Mit "We Are Black Again" gibt es eine brandneue Faderhead-Single auf die Ohren. Mehr Infos und das Musikvideo hier bei uns!

Source: Sonic Seducer

Source: DunkelWelle

Diese Veröffentlichung ist es absolut wert vorgestellt zu werden. Das mittlerweile zehnte Studioalbum der kanadischen Modern Goth Rocker THE BIRTHDAY MASSACRE erschien zudem kurz nach ihrem 25 jährigen Bandjubiläum, was erstmal für die Beständigkeit der Gruppe spricht. Und die 8 Tracks, die von Sängerin CHIBI, wie auf all ihren Platten bisher, sehr emotional und gefühlvoll, aber auch voller Dynamik vorgetragen werden, werden die Fans sowieso wieder total mitnehmen. Thematisch bewegt sich „Pathways“ kollektiv für all die Wege und Abzweigungen, die das Leben so mit sich bringen kann, der Albumtitel verrät es ja auch schon, das es sich hier um einen physischen oder metaphorischen Pfad/Weg handelt. Die Band aus Toronto hat auch wieder ein künstlerisch wertvolles Cover produzieren lassen und zwar vom Österreicher STEFAN KOIDL. Das Ganze wirkt sehr düster, gruselig, ominös und hat einen genialen künstlerischen Anspruch und ist wie immer mit schwarz violetten Tönen unterlegt. Es könnte auch ein Cover von STEPHEN KING Filmen sein und hat auch was vom typischen TIM BURTON Style. Musikalisch  bewegen sich die Klanglandschaften im Synth-lastigen 80er/90er Jahre Pop/Wave, aber auch vor allem im „catchy“ und knackigen Gothic Rock (Metal) Bereich. Die exzellent produzierten Songs wie die Vorab-Single „Sleep Tonight“ oder auch „All Of You“, die in bester Metal Hardrock-Manier „a la volles Brett“ daher kommen, knallen so richtig „rein und klingen etwas nach NIGHTWISH oder WITHIN TEMPTATION. Aber auch die schillernd-poppigen Dark Wave Tracks wie „The Vanishing Game“ oder „Whisper“ können wahrlich begeistern. Die sehr melodischen Arrangements mit teils schneidenden Gitarren und der vertraut, emotionalen, ab und zu aber auch je nach Song fiesen-verfremdeten Stimme von Sängerin CHIBI wie im atmosphärischen „Wish“ und bei „Faces“ gehen hier schon fast in Richtung der poppigen CHVRCHES oder gar LADYTRON ! Der Rausschmeißer „Cruel Love“ kommt dann wiederum mit absoluten Gänsehaut-Gefühl daher, den hier präsentiert uns die Gruppe eine schicke gefühlvolle Up Tempo Ballade de Luxe. Es ist also wieder ein bunter Mix an großartigen, ausgereiften und tanzbaren Synth-Rock mit Ohrwurm-Charakter geworden. Lasst Euch auch die Liveshows nicht entgehen.

(S.Erichsen)

Source: BLACK Onlinemagazin

Jetzt Sonic Seducer abonnieren und eine von vielen teils limitierten und signierten CD-Prämien sichern! Aktuell im Angebot: Lord Of The Lost, Unheilig, Stahlmann, Mesh, Hell Boulevard, Schattenmann, Versengold, The Damned, Depeche Mode, White Lies, Saltatio Mortis und viele weitere! Wer ein 2-Jahres-Abo abschließt, kann sich außerdem ZUSÄTZLICH ein Gratisticket für das M'era Luna 2026 sichern!

Source: Sonic Seducer

Mit "Artificial Innocence" gibt es eine brandneue Single von IAMX zu hören - mehr Infos und den Videoclip hier bei uns!

Source: Sonic Seducer

Die Thrash Metal-Band MESSTICATOR veröffentlicht am 13. März 2026 ihr zweites Album, „Total Mastery“ erscheint via Testimony Records.

Jetzt hat die Band die dritte Single vorgestellt:

Nach einem Video zu „The Tyrant’s Scepter“ teilte die Hamburger im Januar mit „Bloodsport“ die zweite Single:

Timo Höcke hat das Album im Die Wellenschmiede Studio gemischt und gemastert, das Coverartwork ist von Andreas Christanetoff (Armaada Art).

MESSTICATOR „Total Mastery“ Tracklist & Cover
1. The Pit Awaits…
2. …The Pitslayer
3. High Ground
4. One-Shot-Kill
5. Ruins of Reason
6. Bloodsport (Video bei YouTube)
7. Mass Human Extinction
8. Skeletal Thorns
9. Deathtouch
10. The Tyrant’s Scepter (Video bei YouTube)
11. Cougar Claws (Return of the Leathermilf)

NHUAIGD7C5K5YNZHJSTAOOLUUE.0.1-6
MESSICATOR Line-up:
Thomas Thede – Vocals
Marvin Brühl – Guitar
Maik Weinhardt – Drums
Thorben „Tobbo“ Lohmann – Bass

Source: Vampster

Am 10. April 2026 beenden die TRUCKFIGHTERS eine lange Pause und veröffentlichen mit  „Masterflow“ zehn Jahren nach „V“ wieder ein Album, die Platte erscheint über das bandeigene Label Fuzzorama Records. Die ausgedehnte Europa-Tournee beginnt einen Tag später in Köln.

Nun hat die Band einen weiteren Song  geteilt:

Zur Einstimmung haben TRUCKFIGHTERS Anfang Februar die erste Single „The Bliss“ geteilt:

TRUCKFIGHTERS „Masterflow“ Cover & Tracklist

Old Big Eye
The Bliss (Video bei YouTube)
Carver
Truce (Audio bei YouTube)
Masterflow
The Gorgon
Gath
Bad Horse
Goin‘ Home 

TRUCKFIGHTERS MASTERFLOW TOUR 2026
11.04.2026 COLOGNE – Sol Sonic Ride – DE
15.04.2026 OSLO – Parkteatret – NO
16.04.2026 BERGEN – Hulen – NO
17.04.2026 STAVANGER – Folken – NO
18.04.2026 PORSGRUNN – R.I.P. – NO
28.04.2026 HAMBURG – Grünspan – DE
29.04.2026 GRONINGEN – Vera – NL
30.04.2026 AMSTERDAM – Melkweg – NL
01.05.2026 DORDRECHT – Bibelot – NL
02.05.2026 IZEGEM – Headbanger’s ball fest – BE
08.05.2026 COPENHAGEN – A Colossal Weekend – DK
11.05.2026 VIENNA – Arena – AT
14.05.2026 BERLIN – Desertfest – DE
17.05.2026 LONDON – Desertfest – UK
25.05.2026 NEUNKIRCHEN – Stummsche Reithalle – DE
26.05.2026 STUTTGART – Im Wizesmann – DE
27.05.2026 WINTERTHUR – Gaswerk – CH
28.05.2026 LUZERN – Sedel – CH
29.05.2026 MÜNCHEN – Backstage (Halle) – DE
30.05.2026 DRESDEN – Beatpol – DE
04.06.2026 GDANSK – Mystic Festival PO
18.06.2026 CLISSON – Hellfest – FR
27.06.2026 WIESBADEN – Sonic ride IV – DE
26.07.2026 MILAN – Magnolia Stone fest – IT
14.08.2026 TAARSTEDT – Angeliter Open air – DE

 

Source: Vampster

Am 5. und 6. Juni 2026 geht das BAVARIAN BATTLE OPEN AIR in seine dreizehnte Runde. Stattfinden wird das Event wie gehabt in Kirchdorf bei Haag in Oberbayern.

Nun ist das Billing komplett, in diesem Jahr spielen folgende Bands:

HARAKIRI FOR THE SKY
1914
TSJUDER
THE VISION BLEAK
GROZA
HERETOIR
CRYPTA
DÖDSRIT
SLAUGHTERDAY
ANTIPEEWEE
INANIS
WARFIELD
ABYSS
ASCENDANCY
RAYGUN REBELS

 

Tickets gibt es im Vorverkauf für 90,-€ über die offizielle Festival-Homepage.

Source: Vampster

Das PARTY.SAN OPEN AIR 2026 findet vom 6. bis 8. August statt, auf dem Flugplatz Obermehler-Schlotheim statt. Nun steht das komplette Billing, neu hinzugekommen sind diese Bands:

MOONSPELL, ALCEST, MARDUK, IOTUNN, SCHIRENC PLAYS PUNGENT STENCH, PANZERFAUST, GUT, NAIL BY NAIL, CELESTE, DEATH WORSHIP, FOR VICTORY – BOLT THROWER Tribute Band, GOREFUNEST – GOREFEST Tribute

Im Januar wurde das Booking um diese Bands erweitert:

SADISTIC INTENT, DARK FUNERAL, SVENTEVITH, DEVOURMENT, SACRED REICH, WOLVES IN THE THRONE ROOM, MISERY INDEX, ASAGRAUM, GROZA, INTERNAL BLEEDING, BEGGING FOR INCEST, 200 STAB WOUNDS, MORBUS DEI, BLOODY VENGEANCE, MESSTICATOR, EVOKEN, LUCIFERS CHILD, TODOMAL und IMPURITY. 

Außerdem spielen: TESTAMENT, JUNGLE ROT, SUNKEN,  AMORPHIS, HYPOCRISY, FIRESPAWN, DESASTER, MURDER SQUAD, DECEASED, WOLFBRIGADE, IN THE WOODS… HEXVESSEL, FLESHCRAWL, SEAR BLISS, WORMED, WHITE WARD, ENDONOMOS, TEMPLE OF DREAD, TULUS, SARCATOR, GUTTURAL SLUG, DESASTER, SORCERER, BAXAXAXA, GATES OF ISHTAR, MAMMOTH GRINDER, CRAWL, A CANOROUS QUINTET und RATS OF GOMORRAH

Kartenvorverkauf PARTY.SAN OPEN AIR 2026
Das 3-Tages-Ticket gibt’s auf http://www.cudgel.de, es kostet es rund 180 Euro.

Source: Vampster

The complete line-up for this year’s Bodyfest in Stockholm has been released. Spark!, Haujobb, The Brides of the Black Room, Promenade Cinema, Aktion : Fiasko and Oldschool Union will perform at Kollektivet Livet on October 10. This marks the first live appearance by the old/new Spark! with original vocalist Stefan Brorsson. You can buy your […]

Source: Release Music Magazine

Universum25 haben einen Live-Clip zu "Zu deiner eigenen Sicherheit" vom neuen Album "Die Maschinen wollen leben" veröffentlicht. Mehr Infos und das Video hier bei uns!

Source: Sonic Seducer

The Los Angeles-based dark electronic and industrial pop artist Miss Trezz today releases her seven-track...

Source: Side Line

Out this Friday, February 27, 2026, is the new album by the Finish industrial rock...

Source: Side Line

SΛRIN is one of Emad Dabiri’s musical projects. You might also know this Berlin-based artist...

Source: Side Line

The Ft. Lauderdale-based dark synthpop artist Miss FD just released the “Moments of Love” video,...

Source: Side Line

The German cult post-punk/darkwave band Days of Sorrow have just self-released their new studio album...

Source: Side Line

Am 13. März 2026 veröffentlichen MONSTROSITY nach sieben Jahren ein neues Album: „Screams from Beneath the Surface“ erscheint via Metal Blade Records. Reinhören kann man nun auch in die zweite Single „The Atrophied“:

Mit einem Video zu „The Colossal Rage“ stellte die Death Metal Band Anfang Februar den ersten Track des kommenden Albums vor.

Zur aktuellen Besetzung von MONSTROSITY gehören Drummer und Bandgründer Lee Harrison, Gitarrist Matt Barnes (seit 2020 dabei), Bassist Mark Van Erp (MONSTROSITY-Member von 1900 bis 1995, seit 2022 wieder dabei) und Sänger Ed Webb (ex-MASSACRE, seit 2021 dabei).

Die Drum- und Bassaufnahmen sowie der Mix sind aus dem Audiohammer Studio, Produzent war Jason Suecof.  Gesangs- und Gitarrenaufnahmen und das Mastering entstanden im Morrisound Studio mit Jim Morris. Das Cover-Artwork ist von Timbul Cahyono.

MONSTROSITY sind ab April auf Europa-Tour
Kurz nach der Veröffentlichung von „Screams Beneath The Surface“ kommen MONSTROSITY nach Europa und gehen knapp vier Wochen auf Tour, mit dabei sind BIO CANCER, REJECT THE SICKNESS und DEADWOOD. In Deutschland gibt es Konzerte in Jena und in Essen.

