Die englische Shoegaze-Band BLANKET hat nach „Bind“ mit „Hole In My Head“ ein weitere neue Single mitsamt Video-Clip veröffentlicht.

„Textlich entstand „Hole In My Head“ aus diesem Zustand der Unruhe, in dem man mit dem Gefühl ringt, dass etwas in einem selbst nicht ganz stimmt“, erklärte die Band. „Aber anstatt sich in einer Abwärtsspirale zu verlieren, strebt man nach etwas Besserem und versucht, aus diesem Unbehagen zu lernen und daran zu wachsen.“

BLANKET „Bind“ (Video bei YouTube)

BLANKET „Hole In My Head“ (Video bei YouTube)

Source: Vampster

Die Brutal Death Metal-Band DEAD AND DRIPPING hat nach „Horrifying Glimpses of Inconceivably Demented Cityscapes“ mit „Seeping Through Ancient Transdimensional Corridors“ einen zweiten Track ihres kommenden Albums „Bestial Possession“ veröffentlicht. Es ist das vierte Album des Solo-Projekts von Evan Daniele (SENTIENT HORROR, ANAL EXORCISM), der auch für das Cover-Artwork verantwortlich zeichnet.

„Bestial Possession“ wird am 28. November 2025 via Transcending Obscurity Records erscheinen.

DEAD AND DRIPPING „Bestial Possession“ Tracklist
1. Nefariously Scintillating through Vacant Galactic Reservoirs
2. Horrifying Glimpses of Inconceivably Demented Cityscapes (Audio bei YouTube)
3. Pestilent Hints of Darkened Malodorous Vibrations
4. Swollen Torsos Adorned with Pustulating Hexagonal Crania
5. Sickeningly Vague Anatomical Silhouettes
6. Spontaneous Recollections of Unwitnessable Atrocity
7. Seeping through Ancient Transdimensional Corridors (Audio bei YouTube)
8. An Utterly Tenantless World of Aeons-Long Death

Source: Vampster

Cocteau Twins bassist and multi-instrumentalist and Bella Union co-founder Simon Raymonde is set to release his award-winning autobiography In One Ear: Cocteau Twins, Ivor and Me in North America this November via Bonnier Books. The book is both an intimate self-portrait and a sweeping chronicle of alternative music history, tracing a life defined by sound—from a childhood surrounded by orchestration and studio sessions via his father Ivor Raymonde (the legendary producer, musician and arranger for acts such as the Walker Brothers and songwriter for artists including Dusty Springfield), to the dream-pop heights of Cocteau Twins and the visionary label that followed. Told with humor, tenderness, and candor, it captures the perspective of a musician who has lived several creative lives, all while navigating the bittersweet reality of going deaf in one ear.

Raymonde joined Cocteau Twins in 1983, completing the definitive trio alongside Elizabeth Fraser and Robin Guthrie. His entrance transformed the group, introducing melodic structure and harmonic counterpoint that would help shape the ethereal sound that defined the band’s later records. Albums such as Treasure (1984), Victorialand (1986), Blue Bell Knoll (1988), and the universally acclaimed Heaven or Las Vegas (1990) turned the band from underground outliers into cult heroes. Raymonde’s basslines and arrangements brought emotional clarity to Fraser’s angelic glossolalia, while Guthrie’s layers of delay and reverb pushed the group into mythic territory. Their final two albums, Four-Calendar Café (1993) and Milk & Kisses (1996), hinted at both maturity and fracture before the trio parted ways the following year.

Alongside his work with Cocteau Twins, Raymonde contributed to 4AD’s collaborative project This Mortal Coil, lending piano, bass, and arrangement skills to the collective’s shadowed dreamworld. He appeared on the albums It’ll End in Tears (1984) and Filigree & Shadow (1986), performing on haunting reinterpretations of songs by Big Star, Tim Buckley, and Colin Newman. His playing deepened the cinematic quality that became 4AD’s hallmark—brooding, baroque, and oddly timeless. Raymonde’s dual life as both band member and studio collaborator encapsulated the spirit of the 1980s independent scene: creative, insular, and defiantly idiosyncratic.

After Cocteau Twins dissolved, Raymonde turned his focus from performance to preservation. In 1997, he co-founded Bella Union, envisioning a label built on the principles of artistic freedom and compassion he wished he’d found earlier in his career. The label’s first release was Raymonde’s own solo album Blame Someone Else, followed soon by a wave of signings that would come to define 21st-century indie music. When Guthrie departed, Raymonde continued alone, turning Bella Union into a model of modern independence.

Over nearly three decades, Bella Union has become home to an extraordinary array of artists, from Beach House and Fleet Foxes to Father John Misty, John Grant, Ezra Furman, and Midlake. Under Raymonde’s stewardship, the label has earned multiple “Independent Record Label of the Year” awards and built a catalogue that balances introspection with innovation. His experience as an artist informs his leadership—empathetic, exacting, and unflinchingly loyal. In One Ear reflects not only on his years in studios and tour vans but also on the emotional labor of supporting others’ creativity, a continuation of the mentorship he received from his father, the late Ivor Raymonde, whose orchestral and songwriting work for Dusty Springfield and others remains a touchstone of British pop sophistication.

