Two years after “Hail the Electronic Sun”, Italian electro-wave project TourdeForce will return with the...

Source: Side Line

Live-Music-Hall, Cologne, Germany24th February 2026White Lies & She’s In PartiesWHITE LIES fans have been eagerly awaiting new material from the British trio - and now they’re being rewarded twice over: with the release of their brand-new track ‘Nothing On Me’, WHITE LIES have announced UK and European tour dates for this year followed by the release of their seventh studio album, ‘Night Light’, in November 2025. In the course of their tour, the London band performed four shows across the country, supported by SHE’S IN PARTIES.

Source: Reflections of Darkness

Carlswerk Victoria, Cologne, Germany 24th February 2026Grandson - “Inertia Tour 2026” - Special guests: PinkshiftThe Canadian-American genre-blending phenomenon GRANDSON was set to ignite Cologne’s iconic E-Werk on Tuesday, February 24, 2026, as part of his massive “Inertia Tour”. However, when arriving at the E-Werk, there were only a few confused people, as all doors were locked and all lights in the venue were dark. Only moving closer to the doors uncovered a small notice that the concert was shifted to the slightly cozier Carlswerk Victoria, which fortunately was only a few hundred meters away. However, spreading this information on - say social media platforms - would have been beneficial.

Source: Reflections of Darkness

Mit "The Same Ghost" haben Diorama die erste Single von ihrem neuen Album "A Substitute For Light" ausgekoppelt. Mehr Infos und das Video hier bei uns!

Source: Sonic Seducer

Mit "La Vie Est Hell" ft. Hannes Braun (Kissin' Dynamite) haben Lord Of The Lost eine weitere Single von "Opvs Noir Vol. 3" ausgekoppelt. Mehr Infos und das Musikvideo hier bei uns!

Source: Sonic Seducer

In diesem Jahr findet das von uns präsentierte Castle Rock Festival zum letzten Mal statt! Alle Infos hier.

Source: Sonic Seducer

IRON MAIDEN im Kino: Der offizielle Dokumentationsfilm „Burning Ambition“ läuft am 7. Mai 2027 weltweit in den Kinos an. Tickets sowie eine Liste der Kinos, in denen „Burning Ambition gezeigt wird, gibt es ab 18. März 2026 auf der IRON MAIDEN Homepage.

IRON MAIDEN kündigen „Burning Ambition“ so an:

Der mitreißende Dokumentarfilm spannt einen Bogen über fünf Jahrzehnte und zeichnet den Aufstieg der Band von den Pubs im Londoner East End bis zu den größten Stadien der Welt nach. ‚Burning Ambition‘ bietet einen exklusiven und intimen Einblick in IRON MAIDENs Vision und zeigt ihre enge Verbindung zu ihren Fans auf aller Welt, unter anderem mit exklusiven Interviews mit Bandmitgliedern, Beiträgen von Javier Bardem, Lars Ulrich und Chuck D sowie neuen  Animationen mit dem legandären Bandmaskottchen Eddie.

 

Ihr 50. Bandjubiläum feiern IRON MAIDEN auch mit dem EDFEST am 10. und 11. Juli 2026 in Knebworth, am dem Wochenende gibt es Konzerte von IRON MAIDEN, THE HU, THE DARKNESS, AIRBOURNE und THE ALMIGHTY. Weitere Programmpunkte: das Infinite Dreams Museum, Eddie’s Ultimate Dive Bar und der Unfair Funfair.

Source: Vampster

Lightroom announces a special exhibition in London entitled “David Bowie: You’re Not Alone”, which will take visitors into the legendary performances and creative mind of David Bowie. It is a multimedia spectacle that is also an intimate portrait in which only the artist himself has his say. The exhibition also showcases some of Bowie’s seminal […]

Source: Orkus

In diesem Jahr soll es nicht nur neue Musik von Massive Attack geben, die Band kommt auch für ein exklusives Konzert nach Berlin! Alle Infos hier.