Screams Across Europe Tour 2026: MONSTROSITY, BIO CANCER, REJECT THE SICKNESS und DEADWOOD
April 18, 2026 SWITZERLAND Luzern – Metalstorm Festival
April 19, 2026 AUSTRIA Salzburg – Rockhouse
April 21, 2026 CROATIA Zagreb – Vintage Industrial Bar
April 22, 2026 ITALY Bologna – Alchemica Music Club
April 23, 2026 SWITZERLAND Geneva – L’Usine
April 25, 2026 FRANCE Saint Omer – Brutal Swamp
April 28, 2026 BELGIUM Kotrijk – DVG
April 29, 2026 HOLLAND Tilburg – Hall of Fame
April 30, 2026 HOLLAND Amersfoort – Fluor
May 01, 2026 GERMANY Essen – Turock
May 02, 2026 GERMANY Jena – F Haus
May 03, 2026 POLAND Swidnica – Bolko
May 05, 2026 POLAND Krakow – Zaścianek
May 06, 2026 POLAND Bielsko Biala – Rude Boy
May 07, 2026 SLOVAKIA Bratislava – Pink Whale
May 08, 2026 CZECH REPUBLIC Jablunkov – Rock Cafe
May 09, 2026 SLOVAKIA Kosice – Collosseum
May 10, 2026 POLAND Lublin – Fabryka Kultury Zgrzyt

 

MONSTROSITY „Screams From Beneath The Surface“ Tracklist & Cover
1. Banished To The Skies
2. The Colossal Rage (Video bei YouTube)
3. The Atrophied (Audio bei YouTube)
4. Spiral
5. Fortunes Engraved In Blood
6. Vapors
7. The Thorns
8. Blood Works
9. The Dark Aura
10. Veil Of Disillusion

MONSTROSITY Line-up:
Ed Webb – vocals
Matt Barnes – guitars
Mark Van Erp – bass
Lee Harrison – drums

Source: Vampster

Sie ist wieder zu hören, draußen, abseits des Lärms der Menschen. In den letzten Wochen wurden sie lauter, es schwillt langsam an. Die Vögel kehren zurück, werden wieder aktiver. Amseln, Zaunkönige und Rotkehlchen nehmen ihre Revierkämpfe wieder auf, und auch die Stare kehren bereits zurück. Und doch ist es zwischendurch kalt und unwirtlich da draußen. Da fragt man sich: Überleben die das überhaupt? Aber natürlich, sie sind an diesen Jahresrhythmus seit Jahrtausenden angepasst – ganz im Gegenteil zu den haarlosen Kaltnasenprimaten in ihren Häusern. Unter die frühen Sänger des Jahres mischt sich von FÅGELLE eine sehr ungewöhnliche Stimme. „Bränn min jord“, das dritte Album der schwedischen Solokünstlerin Klara Andersson ist dabei wie ein seltsames Tier, das sich in den Wäldern versteckt und mit auf die verschiedensten Arten sehnsüchtig ruft.

Dabei ist „Bränn min jord“ schwer zu greifen, obwohl es eigentlich gar nicht so schwierig zu kategorisieren ist. Als würde BJÖRK die SIGUR RÓS von „Kveikur“ fronten und in einen elektronischen Nordic Folk-Pop-Kontext packen, klingt FÅGELLE schon seit ihren beiden ersten Alben. So konsequent war Andersson allerdings bisher noch nie. Das Betörende und das Verstörende gehen teils nahtlos ineinander über. Pop trifft auf Noise, Folk trifft auf Elektronisches, bis hin zu Elementen, nah am Industrial. Und entgegen dem, was man hier erwarten könnte, ist FÅGELLE meilenweit von den seltsameren Auswüchsen des Neofolk entfernt. Tatsächlich passt das Album sehr gut in diese Jahreszeit, wenn sich die Natur noch nicht entscheiden kann, ob es noch Winter oder bereits Frühling ist, in die Wochen zwischen ersten wärmeren Brisen und kalten Blizzards.

FÅGELLEs nordischer Sound lebt von Gegensätzen, dennoch ist „Bränn min jord“ ein durch und durch organisches Album.
So muss man sich „Bränn min jord“ langsam annähern, um es Schritt für Schritt lieben zu lernen. Der Titel heißt „Verbrenne meine Erde“ – um Platz zu machen für Neues. FÅGELLE traut sich eine Menge in diesen 35 Minuten, aber es ist nicht zu viel, sofern man komplexem Pop gegenüber aufgeschlossen ist. Wenn man eine Ader für skandinavische Musik hat, spürt man schnell eine Verbindung zu dieser Musik, selbst wenn die Ratio diese nach dem ersten Hören noch nicht vollständig begreifen mag. Da ist es eine kluge Entscheidung FÅGELLEs, dass mit „Riv Mig“ das Album mit leisen Klavierklängen und sich steigerndem, leidenschaftlichen Gesang beginnt, mitreißend und catchy. Danach macht es Klara Andersson ihrem Publikum nicht mehr oft so leicht. Die weiteren Stücke sind häufig fragmentiert, oder als wären sie aus Fragmenten zusammengebaut.

Das mag etwas abschreckend klingen, aber FÅGELLE ist mittlerweile als Songwriterin so gewieft, dass sie selbst wilde Gegensätze unbeeindruckt nebeneinander stehen lässt, ohne dass es zerfahren klingt. Der Urschrei, der „Innan malen hittat in“ einleitet, mündet in einem von hypnotischen Drums angetriebenen, düsteren Stück mit brodelnder Atmosphäre, das etwas sehr unterschwellig Beunruhigendes mit sich bringt und an WOVENHAND denken lässt. Den größten Raum zur Entfaltung nimmt sich FÅGELLE allerdings in den ruhigen Momenten. „Alla mina namn“ startet leise und zart mit einem sanften Beat, zerfasert in der Mitte und stellt in einem instrumentalen Finale beherztes Drumming und flirrende Synthesizer zärtlich gegenüber. Dass „Bränn min jord“ in den verletzlichen Momenten besonders gut ist, zeigen auch tröstliche Stücke wie „Det blev våra liv“ und „Det djur som är du“, in denen sich Melancholie und Kraft gegenseitig bedingen und keinen Gegensatz darstellen. Die Steigerungen und Wendungen, die komplexen Arrangements und Klara Anderssons variable wie leidenschaftliche Stimme erzeugen Songs, die erarbeitet werden wollen, die Hörenden aber sanft umgarnen.

„Bränn min jord“ fasziniert sofort und will dann erarbeitet werden: FÅGELLEs drittes Album balanciert auf der Schwelle zwischen betörend und verstörend.
Es gibt nur schwer einen Ausweg aus diesem Irrgarten, hat man sich erstmal darin verlaufen. Hinter jede Ecke lauern Wunder, wuchern die seltsamsten Gewächse, singen die betörendsten Vögel. Bei FÅGELLE liegen Epos und Kargheit dicht nebeneinander, der feierliche Titelsong, in dem sich viel Anspannung entlädt, steht neben dem trocken und beinah grungig rockenden „Satans jävla fan“. Das Outro „Avslutning“ ist ein feierlich-tragisches Trompetenstück und wird im Laufe seiner zwei Minuten von Drones und Distortion überlagert – und wieder wirkt es nicht gegensätzlich, sondern erweitert das Feld. Dennoch: Melancholie kann FÅGELLE unvergleichlich gut, die Momente, in denen ihre Musik heavier wird, kann hier nicht mithalten. Außerdem ist „Brann min jord“ ein Verwirrspiel: mit vier kurzen Interludes verstört das Album hier und da, dann täuscht es wieder etwas vor, das in der Folge doch anders kommt.

Das Artwork könnte hier nicht stimmiger sein. Der Rabenmensch als Reiter einer Katze, das ist ein mythisches Bild für Transformation, Kreativität, Klugheit. Die Musikerin aus Hallands Iän ist ein musikalischer Trickster, nicht um des Verwirrens willen, sondern um bewusst mit Erwartungen zu brechen, Ungewohntes zu versuchen und das Feld der Hörenden zu erweitern. Und um auf verbrannter Erde Neues entstehen zu lassen. „Bränn min jord“ ist in allen Belangen konsequent: in seiner Schönheit wie in seiner Schroffheit. FÅGELLE ist wie ihre Schwester im Geiste ZOLA JESUS eine mutige Künstlerin, die chimärengleiche, schwer zu kategorisierende und originelle Musik schreibt und performt, die Freunde von elektronisch angehauchtem Nordic Folk und Avant Pop süchtig werden lässt. „Brann min jord“ ist ein faszinierendes, selten schönes Album, magisch wie die Schwelle zum Frühjahr, wenn man Flora und Fauna endlich wieder neu entdecken darf.

Wertung: 11 von 13 Frühjahrszüge

VÖ: 27. Februar 2026

Spielzeit: 35:38

Line-Up:
Klara Andersson – Vocals, Electronics, Synthesizers, Guitar, Bass, Choir, Piano, Field recordings

Sessionmusiker*innen:
Liam Amner – Drums and percussion
Lars Bylund – Vocals and scream („Alla mina namn“, „Sång till ventilation“, „Skogsskrik 1“
John Borglund – EPA driver („Det blev våra liv“)
Petter Eriksson – Bass, Guitar
Stefan Isebring – Hurdy-gurdy („Innan malen hittat in“)
Erik Natanael Gustafsson – Brass and Woodwind orchestration
Samuel Reitmaier aka DAYDREAMER – Remix („Det blev våra liv“)
Nathalie Ruiz – Movement and Body percussion („Innan malen hittat in“, „Bränn min jord“)
Jimi Vall Peterson – Body percussion („Det blev våra liv“)
Amanda Zoric Wikholm – Voice („Stigen“)
Våxtorp-Båstad blåsarensemble – Wind orchestra („Riv mig“, „Det djur som är du“)
Sennan Brass – Brass orchestra (Hymne 414 „Led milda ljus“ auf „Avslutning“)

Label: Eigenproduktion

FÅGELLE „Brann Minn Jord“ Tracklist
1. Riv mig (Demolish Me)
2. Skogsskrik 1 (Forest Scream 1)
3. Innan malen hittat in (Before the Moths Get in)
4. Lars tröstesång (Lars’ Song of Solace)
5. Stigen (The Path)
6. Alla mina namn (All My Names)
7. Det blev våra liv (That Became Our Lives)
8. Raset (The Collapse)
9. Bränn min jord (Burn My Soil)
10. Satans jävla fan (Satan’s damned fools)
11. Sång till ventilation (Song to Ventilation)
12. Det djur som är du (The Animal That Is You)
13. Avslutning (Finale)

Mehr im Netz:
https://fagelle.com/
https://fagelle.bandcamp.com
https://www.instagram.com/fagelle/
https://www.facebook.com/fagelle

Source: Vampster

(Un)connectedLOST REALITY’“Static Age” Single (own production) Another gem joins the rich LostReality sound universe. “Static Age” is a grandiose delight and is dedicated to the paradox of a world that is more connected, yet more isolated than ever, with complexity: the tension between identity, technology and humanity is skillfully arranged to create pure listening pleasure […]

Source: Orkus

With their new album “MUSICK”, which will be released on May 1, 2026, Laibach are taking a rather unusual musical path. As always, the themes beat with the pulse of the times: the present is distorted by the new realities of garish AI imitations, with which the Slovenian artist collective playfully criticizes society. And what […]

Source: Orkus

On February 26, 1996 Nick Cave & PJ Harvey released the single “Henry Lee”. Did you already know these 9 facts? ★ “Henry Lee” is a variation of the song “Young Hunting”, a traditional Scottish folk song whose origins go back to the 18th century. ★ The song is the second single from the album […]

Source: Orkus

In our winter issue, we had already started talking to Sagenbringer about their new album “Zwischen den Welten”. Now that the album has been released, we take a closer look at the songs in the March/April issue: about Optimus Prime, fire, ice and freak shows. Sagenbringer – Tourdates:March 06, 2026 DE-Cologne – Helios3707. March 2026 […]

Source: Orkus

Depeche Mode were in a phase of upheaval in the mid-eighties. The lightness of the earlier years had disappeared; in its place came darkness, tension and a new seriousness. In our March/April issue, we look back 40 years to “Black Celebration”. The album was released on March 17, 1986 and was to open a transitional […]

Source: Orkus

Die Atmospheric Death Metal-Band REEKING AURA hat mit „On The Promise Of The Moon“ ein neues Album angekündigt. Es ist nach „Blood and Bonemeal“ (2022) das zweite Album der US-Amerikaner rund um Sänger Will Smith (BUCKSHOT FACELIFT, AFTERBIRTH).

„On The Promise Of The Moon“ wurde von Dan Swanö (BLOODBATH, EDGE OF SANITY) gemixt und gemastert, während das Cover-Artwork aus der Feder von Ion Carchelan stammt. Release-Termin ist der 17. April 2026 via Profound Lore Records. Vorab gibt es den Song „What Only Worms Witness“ zu hören.

„Textlich ist „What Only Worms Witness“ eine kontrastreiche Darstellung sowohl der Hässlichkeit des physischen Todes als auch des melancholischen Optimismus eines bleibenden Vermächtnisses. Wie viele Songs auf dem Album reflektiert es über Groll, das Vergehen der Zeit und die Ehrung der Verstorbenen“, sagt Sänger Will Smith.

REEKING AURA Line-Up:
Terrell Grannum – Guitars
Rick Habeeb – Guitars
Will Smith – Vocals
Hudson Barth – Drums
TJ Coon – Bass

REEKING AURA „On The Promise Of The Moon“ Tracklist
1. Concrete Basin Bath
2. A Forlorn And Frozen Vapor
3. Gorged Beyond Grudges
4. Manure Like Magma
5. Lunar Rumination
6. What Only Worms Witness (Visualizer bei YouTube)
7. The Cathedral’s Calculation
8. Sifting for Fungal Inheritance (A Mildewy, Acrid Mulch)
9. On The Promise Of The Moon

Source: Vampster

Die Black Metal-Band CALVANA hat nach „Death of Pan“ mit dem Lyric-Video zu „Summer Storm“ eine zweite Single ihres kommenden Albums „Sub Janus“ veröffentlicht. Es ist nach „IɅ“ (2020) und „III┼“ (2022) das dritte Album der Italiener und wird am 20. März 2026 via Adirondack Black Mass erscheinen.

CALVANA „Sub Janus“ Tracklist
1. Twilight Song
2. My Prayer to Diana
3. Summer Storm (Lyric-Video bei YouTube)
4. Fear Makes You Tame
5. Death of Pan (Audio bei Bandcamp)
6. Meine Süße Sternenkriegerin
7. Carnivore
8. Sorry
9. Sub Janus

Source: Vampster

Mit „Midnight Sun“ wird am 27. März 2026 via Electric Desert Records das neue Album der Desert / Stoner Rock-Band THE CROOKED SKULLS erscheinen. Es ist das erste Album der US-Amerikaner aus New Jersey und wurde von John Naclerio im Nada Recording Studio produziert. Vorab gibt es den Track „Iron Smile“ – mit Bob Balch als Gast – zu hören.

