Here where the worlds divide…

Brooklyn-based dream pop band The Harrow debut the video for “Island of Willows,” a track from their forthcoming EP The Drowned World.

Created and edited by multidisciplinary artist Joan Pope, the impressionistic video unfolds as a drifting, painterly meditation on the blurred boundary between beauty and decay, evoking Ophelia-like imagery. Known for her project Temple ov Saturn, which fuses collage, music, video art, augmented and virtual reality, poetry, and zines into richly layered allegories, Pope has also released music with Blacktantra and The Whip Angels. Her previous video work includes visuals for Blacklist, Gwenno, and Rites of Sin, as well as the title track from The Harrow’s 2024 Cinderglow EP.

“Island of Willows” is a lush, slow-burning composition steeped in longing, with dense layers of electric, acoustic, and slide guitars weaving together in a gauzy haze. Echoes of Souvlaki-era Slowdive, Mazzy Star’s nocturnal melancholy, and the aching sprawl of Neil Young’s “Cortez the Killer” ripple through its DNA. The video mirrors this atmosphere through recurring motifs of water and flowers, conjuring a liminal dreamspace that feels at once immersive and elusive, like a memory dissolving even as it takes shape.

Joan Pope offers a few words about the creation of the video:

“Most of my video and artwork is inspired by myth and literature. When I first heard ‘Island of Willows,’ I immediately thought of Ophelia, especially as depicted by John Everett Millais. I used layering and soft distortion to create an atmosphere where beauty and dissolution are indistinguishable. It has an overall Pisces/12th house vibe – the imagery drifts into a place of quiet undoing and surrender, which I felt paired naturally with the emotional depth of the song.”

Guitarist Greg Fasolino, who wrote the music and lyrics for “Island of Willows,” reflects on the track’s origins:

“Despite being a musician for over four decades, this was the first song I ever wrote entirely on my own, and the first time I attempted lyrics. From the moment the chords came to me, I felt the presence of water, which led me to draw on my fascination with Algernon Blackwood’s 1907 supernatural novella ‘The Willows.’ There’s both reverence and sadness in it – a kind of bittersweet psychic paralysis in the face of the cosmic. It’s about glimpsing something beyond understanding, where another dimension brushes against our own, and trying to hold onto that feeling of awe.”

The Drowned World EP will be released digitally on all major platforms on May 15. Watch the video and below and pre-order the album on Bandcamp here.

Follow The Harrow:

Bandcamp
Instagram
Spotify
Facebook
Linktree

Header photo by Chris Scalzi/Distilled Studio. Cover design by LeeAnn Falciani.

The post The Harrow Conjure a Liminal Dreamspace in “Island of Willows” appeared first on Post-Punk.com.

Source: Post-Punk.com

Mit ENDSEEKER KORA WINTER SANDSTORM COMBICHRIST STORMKEEP PVRGATORII DELIVERANCE (FRA) MEMBRANCE SHEWOLFF CRUCELLA AZAGHAL THE ETERNAL UWE LULIS PROJECT KRIS BARRAS BAND NUCLEAR WARFARE NOVAREIGN GATES OPEN VOIDTHRONE UNDERCROFT HOC EST BELLUM LOUDER CAGE FIGHT WAILIN STORMS SHADOWBORNE SKOR CHANGING PLACES IN THE FIRE SE JOSTA EI PUHUTA GODSIZE ERROR DEATHSTORM DITHEIST NIGHTS OF MALICE HAGGUS SINS OF SHADOWS EMBRACE OF SOULS NORTHLANE rat boy EMBRYONIC AUTOPSY SIX FEET UNDER EIVOR ELDER LUNATIC SOUL ARROGANZ DEFILED WISHING WELL MONUMENT OF MISANTHROPY NEVER OBEY AGAIN ETERNAL STASIS BLACKTOOTHED FATEFUL FINALITY EUROPE ARCHITECTS KORN SEGMENTIA NIGHT SPECTRE SAHHAR FALSE MESSIAH BLOODY FALLS UNCLE ACID & THE DEADBEATS LANSDOWNE CHANGING TIDES GODTHRYMM DARTAGNAN VORAX DYECREST TÅKEVANDRER OPERA IX DISTORTED LYRRE ALHENA CRIMSON STEEL SEAS ON THE MOON WHITEABBEY TALES OF PERDITION SLIDING DOÖRS SÖNUS NORCVLT MENTAL ANGUISH SLEEPING WITH SIRENS CRUSADE OF BARDS METALITE TABERNIS HEATHEN STRAY ENDS MY DARK FATE ANUBIS (USA) RIENA DAY 40 ALUNAH SAMAVAYO

ENDSEEKER

death metal

Mehr dazu: ENDSEEKER: nehmen mit neuer Death Metal EP „Coffin Born“ endgültig Abschied

 

KORA WINTER

post hardcore

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SANDSTORM

heavy metal

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COMBICHRIST

industrial

Mehr dazu: COMBICHRIST: neues Industrial Metal Album „The Venom In The Mouth Of God“ erscheint am 24. Juli 2026

 

STORMKEEP

black metal

Mehr dazu: STORMKEEP: zweiter Track vom neuen Symphonic Black Metal Album „The Nocturnes Of Iswylm“ aus Colorado

 

PVRGATORII

black metal punk rock

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DELIVERANCE (FRA)

sludge black metal

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MEMBRANCE

death metal

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SHEWOLFF

black metal punk rock

Mehr dazu: SHEWOLFF: dritter Track von neuer Black Metal / Punk EP „We’re All Gonna Fukking Die“ aus Belgien

 

CRUCELLA

doom metal

Mehr dazu: CRUCELLA: neue Melodic Doom Metal Single „Descensum“ aus Schweden

 

AZAGHAL

black metal

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THE ETERNAL

dark metal

Mehr dazu: THE ETERNAL veröffentlichen im Herbst ihr neues Album „Obscured Horizons“

 

UWE LULIS PROJECT

ROCK

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KRIS BARRAS BAND

hard rock

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NUCLEAR WARFARE

thrash metal

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NOVAREIGN

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GATES OPEN

death metal thrash metal

Mehr dazu: GATES OPEN: neue Death / Thrash Metal Single „The Black Scorpion“ aus Finnland

 

VOIDTHRONE

death metal black metal

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UNDERCROFT

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HOC EST BELLUM

death metal black metal

Mehr dazu: HOC EST BELLUM: kündigen neues Black / Death Metal Album „Filth Majesty“ an

 

LOUDER

speed metal

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CAGE FIGHT

hardcore crossover thrash metal

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WAILIN STORMS

Post Punk gothic blues

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SHADOWBORNE

power metal melodic metal

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SKOR

hard rock

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CHANGING PLACES IN THE FIRE

Post Metal progressive rock

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SE JOSTA EI PUHUTA

black metal melodic death metal

Mehr dazu: SE, JOSTA EI PUHUTA: dritte Single vom neuen Melodic Death / Black Metal Album „Syvyyden portit on saatava auki“

 

GODSIZE ERROR

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Mehr dazu: GODSIZE ERROR: debütieren mit neuer Modern Groove / Melodic Death Metal Single „Where Hope Fails“

 

DEATHSTORM

thrash metal

Mehr dazu: DEATHSTORM: dritter Track vom neuen Thrash Metal Album „Cascophonies“ aus Graz

 

DITHEIST

death metal

Mehr dazu: DITHEIST: kündigen neues Death Metal Album „Cosmic Liar“ aus Chicago an

 

NIGHTS OF MALICE

deathcore

Mehr dazu: NIGHTS OF MALICE: zweite Single vom neuen Deathcore Album „Chaos Exordium“

 

HAGGUS

goregrind

Mehr dazu: HAGGUS: kündigen neue Minecore EP „The Mincecore Manifesto“ an und widmen sie dem Kampf gegen den Faschismus

 

SINS OF SHADOWS

heavy metal

Mehr dazu: SINS OF SHADOWS: Opener vom neuen Heavy Metal Album „The Last Frontier“ als Lyric-Video

 

EMBRACE OF SOULS

power metal

Mehr dazu: EMBRACE OF SOULS: Titeltrack vom neuen Power Metal Album „The Battle Of The Dead“ als Video-Clip

 

NORTHLANE

Post Metalcore electronic

Mehr dazu: NORTHLANE: neuer Song „Evian“

 

rat boy

punk rock

Mehr dazu: RAT BOY: neues Album „Crash“

 

EMBRYONIC AUTOPSY SIX FEET UNDER

death metal

Mehr dazu: SIX FEET UNDER: alle Videos vom aktuellen Album „Next to Die“ & Tour mit Konzerten in Deutschland

 

EIVOR

singer songwriter FOLK

Mehr dazu: EIVØR: neue Single „Healer“ & Tourdates

 

ELDER

Retro Rock psychedelic rock heavy rock

Mehr dazu: ELDER veröffentlichen weiteren Song des neues Albums „Through Zero“

 

LUNATIC SOUL

progressive rock

Mehr dazu: LUNATIC SOUL veröffentlichen neue Single “Ardour (Reimagined Version)”

 

ARROGANZ

death metal black metal

Mehr dazu:  ARROGANZ: neues Album „Death Doom Punks“ – Video zum Titelsong

 

DEFILED

death metal

Mehr dazu: DEFILED: zweite Single des von George Orwell inspirierten neuen Death Metal Albums „Altered State“

 

WISHING WELL

heavy metal hard rock

Mehr dazu: WISHING WELL: weiteres Video vom neuen Heavy Metal / Hard Rock Album „Playing With Fire“ aus Finnland

 

MONUMENT OF MISANTHROPY

Brutal Death Metal

Mehr dazu: MONUMENT OF MISANTHROPY: erste Single vom neuen Brutal Death Metal Album „Washington State Charm“ über Ted Bundy

 

NEVER OBEY AGAIN

modern metal

Mehr dazu: NEVER OBEY AGAIN: weitere Modern Metal Single „Play Pretend“ mitsamt Video-Clip

 

ETERNAL STASIS

progressive metal

Mehr dazu: ETERNAL STASIS: Video-Clip von neuer Atmospheric Progressive Metal Single „Beyond the Universe“

 

BLACKTOOTHED

modern metal

Mehr dazu: BLACKTOOTHED: neuer Song „Monsters“

 

FATEFUL FINALITY

thrash metal

Mehr dazu: FATEFUL FINALITY: neues Video vom kommenden Album „Desolation“

 

EUROPE

hard rock

Mehr dazu: EUROPE: neues Studioalbum “Come This Madness”

 

ARCHITECTS KORN

alternative metal

Mehr dazu: KORN: Sechs Deutschland-Konzerte im Herbst 2026 & neue Single „Reward The Scars“

 

SEGMENTIA

heavy metal melodic metal

Mehr dazu: SEGMENTIA: neue Melodic Heavy Metal Single „Before The Dawn“ mitsamt Video-Clip

 

NIGHT SPECTRE

heavy metal

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SAHHAR

black metal

Mehr dazu: SAHHAR: kündigen neues Ruinous Black Metal Album „Migja ta Mohh Mignun“ an

 

FALSE MESSIAH

dark metal symphonic metal

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BLOODY FALLS

heavy metal modern metal melodic death metal

Mehr dazu: BLOODY FALLS: zweite Single vom neuen Modern Heavy / Melodic Death Metal Album „IV“

 

UNCLE ACID & THE DEADBEATS

psychedelic rock

Mehr dazu: UNCLE ACID AND THE DEADBEATS: neue Single & Tour im Juni 2026

 

LANSDOWNE

hard rock

Mehr dazu: LANSDOWNE: neue Tourdates für Sommer 2026

 

CHANGING TIDES

deathcore metalcore

Mehr dazu: CHANGING TIDES: neues Album „To Exist Is Worth Nothing“

 

GODTHRYMM

doom metal death doom metal

Mehr dazu: GODTHRYMM veröffentlichen eine weitere Single vom „Projections“-Album

 

DARTAGNAN

Fernsehgarten

Mehr dazu: DARTAGNAN: neues Album „Helden X Hymnen“ & ein Film, ein Festival und eine Tour zum Bandjubiläum

 

VORAX

death metal

Mehr dazu: VORAX: kündigen neues Death Metal Album „Volcano Shock“ über prähistorische Welten an

 

DYECREST

heavy metal

Mehr dazu: DYECREST: Video-Clip vom neuen Heavy Metal Album „Enceladus“ aus Finnland

 

TÅKEVANDRER

black metal

Mehr dazu: TÅKEVANDRER: debütieren mit weiterer Atmospheric Black Metal Single „The Fen Exhales“

 

OPERA IX

pagan metal black metal

Mehr dazu: OPERA IX: neues Occult Pagan Black Metal Album „VeneficiuM“ erscheint am 22. Mai 2026

 

DISTORTED

gothic metal melodic death metal

Mehr dazu: DISTORTED: zweite Melodic Death / Gothic Metal Single „Parasitis“ nach Comeback nach 17 Jahren

 