Source: Sonic Seducer

In our second update since we relaunched our Spotify playlist. Here are the artists: Listen to new tracks from IAMX, Hocico, Actors, Carpenter Brut, She Past Away, Maschine Brennt, CRED and Red Mecca. More tracks will be added shortly. We have moved the 531 old tracks to a new Archive playlist: Releasemagazine.net New Music – Archive. […]

Source: Release Music Magazine

Vor ein paar Wochen haben wir bereits über die Ankündigung ihres neuen Albums „Reflections“ berichtet, nun haben FROM ASHES TO NEW ihre Rückkehr nach Europa angekündigt. Im April spielt die Nu Metal-Band insgesamt sechs Shows in Europa, darunter zwei Deutschland-Termine in Hamburg und Köln.

Die Amerikaner werden bei allen Shows vom Züricher Alternative Rock-Duo COMASTATIC als Special Guest unterstützt.

Das sind die Daten der EU/UK-Tour

07.04.2026 – Lime, Mailand (IT)

10.04.2026 – Bahnhof Pauli, Hamburg (DE)

11.04.2026 – Gebäude 9, Köln (DE)

12.04.2026 – Zappa, Antwerpen (BE)

14.04.2026 – Dynamo, Eindhoven (NL)

17.04.2026 – Dome, London (UK)

Der Vorverkauf für die Tickets startet am Donnerstag, den 26. Februar 2026.

Source: Vampster

(Interview and photos by Karo Kratochwil) Catching Bon Harris in the middle of Nitzer Ebb’s...

Source: Side Line

Mit "Wir sind Gott II" haben Hämatom eine brandneue Single veröffentlicht! Mehr Infos und das Video hier bei uns.

Source: Sonic Seducer

-> >;HEXVESSEL erkunden auf ihrem epischen siebten Album "Nocturne" liminale Räume, z.B. zwischen Licht und Dunkelheit sowie Natur und Einsamkeit. Die sich kontinuierlich wandelnde finnische Band besinnt sich wieder auf ihre Wurzeln im Folk und im psychedelischen Rock, indem sie akustische Zwischenspiele, kosmische Synthesizer und geisterhafte Pianoklänge kunstvoll mit den frostgesponnenen Fäden ihres Black Metal Geflechts verwebt. "Nocturne" klingt sowohl vertraut als auch unverhohlen progressiv, da HEXVESSEL ihre eigene Tradition mit einer frischen Neuerfindung ihres charakteristischen Sounds vermischen. Der Keim für dieses Meisterwerk wurde durch die Aufführung eines Auftragswerks beim Roadburn Festival 2024 gesetzt, das ursprünglich den Titel "Music for Gloaming: A Nocturne" trug. Mit diesem Album nimmt das Projekt eine ausgearbeitete physische Gestalt an. Dieses opus magnum verbindet den rauen Geist von Quorthons Black Metal mit dem komplexen Minimalismus zeitgenössischer Komponisten wie Philip Glass, György Ligeti und Avro Pärt. Den eklektischen Charakter von "Nocturne" unterstreichen ausgewählte Gastauftritte wie der ätherische Gesang von Saara Nevalainen oder die harschen Stimmen der Avantgarde Black Metal Vorreiter Yusaf Vicotnik Parvez (DHG/DØDHEIMSGARD) und ORANSSI PAZUZUs Juho Vanhanen. HEXVESSEL stammen zwar aus dem finnischen Tampere, die Band wurde aber vom englischen Sänger und Songwriter Kvohst alias Mat McNerney gegründet, nachdem er im Jahr 2009 in das nordische Land gezogen war. In vielerlei Hinsicht spiegeln HEXVESSEL die Natur ihres Gründers wider. Der Sänger und Songwriter war schon in vielen erfolgreichen Gruppen und Projekten aktiv, deren Spektrum von der britischen Black Metal Band CODE über einen Abstecher bei den norwegischen Legenden DHG bis hin zu den Rock-Shootingstars BEASTMILK reicht, die er später mit GRAVE PLEASURES fortsetzte. Mit "Nocturne" laden HEXVESSEL alle dunklen Seelen der Erde zu einem transzendentalen Nachtritual ein, das unter anderem die Klangvisionen von DARKTHRONE, TANGERINE DREAM und Philip Glass aus der toten Vergangenheit erweckt und mit neuem Leben erfüllt.-> >;
-> >;
Tracklist:-> >;
01. Opening-> >;
02. Sapphire Zephyrs -> >;
03. Inward Landscapes-> >;
04. A Dark lt; Graceful Wilderness -> >;
05. Spirit Masked Wolf -> >;
06. Nights Tender Reckoning -> >;
07. Mother Destroyer -> >;
08. Concealed Descent-> >;
09. Unworld-> >;
10. Phoebus-> >;
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Bonustracks (nur Artbook und Bundle)-> >;
"Music For Gloaming, A Nocturne By The Hexvessel Folk Assembly (Live At Roadburn Festival 2024)"-> >;
-> >;
01. Sapphire Zephyrs -> >;
02. Inward Landscapes-> >;
03. A Dark lt; Graceful Wilderness -> >;
04. Spirit Masked Wolf -> >;
05. Nights Tender Reckoning -> >;
06. Concealed Descent-> >;
07. Unworld-> >;
08. Phoebus-> >;
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Bonus Tracks (nur Bundle)-> >;
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01. Under the Lake-> >;
02. Horse Tears (Goldfrapp-Cover)-> >;
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Gatefold-2LP (grau/schwarz marmoriert) inkl. Etching auf D-Seite, gefütterter Innenhüllen, Einleger und Schutzhülle (500 Einheiten erhältlich)