CROOKED SKULLS Line-Up:
Pete Koretzky – guitar and vocals
Chuck Snyder – drums
Dave Van Auken – bass and vocals

CROOKED SKULLS „Midnight Sun“ Tracklist
01 Midnight Sun
02 Bury It
03 Skull Bong
04 Ashes I See
05 Let Me Out
06 Broken
07 Slow Steal
08 Iron Smile (feat Bob Balch) (Audio bei Bandcamp)
09 Judgment Day

Source: Vampster

Die Post-Metal / Hardcore-Band HARMS hat einen Labeldeal bei Time To Kill Records unterschrieben. Im Zuge dessen werden die Finnen ihr neues Album „Rebirth of the Cold“ veröffentlichen. Es ist nach „A Lifetime Spent on Dying“ (2021) das zweite Album der 2017 gegründeten Band, die dazwischen mit „Rupture“ (2024) auch eine EP veröffentlicht hat.

Bezüglich Lyrics setzt das Album die Auseinandersetzung mit Sinnlosigkeit, Leere und Verfall fort, gefärbt von Reflexionen über Zeit, Raum und Sterblichkeit: eine Meditation über Trauer, befreit von Trost und Illusionen, auf der Suche nach dem, was bleibt, wenn nichts mehr Bedeutung hat. Release-Termin ist der 8. Mai 2026. Mit „True Night Falls“ gibt es nun die erste Vorab-Single.

„“True Night Falls“ ist eine Darstellung der Leere, die man in den dunkelsten Momenten finden kann. Erdrückende Parts vermischen sich mit eindringlichen Melodien und erzeugen ein packendes Gefühl unerbittlicher Einsamkeit. Der Song fängt das Gewicht des Gefangenseins im eigenen Kopf ein, wenn Erschöpfung und Verzweiflung jeden Gedanken schwer und sinnlos erscheinen lassen. Er bewegt sich durch eine dunkle, endlose Nacht, in der nichts Orientierung oder Trost bietet, und am Ende fühlt sich ein Teil von einem selbst für immer verloren“, sagt die Band.

HARMS Line-Up:
Juho Haikonen – Bass
Jussi Loiri – Guitar, synth
Viljami Rings – Drums
Visa Tuovinen – Guitar, vocals
Jussi Tyrisevä – Vocals

HARMS „Rebirth of the Cold“ Tracklist
01. Endlessness
02. Serpentine calling
03. True night falls (Video bei YouTube)
04. Flowerless grave
05. A lifetime spent on dying
06. Rupture
07. Essence of sorrow
08. Apollonia
09. Cold aeon of time
10. Reprise

Source: Vampster

Die italienische Fuzz Rock-Band ANIMAUX FORMIDABLES hat mit „I Am a Cat and I Love My Dog“ eine neue Single veröffentlicht. Hinter dem täuschend einfachen Titel verberge sich eine Metapher über Einsamkeit – nicht als Abwesenheit, sondern als Notwendigkeit. Der Song feiere die Zeit, die man alleine verbringt, als einen wichtigen und regenerativen Raum und widersetzt sich dem ständigen Druck, immer aktiv, produktiv oder sozial präsent sein zu müssen.

ANIMAUX FORMIDABLES Line-Up:
Vocals & guitar: Mr Formidable
Percussion & synth: Mrs Formidable

ANIMAUX FORMIDABLES „I Am a Cat and I Love My Dog“ (Video bei YouTube)

Source: Vampster

Die Black Metal-Band VIA DOLORIS hat einen Labeldeal bei Season of Mist unterschrieben. Im Zuge dessen wird das Solo-Projekt von Gildas le Pape sein neues Album sein neues Album „Guerre et Paix“ veröffentlichen. Als Session-Drummer stand dem Musiker Frost (SATYRICON, 1349) zur Verfügung.

Mit „Un Franc Soleil“ gibt es nun die zweite Vorab-Single. Der französisch verfasste Text vermittele gleichermaßen Verletzlichkeit und Entschlossenheit und stelle Gelassenheit nicht als Gewissheit dar, sondern als etwas, das man nur annähernd erreichen kann. Innerhalb der Gesamtarchitektur vom Album fungiere der Titel als Schwelle: eine kontemplative Pause, bevor das Album zu dichterem und konfliktreicherem Terrain zurückkehrt.

„Guerre et Paix“ wurde von Nicolai Codling und Gildas le Pape gemixt und von Magnus Gulbrandsen gemastert. Release-Termin ist der 20. März 2026. Vorab gibt es zu „For The Glory“ auch einen Video-Clip.

„“For The Glory“ spiegelt den inneren Kampf wider, der „Guerre et Paix“ prägt: eine Konfrontation mit Leiden, die keine klare Lösung bietet. Die Harmonie bleibt bewusst ungelöst, was darauf hindeutet, dass Sinn nicht im Triumph liegt, sondern im Akt des Aushaltens selbst“, sagt Gildas le Pape.

VIA DOLORIS „Guerre et Paix“ Tracklist
1. Communion (06:29)
2. Un Franc Soleil (06:58) (Audio bei YouTube)
3. Omniprésents (07:26)
4. For The Glory (07:38) (Video bei YouTube)
5. Ultime Tourment (10:12)
6. Visdommens Vei I (07:11)
7. Visdommens Vei II (02:05)

Source: Vampster

Die Black Metal-Band AERDRYK hat mit „Onzuiver“ ein neues Album angekündigt. Es ist nach „Met de drietand op mijn huid“ (2022) das zweite Album des belgisch-flämischen Solo-Projekts von Francois „C.V.B.“ Breulet (CULT OF ERINYES, ERBEET AZHAK, WOLVENNEST). Release-Termin ist der 21. März 2026 via Amor Fati Productions. Vorab gibt es den Track „Een Bestaan van Lijden“ zu hören.

AERDRYK „Onzuiver“ Tracklist
1. Modder en Bloed
2. Een Wereld om te Bederven
3. De Laatste wens
4. Onzuiver
5. Liever Levend Verbranden
6. Een Bestaan van Lijden (Audio bei YouTube)
7. Kruispunt
8. In het Graf en Diep

Source: Vampster

Die Melodic Death / Groove Metal-Band DEEP 6 hat mit „Lights Off“ einen Video-Clip ihrer neuen EP „2022“ veröffentlicht. Mit der Scheibe feiern die US-Amerikaner aus Houston ihr Comeback, nachdem die Band Anfang der 2000er-Jahre bereits ein Album und zwei EPs veröffentlicht hatten.

DEEP 6 Line-Up:
Krystal – lead vocals & guitar
Tyler – guitar
Riley – bass & backing vocals
Matt – drums

DEEP 6 „2022“ Tracklist
01 – Lights Off (Video bei YouTube)
02 – Reflections

Source: Vampster

inside outside i don’t know
feel the snowfall
on my soul
cold prince king is me

FerrariLover has spent the past year rebuilding everything, from a studio to a sense of self. After a 2023 hiatus, Ferrari Kilian Wyland devoted themselves to expanding their workspace and reassessing their direction. They returned with three singles: Dreamstate, Ice Eyesss, and Cold Prince King, which feel deliberate, focused, and newly assured. The voice at the center of these tracks sounds settled into itself. There’s clarity and ownership there.

Going forward under the name Ferrari Kilian – Ferrari their legal middle name, Kilian a nod to French heritage and a lifelong admiration for French art and perfumery,  marks more than a cosmetic change. Raised speaking French, immersed in New Wave cinema and postmodern philosophy, FerrariLover draws from a distinctly European reverence for the arts. That sensibility threads through the music: austere, romantic, attentive to detail.

Culturally, there’s a throughline that connects Southern California upheaval, childhood memories of a lumberman father, studies in Italy, and an enduring attachment to European artistic traditions. FerrariLover references the Kurt Cobain documentary About a Son as a touchstone, as recognition of the solitary dedication required to build a body of work from modest means.

The new material emerged during a period of displacement. Living in Malibu during the fire, FerrariLover left before total devastation, much of their studio packed away. Working with limited gear and new synth plugins, they refined their production approach, leaning into precision. The result is leaner, more controlled. Elements of grunge abrasion, synthwave gloss, and coldwave restraint coexist without crowding one another. There’s a fluidity to the perspective that runs through the work; a resistance to rigid frames, an ease with occupying space between poles. The vocals carry a poised duality:  strength and vulnerability held in tension, bringing to mind Alien Sex Fiend, Virgin Prunes, Corpus Delicti, and Skinny Puppy.

Dreamstate moves with a measured coolness, its textures tightly controlled yet deliberately muffled, as if heard through smoked glass. A plodding pulse carries it forward, slightly creepy, deliberate in its pace. FerrariLover inhabits a self-fashioned throne in the sky, broadcasting while cruising a dusty coastline, bending time and perception to personal will. Love feels glacial, luminous but distant, refracted through a simulated world where identity reigns supreme. Palace, rocket, perfume, light..,the images smear together in a surreal decree of authorship. There’s even a trace of Alien Sex Fiend’s I Walk the Line in the gait: off-kilter, eerie, and unwavering.

dreamstate by FERRARILOVER

Ice Eyesss sharpens the edges, stepping forward with a gothic gravity and a steady, marching beat that feels almost sinister at first pass. The song moves like a mantra, mystery repeated until it hardens into form. Divine references flicker through the frame, but the emotional temperature stays cool. Repetition becomes armour, a rhythmic shield. The vocals hover high and distant, suspended in the atmosphere, projecting detachment with precision. There’s power in that remove: a calculated opacity, an insistence on remaining unreadable, untouchable, operating on another plane from the very first bar.

ice_eyesss by FERRARILOVER

Cold Prince King carries a stately chill, moving with the measured pace of a lone sovereign crossing frost and ether. Interior and exterior blur, yet authority remains intact. Snow drifts over the soul as seconds slide by. Royal symbols and cosmic seclusion scent the air with cool command. It feels like FerrariLover stretching their aesthetic to its limit; drawing it tight, checking its endurance,  while eerie echoes trail behind plodding bass and icy, erratic guitar lines.

Cold Prince King by FERRARILOVER

FerrariLover describes a lifelong existential tension that finds release in music. The darkwave scene, they say, feels like home. Listening to these recent singles, what stands out is an artist aligning sound, identity, and intention with increasing confidence. The ambition is modest and sincere: to reach listeners one by one. On the evidence of these releases, that slow, careful growth feels not only possible, but well-earned.

Follow FerrariLover:

Bandcamp
Merch
Instagram
Facebook
Website
Spotify
YouTube

The post Gothgaze Artist Ferrari Lover Returns with Three Chilling Singles “Dreamstate,” “Ice Eyesss,” and “Cold Prince King” appeared first on Post-Punk.com.

Source: Post-Punk.com

I was dreaming and I lost my way
Between the mountains and the waves
And the coldest grey…
And how could I trust the sway of this
Human heart again? 

A cataclysm is not merely destruction. It is a break so complete that the world before and the world after no longer recognize one another. It redraws coastlines, collapses systems, and forces adaptation. Over the last few years, that word has felt less symbolic and more atmospheric: pandemic isolation, accelerating climate collapse, techno-feudal drift, genocidal violence scrolling past in real time. The ground feels unstable. The old assurances sound hollow. Collapse is no longer a prophecy; it is an overwhelming present.

Yet a cataclysm also implies transformation. Geological upheaval makes mountains. Forest fires clear space for new growth. Despair, if endured, can temper into resolve. That tension — devastation braided with possibility — drives Cataclysm, the latest album from Zanias. Written and produced between 2020 and 2024 and released October 23, 2025, via Fleisch Records, the record channels post-industrial ethereal wave, trance propulsion, electro precision, and darkwave atmosphere into ten distinct yet interconnected songs. Each inhabits its own aesthetic terrain, yet together they chart a steady ascent: from glacial intimacy and elemental grief to embodied resistance and hard-won radiance.

For those who have followed Zanias since the emergence of Linea Aspera in 2011, through Keluar and her expansive Berlin-based solo evolution, Cataclysm feels both like a culmination and an ignition. Across collaborations, underground raves, festival stages, and four previous LPs, Alison Lewis has consistently used electronic music as a means of examining what it means to be human — psychologically, mythically, politically. Here, that inquiry sharpens. The album grapples directly with collapse — ecological, social, spiritual — while refusing paralysis, urging instead that we “thread the power through the pain.” Even at its glossiest, there’s weight underneath — the sensation of living through collapse while refusing to collapse with it. Written between 2020 and 2024 and released via Fleisch Records, Cataclysm doesn’t drift between genres so much as bend them. Each track occupies its own universe, yet they share a bloodstream: grief, fury, endurance, transformation. Coldwave architecture dissolves into trance ascension; witchhouse murk fractures into hyperpop glint; breakbeats snap through devotional stillness

We begin by moving through the album’s ten-song arc in full — tracing its rise and rupture — before stepping into an in-depth conversation with Zanias about its political ignition, mythic symbolism, and the alchemy that turns private despair into collective force.

