stellte.Besonders auffällig war der Auftritt des relativ neuen Bandmitglieds Benji, der mit Bassist Claas die Plätze tauschte. Benji spielte, neben Pi, nicht nur Gitarre, sondern zeigte sich auch am Keyboard und unterstützte den Gesang – ein vielseitiger Neuzugang, der sich nahtlos ins Bandrepertoire einfügte.Zum Ende hin wurde es noch einmal emotional und zugleich mitreißend: Mit dem Cover des ESC-Hits „Cha Cha Cha“ von KÄÄRIJÄ sowie dem eigenen Beitrag „Blood and Glitter“ schlug die Band die Brücke zu ihrem Auftritt beim Eurovision Song Contest 2023. Den Abschluss bildete ein starkes Statement – „Schrei nach Liebe“ von DIE ÄRTZE –, das LORD OF THE LOST einmal mehr nutzten, um ihre Botschaft von Toleranz und Menschlichkeit zu unterstreichen. Wenige Worte, aber eine umso deutlichere Haltung.

LORD OF THE LOST Setlist

Moonstruck

I Will Die In It

Damage

Drag Me to Hell

Smalltown Boy (BRONSKI BEAT Cover)

Destruction Manual

Die Tomorrow

Blood for Blood

La bomba

Children of the Damned (IRON MAIDEN Cover)

Loreley

The Curtain Falls

Bazaar Bizarre

Six Feet Underground

Light Can Only Shine In The Darkness

Cha cha cha (KÄRIJÄÄ Cover)

Schrei nach Liebe (DIE ÄRZTE Cover)

Blood & Glitter

Im Anschluss betraten FEUERSCHWANZ die Bühne – und entfachten sofort ein wahres Feuerwerk aus Mittelalter-Folk, Metal und humorvollem Rock. Mit Geige, Dudelsackklängen, treibenden Drums und donnernden Gitarrenriffs rissen sie das Publikum vom ersten Ton an mit. Gleich zu Beginn sorgten „SGFRD Dragonslayer“ und „Memento Mori“ für euphorische Stimmung, bevor das Publikum mit „Untot im Drachenboot“ und „Bastard von Asgard“ lautstark mitsang.Der Saal bebte, als sich die Menge zu „Knightclub“, vom im August veröffentlichten gleichnamigen Longplayer, und „Ultima Nocte“ in Bewegung setzte.

Spätestens bei „Schubsetanz“ wurde getanzt und gepogt – sogar eine kleine Wall of Death formierte sich.

Die Energie auf und vor der Bühne schaukelte sich gegenseitig hoch, während „Kampfzwerg“, „Berzerkermode“ und „Sam the Brave“ (letztes mit charmanten Tin-Whistle-Parts) für ausgelassene Stimmung sorgten.Mit „Uruk-Hai“ folgte ein weiteres Highlight, gefolgt von einem eindrucksvollen Drum-Solo, das nahtlos in das augenzwinkernde „Taking the Hobbits to Isengard“ überging – legendär für alle Fantasy-Fans der heutigen Zeit. Spätestens beim „Dragostea Din Tei“ (O-Zone-Cover) sang die gesamte Halle im Chor mit, bevor das Set mit „Die Hörner hoch“ seinen kraftvollen Höhepunkt erreichte.Zum Abschluss und als Zugabe kehrten Feuerschwanz gemeinsam mit MELISSA BONNY für „Valhalla“ zurück auf die Bühne. Für das große Finale vereinten sich schließlich FEUERSCHWANZ und LORD OF THE LOST zu „Lords of Fyre“, einem Stück, das als Soundtrack der Tour komponiert wurde und den Abend mit Feuer, Party und viel guter Laune abschloss.

Obwohl diese Mischung aus drei sehr unterschiedlichen Bands zunächst durch die vorhandenen musikalischen Unterschiede Zurückhaltung herzuvorrufen vermochte und sich die Fans klar voneinander unterschieden, begegneten sich beide Fraktionen äußerst feierlustig. Man gehört ja doch zur gleichen Familie. Und wer weiß, vielleicht gewann die eine oder andere Band auf diese Weise neue Hörer dazu.

FEUERSCHWANZ Setlist

SGFRD Dragonslayer

Memento Mori

Untot im Drachenboot

Bastard von Asgard

Knightclub

Ultima Nocte

Schubsetanz

Kampfzwerg

Berzerkermode

Sam the Brave

Uruk-Hai

Drums solo (Taking the Hobbits to Isengard)

Dragostea din tei (O-ZONE Cover)

Die Hörner hoch

Valhalla (mit MELISSA BONNY)

Das Elfte Gebot

Lords of Fyre (mit LORD OF THE LOST)

 

Source: Vampster

Die Atmospheric Post-Black Metal-Band SEDNA hat mit „Sila Nuna“ ein neues Album angekündigt. Es ist das vierte Album der Italiener und taucht in die Mythologie der Inuit ein.

„Sila Nuna“ wurde von Bassist Mirko Abà aufgenommen und von Jack Shirley gemixt und gemastert. Release-Termin ist der 21. November 2025 via Dusktone. Vorab gibt es den Track „Amarok“ – mit Gizarrist Giò (PSYCHONAUT 4) als Gast – zu hören.

SEDNA Line-Up:
Alex Crisafulli – Vocals/Guitar
Rolando Giulio Ferro – Drums
Mirko Abà – Bass
Lucio Minghetti – Guitar

SEDNA „Sila Nuna“ Tracklist
1 Niruaq
2 Torngarsuk
3 (Qimmuktuq I)
4 Amarok (feat. Giò from P4) (Audio bei YouTube)
5 (Qimmukruq II)
6 Tulugaq
7 (Qimmuktuq III)
8 Arnajuinnaq
9 (Qimmuktuq IV)
10 SednA (feat. Shoco from P4 and Agnese Alteri)

Source: Vampster

Die Doom / Gothic Metal-Band COLD IN BERLIN hat mit dem Video-Clip zu „The Stranger“ eine zweite Single ihres kommenden Albums „Wounds“ veröffentlicht.

Es ist das fünfte Album der Engländer aus London und wurde gemeinsam mit Mike Bew im Foel Studio in Wales aufgenommen.

„Die walisische Landschaft hat etwas Mystisches an sich“, sagt Gitarrist Adam Richardson. „Wir haben in einem tiefen, dunklen Tal aufgenommen, an nebligen Tagen und mit Sternschnuppen in der Nacht. In den Pausen konnte man durch die nahegelegenen Wälder und Steinkreise spazieren. Die Foel Studios fügen sich mit ihrer eigenen Transzendenz in diese Kulisse ein.“

Die Synthesizer auf dem Album wurden von BOW CHURCH aus Berlin arrangiert, einer Persönlichkeit der Dark-Electronic-Szene. Die Blasinstrumente auf „12 Crosses“ wurden von einem bekannten Jazzmusiker aufgenommen, der aufgrund seiner Verbindungen zum Label anonym bleibt.

„“Wounds“ ist eine Reihe von Songs über die verschiedenen Arten, wie Menschen mit den ‚Wunden‘ ihres Lebens leben und diese verarbeiten“, erklärt Sängerin Maya Berlin. „Eine seltsame Feier dieses prägenden Schmerzes, den wir alle auf irgendeine Weise erlebt haben. Der Verlust und die Freude des Überlebens – die Freude, andere wie uns zu finden, das Geschenk zu wissen, dass nach dem Feuer das Leben kommt.“

Release-Termin ist der 7. November 2025 via New Heavy Sounds. Vorab gibt es zum Opener „Hangmans Daughter“ einen Video-Clip.

