Die Death-Doom Metal-Band DWELLING BELOW hat nach dem Track „Unfolding Universe“ und dem eröffnenden Titeltrack nun auch den Song „Sacraments“ ihres kommenden Albums „Wearisome Guardians“ veröffentlicht. Es ist nach „Dwelling Below“ (2023) das zweite Album der US-Amerikaner und wird am 31. Oktober 2025 via Transcending Obscurity Records erscheinen. Das Cover-Artwork stammt von Alexander Shadrin.

DWELLING BELOW Line-Up:
Jared Moran (Hierarchies, Acausal Intrusion, Occulsed) – Drums and vocals
Anthony Wheeler (Hierarchies) – Bass
Nicolas Turner (Hierarchies, Acausal Intrusion) – Guitar

DWELLING BELOW „Unfolding Universe“ Tracklist
1. Wearisome Guardians (Audio bei YouTube)
2. Unfolding Universe (Audio bei YouTube)
3. Interlude
4. Termination Experiments
5. The Altar
6. Sacraments (Audio bei YouTube)

Source: Vampster

Die Blackened Thrash Metal-Band BURNING DEATH hat ein selbstbetiteltes Album angekündigt. Es ist der erste Release des US-amerikanischen Trios aus Nashville und wird am 5. Dezember 2025 via Caligari Records erscheinen. Aufgenommen und gemixt wurde das Album von Shibby Poole. Vorab gibt es den Track „Cold Bite of Steel“ zu hören.

BURNING DEATH Line-up:
Ethan Rock : Guitars / Bass / Vocals
Jerry Garner : Guitars
Gore : Drums

BURNING DEATH „Burning Death“ Tracklist
1. Genocidal Litany
2. Vengeance of the Inferno
3. Death is Salvation
4. Cold Bite of Steel (Audio bei Bandcamp)
5. Severed
6. Lusting for Death
7. Revel in Violence
8. Final Sacrament

Source: Vampster

Die Cosmic Sludge-Band DROFNOSURA hat einen Labeldeal bei Transcending Obscurity Records unterschrieben. Dieser Deal sieht den Release des neuen Albums „Ritual of Split Tongues“ vor, welches am 24. Oktober 2025 erscheinen wird. Das Cover-Artwork stammt von Dusty Ray Art.

„Ritual of Split Tongues“ ist nach „Voidfever“ (2019) das zweite Album der Kanadier aus Toronto. Vorab gibt es nach dem Opener „Selection of a Corpse“ unde dem Track „Kapala Kriya“ nun auch den Song „The Well of Seven Heads“ zu hören.

DROFNOSURA Line-Up:
W.L.F. – Guitars, Vocals, Synthesizers
D.A.S. – Drums & Percussion, Vocals, Synthesizers
M.A.D. – Bass, Vocals, Synthesizers

DROFNOSURA „Ritual of Split Tongues“ Tracklist
1. Selection of a Corpse (Audio bei YouTube)
2. Kapala Kriya (Audio bei YouTube)
3. The Ritual of Split Tongues
4. ἐγείρω
5. The Well of Seven Heads (Audio bei YouTube)
6. Desounen

Source: Vampster

BLACK LABEL SOCIETY haben nach „Lord Humungus“ – zu dem Track gibt es auch ein Video bei YouTube – mit dem Video-Clip zu „Broken and Blind“ eine weitere Single veröffentlicht.

Schon im September 2024 teilte die Band um Zakk Wylde einen Einzelsong, auch zu The Gallows“ erschien ein Video bei YouTube.

Black Label Society Line-up 2025:
Zakk Wylde – vocals, guitar, piano
John (JD) DeServio – bass
Jeff Fabb – drums
Dario Lorina – guitar

BLACK LABEL SOCIETY „Broken and Blind“ (Video bei YouTube)

Source: Vampster

Die Death Metal-Band DEPRAVITY hat nach „Rot in the Pit“ mit „Call to the Fallen“ eine zweite Single ihres kommenden Albums „Bestial Possession“ veröffentlicht. Es ist nach „Evil Upheaval“ (2018) und „Grand Malevolence“ (2020) das dritte Album der Australier aus Perth und wird am 21. November 2025 via Transcending Obscurity Records erscheinen. Gemixt und gemastert wurde das Album von Ronnie Björnström. Das Cover-Artwork stammt von Paolo Girardi.

DEPRAVITY Line-Up:
Louis Rando – Drums
Lynton Cessford – Guitar
Jamie Kay – Vocals
Ainsley Watkins – Bass
Jarrod Curley – Guitar

DEPRAVITY „Bestial Possession“ Tracklist
1. Engulfed in Agony
2. Eunuch Maker
3. Call to the Fallen (Audio bei YouTube)
4. Awful Mangulation
5. Rot in the Pit (Audio bei YouTube)
6. Aligned With Satan
7. Blinding Oblivion
8. Legacy
9. Catastrophic Contagion

Source: Vampster

Here without you,
When I need you tonight…
Few bands inspire the kind of curious anticipation that greets every new release from Odonis Odonis. The Toronto outfit has long stood as one of the underground’s most unpredictable forces—restless experimenters who dissolve the borders between post-punk, industrial, shoegaze, and electronic body music. Each record feels less like a genre statement and more like a new room in an ever-expanding structure of sound—bold, kinetic, and fiercely alive.

In continuing with that tradition, Odonis Odonis shares the video for “Come Alive” from their forthcoming self-titled album, arriving November 15 via Royal Mountain Records.

“Come Alive,” the band explains, “is a trip-hop/shoegaze track inspired by personal experience, capturing the moment of awakening and embracing change. The song and its video follow a character breaking out of a simulated world into a living, dynamic environment. Drawing on the Metabolists and visionary architects from Yona Friedman to Archigram, it transforms the built environment into a space that feels alive, immersive, and full of possibility. Our built environment is alive in itself.”

The lyrics evoke the tension between desire and detachment—the fragile stillness before self-recognition. They move like breath between presence and absence, tracing a quiet metamorphosis, breaking free from dependency, surrendering to life’s current, and rediscovering renewal. “Come alive” becomes a mantra of release, urging transformation through acceptance, even when connection feels out of reach. The dualities—here with you, here without you—echo this awakening. They become a dialogue between form and emptiness, self and world, each dependent on the other for meaning. “Come alive” is no longer a plea but an instruction to awaken within solitude, to see that awareness itself is the connection we seek.

The track’s slow rhythm and atmospheric textures give the illusion of stillness, yet within that stillness, there is movement—a heartbeat learning to synchronize with everything around it. Odonis Odonis channels this realization into something lucid and luminous: a meditation on being, dissolution, and the small, radiant act of remembering that we are alive. The song’s string textures feel almost human in their warmth, like the pulse of breath made audible.

Shawn Chiki’s direction captures this awakening through image and motion. A red figure drifts through a Cubist city, its angular world built from strict geometry, each shape a boundary of thought and identity. It floats apart from its surroundings, aware yet isolated, a single note lost in an unmoving chord. Gradually, the landscape softens—the sharp lines dissolve into curves; squares bloom into fractal spirals. The figure’s world begins to move with it, as though thought and form are learning to breathe together. This transformation becomes an understanding: the self was never apart from the whole, and the environment itself is conscious.