Zanias by Dovile Shurpo
The album’s title track and opener arrives like breath on glass: sighing pads, pale ripples, and a voice that sounds soft-spoken but shaken—bruised in a way that feels lived-in rather than performed. There’s an early-’90s glacial hush to the atmosphere, as if the track is lit by winter daylight and old TV snow. Then it lifts. Not with a cheap “drop,” but with a slow emotional swell—her vocal climbing higher, multiplying into layers that surge and crash like weather fronts colliding. Lyrically, it’s intimacy under siege: “When I’m with you / The world can’t touch us here / Let it burn.” The hook repeats like a protective charm, a lover’s bunker built from synth sheen and private panic. It’s one of her strongest opening statements—cinematic without being corny, direct without losing its dream-logic.



“Naiad” shifts the palette into something older and icier—an “’83” kind of chiming synth drone with a cool, wide-screen futurism that nods to Vangelis, early electronica, and a certain cyberpunk-anime melancholy. The beat has that late-’80s/early-’90s glide—steady, spacious, subtly propulsive—while her vocal is treated with reverb and compression that makes it feel both close-up and distant, like a message traveling through fog. The lyric is elemental and empathetic, speaking as water that can’t help but absorb human suffering: “I am the river / Ocean-bound forever / And all I can feel is your pain.” It’s sci-fi in sound, but the emotion is ancient: rainfall as witness, nature as reluctant caretaker, a world that keeps being asked to “stay” while it’s forced to flow.



“Whiteout” begins with metallic percussion and an almost Asian-leaning timbral shimmer—less “industrial clang” than ceremonial metalwork, like struck bronze echoing through a vast interior space. The track feels like altitude: clean air, sharp light, and the thin line between awe and fear. Zanias moves into a call-and-response vocal posture—part invocation, part internal dialogue—while the lyrics spiral around ascent, resistance, surrender: “On the way up I fight… / On the way up… I rise and I fall with it.” The song’s ritualistic tone recalls the wordless power of Lisa Gerrard, but filtered through loops, electronic repetition, and modern movement—devotion with circuitry, trance as a kind of climbing.

“Ghostbird” is one of the record’s most hypnotic constructions: a vocal sample mapped to keys (like a synthetic choir you can play with your hands), synth strings that glide in and out of the drum pattern, and techno flourishes that shimmer at the edges. It’s eerie-pop architecture—sleek, insistent, strangely tender. The spoken-word verses drawn from Jeff VanderMeer’s Annihilation give the track a spellbook quality, as if the song is reading from a sacred text that’s also a warning label. “Come find me in the water, ghostbird” becomes a refrain that feels simultaneously intimate and ominous—an invitation and a dare. The track’s power is how it makes dread danceable: swirling electronica carrying prose that’s all abyss, revelation, and reanimation.

Then the floor disappears. “Ashes” comes into focus from haze with hushed vocals and acoustic guitar—an exposed center that changes the temperature of the whole album. There’s a folk intimacy here, almost Nick Drake in its fragility, if Drake were singing through ethereal pop mist; it also brushes against dreampop in the way the air around the chords seems to glow. But the lyric is where it truly hits: “How can it be human fingers on the triggers? / Flesh and bone with mothers and skin that shivers.” The repeated line “I feel a fistful of ashes in my hands” doesn’t build toward catharsis so much as it circles trauma, returning again and again like a thought you can’t stop touching. It’s stunning in its restraint—an emotional trough that refuses to tidy itself up for the listener.

“Dawn” answers that darkness by turning movement into resolve. It opens with chiming, clicking textures—little shivers of sound—before the beat snaps into place with a crunchy snare that feels late-’80s/early-’90s in the best way: punchy, direct, built for bodies. The melody is immediately strong, and the song carries a transportive, narrative energy, like a montage sequence in some battered-yet-hopeful future. Lyrically, it’s the album’s clearest mission statement, balancing rage with purpose: “Too easy to forget there’s more of us than them / Thread the power through the pain.” That mantra returns like a stitched seam, holding the song together while the production keeps it bright, vivid, and forward-driving. It’s protest music that still remembers pleasure and rhythm are part of survival.



“The Spire” glows with retro synth tones—Kraftwerkian in their clean geometry, but softened into something more mystical and tender. It’s interstellar without being cold: crystalline sighs, high chimes, and a vocal that reaches upward, not in diva theatrics, but in a kind of steady, aching uplift. There’s a faint echo of Curve-era Toni Halliday in the shape of the phrasing—strong but vulnerable, floating above the machinery. The lyric reads like a vow made under pressure: “We’ll survive under a bitter sun / We will rise as we’ve always done.” The track’s central image—“endless spire / always higher”—isn’t triumphal so much as stubborn. Not victory. Continuance.



“Serpentsmile” is one of the album’s sharpest pleasures: ethereal dub shudders at the start, then a retro synth buzz and a propulsive beat that lands somewhere between minimal synth, French coldwave-pop, and a more modern dancefloor snap. It’s immediately catchy—arguably the record’s most “move now” moment—but the lyric is all knives and clarity. “Smiling like a serpent… / Mother-wounded venom surfacing” and “Devastatingly aware” turn the track into a confrontation disguised as a night out. There’s something delicious about how it keeps its sweetness while describing masks falling and betrayal blooming. Pleasure and exposure in the same breath—that tension is the engine, and it runs hot.



“Human” flips back into the world of sampled vocals mapped to keys—repeating phrases that feel pop-forward, Grimes-adjacent in texture, but grounded in a sturdier dance-pop pulse reminiscent of early-’90s club sheen (with a little Ray of Light-era propulsion in the stride). The hook is blunt in the best way—almost like an anti-anthem that becomes an anthem anyway: “You are human / Born and then you feel and then you die.” It’s existential, but not abstract; it lands like a hard truth said gently, a reminder that feeling is the whole point even when it hurts. The verses are self-implicating—fearful, flawed, honest—while the chorus widens the lens to include everyone on the floor.

The aptly titled closer “Happy Endings” is a rapid heartbeat with polish on its pulse: purring vocals, rippling electronics, a snare that hits with a handclap-like snap, and synths that keep pressing forward as if refusing to sit still. About two-thirds in, the track opens into crystal tones—light breaking through—then keeps running until it reaches its final exhale. Lyrically, it’s a mature kind of hope: not the promise of a tidy resolution, but the insistence that love and fear coexist, and nature can still set us free even if we don’t get a storybook finale. “Doesn’t only have to be happy endings,” she repeats, and it lands like permission—permission to keep going without pretending everything will be fine. The final image is simple and strong: “We are the sun / Rising above.” Not denial—rise.§

Zanias by Dovile Shurpo
Zanias on Power, Despair, and Reclaiming the Sword:

If Cataclysm feels expansive, the conversation behind it is sharply focused. Alison Lewis traces the album’s beginning back to the title track, written at the dawn of the pandemic — a first spark that later caught fire into something more politically direct as the world hardened and history accelerated.

She speaks candidly about “Ashes” as the record’s emotional trough, placed deliberately so “Dawn” can rise with meaning rather than mood. Along the way, we discuss the mantra “thread the power through the pain,” the album’s mythic visual language — sword, armor, archetype — and why, for her, activism and art aren’t parallel paths but the same road.

When Cataclysm began taking shape between 2020 and 2024, what was the first song or idea that made you realize this was going to be a fully formed album rather than a loose collection of tracks?

The title track ‘Cataclysm’ was the starting point, and once that track had a title, I knew the rest of the album would flow from this word, though I didn’t know yet just how political the record would become, because global geopolitics were so comparatively peaceful back in 2020. The cataclysmic shift was referring more to the pandemic and the impending-but-not-quite-there-yet threat of climate change, rather than an AI-driven glide into techno-feudalism. Like all my albums, the final tracklist emerged somewhat accidentally when I suddenly had a collection of tracks that said what I needed to say. I never really set out with a super-specific intention with any of my records. They’re the result of my own therapeutic process of working through whatever it is I’m going through at a given point in my life. It just so happens that Cataclysm emerged when I was coming to the realisation that we all have no choice but to participate in building a better future for humanity. Complacency is no longer an option.

I was genuinely surprised—and pleased—to hear an acoustic-led song like “Ashes” on this record. Even stripped back, it still feels deeply ethereal, hovering between folk, dreampop, and ambient space. At moments, it recalls the intimacy of Cocteau Twins, the spectral melancholy of Mellonta Tauta, and even your own more fragile vocal registers. What drew you toward that palette, and did it feel risky placing such a quiet, exposed song at the heart of Cataclysm?

Thank you. Ashes came into being during a particularly tough week of viewing on social media, when Israel’s invasion of Rafah led to the horrific death of the Palestinian toddler Ahmad Al-Najjar. His headless body, held by his devastated father, still haunts me today. The acoustic guitar felt like the most effective way to express that kind of deep, helpless sorrow of bearing witness to such abject cruelty. The vocals weren’t easy to deliver since I couldn’t stop crying.

I almost left it as a standalone single, but when deciding on the final tracklist, I felt like ‘Dawn’ could use a bit of darkness before it, so the rising sun had something to shine on. I don’t consider the concept of risk too much when compiling my releases, though I did purposefully place it at the end of the A side so that even vinyl listeners had the option of skipping it, since I understand tracks like these can be a bit heavy at times. I won’t judge anyone for skipping it if they aren’t in the zone to go into that headspace.

“Ashes” feels almost like the emotional spine of the album. Do you see it that way, or did its importance only reveal itself later, through sequencing and context?

I’d consider it more the emotional trough, the point of deepest despair, and its placement right in the middle feels like an accurate representation of where despair tends to lie in the process of revolution. We notice everything that’s wrong, fall into despair, then little by little climb out of that hole and reclaim our power.

“Dawn” feels like a mission statement for the record, especially with “thread the power through the pain” recurring like a mantra. Did that line arrive early as a guiding compass, or did it emerge later as a distillation of the album’s themes?

It most certainly is a mission statement! I was actually really stumped with what to write in the verses of ‘Dawn’, after the chorus just flowed out as soon as I wrote those opening chords. It was inspired by reading The Dawn of Everything by David Graeber and David Wengrow, which is a book about our history as a species that totally destroys the concept of cultural evolution as some kind of inevitable trajectory, and really sparked some hope in me by laying bare the perpetual flux of our societal structures. The only constant thing truly is change. So this realisation felt necessary to channel into a song that basically stemmed from my rage against the fossil fuel companies and every hideous old white man to ever profit from planetary destruction.

I had the instrumental and choruses of the track finished, but just couldn’t fill those verses, and knew I had to tread very carefully to make sure it maintained the mantra of hope and empowerment without getting cheesy or preachy. It had to be anthemic and poetic.

Months after I initially wrote the demo, I remember I was threading a needle to mend something and as I was doing it that bible quote came to mind: “it is easier for a camel to go through the eye of a needle than for a rich man to enter the kingdom of God” (my grandfather was a Christian theologist so although I’m not religious, there are certain teachings that have stuck with me). And that had me thinking about the demo that I was struggling so hard to finish. So I had this image of threading a needle enter into the subject of the song, and I also had this image of a sword being a symbol of power, and the whole thing just tumbled together as they often do into “thread the power through the pain, anger turns to iron on the flame” to represent our collective power being galvanised by the hardship of enduring all the world’s current crises. I was so excited by the line that I immediately recorded it into the project via my laptop mic since I was on holiday and had no recording setup with me at the time.

This happened about a third of the way into the album-writing process, so I guess it did become somewhat of a guiding compass, especially regarding the imagery I’d use in the videos.

“Serpentsmile” is one of my favorite tracks—it’s immediately danceable, but lyrically it cuts deep into awareness, betrayal, and masks falling. How important is that tension between pleasure and confrontation in your songwriting?

I think that tension is something I seek out quite a lot, and it seems to be rather effective. A lot of my most popular songs contain it: Malarone, Attica, and Follow the Body, for example. It’s my way of processing social disappointment, and I’d much rather transmute my pain into something beautiful and fun than let it fester inside me.

“Whiteout” feels ritualistic and almost devotional, like an ascent that’s both physical and spiritual. Were you consciously drawing on archetypal or ceremonial structures when writing that song?

The song was inspired by my most transcendental spiritual experience, though interestingly, the instrumental for it was written long before the lyrics. For months, it sat gathering dust as a wordless demo I couldn’t quite finish, and then after I smoked 5-meo-DMT, I immediately wrote all the words, and they fit perfectly over the wordless murmurings as if the melodies were just waiting for me to figure out what they were supposed to be. Songwriting can be eerily precognitive like that, but I can’t say much of it was consciously aimed for. This truly was a song that channeled something sacred.

Across the album, each track feels like its own world while still sharing the same emotional bloodstream. If Cataclysm had a mood board, what images, textures, books, films, or events would be pinned to it?

Xena: Warrior Princess, the genocide in Gaza, the rise of global techno-feudalism, climate change, Annihilation by Jeff VanderMeer, The Dawn of Everything by David Wengrow and David Graeber, the white rocks of Sarakiniko in Milos, the rainforest of Queensland, and the rugged beaches of southeastern Australia.

Zanias by Apostolos Zanias

What books, thinkers, or ideas were orbiting the album while you were writing—whether consciously or subconsciously—and did any of them directly shape the lyrical language?

Certainly, the aforementioned Dawn of Everything by David Graeber and David Wengrow and its influence on ‘Dawn’, and then ‘Ghostbird’ was directly inspired by Annihilation by Jeff VanderMeer. I was listening to the audiobook while traveling across Uganda and Rwanda to see wild chimpanzees and gorillas, and the concept of pristine wilderness had me utterly bewitched. Once again, I had a demo gathering dust, and after reading the book, I finally knew what needed to be done. I was super disappointed that the Annihilation film by Alex Garland didn’t include the book’s most chilling scene, so I paid homage to it in the verses of ‘Ghostbird’. I don’t often use spoken word, but I think it worked well in this context to convey prose with such horrifying imagery.