Even as he guided other musicians’ careers, Raymonde eventually returned to making music himself. His project Lost Horizons, formed with Richie Thomas of Dif Juz, bridges generations of Bella Union talent. The band’s 2017 debut Ojalá and the double album In Quiet Moments (2020–2021) feature collaborations with Marissa Nadler, John Grant, Ural Thomas, Karen Peris, and more—music that feels like a spiritual continuation of the luminous melancholy first heard in Cocteau Twins.

To celebrate the book’s release, Raymonde will appear in conversation at a series of in-store events across the United States, sharing stories and reflections from his remarkable career.

Nov. 10 — Seattle, WA @ Easy Street Records
Nov. 11 — San Francisco, CA @ TBA
Nov. 14 — Los Angeles, CA @ Book Soup
Nov. 15 — New York, NY @ Rough Trade Records

Each event will feature an intimate discussion on In One Ear, followed by a Q&A and signing session. Updates and full details can be found at linktr.ee/mrsimonraymonde.

In One Ear: Cocteau Twins, Ivor and Me is out in North America on November 18 via Bonnier Books.

Pre-order Here

Follow Simon Raymonde:

Instagram
Facebook
Linktree

The post Simon Raymonde of Cocteau Twins, This Mortal Coil, and Bella Union to Release Autobiography in North America — Book Tour Announced! appeared first on Post-Punk.com.

Source: Post-Punk.com

  Ronan Harris and company will be returning to North America’s shores in the spring of 2026 as the long-running electronic act has announced dates for An Evening with VNV Nation. The tour will be delivering a spectacle of the band’s material with extra-long sets filled with new material from 2025’s Construct and its forthcoming Destruct companion [..]

Source: RE:GEN Mag

He said there’s more to life than contentment
A house and dog and never worrying about rent
He said he wants to know when it’s his time
to be off his nut in the sweet sunshine
Paid Holiday, the latest single from Texas trio Don’t Get Lemon, unfolds as a portrait of uneasy leisure: a character study of one man caught between comfort and quiet panic. Beneath the track’s polished veneer of synth and rhythm lies a document of disaffection, of a life that looks complete, but feels faintly counterfeit.

The lyrics map a familiar topography: mortgages, holidays, long commutes, short escapes. He imagines sunlit getaways to Spain and France, children, wine, the routine of success and decay. Yet, every vision is threaded with dread. How long can this last, how long before it unravels? His voice, cool and precise (and channeling Joe Strummer), narrates a cycle of self-doubt disguised as daydream. There’s wit in the phrasing, but also resignation.

The production mirrors this disquiet with deceptive order. Each note is exact, each rhythm balanced, but the symmetry feels claustrophobic. The brightness of the synths evokes the same sterile light that fills shopping plazas and departure lounges. It’s the sound of optimism automated.

The video sharpens that irony into theatre. One man sits poolside at a café, under an umbrella meant for relaxation. The weather is perfect, the setting calm. Yet his body betrays him: hands restless, eyes darting, mouth meeting the cup in anxious repetition. He slurps his coffee with the nervous precision of someone performing normalcy under observation. The scene stretches in real time: sun, water, and silence conspiring to make his unease visible. He could be waiting for a friend, a lover, a G-man, or an answer; none arrive.

Viewed through the lens of economics and human behaviour, Paid Holiday is both diagnosis and dispatch. It captures the internal contradictions of late capitalism: the promise of ease that breeds unrest, the marketed dream that sustains discontent. His nervous sip becomes emblematic of consumption as habit, comfort as compulsion.

Watch the video for “Paid Holiday” below:

At the core of Don’t Get Lemon lies a collective intelligence rather than a cult of personality. Austin Curtis, Nicholas Ross, and Bryan Walters operate less as archetypes of a genre than as architects of a shared condition: three friends translating disquiet into form. Their music occupies the intersection of post-punk precision and synth-pop elegance, rendered with the kind of composure that makes unrest sound immaculate.

Curtis, poised and deliberate, fronts the trio with a calm intensity that turns irony into intimacy. His delivery balances theatrical poise with an awareness of absurdity; an actor who knows the play is real life. Ross and Walters complete the structure with exacting focus: Ross’s synths and guitars trace grids of light and tension, while Walters’s bass and percussion give the songs their disciplined propulsion. The result is music that feels methodical yet human, like architecture built from emotion.

Their lyrics work as reportage for the anxious century: scenes of algorithmic living, schoolyard violence, and the fatigue of constant connection. Each song serves as social critique refracted through dance music’s sheen. In their hands, rhythm becomes analysis; melody, an argument. Don’t Get Lemon construct worlds where pleasure and panic coexist, and where the politics of everyday life play out beneath fluorescent skies.

Don’t Get Lemon translate this condition into something deceptively smooth. Beneath the sheen, their single hums with quiet critique. Paid Holiday is not an anthem of escape, but an x-ray of inertia; an image of modern satisfaction trembling in its deck chair, unsure whether to stay or flee. It’s a song for anyone who has found themselves on vacation, staring at the sky, wondering why they still can’t breathe.

Listen to Paid Holiday below and order the single here.

Paid Holiday by don’t get lemon

Follow Don’t Get Lemon:

Spotify
Instagram
Bandcamp
YouTube
Facebook

The post Texas Synth-Pop Trio Don’t Get Lemon Bask in Suburban Ennui with Poolside Video for “Paid Holiday” appeared first on Post-Punk.com.