Watch the video for “Come Alive” below:

The best way to understand Odonis Odonis’ eclectic journey is to see it as a continuum—each release a layer added to an evolving architecture of alternative music. From the feedback-soaked Hollandaze and the atmospheric Hard Boiled Soft Boiled to the rivet-studded Post Plague and No Pop, and the industrial surge of Spectrums, their catalog has mapped out the restless terrain between noise, melody, and motion. The new self-titled album doesn’t abandon that structure so much as reimagine it from within, stripping away excess until what remains feels both elemental and alive.

If Odonis Odonis’ earlier work was an exploration of rooms and chambers, this new album opens the doors to the wider world outside—a space where genres and generations collide in the open air. It recalls an era when alternative music branched outward instead of upward, when scenes overlapped and bled into each other. Post-punk met industrial on the same stage as shoegaze and darkwave; goth intertwined with psychedelia and EBM. It’s the unruly spirit of the early Lollapalooza years, when the idea of “alternative” wasn’t about allegiance but about collision—when you could see Nine Inch Nails, Siouxsie and the Banshees, and The Jesus and Mary Chain under the same blazing sun.

That same restlessness defines the new self-titled album Odonis Odonis. After years spent refining the mechanical edge of their sound, founders Constantin Tzenos and Denholm Whale have chosen to reassert something raw and human at the core. “With industrial music, it’s like you can hit a button now and pop that shit out,” says Tzenos. “I feel the same way about a lot of pop music—anything heavily AutoTuned or locked into a distinct genre is going to be easily taken over by AI. So I just thought, I want to make something that’s original to us. We wanted to make an emotive record and relay how we were feeling about all these massive changes that have been happening—not just in our lives, but in general. Like, where the fuck is the world heading? How is that affecting us? And how can we express it in a way people can relate to what’s happening in their lives? If we can make an honest record and put as much of ourselves as we can into this thing, you can’t replace that with a machine.”

In that sense, Odonis Odonis is less a return than a renewal—a reminder that the vitality of underground music has always come from its intersections, its friction, its refusal to stay still. Like those early festivals where subcultures collided and new forms took shape under open skies, this album pulses with the same conviction: that authenticity isn’t about purity, but presence. It’s not nostalgia—it’s proof that the experiment never ended, and that alternative music still has room to come alive.

The band’s new self-titled album is out on November 14th via Royal Mountain Records. Listen to “Come Alive” below and pre-order Odonis Odonis here.

Odonis Odonis by Odonis Odonis

Follow Odonis Odonis:

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The post Wandering a Cubist Dream — Odonis Odonis Reconstruct Reality in Their 3D-Animated Video for “Come Alive” appeared first on Post-Punk.com.

Source: Post-Punk.com

This is the place that you wanted to be
And all that you have waited for
Everyone’s here that wanted see
The reaper he waits at the door

There is something unsettling in the resurrection of The Penthouse Plants’ Dance People Dance: a whisper from the analogue age, encoded in obsolete circuits yet strangely prophetic. Recorded anew four decades after its conception, the song feels less like nostalgia and more like a communiqué from a parallel timeline where human exuberance has already been automated. Its rhythm carries the steady insistence of survival: a pulse that knows the clock is running out.

The song’s origins in Chicago’s post-industrial twilight give it a certain gravity. The Penthouse Plants, like their contemporaries, were translating the pulse of machines into the language of human longing. The fact that the track was rejected by a house label in 1985 only adds to its myth: too synthetic for the soul crowd, too soulful for the machine. Now, in the algorithmic amphitheater of the 2020s, it sounds perfectly placed.

John X. Belmonte’s voice, measured and foreboding, sounds like the conscience of a civilization on the brink of its own obsolescence. The synths swell and stutter, their mechanical hum recalling the primitive optimism of early home computers and the quiet terror of what those machines would one day inherit. Each tone suggests an unearthed future, gleaming yet grave. The Simmons drums strike like coded warnings, the bassline a soft insistence that joy itself might be running on borrowed time.

Lyrically, like any good goth club song, the piece functions as both elegy and exhortation. Its refrain urges the listener to dance while time permits, a phrase that lands like advice from a civilization already extinguished. The reaper waits patiently for the DJ to go on a break, the revelers continue regardless, celebrating the end as if participation itself were redemption. There is an almost Huxleyan irony here: the pursuit of pleasure as both rebellion and surrender, the nightclub as chapel.

If the song’s rediscovery suggests anything, it is that the past had already seen our future, and warned us through melody. Dance People Dance is not merely archival—it is archaeological, exhuming the emotional architecture of a species learning to waltz with extinction. In its gleaming melancholy, it teaches a final, necessary lesson: that even the last dance must be acted out with joy.

Listen to Dance People Dance below:

Formed in Chicago in the early 1980s, The Penthouse Plants were pioneers on the fault line between post-punk and the nascent darkwave underground. Blending machine rhythm with human melancholy, they crafted songs that felt both devotional and dystopian—hymns for a future that hadn’t yet arrived. After decades in obscurity, their long-lost recordings and unfinished songs have resurfaced, revealing a band that foresaw the fusion of soul, circuitry, and existential unease that defines our present age.

Follow The Penthouse Plants:

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Spotify
YouTube
Website

Screenshot
The post Chicago’s The Penthouse Plants Defy the Reaper with Unearthed 80s Darkwave Track “Dance People Dance” appeared first on Post-Punk.com.

Source: Post-Punk.com

“A glance, a first impression, an indelible mark made. And disappointment intrigued, one usually marches on the beat of impending doom-
Heart in hand, tearing at the sky
But those hand has the bleeding sand turned into a regrettable pulp?”

Somewhere between the tequila sunrise and the sodium glow of midnight, The Slashes find their rhythm. Starts With Tears opens like a confession whispered through a cracked mic: a guitar chiming with the fervid pulse of a city that never quite goes quiet. Esteban Rene’s voice has the weathered conviction of someone who’s seen neon light cut through fog and still believes in the next verse. Beto Bautista’s bass doesn’t just keep pace; it prowls, humming low like an idling engine in a border-town back alley, while Carlos Robles’s drums slap and shimmer with a kind of anxious grace, as if daring the night to end.

There’s a certain cinematic poise to the track; that cool restraint before something catches fire. The melody circles itself, deliberate and poised, until it feels like the room might tilt beneath it. When the chorus breaks, it’s a heartbeat too late, which makes it hit harder. The guitars ring with that peculiar mixture of romance and ruin that defined the first great wave of post-punk, but The Slashes inject a distinctly Southern Californian sensibility: warmth bleeding through the gray.

They call it border Goth, and the phrase feels right…not a gimmick, but a geography of feeling. Their music moves like heat across asphalt: restless, reflective, and streaked with memory. The production, guided by Alan Sanderson, Ben Moore, and Manny Nieto, has the crispness of glass and the bruised bloom of something analog. Each element breathes on its own, yet the track’s real power lies in its cohesion: that rare chemistry where restraint becomes revelation.