Compared to Chrysalis and Ecdysis, this album feels more outward-facing and politically charged. What has changed for you since those records, both personally and creatively?

I’ve reached the end of my tether regarding the global political trajectory. The only salve to the rage I feel is to actually try and do something about it using the tools I have at hand, and one of those is my music. I’ve also found that in the last few years, my internal struggles have quietened down significantly. I spent my twenties and early thirties really struggling to accept who I am and had a lot to learn about just ‘existing’, and now I can honestly say I feel pretty alright with all that stuff. The internal struggles have largely been resolved, so I can finally focus my attention toward the outward struggle.

You’ve been very open in your political activism—speaking out against racism, bigotry, and hate, and in support of Palestine. How does that activism bleed into the music, if at all?

The activism and the music are inextricably intertwined. I couldn’t consider myself committed to either cause in an authentic way if they weren’t.

Art is inherently a form of activism because it’s the exploration of our collective emotional states and becomes our cultural compass. It’s the mirror through which we see ourselves and the guiding light upon where we could steer humanity’s collective ship. We’re the secret captains of this entire project of civilisation, which is precisely why our work is so devalued by capitalism: we are the ultimate threat to its perpetuity if our voices are truly heard. So if we’re not engaging with pivotal events and contributing positively to humanity’s future, then we really aren’t doing our bloody job.

This is why it’s so disappointing to see people call themselves ‘artists’ yet remain silent on global atrocities. I totally understand that we all feel a bit powerless, and it can be scary speaking out about something that appears to be ‘controversial’ while aiming to provide audiences with a little escapism. But this actually isn’t controversial at all to humans with a conscience; it’s not something any of us can truly escape from, and it’s collective small actions that actually make a difference in situations like these. No single one of us has to make a massive sacrifice if we all are willing to make a tiny one. The overall response from the underground scenes I’m a part of have been a bit pathetic.

I mostly wish everyone understood what’s really at stake here. It’s not just Palestine. It’s our future freedom.

Cataclysm feels genuinely mythic—even in a fantasy sense: blades, ritual, guardianship, endurance, transformation. That feeling is reinforced by the album’s visual language—the armour, the sword, the press imagery—which evokes something almost Valkyrie-like, a feminine figure moving through collapse with resolve rather than conquest. Other women in music have tapped into similar archetypal territory—Grimes is an obvious example—but what feels distinct here is the sense of protection, vigilance, and moral weight. How consciously are you working with fantasy and mythic archetypes—particularly something feminine, perhaps a reworking of the typically male hero’s journey or the “maiden with the sword”—when shaping both the music and the world around Cataclysm?

One of the themes of Cataclysm is the reclamation of power back from oppressors in general, and the original oppression that has allowed all other oppression to occur was the patriarchal oppression of all who are not men. Therefore, the image of a woman holding a sword is a powerful one in this context.

Throughout Cataclysm, there are themes of a desire to return to matriarchy, so the imagery is very consciously chosen to that effect. I grew up watching Xena and that show really was the first thing I ever saw that made me feel like handling a sword was something I could do myself rather than depending on a man to defend me, which was the tiresome standard in most media at the time. So embodying that moment was important to me.

Interestingly, I’m not the only female artist to tap into this recently (Sally Dige also holds a sword in her video for ‘Sow the Path’, which is one of my favourites of 2025), and I think it indicates a cultural shift in this direction of empowerment.

Zanias by Apostolos Zanias

You’ve been incredibly prolific over the years—albums, collaborations, touring, label work. What makes that pace possible for you: discipline, obsession, necessity, or something closer to survival?

I had a lot of pain to process, and work helped alleviate a deep loneliness that set in after the pandemic. My community has somewhat disintegrated, and I’ve struggled to find a stable source of companionship. I have amazing friends and family that I love a lot, but simply don’t get to see them enough. Work fills the empty space and gives me a solid dose of ‘meaning’ to combat general existential malaise.

But I’ve also been through multiple burnout cycles in the last few years and am now making a concerted effort to do less and slow down. In retrospect, I was also really deeply entrenched in that capitalist nonsense equating productivity with self-worth, and that’s something we all desperately need to part with. We all deserve a rest!

How did your collaboration with Trey Frye from Korine first come about? Was it rooted in friendship, mutual admiration, or a specific moment where you realized his sensibility aligned with this album?

We’re mutual fans of one another’s projects, and Trey and I have naturally become friends over the years, bonding over the shared struggle of being fully independent musicians with a sound that doesn’t automatically plug us into any specific scene. There aren’t many people who share our job description so it’s nice to feel like someone out there understands.

I noticed his tracks always sounded extremely well mixed, so I sent him ‘Serpentsmile’ to do a preview mix just out of curiosity, and was blown away with the result. I shed tears of joy during the first car test of the record.

On a practical and emotional level, what did Trey bring to Cataclysm that shifted the final shape of the record—were there moments where his perspective changed how a song felt or functioned?

While his mixing tremendously elevated the final sound of Cataclysm, Trey’s contributions were mostly matters of sonic details like drums and ear candy rather than the content or function of songs. All the songs were totally finished by the time they reached Trey, and he gave them their final sheen. It’s always helpful to have another set of ears doing the final pass of a track that goes a little beyond just mixing them, since after hearing something a thousand times, it can be hard to objectively decide if a kick sounds right.

That said, though, on ‘Human’ he also added a bassline that gave the track a far more Italo vibe than it originally had, and I was thrilled with the result.

As Cataclysm moves from the studio into the world, how do you imagine these songs living on stage? Has the album changed the way you think about embodiment, movement, and collective energy in live performance in 2026?

Yes, it certainly has. The songs have already found their life on stage with the addition of my drummer, Dream Dilate Decay, and it’s truly been a revelation. Even before the album was out, the tracks were going down tremendously well at our shows back in September.

Something was always missing from my live shows in the past, and his fierce thrashing of the drum pads and general cuntiness finally delivered the kind of energy I needed to fully transcend. I always used to feel a little stressed out on stage,but now the music totally envelopes me and nothing else exists. The missing piece was rhythmic embodiment (and an authentic friendship also helps).

Looking ahead with new collaborations and projects on the horizon, do you feel yourself already moving toward another phase—or do you see Cataclysm as something you’ll continue to inhabit and unfold before the next transformation begins?

I don’t feel quite done with ‘Cataclysm’. It was such a huge part of my life for so long, and there’s still other angles I’d like to share. I’m working on some more music and performance videos, and as I enter into the world of podcasting, I’ll be taking some deep dives into the concepts behind the songs. It isn’t over yet!§

Zanias by Jessica Lewis
Cataclysm is an album built for movement — not just the private kind, but the collective kind: bodies syncing in a room, pressure turning into pulse. With the album now living out loud, Zanias is carrying these songs into 2026 with a run of dates that moves from intimate club floors to festival scale. Expect a setlist designed to hit in the muscles as much as the mind — catharsis, confrontation, and that hard-earned lift when the lights finally break.

Cataclysm is out now. Listen to the album below, and order here.

Cataclysm by Zanias a

Zanias’ European tour begins April 14th in Leipzig at Heilandskirche (DJ set) before moving through Bratislava’s Pink Whale, Krakow’s Klub RE, Warsaw’s Mechanik, Vilnius’ XI20, Tallinn’s Paavli Kultuurivabrik, Helsinki’s Lepakkomies, and Stockholm’s Hus7 — all with Korine — followed by a Berlin show at Frannz Club on April 26th. In May, she returns to Leipzig for Wave Gotik Treffen on May 25th and closes the tour on May 29th at The Black Heart in London. Expect a live set engineered for impact — ritual electronics, physical percussion, and that surge of communal release when tension finally tips into motion.

April 2026

14.04 — Leipzig, Germany — Heilandskirche (DJ set) with Korine
15.04 — Bratislava, Slovakia — Pink Whale with Korine
16.04 — Krakow, Poland — Klub RE with Korine
17.04 — Warsaw, Poland — Mechanik with Korine
18.04 — Vilnius, Lithuania — XI20 with Korine
21.04 — Tallinn, Estonia — Paavli Kultuurivabrik with Korine
22.04 — Helsinki, Finland — Lepakkomies with Korine
24.04 — Stockholm, Sweden — Hus7 with Korine
26.04 — Berlin, Germany — Frannz Club

May 2026

25.05 — Leipzig, Germany — Wave Gotik Treffen
29.05 — London, UK — The Black Heart

Follow Zanias:

Instagram
Bandcamp
Facebook
Twitter

The post Zanias Warrior Princess – An Interview on Activism, Annihilation, Anthropology, and the “Cataclysm” LP appeared first on Post-Punk.com.

Source: Post-Punk.com

The Rock and Roll Hall of Fame has unveiled its 2026 nominees, once again placing several alternative-era heavyweights back in contention. Joy Division and New Order return to the ballot for a second nomination, joined by fellow returning nominee Billy Idol and renewed contenders INXS.

Few nominees loom as large as Joy Division and New Order—two bands linked by loss, reinvention, and seismic influence. From the stark architecture of Unknown Pleasures to the electronic blueprint of “Blue Monday,” their legacy threads through post-punk, alternative rock, and modern dance music. Long championed by peers such as U2 and The Cure, their stature has only grown over time. Henry Rollins once put it plainly: “Joy Division is one of the greatest bands ever, and Unknown Pleasures is the proof.” Billy Corgan has gone even further, arguing that outside of The Beatles, Joy Division may be the most influential band of the 20th century.

Billy Idol also returns to the ballot this year after helping define the MTV era with his peroxide sneer and fist-raised hooks. From Generation X to “White Wedding” and “Rebel Yell,” he bridged punk’s bite with arena-sized choruses.

INXS, meanwhile, made sleek, groove-driven rock a global export. Fronted by the late Michael Hutchence, whose magnetic presence helped define the band’s mystique, the Australian group delivered hits like “Need You Tonight” and “Never Tear Us Apart,” balancing dancefloor rhythm with new wave anthems and arena-sized hooks.

Eligibility begins 25 years after an artist’s first commercial release. The Class of 2026 will be announced later this spring, with the induction ceremony expected in Cleveland in the autumn.

Here is the full list of nominees for the Rock and Roll Hall of Fame Class of 2026:

Joy Division / New Order

Billy Idol

INXS

The Black Crowes

The White Stripes

Oasis

Mariah Carey

Sade

Cyndi Lauper

Soundgarden

Outkast

The Smashing Pumpkins

Bad Company

Iron Maiden

Follow New Order:

Instagram
YouTube
Facebook
Spotify

Follow Joy Division:

Instagram
YouTube
Facebook
Spotify

The post Joy Division / New Order, Billy Idol, and INXS Nominated for 2026 Rock Hall of Fame appeared first on Post-Punk.com.

Source: Post-Punk.com

German composer and keyboardist Irmin Schmidt will release his new album “Requiem” on 24 April...

Source: Side Line

The Prague goth rock band Cathedral In Flames have released the digital single “Push The...

Source: Side Line

The German electro-wave act Diorama will release their 11th studio album “A Substitute for Light”...

Source: Side Line

The Sisters of Mercy – Live in Athens

Saturday September 12, 2026 @ Floyd Live Club

Σάββατο 12 Σεπτεμβρίου 2026 στο Floyd.

 

Οι The Sisters of Mercy, ένα από τα πιο επιδραστικά συγκροτήματα στην ιστορία της ροκ μουσικής, επιστρέφουν στην Αθήνα για μια μοναδική συναυλία το Σάββατο 12 Σεπτεμβρίου 2026, στο Floyd.

Για περισσότερες από τέσσερις δεκαετίες, οι The Sisters of Mercy αποτελούν μια εμβληματική δύναμη της underground μουσικής. Το συγκρότημα σχηματίστηκε στο Leeds της Αγγλίας το 1980 και, παρότι το όνομά του προέρχεται από τραγούδι του Leonard Cohen, άντλησε έμπνευση από καλλιτέχνες όπως ο David Bowie, οι Slade και οι Velvet Underground. Ωστόσο, οι πιο στενοί ηχητικοί συγγενείς του εντοπίζονται στους Stooges, τους Motörhead και τους Suicide, επιρροές που συνέβαλαν στη διαμόρφωση ενός απολύτως διακριτού ήχου σε σχέση με άλλα συγκροτήματα της post-punk εποχής.

Με τον Andrew Eldritch στο επίκεντρο, η μπάντα συνδύασε έντονο ρυθμό, επιβλητικές μελωδίες και μια χαρακτηριστική φωνητική προσέγγιση, παρουσιάζοντας κλασικά albums όπως τα “Floodland” (1987) και “Vision Thing” (1990), αλλά και τραγούδια-ορόσημα όπως τα “Temple of Love”, “More”, “Lucretia My Reflection”, “This Corrosion” και “Dominion / Mother Russia”, που την κατέστησαν σημείο αναφοράς για τη ροκ μουσική.

Η υποκριτική φύση της μουσικής βιομηχανίας στη δεκαετία του ’90 προκάλεσε στον Andrew Eldritch έντονη δυσπιστία απέναντι στο δισκογραφικό σύστημα, οδηγώντας τον να στρέψει το ενδιαφέρον του κυρίως στις ζωντανές εμφανίσεις αντί στις ηχογραφήσεις. Παρά τον περιορισμένο αριθμό επίσημων studio κυκλοφοριών, οι The Sisters of Mercy έχουν αποκτήσει σχεδόν μυθικές διαστάσεις. Η δημοφιλία τους όχι μόνο δεν μειώθηκε, αλλά ενισχύθηκε με την πάροδο του χρόνου, ο πολυσχιδής και ευφυής rock’n’roll ήχος τους επηρέασε αναρίθμητα συγκροτήματα, ενώ οι ζωντανές τους εμφανίσεις αποτελούν διαχρονικά πόλο έλξης για ένα πολυσυλλεκτικό κοινό, διαφορετικών γενεών και μουσικών ακουσμάτων.