Source: Prophecy

Gitane Demone & Paul Roessler have just released the digital-only “The April First / Feather...

Source: Side Line

Endless Nothing is an Italian artist who released his latest work late last year on...

Source: Side Line

“Chapter 3” – Twin Noir ‘s third album – speaks from the soul right at the beginning with “Luft für dich”. Does the band itself often have the feeling of being like air to others? Or do Twin Noir believe that this feeling is due to our modern society? – You can find out this […]

Source: Orkus

Last farewell and rebirthADVOCATUS DIABOLI“30 Farewell & Origins“Album (in-house production) Advocatus Diaboli are releasing “30 Farewell & Origins” to mark their 30th anniversary. The main focus is on songs from the early years. Previously unreleased demos such as the dark “The Night” or the emotional “Escapatience” are of a high quality without losing their original […]

Source: Orkus

Hypnotizing, rousing dark rock including metallic elements – that’s what the US trio Hoaxed stand for with their second album “Death Knocks”. Anyone who likes Sanhedrin, for example (who are not quite as dark), will be very happy with this album. Frontwoman Kat Keo talks about “siren sounds” and the joys of touring in our […]

Source: Orkus

Tally Spear‘s new EP “Bittersweet”, which will be released on April 10, is particularly personal. It is a thought-provoking alternative pop work that mainly deals with grief and how to deal with it. The occasion is no coincidence: Tally lost her father. The first song she wrote after his death was “Upside Down”. She explains: […]

Source: Orkus

Die Black Metal-Band MALHKEBRE hat mit „B.A.M.N.“ ein neues Album angekündigt. Es ist nach „Revelation“ (2014) und „Satanic Resistance“ (2019) das dritte Album der Franzosen aus Toulouse und folgt der 2025er-EP „To Those Who Forged Us“ nach. Release-Termin ist der 30. April 2026. Vorab gibt es den Track „To Those Who Forged Us“ zu hören.

MALHKEBRE Line-Up:
E. BerZerK : Vocals & Lyrical Propaganda
H. Hyskariioth : Bass
S. Evangelista : Guitars
Shamaanik B. : Drums

MALHKEBRE „B.A.M.N.“ Tracklist
01 Choose Your Destiny
02 I Have a Dream
03 You Failed
04 Falling To Rise
05 To Those Who Forged Us (Audio bei Bandcamp)
06 We Fight And We Protect
07 There Are No Safe Spaces

Source: Vampster

Die Metalcore-Band SINCE THE FIRE hat den Opener „Cuntrol“ ihrer kommenden EP „Remains Embraced“ als Lyric-Video veröffentlicht. Die Scheibe folgt auf das Debütalbum „Spontaneous Human Consumption“ (2016) und wird am 18. April 2026 erscheinen.

„Remains Embraced“ wurde von Anthony Caranata gemixt und von Jesse Joseph gemastert.

SINCE THE FIRE „Remains Embraced“ Tracklist
01 Cuntrol (Lyric-Video bei YouTube)
02 Noose
03 Brutaful
04 Whispers

Source: Vampster

Die Psychedelic / Classic Rock-Band SÖNUS hat mit dem Video-Clip zu „Pagan Woman“ einen ersten Track ihres kommenden Albums „Planes of Torment“ veröffentlicht. Es ist nach „Worlds Undreamed Of“ und „Usurper of the Universe“ das dritte Album der US-Amerikaner aus San Francisco.