The Slashes have already staked their claim across stages from San Diego to New York, from The Observatory to The Music Box, sharing nights with The Chameleons and Soft Kill. But Starts With Tears feels like a declaration, a reminder that post-punk can still shimmer in the desert heat, that the ghosts of Joy Division and Killing Joke might yet dance beneath the palm trees.

Starts With Tears is elegiac, electric, full of hearts that break beautifully because they believe they still can.

Listen to Start With Tears below and order the single here.

Starts With Tears by The Slashes

Follow The Slashes:

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The post Borderland Post-Punk Trio The Slashes Return with Elegiac New Single “Starts With Tears” appeared first on Post-Punk.com.

Source: Post-Punk.com

Artist: SceniusTitle: 13 Billion Light YearsGenre: Electronic / Post Punk / Industrial / Electro Pop / Dark Wave Release Date: 24th October 2025Label: Self Released

Source: Reflections of Darkness

Interview with Stephen Kennedy (songwriting, vocals, music) from Papillon de NuitThere are artists who build songs like architecture, and there are those who breathe life into them like poems. PAPILLON DE NUIT belongs to the latter. Conceived by British songwriter and vocalist Stephen Kennedy, the project inhabits a world suspended between chamber music, dark romanticism, and Post-Punk introspection. It is a meeting point of melody and monologue, of dust and light, where poetry and sound intertwine until they become inseparable.

Source: Reflections of Darkness

Andy Bell, the Erasure frontman, will release “The Crown Jewels”, a 4-disc box set expanding...

Source: Side Line

The Roundhouse, Camden Town, London, UK7th October 2025DakhaBrakhaDuring the dark days of the Lockdowns when I could not go to shows, gigs and rituals I didn’t write any reviews on anything, but I still kept an ear and an eye open for interesting stuff to listen to. And one day a video popped up on KEXP Seattle of four quirky individuals in earthly and colourfully dark costumes playing a uniquely interesting style of Ukrainian Folk music.

Source: Reflections of Darkness

Blutengel-Chef Chris Pohl meldet sich mit einer brandneuen Single seines Industrial-Projekts Miss Construction zurück - mehr Infos und das Video zu "Spiel mit mir" hier bei uns!

Source: Sonic Seducer

As the opener and title track, “Forbidden” forms the heart of the EP, which celebrates the captivating sound of dark wave and electro in four tracks. Dark and catchy, the song tells of senses, sensuality and hidden beauty. We talk to Sexsomina in our September/October issue. Listen to Sexsomnia in our “Current Issue” on Spotify:

Source: Orkus

Costa Rican goth/darkwave trio Ariel Maniki and the Black Halos just released the digital single...

Source: Side Line

Die Franzosen um DAWN AND DUSK ENTWINED haben mit ihren letzten, sehr Cold Wave-nahen Releases schon für positive Überraschung gesorgt, nahm ich die Band in ihren frühen Tagen doch als fast reines Dark Ambient Projekt wahr. Diese aktuelle Zusammenarbeit mit den Landsleuten NATURE MORTE (ebenfalls seit der Jahrtausendwende relevant), die im englischen „Every Hour hurts, the last One kills“ bedeutet, präsentiert man den Freunden von feinstem dunklem Ambient ein Sahnestückchen, wie es so in den späten 90s dank Labels wie Cold Meat Industry oder Tesco zuhauf in besagter Qualität gab. Begeisterte mich das geheimnisvolle neue Apoptose-Album zuletzt auf ganz besondere Weise, wissen die Franzosen mit einer Vielzahl von Samples, verfremdeten Vocals und allerhand spannenden, sehr atmosphärischen Gimmicks ebenfalls ein tief surreales Szenario zu entwerfen. Mit viel Sensibilität und Feingespür wird ein sogartiger Teppich ausgelegt, der den Tag zur Nacht macht – geistern ambiente Sound-Fäden zu melancholischen Flächen, kristallinen Geräuschkulissen und allerhand strangen Klangcollagen durch die Gehörgänge – sodass ich nicht nur einmal an Vertreter der alten Schule denken musste wie Raison D’Etre, Desideri Marginis und wie sie alle hießen. Ein zauberhaftes Stück wie ‚En Mémoire de la forêt‘ berührt mich zutiefst und es weckt Erinnerungen an das Ausnahme-Release von Regard Extreme & Les Joyaux de la Princesse mit ‚Die weisse Rose‘, bei dem diese bestimmte Form von Melancholie, eine fast geisterhafte Sanftheit durch die hinterlassenen Räume wehte. Richtig liebevoll in Szene gesetzt, hier und da mit akzentuierter Percussion bleibt es nicht nur im reinen Ambient verhaftet. Ähnlich dieser Kollaboration damals in den mittigen 90s scheinen sich hier zweit Künstler-Projekte mit ähnlich sensitiven Nachhall gefunden zu haben und nehmen den Hörer mit einer Vielzahl an Nuancen an die Hand und in die stille Nacht hinaus. ‚La Vision‘ schwebt für eine ganze Weile, dann folgt eine sanft weibliche Erzähler-Stimme, hintergründige Percussion und winterliche Synths wie zu besten Runes Order-Zeiten – so muss das. ‚Rage‘ brodelt und hat abgefahren düstere, gar monströse Sound-Effekte, die mit eruptivem Schlagwerk und düsteren Flächen erneut gehörig Stimmung erzeugen können. Das epische, über 10-Minuten mäandernde ‚Léthé‘ zieht tiefe sakrale Sound-Furchen, die sich an den besten Momente der Schweden von Raison D‘ Etre orientieren. Leise, still, erhaben mit feinen Echo’s aus Percussion ziehen die schwermütigen Melodien durch eine ewige, nie endende Nacht, bei der sich in Sachen Text/Inhalt eine gehörige Portion Schwermut und Tragik der Akustik symbiotisch erweist – wunderschön und schmerzhaft jenseitig. Etwas akzentuierter, mit Piano geistert ‚Mauvais Sang‘ durch die Flure, mit gelungenen Sound-Fragmenten, Field Recordings und stimmungsvollen Fragmenten gestalten die Bands ihren emotionalen, sehr düsteren Ambient-Sound spannend und zutiefst atmosphärisch. In Sachen hypnotischem Ambient schon jetzt eine der besten Releases in 2025.

(R.Bärs)

Source: BLACK Onlinemagazin

In a world where the line between sound and silence grows thin, Rafael Anton Irisarri returns, sharing a haunting Rework of “Reprisal” — a slow exhale of emotion and dreamlike ambient atmosphere. The track, reimagined by the Brighton-based artist Penelope Trappes, unfolds like a tide of breath and memory, where the elemental forces of air, rain, and ocean seem to move through sound itself.

Swells of drone and muted resonance pulse beneath Trappes’ spectral vocal incantations, forming a sound both vast and intimate — an invocation of fragility and grace. The rework exists in that liminal space between sorrow and transcendence, between dissolution and renewal. Trappes’ voice emerges as a choral apparition, weaving through Irisarri’s textured ambience like a prayer whispered into the wind. Beneath her voice, string textures reverberate and sigh, soft like dreams passing through the membrane of reality.