LYRRE

folk metal

Mehr dazu: LYRRE: neues Hurdy-Gurdy Folk Metal Album „Nothing Is Promised“ aus Polen

 

ALHENA

gothic metal

Mehr dazu: ALHENA: neue Gothic Metal Single „Martwy Punkt“ aus Polen

 

CRIMSON STEEL

heavy metal

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SEAS ON THE MOON

progressive metal

Mehr dazu: SEAS ON THE MOON: Video-Clip von neuer Progressive Metal Single „Climb It Up“ mit Eissa Morphide

 

WHITEABBEY

power metal symphonic metal

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TALES OF PERDITION

heavy metal symphonic metal

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SLIDING DOÖRS

gothic metal heavy metal melodic metal

Mehr dazu: SLIDING DOÖRS: neue Heavy Melodic / Gothic Metal Singe „Flames In The Sky“

 

SÖNUS

psychedelic rock classic rock

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NORCVLT

black metal

Mehr dazu: NORCVLT: neue Indigenous Atmospheric Black Metal Single „Antlers Of The New Dawn“

 

MENTAL ANGUISH

grindcore

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SLEEPING WITH SIRENS

alternative rock

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CRUSADE OF BARDS

symphonic metal

Mehr dazu: CRUSADE OF BARDS: neues Video zum „Tales Of Distant Worlds“-Album

 

METALITE

modern metal melodic metal

Mehr dazu: METALITE: Plattenvertrag und zweite Single vom neuen Modern Melodic Metal Konzeptalbum „Discovery“

 

TABERNIS

FOLK

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HEATHEN

thrash metal

Mehr dazu: HEATHEN: neue Single „Twist Of Faith“

 

STRAY ENDS

alternative metal nu metal

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MY DARK FATE

melodic death metal

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ANUBIS (USA)

power metal thrash metal

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RIENA

black metal

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DAY 40

thrash metal

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ALUNAH SAMAVAYO

doom metal hard rock heavy rock

Mehr dazu: ALUNAH / SAMAVAYO: Video von gemeinsamer Doom / Heavy / Hard Rock Split „Embers of Belief“

 

Source: Vampster

OBSCURA sind Anfang 2027 auf Tour in Europa, mit zum Package gehören außerdem PESTILENCE, CRYPTIC SHIFT, THUS & DVRK. 

Einstimmen kann man sich mit einem neuen Video, die Band um Steffen Kummerer hat einen Clip zu „The Sun Eater“ veröffentlicht und lädt zur Tour ein:

 

2027 feiern OBSCURA  25-jähriges Jubiläum, und wir starten das Jahr mit der längsten Europa- und UK-Tournee, die wir je unternommen haben. 39 Konzerte ohne einen einzigen Ruhetag – ein echtes Statement. Denkt daran: Es ist keine Tournee, wenn es einen Ruhetag gibt. Das SHRED FEST 2027 versammelt einige der besten Vertreter des europäischen Extreme Metal mit Bands aus Frankreich, Dänemark, Großbritannien, den Niederlanden und Deutschland. Zusammen mit der legendären niederländischen Band Pestilence, der britischen Avantgarde-Band Cryptic Shift, der dänischen Progressive/Melodic-Death-Metal-Band Thus und der unerbittlichen französischen Band DVRK werden wir wochenlang quer durch den Kontinent touren, mit einem Höhepunkt bei einem Heimspiel in München, Deutschland. Sagt es weiter, bringt eure Freunde mit und unterstützt alle Bands von Anfang bis Ende – wir sehen uns alle im Jahr 2027.“

OBSCURA, PESTILENCE, CRYPTIC SHIFT, THUS & DVRK: SHRED FEST Europe & UK 2027
 

01/20 DE – Aschaffenburg – Colos-Saal 
01/21 NL – Utrecht – TivoliVredenburg
01/22 DE – Dresden – Club Puschkin 
01/23 DE – Dortmund – Junkyard 
01/24 DE – Berlin – Lido 
01/25 PL – Warsaw – Proxima
01/26 CZ – Ostrava – Barrák Music Club
01/27 AT – Vienna – Szene
01/28 AT – Salzburg – Rockhouse
01/29 CH – Frauenfeld – Eisenwerk
01/30 CH – Geneva – Usine
01/31 IT – Treviso – New Age
02/01 IT – Rome – Orion
02/02 IT – Milan – Legend Club
02/03 FR – Grenoble – L’Ilyade
02/04 FR – Montpellier – Victoire 2
02/05 ES – Barcelona – Wolf
02/06 ES – Madrid – Revi Live
02/07 ES – Sevilla – Sala X
02/08 PT – Lisbon – República da Música
02/09 PT – Porto – Mouco
02/10 ES – Portugalete – Groove
02/11 FR – Toulouse – Le Rex
02/12 FR – Limoges – CCO John Lennon
02/13 FR – Angers – Le Chabada
02/14 FR – Paris – Petit Bain
02/15 UK – Southampton – The Brook
02/16 UK – Birmingham – O2 Institute
02/17 IE – Dublin – Opium
02/18 UK – Glasgow – Slay
02/19 UK – Manchester – Rebellion
02/20 UK – London – The Underworld
02/21 BE – Kortrijk – DVG Club
02/22 FR – Nancy – L’Autre Canal
02/23 NL – Leeuwarden – Neushoorn
02/24 DE – Hamburg – Uebel & Gefährlich 
02/25 DE – Trockau – Music Center 
02/26 DE – Lindau – Club Vaudeville 
02/27 DE – Munich – Feierwerk

Source: Vampster

Am 26. Juni 2026 veröffentlichen NUNSLAUGHTER ihr neues Album „‚Satanic Chaos Legions“. Die dritte Single teilte die Band schon heute, hier ist das Video zu „Rotten Messiah“:

 

Mit „esus Fu*king Dies“ stellte die Band im März die zweite Single vor:

Ein Video zum Titelsong kann man sich bereits seit März ansehen:

Im Anschluss an die Plattenveröffentlichung geht die Gruppe auf Europatour. Geplant sind auch Shows in Kassel, Rostock und Hamburg.

NUNSLAUGHTER „Satanic Chaos Legions“ Tracklist & Cover
1. Satanic Chaos Legions (Video bei YouTube)
2. Jesus Fu*king Dies (Video bei YouTube)
3. Unsacrament
4. Christian Ruse
5. Die Your Own Death
6. Rotten Messiah (Video bei YouTube)
7. Peukharist
8. Undead Melody
9. Cathedral of Stench
10. In the Flames of Inferno
11. Lucifer the Light
12. Listen to the Lies
13. Infernal Reign
14. The Spear of Satan

NUNSLAUGHTER Tourdaten 2026

26.06 PL Szczecin – Hells Bells Festival
27.06 PL Krakow – Club Zascianek
28.06 SK Kosice – Riders Pub
30.06 RO Bucharest – Quantic Club
01.07 HU Budapest – Supersonic / Blue Hell
02.07 CZ Trutnov – Obscene Extreme Festival
03.07 DE Friesack – Under the Black Sun Festival
04.07 DE Kassel – Goldgrube
05.07 NL Tilburg – Little Devil
06.07 BE Oostende – Twilight
07.07 BE Antwerp – Antwerp Music City
08.07 DE Rostock – Peter-Weiss-Haus
09.07 DK Fredericia – Metal Magic Festival
10.07 DE Hamburg – Bambi Galore
11.07 DE Torgau – In Flammen Open Air

NUNSLAUGHTER Line-up: 
Don of the Dead – Vocals
Wrath – Drums
Malum – Bass
Tormentor – Guitar

NUNSLAUGHTER Konzert Dates 2026
26.06 PL Szczecin – Hells Bells Festival
27.06 PL Krakow – Club Zascianek
28.06 SK Kosice – Riders Pub
30.06 RO Bucharest – Quantic Club
01.07 HU Budapest – Supersonic / Blue Hell
02.07 CZ Trutnov – Obscene Extreme Festival
04.07 DE Kassel – Goldgrube
05.07 NL Tilburg – Little Devil
06.07 BE Oostende – Twilight
07.07 BE Antwerp – Antwerp Music City
08.07 DE Rostock – Peter-Weiss-Haus
09.07 DK Fredericia – Metal Magic Festival
10.07 DE Hamburg – Bambi Galore
11.07 DE Torgau – In Flammen Open Air

Source: Vampster

Am Samstag, 02. Mai 2026,zwischen 13:00 und 17:00 Uhr verwandelt sich das Label-Lager von SUPREME CHAOS RECORDS in Ibbenbüren in einen Plattenladen.

Das erwartet die BesucherInnen:

Direct Access: Zugriff auf das komplette SCR-Sortiment direkt im Label-Lager.
Wühlkisten-Gemetzel: Spezielle „Cheapo-Kisten“ mit günstigen Schätzen mit leichten Lagerspuren.
Format-Vielfalt: Vinyl-Raritäten, CDs, Tapes und offizieller Merch (Shirts, Patches & more).
Szene-Treff: Fachsimpeln unter Gleichgesinnten bei gutem Sound und entspannter Atmosphäre
Speisen & Getränke

Wann: Samstag, 02. Mai 2026 13:00 – 17:00 Uhr
Wo: Supreme Chaos Records, In der Garte 38, 49479 Ibbenbüren

Source: Vampster

Die Metalcore-Band THROATCUT. stellt mit „Moloch“ einen neuen Song vor:

THROATCUT Konzerte 2026
01.05.2026 I Ponyhof I Frankfurt, DE
02.05.2026 I VEB Bandhaus I Erfurt, DE
09.05.2026 I KJH Hüweg, Essen, DE (Shifter Support)
13.06.2026 I Mobilat I Heilbronn, DE
22.08.2026 I LOGO I Hamburg, DE (Avoider Support)

Source: Vampster

American ambient and electronic musician Steve Roach will release “La Rosa – Live in Tucson,...

Source: Side Line

Slovenian collective Laibach have released their new studio album “Musick“, today 1 May 2026 via...

Source: Side Line

Belgian electro-industrial project Suicide Commando released “Come Down With Me (V2025)“. The track previews “Collective...

Source: Side Line

Speaking from the road while crossing from Denmark into Germany, Tristan Shone sounded exactly like...

Source: Side Line

Warsaw-based audio-visual project Miss Configure has released “Confidence Score” via None Other Records. The digital...

Source: Side Line

The Italian group Christine Plays Viola was formed in 2008 and returns this year with...

Source: Side Line

In our May/June issue, we get to know ASP from A to Z. Well, at least we’ll be discussing terms from A for – well, what? – ASP, B for blood, C for chaos, D for darkness, E for fulfillment, F for women, G for gothic, H for witches, I for inspiration, J for seasons […]

Source: Orkus

The band name A Real Dumb Bird, meaning “a rarely stupid bird”, is simply meant as a joke. Mastermind Sven Meier runs his own label called SMAP! Music. We continue our two-part interview with him about the new EP “Shut Your Mouth”. You missed the first part? No problem, you can read it here . […]

Source: Orkus

In a scene where the big icons are slowly getting much older, fresh, innovative blood does us good. This comes in the form of Auger. Although the band was founded in 2017 by Kyle Blaqk, the artists behind it are between 19 and 29 years old. However, this does not equate to a lack of […]

Source: Orkus

Ironic pop?LAIBACH“MUSICK“Album (Mute/Pias) You have to fight fire with fire. Because in “Musick” Laibach go in the direction of pop. – As an ironic statement, of course. The social criticism remains, but the musical means used by the Slovenian artist collective are unusual. Different worlds come together: technoid meets orchestral (“Musick”), electronic meets Mozart’s “Little […]

Source: Orkus

Etwas schräg und rauh gehen die Schotten von GOUT vor, um ihren Sludge / Hardcore zu präsentieren. Dabei wird auf eine klassische Songstruktur weitestgehend verzichtet und auch auf Melodien scheint die Band keinen großen Wert zu legen, so dass die fünf Tracks auf der neuen EP „Actual Bastard“ einfach nur wie Schmipftriaden klingen, die mit Instrumenten begleitet werden. Das wirkt in Sachen Intensität ganz gut, macht aber eine konkrete Bewertung schwierig, als dass man den musikalischen Wert schwer erfassen kann. Am ehesten werden die Augen der Wertschätzung noch beim Opener „nmate“ geöffnet, der mit einer gelungenen und mitreißenden Tempoverschärfung agiert. Ansonsten tut sich in Sachen Abwechslung und Musik per se eher wenig auf der zweiten EP der Band.

Veröffentlichungstermin: 17.04.2026

Spielzeit: 16:58 Min.