„Planes of Torment“ wurde von Bassist Dave Reno gemixt und von Matt “Mojo” Denton gemastert. Release-Termin  ist der 22. Mai 2026.

SÖNUS Line-Up:
David Wachsman – Vocals, Guitars, Synths
Dave Reno – Bass
Colin Jaramillo – Drums

SÖNUS „Planes of Torment“ Tracklist
01 – Pagan Woman (Video bei YouTube)
02 – Heart of Stone
03 – Saturation Diver
04 – Sisyphus Stomp
05 – Scorpio
06 – Phoenix
07 – Planes of Torment

Source: Vampster

Mit „Häxen“ wird am 13. März 2026 via Non Serviam Records das neue Album der Black Metal-Band ALKHEMIA erscheinen. Es ist nach „Abraxas“ (2024) das zweite Album der Franzosen aus Lille. Produziert wurde das Album von Bassist A.S.A (AZZIARD, PATHS TO DELIVERANCE, Ex-THE NEGATION). Mit „Prekonition“ gibt es nun die erste Vorab-Single.

ALKHEMIA Line-Up:
James Spar – vocals
LePrince – guitars
Thomas Fontaine – guitars
A.S.A – bass, vocals
Alex Josien – drums

ALKHEMIA „Häxen“ Tracklist
01 Zeitgeist
02 Excressence
03 Hissing Ratz
04 Prekonition (Audio bei YouTube)
05 Stars and Frozen Faces
06 Nonsense
07 Remnants

Source: Vampster

Die Avantgarde Death / Experimental Dark Metal-Band DISORIENTATION hat mit „The Pact“ eine neue Single veröffentlicht. Die Stand-Alone-Single untersucht die schnelle Entstehung intensiver Beziehungen und die dunklen Untertöne, die damit einhergehen können.

„Es geht um Menschen, denen man begegnet und denen man sehr schnell nahekommt. Wenn sich eine Bindung entwickelt, kommt eine dunkle Seite zum Vorschein. Ist die Verbindung wirklich so positiv, wie sie zunächst schien? Und wohin kann sie führen?“, fragt Sängerin Marie-Claude Fleury.

Davor hat die kanadische Band aus Montreal mit „Disorientation“ (2021) und „Survival Mode“ (2023) zwei EPs veröffentlicht.

DISORIENTATION Line-Up
Daniel Daris – Bass and Dirty Semi-Acoustic Rhythm Guitar
Marie-Claude Fleury – Lead and Backing Vocals, Oboe and Noise
Laurent Bellemare – Drums and Backing Vocals
Samuel Arseneau-Roy – Lead and Rhythm Guitar

DISORIENTATION „The Pact“ (Lyric-Video bei YouTube)

Source: Vampster

Die Modern Metal / Metalcore-Band KINGSPHERE hat nach dem Video-Clip zu „Archetype„, dem Lyric-Video zu „Rage-Revenge“ und dem Video zu „The Cursed Epitaph“ (der Track beschäftigt sich mit Themen wie dem Leben nach dem Tod, der Suche nach Verstorbenen und der Sehnsucht, in ihre Welt überzugehen) mit dem TRIVIUM Cover „The Heart From Your Hate“ eine weitere Single von ihrem kommenden Album „Inertia“ veröffentlicht.

„Inertia“ wurde von Marek Kula und Kamil Sikorski produziert. Release-Termin ist der 13. März 2026. Zuvor haben die Polen zwei Alben veröffentlicht.

KINGSPHERE Line-Up
Maciej Sobieski (Drums)
Kamil Sikorski (Guitar/Vocals)
Piotr Miliczek (Vocals), Marek Kula (Guitar)
Paweł Kawalec (Bass)

KINGSPHERE „Inertia“ Tracklist
01. Archetype (Video bei YouTube)
02. In The Name Of Your Defeat
03. Rage-Revenge (Lyric-Video bei YouTube)
04. Illusionist
05. Diabolic Nest
06. Bloodeyed
07. Hollowsphere
08. Psychosis
09. Negation
10. Parasite
11. A Nightmare’s Home
12. The Cursed Epitaph (Video bei YouTube)
13. The Heart From Your Hate (TRIVIUM cover) (Audio bei YouTube)

Source: Vampster

Die Death / Thrash Metal-Band BATTLEGRAVE hat mit „Enslavement“ ein neues Album angekündigt. Es ist nach „Relics of a Dead Earth“ (2018) und „Cavernous Depths“ (2022) das dritte Album der Australier und wird am 10. April 2026 erscheinen. Vorab gibt es mit „Bonesaw“ einen Video-Clip.