Directed by Agnes Haus, the accompanying video is an abstract meditation on texture and impermanence. Shot in black and white, the film isolates the physical world into shifting particles and dissolving forms — as though capturing the erosion of time itself. Each image ripples with microscopic drama: water, air, and organic decay collapsing into slow cosmic choreography. The result is a visual poem that mirrors the song’s meditative rhythm, a chiaroscuro of sound and matter.

“I’ve been a fan of Penelope Trappes’ work for many years,” Irisarri explains. “When I was thinking about artists I wanted to rework my music, I couldn’t think of a better one. Agnes Haus’ video for the Reprisal rework perfectly encapsulates the vibe of her track. I’m very grateful for their support and beautiful work.”

Watch the video for the Penelope Trappes rework of “Reprisal” below:

This collaboration forms part of A Fragile Geography: Reworks — a limited-edition cassette and digital release on Black Knoll Editions, celebrating the tenth anniversary of Irisarri’s landmark album. The project features reinterpretations from some of the most compelling voices in experimental and ambient music, each exploring Irisarri’s meditative compositions through their own spectral lenses.

Penelope Trappes’ rework of “Reprisal” is a voice-led invocation of loss and grace, echoing the ethereal minimalism of Grouper, Chelsea Wolfe, and Fever Ray. It lingers like breath on glass — transient, fragile, and quietly divine.

Photo by Iulia Alexandra Magheru
About Rafael Anton Irisarri

Rafael Anton Irisarri is a Puerto Rican-born composer, producer, and mastering engineer whose work has become a cornerstone of modern ambient and experimental sound. Over the past two decades, Irisarri has forged an emotional language from distortion, decay, and reverberation—transforming noise into something profoundly human. His compositions, equal parts introspective and monumental, explore the intersection of technology, nostalgia, and the fragility of memory.

Having released albums on Ghostly International, Room40, and his own Black Knoll Editions, Irisarri’s sound has evolved into an immersive dialogue between minimalism and density, melody and entropy. His productions often evoke the sensation of standing inside a cathedral built from static and echo. Beyond his own releases, he is one of the most sought-after mastering engineers in the independent music world, lending his ear to artists like William Basinski, Grouper, Ryuichi Sakamoto, and Terry Riley.

As a performer, Irisarri brings his work to life in unconventional spaces—churches, planetariums, and art museums—where architecture becomes an instrument. His live sets are immersive rituals in sound, where subtle shifts in tone feel seismic. Through these performances, he continues to redefine the possibilities of ambient composition as an act of emotional excavation.

Photo by Agnes Haus
About Penelope Trappes

Penelope Trappes is an Australian-born, UK-based experimental vocalist, producer, and multi-instrumentalist renowned for her hauntingly intimate sound. Formally trained in opera and jazz, she merges classical restraint with avant-garde freedom, crafting works that are as visceral as they are ethereal. Her music exists between worlds—half-dream, half-devotion—where drone, ambient, and slow-motion pop dissolve into pure feeling.

Her acclaimed trilogy—Penelope One, Two, and Three—released via Fabric’s Houndstooth imprint, established her as one of the leading figures in contemporary ethereal and experimental music. Trappes’ later works, including Heavenly Spheres and A Requiem, released on One Little Independent Records and her own Nite Hive label, delve into grief, transformation, and spiritual renewal.

Penelope’s artistry transcends genre: her compositions blur the boundaries between song and atmosphere, ritual and resonance. With each release, she explores the emotional terrain of loss and transcendence, inviting listeners into a meditative state of quiet revelation—an act of listening as a form of communion.

A Fragile Geography: Reworks will be released on cassette on October 24, 2025.

Pre-Order here through ANOST, and here for Bandcamp.

Reprisal/Empire Systems Reworks by Rafael Anton Irisarri

Follow Rafael Anton Irisarri:

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Follow Penelope Trappes:

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The post A Breath Between Worlds — Penelope Trappes Reworks the Ambient Terrain of Rafael Anton Irisarri’s “Reprisal” appeared first on Post-Punk.com.

Source: Post-Punk.com

Heute ist Tag des Händewaschens – jener internationale Feiertag, an dem wir uns kurz daran erinnern dürfen, dass Seife Leben retten kann. ‘The Ghost And The Machine’...

Source: MedienKonverter

Nach über zwei Jahrzehnten Funkstille meldet sich Gerrit Thomas mit seinem Projekt Fictional zurück – und zwar mit einem…

Source: monkeypress.de

Ab Februar sind KATAKLYSM, VADER und BLOOD RED THRONE auf „Freedom Or Death!“-Tour. In Deutschland sind elf Konzerte angekündigt, in der Schweiz zwei und in Österreich eines.

 

‚FREEDOM OR DEATH‘-Tour mit KATAKLYSM, VADER & BLOOD RED THRONE
18.02.    FR   Paris @ La Machine Du Moulin Rouge
20.02.    UK   Wolverhampton @ KK’s Steel Mill
21.02.    UK   Glasgow @ Slay
22.02.    UK   Manchester @ Academy 2
23.02.    UK   London @ O2 Academy Islington
25.02.    FR   Rennes @ L’Etage
26.02.    FR   Toulouse @ Le Bikini
27.02.    ES   Madrid @ Sala Mon
28.02.    ES   Pamplona @ Sala Totem
01.03.    ES   Barcelona @ Razzmatazz 2
03.03.    CH   Geneve @ L’Usine
04.03.    IT   Milan @ Legend Club
05.03.    SI   Ljubljana @ Kino Siska
06.03.    CZ   Brno @ Fleda
07.03.    SK   Kosice @ Colloseum
08.03.    HU   Budapest @ Barba Negra Blue Stage
10.03.    AT   Vienna @ Simmcity
11.03.    DE   Munich @ Backstage Werk
12.03.    DE   Heidelberg @ Halle 02
13.03.    DE   Memmingen @ Kaminwerk
14.03.    CH   Pratteln @ Z7
15.03.    DE   Trier @ Forum
17.03.    BE   Antwerp @ Trix
18.03.    DE   Hamburg @ Markthalle
19.03.    DK   Copenhagen @ Pumpehuset
20.03.    DE   Berlin @ Festsaal Kreuzberg
21.03.    DE   Leipzig @ Hellraiser
22.03.    DE   Bochum @ Zeche
24.03.    DE   Frankfurt @ Batschkapp
25.03.    DE   Braunschweig @ Westand
26.03.    NL   Leiden @ Gebr. De Nobel
27.03.    DE   Bamberg @ Brose Arena

 

KATAKLYSM – ORWOhaus, Berlin – 27.02.2024 – Konzertfotos

Source: Vampster

Am 14. November 2025 veröffentlichen MEZZROW ihr drittes Studioalbum „Embrace The Awakening“.