Line-Up:
Alasdair Scott
Calum Stewart
Haydn Park-Patterson
Adam Campbell

Label: Eigenproduktion

Mehr im Netz: https://goutgoutgout.bandcamp.com/

GOUT „Actual Bastard“ Tracklist
nmate
Too Bleak
I Am a Beacon of Health and Wellbeing (Audio bei Bandcamp)
Junk Sick
Tarmac

Source: Vampster

Einen durchaus guten Death Metal-Release haben SPIT ON YOUR GRAVE mit „Arkanum“ hinterlassen. Das dritte Album der Mexikaner weist eine Band aus, die den Death Metal durchaus verstanden hat: gerade der US-amerikanische Einfluss ist gut herauszuhören – teilweise „klassisch“ („Vigilia“), dann wieder etwas moderner („Self Sacrifice“). Aber auch mit etwas weniger US-amerikanischen Anstrich wissen die Tracks zu gefallen, wenn etwa der Opener „The Infection“ oder „Into The Devil’s Realm“ einen minimalen symphonischen Einschlag durchhören lassen. Mitunter schleichen sich auf „Arkanum“ aber auch ruppigere und nicht ganz so flüssige Passagen ein („Dark Lullaby“), doch am Ende fängt „The March Of The Innocents“ noch einmal die doch variantenreiche Essenz des Albums ein. A propos Varianz: Frontfrau Marlene Muñoz reichert ihre Growls mit einem Verlauf von dunklen zu hellen Vocals-Schattierungen an und nimmt sich auch höheren Schreiereien an. Die beste Performance liefert sie aber bei den tiefen Growls. Somit ein gefälliger Release, der zwar in Sachen Produktion, Laufzeit und Dramatik Luft nach oben hat, doch im Allgemeinen schon ganz gut gemacht ist.

Veröffentlichungstermin: 01.03.2024

Spielzeit: 30:31 Min.

Line-Up:
Elizabeth Castillo – Bass
Caro Saturni – Gitarre
Nicolás Garza – Schlagzeug
Kenichi OM – Gitarre
Marlene Muñoz – Gesang

Label: Concreto Records

Mehr im Netz: https://www.soygband.com
Mehr im Netz: https://www.facebook.com/soygband
Mehr im Netz: https://soygbandofficial.bandcamp.com

SPIT ON YOUR GRAVE „Arkanum“ Tracklist
1. The Infection 03:23
2. The Heretic 03:53
3. Vigilia 03:41
4. Into The Devil’s Realm 04:21
5. Dark Lullaby 03:37
6. Broken Hourglass 03:15
7. Self Sacrifice 03:35
8. The March Of The Innocents 04:47

Source: Vampster

Die Death Metal-Band ENDSEEKER wird mit ihrer kommenden EP „Coffin Born“ endgültig Abschied nehmen.

„Wir haben mehr erreicht, als wir uns in unseren kühnsten Träumen jemals hätten vorstellen können“, blickt die Band zurück. „Wir haben mit fantastischen Bands gespielt, sind auf supercoolen Festivals aufgetreten und haben vier Alben sowie zwei EPs veröffentlicht, auf die wir sehr stolz sind. Wir hatten das Glück, großartige und treue Fans zu haben, und konnten während unserer gesamten Karriere eine konstante Besetzung beibehalten. Aber nachdem wir mehr als ein Jahrzehnt lang hart gearbeitet und so viel Zeit und Energie in diese Band gesteckt haben, haben wir das Gefühl, dass es Zeit ist, uns anderen Projekten zuzuwenden. Wir wollten diese Band so beenden, wie wir sie begonnen haben – als sehr gute Freunde. Wir haben mit einer EP angefangen und wir beenden sie mit einer EP. Es fühlt sich einfach richtig an, das jetzt zu tun, solange wir noch die Kraft haben, sowohl im Studio als auch auf der Bühne einen großartigen Abschiedsauftritt hinzulegen.“

„Coffin Born“, das auf das 2023er-Album „Global Worming“ folgt, wird am 19. Juni 2026 via Metal Blade Records erscheinen. Vorab gibt es zum Opener „Enemies Of Peace“ einen Video-Clip.

ENDSEEKER Line-Up:
Lenny Osterhus – vocals
Ben Liepelt – guitar
Jury Kowalczyk – guitar
Torsten Eggert – bass
André Kummer – drums

ENDSEEKER „Coffin Born“ Tracklist
1. Enemies Of Peace (Video bei YouTube)
2. No After. No Before.
3. Coffin Born
4. Life Breeds Death
5. True Survivor (David Hasselhoff Cover)

ENDSEEKER Tourdaten 2026
7/10/2026 M.U.R. Open Air – Königsee, DE
7/11/2026 Pure Fucking Metal FestEvil – Laberweinting, DE
7/24/2026 Burning Q – Osterholz-Scharmbeck, DE
11/06/2026 Club From Hell – Erfurt, DE w/ Milking The Goatmachine
11/07/2026 Live Music Hall – Weiher, DE w/ Milking The Goatmachine
11/13/2026 Helvetic – Oberhausen, DE w/ Milking The Goatmachine
11/14/2026 Urban Spree – Berlin, DE w/ Milking The Goatmachine
11/27/2026 LA Cham – Cham, DE w/ Milking The Goatmachine
11/28/2026 Backstage – München, DE w/ Milking The Goatmachine
12/12/2026 Knust – Hamburg, DE w/ Stillbirth, Slaughterday

Source: Vampster

Die Post Hardcore-Band KORA WINTER hat nach „Doom“ – ein Song über das Erstarren gegenüber alltäglicher Gewalt – mit „[Applaus]“ eine weitere neue Single mitsamt Video-Clip veröffentlicht.

Anfang des Jahres hat die Band mit „Hyaluron“ eine weitere Single mitsamt Video-Clip veröffentlicht. Der Song thematisiert die permanente Jagd nach Selbstoptimierung – dieses endlose Streben nach einer „finalen Version“ von sich selbst, bis am Ende nur noch eine verzerrte Kopie übrig bleibt. Der Song folgt auf das zweite Album der Berliner, „Gott Segne, Gott Bewahre“ (2023).

KORA WINTER Line-Up
Yuki Bartels (Gitarre)
Hakan Halaç (Vocals)
Maximilian Zumbansen (Drums)
Karsten Köberich (Bass)

KORA WINTER „Hyaluron“ (Video bei YouTube)

KORA WINTER „Doom“ (Video bei YouTube)

KORA WINTER „[Applaus]“ (Video bei YouTube)

Source: Vampster

Die Heavy Metal-Band SANDSTORM hat nach „Slave to Sin“ und dem Video zu „Close Combat“ nun auch den Titeltrack ihrer kommenden EP „Dungeon of Death“ veröffentlicht. Es ist die dritte EP der internationalen Band aus Schweden und Kanada und wird am 22. Mai 2026 via Dying Victims Productions erscheinen.

SANDSTORM Line-Up:
Reptile Anderson – Bass, Vocals
P.J. „The Butcher“ La Griffe – Drums
Stevie Whiteless – Guitars, Vocals

SANDSTORM „Dungeon of Death“ Tracklist
1. Dungeon Of Death (Audio bei YouTube)
2. Slave to Sin (Audio bei YouTube)
3. Death After Life
4. Close Combat (Video bei YouTube)
5. Storm the Gate
6. The Bird

Source: Vampster

Die Industrial Metal-Band COMBICHRIST hat nach „Feraline“ mit „Demons Wanna Be Summoned“ – mit KING 810 – eine weitere neue Single mitsamt Lyric-Video veröffentlicht. Die Songs werden Teil des neuen Albums „The Venom In The Mouth Of God“ sein, welches am 24. Juli 2026 via Out Of Line Music erscheinen wird.

Einige Wochen zuvor ist die Single „Rise“ mitsamt Video-Clip erschienen.

„Bei „Rise“ geht es darum, Erwartungen zu trotzen und sich von dem Weg zu befreien, den andere für dich vorgegeben haben“, sagt Frontmann Andy LaPlegua. „Ich wollte, dass die Musik wie ein Aufruf zum Handeln wirkt, wie ein Motivator in einer Welt, die uns ständig sagt, was wir nicht tun sollen. Niemand sonst hat wirklich dein Bestes im Sinn. Es geht darum, die Kontrolle zurückzugewinnen. Dein Leben zurückzuerobern.“

COMBICHRIST „The Venom In The Mouth Of God“ Tracklist
1 ODR
2 Desolation
3 The Future Is A Memory
4 Born Deströyer
5 Feraline (Lyric-Video bei YouTube)
6 RISE (Video bei YouTube)
7 Venom
8 S.T.F.U.
9 Each Scar A Vision
10 Only Here For A Good Time
11 The Way We Want To Be Seen
12 Demons Wanna Be Summoned feat. King 810 (Lyric-Video bei YouTube)
13 Second Ending (We Have Been Here Before)

Source: Vampster

Black Metal aus Colorado: STORMKEEP veröffentlichen am 12. Juni 2026 ihr neues Album „The Nocturnes Of Iswylm“.

Als zweite Single teilte die Band nach dem Song „Carnal Tapestries Of Nailtorn Flesh“ nun auch den Track „Imperious Sanguine Eroticism„.

Die Black Metal Band hat vor kurzem einen Vertrag beim Label Vesperian unterschrieben.

STORMKEEP Line-Up:
Otheyn Vermithrax: Vocals, guitar, keyboards, drums
Apokteino: Guitar
Nebula Husk: Bass
Lord Dahthar: Keyboards

STORMKEEP „The Nocturnes Of Iswylm“ Tracklist & Cover
1.    The Taste Of Immortal Blood (7:23)
2.    The Black Dragons Of Iswylm (4:51)
3.    Saccharine Subjugation (6:06)
4.    Imperious Sanguine Eroticism (6:22) (Audio bei YouTube)
5.    Echoes In The Vasts Of Sequestration (5:25)25
6.    Carnal Tapestries Of Nailtorn Flesh (5:10) (Video bei YouTube)
7.    Ballad Of A Fallen Star (9:28)

Source: Vampster

Mit „Profane Rites For Cursed Times“ wird am 29. Mai 2026 via Night Terrors Records die neue EP der Black Metal / Punk-Band PVRGATORII erscheinen. Zuvor hat das spanische Duo aus Barcelona zwei Alben veröffentlicht. Vorab gibt es den Track „Hermetik Axis“ zu hören.

PVRGATORII Line-Up:
Darth Dvnkel: Six Strinx & Black Spells
L’Ombra: War Drums & Death Bells

PVRGATORII „Profane Rites For Cursed Times“ Tracklist
I. Key To Thee Temple
II. Dystopian Flesh Arise
III. Hermetik Axis (Audio bei YouTube)
IV. A Broken Seal For Final Capitalism Collapse

Source: Vampster

Die Blackened Sludge-Band DELIVERANCE hat mit „Chasing the Dragon“ einen Video-Clip ihres kommenden Albums „The Voyager Golden Banquet“ veröffentlicht. Es ist das vierte Album der Franzosen aus Paris und wird am 22. Mai 2026 via Les Acteurs de l’Ombre Productions erscheinen.

Das Album wurde von Gitarrist Etienne Sarthou aufgenommen und gemixt und von Magnus Lindberg gemastert. Das Cover-Artwork stammt von Pauline Talarn. Vorab gibt es auch den Track „The Banquet part 1“ zu hören.

„Dieser in zwei Teile gegliederte Song stellt den Höhepunkt der interstellaren Reise dar, die wir auf diesem Album gestaltet haben. Nach dieser langen Reise lässt uns ‚The Banquet Part I‘ einen Lichtschimmer am Ende des Tunnels erblicken und weckt in uns die Kraft und Hoffnung, diese Reise fortzusetzen, die vielleicht noch nicht zu Ende ist“, sagt die Band.

DELIVERANCE Line-Up:
Sacha Février – Bass
Fred Quota – Drums
Etienne Sarthou – Guitars
Pierre Duneau – Vocals

DELIVERANCE „The Voyager Golden Banquet“ Tracklist
1. Hellisual
2. Chasing the Dragon (Video bei YouTube)
3. Headspace Collapse
4. Turn On, Tune In, Drop Out
5. As Above, So Below
6. Ground Zero
7. The Banquet – Part 1 (Audio bei YouTube)
8. The Banquet – Part 2

Source: Vampster

Mit „Resa Marciana“ wird am 19. Mai 2026 via Ad Noctem Records das neue Album der Death Metal-Band MEMBRANCE erscheinen. Es ist das vierte Album der Italiener aus Venedig. Das Album wurde vollständig im venezianischen Dialekt eingesungen und auch die Texte beschäftigen sich mit alten und beunruhigenden Legenden der Lagune, Geschichten rund um die Inseln Venedigs sowie Reflexionen über den aktuellen Zustand der Stadt.

„Resa Marciana“ wurde von Stefano Morabito im 16th Cellar Studio in Rom gemixt und gemastert, während das Cover-Artwork aus der Feder von Sheila Franco stammt. Vorab gibt es mit „Sentensa da Resa“ ein Lyric-Video.