„“Hangman’s Daughter“ ist ein Lied über unerwiderte Liebe“, sagt Sängerin Maya. „Eine Frau wurde geliebt, konnte diese Liebe jedoch nicht erwidern, sodass sie von dem Mann, der sie liebt, ertränkt wird. Sie ist jedoch nicht verloren – sie verfolgt den Mörder und er kann ihr nicht entkommen. Der Titel deutet auf die Vergangenheit hin, aber tatsächlich ist dies ein sehr aktuelles Thema für Frauen von heute – wie sie buchstäblich überleben können, wenn sie einen Mann nicht lieben können, der beschlossen hat, dass er nur sie will.“

COLD IN BERLIN Line-Up:
Maya Berlin – Vocals & lyrics
Adam Richardson – Guitar
Lawrence Wakefield – Bass
Alex Howson – Drums

COLD IN BERLIN „Wounds“ Tracklist
1. Hangmans Daughter (Video bei YouTube)
2. 12 Crosses
3. Messiah Crawling
4. They Reign
5. The Stranger (Video bei YouTube)
6. We Fall
7. The Body
8. I Will Wait
9. Wicked Wounds

Source: Vampster

Die Metalcore-Band OBELISK hat mit „Brushed By Darkness“ ein neues Album angekündigt. Es ist das erste Album des Solo-Projekts aus Edinburgh. Release-Termin ist der 12. Dezember 2025. Vorab gibt es den Track „Working Class Zero“ zu hören.

OBELISK „Brushed By Darkness“ Tracklist
1: Slifer the executive Producer
2: Where Do you End?
3: Karmaeleon
4: Working Class Zero (Audio bei YouTube)
5: Stardust Cycle
6: Tragically Designed
7: Have You Ever Seen The Sunset, at 3pm?
8: Set Me Free
9: Plaything
10: Smiling Politely

Source: Vampster

Mit „Úr Öskunni“ wird am 8. November 2025 via By Norse Music das neue Album von GÍSLI GUNNARSSON erscheinen. Das neue Album des isländischen Musikers steht dabei im Zeichen der Vulkanausbrüche in seiner Heimatstadt Grindavík. Die Zwangsevakuierung, die Zerstörung seines Hauses und die psychologischen Folgen monatelanger Erdbeben und Instabilität wurden zur Grundlage für das neue Album. Mit „Andlitin í Berginu“ gibt es nun einen weiteren Video-Clip. Der Song sei eine Hommage an die Geister und Steinformationen, die bei den vulkanischen Umwälzungen in der Nähe von Grindavík verloren gegangen sind.

„Wie viele Isländer habe ich es immer geliebt, in den Lavafeldern Trolle zu entdecken und in den Felsen Gestalten zu sehen, die wie alte Geister wirken, die über das Land wachen. Auf Þorbjörn, in der Nähe von Grindavík, gab es zwei, die mir besonders ans Herz gewachsen waren. Ich nannte sie den König und den Diener. Sie wirkten irgendwie wie Wächter. Aber während der Erdbeben kamen sie den Berg herunter. Es fühlte sich ehrlich gesagt so an, als hätte ich etwas Heiliges verloren. Also schrieb ich „Andlitin í Berginu“ aus ihrer Perspektive, wie ihre letzten Gedanken, ihre Stimmen, die durch den Felsen hallen“, sagt der Musiker.

Vorab gibt es auch zu „Heima“ einen Video-Clip.

„“Heima“ entstand in einer ziemlich seltsamen, unsicheren Zeit. Ich war gerade wegen der Vulkanausbrüche aus meinem Zuhause evakuiert worden und saß in diesem winzigen Sommerhaus mitten im Nirgendwo fest. Ich wusste nicht, ob ich mein Zuhause für immer verloren hatte, und alles fühlte sich so ungewiss an. Ich sehnte mich nach einem Zuhause, von dem ich nicht wusste, ob ich es jemals wieder sehen würde. All das floss in diesen Track ein“, sagt Gísli Gunnarsson.

GÍSLI GUNNARSSON „Úr Öskunni“ Tracklist
1. Heima (Video bei YouTube)
2. Lúpína
3. Andlitin í Berginu (Video bei YouTube)
4. Aska
5. Glókolla
6. Söknuður
7. Þjófagjá
8. Álftavatn
9. Tómarúm
10. Þar sem vindurinn þekkir nafn mitt

Source: Vampster

Mit „Unwell“ wird am 31. Oktober 2025 die neue EP der Instrumental Seance Metal-Band LIMINAL SPIRIT erscheinen. Die neue Scheibe des Solo-Projekts von Jerry Hauppa (DEORBIT) erzähle die Geschichte von Phillip, einem älteren Demenzpatienten, der in einem Pflegeheim lebt und von den Geistern zweier Kinder heimgesucht wird, die behaupten, er habe sie vor Jahrzehnten ermordet. Während Phillips Verstand zerfällt, spiegelt die Musik seinen psychischen Zusammenbruch wider und wechselt von jazzinspirierter Ruhe zu mikrotonalem Chaos und bedrückender Verzerrung. Die EP gipfelt in Phillips Tod und spiritueller Verurteilung, die ihn in einem erschreckenden Epilog in die Hölle befördert.

„Mein Ziel mit dieser EP ist es, Ideen zu erforschen, die einige meiner größten Ängste widerspiegeln. Durch meine Arbeit in Pflegeheimen habe ich aus erster Hand gesehen, wie elend es dort sein kann. Der Gedanke, meine geistigen Fähigkeiten zu verlieren und mich einem spirituellen Urteil zu stellen, erschreckt mich – und genau das wollte ich einfangen“, sagt Jerry Hauppa.

LIMINAL SPIRIT „Unwell“ Tracklist
1. Admittance (5:27)
2. Unwell (6:52) (Audio bei YouTube)
3. Visiting Day (8:01)
4. EOLC (8:26)
5. A Better Place (5:42)

Source: Vampster

Die Alternative Rock-Band YELLOWCARD hat mit „You Broke Me Too“ – mit AVRIL LAVIGNE als Gast – ein weiteres Video ihres neuen Albums „Better Days“ veröffentlicht.

Davor hat die Band nach „Take What You Want“ mit „Bedroom Posters“ ein weiteres Video veröffentlicht. Die Single sei für alle, die ihre Heimatstadt in guter Erinnerung behalten.

Das neue Album der US-Amerikaner aus Florida wurden von Travis Barker (BLINK-182) produziert, der auch die Drums eingespielt hat. Release-Termin war der 10. Oktober 2025 via Better Noise Music. Vorab gibt es auch zum eröffnenden Titeltrack – eine schonungslose Reflexion über Dankbarkeit, Vergebung, Perspektive und Sinnhaftigkeit – einen Video-Clip.