Source: Post-Punk.com

If you find it hard to wake up
My clock says now or never
We’ve got shackles to sever
There’s no way to sit this one out
The 24 hour news machine hums like a broken organ, droning through every room, its light too white, its cadence too calm for the ruin it relays. The anchors speak with a practiced tremor: half comfort, half command, while the screens behind them bloom with fresh disaster. In a land increasingly without compass or conscience, where fear has replaced faith and governance plummets toward neglect, the spectacle rules. Each headline is an incantation, each pause a cue to gasp. The nation sits transfixed in its blue glow, murmuring the same dull prayer: uh oh, what’s next? And the networks answer, again and again, with something worse.

In No Country, New York City’s MIDNIGHTCHOIR issues a dispatch from the collapsing center of empire. The track moves with the urgency of a protest march at midnight: measured, determined, and quaking within. The duo of Patrick Bobilin and Sarah Simon builds their revolt with rhythm: every beat feels like a verdict; every lyric, a reminder that complacency has a body count.

No Country’s pulse recalls the austere machinery of disco stripped of decadence, rebuilt for resistance. There is no mirage of escape, however. “There’s no country I call home,” Bobilin declares, with the clarity of one who has outlived patriotism. His voice, part lament, part call to arms, cuts through Ben Greenberg’s production like sirens over a silent valley at four in the morning. Together, they forge a sound for collective endurance in the ruins of late capitalism.

The accompanying video extends the argument through satire. Styled as a farcical broadcast from a collapsing society, it captures the absurd theatre of modern media and its ability to document catastrophe while remaining oblivious to it. Simon and Bobilin, in their roles as anchor and correspondent, perform a grim pantomime of professionalism as the set quite literally falls apart. Superstorms roar, riots erupt, and the signal persists. It is a comedy of apocalypse: the newsroom as mausoleum. 12090 A.D.’s Anna Copa Cabanna puts on a splendid performance, at once grotesque and human, embodying the dual nature of the crisis.

The duo’s reference points: Robocop, They Live, and the blunt absurdity of Sabotage-era Beastie Boys, are not nostalgic ornaments but ideological tools. The message is simple and severe: the spectacle cannot save you. MIDNIGHTCHOIR’s gallows humour seeks confrontation.

Politically, No Country refuses the romance of conforming to a status quo. It confronts nationalism as a hollow inheritance, and instead calls for solidarity born of necessity. “It’s time to get them together,” they sing, an appeal for mutual action before collapse becomes habit. This is protest music for a generation fluent in irony, yet starved for meaning.

Watch the video for “No Country” below:

Since 2023, MIDNIGHTCHOIR have written from within the storm. Their forthcoming album Debtors Disco continues this inquiry, tracing a line from debt to devotion, from satire to survival. No Country stands as its manifesto: a cold dance against the warm lie of neutrality. In a world where the walls are already cracking, MIDNIGHTCHOIR provide the rhythm for tearing them down.

Debtors Disco hits all DSPs on November 6th, celebrated with an album release show at Alphaville, Brooklyn, featuring None Shall Remain, 12090 A.D., and DJ Alex English.

Follow MIDNIGHTCHOIR:

Website
Spotify
Instagram
YouTube
Apple Music
Bandcamp

Screenshot
The post NYC Darkwave Activists MIDNIGHTCHOIR Weather the News Cycle in Their Satirical Video for “No Country” appeared first on Post-Punk.com.

Source: Post-Punk.com

If you find it hard to wake up
My clock says now or never
We’ve got shackles to sever
There’s no way to sit this one out
The 24 hour news machine hums like a broken organ, droning through every room, its light too white, its cadence too calm for the ruin it relays. The anchors speak with a practiced tremor: half comfort, half command, while the screens behind them bloom with fresh disaster. In a land increasingly without compass or conscience, where fear has replaced faith and governance plummets toward neglect, the spectacle rules. Each headline is an incantation, each pause a cue to gasp. The nation sits transfixed in its blue glow, murmuring the same dull prayer: uh oh, what’s next? And the networks answer, again and again, with something worse.

In No Country, New York City’s MIDNIGHTCHOIR issues a dispatch from the collapsing center of empire. The track moves with the urgency of a protest march at midnight: measured, determined, and quaking within. The duo of Patrick Bobilin and Sarah Simon builds their revolt with rhythm: every beat feels like a verdict; every lyric, a reminder that complacency has a body count.

No Country’s pulse recalls the austere machinery of disco stripped of decadence, rebuilt for resistance. There is no mirage of escape, however. “There’s no country I call home,” Bobilin declares, with the clarity of one who has outlived patriotism. His voice, part lament, part call to arms, cuts through Ben Greenberg’s production like sirens over a silent valley at four in the morning. Together, they forge a sound for collective endurance in the ruins of late capitalism.

The accompanying video extends the argument through satire. Styled as a farcical broadcast from a collapsing society, it captures the absurd theatre of modern media and its ability to document catastrophe while remaining oblivious to it. Simon and Bobilin, in their roles as anchor and correspondent, perform a grim pantomime of professionalism as the set quite literally falls apart. Superstorms roar, riots erupt, and the signal persists. It is a comedy of apocalypse: the newsroom as mausoleum. 12090 A.D.’s Anna Copa Cabanna puts on a splendid performance, at once grotesque and human, embodying the dual nature of the crisis.

The duo’s reference points: Robocop, They Live, and the blunt absurdity of Sabotage-era Beastie Boys, are not nostalgic ornaments but ideological tools. The message is simple and severe: the spectacle cannot save you. MIDNIGHTCHOIR’s gallows humour seeks confrontation.