MEMBRANCE Line-Up:
Davide Lazzarini – Vocals and Bass
Mattia Guzzonato – Rhythm and Lead Guitar
Giacomo Rusconi – Rhythm and Acoustic Guitar
Giovanni De Fraja – Drums

MEMBRANCE „Resa Marciana“ Tracklist
1. Batipai
2. Sentensa da Resa (Lyric-Video bei YouTube)
3. Rioba
4. Turistificai
5. Serenissima
6. Morte de Vero
7. Redi Tegnue
8. El Cason dei sette Morti
9. Cà Dario
10. Caronte
11. E Mi me ne So’ndao

Source: Vampster

Die Black Metal / Punk-Band SHEWOLFF hat nach „Guillotines“ und dem Titeltrack mit „Nail + Burn“ einen dritten Track ihrer kommenden EP „We’re All Gonna Fukking Die“ veröffentlicht. Es ist nach einem 2023er-Demo der erste Release der Belgier und wird am 22. Mai 2026 via Dying Victims Productions erscheinen.

SHEWOLFF Line-Up:
Swinedog – Bass
Voilnöngt – Drums
K. Von Shewolff – Guitars, Vocals

SHEWOLFF „We’re All Gonna Fukking Die“ Tracklist
1. Eternal Night
2. Guillotines (Audio bei YouTube)
3. We’re All Gonna Fukking Die (Audio bei YouTube)
4. Nail + Burn (Audio bei Bandcamp)
5. Fantastik Fukk
6. The Day the whole World ends

Source: Vampster

Die Melodic Doom Metal-Band CRUCELLA hat nach „Behedoom“ mit „Descensum“ eine weitere neue Single veröffentlicht. Es sind die ersten Releases der Schweden mit einem kompletten Line-Up und wurden von Andreas „Fluff“ Morén gemixt und gemastert.

CRUCELLA Line-Up:
Willy Maturana – guitar
Belinda Blomqvist – vocals
Masse Jaque – bass
Arya Assadi – drums

CRUCELLA „Behedoom“ (Audio bei YouTube)

CRUCELLA „Descensum“ (Audio bei YouTube)

Source: Vampster

Die Black Metal-Band AZAGHAL hat nach „Elävän Kuoleman Tuhannet Kasvot“ mit dem Video zu „Saatana, Olen Miekkasi“ eine zweite Single ihres kommenden Albums „Nekrohelios“ veröffentlicht Es ist das 13. Album der Finnen und wird am 29. Mai 2026 via Immortal Frost Productions erscheinen.

AZAGHAL Line-Up:
Narqath – Guitars, Bass, Keyboards, Vocals (clean), Lyrics
Lima – Drums
Thirteen – Vocals, Lyrics

AZAGHAL „Nekrohelios“ Tracklist
01. Nekrohelios (00:53)
02. Elävän Kuoleman Tuhannet Kasvot (04:12) (Audio bei YouTube)
03. Elysium (03:36)
04. Vihan Ruoska (04:19)
05. Haava (05:11)
06. Rottien Valtakunta (03:06)
07. Saatana, Olen Miekkasi (04:41) (Video bei YouTube)
08. Yö Katoaa Taakse Kuolevan Kuun (05:10)
09. Juuret (05:06)
10. Olen Unohtanut Isäni Kasvot (03:25)
11. Noitalasia (03:38)

Source: Vampster

I wish my eyes were always closed
Broken world has lost its glow
No place to run no place to hide
Just emptiness deep inside 

Cold Union’s new single Lost In Black sounds like two people staring down the end of the world with a drum machine, a bass, a guitar, and bruised romance. Julie and Charles Morose started the project after seeing Twin Tribes and Lebanon Hanover in Wrocław, which is exactly the sort of origin story that makes sense: one night, one gig, one shared infection, and suddenly the future has black eyeliner and an Icelandic windburn.

The duo began in Poland and later took shape in Iceland, where the stark glacial landscape seems to have frozen every soft edge out of the music. You can hear that cold space in the record: the vintage electronics sitting there like old hospital equipment, the guitar cutting in with a nervous little gleam, Julie’s bass keeping the body upright while everything else threatens to fall apart. It certainly brings to mind Lebanon Hanover, Qual, and Clan of Xymox, but Cold Union have enough private damage hidden beneath the floorboards to avoid sounding like a masquerade.

The title track is brutally plain about its misery. The song has that awful clean feeling of something made after too many sleepless mornings. The world is broken, the glow is gone, and the singer sounds stranded inside a life that has lost its colour chart. The black cars, black night, and blackened emotional weather are not goth decoration; they are inventory, the stuff left on the table after depression has cleaned out the room. They let the beat march, the bass brood, the synths shiver, and the voice carry the bad news without polishing it into pretty misery.

“We came up with the idea for Lost In Black shortly after releasing our first album, Deep In My Memory,” says the band. “During the writing process, we went through some of the hardest moments of our lives, and those experiences deeply shaped the music. In the end, it became what we believe is our strongest and most honest work to date.”  They assert that this is their strongest track so far, with the biggest impact. “At times, I feel exactly as expressed in the song: lost in the colours of my life. The concept made such a strong impression on us that we decided to shape the entire album around this theme,” says Julie.

The video, edited by Charles Morose and Philip Merch, gives the song a hard black-and-white glare: the band framed against TV screens, night trees, and a kind of digital-era German Expressionism. Lost In Black is Cold Union turning private collapse into cold current.

Watch the video for Lost In Black below:

Listen to the title track from Lost In Black below and order the album here.

Lost In Black by Cold Union

Follow Cold Union:

Spotify
BandCamp
YouTube
Instagram

The post A Broken World Has Lost Its Glow — Polish Coldwave Duo Cold Union Shares Video for “Lost In Black” appeared first on Post-Punk.com.

Source: Post-Punk.com

I wish my eyes were always closed
Broken world has lost its glow
No place to run no place to hide
Just emptiness deep inside 

Cold Union’s new single Lost In Black sounds like two people staring down the end of the world with a drum machine, a bass, a guitar, and bruised romance. Julie and Charles Morose started the project after seeing Twin Tribes and Lebanon Hanover in Wrocław, which is exactly the sort of origin story that makes sense: one night, one gig, one shared infection, and suddenly the future has black eyeliner and an Icelandic windburn.

The duo began in Poland and later took shape in Iceland, where the stark glacial landscape seems to have frozen every soft edge out of the music. You can hear that cold space in the record: the vintage electronics sitting there like old hospital equipment, the guitar cutting in with a nervous little gleam, Julie’s bass keeping the body upright while everything else threatens to fall apart. It certainly brings to mind Lebanon Hanover, Qual, and Clan of Xymox, but Cold Union have enough private damage hidden beneath the floorboards to avoid sounding like a masquerade.

The title track is brutally plain about its misery. The song has that awful clean feeling of something made after too many sleepless mornings. The world is broken, the glow is gone, and the singer sounds stranded inside a life that has lost its colour chart. The black cars, black night, and blackened emotional weather are not goth decoration; they are inventory, the stuff left on the table after depression has cleaned out the room. They let the beat march, the bass brood, the synths shiver, and the voice carry the bad news without polishing it into pretty misery.

“We came up with the idea for Lost In Black shortly after releasing our first album, Deep In My Memory,” says the band. “During the writing process, we went through some of the hardest moments of our lives, and those experiences deeply shaped the music. In the end, it became what we believe is our strongest and most honest work to date.”  They assert that this is their strongest track so far, with the biggest impact. “At times, I feel exactly as expressed in the song: lost in the colours of my life. The concept made such a strong impression on us that we decided to shape the entire album around this theme,” says Julie.

The video, edited by Charles Morose and Philip Merch, gives the song a hard black-and-white glare: the band framed against TV screens, night trees, and a kind of digital-era German Expressionism. Lost In Black is Cold Union turning private collapse into cold current.

Watch the video for Lost In Black below:

Listen to the title track from Lost In Black below and order the album here.

Lost In Black by Cold Union

Follow Cold Union:

Spotify
BandCamp
YouTube
Instagram

The post A Broken World Has Lost Its Glow — Polish Coldwave Duo Cold Union Share Video for “Lost In Black” appeared first on Post-Punk.com.

Source: Post-Punk.com

SAGENBRINGER haben ein Musikvideo zum Song „Walpurgisnacht“ geteilt, aufgenommen wurde der Clip bei einem Konzert in Stuttgart im Club „Im Wizemann“:

 

2027 setzen SAGENBRINGER ihre Tour fort.

SAGENBRINGER Zwischen den Welten – Epilog 2027
05.03.2027 Lübeck – Rider`s Café
06.03.2027 Braunschweig – Kufa-Haus
12.03.2027 Wuppertal – LCB
13.03.2027 Karlsruhe – Stadtmitte
19.03.2027 Jena – F-Haus
20.03.2027 Bamberg – Vamos

SAGENBRINGER – Hirsch, Nürnberg – 06.03.2025 – Konzertfotos

Source: Vampster

Egal welche Seite des Atlantiks, Hauptsache Wald. Dieser wird von EVEALE erforscht, vor allem die dunklen Seiten. Der aus UK stammende Sänger Monarch Of The Hillside und der US-amerikanische Gitarrist North East Wizard Tyrant – welch Pseudonyme! – haben schon eine gemeinsame Basis mit ASHENHEART, vertiefen ihre Zusammenarbeit seit einem Jahr unter dem Banner EVEALE. „Enter The Woodland Realm“ ist ihr Debütalbum und zeigt bereits in diesem frühen Stadium eine steile Entwicklungskurve. Das melodiöse, leicht folkige Black Metal-Album des Trios, das von Drummer Basher At Things vervollständigt wird, hat die drei „E“, die es für diese Art von Musik braucht: Energie, Esprit und Eigenwilligkeit.

EVEALEs Black Metal ist angenehm zeitlos: „Enter The Woodland Realm“ passt neben Klassiker ebenso, wie neben die neue RABM-Elite.
Zwischen frühen BORKNAGAR und ULVER in ihren ersten Jahren, sowie moderneren Bands wie MORTAL THRALL, GUDSFORLADT und WEALD + WOE lassen EVEALE auch stellenweise eine leichte Punkigkeit wie von UNGFELL in der Musik zu. In dieser Nische fühlt sich die Band hörbar wohl, hat aber genügend Platz, um sich auszutesten und zu entwickeln. Was mit „Laments Of The Dryad“ noch etwas unspektakulär, aber doch brutal und kalt beginnt, wird schon bei „The Enemy“ größer und epischer – und genau dort liegt EVEALEs Schokoladenseite. Ein eingängiges Mainriff und melodische Tremolo-Gitarren erzeugen Storytelling, allein durch die instrumentale Arbeit. Boshaft wird darüber gekreischt, nicht hysterisch, aber voller Leidenschaft und schließlich traut sich Monarch Of The Hillside an Cleangesang, der noch etwas zu schüchtern ist.

Gitarrist und Komponist North East Wizard Tyrant aka Steve Weiner hat schon mit seinem fantastischen Avant Black Metal-Projekt AM I IN TROUBLE? Bewiesen, dass er als Gitarrist und Komponist sehr unkonventionell denkt. Dieses Talent auf eine traditionellere Metalrichtung angewendet sorgt für bisweilen großartige Songs, in denen sich Grimmigkeit und Epik nicht gegenseitig ausschließen. Der abschließende Titelsong krönt das Album, auch dank der beherzten, leidenschaftlichen Gesangsperformance. Es gibt daneben viele gelungene Songs zu hören, gerade in der zweiten Albumhälte: „The Ritual“ startet als grimmiges Akustikstück und fließt in ein furioses Finale, dessen Leadgitarren noch lange nachhallen. Das schrulligste Stück des Albums „Our Flame“ trieft vor Pathos und Dreck gleichermaßen und kann sich einen proggigen 70ies Teil nicht verkneifen. „The Quest“ zeigt EVEALE von einer harmonischen Seite, in der Monarch Of The Hillside größtenteils mit Cleanstimme singt – ein wenig unbeholfen, aber irgendwie doch sympathisch. Beim schwarzmetallischen Finale wird aber deutlich, wo seine Komfortzone liegt.

Kompositorisch ist „Enter The Woodland Realm“ beeindruckend und lässt vermuten, dass in EVEALE noch mehr schlummert.
Wirklich blass ist keines der Stücke auf „Enter The Woodland Realm“, „Carniflora“ und „Pursuit Beneath The Moonlight“ sind aber vergleichsweise unspektakulär. Rein technisch gesehen müssen sich EVEALE aber definitiv nicht verstecken: Das Drumming ist solide, die Gitarrenarbeit gar hervorragend, die Produktion passt perfekt zur Musik. Insgesamt ist EVEALEs Debütalbum kurzweilig und kompositorisch souverän, selbst wenn es keine wirkliche Sensation geworden ist, dafür sind die Momente, in denen sie über den Tellerrand blicken etwas zu selten. Und doch, in EVEALE schlummert das Potenzial ein richtig großes Album zu schreiben. Sicher ist: In den Wäldern auf beiden Seiten des Großen Teichs versteckt sich genug Inspiration für weitere Abenteuer.