YELLOWCARD Line-Up
William Ryan Key (Gesang/Gitarre)
Sean Mackin (Violine)
Ryan Mendez (Gitarre)
Josh Portman (Bass)

YELLOWCARD „Better Days“ Tracklist
1. Better Days (Video bei YouTube)
2. Take What You Want (Video bei YouTube)
3. Love Letters Lost (feat. Matt Skiba of Alkaline Trio)
4. honestly i
5. You Broke Me Too (feat. Avril Lavigne) (Lyric-Video bei YouTube)
6. City of Angels
7. Bedroom Posters (Lyric-Video bei YouTube)
8. Skin Scraped
9. Barely Alive
10. Big Blue Eyes

Source: Vampster

Die Melodic Death Metal-Band ENEMY AWAKE hat mit „My Hell is Yours“ eine neue Single veröffentlicht. Der Song, welcher auch auf einer kommenden EP vertreten sein soll, folgt auf das 2021er-Album „Fallen World“ nach und wurde mit Tomas Skogsberg im Sunlight Studio aufgenommen.

ENEMY AWAKE Line-Up:
Ivan C. – All instruments, vocals
Seba – Drums

ENEMY AWAKE „My Hell is Yours“ (Audio bei Bandcamp)

Source: Vampster

Mit „Arise“ ist am 10. Oktober 2025 via Seek and Strike die neue EP der kanadischen Progressive Death Metal-Band OMNIVIDE erschienen. Die Scheibe folgt auf das 2024er-Debütalbum „A Tale of Fire“ nach. Nun gibt es ein Video zum Titeltrack.

Vorab gibt es auch zu „Void“ einen Video-Clip.

„Unsere erste Single ‚Void‘ hat den direktesten Bezug zum lyrischen Thema der EP, nämlich die Überwindung innerer Grenzen und äußerer Widrigkeiten in den schlimmsten Situationen des Lebens. Er drückt anschaulich die Verzweiflung aus, die man in Zeiten scheinbar unüberwindbarer Kämpfe empfindet, die Weigerung, aufzugeben, egal wie schlecht die Chancen stehen, und das Wachstum, das stattfindet, wenn man sich entscheidet, sich solchen Herausforderungen zu stellen“, erklärt die Band.

„Arise“ wurde von Francois Fortin im Studio La Boîte Noire gemixt und von Benoit Fecteau gemastert. Das Cover-Artwork stammt von Marcel Leblanc.

OMNIVIDE Line-Up:
Marc-André Richard – Drums
Nicolas Pierre Boudreau – Guitars
Samuel Frenette – Guitars, Vocals
Samuel Lavoie – Keyboards
Alex Cormier – Bass

OMNIVIDE „Arise“ Tracklist
1. Prelude
2. Void (Video bei YouTube)
3. Tyrannical Saviour
4. Omnipotent
5. Arise (Video bei YouTube)

Source: Vampster

Die Symphonic Death Metal-Band KHEPRA hat einen Labeldeal bei Theogonia Records abgeschlossen. Im Zuge dessen werden die Türken ihr neues Album „Anatomy Of Sin“ veröffentlichen. Es ist nach „Cosmology Divine“ (2016) das zweite Album der Band aus Istanbul.

„Anatomy Of Sin“ wurde von Dinos „Psychon“ Prassas (SEPTICFLESH) gemixt und gemastert und wird am 12. Dezember 2025 erscheinen. Vorab gibt es zu „Consumed by Fire“ und „Vision Genesis“ jeweils einen Video-Clip.

KHEPRA Line-Up:
DoÄ�ukan „Dou“ Kalender – Vocals, Guitars
Kenan Turandar – Bass
Safa Adakul – Guitars
Ä�lkay CanaydÄ�n – Drums

KHEPRA „Consumed by Fire“ (Video bei YouTube)

KHEPRA „Vision Genesis“ (Video bei YouTube)

Source: Vampster

Die Progressive Rock-Band SYRINX hat mit „It Left“ einen weiteren Video-Clip ihres neuen Albums „Time out of Place“ veröffentlicht. Davor ist bereits das Video zu „1875“ erschienen. Der Song greift vergessene Bücher und apokalyptische Visionen auf und beschäftigt sich mit Themen wie Maßlosigkeit, Korruption und dem unvermeidlichen Verfall der Zeit.

Es ist nach „Embrace the Dark – Seek the Light“ (2019) das zweite Album der Kanadier rund um Bandgründer Graham McGee (Ex-STRYKER, Ex-SPELL, Ex-LUNG FLOWER).

„Time out of Place“ wurde von Felix Fung bei Little Red Sounds in Vancouver aufgenommen, von Nathan Jackson gemixt und von Brock McFarlane gemastert. Release-Termin war der 9. September 2025 via Ocula Records. Vorab gibt es auch zu „A Waking Dream“ einen Video-Clip.

SYRINX Line-Up:
Graham McGee – Guitars/Moog Taurus/Little Phatty/Minimoog/Oberheim OB-X/Backing Vocals
JP Abboud – Vocals
Seth Lyon – Drums/Percussion
Bobby Shock – Bass/Moog Taurus/Minimoog/Oberheim Matrix
Lady Chanelle- Supporting Vocals

SYRINX „Time out of Place“ Tracklist
1. Mitosis (Second Light)
2. 1875 (Video bei YouTube)
3. The Master’s Host
4. Solace Within Dreams
5. The Knowing
6. A Waking Dream (Video bei YouTube)
7. Shades of Your Purpose
8. Unraveler
9. It Left (Video bei YouTube)

Source: Vampster

We ran as the days grew short
And howls rang through the air
Our empty days are long gone
We built a home with our hearts bared
As Night Falls,  the luminous new single from Kallai’s We Are Forever (out now through Little Cloud Records), lands like a deep breath in a chaotic era; a quiet hymn to endurance and the stubborn beauty of holding on. There’s an elemental grace at work: a recognition that love, in its truest form, is less about escape than about standing together when the air turns to frost. The song feels both intimate and universal, the sound of two people bracing against the cold while the world outside continues to burn.

The Portland-based quartet: David Gross on guitars and vocals, Daniel Henderson on drums, Cate Hukle on guitars, synths, and vocals, and Brian Wilcher on bass – plays with the instinctive chemistry of kindred spirits. Their interplay feels lived-in, not rehearsed; every note functions as an act of witness, a gesture of solidarity. The composition moves between chill and warmth, tracing the ache of solitude before finding its anchor in empathy and care. At times, the track recalls the celestial drift of Cocteau Twins, the raw intimacy of PJ Harvey, and the eerie sensuality of a Lynchian soundtrack; music that holds tension between beauty and unease.

Kallai’s influences ripple outward in deliberate, expanding circles. Doom, goth, and grunge inspirations are folded into electronic textures, string arrangements, and the steady grace of piano. This isn’t embellishment for its own sake; it’s a reflection of identity itself: layered, complex, and ignoring genre boundaries. Each sound feels chosen to serve the song’s emotional core, amplifying its quiet insistence on resilience. With As Night Falls, the band moves beyond the familiar scaffolding of shoegaze toward something more fluid and human, something that breathes.

The mesmerizing accompanying video for As Night Falls mirrors the song’s emotional topography. It follows a woman wandering through solitude and shifting landscapes: atriums, subways, half-lit corridors, searching for connection in a world that feels both alien and familiar. When she meets a companion, the tension softens. Together they navigate the uncertain terrain, their bond transforming unease into renewal. The journey ends not in triumph but in recognition: a homecoming of the heart, a return with the flame rekindled and the spirit altered.

As Night Falls is a reminder that survival is a living act. It’s motion and memory, care and communion – and the willingness to keep breathing through frost and fear. It is, as the lyrics insist, forever.