„Der Track taucht tief in die Welt der Zerstückelung ein und konzentriert sich auf die Entwicklung medizinischer Instrumente in der forensischen Pathologie“, sagt die Band.

„Enslavement“ wurde von Tim Shearman gemixt und von Logan Mader gemastert. Als Session-Drummer stand Robin Stone (NORSE, ASHEN HORDE) zur Verfügung.

BATTLEGRAVE Line-Up:
Rohan Buntine – Vocals, Lyrics
Clint Patzel – All Strings

BATTLEGRAVE „Enslavement“ Tracklist
1) Soul Chasm
2) There Is Only Death
3) Bonesaw (Video bei YouTube)
4) Eyes Of Enslavement
5) Venom
6) The Grand Machine Of Despair
7) Asylum
8) Marked By Evil
9) Under The Banner We March
10) US Outpost 31

Source: Vampster

ATLAS präsentieren nach „Altar Of Your Love“ mit dem Lyric-Video zu „Tower“ einen weiteren Song ihres neuen Albums „Sunder“:

Zuvor teile die Band“Coven Of Two“ als erste Single.

Das drittes Album der finnischen Nu Metal Band erschien am 20. Februar 2026.

Gemischt und gemastert hat „Sunder“ Buster Odeholm.

ATLAS Line up:
Patrik Nuorteva – vocals
Tuomas Kurikka – guitar
Leevi Luoto – guitar, backing vocals
Aku Karjalainen – drums
Kevin Apostol – bass

ATLAS „Sunder“ Tracklist
1. Sermon of the Dying Light
2. Tower (Lyric-Video bei YouTube)
3. Salt and Sulfur
4. I Whisper Your Name Like a Curse
5. Coven of Two
6. Altar of Your Love
7. Anodyne
8. Sunder

Source: Vampster

Die Melodic Rock-Band KISSING KAOS hat mit „To Your Limit“ ein neues Album angekündigt. Es ist das erste Album der US-Amerikaner aus Atlanta und wurde von Andy Reilly bei Muse Productions produziert. Release-Termin ist der 1. Mai 2026 via Mighty Music.

Nach der Debüt-Single „Chaos Inside“ ist zuletzt auch die Single zu „Yesterday’s Kids“ erschienen.

„‚Yesterday’s Kids‘ handelt von rebellischen Teenagern, die nie das Feuer verloren haben, das sie ursprünglich dazu gebracht hat, sich in die Musik zu verlieben“, kommentiert Sänger Joe Flynt. „Der Song ist für alle, die dazu beigetragen haben, die Szene aufzubauen, die Flamme am Leben zu erhalten und sich geweigert haben, Rockmusik zahm oder vorhersehbar werden zu lassen.“

KISSING KAOS Line-Up:
Joe Flynt – vocals
Brian Jung – drums
Jon Lansburg – guitars
Chris Taylor – bass

KISSING KAOS „To Your Limit“ Tracklist
1. Hey Sugar
2. Tear It Down
3. Heartache And Scars
4. Can’t Fake Me
5. To Your Limit
6. Breakthrough
7. The Joker
8. Chaos Inside (Video bei YouTube)
9. Yesterday’s Kids (Video bei YouTube)

Source: Vampster

Die Celtic Punk-Band NO MURDER NO MOUSTACHE hat mit „As Everything Else Decays“ ein neues Album angekündigt. Auf seinem neuen Album befasst sich Owen Crawford mit korrupten Regierungen, Antifaschismus, psychischen Problemen, Verlust und schlechten Entscheidungen – allesamt voller Hoffnung –, sowie mit den Absurditäten des Alltags.

„As Everything Else Decays“ wird am 27. Februar 2026 erscheinen. Vorab gibt es nach „A Demon In The Dark“ mit „Wasted“ nun einen weiteren Video-Clip.