Παρά την απουσία νέας δισκογραφικής κυκλοφορίας, η συνθετική δραστηριότητα της μπάντας υπήρξε ιδιαίτερα έντονη τα τελευταία χρόνια, με την παρουσίαση πολλών νέων τραγουδιών που έχουν τύχει θερμής υποδοχής. Το υλικό αυτό φέρεται να αντλεί τα ισχυρότερα στοιχεία της κλασικής περιόδου τους, διατηρώντας ταυτόχρονα έναν απολύτως σύγχρονο χαρακτήρα, πιστό στο διαχρονικό μότο των The Sisters of Mercy να κινούνται «πάντα προς τα εμπρός».

Οι πρόσφατες κριτικές για τις ζωντανές τους εμφανίσεις κάνουν λόγο για το πιο δυνατό τους show εδώ και χρόνια, με τον Eldritch πλαισιωμένο από τις εξαιρετικές εμφανίσεις των Ben Christo, Kai, “Ravey” Dave Creffield και, όπως πάντα, του Doktor Avalanche. Προσθέστε σε αυτά ένα κινηματογραφικό light show και ένα setlist που συνδυάζει μεγάλες επιτυχίες, λιγότερο γνωστά κομμάτια και νεότερο υλικό, και έχετε τη συνταγή για μια εκρηκτική ζωντανή εμφάνιση.

Το Σάββατο 12 Σεπτεμβρίου, οι θρυλικοί The Sisters of Mercy θα βρεθούν στην Αθήνα και το Floyd, για μια βραδιά που αναμένεται να μείνει αξέχαστη.

 
The Sisters of Mercy

Σάββατο 12 Σεπτεμβρίου 2026 στο Floyd.

Οι πόρτες ανοίγουν: 20:00
Προπώληση – PRE SALE:
– Τηλεφωνικά στο 2117700000
– Online: more.com
– Φυσικά σημεία: https://www.more.com/el/physical-spots/

Εισιτήρια: από 45€

*Οι μεταπωλητές των εισιτηρίων χρεώνουν έξοδα διαχείρισης ανάλογα με το τιμολόγιο τους.

Έναρξη προπώλησης: Παρασκευή 6 Φεβρουαρίου 2026 στις 11 π.μ.
 
Video Links:
https://www.youtube.com/watch?v=BURM7l6_pvg&start_radio=1
https://www.youtube.com/watch?v=xK7QM5C7pBU&start_radio=1
https://www.youtube.com/watch?v=aC-enyY6W8I&start_radio=1
 
musicboxproductions.gr & facebook.com/musicboxproductions.gr

 

Source: ElectroWelt.com

The 33rd Wave-Gotik-Treffen 2026 will be from 22nd May 2026 until 25th May 2026 in Leipzig/Germany.
WAVE – GOTIK – TREFFEN 2026 Festival Preview – by Fotini G. aka Malice F.

WAVE – GOTIK – TREFFEN 2026: dark-romantic celebrations every year at Whitsun in Leipzig – Germany.

 

The following artists have currently confirmed their performances at
the 33 th WGT (more artists and bands to be confirmed in the next days):

Confirmed Artists:

 

45 Grave (US) – 
A Black Rainbow (D) – 
Adam Usi (D) – 
Aesthetic Perfection (US) – 
Ah Cama-Sotz (B) – 
Alles Schwarz feat. Oswald Henke (D) Livepremiere – 
Altar De Fey (US) – 
Ambassador21 (BY) – 
André Alabaster & The Curved Beaks (D) – 
Armageddon Dildos (D) – 
Ash Code (I) – 
Astari Nite (USA) – 
Auger (UK) – 
Autodafeh (S) – 
Bashful Billy (USA) Livepremiere – 
Batmobile (NL) – 
Bestial Mouths (US) – 
Bianca Stücker & Bruxas Solis (D) – 
Biomekkanik (S) – 
Black Dahlia (AUS) – 
Blaklight (USA) – 
C-Lekktor (MEX) – 
Casket Cassette (USA) – 
Cat Rapes Dog (S) 40th Anniversary Show – 
Clan Of Xymox (NL) – 
Code 64 (S) – 
Corpus Delicti (F) – 
Covenant (S) – 
Creux Lies (US) – 
DAF (D) – 
Das Ich (D) – 
Demented Are Go (UK) – 
Den Der Hale (S) – 
Destroy Me Again (D) – 
Dews Pegahorn (D) – 
Die Streuner (D) – 
Digital Drvgs (USA) – 
Diorama (D) – 
Dlina Volny (BY) – 
Ductape (TR) – 
Eddie Dark (GR) – 
Einstürzende Neubauten (D) – 
Eisfabrik (D) – 
Electric Litany (UK) – 
Empathy Test (UK) – 
Erdling (D) – 
Euroshima (RA) – 
Evi Vine (UK) – 
Fliehende Stürme (D) – 
Freakangel (EST) – 
Frontline Assembly (CDN) – 
Frustration (F) – 
Gae Bolg And The Church of Fand (F) – 
Grausame Töchter (D) – 
Gulvøss (D) – 
Hackedepicciotto (D) – 
Hateful Chains (FIN) – 
Heidevolk (NL) – 
Heimataerde (D) – 
Hinfort (D) – 
HRAFNGRIMR (F) – 
Ist Ist (UK) – 
JG And The Robots (USA) – 
Karl Kave (CH) – 
Kiew (D) – 
Kim Wilde (UK) – 
Kommunity FK (USA) – 
Kompromat (F) – 
La Bande Son Imaginaire (MEX) – 
Lacrimosa (CH) – 
Leaether Strip (DK) – 
London After Midnight (US) – 
Lux Interna (USA) – 
Male Tears (USA) – 
Mica (USA) – 
Minuit Machine (F) – 
Moonspell (P) – 
MS Gentur + Sven Phalanx (D) – 
My Manifesto (USA) – 
Myrna Loy (D) exclusive Reunionshow – 
Nachtmahr (A) – 
Necro (P) – 
NordarR (D) – 
Noromakina (CO) European premiere – 
Nox Novacula (USA) – 
Nuovo Testamento (USA) – 
Octavian Winters (US) – 
Oh Hiroshima (S) – 
Oliver Decrow (D) – 
Pankow (I) – 
Panzer AG (N) – 
Patenbrigade:Wolff (D) – 
Phosgore (D) – 
Pink Turns Blue (D) – 
Pol (NL) – 
Portion Control (UK) – 
Qual (UK) – 
Rein (S) – 
Rome (LUX) – 
Rosa Crux (F) – 
Rosegarden Funeral Party (USA) – 
Rotersand (D) – 
Sagenbringer (D) – 
Schöngeist (D) – 
Scratch Massive (F) – 
She Past Away (TR) – 
Skeletal Family (UK) – 
Soft Vein (US) – 
SOKO+++Friedhof (D) – 
Solar Fake (D) – 
Solitary Experiments (D) – 
Soman (D) – 
Spit Mask (US/D) – 
Ssleeping Desiress (USA) – 
Suicide Commando (B) 40th Anniversary-Show – 
Sven Friedrich & Dirk Riegner (D) “Piano Sessions” – 
Tabernis (D) – 
The Beauty Of Gemina Trio+ (CH) Acoustic-Concert – 
The Crimson Ghosts (D) – 
The Devil & The Universe (A) – 
The Other Feat. Grand Horror (D/USA) Livepremiere – 
The Palace Of Tears (USA) – 
The Revolutionary Army Of The Infant Jesus (UK) – 
The SPKtR/SPK (AUS/NZ) – 
The Underground Youth (UK) – 
Trans – X (CDN) – 
Triarii (D) – 
Tyske Ludder (D) – 
Unterschicht (D) – 
Vaughn George (UK) interpretations Depeche Mode – 
Vermilia (FIN) – 
Voyna (D) Livepremiere – 
Vrimuot (D) – 
Waldkauz (D) – 
Wiegand (D) – 
Zanias (AUS/D) –

 
 

Also this year, we will only announce bands which are confirmed 100% in written form for the Wave-Gotik-Treffen.
So, check back often…

 

Festival Preview – by Malice F: 

The biggest worldwide music -and not only- gothic festival is back for the 33th consecutive year. There is not a single fan of the new & dark/ EBM/ Industrial/ Gothic scene that hasn’t heard of and furthermore hasn’t dreamt of visiting it, at least once.
From 22 May until 25 May, again more than 20.000 Goths from all over the world are expected to come together again in Leipzig to celebrate the Wave-Gotik-Treffen as THE international gathering of the dark family.

33 years ago, two Gothic people from Leipzig had an unusual idea: They didn’t want
to create yet another dark music festival, but rather a supra-regional gathering of like-
minded fellows for relaxed meeting, chatting and celebrating. When the 1st Wave-
Gotik-Treffen took place in 1992 at the edge of Leipzig with about 2.000 visitors and
just a handful of bands, it is unlikely that anyone imagined that within a few years the WGT would become the largest meeting of Gothic people in the world, taking possession of a whole city every year at Whitsun.
Now, the WGT exists more than a quarter-century…

All over the city, there will be more than 200 bands performing, projects and single
artists covering the whole wide range of Gothic music: from Electro-Pop to Goth-Metal, from EBM to Neofolk, from medieval music to Post Punk.

Apart from famous bands of the scene, you are invited for new discoveries with several less-known real underground bands or artists from the edge of the Gothic music universe. The concerts and events take place at more than 40 venues spread throughout Leipzig, for instance in the vaults of the Moritzbastei, in the splendid cupola hall of the Volkspalast, in the neo-gothic church Heilandskirche and in the historical public bath Stadtbad, as well as in large concert halls. The WGT program will also include beautiful classical music again, such as operas, chamber music, choral and organ concerts.

From its’ beginning, the Wave-Gotik-Treffen has been much more than a music festival: its’ guests may step back to the romantic atmosphere of ancient times at the medieval market place at the Pagan Village (Heidnisches Dorf). We will present authors reading and unusual theatre, cinematic performances will take place. People in historic clothing will gather for a Victorian Picnic in a park. For four days a large hall at the agra-Messepark will be transformed into the biggest Gothic-wares marketplace in the world. In numerous clubs DJs from all over the world will invite you to dance until dawn. There will also be a large fetish party where entrance is only possible by following a strict voluptuous dress code.
A stroll through the winding passages of city centre of Leipzig with its historical buildings of the Renaissance, Baroque and Jugendstil (Art Nouveau) eras is especially worthwhile for art and culture lovers: the entrance to several of Leipzig’s museums is free for WGT-guests.

The inhabitants of Leipzig have become familiar with the Treffen over the last two decades – there are no longer any prejudices and the Gothic guests are very welcome here. The most fascinating aspect of the Wave-Gotik-Treffen is surely its unique magic atmosphere that covers the whole city.
Cheap and entertaining accommodation is available at the huge Treffen camping
ground. To enter, you need a special ticket (called Obsorgekarte), Public transport in
the city is free for all WGT-guests from Friday morning until noontime Tuesday.
Camping:
For camping you need a special ticket called Obsorgekarte (available for 50, – €) that
allows you to stay at the Treffen- Campground (agra-fairground) from June 6th to June 9th.
Parking:
For car parking at the Treffen-area (agra) you have to purchase a parking vignette for
20,- € (including advance sale charges). Parking at the Treffen-area (agra-
Messepark) is definitely not possible without a parking vignette.
All tickets can be ordered via http://www.wave-gotik-treffen.de/english/
Tickets:
4-Day-Tickets for all events within the 30 th Wave-Gotik-Treffen Whitsun 2025 are
available for 170, – € each in advance ticket sale. The Treffen-Event-Ticket includes
the free usage of all public transport within Zone 110 of the MDV (Mitteldeutscher Verkehrverbund), this includes all trams, buses and S-Bahn lines except special lines
e.g. sightseeing tours).
All tickets can be ordered via: https://www.wave-gotik-treffen.de/english/karten.php (as soon as the presale starts)
We will all meet again at this year’s 33 th Wave – Gotik – Treffen in Leipzig!
Goths from all over the world celebrate their gathering in a peacefully relaxed manner, turning Leipzig into a diverse wave of black.
This year too about twenty thousand Goths are coming home: to the Wave-Gotik-Treffen!

Location:
Leipzig, eastern Germany, at about 40 venues spread all over the city; camping site
and main venue at the edge of town at the agra-Messepark, Markkleeberg; for
information on the city you may check http://en.wikipedia.org/wiki/Leipzig or the
official city website http://www.leipzig.de/int/en.
Music styles:
All sub-genres of dark music: Gothic; EBM; Industrial; Ambient; Neofolk; Synthpop,
Goth-Metal, Post Punk etc.
Websites:
www.wave-gotik-treffen.de/english
www.facebook.com/WaveGotikTreffen
If you are travelling to the WGT for the first time, you can find lots of useful
information for planning your trip on: http://www.sadgoth.com
App:
WGT-Guide – useful app to download at Google Play, iTunes or Amazon
Photos of the last years:
www.wave-gotik-treffen.de/english/photogallery.php
Contact:
Phone: 0049-341-2120862 / Email: info@wave-gotik-treffen.de

For more information about the confirmed artists, take a look at their official webpages here

Wave Gotik Treffen Festival Official Homepage

*** Also, this year, for the first time, visitors travelling by camper van will be able to book a power connection for their pitch. The sale will take place on site, we will give you more detailed information about the process via email if you are interested. Please reserve your
electricity ticket by May 23, 2025 with a short message to caravan@wave-gotik-treffen.de stating your name and the licence number of your motorhome.