Sänger Uffe Pettersson beschreibt die neue Platte so:

„Wir wollten, dass das neue Album etwas direkter klingt, ohne uns zu sehr vom Vorgänger ‚Summon Thy Demons‘ zu entfernen. Wir haben das Gefühl, dass uns das gelungen ist – und gleichzeitig haben wir unsere Wurzeln bewahrt!“

Nun gibt es mit dem Track“In Shadows Deep“ einen weiteren Track zum Reinhören:

„Symphony Of Twisted Souls“ wurde im Spetember als zweite Single veröffentlicht:

Den ersten Song stellte die Thrash Metal-Band sim August mit einem Video zu „Architects Of The Silent War“ vor.

MEZZROW „Embrace The Awakening“ Tracklist
01. Architects Of The Silent War (Video bei YouTube)
02. Sleeping Cataclysm
03. Symphony Of Twisted Souls (Video bei YouTube)
04. Foreshadowing
05. The Moment To Arise
06. In Shadows Deep (Video bei YouTube)
07. Inside The Burning Twilight
08. Dominion Of The Dead

„Keep It True – Live“ (CD Bonus Tracks):
09. King Of The Infinite Void
10. Then Came The Killing
11. Beneath The Sea Of Silence
12. The Cross Of Torment
13. Summon Thy Demons
14. Ancient Terror
15. Through The Eyes Of The Ancient Gods
16. Frozen Soul

 

MEZZROW Line-up:

Ulf „Uffe“ Pettersson – Vocals
Conny Welén – Bass
Magnus Söderman – Lead Gitarre
Ronnie Björnström – Gitarre
Alvaro „Alvis“ Svanerö – Drums

Source: Vampster

ERADICATOR haben im Oktober 2024 ihren Auftritt beim „Evil Twisted Metal Feast“ im Siegener Club Vortex mitgeschnitten und veröffentlichen nun das Livealbum „Alive In The Dead Eye Of The Vortex“.

ERDADICATOR  „Alive In The Dead Eye Of The Vortex“ Tracklist
1. Possessed By The Devil
2. Of Ashes And Sand
3. Beyond The Shadows Void
4. Jackals To Chains
5. Into Oblivion
6. Perpetual Sacrifice
7. Evil Twisted Mind
8. Kill Cloud
9. Baptized In Blood
10.The Paradox
11.Read Between The Lies

ERADICATOR Line-Up

Sebastian “Seba” Stöber – Gitarre/Gesang
Robert “Robb” Wied – Gitarre
Sebastian Zoppe – Bass
Jan-Peter “Pitti” Stöber – Schlagzeug

ERADICATOR Tourdaten 2024
18.10.2025 Siegen Evil Twisted Metal Feast Vol. II
07.11.2025 Hamburg Thrash Feast Hamburg
08.11.2025 Berlin Berlin Freshfest
27.12.2025 Andernach Jugendzentrum Andernach

Source: Vampster

This is the place that you wanted to be
And all that you have waited for
Everyone’s here that wanted see
The reaper he waits at the door

There is something unsettling in the resurrection of The Penthouse Plants’ Dance People Dance: a whisper from the analogue age, encoded in obsolete circuits yet strangely prophetic. Recorded anew four decades after its conception, the song feels less like nostalgia and more like a communiqué from a parallel timeline where human exuberance has already been automated. Its rhythm carries the steady insistence of survival: a pulse that knows the clock is running out.

The song’s origins in Chicago’s post-industrial twilight give it a certain gravity. The Penthouse Plants, like their contemporaries, were translating the pulse of machines into the language of human longing. That the track was rejected by a house label in 1985 only adds to its myth: too synthetic for the soul crowd, too soulful for the machine. Now, in the algorithmic amphitheater of the 2020s, it sounds perfectly placed.

John X. Belmonte’s voice, measured and foreboding, sounds like the conscience of a civilization on the brink of its own obsolescence. The synths swell and stutter, their mechanical hum recalling the primitive optimism of early home computers and the quiet terror of what those machines would one day inherit. Each tone suggests an unearthed future, gleaming yet grave. The Simmons drums strike like coded warnings, the bassline a soft insistence that joy itself might be running on borrowed time.

Lyrically, the piece functions as both elegy and exhortation. Its refrain urges the listener to dance while time permits, a phrase that lands like advice from a civilization already extinguished. The reaper waits patiently for the DJ to go on a break. The revelers continue regardless, celebrating the end as if participation itself were redemption. There is an almost Huxleyan irony here: the pursuit of pleasure as both rebellion and surrender, the nightclub as chapel.

If the song’s rediscovery suggests anything, it is that the past had already seen our future, and warned us through melody. Dance People Dance is not merely archival—it is archaeological, exhuming the emotional architecture of a species learning to waltz with extinction. In its gleaming melancholy, it teaches a final, necessary lesson: that even the last dance must be acted out with joy.

Follow The Penthouse Plants:

Instagram
Facebook
Spotify
YouTube
Website

Screenshot
The post The Penthouse Plants “Dance People Dance” Song Premiere appeared first on Post-Punk.com.

Source: Post-Punk.com

Die Power Metal-Band BLOODBOUND arbeitet künftig mit Napalm Records zusammen. Die erste gemeinsame Veröffentlichung ist das Album „Field Of Swords“, das am 21. November 2025 auf CD, Vinyl sowie digital erscheinen wird.

Heute teilte die Band mit einem Video zu „As Empires Fall“ einen weiteren Song des Albums:

Mit „Defenders Of Jerusalem“ ist die erste Single seit September als Clip bei YouTube zu sehen. Zum Inhalt erklärt Gitarrist Tomas Olsson:

„‚Defenders of Jerusalem‘ ist ein Lied über die Belagerung Jerusalems im Jahr 1187, bei der Balian von Ibelin die Stadt tapfer gegen Saladins übermächtige Streitkräfte verteidigte.“

BLOODBOUND „Field Of Swords“ Tracklist

Field of Swords
As Empires Fall (Video bei YouTube)
Defenders of Jerusalem (Video bei YouTube)
The Code of Warriors
Land of the Brave
Light the Sky
Teutonic Knights
Forged in Iron
Pain and Glory
Born to be King
The Nine Crusades (feat. Unleash The Archers)

BLOODBOUND „Field Of Swords“ Artwork

BLOODBOUND Line-up 2025
Patrik J. Selleby – Vocals
Tomas Olsson – Lead and Rhythm Guitars
Fredrik Bergh – Keyboards
Henrik Olsson – Guitars
Anders Broman – Bass
Daniel Hansfeldt – Drums

Source: Vampster

  Art pop singer/songerwriter Erin LeCount has released “Machine Ghost” as her latest single, her fourth of 2025 and second since the I Am Digital, I Am Divine EP. Written and produced entirely by LeCount, she explains the song to be about dissociation and an observation of her relationships [..]

Source: RE:GEN Mag

  It has been two years since Jake Kantzer last released new material under the moniker of Arclight Halo, although he hasn’t kept idle, as evidenced by the impending release of the “All You Are” single. Due to arrive on November 14, the song follows up on the late 2023 release of The Witch, with the song presented in two versions [..]