NO MURDER NO MOUSTACHE „As Everything Else Decays“ Tracklist
1. Intro (A Moment Of Reflection)
2. A Demon In The Dark (Video bei YouTube)
3. Dic Penderyn
4. Sending The Soldiers In
5. Wasted (Video bei YouTube)
6. Collateral Damage
7. As Darkness Falls
8. Tested On Animals
9. Celtic Skies
10. Never Again
11. One More Round
12. Second Chance
13. Raise Your Glasses
14. Grey Tracksuit (bonus track)

Source: Vampster

A cataclysm is not merely destruction. It is a rupture — 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 prophecy; it is presence.

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.

01 — Cataclysm

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.

02 — Naiad
“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.

03 — Whiteout
“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.

04 — Ghostbird
“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.

05 — Ashes
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.

06 — Dawn
“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.

07 — The Spire
“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.

08 — Serpentsmile
“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.

09 — Human
“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.

10 — Happy Endings
The closer 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.

III. Interview: 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, Annihiliation 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.

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.

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 descriptio,n 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!§

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 set 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

Cataclysm was built for movement — not just the private kind, but the collective kind: bodies syncing in a room, pressure turning into pulse. Now Zanias carries the album into 2026 with a newly announced European tour, joined on select dates by Korine. The run 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:

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The post Zanias Cataclysm Review and Inteview appeared first on Post-Punk.com.

Source: Post-Punk.com

Somewhere around 2:17 a.m., when the radiator starts clanging and the ceiling shadows develop opinions, Toronto’s TRAITRS drops Dream Drowning like a bucket of cold water over your head. You jolt upright. Good. You were getting too comfortable.

This is the last single before the release of their long-awaited new album, Possessor, and it plays like a curtain call delivered with a clenched jaw. The drums thud with that stern, marching insistence — heart as hammer — while the synths smear across the room like fog from a faulty machine in a basement club that smells faintly of clove cigarettes and spilled beer. Sean-Patrick Nolan’s sequencing keeps everything taut; Shawn Tucker’s voice hangs low and level, as if reporting from inside the dream rather than describing it. Sleep becomes suspect. Memory mutates. The bed turns into a trapdoor.

Dream Drowning sits, as the band describes it, “at the emotional core of the record — restrained, atmospheric, and deliberately unresolved.” It deals in repetition: the daily loop, the déjà vu that feels less mystical and more municipal. Wake up. Scroll. Work. Repeat. The horror isn’t theatrical; it’s the dull flicker of fluorescent. There’s a sense of being “standing on the outside edge of the world looking in,” as Tucker puts it — never quite inside the dream, never fully awake either.

For Tucker, the song cuts close. “In my experience I’ve never remembered my dreams,” he explains. “Instead, I’m left navigating other people’s experiences, stories and trying to understand how it feels to dream.” In Dream Drowning, that absence becomes part of the nightmare itself: “It’s the horrors of my life set on an endless loop, reoccurring over and over again.” The refrain circles like a street you swear you’ve already walked down. The repetition isn’t hypnotic — it’s existential.

Written during what the duo describes as a period of “profound life changes and depression,” Possessor approaches new wave as emotional language rather than aesthetic exercise. Recorded at Toronto’s Wychwood Studios with Josh Korody — in between relentless touring schedules — the album prioritises mood and lyric clarity over spectacle. The bassline prowls. The guitars cut clean and quick. Matt Colton’s mastering gives the record a sleek steel sheen, compressing nothing that doesn’t deserve it.

The album was shaped during bleak winter months, staring out at storms and confronting mortality, alienation, and the temporary nature of existence head-on. It asks difficult questions about what anything means when we’re gone, about watching everything erode and wondering if any of it mattered. “There’s a lot of anger, beauty, and sadness on the album,” the band reflects. “I want to feel that someone is holding you when you’re cold, sad and alone in the dark.” It’s therapy by admission — Tucker calls it the most personal record he’s ever written.

And if Dream Drowning is the entry point, it’s a stark one. Tucker admits, almost offhandedly, about his dreaming, and death, “To be honest, I prefer not to remember — it’s how I think my death will be… black.”

Listen to Dream Drowning below and stream it elsewhere here.

TRAITRS have been at this for over a decade — from bedroom tapes to festival stages across continents — and the experience shows. The hooks land with intent. The frame is broader, the edges cleaner. And if Dream Drowning is the final glimpse before Possessor, take it as a warning flare: sleep as a battleground, routine as ritual, and the subconscious as a weight pressing against your ribs in the dark.