There will also be a limited number of pitches with electricity access available on site, as long as capacity lasts. However, only pitches reserved in advance are guaranteed access to electricity. The electricity ticket is valid for the entire period (Thursday-Tuesday)
and will be available at a price of €150.

http://www.wave-gotik-treffen.de/english/info/news_en.php

 

 

Source: ElectroWelt.com

The Death Of Bunny Munro

The Original Series Soundtrack for The Death Of Bunny Munro is out today on streaming and digital services, via Lakeshore Records and Invada Records. Vinyl will follow in Spring 2026. The score for the show was composed and recorded by Nick Cave & Warren Ellis. 

LISTEN HERE

The Death of Bunny Munro is both a wild cautionary tale, and a tender portrait of the relationship between father and son. The Sky Original Limited Series (based on the novel by Nick Cave) is available to watch now on Sky and streaming service NOW in the UK, on Binge & Foxtel in Australia, JioHotstar in India, and yes VOD, HOT VOD & HOT Drama in Israel, and coming soon to more countries around the world. 

The original score leans into the raw, unruly energy of the show and the original novel – complete with Cave and Ellis’ signature emotional intensity. It was recorded at Soundtree Music in Shoreditch, East London, and engineered and co-produced by Luis Almau, a frequent collaborator of Cave and Ellis across their extensive film and documentary work.

The Death of Bunny Munro is their latest score project, with other collaborations including The Proposition (2005), The Road (2009),  Monster: The Jeffrey Dahmer Story (2022) and most recently the Amy Winehouse biopic Back to Black (2024). 

 

Source: ElectroWelt.com

Rockwave Nights present 
 
EINSTÜRZENDE NEUBAUTEN

Ωδή στην AVANT GARDe 
 
Τετάρτη 17 Ιουνίου 2026

Μονή Λαζαριστών, Θεσσαλονίκη

Einstürzende Neubauten.
Ριζοσπάστες. Δημιουργοί. Πρωτοπόροι. Η τεθλασμένη, απρόβλεπτη και αντισυμβατική διαδρομή τους, τους οδηγεί για μια ακόμα φορά στην χώρα μας.

 
Την Τετάρτη 17 Ιουνίου 2026, οι Einstürzende Neubauten, το εμβληματικό συγκρότημα από το Βερολίνο, έρχονται στη Μονή Λαζαριστών για μία σπάνια εμφάνιση που συμπυκνώνει τέσσερις και πλέον δεκαετίες πειραματισμού, αποδόμησης και αναγέννησης – με το RAMPEN – apm: alien pop music να λειτουργεί απλά ως ένα τρέχον σημείο εκκίνησης, όχι ως σύνορο.

Αναζητούν και δημιουργούν νέες μορφές.
Ήχους που δεν έχουν ακόμη ακουστεί.
Λέξεις που δεν έχουν ακόμη ειπωθεί.
 
Από την 1η Απριλίου 1980, οι Einstürzende Neubauten κινούνται διαρκώς στα όρια – και συχνά δεν διστάζουν να τα διασχίσουν. Ανάμεσα στο mainstream και την υποκουλτούρα (subculture), στον βιομηχανικό θόρυβο και τη σιωπή, επιμένουν να κάνουν τη σιωπή να μιλήσει και μάλιστα δυνατά – να φωνάξουν ίσως ακόμα και όσα δεν είχαν ποτέ φωνή.
 

 

Συναυλία ως τελετουργία. Ωδή στην AVANT GARDe 

Κάθε εμφάνιση των Einstürzende Neubauten υπερβαίνει το καθιερωμένο πρότυπο μιας συνηθισμένης συναυλίας. Πρόκειται για μια πολυαισθητηριακή διαδραστική εμπειρία, όπου ο θεατής δεν παρακολουθεί αμέτοχος, αλλά συμμετέχει στη διαδικασία γέννησης του ήχου. Πομπός και δέκτης μαζί.

Οι Neubauten έχουν παρουσιάσει το έργο τους σε κορυφαία φεστιβάλ avant-garde και σύγχρονης τέχνης, ενώ η σχέση τους με τον κινηματογράφο και την αρχιτεκτονική – όπως στο Berlin Babylon – αναδεικνύει τον ήχο ως καθολική μορφή τέχνης.

 

Alien pop music.
Όχι από αυτόν τον κόσμο.
Αλλά απολύτως παρούσα.

EINSTÜRZENDE NEUBAUTEN
Τετάρτη 17 Ιουνίου 2026
Μονή Λαζαριστών – Θεσσαλονίκη

Μια συναυλία-εμπειρία.
Μια τελετουργία ήχου.
Μία ωδή στην AVANT GARDe.
Ένα «νέο κτίσμα», γεννημένο μέσα από τα συντρίμμια.
 

 

Πληροφορίες Εισιτηρίων

Η προπώληση των εισιτηρίων της συναυλίας θα ξεκινήσει άμεσα

Επίσημα σημεία πώλησης εισιτηρίων

Δίκτυο: more.com

Τιμές εισιτηρίων

Early bird: 38,50 ευρώ
Γενική είσοδος: 44 ευρώ
Golden Area (καθημένων): 49,50 ευρώ
ΑΜΕΑ: 38,50 ευρώ  
 
Μονή Λαζαριστών
Κολοκοτρώνη 21, 564 30 Θεσσαλονίκη
Τηλ.: 231 0589185.

 
 

Source: ElectroWelt.com

DIE KRUPPS release vinyl editions of “Will nicht – MUSS! / On Collision Course” EP

After successfully touring across Europe and North America this year, Industrial metal legends DIE KRUPPS drop the vinyl editions of their EP “Will nicht – MUSS! / On Collision Course” today, on December 12, 2025. The EP was originally sold as a hand-numbered collectors’ CD during the tour only. The digital single ‘Will nicht – MUSS!‘ has meanwhile climbed to the top position in the DAC (#1 German Alternative Charts).

The EP is available as an exclusive limited 45th Anniversary Gatefold petrol-green liquid filled vinyl edition and as a limited transparent green Gatefold vinyl.

Shop Link HERE

The “Will nicht – MUSS! / On Collision Course” EP contains guest contributions and remixes from prominent musicians of renowned acts such as MINISTRY with whom DIE KRUPPS have successfully toured in the US earlier this year. The two single tracks of the EP also offer a first glimpse at the upcoming new album.

In 2025, DIE KRUPPS celebrate this extraordinary anniversary with a new chapter in their remarkable history, and in 2026, their long-awaited new album will be released!

Band: Die Krupps
EP title: “Will nicht – MUSS / On Collision Course”
Label: Dependent Records
Release date: December 12, 2025
Style: EBM/Industrial Metal
Review Impact Date: November 3, 2025

Line-up
Jürgen Engler – vocals, keyboards, guitars, steelophone
Ralf Dörper – keyboards
Dylan Smith – guitars
Paul Keller – drums

Guest contributions
Cesar Soto – additional guitar on ‘I Am the Storm’
Mark Thwaite – additional beats & programming on ‘Schattenzeit Remix’
Ashley Bad – additional drums & synth on ‘Schattenzeit Remix’
John Bechdel – additional drums & keys on ‘On Collision Course Remix’

Recording, production & mixing by Jürgen Engler, Dylan Smith, Paul Keller
Additional production & mixing by Patrik Majer on ‘On Collision Course’ & ‘Will nicht – MUSS!’ & the remix of ‘Will nicht – MUSS!’
Remix of ‘On Collision Course Electro Remix’ by John Bechdel
Remix of ‘Will nicht – MUSS!’ by Jürgen Engler & Chris Lietz
Mix of ‘I Am the Storm’ by Cesar Soto

Links
www.diekrupps.com
www.facebook.com/diekruppsofficial
www.instagram.com/diekruppsband

 

Source: ElectroWelt.com

Nick Cave & The Bad Seeds @ Release Athens Festival 2026

Wednesday 24 June 2026

Plateia Nerou, Faliro.

 

Το Release Athens 2026 υποδέχεται τους Nick Cave & The Bad Seeds, την Τετάρτη 24 Ιουνίου, στην Πλατεία Νερού, σε μια χρονιά – ορόσημο, καθώς συμπληρώνεται μια δεκαετία από το ξεκίνημα του φεστιβάλ. Ο χαρισματικός Αυστραλός καλλιτέχνης και η καθηλωτική μπάντα του, επιστρέφουν στη χώρα μας, τέσσερα χρόνια μετά τη συγκλονιστική τους εμφάνιση στον ίδιο χώρο, για μία ακόμα μεγάλη βραδιά στο πλαίσιο της Wild God Tour, η οποία έχει ήδη χαρακτηριστεί ως μία από τις σημαντικότερες ζωντανές εμπειρίες των τελευταίων ετών, παγκοσμίως.

Περισσότερα ονόματα θα ανακοινωθούν σύντομα!

Οι Nick Cave & The Bad Seeds σχηματίστηκαν το 1983, μετά τη διάλυση των Birthday Party, και γρήγορα παγιώθηκαν ως ένα από τα πιο πρωτοπόρα και καταξιωμένα συγκροτήματα της post-punk εποχής. Ο ήχος τους εξελίσσεται σταθερά όλα αυτά τα χρόνια, μαζί με τη λυρική ματιά του ηγέτη τους: από το σκοτεινό χάος του “From Her to Eternity” (1984) μέχρι τη σκεπτόμενη διάθεση του “Wild God” (2024), o Cave μαζί με τους Bad Seeds δεν σταμάτησαν να δημιουργούν τραγούδια που αγγίζουν εκατομμύρια ανθρώπους σε ολόκληρο τον κόσμο, κερδίζοντας μία περίοπτη θέση στη rock ‘n’ roll αιωνιότητα.

Παρότι η σύνθεση των Bad Seeds έχει μεταβληθεί μέσα στα χρόνια, το συγκρότημα παρέμεινε πάντα μια μουσική δύναμη εξίσου ισχυρή με τον Αυστραλό super star, γεμάτη σπουδαίες καλλιτεχνικές προσωπικότητες (ανάμεσά τους πλέον και ο Colin Greenwood των Radiohead) που στηρίζουν το έργο του με μια σπάνια σταθερότητα και δημιουργική συνέπεια, κάτι που επιβεβαιώθηκε με την κυκλοφορία του “Wild God”, το οποίο απέσπασε εξαιρετικές κριτικές και κατέκτησε το Top 10 σε αρκετές χώρες. 

Η περιοδεία που ακολούθησε όχι μόνο έκανε sold out το ευρωπαϊκό σκέλος της, αλλά χαρακτηρίστηκε συνολικά ως μία από τις κορυφαίες live εμπειρίες των ημερών μας, ένα θέαμα γεμάτο ένταση και συγκίνηση, που περιέχει ισόποσες δόσεις μελαγχολίας και λύτρωσης, και χαρακτηρίζεται από μία μοναδική επαφή με το κοινό, τοποθετώντας τους δημιουργούς του οριστικά στο κορυφαίο επίπεδο ανάμεσα στους headliners της παγκόσμιας μουσικής σκηνής.

Την Τετάρτη 24 Ιουνίου, οι Nick Cave & The Bad Seeds επιστρέφουν στο Release Athens και την Πλατεία Νερού για να παρουσιάσουν ένα setlist που περιλαμβάνει τραγούδια και από τις τέσσερις δεκαετίες της καριέρας τους και να μας θυμίσουν ότι παραμένουν ένα από τα πιο συναρπαστικά live acts του πλανήτη.

Follow Nick Cave & The Bad Seeds:

Facebook

Instagram

YouTube

Spotify

 

Η διάθεση των εισιτηρίων ξεκινάει την Παρασκευή 10 Οκτωβρίου, στις 10:00, προς 62€. Οι επόμενες φάσεις θα ανακοινωθούν στην πορεία. 

Επίσης, διατίθεται περιορισμένος αριθμός VIP εισιτηρίων, με πρώτη τιμή τα 180€.

Στη συγκεκριμένη κατηγορία περιλαμβάνονται οι εξής προνομιακές παροχές:

Ξεχωριστή υπερυψωμένη περιοχή διαμορφωμένη με stands & stools για όλους

Open-bar

Ξεχωριστή πύλη εισόδου

Ιδιωτικό parking

Ξεχωριστές τουαλέτες

Αναμνηστικό δώρο

Ticket Presale – Διάθεση εισιτηρίων:

 

Τηλεφωνικά στο 211770000.

Online / releaseathens.gr + more.com

Φυσικά σημεία: https://www.more.com/el/physical-spots/

Όλες οι πληροφορίες (τιμές, πρόγραμμα, πρόσβαση) στο releaseathens.gr

Διάθεση εισιτηρίων ΑμεΑ:

Το Φεστιβάλ φροντίζει για την πρόσβαση Ατόμων με Αναπηρία, προσφέροντας ειδικό χώρο με ανεμπόδιστη θέα προς τη σκηνή. Ο ειδικός χώρος είναι προσβάσιμος με αμαξίδιο, διαθέτει καθίσματα, ξεχωριστές τουαλέτες & δωρεάν parking.

Για την αγορά εισιτηρίων ΑμεΑ, παρακαλούμε να προωθήσετε το αίτημά σας ηλεκτρονικά στο support@releaseathens.gr, επισυνάπτοντας την κάρτα αναπηρίας σας. Για την είσοδό σας στους χώρους ΑμεΑ, η κάρτα αυτή θα χρειαστεί να επιδειχθεί κατά την άφιξή σας στο Φεστιβάλ.