Source: RE:GEN Mag

Wer hätte also gedacht, dass sich in Costa Rica nicht nur Faultiere und Kaffeeplantagen, sondern auch tiefschwarze Gothic-Magie verstecken? Ariel Maniki & The Black Halos...

Source: MedienKonverter

Aktuell laufen hierzulande noch die letzten Sommer-Playlists auf „Repeat“, da kämpft man sich in Island längst schon wieder durch das düstere Zwischenreich aus Dunkelheit, Wind und melancholischem...

Source: MedienKonverter

Die Herren Wesselsky rund um Eisbrecher-Frontmann Alex Wesselsky sind nicht mehr. Auch die von uns präsentierte Tour ist abgesagt - alle Infos hier!

Source: Sonic Seducer

Assemblage 23, the US electro-industrial/futurepop project led by Tom Shear, will release its tenth studio...

Source: Side Line

Industrial EBM duo Omen Code release the single “Ultra Fear”, taken from the forthcoming debut...

Source: Side Line

Anfang 2026 kommen Stoneman wieder auf Tour. Wir freuen uns sehr, Euch die Termine erneut präsentieren zu dürfen – mehr Infos hier!

Source: Sonic Seducer

Am 14. Februar 2026 spielen B.S.T, SAUROS und MOUNTAIN THRONE im Nürnberger Kunstverein.

Karten gibt’s für 15- 18 Euro, Einlass ist ab 19.30 Uhr, beginn 20.30 Uhr.

Source: Vampster

There comes a point where invisibility stops feeling like protection and starts to feel like exile. When the world keeps spinning, but you’ve slipped through its orbit, unseen and unheard. To be ghosted by one person stings—but to be ghosted by the entire world leaves you drifting, a faint outline fading at the edge of every room. That strange, suspended ache defines “Less Than A Ghost,” the latest single from Minneapolis darkwave project The Dead Electrics.

Helmed by an enigmatic musician and producer, The Dead Electrics is a project that refines a spectral synthesis of post-punk bleakness and post-industrial ’90s alt-rock atmospheres. Hypnotic rhythms pulse beneath cold electronic textures, tethered to a heartbeat that feels both human and mechanical. Each composition plays like a séance for the self, inviting listeners to dance along the thin line between presence and disappearance.

“Less Than A Ghost” drifts in that uneasy space between apathy and awakening. It channels Portishead’s spectral melancholy through the mechanical pulse of darkwave rhythms, creating something intimate yet unnerving. There’s a distinctly cinematic tension here—closer to David Lynch’s later musical work on Crazy Clown Time and The Big Dream than to his collaborations with Angelo Badalamenti. The track hums with the same off-kilter quiet, a slow-motion fever that turns alienation into atmosphere.

Yet it’s easy to imagine “Less Than A Ghost” flickering from the speakers of a Lynchian Roadhouse bar at 3 a.m., drifting in during that liminal space between sleep and waking. In that sense, the song also circles back to Bowie’s Outside—an album steeped in the strange electricity of the Twin Peaks era, where mystery and machinery intertwined. The Dead Electrics inhabits that same lineage: the haunted glamour of disconnection, rendered through static, rhythm, and restraint.

Lyrically, the song reads like the diary of someone fading from their own life. The narrator drifts through another year of quiet isolation, clinging to fragile symbols of vitality—flowers, perhaps as small testaments to endurance. They tread lightly, almost weightlessly, careful not to disturb a world that no longer registers their presence. Each verse traces the geometry of disconnection: unanswered calls, empty rooms, greetings that feel like rehearsals for loneliness. Friends dissolve into memory; days blur into repetitions. The repeated line—“another year less than a ghost”—lands like a whispered resignation. The haunting isn’t by something external; it’s the slow vanishing of self in a world too distracted to care.

“Less Than A Ghost” is available now on Bandcamp and other streaming platforms. It’s the kind of track best heard in the still hours late at night when even your reflection looks away

Listen below:

Less Than A Ghost by The Dead Electrics

Follow The Dead Electrics:

Thedeadelectrics.com
Instagram
Facebook
threads.net
YouTube

The post Ghosted by the World — The Dead Electrics Channels Lynchian Desolation With Haunting New Single “Less Than A Ghost” appeared first on Post-Punk.com.

Source: Post-Punk.com

Das ROCK HARD FESTIVAL 2026 findet auch 2026 am Pfingstwochenende im Amphitheater Gelsenkirchen statt, im kommenden Jahr also vom 22. bis 24. Mai 2026. Rock-Hard-Herausgeber Holger Stratmann verspricht:

„Wie immer versuchen wir, eine aufregende Mischung aus etablierten Dauerbrennern und Bands zu finden, die noch nie im Amphitheater zu Gast waren.“

Gebucht und bestätigt sind schon diese Bands:

ARMORED SAINT
SLIME
LUCIFER
ANGEL WITCH
HIRAX
NECKBREAKKER

Zum Billing kommen nun noch 16 weitere Bands hinzu.

Karten für das ROCK HARD FESTIVAL 2026 sind seit Ende September erhältlich. Die 3-Tages-Tickets kosten 155.- Euro inklusive aller Gebühren, bestellen kann man auf  shop.rockhard.de/de-de/rock-hard-festival. Digital-Tickets (print-at-home) gibt es auf stagedates.com

Source: Vampster

Ende November 2024 gaben BRUTUS in der Ancienne Belgique in Brüssel drei Konzerte, jede der Show war ausverkauft. Nun erscheint am 28. November 2025 ein Mitschnitt als Live-Konzertfilms und Live-Album, „Live in Brussels“ enthält sechzehn Songs.

Die Band blickt auf die Tour zum aktuellen Album „Unison Life“ zurück:

 „‚Live in Brussels‘ ist das, was wir nach drei Jahren Tournee von ‚Unison Life‘ durch mehr als 20 Länder und fast 200 Shows hinterlassen wollen. Wir haben es zusammen mit unserem engen Live-Team gemacht, den gleichen Leuten, die uns auf jedem Schritt der Tour begleitet haben. Für uns waren diese drei Nächte in Brüssel intensiv, aber wunderschön. Wir sind stolz darauf, dass wir es so festhalten konnten; ein Live-Dokument, in dem Bild und Ton zusammenarbeiten, um dich in diese Nacht hineinzuversetzen.“

 

Einen ersten Blick auf die Live-Show erlaubt das Video zu „War (Live in Brussels)“:

BRUTUS „Live in Brussels“ Tracklist & Cover

1.     Miles Away (Live in Brussels)
2.     Brave (Live in Brussels)
3.     Liar (Live in Brussels)
4.     Justice De Julia II (Live in Brussels)
5.     Storm (Live in Brussels)
6.     War (Live in Brussels) (Video bei YouTube)
7.     Victoria (Live in Brussels)
8.     What Have We Done (Live in Brussels)
9.     Chainlife (Live in Brussels)
10.  Space (Live in Brussels)
11.  Fire (Live in Brussels)
12.  Dust (Live in Brussels)
13.  Paradise (Live in Brussels)
14.  Desert Rain (Live in Brussels)
15.  All Along (Live in Brussels)
16.  Sugar Dragon (Live in Brussels)

Source: Vampster

WIZO sind 2026 auf Tour.  Unter dem Motto „WIZO bringt das Licht!“ und mit dem Untertitel „Welt kaputt, feiern gut!“ spielt die Band gut 40 Shows, darunter viele Doppelkonzerte in großen Städten.