Politically, No Country refuses the romance of conforming to a status quo. It confronts nationalism as a hollow inheritance, and instead calls for solidarity born of necessity. “It’s time to get them together,” they sing, an appeal for mutual action before collapse becomes habit. This is protest music for a generation fluent in irony, yet starved for meaning.

Watch the video for “No Country” below:

Since 2023, MIDNIGHTCHOIR have written from within the storm. Their forthcoming album Debtors Disco continues this inquiry, tracing a line from debt to devotion, from satire to survival. No Country stands as its manifesto: a cold dance against the warm lie of neutrality. In a world where the walls are already cracking, MIDNIGHTCHOIR provide the rhythm for tearing them down.

Debtors Disco hits all DSPs on November 6th, celebrated with an album release show at Alphaville, Brooklyn, featuring None Shall Remain, 12090 A.D., and DJ Alex English.

Follow MIDNIGHTCHOIR:

Website
Spotify
Instagram
YouTube
Apple Music
Bandcamp

Screenshot
The post NYC Darkwave Activists Midnight Choir Weather the News Cycle in Their Satirical Video for “No Country” appeared first on Post-Punk.com.

Source: Post-Punk.com

Russian band Freaky Mind is already on its sixth album, marking their second release under...

Source: Side Line

  Mute Records has announced the release of SCALA!!!, the new album from Barry Adamson, showcasing the celebrated artist’s soundtrack to the documentary of the same name. The album presents 22 tracks showcasing Adamson’s signature cinematic blend of pop, jazz, funk, and brooding noir atmosphere [..]

Source: RE:GEN Mag

  This Halloween will see the release of Silence, Melt, and Mourn, the latest album from experimental noise and industrial outfit Dead Voices on Air. With founder Mark Spybey joined by longtime friend Stephen Weatherall on bass and multi-instrumentalist Nathan Jamiel (The Drood), the album’s 10 tracks demonstrate a renewed focus on song structure and vocals [..]

Source: RE:GEN Mag

  Amulet continues to ride the wave of last year’s Katharsis with the impending release of “Dirty Hard Beats” as its latest single, presented in its uncensored “XXX” version. Originally only available on CD, this marks the track’s digital debut, delivering what the DC-based darkwave band calls “a dirty dance floor anthem [..]

Source: RE:GEN Mag

  Pelagic Records has unveiled “Your Pieces Scattered” as the third teaser for the forthcoming Nincs Szennyezetlen Szép album by post-doom and dark folk outfit The Devil’s Trade, with vocalist/multi-instrumentalist Dávid Makó stating that the track attempts “to close the uncloseable.” Touching on the stages of grief and understanding trauma [..]

Source: RE:GEN Mag

BETTEROV – Köln, Kulturkirche (15.10.2025):

Source: monkeypress.de

BIOHAZARD
„Divided We Fall“
(Hardcore)

Wertung: Empfehlung!

VÖ: 17.10.12025

Label: BLKIIBLK

Webseite: Facebook / Instagram

Wow, was habe ich mir nach dem Konzert von BIOHAZARD und Fear Factory letztes Jahr (Bericht hier), gewünscht, dass es in der Originalbesetzung wieder ein Album geben wird. Geglaubt habe ich es aber nicht.

Und? Jetzt schreibe ich grad das Review zur neuen Scheibe, die morgen erscheint und die ich grad auf volle Pulle über den guten Kopfhörer genieße.

Nach der „Mata Leao“ gab es keine Scheibe mehr, die mich so richtig gepackt hat. Und selbst die „Mata Leao“ kam nicht richtig an die „State Of The World Adress“ heran, auch wenn ich sie nach Veröffentlichung massiv gespielt habe, da ich den Vorgänger schon in- und auswendig kannte.

„Divided We Fall“ ist nicht wie die „Gasmaskenjungenplatte“, steht im Ranking für mich jetzt aber direkt dahinter. Der Sound ist wesentlich kompakter und man verzichtet fast komplett auf den Bombast mit den vielen Spuren, dem Klavier, den ganzen Einspielern, etc. und der „Weite“ des Sounds.

Dieses Mal gibt es die Quintessenz von BIOHAZARD. Metal mit Hardcore und Hardcore mit Metal. Manchmal gibt es Songs mit viel Metalanteil, mal mehr und manchmal reinen Hardcore. Der Opener „Fuck The System“ beginnt z.B. wie ein Thrashbrecher, nur um dann in fetten Hardcore umzuschlagen, der auch auf einer alten Scheibe von Hatebreed hätte sein können. Aber es gibt definitiv immer auf die Fresse und zwar mit einem wirklich fetten Sound. Sehr basslastig und ich könnte nicht sagen, dass ein bestimmtes Instrument im Vordergrund steht. Schlagzeug, Gitarren, Bass und Gesänge sind gleichwertig, was hier viel von der Power ausmacht. Vor allem finde ich es geil, dass man den Bass wirklich in jeder Situation heraushören kann.

Ich habe mich grad dabei erwischt, wie ich gebannt 3 Songs am Stück gehört habe, ohne ein einziges Wort zu schreiben. Und das obwohl das schon mein mindestens fünfter Durchlauf der Scheibe ist. Wenn man sich richtig auf die Scheibe einlässt und nicht nur zerstörerisch durchs Wohnzimmer wandert, während die Wände wackeln, kann man sehr viel entdecken, wie z.B. die vielen Stellen, an denen der Gesang einen Effekt erhalten hat, der nicht riesig auffällt, aber die Stimmung an der Stelle mit u.a. einem leichten Verzerrer mächtig beeinflusst.