Watch the video As Night Falls below:

We Are Forever was largely written in the weeks following last year’s U.S. elections, a time when Cate Hukle was “processing her feelings as a disabled, mixed-race, queer woman.” The record carries that perspective in every measure. It speaks to the cyclical nature of struggle: the way certain stories, particularly those of the marginalized, get buried yet continue to hum beneath the surface. Here, pain is acknowledged, not romanticized. Hope is fragile but present, refracted through layers of sound that feel both ancient and forward-looking.

Their commitment extends offstage. As co-founders of Dreamgaze PDX, a festival that has spotlighted acts like The Veldt and Tears Run Rings, Kallai have become cultural architects in their own right. The festival’s forthcoming partnership with Seattle’s Tremolo Festival expands their vision into a multi-city celebration of underground resilience.

Listen to As Night Falls below and order the single here.

We Are Forever by Kallai

Follow Kallai:

Instagram
Facebook
YouTube

The post Portland Shoegaze Outfit Kallai Unveils Video for Luminous New Single “As Night Falls” appeared first on Post-Punk.com.

Source: Post-Punk.com

We ran as the days grew short
And howls rang through the air
Our empty days are long gone
We built a home with our hearts bared
As Night Falls,  the luminous new single from Kallai’s We Are Forever (out now through Little Cloud Records), lands like a deep breath in a chaotic era; a quiet hymn to endurance and the stubborn beauty of holding on. There’s an elemental grace at work: a recognition that love, in its truest form, is less about escape than about standing together when the air turns to frost. The song feels both intimate and universal, the sound of two people bracing against the cold while the world outside continues to burn.

The Portland-based quartet: David Gross on guitars and vocals, Daniel Henderson on drums, Cate Hukle on guitars, synths, and vocals, and Brian Wilcher on bass – plays with the instinctive chemistry of kindred spirits. Their interplay feels lived-in, not rehearsed; every note functions as an act of witness, a gesture of solidarity. The composition moves between chill and warmth, tracing the ache of solitude before finding its anchor in empathy and care. At times, the track recalls the celestial drift of Cocteau Twins, the raw intimacy of PJ Harvey, and the eerie sensuality of a Lynchian soundtrack; music that holds tension between beauty and unease.

Kallai’s influences ripple outward in deliberate, expanding circles. Doom, goth, and grunge inspirations are folded into electronic textures, string arrangements, and the steady grace of piano. This isn’t embellishment for its own sake; it’s a reflection of identity itself: layered, complex, and ignoring genre boundaries. Each sound feels chosen to serve the song’s emotional core, amplifying its quiet insistence on resilience. With As Night Falls, the band moves beyond the familiar scaffolding of shoegaze toward something more fluid and human, something that breathes.

The mesmerizing accompanying video for As Night Falls mirrors the song’s emotional topography. It follows a woman wandering through solitude and shifting landscapes: atriums, subways, half-lit corridors, searching for connection in a world that feels both alien and familiar. When she meets a companion, the tension softens. Together they navigate the uncertain terrain, their bond transforming unease into renewal. The journey ends not in triumph but in recognition: a homecoming of the heart, a return with the flame rekindled and the spirit altered.

As Night Falls is a reminder that survival is a living act. It’s motion and memory, care and communion – and the willingness to keep breathing through frost and fear. It is, as the lyrics insist, forever.

Watch the video As Night Falls below:

We Are Forever was largely written in the weeks following last year’s U.S. elections, a time when Cate Hukle was “processing her feelings as a disabled, mixed-race, queer woman.” The record carries that perspective in every measure. It speaks to the cyclical nature of struggle: the way certain stories, particularly those of the marginalized, get buried yet continue to hum beneath the surface. Here, pain is acknowledged, not romanticized. Hope is fragile but present, refracted through layers of sound that feel both ancient and forward-looking.

Their commitment extends offstage. As co-founders of Dreamgaze PDX, a festival that has spotlighted acts like The Veldt and Tears Run Rings, Kallai have become cultural architects in their own right. The festival’s forthcoming partnership with Seattle’s Tremolo Festival expands their vision into a multi-city celebration of underground resilience.

Listen to As Night Falls below and order the single here.

We Are Forever by Kallai

Follow Kallai:

Instagram
Facebook
YouTube

The post Portland Shoegazer Outfit Kallai Unveils Video for Luminous New Single “As Night Falls” appeared first on Post-Punk.com.

Source: Post-Punk.com

  Ashes and Diamonds – the trio of vocalist/guitarist Daniel Ash, drummer Bruce Smith, and bassist Paul Spencer Denman – has released “On,” a slinky, serpentine, and seductive track from the band’s forthcoming debut album. Ash explains the song to be about “having an extreme passion for life/love,” calling it the antithesis of complacency [..]

Source: RE:GEN Mag

  KLANK has released the “Guns on the Playground” single, which sees the industrial/metal band taking aim at the onslaught of school shootings in the United States. With lines like “They only care for themselves and the pain they inflict” and “They aren’t right in their head,” the lyrics especially focus on the psychosis of assailants [..]

Source: RE:GEN Mag

And no one cares
that you’ll have all night
Here you’re returning
There is no straight line in the life of the soul; only the long, circling return. We dissolve into one another like rain into earth, losing our outlines so that something vaster may breathe through us. Each encounter remakes the self: a death disguised as recognition, a birth mistaken for loss. What we call love or memory is but the tides pulling us back toward what was never wholly ours. In every return, there is transformation, in every transformation, a quiet mourning. To be human is to vanish and reappear endlessly, carried by the rhythm that binds all things returning to themselves.

Return, the new single from the UK project Pale Circuit, unfolds like the slow turning of a celestial wheel. It feels less composed than remembered, as if it had always been waiting to be heard. There is a hush before the song begins, a sense that something ancient has drawn breath.  Throughout, the song balances discipline with ache: loops gathering like tides, sound folding upon itself until repetition becomes revelation. The emotional force lies in that turning, the recognition that every return carries both ruin and renewal.

A tremour of guitar widens into light, carried by synths that drift like mist across open ground. The rhythm moves with quiet certainty, unhurried but unstoppable. A voice enters: distant, steady, and human, speaking less to an audience than to its own reflection. It carries the solemn intimacy of a prayer murmured to no one in particular. Hints of Clan of Xymox and Lebanon Hanover linger in its bones, though Return feels lonelier, more patient, closer perhaps to the devotional pulse of Dead Can Dance. Still, its spirit is singular. The music inhabits the liminal space between longing and release, dissolution and form.

Listen to Return below:

Follow Pale Circuit:

YouTube
Instagram
Bandcamp
Soundcloud

The post Uk Darkwave Project Pale Circuit Makes a Haunting Debut with “Return” appeared first on Post-Punk.com.

Source: Post-Punk.com

Miami hums differently after dark; the air feels lighter but no less charged, as if the city itself inhales and holds its breath. Out of that suspended moment comes “Curveball”, the newest seduction from Donzii, a Miami / Los Angeles-based art-punk collective that turns rhythm into ritual and ennui into elegance. Released October 17th to coincide with their iii Points Festival performance, the song feels born for that hour between intention and accident — when the lights blur, the room exhales, and the night begins to think for itself.

For this release, Donzii weave bedroom-pop intimacy with the propulsion of electronic punk. The result is a groove-laden single that pushes the boundaries of electro-synth pop while remaining rooted in the band’s unmistakable raw, stylish edge. Channeling the lineage of Marine Girls, Anna Domino, Deux, Scott Hirsch, and Berntholer, “Curveball” finds its balance between restraint and seduction — a quiet collision of minimalism and motion.