 „WIZO bringt das Licht!“ Tour 2026

Mi 04.02. Lindau, Club Vaudeville + NoRMAhl
Do 05.02. Ulm, Roxy + NoRMAhl
Fr 06.02. Würzburg, Posthalle  + NoRMAhl
Sa 07.02. Nürnberg, Löwensaal  + NoRMAhl
Mi 11.02. Ingolstadt, Eventhalle Westpark  + NoRMAhl
Do 12.02. München, Backstage  + NoRMAhll
Fr 13.02. München, Backstage – AUSVERKAUFT!  + BUTTERWEGGE
Sa 14.02. Innsbruck, Music Hall + ITCHY
Di 17.02. AT-Wels, Alter Schlachthof + ITCHY
Do 19.02. AT-Wien, Arena + ITCHY
Fr 20.02. AT-Wien, Arena – AUSVERKAUFT! + ITCHY
Sa 21.02. AT-Graz, Orpheum + ITCHY
Di 24.02. AT-Wörgl, Komma + ITCHY
Mi 25.02. Regensburg, Airport + ITCHY
Do 26.02. Zwickau, Alter Gasometer + ITCHY
Fr 27.02. Dresden, Stromwerk + ITCHY
Sa 28.02. Leipzig, Felsenkeller + ITCHY
Di 03.03. Dortmund, FZW + BUTTERWEGGE
Mi 04.03. Coesfeld, Fabrik + BUTTERWEGGE
Fr 06.03. Köln, Carlswerk Victoria + RANTANPLAN
Sa 07.03. Oberhausen, Turbinenhalle + RANTANPLAN
Di 10.03. Osnabrück, Rosenhof + RANTANPLAN
Mi 11.03. Wilhelmshaven, Pumpwerk + RANTANPLAN
Fr 13.03. Hamburg, Große Freiheit 36 + NoRMAhl
Sa 14.03. Hannover, Capitol + NoRMAhl
So 15.03. Bremen, Schlachthof + NoRMAhl
Di 17.03. Braunschweig, Westand + ZSK
Mi 18.03. Kiel, MAX + ZSK
Do 19.03. Rostock, M.A.U. Club + ZSK
Fr 20.03. Potsdam, Waschhaus + ZSK
Sa 21.03. Berlin, Astra + NoRMAhl
Di 24.03. Magdeburg, Factory + MONTREAL
Mi 25.03. Fulda, Kreuz + MONTREAL
Do 26.03. Saarbrücken, Garage + MONTREAL
Fr 27.03. Saarbrücken, Garage – AUSVERKAUFT! + MONTREAL
Sa 28.03. Wiesbaden, Schlachthof + MONTREAL
Di 31.03. Karlsruhe, Substage + MONTREAL
Mi 01.04. Freiburg, Haus der Jugend + MONTREAL
Do 02.04. CH-Solothurn, Kofmehl + MONTREAL
Fr 03.04. CH-Zürich, Volkshaus + MONTREAL
Sa 04.04. Stuttgart, LKA – AUSVERKAUFT! + MONTREAL
So 05.04. Stuttgart, LKA + MONTREAL

Source: Vampster

DEAD HEAT haben ein neues Album angekündigt: „Process of Elimination“ erscheint am 10. Oktober 2025 via Metal Blade Records.

„Ich habe das Gefühl, dass die Musik unbewusst komplexer geworden ist, sowohl was das Songwriting als auch unsere Live-Auftritte angeht. Wir alle wollten natürlich bessere Musiker werden, und das zeigt sich in unserer Musik und unserer Live-Präsenz“, erklärt Gitarrist Justin Ton. „Unsere Musik ist eine Mischung aus Metal und Hardcore, aber ich würde sagen, dass wir uns bewusst mehr und mehr in Richtung Metal entwickelt haben.“

Wie der neue Sound von DEAD HEAT klingt, verraten die Singles: Ab sofort kann man sich auch ein Video zu „The Order“ansehen.

 

Im September teilte die Band einen Clip zu „By My Will“ als zweite Single:

Als erste Single stellten die Kalifornier im August den Track „Perpetual Punishment“ vor:

 

 

DEAD HEAT  „Process Of Elimination“ Tracklist & Cover
01. Perpetual Punishment (Audio bei YouTube)
02. Annihilation Nation
03. Hidebound
04. The Order (Video bei YouTube)
05. Enemy
06. Seventh Gate
07. DH Stomp
08. Solace Denied
09. By My Will (Video bei YouTube)
10. Process of Elimination
11. Hatred Bestowed

 

 

DEAD HEAT Line-Up:
Justin Ton – rhythm guitar
Justin Ton – rhythm guitar
Ricky Garcia – lead guitar
Chris Ramos – vocals
Yogie Rodriguez – drums
Vincent Amador – bass/ rhythm guitar
Lorence Chanch Meraz – bass

 

Source: Vampster

Die kanadische Alternative / Gothic Metal-Band THE FIXER hat mit „Ugly Knots“ eine neue Single veröffentlicht.

„Dieser Song ist für die freundlichen Menschen, die wir gesehen haben, wie sie gehasst, belästigt und bedroht wurden. Er ist aus der Ich-Perspektive geschrieben, aber der gesprochene Teil – beigesteuert von unserem Freund John Forget – stammt direkt von jemandem, der diese Erfahrung gemacht hat. Es ist eine Botschaft der Stärke angesichts von Grausamkeit“, sagt die Band.

Davor hat die Band die Single „It Will End Tonight“ veröffentlicht. Der Song folgt auf das 2023er-Debütalbum „Your Lie“ und handelt von der schmerzhaften Erkenntnis, dass sich eine Situation nicht ändern wird, egal wie sehr man daran festhält. Es geht um die Kraft, die man braucht, um wegzugehen, wenn ein Bleiben nur noch mehr Schaden verursacht.

THE FIXER Line-Up:
Vic Sin (Guitar)
Null (Drums)
Busuzu (Bass)
Melladonna (Vocals)

THE FIXER „It Will End Tonight“ (Audio bei YouTube)

THE FIXER „Ugly Knots“ (Audio bei YouTube)

Source: Vampster

Die Black / Death Metal-Band ASPHAGOR hat nach „Path to Devotion Pt. II“ und dem Lyric-Video zu „Into the Storm“ mit dem Video-Clip zu „Conditio Inhumana“ einen dritten Track ihres kommenden Albums „The Aphotic Vortex“ veröffentlicht. Es ist das fünfte Album der Österreicher aus Tirol rund um Gitarrist Christoph „Hybreos“ Knoll (PERCHTA, AGRYPNIE) und wird am 24. Oktober 2025 via Immortal Frost Productions erscheinen.