Und schon wieder habe ich für einen Song die Augen geschlossen und mich akustisch verkloppen lassen.

Alter, ich hätte nie damit gerechnet, dass BIOHAZARD mich nochmal so umhauen werden. Ich kann noch nicht mal einen oder mehrere Favoriten unter den Songs herauspicken, die Platte ist wie aus einem Guss und von vorne bis hinten der absolute Knaller!
STEP TO THE RHYTHM OF THE BROOKLYN BEAT! (hendrik)

Source: Amboss-Mag.de

Mit „Berserker“ legen Sagenbringer am 17. Oktober 2025 vor – lautstark und im Verbund mit der Göttinger Extreme-Metal-Band…

Source: monkeypress.de

Mit „Waking The Fragments“ meldet sich Stian Shiver am 10. Oktober 2025 als Solokünstler zurück – 15 Jahre…

Source: monkeypress.de

Jetzt Sonic Seducer abonnieren und eine von vielen teils limitierten und signierten CD-Prämien sichern! Aktuell im Angebot: Nine Inch Nails, Faun, Saltatio Mortis, The Cure, Tyske Ludder, Peter Murphy, Mono Inc., Lord Of The Lost, Feuerschwanz, Epica, Lacrimosa und Blutengel! Wer ein 2-Jahres-Abo abschließt, kann sich außerdem ZUSÄTZLICH ein Gratisticket für das M'era Luna 2026 sichern!

Source: Sonic Seducer

  Sword Tongue has revealed a music video for “Murder White Noise,” in which the band addresses a particular coping mechanism for the all-consuming anxieties of an increasingly stressful world. “Finding comfort in tragedy is new for me,” says vocalist Jennifer Wilde, who explains that the distraction of true crime stories and livestreamed trials [..]

Source: RE:GEN Mag

Pünktlich zum Auftakt der zweiten Dämonen:Sturm-Tour meldet sich Blutengel mit neuer Musik zurück. Die Berliner Darkwave-Formation um Chris…

Source: monkeypress.de

Ein bisher unveröffentlichtes HIM Video von 1996 zu "Wicked Game"? Das sollte sich kein Fan entgehen lassen - hier bei uns anschauen!

Source: Sonic Seducer

Barry Adamson, the English composer and former Magazine/Nick Cave & The Bad Seeds bassist, announces...

Source: Side Line

The darkwave act Blutengel has release the single “The Devil” on Out Of Line Music,...

Source: Side Line

Anglo-French dark synth-pop duo Scenius will release their third full-length, “13 Billion Dark Years”, on...

Source: Side Line

MY DARKEST HATE haben schon vergangenes Jahr erste Details zu ihrem neuen Album verraten: „Rust and Bones“ ist der Titel, die Platte erscheint nach einer Verzögerung nun am 7. November 2025 via Massacre Records als CD im Digipak und als LP. Als Gäste sind Dave Ingram (BENEDICTION, ex-BOLT THROWER) und Michael “TZ” Schweitzer  (PESSIMIST, MUGGESEGGEL) zu hören.

Nun hat die Death Metal-Band mit „When The Abyss Opens“ eine weitere Single veröffentlicht:

Die Aufnahmen sind im Kasten, Andy Classen übernahm Mix und Mastering. Mit „Rust“ steht außerdem die erste Single als Lyric-Video bereit.

MY DARKEST HATE „Rust And Bones“ Tracklist

Rust (Lyric-Video bei YouTube)
Vengeance My Brother
Deceiver
Sinister Warfare
He Who Never Sleeps
Flammenland
King of Slaves
From Ruins I Rise
When the Abyss Opens (Video bei YouTube)
Our Legion, Our Pride

MY DARKEST HATE „Rust And Bones“ Artwork

Die ersten Konzerte 2025 spielten MY DARKEST HATE beim SKULLCRUSHER FEST am 2. und 3. Mai 2025 in Freiburg sowie am 22. März  2025 beim Odinwald Festival in Neckargemünd.

MY DARKEST HATE Line-up 2025
Claudio Enzler – Vocals
Jörg M. Knittel – Guitars
Jonas Khalil – Guitars
Roberto Palacios – Bass
Mario Henning – Drums

Source: Vampster

The Cure have unveiled a rapidly expanding run of UK & European dates for summer 2026, adding standalone headline shows in Cardiff, Dublin, Belfast, Manchester and Edinburgh to a slate of major festival appearances across Spain, Portugal, Austria, Poland, Belgium, Germany, Romania, Norway, Sweden and France. The itinerary now includes a three-night stand at Berlin’s Wuhlheide (July 10–12) and two UK park shows that are already marked SOLD OUT.

Alongside the tour momentum, there’s fresh movement on the studio front. As first flagged by long-running fansite Chain of Flowers, the band’s official biography was quietly updated to note that in March 2025, The Cure recorded 13 new songs at Rockfield for a follow-up album — and that Robert Smith has been re-editing and re-mixing the Show of a Lost World concert film. NME has also covered this update.

Chain of Flowers: “Didn’t realize the Cure’s bio on the official site had been updated. Show of a Lost World FILM? Nice!”