This track was born at Pulp Arts in Gainesville, Florida, during what the band affectionately calls the “hot grandpa summer” of 2024. It was the first piece to emerge from that session — sparked by a beat from a tiny Italian keyboard, the Bon Tempi — and became the spark that got everything rolling. The result is an electro-disco cut made for movement and mischief, self-released with all the DIY devotion that defines Donzii’s spirit.

Lyrically, “Curveball” drifts through a feverish daydream where danger and desire blur at the edges. Eyes become omens, skies turn into mirrors, and the color blue runs through every lie and confession. Love and illusion trade places like dancers under shifting light, where gravity and grace collapse into each other — where a sweet breath feels like both salvation and undoing. There’s talk of horses in the sky, of spring grass defying thought, of feelings growing wings inside the body — the kind of surreal romanticism that feels equal parts fantasy and memory. Through it all, the refrain lingers like an afterimage: everything beautiful eventually comes down.

The groove is deliberate, almost conversational: a bassline that walks instead of runs, guitars that shimmer like streetlights seen through half-closed eyes. Each instrument seems to breathe rather than play, moving with the languid precision of someone who knows exactly when not to speak. The percussion leans back rather than forward, suggesting motion without ever needing to rush. The synths hum in suggestion rather than command, tracing outlines of memory instead of melody — like echoes from a dream half-remembered on the morning after. It’s lo-fi, but lush in the way a faded Polaroid can still feel alive, its imperfections granting texture to recollection.

“We wanted ‘Curveball’ to feel sexy and nostalgic,” the band explains. “It’s danceable but also groovy enough to just live in the background of a night out. A curveball in the best sense — something that unexpectedly pulls you in.”

That sense of invitation is Donzii’s quiet gift. Their music coaxes rather than clamors for attention. It smolders in slow motion, built for both the crowded floor and the dim corner booth. ‘Curveball’ feels cinematic in scale yet domestic in spirit: a dance-punk reverie that finds romance in repetition and seduction in stillness. It is the quiet electricity of a city after midnight, pressed onto wax and given shape.

Listen to “Curveball” below and order the single here:

curveball by Donzii

Later this year, an EP will follow, and early 2026 will bring a full-length album produced by Andrew Clinco of Drab Majesty and mixed by Chris Coady. If ‘Curveball’ is the opening note, Donzii are tuning the air itself — reminding us that seduction can be soft-spoken, and nostalgia, if handled right, can still dance.

Follow Donzii:

Bandcamp
Instagram
Facebook
YouTube
Website

The post Donzii Delivers Late Night Sensuality with Lo-Fi Electro Dance-Punk Single “Curveball” appeared first on Post-Punk.com.

Source: Post-Punk.com

Stark in streetlight holding
A knife to carve some warmth against the night
I can’t help but feel that I was misled after all
Speak the truth- if you know, why didn’t you tell me?

There’s a particular alchemy in Single Lash’s new single, Frozen Honey II; a strange, slow exhalation of heat meeting frost. The music feels like a conversation between instinct and intellect, where each chord is both an embrace and a withdrawal.

Nicolas Nadeau’s voice arrives like a sigh refracted through glass: clear, slightly wounded, but dignified in its restraint. There’s something of Michael Hutchence’s croon here, the kind of unforced magnetism that once haunted the airwaves of Kick and Listen Like Thieves. It’s as if Frozen Honey II were a lost INXS collaboration with The Ocean Blue was discovered in a vault; lush, sultry, and alive with unspoken tension. Behind him, Neil Lord’s guitar hums with celestial precision, bending toward brightness but tethered to the low, honey-colored hum of bass and drum. The result is neither cold nor warm…it hovers somewhere in the middle.

Frozen Honey II unfurls like an argument between heart and reason. The lyrics speak of withheld truths, of being misled and yet unwilling to yield. There’s a knife in the imagery, but it cuts gently; more an incision of understanding than of violence. You sense the song reaching for reconciliation, yet it finds poetry in resistance. It’s a kind of quiet revolution, the realization that survival can be an act of beauty.

The arrangement swells and contracts. When the key changes arrive, they feel like small awakenings: the air shifting, the light bending through a cathedral window. There’s a grandeur here that never turns theatrical. The instrumentation is lush but never indulgent, alive but never frantic, even when the lyrics teeter on the edge of despair. Listening becomes a meditative act: the more you yield to it, the more it reveals its quiet strength.

Listen to Frozen Honey II below and order the single here.

Frozen Honey II by Single Lash Single Lash have shared stages with Killing Joke, Modern English, and Drab Majesty, but here they stand wholly themselves, architects of emotional architecture. Frozen Honey II feels timeless, like an echo from a parallel decade when elegance and ache still danced together beneath the same moonlight.

Follow Single Lash:

Bandcamp
Instagram
Spotify

The post Austin Post-Punk Ensemble Single Lash Returns with Dreamy New Single “Frozen Honey II” appeared first on Post-Punk.com.

Source: Post-Punk.com

Mit der Single „Duality“ eröffnet die Stuttgarter Modern-Metal-Band Venues das nächste Kapitel ihrer Karriere. Der Song, erschienen am…

Source: monkeypress.de

Die norwegische Musikerin Sunniva Lindgård alias Sassy 009 setzt die Veröffentlichungskampagne zu ihrem kommenden Album Dreamer+ mit einer…

Source: monkeypress.de

The Veer Union legen mit ihrer neuen Single „Sunk Your Teeth In“ kraftvoll nach – genau so, wie…

Source: monkeypress.de

Leather dance, feel your heartbeat,
pumping under your boots, in a trance
New York new wave crooner Ronnie Stone has a way of transforming the dance floor into something sacramental. He preaches the gospel of groove, where body and machine fuse into one relentless beat. His latest single, Bound 2 The Rhythm, released through Feeltrip Records, extends this ritual.

The track’s title knowingly winks at Prince’s spelling choices and Grace Jones’s Slave to the Rhythm, yet Stone’s interpretation belongs to a darker, more subterranean congregation, where Stone explores obsession and abandon. He calls his version of the faith “dungeon funk,”a term that feels both playful and perilous, suggesting bondage of spirit as much as of flesh.

Bound 2 The Rhythm unfolds like liturgy. Its groove is deliberate, a ritual pulse guided by plunky synth bass and precise 707 percussion. There’s a sheen of industrial sophistication here Each texture breathes, as if programmed to seduce. The icy tubular bells and jazzy Juno stabs strike like sparks from steel, their precision carrying an almost ecclesiastical control.

Stone’s voice moves through the arrangement with the authority of someone summoning rather than singing. Bound 2 The Rhythm is, as he puts it, “a liturgy of surrender” – a hymn to the ecstasies found in submission. The repeated invocation feels like reincarnation: Jones’s dominion reimagined in a new, nocturnal order. In Stone’s world, pleasure and penitence share the same pulse.

His production, slick, cerebral, and obsessively structured, anchors itself in the legacy of Cabaret Voltaire and the darker grace of Depeche Mode. Yet his precision never sterilizes. The tension between control and chaos, pain and seduction, remains alive in every measure. It’s electronic music as ritual architecture: cool on the surface, burning underneath.