Wertung: 7 von 10 Waldtherapien

VÖ: 1. Mai 2026

Spielzeit: 37:38

Line-Up:
Monarch Of The Hillside – Vocals and lyrics, Bongo, Tibetan singing bowl, field recordings („The Beckoning“)
North East Wizard Tyrant – Electric guitars, bass, acoustic guitars, falsetto backing vocals (“Our Flame”)
Basher At Things – Drums

Label: Hypaethral Records (CD & Vinyl) / Fiadh Productions (Tape)

EVEALE „Enter The Woodland Realm“ Tracklist:
1. The Beckoning
2. Lament Of The Dryads
3. The Enemy
4. Carniflora
5. The Ritual
6. Pursuit Beneath The Moonlight
7. Our Flame
8. The Final Quest
9. Enter The Woodland Realm

Mehr im Netz:
https://eveale.com/
https://www.instagram.com/evealeblackmetal/
https://eveale.bandcamp.com/
https://www.youtube.com/@evealemetal

Source: Vampster

In the early 1990s, there were few bands that were as revered as Requiem In White. Formed in 1985 in Boston, MA by guitarist Eric Hammer, vocalist Lisa Houle, and bassist Christopher Walsh, the trio cut their teeth in the local scene for a few years, recording three demo cassettes with keyboardist Catherine Carney and a mix of live and programmed drums. Soon after, the band relocated to New York City and released their first vinyl record, a six track eponymous mini-LP, followed quickly by the Prides Unhappy End cassette EP.

By this point, the band found their home amongst New York’s budding gothic rock scene and earned a large cult fanbase of fans and DJs, many of which were head over heels for Requiem In White’s otherworldly sound, which featured pummeling rhythms, feedback-drenched guitar squalls, and soaring, operatic vocals that left unsuspecting listeners in awe. The band was a welcome breath of fresh air amongst a sea of electronic EBM and goth bands, and grew their following with high profile opening gigs with Type O Negative, Biohazard, and Sex Gang Children. By this point in time, the band had added live drummer Javier Madariaga, who also recorded on the band’s lone full-length album, 1995’s Of the Want Infinite.

At the peak of their powers, Requiem In White parted ways. Bassist Christopher Walsh (now going by Christopher David) formed goth rock project Judith, who released three full-length albums. David also recorded briefly with Black Tape for a Blue Girl and has sadly since passed away in 2013. Houle and Hammer, married at this point in time, broke off to record a ritualistic, dark classical and folk-inspired LP under the name The NCS, shortly after forming Mors Syphilitica, a beloved project that continued Requiem In White’s prowess, expanding to include mandolins and other string instruments alongside their trademark operatic sound. The duo found their home on Sacrum Torch and Projekt Records, and would continue recording together for three full-length records, disbanding in the early 2000s.

Now going by Doc, Hammer began working on seminal television show The Venture Brothers with Jackson Publick (aka Christopher McCulloch), simultaneously fronting post-punk/dream pop/synth pop-inspired project Weep, who continue to record to date, with their last album appearing in 2025. He would also play guitar in Pageant Girls, a four-piece band who released their debut album in 2021. Lisa Hammer, now known as Lisa Stockton-Wilson, is heavily involved in film as an actress, director, editor, and writer. She has also recorded with projects such as Radiana, Fashion Bird Danger Danger, and has released a solo album, Dakini, on Projekt in 2009.

Over the years, Requiem In White’s releases have become highly sought-after collector’s items, fetching high prices on the market. However, just last year, The Circle Music released Hymnal of Remembrance, a double LP/single CD compilation which collects the band’s second and third demo tapes alongside 1995’s Of the Want Infinite, bringing the band’s most seminal works back into print for a new generation.

Even more unexpectedly, the label announced a new LP of material from the band, the first new music from the project in over thirty years. Titled The Visible Heaven and due out on May 21st, the new LP features eight tracks that pick back up seamlessly from where the band left off, rekindling the flame and stepping back into focus. Stockton-Wilson’s voice is as powerful and mesmerizing as it ever was, while Hammer’s music and lyrics drive the band forward in in time. Two singles from the album have been released, the thunderous title track and the swirling, epic closing track “Reckless in Misery,” both which prove that the band hasn’t lost a shred of their beauty and edge over the years.

“Requiem in White returned not to take back her throne, but to show people that her chair was beautiful,” says Doc Hammer. “To right the wrongs of her past and give her an album that sounds like what she truly was. To show her fans that they backed a beautiful horse! A horse that won’t win a race, but she’ll look good racing, and you will never see a horse like that again.”

He continued: “I wanted it to sound like we went into a great studio in 1994, recorded great tracks, and mixed a great album… the album we always wanted to make. It’s guitar, drums, bass, vocals and a little organ, just like Requiem was back in the day.

“When some bands reunite and make new music, they don’t really pick up where they left off. They’re thinking as a creator, and not really respecting the band as a fan does. They bring into the new stuff all the baggage of the contemporary idiom. That, as a fan, is kinda gross. I don’t wanna hear my favorite niche goth band come back and sound like fucking Doja Cat. I want them to sound like they used to. That’s what I would want as a fan. So I decided to just get back to the artistic place I was in the 90s. I wasn’t trying to make a new record sound old, I was truly back in my old band writing like I used to. It’s real. The band never left, it simply fell asleep for a bit.”

A few weeks ago, we had the chance to catch up with Doc Hammer and Lisa Stockton-Wilson to discuss the new LP, the duo’s lengthy musical history, the local Boston scene where they came to prominence, the infinite joys of Placebo and Black Sabbath, and much much more. Instead of printing this one and cherry picking the juicy bits, we all decided to run the nearly unedited full interview, where we all catch up as old friends are wont to do for over two hours… Enjoy!

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The post The Visible Heaven — An Interview with Doc Hammer and Lisa Stockton-Wilson of Requiem In White appeared first on Post-Punk.com.

Source: Post-Punk.com

Mit „Faithless“ schlagen ‘Vorn’ ohne Umwege direkt im Club ein: düster, elektronisch und mit genug Druck, um selbst träge Tanzflächen in Bewegung zu setzen. Der Track selbst...

Source: MedienKonverter

Die Szene schaltet gerade gefühlt einen Gang hoch – Releases prasseln rein, Line-ups füllen sich, und mittendrin melden sich ‘Suicide Commando’ mit einem clever platzierten Vorboten zurück....

Source: MedienKonverter

Einige Tourankündigungen sorgen gerade für Bewegung in der Szene und überall wächst die Lust auf laute Nächte – und dann das: ‘Beyond Border’ sagen ihre komplette „Aftermath...

Source: MedienKonverter

Mit "Ruin" haben die Industrial-Rocker Health eine neue Single von der aktuellen EP "Addendum" ausgekoppelt. Mehr Infos und den Track hier!

Source: Sonic Seducer

-> >;Auf ihrem Zweitwerk "Écailles de Lune" ("Moon Scales") besannen sich ALCEST wieder stärker auf ihre Herkunft aus dem Black Metal, wobei sie ihre auf dem Debütalbum "Souvenirs d’un Autre Monde" entwickelten Markenzeichen jedoch keineswegs vernachlässigten. Die französischen Post-Black Metal Pioniere schufen auf ihrem Erstling einen schimmernd, träumerischen Sound, dessen andersweltliche Schönheit sie gleichzeitig definierte – und den sie seither stetig verfeinert haben. -> >;
-> >;
Auf der musikalischen Ebene, verschmelzen ALCEST in sich ruhende, halbakustische Passagen, sich wiederholende hypnotische Muster und eingängige Melodien mit Ausbrüchen von schroffen Gitarrenriffs und heftigen Schlagzeugattacken. Einen ähnlichen Kontrast und komplementären Effekt wendet Bandkopf und Gitarrist Neige bei seinen Stimmeinsätzen an. Während sein Klargesang zwischen einem warmen, dunklen Tonfall und einer sanften höheren Stimmlage pendelt, brechen immer wieder unvermittelt verzweifelte Schreie und wütende, geschwärzte Kehllaute durch – bis sich die weicheren Gesänge wie eine unaufhaltsame Welle wieder durchsetzen. -> >;
-> >;
"Meine Inspiration für dieses Album floss besonders aus dem Meer sowie der Energie und dem Hochgefühl, welche sich einstellten, als ich in den Nächten vor dem Ozean saß", offenbarte Neige zum Schaffensprozess von “Écailles de Lune”. "Die See erscheint dann schrecklich faszinierend, geheimnisvoll und ebenso schön wie furchteinflößend." -> >;
-> >;
Über die Jahre wurde die Musik von ALCEST mit diversen Etiketten versehen, von denen Post-Black Metal, Post-Rock, Shoegaze und Blackgaze die gängigsten sind. Doch wie immer man die ursprünglich in Avignon beheimatete und nun in Paris ansässige Band kategorisieren möchte, ihr Sound ist bis heute einzigartig geblieben. Ein weiteres typische Element ihrer Alben besteht in Konzepten oder thematischen Motiven, die sich durch die jeweiligen Songs ziehen. Auf "Écailles de Lune" handelt es sich um eine Geschichte der Wandlung. "Die Geschichte dieses Albums stellt keine Metapher für den Tod dar", schrieb Neige. "Für mich dreht sie sich im einen Mann, der sich wortwörtlich dafür entscheidet, seine Welt für eine andere zu verlassen. Es geht mehr um einen Übergang in einer andere Realität oder Existenzebene."-> >;
-> >;
Für all jene, die den Fußspuren diesen Mannes auf der Reise zu einem anderen Ort folgen wollen, bieten ALCEST den Schlüssel an. Wer seine Augen schließt, um "Écailles de Lune" zu lauschen, reist in eine Welt voller musikalischer Wunder und atemberaubender Schönheit – aber Vorsicht: Auch die Rosen der Anderswelt tragen Dornen.-> >;
-> >;
LP (lim. blau-marmoriertes Vinyl) inkl. bedruckter Innenhülle, Schutzhülle und Poster

Source: Prophecy

-> >;Nach ihren frühen EPs "My Angel" (1991) und "Constellation" (1994) veröffentlichten ARCTURUS im Jahr 1996 endlich ihr sehnsüchtig erwartetes Debütalbum "Aspera Hiems Symfonia". Ihren Bandnamen hatte die Norweger vom hellsten Stern der nördlichen Hemisphäre abgeleitet, und auch ihr Sound war offenkundig von der explodierenden Black Metal Szene ihres Heimatlandes beeinflusst. Während berühmte Protagonisten wie ULVER-Leitwolf Garm und MAYHEMs Hellhammer weiterhin mit von der Partie bleiben, musste Emperor-Gitarrist Samoth auf "Aspera Hiems Symfonia" durch den Saitenzauberer Carl August Tidemann ersetzt werden. Außerdem stieß auch ULVERs herausragender Bassist Hugh "Skoll" Mingay zur Band. Trotz ihrer hörbaren schwarzen Wurzeln wagten ARCTURUS musikalische Experimente wie ein seltsam sonorer Gesang, der mit durchdringenden Schreien kontrastiert wird. Sverds cineastische Keyboards, technisch anspruchsvolle Gitarrensoli und weitere avantgardistische Elemente, lassen die Band aus Oslo bis heute als progressive Innovatoren gelten.-> >;
-> >;
Tracklist:-> >;
1. To Thou Who Dwellest In The Night-> >;
2. Wintry Grey-> >;
3. Whence lt; Whither Goest The Wind-> >;
4. Raudt Og Svart-> >;
5. The Bodkin lt; The Quietus (...To Reach The Stars)-> >;
6. Du Nordavind-> >;
7. Fall Of Man-> >;
8. Naar Kulda Tar-> >;
-> >;
Gatefold-LP (hellgrün/schwarz marmoriert) inkl. Beileger, gefütterter Innenhülle und Schutzhülle

Source: Prophecy

Somewhere here on earth

On the grass in the moonlight making out

Awake by spangled morning bells

You’d think we’d be over this hippie shit by now

Vincent Gargiulo has spent enough time around cult detritus, accidental profundity, and the crooked pageant of American absurdity to know that people reveal themselves most clearly when they are cornered by banality. That instinct runs all through Somewhere, Here on Earth, a record that turns dead-end jobs, stale desire, grief, traffic, and self-disgust into a vignette of spiritual depletion. Gargiulo writes like a man in line at the 7-11, staring at the hot dog rollers, suddenly seized by the suspicion that this may in fact be the full moral architecture of the age.

Somewhere, Here on Earth sticks close to a heightened version of American reality. Its heart is flopping off a tattered sleeve: Americana gone a little threadbare, middle age staring back from the bathroom mirror. The songs feel dug up from the daily mess instead of posed under a spotlight. Their oddness is earned the old-fashioned way, by living long enough to realize that normal life is already preposterous, especially once disappointment has had a couple of decades to seep into the wallpaper. Gargiulo rambles through piano-pop, bent country, jittery new wave, and a woozy kind of lounge sadness, picking up traces of Harry Nilsson, Bowie, They Might Be Giants, Joe Jackson, Beck, Rufus Wainwright, and The Divine Comedy.