Here is the excerpt from the updated bio:

“The Cure spent the spring of 2024 finishing 8 of the songs recorded back in 2019, with mixing and final mastering happening in the summer. In September news of a new studio album was announced, and on Friday 1st November Songs Of A Lost World was released, the event marked with a 3 hour launch show at Troxy London, free streamed globally to more than a million people. The album was universally acclaimed by both fans and critics, reaching #1 in more than 30 countries around the world. In March 2025 the band went back into Rockfield Studios to record 13 more songs for a follow up album. On Friday 13th June the 24 track Mixes Of A Lost World was released, containing remixes and reworks by 24 incredible artists including Four Tet, Mogwai, Paul Oakenfold, Chino Moreno and Orbital. In June Robert guested with Olivia Rodrigo on a couple of Cure songs during her Glastonbury headline show, before heading back into the studio to help re-edit and re-mix The Show Of A Lost World film…”

CoF further notes the bio confirms the current 2026 lineup and that Perry Bamonte is not included.

With the follow-up taking shape and the concert film in the edit suite, the band’s summer itinerary continues to expand. They will bring a carefully curated set of openers across the UK & Ireland before sweeping through Europe’s major festivals, with select headline dates throughout the continent.

Support for the new UK & Ireland headline dates draws from long-time friends and kindred spirits: Mogwai (Edinburgh), Slowdive (Manchester & Edinburgh), The Twilight Sad (Dublin & Belfast), Just Mustard (Dublin, Belfast & Edinburgh), The Slow Readers Club (Manchester), Stella and the Dreaming (Dublin) — and for the newly added Wales date in Cardiff, The Twilight Sad and The Joy Formidable.

Below you’ll find ticket and festival links for all UK & European dates announced so far.

Tickets & Festival Info (UK & Europe, Summer 2026):

Primavera Sound Barcelona (June 3–7, 2026): passes via primaverasound.com
North Festival (June 7, 2026, Porto): passes via northmusicfestival.com
Nova Rock (June 11–14, 2026, Nickelsdorf): passes via novarock.at
Isle of Wight Festival (June 18–21, 2026, Newport): passes via isleofwightfestival.com
Cardiff, Blackweir Fields (June 24, 2026): with The Twilight Sad & The Joy Formidable — tickets via the band’s official shows page
Dublin, Marlay Park (June 26, 2026): with The Twilight Sad, Just Mustard & Stella and the Dreaming — tickets via Ticketmaster Ireland
Belfast, Belsonic (June 28, 2026): with The Twilight Sad & Just Mustard — tickets via Ticketmaster Ireland
Open’er Festival (July 1–4, 2026, Gdynia): passes via opener.pl
Rock Werchter (July 5, 2026, Belgium): day tickets via rockwerchter.be
Berlin, Wuhlheide (July 10–12, 2026): three headline nights — details via the band’s official shows page
Electric Castle (July 16–19, 2026, Cluj): passes via electriccastle.com
Øyafestivalen (August 12, 2026, Oslo): tickets via Øya / See Tickets
Way Out West (August 13–15, 2026, Gothenburg): passes via wayoutwest.se
Manchester, Wythenshawe Park (August 21, 2026): with Slowdive & The Slow Readers Club — tickets via Ticketmaster UK — SOLD OUT
Edinburgh Summer Sessions (August 23, 2026, Royal Highland Showgrounds): with Mogwai, Slowdive & Just Mustard — tickets via Ticketmaster UK — SOLD OUT
Rock en Seine (August 26–30, 2026, Paris): The Cure headline Sunday Aug 30 — passes via rockenseine.com

All dates above are taken from the band’s official Shows page, which also reflects the latest sell-out statuses.

Facebook
Instagram
YouTube
Website

The post The Cure Have Recorded 13 Songs for New Album — “Show of a Lost World” Concert Film Announced appeared first on Post-Punk.com.

Source: Post-Punk.com

Fantastische Neuigkeiten von The Cure: Die Band hat 13 neue Songs für das kommende Album aufgenommen und zusätzlich einen Film der Pipeline. Mehr Infos hier!

Source: Sonic Seducer

IGORRR haben auf ihrer derzeitigen Tour einen ganz besonderen Merch-Artikel im Programm: Toilettenpapier, bedruckt mit Hass-Kommentaren aus den sozialen Medien.

 

Sieh dir diesen Beitrag auf Instagram an

 

Ein Beitrag geteilt von Igorrr (@igorrr)

Die Franzosen, deren letztes Album „Spirituality And Distortion“ nun auch schon wieder fünf Jahre auf dem Buckel hat, werden aus ihrer aktuellen Tour von MASTER BOOT RECORD und IMPERIAL TRIUMPHANT begleitet.

IGORRR, MASTER BOOT RECORD, IMPERIAL TRIUMPHANT Tourdaten 2025
01/10 – Bordeaux (FR) – Le Rocher de Palmer
02/10 – Toulouse (FR) – Le Bikini
03/10 – Bilbao (SP) – Santana 27
04/10 – Barcelona (SP) – Apollo 1
05/10 – Madrid (SP) – La Rivierea
07/10 – Istres (FR) – L’Usine
08/10 – Lausanne (CH) – Les Docks
09/10 – Frankfurt (DE) – Batschkapp
10/10 – Nijmegen (NL) – Soulcrusher Festival
11/10 – Brussels (BE) – Ancienne Belgique
12/10 – Cologne (DE) – Live Music Hall
14/10 – Hamburg (DE) – Markthalle
15/10 – Nancy (FR) – Nancy Jazz Pulsation
16/10 – Lyon (FR) – Le Transbordeur
17/10 – Paris (FR) – L’Olympia
19/10 – Nantes (FR) – Stereolux
21/10 – Bristol (UK) – Prospect Building Crane
22/10 – London (UK) – Shepherd’s Bush Empire
23/10 – Manchester (UK) – O2 Ritz

Source: Vampster

Manche Bands feiern Jubiläen mit Champagner, andere mit einem Best-of-Album. Jérôme Reuter – das Herz, Hirn und rauchige Organ hinter ‘Rome’ – tut, was er am besten...