 

Follow Release Athens: 

Official Website

Facebook

Instagram 

TikTok 

YouTube 

Spotify 

 

Source: ElectroWelt.com

Simone “Hellvis” Salvatori, guitarist, singer and frontman/founder of the neofolk act Spiritual Front, but also a solo artist, was kind enough to answer our questions, here at the ElectoWelt OnLine Music Magazine, just before the band takes the stage at the mighty Death Disco Open Air Festival 2025 in Athens Technopolis!

∴ Interview by: Malice F ∴

1. EW: Hello Simone! Thank you so much for finding the time to do our interview, just before Spiritual Front’s live performance at Death Disco open air festival at Technopolis Athens! Apart from the upcoming SF gigs scheduled, how do we find you these days?

Simone Salvatori: Ciao, thank you so much! Well, busy time doing new stuff, working as daily jobs, waiting for Morgue Ensemble and The Lust Syndicate to be released. Life is basicallyba long tragic wait.

2. EW: George P. and me have been following your music with love and admiration many years now, since SPIRITUAL FRONT’s beginnings in 1999 when your first album “Songs for the Will” was released. I wouldn’t categorize SF in the neofolk genre, I never thought of you like this, but SF’s dark lyrical landscapes and romantic tango ballads staying at the same time true to your Italian heritage are very defining qualities for SF music legacy. So, what about Suicidal nihilistic pop, a term under which you have described your music in the past, does it still express Spiritual Front’s music and art? I could probably understand nihilistic, but I am not sure about the suicidal part.

Simone Salvatori: You got the point, I never considered SF as a ‘neofolk’ bands, I mean if you intend that boring bands exposing runes,singing about frozen forests and all these things, not my cup of tea. If you intend a different form of folk, maybe yes, but it’ s a question of terms. About sounds, in the very beginning I was influenced by some of those bands, I mean the early scene, but not now, it’ s so boring to listen to them now. But, as said, it was long time ago, thank god. When I use the worde suicide pop, it s because I like the contrast between these two, suicide is the total, definitive refusal, the last act of denial, pop is something easy, something to share , something that belong to everyone. I lile to idea of keeping them both in my music.

3. EW: Pier Paolo Pasolini, Fassbender influences in your lyrics, and generally you have a cinematic approach regarding your artistic expression, you are telling stories when you sing, in your wonderful videos for SF tracks and when you perform. We can see a lot of talent here, did you ever consider an actor’s or director’s career and turned it down for some reason? Please share!

Simone Salvatori: That would be amazing ahahahh, well, I attended theater schools when I was younger. I always consider these form of arts a whole thing,or a sort of that. It’ s hard to consider cinema without a good soundtrack, ot’ s hard to look at something without imaging a sound, listen to some good record without imaging something happen, things appearing. Yes, those directors influenced me a lot, on a personal and artistic level. Life couldnt be the same without them, those were people who showed us how to see and feel life, those were born to teach us how to make it.

4. EW: We have seen religious themes too, some have even called them provocative or misunderstood your work in this matter. What is your stand regarding religion and inner and is your intention to provoke in an effort to maybe bring the attention of audiences in specific matters that are important to you?

Simone Salvatori: Religion played an important role in my life, I grew in a nuns school when I was kid, some images, some sounds, some odors, some punishments are still so deeply rooted in me. Religion is basically more than a belief, especially if you live in a place like Rome, it s a matter that requests more than a phrase, religion is part of our culture, even if you are not religious, it’ s a thing that have modified and created your own culture and way of living, your philosophy. I don’ t consider myself catholic at all, but I would lie if I would tell you ‘it’ s not my culture’, we are drowned in jesus.

5. EW: What kind of music do you prefer listening to nowadays? is there any kind of guilty pleasures that you might have in music and would like to share with us?

Simone Salvatori: Except hip hop, I basically listen to a lot of things, from new wave to thrash metal, from americana to industrial, from krautrock to ebm, from powernoise to indie pop.

Guilty pleasure? Mmmm , these days Im listening a lot of Chappell Roan.

6. EW: George P. has another question for you! Could you please name your top 5 albums you can’t live without?

Simone Salvatori: Hard questions maybe, not in order:

The Smiths: Hateful of Hollow”
Swans: ”White Light from the Mouth of Infinity”
Celtic Frost: ”Into the Pandemonium”
Scott Walker: ..(Hard to choose among the first 4…) …let’s say the album: ”Scott 3”
Death: ”Leprosy”

7. EW: SF’s homage to a legendary 80s band like the Smiths with Big mouth strikes again was incredible and we can see it was carried out with respect and love to the band and the legends they are. Did you have the chance during your artistic approach and creation road of this album to get in touch with Morrissey or Johnny Marr from the band for the project or have any kind of feedback about your work on this album?

Simone Salvatori: Oh no never, never try to get in touch with your fav artists. Morrissey lived in Rome for a long time, I had the chance to meet him, but I always refused, didn t have the courage to meet him, try to imagine this: for you, he’ s a something special, for him….u just another boring fan,). 

Except some rare cases, I ve always been disappointed by the artists I liked, probably, as said before, is just a matter of expectations.

8. EW: It’s quite impressive that SF contributed to the soundtracks of the TV series “Las Vegas” and the motion picture “Saw 2” as well as further independent films, theatre, and even modern ballet productions, some trivia that some fans maybe are not aware about SF. Are there any additional artistic desires you would like to pursue and fulfil further? Personally, or with SF.

Simone Salvatori: I’d love to do a soundtrack for a western movie.

9. EW: It seems that in the last years minimal synth wave has become a huge music trend again, and creation of music mainly in a digital way though PCs or even smart phones nowadays. What is your opinion of the dark wave scene currently, do you find any of these new musical releases interesting?

Simone Salvatori: It sucks, everytime I hear bands like Lebanon hanover I wonder how music could be so shitty . This trend gave the chance to many incompetents with no talents to play music and records, I mean, it could be ok, I’ m not Malmsteen, but those, c’ mon, it’ s crap, few bands are ok, but 80% are total crap. They should thank god hype is on their side, but dunno how long it will lasts, people are not stupid, they will soon realize what kind of swindle these bands, tons of reverb and flanger and cheap drum machine won’ t save them from the final conflict

10. EW: A few words please for LUST SYNDICATE, your side project, expressing yourself in more old school industrial paths. Is it still active, would you consider presenting this work live to an audience? It would be a worthy addition to Wave Gotik Treffen’s (WGT) roster for instance.

Simone Salvatori: The new album is frozen since 3 years, I had some issues with a couple of label, at the moment is ready to be released by Time to kill records next year. We played at some festivals after the first album, Wgt included. Let’ s see what the 2026 will bring. The new albun ‘we are your enemy’ is very cool, good songs, very catchy but politically exposed. You will like it!

11. EW: Amphi 2025 recent live SF headliner gig was awesome! We kept discussing how much we missed you guys live! You were fantastic on stage, your communication with your fans was intense too. What should we expect seeing you live at Death Disco Open Air on Sunday? New tracks or more classic SF setlist?

Simone Salvatori: Thank you!! Amphi has never been easy for us, there’s always some problem, but we had fun, I love our loyal fanbase. No new tracks this time, we are still working on ’em. But if you invite us to play again on 2026 we ll give you some new killer tracks

12. EW: We know SF will continue touring, you have some scheduled live gigs. Your last album Amour Braque’, was released in 2018 and it was incredibly melodic, dramatic and stimulating, very much in the SPIRITUAL FRONT atmosphere we love. Will there be also new SF music or even a new collaboration coming soon?

Simone Salvatori: We are going to record the new album on late october, we have many new songs,Prophecy records is going to release also a special limited edition double album, let s see who will be the extra guests, at the moment we are just focused on how to make it good! There many intense, lovely songs, Im pretty sure you ll liked it, especially if you loved Amour braque.

EW: Coming to the end of our interview, feel free to share with us any message you would like to, with your fans attending the Death Disco Open Air Festival 2025!

Simone Salvatori: Thank you so much for supporting us, we love Greece, and we always had a special relations with our greek supporters. It’ s always a pleasure to come back in Athens, I ve many good records about it. The last confused memory ended with me totally drunk dancing in a italodisco club. Lovely night!

EW: Thank you again for your time and for the music we love! We can’t wait to see you live on stage today, as always!

Don’t miss SPIRITUAL FRONT live at Death Disco open-air festival in Athens, on Sunday 21th September 2025 at Technopolis Athens!

 

Source: ElectroWelt.com

The Nosferatu (UK) bring their classic gothic rock to Black Temple Athens Club, Saturday 11 October.
+Special Guests – Grey Gallows (Gr).

+ Aftershow Guest DJ Set by: Malice F & George P (ElectroWelt)
 

The Nosferatu will be performing more classic songs taken from their back catalogue, some that have not been heard live in many years.

 

 

Το Black Temple σε συνεργασία με την Orlock Promotions παρουσιάζουν:
 
The Nosferatu (UK) + Grey Gallows Live in Athens + DJs George P / Malice F
 
Σάββατο 11 Οκτωβρίου 2025

Black Temple, Ιάκχου 17, Γκάζι, 118 54 Αθήνα

Πόρτες: 20:30

https://www.facebook.com/templeliveclub
https://www.instagram.com/templeathens
 
ΤΙΜΕΣ ΕΙΣΙΤΗΡΙΩΝ:
• Early Bird: €14 (Περιορισμένος αριθμός)
• Προπώληση: €17
• Ταμείο: €20
 
Ticket Link : https://cometogether.live/…/the-nosferatu-uk-grey…
 
ΦΥΣΙΚΗ ΠΡΟΠΩΛΗΣΗ ΣΤΟ:
Le Disque Noir Records Shop
Θεμιστοκλέους 29, Αθήνα, τηλ.: 211 214 3554.

 

 
Στις 11 Οκτωβρίου 2025 το θρυλικό βρετανικό gothic rock συγκρότημα The Nosferatu επιστρέφει στην Αθήνα, μετά από μια εξαιρετικά επιτυχημένη λατινοαμερικανική περιοδεία, κατά την οποία επισκέφθηκε το Μεξικό, την Κόστα Ρίκα, το Περού, τη Χιλή και τη Βραζιλία και πρόκειται να εμφανιστεί στο Amphi Festival και το Wave Gothic Treffen Festival το 2025.
 
Οι The Nosferatu είναι ένα βρετανικό γοτθικό ροκ συγκρότημα που επιδίδεται σε ξεσηκωτικούς ροκ ύμνους, με βαριές κιθάρες και περίτεχνες ενορχηστρώσεις, σε συνδυασμό με τα χαρακτηριστικά βαρύτονα φωνητικά του είδους.
Οι The Nosferatu σχηματίστηκαν από τις στάχτες της αρχικής εποχής Rise των Nosferatu, ενός συγκροτήματος που σχηματίστηκε το 1987. Το συγκρότημα κατέχει μια θρυλική θέση στη gothic rock σκηνή και είναι διάσημο για την κινηματογραφική του προσέγγιση σε κομμάτια όπως τα “Rise”, “Dark Angel” και “Alone”.
 
Louis DeWray – Φωνητικά (Αρχικό Μέλος)
Vlad Janicek – Μπάσο (Ιδρυτικό Μέλος)
Rob Leydon – Κιθάρα (Eden House)
Simon Rippin – Τύμπανα (Fields Of The Nephilim / NFD)
 
https://www.thenosferatu.com
https://www.facebook.com/thenosferatuofficial
 
Ειδικοί καλεσμένοι είναι οι Grey Gallows, ένα dark wave ντουέτο με έδρα την Πάτρα που σχηματίστηκε το 2017. Οι επιρροές τους εντοπίζονται στο ευρύτερο φάσμα της σκοτεινής μουσικής της δεκαετίας του ’80.
 
+ Djs George P. + Malice F. 

Source: ElectroWelt.com

Kaufst Du bei Amazon?Dann hast Du die Möglichkeit unseren Blog zu unterstützen, indem Du Deine Einkäufe über folgenden Amazon Link tätigst. http://www.amazon.de/?_encoding=UTF8&tag=dunke-21&linkCode=sb1&camp=2382&creative=8458 Oder über unseren Amazon Shop http://shop.dunkelwelle.com Wir konnten uns die Tage zufällig mit Alexandar Goldmann treffen, der zufällig in der Stadt Saarbrücken gastierte. Bei einem Bierchen in einer Saarbrücker Kneipe entstand dieses kleine […]

Source: DunkelWelle

Liebe Amphi Familie, als „Orchestral Manoeuvres in the Dark“ – kurz OMD – 2018 das Amphi Festival im Sturm eroberten, waren sich alle in der Hoffnung einig, dass Andy McCluskey und Paul Humphreys in nicht allzu ferner Zukunft nach Köln zurückkehren und uns vielleicht sogar noch einen größeren Besuch abstatten würden. Ihr Lieben, die Sensation […]

Source: DunkelWelle

Nach langem Warten kann das 20. Jubiläum des Castle Rock Festival nun endlich stattfinden! Am 01. und 02. Juli ist es soweit!Eigentlich wäre das 20 Jährige Jubiläum dieses wundervollen Festivals schon im Jahre 2019 gewesen. Die Sanierung des Innenhofes des Schloss Broichs, in Mülheim an der Ruhr, machte diesem Vorhaben allerdings einen Strich durch die …

Source: Dark News

Zwei lange Jahre musste die Metalgemeinde den Verzicht üben. In diesem Jahr besteht eine realistische Chance auf die Durchführung der Sommerfestivals und damit ist auch das Rockharz bereit, euch an der Teufelsmauer zu empfangen. Musikalische Höhepunkte kommen in Ballenstedt regelmäßig zur Aufführung und so dürfen sich die geneigten Besucher*innen auf ein breit gefächertes Programm freuen.Der …

Source: Dark News