24 Hour Jack in the Box sets the tone beautifully. Its bright piano gives the song a bruised buoyancy, somewhere in the vicinity of Stephen Bluhm and Joe Jackson, while Gargiulo sings about working alone on Christmas Eve in Kettleman City and drifting back to a memory of floating in a lake. It is a song about alienated labour, bodily numbness, and the desperate wish to feel anything at all. Asleep in the Sun takes that plainspoken approach to grief and gives it a country lilt, with slide guitar and a gently ramshackle air that recalls Odelay-era Beck filtered through classic country heartache à la Loretta Lynn or Porter Wagoner. The song’s power comes from its domestic details: the house too empty, the absence registered in a patch of light, the possibility that memory may be inventing signs just to keep going. Gargiulo never gilds the sadness. He keeps it close to the floor, where most mourning actually dwells.

A Bad Idea or a Missed Opportunity brings in a more theatrical ache, with forlorn horns, piano, and a touch of psychedelic disorientation that suggests Ben Folds stumbling into a Bowie bender. It’s sung from the perspective of sitting on the bathroom floor with a five-year-old birthday card nearby, tallying damage, lust, and regret like a man trying to reconstruct his life from the contents of his pockets. Jazzed in the Hurkle Durkle, another song with a strong jazz piano streak, takes midlife fatigue and turns it into something oddly tender, even cozy. Health scares, historical overwhelm, and personal insignificance all get folded into the comfort of lying next to someone you love while the world remains a bad joke outside the sheets.

She’s Got No Time shifts into a twitchier new-wave mode, carrying some of They Might Be Giants’ anxious charm while chronicling romantic neglect with good humour. It is one of the album’s wryest songs and one of its saddest, because the joke is inseparable from the self-laceration. Gargiulo, who wrote this track as a teenager, understood even at that tender age that people often explain away rejection with stories that wound them more efficiently than the truth ever could. The accompanying video casts him as a down-on-his-luck Romeo trying to get a  stock footage date for the dance.

 

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The title track, Somewhere, Here on Earth, reaches instead for a kind of sunburnt release, and its Charlie Brown-despondent piano evokes Vince Guaraldi at his most wistful. he heads for hot springs, moonlight, and open air, looking for a way out of structure and expectation, though even here the peace feels provisional, borrowed for an afternoon.

Anhedonia feels like the album’s emotional bullseye, even if it arrives looking rumpled and under-rested. Piano, a chorus with a real weary trudge to it, and Gargiulo out there begging for seduction, approval, any proof at all that the circuitry has not gone cold. It is pitiful, hilarious, and a little too close to home, which is probably why it stings. Another Psychopath comes in with that grand, bruised Bowie-on-piano sweep and puts failed love on the witness stand, where self-reproach gets to play judge, jury, and bored stenographer. Really Really Good Right?, all slide guitar and sideways country charm, takes a scalpel to artistic insecurity then proceeds to needle the vanity and panic behind making art. It may be the nakedest song on the album. Do the Dread ends the whole thing knee-deep in traffic, shopping-cart despair, and low-grade end-times anxiety, still foolish enough to believe love might slam on the brakes before the car goes through the guardrail.

Vincent Gargiulo’s real gift is that he does not romanticize damage, nor does he sweep it under the rug. He writes about people who are bored, bereaved, needy, horny, ashamed, hopeful, and spiritually waterlogged, then gives them nimble melodies. Somewhere, Here on Earth is funny, sorrowful, strange, and embarrassingly alert to the small humiliations of being a person. It is a record about modern estrangement. Gargiulo keeps his eye on the petty details, the cheap settings, the moments when life looks most foolish, and that is exactly where he finds its bruised little truths.

Listen to Somewhere, Here On Earth below and order the album here.

Somewhere, Here on Earth by Vincent Gargiulo

A fiercely independent artist, Vincent Gargiulo’s creative output is impressive – and his subject matter universal. Beneath the silliness is an authenticity, and a deep affection for the unsung Everyman. Songs about shitty Tinder dates, sofas no one wants to see, local pizza joints, 80s theme songs. Likewise, a lot of his film work goes chasing the gloriously ridiculous: Chickens in the Shadows, The Dark Crusader, and the whole cracked film universe that gave the world the dynamic duo of Toasters N’ Moose and their sassy thrift store ode to the KFC five-piece meal deal, Taste the Biscuit. 

Gargiulo spoke with Post-Punk.com about his creative process, influences, background and philosophy.

Your work often approaches serious subjects through an off-kilter, sometimes absurd lens. Which artists, filmmakers, or writers helped shape your way of seeing the world? 

My very first loves were the Muppets, Pee Wee, and cartoons. That love of animation led me to Terry Gilliam’s work on Monty Python and that changed it all for me. That’s what I wanted to do with my life. I started writing sketch comedy and got inspired by others like Chris Guest, Jack Benny, SCTV, Spaulding Grey. Even Python Michael Palin’s travel documentaries inspired me to have a wonder for the world and started my travel lust. Then I went to film school and got into experimental and foreign films. All this shaped my film work.

Musically, my parents instilled some the classics of the 60s & 70s (Beatles, Zappa, Steely Dan, Genesis) mixed with my own discoveries of the then new songs of the 80s & 90s. My biggest musical inspiration is probably Brian Wilson of the Beach Boys. His work influenced everyone else I’m also influenced by, such as XTC, Joe Jackson, They Might Be Giants, Talking Heads, the list is infinite.

Your writing often finds tenderness in awkwardness, failure, and anticlimax. Humor runs quietly through the work, even in its bleakest moments. Do you think absurdity is a way of softening difficult truths, or sharpening them?

I think it can do both. That awkwardness and failure is part of being human and that ultimately is beautiful. How amazing we exist at all. We have to laugh at ourselves. Humor and kindness are essential to get by.

You seem drawn to small, specific moments of everyday life, and then slowly warp them into something just off-kilter. This album seems deeply attentive to the emotional weirdness of everyday American life: chain stores, highways, dead-end jobs, empty rooms, passing interactions. What draws you to those spaces?

I’m from Stockton, CA, grew up lower middle class. This does not usually produce visions of grandeur.  I’ve always had a day job including now (and still probably lower middle class).  I’m mostly interested in everyday people trying their best and pursuing whatever dream they have, possibly because I did/do that. Those quiet spaces and moments still have life, stories, dreams.

When you’re writing, what tends to inspire you most: music, movies, literature, overheard conversations, landscapes, memories, or something harder to name?

Inspiration comes from everywhere. Generally nowadays, whenever something comes to me (a phrase, a word, an idea, a skit), I write it down in my notes app. When it comes time to write a new work, I’ll scan the notes and pull together similar ideas, then build around it. A song or scene will form. It takes so long for me to produce something, that there is usually a large backlog of ideas to pull from. On the new album, the song She’s Got No Time was written when I was a teenager and I resurrected it for this. Not much was changed.

There’s a recurring tension in these songs between wanting to feel deeply and being almost embarrassed by that desire. To you, what is the emotional engine of the album?

 It’s not 100% autobiographical but there are a lot of my thoughts, fears, anxieties, dreams, laid out on the table. It’s dark, it’s quiet, it’s the song’s protagonist’s trying to figure things out. I want to feel deeply but how?

Work like Chickens in the Shadows, The Dark Crusader and the Taste the Biscuit phenomenon connected with countless people because it felt impossible to pin down: funny, sincere, and strange all at once. It seems to have punctured the zeitgeist: these characters and songs you write about feel like real people, with real problems and real passions. In a culture that encourages polish, branding, and emotional simplification, what does it mean to you to make work that leaves room for contradiction, discomfort, and oddness?

Well my work would be more polished if there were bigger budgets. What I could afford in 2011 now has just become A E S E T H E T I C. The good thing about being independent is I can make whatever I want and tell the stories that seem interesting to me. But I am trying to move you. I love skirting the line between comedy and drama. The world is a weird place. Humans are weird and complex. Embrace that.

When you step back from the album, does it feel like a document of trying to understand something, or just a record of paying close attention to a world that already doesn’t make much sense?

After making The Dark Crusader, which is a very very silly comedy movie, I wanted to do the exact opposite. Make a fairly serious album. I always called it the sad jazz album, even though it’s branched off to other genres. I wrote it sequentially roughly between Sep 2024-May 2025. To me, the album is a document of that time. It was essentially my therapy and I was trying to write more poetically. No jokes! I’m happy with how it turned out. It’s a vibe. Sometimes we need to listen to the sad album to help us get by.

Watch The Dark Crusader below. You can also purchase his films here.

Watch some of Vincent’s other videos:

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The post Vincent Gargiulo Finds the Bruised Poetry of Banality With “Somewhere, Here on Earth” appeared first on Post-Punk.com.

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I watch you as you strike the match

There is no heart on your sleeve like a badge

And it all wicks down, it all wicks down

Get on your knees and kiss the ground

Editors return with their first new music in four years, following the electronic experimentation of 2022’s EBM, and with Call It In, they come back to a guitar-driven sound that carries the weight of a locked room at midnight: ritual dread, real-world need, and the charged intimacy of a band lowering the lights until every private fear begins speaking out loud. At the center of it all, Tom Smith sings as if faith, fear, and dependency have been poured into the same glass; and as the song gathers force, that bitter sacrament becomes a plea for comfort in the noise of modern life, where surrender and survival start to sound dangerously alike.

“We spent a lot of summer ‘25 holed up in rural Gloucestershire, working on songs with all of us in a room, in a more

Source: Post-Punk.com

Will you reach for me as I plead in vain
In the dead of night I will fall
For pain

Tania Cassette steps out of the Glass Spells afterglow to tend her own fire with The Flame, a torch song lit by 80s pop glamour, dance-floor desire, and the dangerous faith of someone finally grabbing the wheel. The track carries a bright, Nutra-Sweet rush of handclap-ready hooks, glossy synths, and a chorus built for driving too fast past the city limits with your heart doing 90 in the passenger seat.

Produced with Myles and Kyle Mendes of NITE, The Flame respects the holy science of pop immediacy. The Bangles’ melodic lift is in its bloodstream, The Motels’ after-hours ache hangs around the edges, Cyndi Lauper’s theatrical nerve flashes through Tania’s vocal phrasing, and Berlin’s sleek synth drama glides beneath the beat like a black car on wet asphalt. Tania sings with poise and heat, letting the song’s yearning bloom without drowning it in melodrama.

The lyrics trace a consuming devotion curdled by abandonment, where desire, disgrace, and pain keep pulling the speaker back toward someone who has wounded them. Love becomes a cycle of ruin and return: a desperate nocturnal plea, a memory that won’t quiet, and a fire that keeps burning.

“The Flame is the song that saved me,” she admits. “It gave me the courage to trust myself and take control of my own destiny, and that’s terrifying and exhilarating all at once. It’s about devotion that consumes you, the kind of passion that breaks you down and rebuilds you at the same time. Everything you see in this video from the fire, the speed, the intensity… that’s exactly how it felt to finally step into who I really am.”

Directed by Sultan Mars and produced by Saint Almaty, the video throws that feeling onto the screen with a wink of vintage danger. Tania tears through the night in a sexy red convertible, the kind of car meant for a doomed romance, while the room-bound red phone scenes carries a lonely, theatrical ache. When she dances before the bonfire, the performance pulls us into a cathartic release. The classic twin-flame idea usually gets sold like mystical romance with better branding, but The Flame aims at something less woo-woo and syrupy: the difficult business of perfecting your own soul.  For Tania Cassette, the blaze is no backdrop, it is her heart set aflame.

Watch the video for The Flame below:

Listen to The Flame below and order the single here.

The Flame by Tania Cassette

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The post “In the Dead of Night” — Tania Cassette Takes the Wheel in Video for Devotional Synthpop Single “The Flame” appeared first on Post-Punk.com.

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Book of Love are taking their 40th anniversary celebration on the road. Following the announcement of Rhino Records’ newly remastered anniversary edition of their self-titled 1986 debut album, the synthpop quartet have revealed the first dates of a limited 10-show tour.

For the run, Susan Ottaviano, Ted Ottaviano, Jade Lee, and Lauren Roselli will perform Book of Love in its entirety, along with favorites from across their catalog and, according to the band, some new material as well. The first five dates have been announced, with more shows still to come.

The tour follows news that Rhino Records will release the remastered 40th Anniversary edition of Book of Love on June 26 as a clear-vinyl pressing, marking the album’s first official vinyl reissue since its original release. The edition includes refreshed artwork created with original art director Nick Egan, a four-page insert featuring outtakes from Michael Halsband’s original photo session, and new liner notes by music historian Kurt B. Reighley.

Originally released on April 1, 1986, Book of Love introduced the band’s bright, bittersweet synthpop with songs including “Boy,” “I Touch Roses,” and “You Make Me Feel So Good.” The group’s early ascent was aided by DJ and producer Ivan Ivan, who passed their demo to Sire Records founder Seymour Stein, leading to the band’s signing and eventual tours opening for Depeche Mode in 1985 and 1986.