Source: MedienKonverter

Das von uns präsentierte Plage Noire Festival hat den Timetable für 2025 bekannt gegeben! Wann ihr welche Band erleben könnt, erfahrt Ihr hier bei uns!

Source: Sonic Seducer

Der Countdown läuft: Am 5. Dezember 2025 erscheint das Debütalbum „Alpha State“ – und mit der neuen Single ‚Ultra Fear‘ heizen ‘Omen Code’ die Spannung jetzt ordentlich...

Source: MedienKonverter

Das PARTY.SAN OPEN AIR 2026 findet vom 6. bis 8. August statt, auf dem Flugplatz Obermehler-Schlotheim. Nun wurden auch WORMED, WHITE WARD und ENDONOMOS zum Billing hinzugefügt.

Als erste Bands wurden  AMORPHIS, HYPOCRISY, TESTAMENT, JUNGLE ROT, FIRESPAWN, DESASTER, MURDER SQUAD, DECEASED, WOLFBRIGADE, IN THE WOODS… HEXVESSEL, SORCERER, FLESHCRAWL bestätigt.

Kartenvorverkauf PARTY.SAN OPEN AIR 2026
Der Kartenvorverkauf hat aktuell noch nicht begonnen. In der vergangenen Jahren startete er meist eine Woche nach den Open Air.

Source: Vampster

Mit "The Devil" haben Blutengel eine brandneue Single am Start - mehr Infos und das Musikvideo hier bei uns!

Source: Sonic Seducer

Mit einem Video zu „Mounds Of Stones“ stellen FIMBUL WINTER ihren ersten Song vor:

 

Vor gut einem Jahr gaben die ehemaligen AMON AMARTH-Mitglieder Niko Kaukinen, Anders Hansson (heutiger Nachname Biazzi) und Fredrik Andersson sowie MUNITIONS-Sänger Clint Williams bekannt, dass sie mit FIMBUL WINTER eine neue Band gegründet haben. Jetzt hat das Quartett eine erste Veröffentlicht abgekündigt: Die EP „What Once Was“ erscheint am 14. November 2025. Den Bass übernahm Tobias Cristiansson (NECROPHOBIC, GRAVE, DISMEMBER) als Session-Musiker.

Einen kurzen Teaser aus dem Studio gibt’s bei YouTube:

FIMBUL WINTER „What Once Was“ Tracklist
01. Storms Rage
02. What Once Was
03. Mounds Of Stones (Video bei YouTube)
04. A Soul That Soared
05. In Solitude’s Embrace

Ursprünglich war das Bandprojekt eine Idee für eine Geburtstagsparty, dann gab die Band ihr erstes Konzert bei der Close-Up Kreuzfahrt im September 2024, auf der Setlist standen Songs des 1994er Demos „The Arrival Of The Fimbul Winter“ von AMON AMARTH.

 

FIMBUL WINTER Line-up:

Niko Kaukinen – Drums
Anders Biazzi – Gitarre
Fredrik Andersson- Gitarre
Clint Williams – Gesang

Source: Vampster

DER ROTE MILAN veröffentlicht am 12. Dezember 2025 ihr neues Album „Verlust“, die erste Single „Aus der Finsternis“ ist für  23. Oktober 2025 angekündigt.

Das „Verlust“-Artwork stammt von Matt Priso, aufgenommen hat die Black Metal-Band das Album in der Klangschmiede Studio E mit Markus Stock.

DER ROTE MILAN „Verlust“ Cover

Source: Vampster

RISING INSANE haben für den Song „Error“ mit Steven Jones von Bleed From Within zusammengearbeitet, nun gibt es ein Video zum Track:

Live kann man die Metalcore-Band als Headliner bei Konzerten in Berlin und Saalfeld erleben, im ANschluss touren RISING INSANE mit CALLEJON.

RISING INSANE Konzerte 2025
31.10. DE, Berlin – Autumn Bash – Berlin
22.11. DE, Saalfeld – Saalfelder Metalstammtisch

04.12. DE, Aschaffenburg – Colos Saal /w Callejon
05.12. DE, Jena – F-Haus /w Callejon
06.12. DE, Kassel, Kulturzentrum Färberei /w Callejon
07.12. DE, Braunschweig – Westend /w Callejon
12.12. DE, Ingolstadt – Eventhalle Westpark /w Callejon
13.12. DE, Bremen – Lagerhaus

RISING INSANE Line-up
Aaron Steineker – Gesang
Sven Polizuk – Gitarre
Ulf Hedenkamp – Bass
Florian Köchy – Gitarre
Robert Kühling – Schlagzeug

Source: Vampster

Wenn der November schon dunkel genug ist, gießt 'Dead And Dripping' am 28. November 2025 mit „Nefarious Scintillations“ noch eine ordentliche Portion kosmischen Wahnsinn über uns –...