The accompanying video, directed by John MacKay (Cinema Du John) and bandmate Rosa Luna, makes this ritual tangible. Shot entirely on VHS, it follows Stone through Brooklyn’s subways, abandoned tunnels, and basements, a pilgrimage through the underworld of his own creation. Grainy and voyeuristic, it captures the illicit intimacy at the heart of dungeon funk.

Watch the video for Bound 2 The Rhythm below:

With Bound 2 The Rhythm, Stone consecrates the night itself, where desire, devotion, and control move as one, and the rhythm, once again, becomes master.

Listen to Bound 2 The Rhythm below and order the single here.

B0UND 2 THE RHYTHM by Ronnie Stone

Ronnie Stone is on tour through November 7th. You can find tickets here.

This evening, Ronnie Stone will be celebrating the release of Bound 2 The Rhythm in Philadelphia with Kontravoid, Void Vision, DJ Baby Berlin, and DJ Nightwitch.

OCT 17 — Philadelphia, PA 
OCT 21 — Charlotte, NC 
OCT 22 — Asheville, NC
OCT 23 — Atlanta, GA 
OCT 25 — Chattanooga, TN (for Night Shade Fest)
OCT 30 — Columbus, OH
NOV 1 — Chicago, IL (for Sanctum Fest) 
NOV 2 — Davenport, IA
NOV 3 — St. Louis, MO
NOV 5 — Albuquerque, NM
NOV 7 — Los Angeles, CA for Substance

Follow Ronnie Stone:

Website  
Instagram
Spotify
 iTunes
Deezer
 YouTube
Amazon

The post Ronnie Stone Descends into the Dungeon with Video for Funky Synthpop Jam “Bound 2 The Rhythm” appeared first on Post-Punk.com.

Source: Post-Punk.com

With the new single “Memento Mori”, Project Pitchfork remind us of the transience of our existence. Dramatically sluggish electronics condense into a bitter hymn to the end. The harshness of the German language fits perfectly; after all, the person being sung about – who has anything but a clean slate – is not going to […]

Source: Orkus

Die finnischen Melancholic Doom Metaller KAUNIS KUOLEMATON haben die Veröffentlichung ihres fünften Albums „Kun Valo Minussa Kuoli“ angekündigt, welches am 28. November 2025 über Noble Demon erscheinen soll. Damit setzt die Band ihren Weg durch die düstersten Ecken des Doom und Death Metal fort .
Album-Preorder: https://music.nobledemon.com/valo

Als ersten Vorgeschmack haben KAUNIS KUOLEMATON heute die Single „Merta“ veröffentlicht, begleitet von einem brandneuen Musikvideo, das sich intensiv mit Themen wie emotionaler Entfremdung und innerer Zerrissenheit auseinandersetzt.

Die Band kommentiert: „Geht es dir wirklich gut? Wenn das Rad des Lebens dich vollständig in seinen gefräßigen Mittelpunkt gezogen hat, wenn deine Bedürfnisse und sogar du selbst dir fremd geworden sind – wenn deine Minuten verloren gehen und sich in Luft auflösen.“

 

Source: Amboss-Mag.de

Swedish future pop act Covenant has released the “Andreas EP” today, October 17, 2025, via...

Source: Side Line

Alfa Matrix will release Frontal Boundary’s industrial/EBM full-length “Failure” on December 12, 2025. The album...

Source: Side Line

The Belgian electro label Alfa Matrix releases the twelfth volume in its “Matrix+ Downloaded” series...

Source: Side Line

Nach Veröffentlichung ihres 17. Studioalbums „Destination“, setzen die deutschen Gothic-Metal-Veteranen CREMATORY heute ihre Reissue-Kampagne fort und veröffentlichen über ROAR – A Division Of Reigning Phoenix Music drei ihrer prägendsten Alben erneut.
„Act Seven“: https://crematory.rpm.link/actsevenFB
„Believe“: https://crematory.rpm.link/believeFB
„Revolution“: https://crematory.rpm.link/revolutionFB

Alle drei Alben sind ab sofort in exklusiven Vinyl-Editionen und digital erhältlich – ein Muss für Sammler und Fans, die diese Schlüsselmomente der Bandgeschichte neu erleben möchten.

 

Source: Amboss-Mag.de

Endlich ist es soweit: Das kombinierte KLANGWELT- und HALLOWEEN-Event gilt in der Göttinger Region schon länger als schillerndes Highlight mit dunklem Flair. Ladet ein, trefft [...]

The post HALLOWEEN-KLANGWELT 2025: Freitag, 31.10. im EXIL Göttingen first appeared on KLANGWELT - Szene-Party, Online-Radio & Webzine.

Source: KlangWelt

Jackson VanHorn ist kein Unbekannter, veröffentlichte einige feine Platten in der letzten Zeit, die sich irgendwo zwischen Post Punk, Shoegaze und Wave/Indie Pop ansiedelten. So ganz doll anders wird es mit dem Projekt MEMORY INDEX zwar nicht, was die Zutaten betrifft und doch sind diese knapp 38 Minuten eine ganz spezielle kleine Nachtfahrt durchs Nirgendwo. Jeder Song ist hier auf den Punkt, Hit an Hit reiht sich aneinander und lässt gehöriges driften und schweben zu – wird doch alles perfekt dosiert ineinander verflochten. Dicht, emotional, kühl, suchend und mit latent nebulöser Gangart performt VanHorn kleine Sehnsuchtssongs, die sich wie am Faden gezogen auf Dich drauf ziehen werden, das sei versprochen! Etwas KVB, Cold Wave und eine Menge eingängig, simpler Tunes halten auf „Erosion“ die Kurzweil hoch. Melancholisch schwebend, sanft und durchweg düster rockend ist der Grossteil der Songs jederzeit einfach gestrickt, spielt sich dadurch schnell und unmittelbar ins melancholische Waver/Post Punk Herz. Songs wie der Opener ‚Hype Violence‘, vor allem die treibend, einfach nur genial pumpenden ‚Wake Up‘ oder das intensive Wave Stück ‚Tulpa‘ fordern zum dunklen Reigen, zum selbstverliebten Tanz im schwachen Licht auf. Man versteht es, mit sehr subtilen, aber hoch hypnotischen Gitarren-Akkorden/Motiven diese Mid Tempo-Stücke strahlen zu lassen und dieses geliebte Gefühl aufkommen zu lassen, das man sich mit der Platte ins Auto setzen möchte um Stundenlang durch die Nacht zu cruisen. Die erste Pink Turns Blue, KVB, die ganz frühen Editors, die besten Soft Kill Momente und trotzdem mit eigenen Vibe agierend, wird Dich mit großer Wahrscheinlichkeit der kleine dunkle Rausch anziehen wie die Motten das Licht. Geile Bass-Läufe, ein stoischer Beat, Shoegaze-affine, eher flüsternd gehauchte dunkle Vocals und schon ist das Paket geschnürt. Ich liebe diese Platte mit ihren kleinen selbstverliebt musizierenden Mini-Hits, wo jeder Akkord, jeder Bass-Move seine Position füllt und die anfänglich eher unauffälligen Melodien nach und nach ihr Netz auswerfen und ich hoffe es finden sich die Opfer – schön eingängig, tanzbares und nächtlich hypnotisches Wave/Post Punk Kleinod zum Ende 2025.