The anniversary year has already brought renewed attention to “Boy,” which recently appeared in the 2025 film Companion and has now received a new remix from Grammy-winning producer Dave Audé. Written by Ted Ottaviano, the song remains one of the album’s defining moments, its bell-like motif and clean synth lift carrying an ache rooted in New York nightlife, longing, and emotional distance.

Tickets for the announced dates are now on sale. Visit the band’s official website for more info.

Book of Love — 40th Anniversary Tour Dates:

October 10 — Chicago, IL — Metro
October 23 — Dallas, TX — Granada Theater
November 7 — Houston, TX — White Oak Music Hall
November 20 — Denver, CO — Oriental Theater
December 5 — Los Angeles, CA — Teragram Ballroom

Follow Book of Love:

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The post Book of Love to Embark on 40th Anniversary Tour Performing Self-Titled Debut Album in Full appeared first on Post-Punk.com.

Source: Post-Punk.com

The hyena has always made cowards nervous. Neither obedient symbol nor tidy specimen, she arrives laughing at the limits men have drawn around nature, gender, hunger, hierarchy, and fear. For Mz Neon, that creature has become a crown, a curse, a calling card, and a kind of sacred threat: the beast at the center of her own glam-industrial mythology.

Queen Hyena is the first single from Mz Neon’s long-awaited debut album MAXIMASCHINA, expected later this year. Released independently in conjunction with her upcoming U.S. tour supporting Lords of Acid, the track introduces the next phase of the Los Angeles-based artist’s cult lore: a 16-song record she will preview on the road, with more new music planned for the coming months as she seeks label support for the full album release.

The Queen Hyena name has already stalked through Mz Neon’s catalogue as the title of her first two EPs, Queen Hyena Vol. 1 and Queen Hyena Vol. 2, but this marks the first song to bear the name outright. The single draws from her archetypal relationship to the matriarchal hyena: an anomaly of nature, intersex, femme-dominant, warrior-like, feared by men, and gloriously resistant to evolutionary categorization. Here, the figure steps fully into the spotlight as moniker, alter ego, and origin myth, no longer a hint at the edge of the frame but the reigning beast at the center of the ritual.

Musically, Queen Hyena comes on like an electronic pop anthem built for the club, the catwalk, and the coliseum. It churns with seductive command, stacking chant-like hooks, and a beat that moves with predatory poise. Mz Neon sings like she is addressing worshippers, rivals, prey, and subjects all at once, turning the refrain into a coronation: “Bow down to the sound of the Hellhound: Queen Hyena.” The track is vulgar, theatrical, funny, feral, and fiercely trans femme, wielding erotic power as both provocation and protection.

There is a delicious old-school electroclash menace in the way the song struts, but Queen Hyena is bigger than pastiche. It folds industrial-pop muscle, glam-punk excess, and performance-art provocation into a single high-voltage sermon from the femmepire. The lyrics bare themselves as full of teeth and trouble: bloodlust, gloves, lairs, golden vampires, alpha-bitch declarations, and a chorus that knows exactly how much danger it is dragging onto the dancefloor. Mz Neon does not ask permission to be monstrous. She sharpens the crown and makes everyone else kneel.

Listen to Queen Hyena below or via the streamer of your choice here:

Born in New York City and now based in Los Angeles, Mz Neon is a genre-bending musician, multi-instrumentalist, and performance artist whose orbit has already crossed paths with Poppy, Egyptian Lover, Marc Almond, My Life With the Thrill Kill Kult, Lydia Lunch, and Linda Perry. With Queen Hyena, she takes that history—clubland sleaze, punk theater, pop spectacle, and queer survival instinct—and feeds it through the jaws of her latest incarnation.

Queen Hyena features lyrics, vocals, and guitar by Mz Neon, with production and mixing by David Sisko and mastering by Joe Lambert.

Mz Neon will support Lords of Acid on their 2026 U.S. tour from April 26 through May 31, debuting Queen Hyena and additional new material from MAXIMASCHINA along the way. The run cuts from California through the Southwest, Midwest, East Coast, South, Texas, and back west, with additional support from Dead on a Sunday, Princess Superstar, and Jonny & The Kiki.

Tickets are available via www.mzneon.com.

Mz Neon 2026 U.S. Tour Dates with Lords of Acid:

April 26 — Fontana, CA — Stage Red ^
April 28 — Flagstaff, AZ — Orpheum Theater ^
April 29 — Grand Junction, CO — Mesa Theater ^
April 30 — Albuquerque, NM — Sunshine Theater ^
May 1 — Colorado Springs, CO — Black Sheep ^
May 2 — Denver, CO — The Crypt + ^
May 4 — Kansas City, MO — Warehouse
May 5 — Minneapolis, MN — Varsity Theater
May 6 — Chicago, IL — Bottom Lounge
May 7 — Detroit, MI — Magic Stick
May 8 — Pittsburgh, PA — Preserving
May 9 — Washington, DC — Union Stage
May 11 — Cleveland, OH — Mercury Lounge
May 12 — New York, NY — Racket NYC
May 14 — Atlanta, GA — Masquerade ^
May 15 — Orlando, FL — The Abbey
May 16 — Fort Lauderdale, FL — Culture Room
May 17 — Tampa, FL — The Orpheum
May 19 — Fort Walton Beach, FL — Downtown Music Hall
May 21 — Houston, TX — Scout Bar
May 22 — Dallas, TX — Trees
May 23 — Austin, TX — Come and Take It Live
May 24 — San Antonio, TX — Paper Tiger
May 26 — Tucson, AZ — 191 Toole
May 27 — Mesa, AZ — Nile Theater
May 28 — Las Vegas, NV — Swan Dive
May 29 — San Diego, CA — Music Box
May 30 — Los Angeles, CA — Echoplex
May 31 — San Jose, CA — The Ritz

+ No Lords of Acid
^ No Dead on a Sunday

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The post Mz Neon Reigns Fierce With Trans Femme-fatale Anthem “Queen Hyena” Ahead of Tour With Lords of Acid appeared first on Post-Punk.com.

Source: Post-Punk.com

If you’ve ever wondered what it feels like to get shoved into a steel locker while someone blasts old-school Ministry at unsafe volumes and laughs as they mean it, Spike Hellis has a pretty good answer with By God, the first single from the band’s forthcoming second full-length, Successor. This track hammers the same bruising groove until you either dance or file a complaint with whatever higher power is currently on duty.

The duo of Cortland Gibson and Elaine “Lainey” Chang have been circling this kind of blunt-force body music since they clawed their way out of a Downtown Los Angeles apartment during lockdown, and you can hear that cabin-fever claustrophobia still baked into the track. It’s all pressure and propulsion, the kind of beat that lands like a boot on concrete, over and over, with the discipline of Front Line Assembly at their most militarized but with just enough mischief to keep it from turning into a lecture.

By God, leans hard into that old Wax Trax! playbook: grease-stained drum machines, synth lines that sound like they’ve been dragged across asphalt, and vocals delivered like a series of warnings you’d be wise to take seriously. There’s a little Cabaret Voltaire lurking in the corners; a ghost in the machinery, a reminder that this strain of electronic music is about friction, not finesse. The rhythm hammers forward with the kind of single-minded intent that clears a dance floor of anyone looking to sip a drink and talk about their week. You move, or you move out of the way. The bass hits like it’s trying to rearrange your spine into a more obedient shape, and the synth stabs come in sharp enough to make you blink.

There’s humour buried in the abrasion as well, a kind of crooked grin behind the barked vocals, as if the band knows exactly how ridiculous and necessary this all is: two people, a handful of machines, and a beat that could probably power a small city if you hooked it up right. You don’t analyze a track like this so much as survive it, and maybe, if you’re lucky, come out the other side a little rattled and a lot more awake.

Successor is out on August 7th, 2026, via Over-Pop. Listen to the album’s first single, “By God,” below, and order the track here.

By God by Spike Hellis

Spike Hellis’ Gibson and Chang have spent the last few years road-testing this approach in rooms that smell like fog fluid and bad decisions, sharing stages with Front 242 and Nitzer Ebb, and you can tell. By God feels like it was built for that environment: compact, confrontational, and just a little bit unhinged, like it might keep going even after the power’s cut.

The band is about to hit the road with a few friends: MVTANT, Auragraph, Belly Hatcher, Nuxx, and Normal Bias. Catch them live:

Tour Dates:

July 31 — Santa Ana, CA — La Santa — w/ MVTANT
August 1 — San Diego, CA — Casbah
August 2 — Pomona, CA — Lopez Urban Farm — w/ MVTANT
August 6 — Las Vegas, NV — Backstage — w/ MVTANT
August 7 — Phoenix, AZ — Club Contact — w/ MVTANT
August 8 — Tucson, AZ — The Rialto Theater — w/ MVTANT
August 10 — Albuquerque, NM — Longhair Records — w/ MVTANT
August 14 — San Antonio, TX — Paper Tiger — w/ Auragraph
August 15 — Denton, TX — Rubber Gloves — w/ Auragraph
August 19 — Birmingham, AL — Saturn — w/ Auragraph
August 20 — Atlanta, GA — The Drunken Unicorn — w/ Auragraph
August 21 — Knoxville, TN — Pilot Light — w/ Auragraph
August 22 — Nashville, TN — The Cobra — w/ Auragraph
August 23 — Indianapolis, IN — The 808 — w/ Auragraph
August 27 — Detroit, MI — UFO — w/ Auragraph
August 28 — Toronto, ON — BSMT 254 — w/ Belly Hatcher
August 29 — Montreal, QC — L’Escogriffe — w/ Belly Hatcher
August 30 — Syracuse, NY — The Song and Dance — w/ Nuxx
August 31 — Saratoga Springs, NY — Desperate Annie’s — w/ Nuxx
September 3 — Baltimore, MD — Metro — w/ Nuxx
September 4 — New York, NY — TV Eye — w/ Nuxx
September 5 — Philadelphia, PA — Ruba — w/ Nuxx
September 6 — Richmond, VA — Club Fallout — w/ Nuxx
September 7 — Durham, NC — The Pinhook — w/ Nuxx
September 8 — Savannah, GA — Wormhole — w/ Nuxx
September 10 — Gainesville, FL — The Atlantic — w/ Nuxx
September 11 — Orlando, FL — Iron Cow — w/ Nuxx
September 12 — Miami, FL — Las Rosas — w/ Nuxx
September 13 — Tampa, FL — New World — w/ Nuxx
September 16 — New Orleans, LA — The Crypt — w/ Nuxx
September 17 — Houston, TX — Black Magic — w/ Nuxx
September 18 — Austin, TX — Mohawk — w/ Nuxx
September 19 — Dallas, TX — Double Wide — w/ Nuxx
September 20 — Oklahoma City, OK — Resonant Head — w/ Nuxx
September 22 — Wichita, KS — Kirby’s — w/ Nuxx
September 23 — Lawrence, KS — Replay Lounge — w/ Nuxx
September 24 — Kansas City, MO — Union Library — w/ Nuxx
September 25 — St. Louis, MO — The Golden Record — w/ Nuxx
September 27 — Chicago, IL — Metro
October 2 — Salt Lake City, UT — The International — w/ Normal Bias
October 3 — Boise, ID — Realms — w/ Normal Bias
October 4 — Spokane, WA — The Chameleon — w/ Normal Bias
October 8 — Vancouver, BC — The Astoria
October 9 — Seattle, WA — Mountain Room — w/ Normal Bias
October 10 — Portland, OR — Star Theater — w/ Normal Bias
October 11 — Eugene, OR — John Henry’s — w/ Normal Bias
October 14 — Arcata, CA — Miniplex — w/ Normal Bias
October 16 — Oakland, CA — Stork Club — w/ Normal Bias
October 17 — Oxnard, CA — Mystery Shop — w/ Normal Bias
October 24 — Los Angeles, CA — TBA

Follow Spike Hellis:

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The post Los Angeles EBM Duo Spike Hellis Announce Second Album “Successor” and Tour Dates — Listen to New Single “By God” appeared first on Post-Punk.com.

Source: Post-Punk.com

I can’t bear this soul
Sorrow of its worth
I am learned in ways
Hearts can be broken

Some records arrive with clenched fists; others with open wounds. Shadowlands’ fourth album, 004, comes bearing both. The Portland, Oregon band has long worked in the fertile gloom between post-punk, darkwave, and synth-pop, but here their sound feels sharpened by absence, distance, and the ugly knowledge that history keeps circling back with blood on its shoes.

Their previous album landed just before COVID shut the world down. On the drive home from a show in Boise in early 2020, the band half-jokingly asked their bass player, who is also a scientist, whether this SARS-CoV-2 thing was anything to worry about. His answer was plain enough: “Yeah… we should be fairly worried.” A few weeks later, everything stopped.