Put the album on late. Let it rattle around the room. If you wake up feeling slightly displaced from your own life, well… that may be the point.

Possessor releases March 13, 2026.

Order the album here

To celebrate the release of Possessor, TRAITRS will take the record across two continents in 2026, beginning with a spring European run before returning home for an extensive North American tour. The EU/UK dates now launch in Dublin on 20 March and continue through Germany, Switzerland, and festival appearances in June and July, including Castle Party in Poland. The North American leg kicks off on home turf in Toronto on 13 March and culminates in Ottawa on 16 May.

TRAITRS — Possessor North American Tour:

13 March — Toronto, ON — Lee’s Palace
14 March — Montreal, QC — Bar Le Ritz
14 April — West Palm Beach, FL — Respectable Street (w/ She Past Away)
15 April — Tampa, FL — The Orpheum (w/ She Past Away)
16 April — Dallas, TX — Ferris Wheelers (w/ She Past Away)
17 April — San Antonio, TX — Paper Tiger (w/ She Past Away)
21 April — Seattle, WA — The Crocodile (w/ Lebanon Hanover)
22 April — Portland, OR — Crystal Ballroom (w/ Lebanon Hanover)
24 April — Salt Lake City, UT — Metro Music Hall (w/ Lebanon Hanover)
26 April — Los Angeles, CA — The Roxy
29 April — Las Vegas, NV — Swan Dive (w/ Lebanon Hanover)
30 April — Phoenix, AZ — The Marquee Theater (w/ Lebanon Hanover)
1 May — Denver, CO — TBA
5 May — Chicago, IL — Sleeping Village
6 May — Indianapolis, IN — Spellbound Indy
7 May — Detroit, MI — Small’s
8 May — Columbus, OH — Ace of Cups (w/ Ultra Sunn)
9 May — Pittsburgh, PA — Spirit (w/ Ultra Sunn)
11 May — Richmond, VA — Fallout
12 May — Philadelphia, PA — Johnny Brenda’s
13 May — Brooklyn, NY — Elsewhere
14 May — Boston, MA — Middle East (Upstairs)
16 May — Ottawa, ON — House of Targ

Possessor EU, UK, and Ireland Tour:

5 February 2026 — Denmark — Copenhagen — Rust
7 February 2026 — Germany — Braunschweig — Stereowerk
8 February 2026 — Netherlands — Grauzone Festival
20 March 2026 — Ireland — Dublin — Whelan’s
21 March 2026 — UK — Morecambe — Corrosion Fest 2026
22 March 2026 — UK — London — 229 Club
24 March 2026 — France — Toulouse — Dada
26 March 2026 — Germany — Bremen — Lila Eule
27 March 2026 — Germany — Hamburg — Markthalle (LH Support)
28 March 2026 — Germany — Leipzig — Felsenkeller (LH Support)
29 March 2026 — Germany — Oberhausen — Kulttempel
31 March 2026 — Germany — Karlsruhe — Die Stadtmitte
1 April 2026 — Germany — Göttingen — Exil
3 April 2026 — Switzerland — Zürich — Xtra Schwarze Ball 2026
7 April 2026 — Germany — Jena — Rosenkeller
8 April 2026 — Germany — Hannover — Lux
9 April 2026 — Germany — Frankfurt — Nachtleben
10 April 2026 — Germany — Übach-Palenberg — Rockfabrik
11 April 2026 — Germany — Bielefeld — Movie
19 June 2026 — Germany — Meschede — Live Am See 2026
27 June 2026 — Belgium — Ieper — Pekkerfeesten 2026
16–19 July 2026 — Poland — Bolków — Castle Party

Follow TRAITRS:

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Apple Music

The post Toronto Coldwave Duo TRAITRS Sink Beneath the Quiet Horrors of Life in “Dream Drowning” appeared first on Post-Punk.com.

Source: Post-Punk.com

Source: Vampster

Source: Vampster

Source: Vampster

Vor einiger Zeit haben wir an dieser Stelle angekündigt, dass mit 'Insha' von 'This Morn’ Omina' „49 Minuten Fokus, kein Ballast“ ins Haus stehen. Eine Ansage,...