(R.Bärs)

Source: BLACK Onlinemagazin

Los Angeles artist Spiralteeth’s Pain and Solace drifts in the liminal space between minimal synth, minimal wave, retro pop, and post-punk—an intersection where restraint becomes revelation. It’s all of these and none of them: a modern echo of the analog era that speaks in its own quiet frequency. The album recalls the crystalline melancholy of Danish outfit Moral, and shares a kinship with acts like Deux, Turquoise Days, and Oppenheimer Analysis—artists who understood that intimacy can live inside austerity. Over these fragile electronics, Lark Detweiler’s vocals carry an otherworldly tenderness reminiscent of Miki Berenyi of Lush, a voice that feels both spectral and humanly close.

Pain and Solace doesn’t rely on cliché; it communicates through vibration, breath, and motion rather than bombast. Each song feels sculpted from absence as much as presence, its silences charged with meaning. It’s music that seems to travel through the skin as much as the ear—intimate, unsettled, and deeply personal. Where minimal synth once sought to strip emotion away, Spiralteeth uses its economy to reveal emotion’s rawest edge.

This isn’t nostalgia or revivalism; it’s composition by texture, pulse, and atmosphere. Across Pain and Solace, Detweiler approaches song as embodiment—something that exists not in melody alone but in gesture, tone, and movement. Deaf musicians are hardly rare; we simply rarely discuss how their inner hearing reshapes musical language. This album invites that conversation—without pretension or spectacle.

Before Pain and Solace, Spiralteeth (also known as Lark Detweiler) developed a body of work at the intersection of choreography, ASL, and experimental sound—folding gesture and phrasing into rhythm and form. Detweiler also appears as the ASL interpreter/dancer in L.A. Witch’s video “The Lines,” directed by Sydney Mills, where the lyrics are translated into movement and sign on screen.

In Pain and Solace, those strands converge. The record lingers not because it begs to be solved, but because it surfaces like memory: a sensation that keeps echoing after the sound has technically stopped.

The album opens with Absurdity, a song that lands on metallic thuds and a funereal organ while vaporous vocals hover at the edge of perception. It frames flight and recoil as twin impulses, turning surreal tableaus—suits, submerged butterflies, overhead crocodiles—into a hook about what feels “real.” The bass carries a repeating melodic handrail, deepening the motif as the room tilts.

Lady of the Lake is a cold-mirror ballad where plate-reverb vocals bloom over spacious drum-machine hush. It stages a confrontation with a disappearing double, devotion curdling into threat and back into longing. The promise of being torn apart meets iron resolve—poison as protection—while the synths widen into widescreen drama.

Silver Skies rides a buoyant kick and flute-like leads that sketch a halcyon ’80s dream. It circles liberation and identity, cracking glass castles from within as a mirror self returns, familiar and strange. By the end, it drifts toward quiet prophecy, trading verse-chorus bombast for a slow, elevating glide.

Battery Operated Ear saws and sighs with serrated synths against a nervous darkwave bass figure. It reframes conversation as choreography—lip shapes, tongue twists, mental translation—until “silence” becomes sensory overload. The mid-section tightens the anxiety, pushing toward feedback rather than release.

Interlude: Begin Again rings like a crystalline telephone from somewhere adjacent to the mix. It abandons vocal and beat to sketch a reset in miniature, draws its breath, then evaporates.

Collision tolls with thick bell-tones and a bruising low end that smears memory into texture. It treats trauma like a ledger—chemical smells, twisted metal, repeating impact—until fate and fault blur at the edges. Pressure builds in increments, venting only in short bursts of repetition.

Pursuit sets hypnagogic desire to a heartbeat pulse that quickens beneath funereal pads. It traces perfume trails and pointe-shoe feints, keeping seduction edged with steel, and withholds catharsis to suspend the listener inside the stalk.

Monochrome trudges through a grayscale procession of detuned bells and thudding percussion. It watches a city of forward-motion faces and rejects the narrow palette on offer, blurring highs into graphite until a final boundary is drawn: no staying where everything is black and grey.

After Hours snaps into four-on-the-floor austerity, its ascending bell arpeggios calling the room to order. It toys with power play and surrender—hands at the throat, control traded and reclaimed—before flashing vampiric gallows humor; the record’s most overtly nocturnal club cut.

The aptly titled “Un-Ending” closes the album with a delicate layer of reverb, where the voice creates a soft halo over piano-like sustained sounds and minimalist ticks. It blurs the line between endings and beginnings, emphasizing the importance of memories as they linger, dissolving rather than building up—like one dream seamlessly slipping into the next.

We spoke with Lark about the record’s origins, process, and aesthetic world:

In recent years, You’ve been a consistent presence in the LA underground — both onstage and in the audience. When did Spiralteeth begin to take shape as your own project, and what were you aiming to express that you couldn’t through other collaborations?

Spiralteeth formed purely as a need to make music and express thoughts and feelings and poetry I couldn’t adequately process through a different art form, like dance. When Spiralteeth was just beginning to be a tiny thought in the back of my mind, I was in my fourth year of college getting my degree in English Literature (focusing on poetry) with a minor in music production. It wasn’t initially supposed to be a solo project, at the time I was trying to form a collaborative two-piece with one of my friends called Hooked Ring, but we had a lot of time conflicts and they eventually backed out, which led me to actually bring Spiralteeth as a solo project into fruition.

Is bass your first instrument, or the one that feels most natural to you? what draws you to that instrument, and how does it guide your songwriting? Have you’ve played the bass live with other acts

I started playing instruments when I was eight years old, starting with the classical B flat clarinet! Bass guitar was always an instrument I wanted to play, but didn’t have formal training in. When I was in middle school I kept stealing my brother’s bass (he was a guitar player and neglected practicing bass) to play and practice. Then eventually he gifted it to me in 2020 so I would stop stealing it from him haha. It’s currently the bass I play live! I was always drawn to the bass ever since I was a kid, the deep tones are sonically in the range of hearing I still have and the bass is my favorite part of any song I listen to. Within my own music, the bass drives everything I do, leads the melody and then the rest of the pieces can fall into place alongside it. I played bass live one or two times as a substitute when I was younger, but nothing special.

You’re known for consistently supporting new bands and showing up for local gigs. What do you love most about the current Los Angeles scene, and which artists or nights have been especially inspiring lately?

My favorite acts to support live are bands with femme-presenting people, women, queer people, etc. For me, that shows me it’s a safe space to exist and come support. A lot of my favorite bands to listen to don’t play that often so I’m currently finding new bands to support and see live! I’m really inspired by Anna from Milliken Chambers with that new album they just released “Hyperphantasia” which has been on repeat for me since it dropped. I also love watching Sophie from DILDOX perform as well as SKOTO and Pink Stiletto. All these people I mentioned are such fantastic performers and really amp up the energy and they’re really fun to watch live!

Pain and Solace leans into more experimental, synth-driven territory. What pushed you in that direction this time? Were there sounds or ideas you wanted to chase that felt too risky before?

I’m really glad it reads that way! Personally, I believe music needs to change and evolve over time, like it always has. Music from the 50’s is not the same as music from the 60’s, or the 70’s, or the 80’s, so I don’t really understand this trend in the modern wave of music (not just goth but music as a whole) with social media feeling like they need to emulate something that was popular at one point. I love authenticity and imperfection in art, I love when artists do something that I have not heard before! When I was approaching making “Pain and Solace” I didn’t even really have a specific direction in mind, I had some written poems, my bass guitar, my MOOG Grandmother, and slowly started to craft it into an overall piece that made sense for me.