For lead songwriter Amy Sabin, whose creative process depends on collaboration, that sudden separation from the band’s close-knit musical family felt suffocating. Shadowlands is not some loose assemblage of strangers clocking in for rehearsals; it is a deeply personal unit, with Sabin joined by longtime musical partner and bassist Jesse Elizondo, twin sister and guitarist Angie Sabin, and drummer Casey Logan, who is also her spouse. When that living circuit was broken, silence moved in.

At the same time, social unrest and the brutal exposure of racism and fascism pushed Sabin inward. A natural verbal processor, she found herself stepping back, listening, unlearning, and speaking less than she ever had before. That silence hangs over 004, eventually crystallizing in the album’s closing line: “I never could have guessed, I’d have nothing to say.”

Yet 004 is anything but empty. It is crowded with ghosts, arguments, prayers gone cold, bodies under pressure, and memories that will not behave. The band leans fully into its collaborative strength, with every member contributing key ideas. The result is an album where grief and outrage move through the music like weather through an old house, rattling the windows, stirring the dust, and leaving the rooms changed.

Burdens opens with a sparkling synth sequence, pretty at first glance but edged with unease. Then the bass begins to churn, locking into a firm groove with the drums before noir-tinted synths and mournful guitar lines move in around Sabin’s voice. Her vocals arrive wrapped in reverb, trembling with the strain of someone trying to carry what no living person can hold forever.

The lyrics search among the lost, the dead, and the half-remembered, imagining grief as a floodplain where old songs still try to raise what cannot return. Sabin sings of “burdens of saviors,” but the song is less about rescue than the failure of rescue as a fantasy. Love remains enormous, but even love has a limit when sorrow becomes an inheritance. By the end, the song arrives at its most painful wisdom: life was enough, love was enough, and sometimes the final mercy is release.

Clicks slides into view with an ’80s cinematic synth-wave sequence that carries the perfume of that shivering giallo: bright blades, strange corridors, some menace moving just out of frame. Rapid drums and a shuffling bassline kick the track forward, while the guitar underscores the vocals with a baroque chill, less decorative than accusatory.

Lyrically, the song takes aim at online performance, validation, and the flattening of identity into engagement. “Trading faces for clicks” becomes the central indictment, a neat little poison pill for the age of self-branding. Social media turns into a glut of mirrors, a place where loneliness gets medicated by noise, belief is tuned into a marketable image, and public expression grows hollow under the pressure to be seen. The song’s bitter joke is that everyone must be heard, even when the words have already wasted themselves.

Let’s Fall Apart begins with fuzzy distortion on the bass, rolling drums, and a line of guitar melancholia that feels bruised but still beautiful. Sabin’s vocal performance is somber and almost resigned, though never passive; there is a pulse of endurance inside the exhaustion, a sense that collapse can become its own strange ceremony.

The lyrics imagine people as “lost scavengers of time,” fragile bodies falling in line while tiny worlds give way around them. Faces lose their feeling, dreams become grave-bound, and everyone fakes their way forward because stopping is not an option. Yet the refrain does not treat falling apart as pure defeat. Beneath the breakage, Shadowlands keeps returning to the stubborn claim that “there’s something real left in us yet.” Collapse, here, becomes proof that something was alive enough to fracture.

Nothing Has Changed begins with a pause that feels almost architectural, a held breath before the floor gives way. Cold piano tones ring out, followed by crashing drums and a drone of guitars that pull the song toward gothic shoegaze. Isolated piano notes return like signals from a ruined chapel, while sustained guitar tones heighten the sense of dread. Sabin’s voice enters powerful but restrained, carrying a forlorn wail that seems to roll with the track like waves beating against a rocky shore.

The song is a bleak political and spiritual lament about suffering that persists beneath headlines, silence, and failed prayers. Its language gathers around lost voices, defenseless bodies, abandoned places, and the terrible weight of what has not yet arrived. “Such little hands have lost the game” lands like an image of innocence crushed beneath systems too large and too hungry to name cleanly. Prayer is rationed to the void, words fall strange, and still the refrain returns: nothing has changed. It is not resignation so much as accusation.

Wounds and Relics opens with an anxious, taut, percussive string-like sound, while a droning vocal sigh hovers in the background. A mystic, chamber-like tone sits beneath Sabin’s voice, which hits with the force of witchcraft carried on the wind. The arrangement feels ritualistic, but not comforting; this is a ceremony held in the ruins of a belief system that has learned to bless cruelty.

The song tears into righteousness, mythmaking, and violence dressed up as faith. Shadowlands takes old stories down from the altar and asks what they have actually saved, especially when fairytales harden into doctrine and doctrine becomes permission to burn. The title phrase cuts to the center of the track: wounds are worshipped, relics are polished, and the living air is forgotten. By the time Sabin turns toward the figure who never shuts up and never lets their god down, the song has become a furious portrait of sanctimony as arson.

R/AGE is a slow dirge, opening with a buzzing sigh over restrained hi-hats and soft synth pulses. The drums later begin to click like the hands of a clock, measuring out the body’s endurance one small blow at a time. A droning saxophone-like tone slips in, widening the atmosphere, while the vocals arrive late, somber and heavy, with guitars washing in the background like smoke from an unseen fire.

This is a furious reckoning with pain, survival, and the body pushed to its limits. The lyric sheet reads like speech after shock: words left behind, tongues split, drive lost, life surrounded by something unnamed. The refrain of breath becomes crucial, not as wellness platitude but as bare biological insistence. Every ache stretches “a million miles,” every inch of life catches fire, and the things once feared turn out to be smaller than what actually arrived. Rage becomes wound, engine, and evidence: if no voice is left, the body still keeps the score.

Substance opens with bubbling synths, cinematic ’80s tones, rolling drums, and guitar lines that seem to gather around the song’s ache rather than decorate it. There is a strange lift to the track, a feeling of longing stretching outward into something almost devotional.

Here, Shadowlands turns toward love, absence, devotion, and the exhaustion of desire. The lyrics count time in impossible units: a thousand hours, a thousand days, a thousand lives, all organized around the absence of another person’s sun. Love is tired, time is sacred, and the beloved becomes a source of matter, light, and almost religious necessity. When Sabin sings of crawling through lands until the last breath tears her away, the song locates romance somewhere between devotion and depletion. The title is exact: this is love as the thing that gives form to the self, and the thing whose loss turns the self into a shell.

Closing track The Worst Light arrives with an almost trip-hop feel in its synth tone and drum-pad pulse, bringing to mind the slow-motion denouement of Nine Inch Nails’ Closer. The song evokes the image of a ballerina about to collapse in despair, held upright by habit, grace, and a final thread of will. Sustained guitar wails softly, touching the doomed grandeur of The Cure’s Disintegration, while the whole piece takes on the feeling of a baroque lullaby sung at the edge of a breakdown.

The vocals quiver with real force, deeply affecting without tipping into theater. Lyrically, the song confronts grief, hunger, self-estrangement, and ecological or spiritual collapse. The speaker enters the ring to “hold a note,” only to find grief refusing to end. Wilderness builds towns; life and death wear thin; the self becomes strange to itself. There is bitter laughter at the worst possible moment, pillars of salt, a mother figure wrapped in greens and golds, and the unbearable recognition that we have never held a weight quite like this. The album closes where its pandemic-era silence began: stunned by survival, stripped of easy language, standing beneath the worst light with nothing left to say.

Across 004, Shadowlands make a record about what happens after language fails: after the prayer, after the feed, after the fight, after the funeral, after the silence. The album is filled with bodies under strain and voices trying to return from muteness, but it never mistakes bleakness for depth on its own. Instead, it finds meaning in the act of showing up together, of placing grief, rage, love, and fear into the same room and letting the band answer as one.

Listen to 004 below and order the album, out now via Seeing Red Records, here.

004 by Shadowlands

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The post “I Am Learned in Ways Hearts Can Be Broken” — Portland’s Shadowlands Return With the Grief, Rage, and Release of New Album “004” appeared first on Post-Punk.com.

Source: Post-Punk.com

-> >;Besonders reichhaltige und vielseitige Musik entzieht sich oft einer einfachen Kategorisierung. Auf ihrem sechsten Album "Acou" begeben sich MOON FAR AWAY auf eine musikalische Entdeckungsreise auf den Spuren der magischen Natur der Töne. Die Band aus der subarktischen Stadt Archangelsk im Norden Russlands erforscht den mythologischen Kreislauf des Universums, indem sie jeder Phase seiner Existenz bestimmte Klangwelten und Stile zuordnet – die von archaischer und folkloristischer bis hin zu liturgischer, klassischer und sogar experimenteller Musik reichen. MOON FAR AWAY wurden von der Erkenntnis inspiriert, dass die Welt in vielen alten Legenden sowohl mit einem Klangereignis beginnt als auch endet – von der Äußerung eines Wortes, über wahrhaftige Musik, bis hin zum Urknall der Wissenschaft. Auf "Acou", was auf Altgriechisch "höre!" bedeutet, sind das Wort (lógos) und die Musik (mousÄ�kḗ) ebenso grundlegend für die Substanz des Universums wie die klassischen Elemente Erde, Feuer, Wasser und Luft. MOON FAR AWAY werden mitunter als "das Herzstück des russischen Gothic Folk" oder "die russischen Dead Can Dance" bezeichnet – was auch für "Acou" als eine durchaus plausible Zuordnung erscheint. Ihre Musik wirkt bei einer oberflächlichen Betrachtung leicht und sogar verträumt, sie strahlt aber gleichzeitig eine Gravität, Würde und leidenschaftliche Ernsthaftigkeit aus, die diese Songs von einfachem Pop trennen – obwohl sie ebenso eingängig wie melodisch klingen. Mit "Acou" legen MOON FAR AWAY ihr bisher reichhaltigstes und komplettestes Album vor, das alte ebenso wie neue Freunde aus einem breiten Spektrum stilistischer Vorlieben ansprechen wird. Dazu zählen sicherlich Fans von DEAD CAN DANCE, ALCEST, WARDRUNA und vielen anderen – obwohl sich diese einzigartige Band aus dem Norden Russlands von den zuvor genannten eindeutig unterscheidet. Um festzustellen, ob es auch dem eigenen Geschmack entspricht, gibt es nur einen Weg: "Acou"! Höre!-> >;
-> >;
Tracklist:-> >;
01. Acou (Prelude)-> >;
02. Acou-> >;
03. Steel, Light, Love-> >;
04. Look, The Human Flocks...-> >;
05. Soulofkey-> >;
06. 17 Years-> >;
07. To Count Her Names-> >;
08. Turquoise-> >;
09. What Way Your Rose Grows?-> >;
10. How Do The Moons Walk On Grain-> >;
11. Acou (Coda)

Source: Prophecy

-> >;Mysteriöser Folk aus den Pyrenäen-> >;
-> >;
”Satyre Cornu” verzaubert mit mystischen, mal fröhlichen, mal dunklen Liedern, welche lyrisch tief in der heidnischen Tradition und Verehrung des Gottes Pan verwurzelt sind. Alte Legenden werden hier wieder lebendig und entführen uns auf eine Reise in die Zeit der Troubadoure des 12. Jahrhunderts. Durch die Verwendung der altfranzösischen Sprache erschaffen STILLE VOLK eine authentische Atmosphäre, welche in dieser Form einzigartig ist. -> >;
-> >;
Titelliste:-> >;
1 Le Satyre Cornu-> >;
2 Rassa Tan Creis-> >;
3 Pan Domna Poc-> >;
4 Le Crapauds-> >;
5 Le Reveil De Pan-> >;
6 Marche Nocturne-> >;
7 La Vengeance De Pan-> >;
8 Quan L?Herba Fresca-> >;
9 Invocation A Pan-> >;
10 Adoumestica Una Terro-> >;
11 Le Satyre Cornu 2-> >;
-> >;
LP (smaragdgrünes marmoriertes Vinyl) inkl. Einleger und Schutzhülle (lim. 66)

Source: Prophecy

-> >;Mysteriöser Folk aus den Pyrenäen-> >;
-> >;
”Satyre Cornu” verzaubert mit mystischen, mal fröhlichen, mal dunklen Liedern, welche lyrisch tief in der heidnischen Tradition und Verehrung des Gottes Pan verwurzelt sind. Alte Legenden werden hier wieder lebendig und entführen uns auf eine Reise in die Zeit der Troubadoure des 12. Jahrhunderts. Durch die Verwendung der altfranzösischen Sprache erschaffen STILLE VOLK eine authentische Atmosphäre, welche in dieser Form einzigartig ist. -> >;
-> >;
Titelliste:-> >;
1 Le Satyre Cornu-> >;
2 Rassa Tan Creis-> >;
3 Pan Domna Poc-> >;
4 Le Crapauds-> >;
5 Le Reveil De Pan-> >;
6 Marche Nocturne-> >;
7 La Vengeance De Pan-> >;
8 Quan L?Herba Fresca-> >;
9 Invocation A Pan-> >;
10 Adoumestica Una Terro-> >;
11 Le Satyre Cornu 2-> >;
-> >;
LP (schwarzes Vinyl) inkl. Einleger und Schutzhülle (lim. 70)

Source: Prophecy