Source: MedienKonverter

Nothing was heard from The Rasmus for three years. Now the Finnish band led by singer Lauri Ylönen is back with a new album entitled “Weirdo”. A lot has changed since the last album “Rise”. In our September/October issue, we spoke to a Lauri in great spirits about human disappointments, training routines and the strangest […]

Source: Orkus

Orkus! supports the campaign “Tierheime helfen. Help animal shelters!” campaign of the German Animal Welfare Association. Give animals from animal shelters a chance! After careful consideration, are you looking for an animal companion for life? Why not pop into your local animal shelter and give an animal soul a second chance? Animal shelters and animal […]

Source: Orkus

The new song from Bliss My Heart, “Sinner Sinner”, seductively caresses the ears. – It is already the second single from a fruitful collaboration: producer Cliff Estatof completes Jen Wolf’s solo project. An extremely rewarding collaboration that results in a real dark pop earworm. We talk to the Frenchmen in our September/October issue. Listen to […]

Source: Orkus

Do you already know our new “Gothic Metal World” playlist on Spotify? It contains international highlights in the field of gothic metal such as Amaranth, Paradise Lost, Cradle of Filth, Type O Negative, Lacuna Coil, Lacrimosa and Samsas Traum. Let yourself be seduced by the dark, harmonious soundscape.

Source: Orkus

Die Classic Psychedelic Rock-Band WINDS OF NEPTUNE hat ihr neues und selbstbetiteltes Debütalbum angekündigt. Die US-amerikanische Band aus Detroit rund um Drummer Mike Alonso (FLOGGING MOLLY) entstand 2020 während des Lockdowns. Das Ergebnis der Zusammenarbeit findet sich auf „Winds Of Neptune“, das von Jake Halkey und Al Sutton in den Rustbelt Studios in Royal Oak aufgenommen und von Chris Goosman gemastert wurde. Release-Termin ist der 21. November 2025 via Small Stone Recordings. Vorab gibt es den Opener „The Faun’s Rhyme“ zu hören.

WINDS OF NEPTUNE Line-Up:
Ross Westerbur – bass, vocals
Mike Alonso – drums
Kevin Roberts – guitar

WINDS OF NEPTUNE „Winds of Neptune“ Tracklist
1. The Faun’s Rhyme (Audio bei Bandcamp)
2. Gas Giant
3. La Cacciata
4. Temporal Mutant
5. U.S.L.
6. So Sayeth The Mouth Of The Void
7. The Fitz (Bonus Track – CD/Digital Only)
8. Queen Of Sumatra (Bonus Track – CD/Digital Only)

Source: Vampster

  Seattle-based post-punk outfit Jupe Jupe has a new self-released record coming out in February of 2026, titled King of Sorrows. To mark the occasion, the band has released “Kill Your Darlings” as the first single, along with an accompanying visualizer [..]

Source: RE:GEN Mag

  With his North American tour now in full swing, Andy Bell has announced details for a new box set that expands on his latest solo album. The Crown Jewels will be comprised of four discs, each focusing on different facets of Ten Crowns [..]

Source: RE:GEN Mag

  Released on October 14, “Witches” marks the latest single from Costa Rican goth/rock and darkwave trio Ariel Maniki and the Black Halos. The song made its premiere earlier this year as the band performed a special show at Teatro Nico Baker in celebration of the tenth anniversary of The Descending [..]

Source: RE:GEN Mag

  After spending more than a decade with singles, compilation appearances, and an EP, New York dark electro band The Sedona Effect is finally releasing a full-length album. Arriving in time for the Halloween season, The Year of the Snake delivers 10 tracks crafted over the course of a decade [..]

Source: RE:GEN Mag

Das kombinierte KLANGWELT- und HALLOWEEN-Event entwickelte sich über die vielen Jahre in Göttingen zu einem schillerndes Highlight. Ladet ein, trefft Freude und seid dabei, wenn [...]

The post HALLOWEEN-KLANGWELT 2024: Mittwoch, 30.10. im EXIL Göttingen first appeared on KLANGWELT - Szene-Party, Online-Radio & Webzine.

Source: KlangWelt

Herbst-Zeit ist in Göttingen stets Depeche-Mode-Zeit! Wir feiern zusammen mit Euch weiter. Freut Euch im Rahmen der Göttinger Depeche Mode Party auf die Klassiker der [...]

The post Die Depeche Mode Herbstparty in Göttingen – Sa. 26.10.2024 first appeared on KLANGWELT - Szene-Party, Online-Radio & Webzine.

Source: KlangWelt

Mit einem Gartenfest verbinden viele Menschen Lebensfreude und eine angenehme Stimmung, daher wird es im privaten Umfeld gerne und häufig veranstaltet. Wenn man seinen Gästen [...]

The post Ein eigenes kleines Festival im Garten veranstalten first appeared on KLANGWELT - Szene-Party, Online-Radio & Webzine.

Source: KlangWelt

Zwei Bands. Eine Show. Ein innovatives Experiment, das aus zwei erfolgreichen und etablierten Musikprojekten mit szeneprägenden Hits und empathisch-euphorischen Konzerten ein neues, elektrisierendes Live-Erlebnis formt. [...]

The post KLANGWELT präsentiert: ELECTROMANIAX – A Night With Rotersand & Frozen Plasma first appeared on KLANGWELT - Szene-Party, Online-Radio & Webzine.

Source: KlangWelt