There’s a strong thread of duality throughout the album — the dark half, the doppelgänger, the reflection that doesn’t quite match. On “Lady of the Lake,” those ideas seem to crystallize. What were you exploring thematically with that song, beyond the mythic imagery?

The mythic imagery comes from my fascination with Gothic literature and Arthurian legends, but I also took inspiration from horror movies. Ladyofthelake started writing itself in my head after I saw Lake Mungo (2008) and was like, okay, what if we took the gothic literature trope of the doppelganger and made it some demented lake creature to represent the repressed horror of the psyche? Then, before I knew it, the poem had spilled out onto the paper in front of me. I’m fascinated by duality within myself and other people. I also had dreams around the time I was fleshing out that song that I couldn’t recognize the person in the mirror, which heavily influenced the visuals.

How did your relationship with Dum Dum Records begin? What made the label feel like the right home for Pain and Solace?

DUM DUM Records is awesome! I met Taleen only a year and a half ago, but before that I was a regular attendee of DUM DUM Fest and a fan of Taleen Kali (Taleen’s band). We became friends pretty naturally and we would chat back and forth about how music is going, shows we were interested in, etc. Back in September or August last year, I was trying to finish my album in the one month break I had before Deaf West’s American Idiot rehearsals started up, and she suggested I join DUM DUM Records to put out my album! I remember telling her I planned on finishing the album in November last year (didn’t happen) but she supported me the whole time. If not for Taleen, I wouldn’t have the steady footing I have with this album, so I’m truly grateful to her for all her support and her knowledge of the scene and her reassurance.

Who are some of your favorite classic post-punk or synth-pop artists? Are there particular records or sounds that helped shape your sensibility when you were first discovering music?

That’s such a hard question! First and foremost, Echo and the Bunnymen will forever be my number one artist from the 80s. My mom is also a big fan and introduced me to them when I was really young, so they’re pretty formative for me. Of course, The Cure, Joy Division, The Damned, Gary Numan, and Depeche Mode are some other favorites. I got hooked on new wave late in my life, only two years ago, which opened the door to more music that I like. Duran Duran, DEVO, and Psychedelic Furs. Relating to “Pain and Solace,” however, This Mortal Coil’s “It’ll End in Tears” and The Shroud’s “Drowning Dreams” really influenced me.

You’ve been posting dance reels on social media and performing in videos — how does choreography feed into your music-making? Do you consider movement another instrument?

It seems very silly to say this, but I truly didn’t think dance would have the lasting impact on me that it does. I’ve been dancing since I was three years old and my mom was also a professional dancer. I threatened to quit dancing when I was thirteen too! I didn’t see dance in my future, but everyone else seemed to, haha, I guess they were right. When I was 17, I got scouted by the dance agency I currently still work under. Professional dancing just fell into my lap even though at the time I didn’t know if that’s what I wanted to do with my life. I’m so grateful I kept at it, though! Choreography and dance and music intertwine intensely in everything I do. I can’t have one without the other. I don’t necessarily consider movement itself an instrument, but tap dancing definitely is! That’s rhythm on the feet! I don’t even know how to explain it eloquently in words, but there’s an innate rhythm and need to move in every dancer: if I hear music, my body moves to match it. While I didn’t make music to specifically dance to, dancers will find the movement in the music regardless. Also, with my own choreography, I love integrating ASL into it. I love incorporating the meaning of the lyrics into my own language, which is also a visual medium and flows very nicely with dance.

Who are some of your favorite choreographers or movement artists? I’m a big admirer of Toni Basil’s work with Bowie and Bob Fosse’s The Aloof — their gestures seem to echo in modern performance. Are there creators whose language of movement resonates with you in a similar way?

Bob Fosse is very popular in the jazz dance world! I love his work as well, and recently choreographed a music video that took inspiration from some of his movement. A few choreographers I admire today are Dominique Kelley, Christopher Scott, and Brian and Scott Nicholson. They’re choreographers I have worked with before and I love their dance styles so much. I also love Pina Bausch, specifically her piece Cafe Muller. She really understands using movement to evoke emotion in a narrative sense.

Beyond choreographers, which artists do you think merge dance and sound most effectively — people like David Byrne, for example? What about their approach speaks to you?

I think in terms of performers, Kate Bush is someone that comes to mind. Nowadays, there’s not a lot of alternative performers that really utilize movement, but I adore Kate Bush’s authenticity and choreographing her own movement. I also love David Byrne’s dancing for the same reason. For those two, it feels natural to incorporate choreography and feels like an extension of who they are as artists.

You’ve spoken before about navigating sound as a deaf artist. Do you think that experience shapes your creative thought process in the same way that learning a different language can change how people think? How do you conceptualize rhythm and texture internally?

I don’t think I can adequately compare deafness to anything else, but I have explained how I experience sound and music in terms of textures. I lost my hearing when I was 18 months old, but after I had learned how to talk, so I believe that helped establish rhythm and sense for pitch early in my life. Being capital D Deaf has definitely shaped my experience of music and life in general. (Capital D Deaf refers to Deaf individuals who identify with the Deaf community, whereas lowercase d deaf refers to the hearing loss itself.) My art innately has a Deaf perspective whether I intend it to or not. I have an 80% loss in both ears which means I am profoundly deaf, and my range of hearing is mostly in the low bass tones. I have completely lost the high soft sounds in my register and will never get it back, but what’s interesting with music is if a high note is loud enough, I can still feel it’s existence.

The world of Pain and Solace feels carefully constructed — from your videos and artwork to the mood and texture of the sound itself. How would you describe the aesthetic language of Spiralteeth? Are there particular visual, cinematic, or emotional reference points that help you define that world?

Thank you! I love treating Spiralteeth like a full world that’s simultaneously its own entity but also a part of my own brain. Spiralteeth is heavily influenced by gothic literature; it is an avenue for storytelling and emotional poetic release. It is both an ephemeral ghostly figure of the past ,while the rain pours heavily over a haunted house, and also the hint of the morning rays in the aftermath of a nightmare. I’m inspired a lot by David Lynch’s cinematic works, as well as various horror movies, and literature. Pain and Solace contains a lot of dual contrasting ideas, you can’t have solace without experiencing the pain of life. There is also a sort of romanticism involved with a lot of my songs, because I like to find beauty in my darkest moments.

What’s next for Spiralteeth — more videos, remixes, or collaborations? And what parts of Pain and Solace do you want to carry forward into your next chapter?

I’m definitely planning a second album. I love music videos and definitely will be doing another one! I loved the experimental approach I took with Pain and Solace and want to expand a new story for my second album. Through everything, I will find a way to connect the visuals and transition into a new era for Spiralteeth, with all the same ephemeral ghostly feel and finding beauty in the gloom. I go on my first mini tour mid-November and I’m excited about that too! Eventually, I also want to put Pain and Solace on vinyl! §

Listen to spiralteeth’s Pain and Solace below, and order the album here.

Pain and Solace by spiralteeth

Spiralteeth is celebrating the release of their haunting new album Pain and Solace with a special live performance at The Goldfish on Saturday, October 18th. Presented by DUM DUM Records, the evening promises to be an immersive descent into Spiralteeth’s world of disquieting beauty and raw emotional resonance — a rare chance to experience the project’s cathartic energy in full force. Supporting sets come from Synthetic Feux and Plena Perdida, with Forever Grey providing a DJ set to close out the night.

Advance tickets are $15 ($20 at the door). Doors open at 8 PM.

Order Tickets Here

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