„The Aphotic Vortex“ wurde von Victor ‚Vic Santura‘ Bullok (TRIPTYKON, Ex-DARK FORTRESS) im Woodshed Studio produziert und mit einem Cover-Artwork von Sänger Stephan „Morgoth“ Friedrich ausgestattet.

ASPHAGOR Line-Up:
M.E. Sargoth – Drums, Guitars
Morgoth – Vocals
Hybreos – Guitars
M.Zanesco – Guitars, Background Vocals
P.P.Lps – Bass, Synthesizers

ASPHAGOR „The Aphotic Vortex“ Tracklist
01. Procession
02. Gates of Manifested Hell
03. Nostromo
04. Rites of Embarkation
05. Path to Devotion Pt. I
06. Path to Devotion Pt. II (Audio bei YouTube)
07. Tehom
08. Into the Storm (Lyric-Video bei YouTube)
09. Arrival
10. Conditio Inhumana (Video bei YouTube)
11. Dissolution

Source: Vampster

Mit „Gigantes Mortui“ wird am 7. November 2025 via Hypnotic Dirge Records die neue Compilation der Post Doom / Death Metal-Band NORILSK erscheinen. Die Scheibe umfasst Songs aus der bisherigen Diskografie der Kanadier und wurde live im eigenen Proberaum aufgenommen. Gemixt und gemastert wurde die Compilation von Topon Das, während das Cover-Artwork von Timur Khabirov stammt.

NORILSK Line-Up:
Nic Miquelon – vocals and bass
Nick Richer – drums and backing vocals
Tom Hansen – guitars
Matt MacIvor – guitars

NORILSK „Gigantes Mortui“ Tracklist
01 Beyond the Horizon (Audio bei Bandcamp)
02 Potsdam Glo (Audio bei Bandcamp)
03 Ghosts of Loss
04 Le puits de l’oubli
05 La liberté aux ailes brisées
06 No Sacred Ground

Source: Vampster

Die Melodic Death Metal-Band OBSCURE FATE hat mit „Age of Delusion“ eine erste Single ihres kommenden Albums „Shades of a Dying World“ veröffentlicht.

„„Age of Delusion“ ist eine dystopische und zynische Sicht auf die moderne Welt. Der Song kritisiert die Machthaber (Politiker, Medien, Religion), die die Massen mit Lügen, Angst und Illusionen manipulieren. Die Wahrheit geht verloren, und Freiheit ist nur noch eine Illusion. Der Song ist sowohl eine Warnung als auch eine Anklage“, sagt die Band.

„Shades of a Dying World“ ist das erste Album der Finnen, die 2021 mit der EP „Raven’s Call“ debütierten und wird 2026 via Inverse Records erscheinen.

OBSCURE FATE Line-Up:
Kaleva Kovalainen, Guitars
Tapio Möttönen, Vocals
Jari Keränen, Drums
Joni Moisanen, Guitars, Backing Vocals
Antti Möttönen, Bass

OBSCURE FATE „Age of Delusion“ (Lyric-Video bei YouTube)

Source: Vampster

Mit „Something Happened on the Way to Hell“ wird am 31. Oktober 2025 via Horror Pain Gore Death Productions die neue EP der Death Metal-Band CHAINED TO THE DEAD erscheinen. Es ist nach der 2024er-EP „Only Hunger Remains“ der zweite Teil einer Horror-Trilogie.

„Something Happened on the Way to Hell“ wurde von Kevin Antreassian gemixt und gemastert und mit einem Cover-Artwork von Mortuus ausgestattet. Vorab gibt es den Track „Just Before Dawn“ zu hören.

CHAINED TO THE DEAD Line-Up:
John-Paul Dal Pan – Bass
Joseph Ott – Drums
Stephen Rasczyk – Guitars
Rocco Martone – Vocals

CHAINED TO THE DEAD „Something Happened on the Way to Hell“ Tracklist
1. Rawhead Rex
2. Just Before Dawn (Audio bei YouTube)
3. Return Of The Deadly Spawn
4. She Who Kills
5. Misunderstanding (GENESIS cover)
6. Unsuccessfully Coping With The Loss Of (TYPE O NEGATIVE cover)

Source: Vampster

There’s a kind of holiness in menace, and NYC’s Hostility Index makes their altar out of voltage and ruin. The Brooklyn duo. Dan Ahrendt and Steven Salazar (Shanghai Beach) move through the decayed corridors of post-punk and industrial like men searching for the bones of a lost machine. Their debut single, Evidence, is less a song than an invocation: a sinister stomper that claws its way through rhythm and repetition until it feels like ritual.

The track opens with a drum pattern that strikes like a warning: mechanical, deliberate, unmerciful. Bass grinds through the mix, alive with tension, while shards of synth flash like broken glass in dim light. Then come the voices: interwoven, pleading, commanding. Ahrendt and Salazar chant with a strange duality: one voice scorched by distortion, the other rising, half-human, half-specter. Together they conjure something both furious and entrancing, a collision of precision and chaos that evokes NIN’s desolation, Ministry’s mechanical fervor, the body-music urgency of DAF, and the vocal grandeur of Foetus.

Evidence feels like a séance conducted in an abandoned factory: steel echoing against skin, desire collapsing into devotion—the song spirals, pulling you inward with each circuit of its hypnotic refrain. There’s a vampiric hunger in the delivery, as if the voices were pleading for blood, or faith, or both. Each sound feels chosen, not composed: the hiss of feedback as confession, the distortion as absolution.

This kind of music thrives in that liminal place between ecstasy and decay. Hostility Index distills the pulse of New York’s underground into something visceral. Evidence is out now as a limited 7-inch vinyl, with only twenty-five copies pressed. A rare relic, it captures the sound of collapse made holy; a communion through noise.

Listen to the single Evidence below and order the 7-inch here.

Evidence by Hostility Index

Hostility Index will make their debut at Sleepwalk in Brooklyn on November 6th with Gargoyle.

Follow Hostility Index:

Bandcamp
Instagram

The post Hostility Index Enter “Evidence” into the Record — Brooklyn Duo Issue Industrial Post-Punk Debut 7-Inch appeared first on Post-Punk.com.

Source: Post-Punk.com

Das schwedische Label PROGRESS PRODUCTIONS ist stolz darauf, ein brandneues Band-Signing präsentieren zu dürfen: THE SOUND OF VEIL SOCIETY bildet eine perfekte Mischung aus Elektro und Popmusik. Die Melodien und Soundscapes zusammen mit einer umwerfenden Gesangsperformance bilden etwas ganz Besonderes. Die Debütsingle "The River" ist jetzt digital verfügbar.
Torny Gottberg/Progress Productions: Als ich das erste Mal mit dem Material dieser Band konfrontiert wurde, war ich verblüfft. Es ist lange her, dass ich direkt das Gefühl hatte "DAS ist etwas, was ich einfach machen MUSS", ich hatte sogar das gleiche Gefühl wie damals, als ich zum ersten Mal ein anderes schwedisches Duo hörte, das "Ways to dance" spielte und das wir später über 10 Jahre zu einer der größeren Bands in der heutigen Szene aufbauten.

Source: Hell Zone