Source: MedienKonverter

Lucy Kruger und ihre verlorenen Jungs gelten trotz ihrer bisher veröffentlichten sechs Alben immer noch als Geheimtipp und vielleicht ändert jetzt Album Nummer Sieben bzw. „Pale Bloom“ an diesem Status etwas. Die Bandchefin ist ja an sich schon eine recht herbe Erscheinung, was mich sofort an eine junge PJ Harvey erinnert und die ebenso spröden 11 neuen Songs folgen genau dieser Fährte. Als Tender Noise bezeichnet die Band inzwischen selbst ihren Sound, der irgendwo in der Grauzone zwischen Kammerfolk, Noise und Post Rock umher schlingert, was es eigentlich auch ganz gut trifft. Über allen schwebt sehr dominant die brüchige Stimme von Lucy Kruger, die mal weit weg und dann doch wieder ganz nah ist. Vielleicht empfehlen sich Lucy Kruger & The Lost Boys mit „Pale Bloom“ für das nächsten Wim Wenders-Roadmovie, denn das Zeug dazu haben sie auf jeden Fall, was ja auch schon THE UNDERGROUND YOUTH und die SWANS festgestellt haben, auf deren letzten Werken Lucy Kruger mitgewirkt hat! (Marco Fiebag)

Source: BLACK Onlinemagazin

Die ukrainische Atmospheric Black Metal Band DRUDKH kündigt ihre kommende EP „Thaw“ mit der Veröffentlichung der Lead-Single „Memory“ an. Die neue EP entstand während derselben Sessions wie „Shadow Play“ aus dem Jahr 2025 und ist eine direkte Fortsetzung der emotionalen und thematischen Landschaft dieses Albums. „Thaw“ erscheint am 24. April bei Season of Mist.
Pre-order & pre-save: https://orcd.co/drudkhthaw

 

Source: Amboss-Mag.de

Die deutsche Melodic Death Metal Band ABROGATION präsentiert ihre zweite Single „Spieglein, Spieglein“ aus dem kommenden Studioalbum „Widerschein“, das am 10. April über Massacre Records erscheinen wird.
Listen: https://save-it.cc/massacre/spieglein-spieglein

„Spieglein, Spieglein“ ist der erste von drei Songs auf „Widerschein“, bei denen die bemerkenswerte Gastsängerin Jyl mitwirkt, deren ausdrucksstarke und eindringliche Performance dem Sound der Band eine dramatische neue Dimension verleiht. Ihre stimmliche Präsenz vertieft den inneren Dialog, der das Herzstück des Songs bildet, und schafft einen packenden Kontrast zwischen Zerbrechlichkeit und Grausamkeit.

 

Source: Amboss-Mag.de

Hocico haben ein neues Album angekündigt und direkt die Single "Dark Paradigm" daraus ausgekoppelt. Mehr Infos und den Track im Stream hier!

Source: Sonic Seducer

Am 10. April 2026 veröffentlichen ABROGATION  ihr neues Album „Widerschein“. Nun hat die Band auch ein Lyric-Video zu „Spieglein, Spieglein“ geteilt:

 

Mit einem Video zu „Morgenrot“ stellte die Melodic Death Metal-Band im Januar einen ersten Song daraus vor:

 

Die meisten Songs schrieb die Band während der Covid19-Pandemie. Ricardo Borges und Jens Bogren haben das Album gemischt, das Mastering kommt von Tony Lindgren.

 

ABROGATION „Widerschein“ Tracklist

1.  Anbeginn
2.  Puppenspieler
3.  Kleiner Mann
4.  Morgenrot (Video bei YouTube)
5.  Der Nimmersatt
6.  Spieglein, Spieglein (Video bei YouTube)
7.  Nur weil ich es sag‘
8.  Aus Einem hab ich Zwei gemacht
9.  Gegenwind
10. Die letzte Sinfonie

 

ABROGATION-LINE-UP

Benny – Gesang
Poldi – Gitarre
Kutte – Gitarre
RW – Bass
John Doe – Schlagzeug

 

Source: Vampster

Gut zehn Jahre war Daniel Kubinski  mit THE CROSSES quasi als DIE KREUZEN-Tribute-Band aktiv. Jetzt veröffentlicht er unter dem Bandnamen THE CROSSES eine EP: „Outlier“ erscheint am 17. April 2026 und beinhaltet neben vier eigenen Songs je eine Coverversion von HÜSKER DÜ und DIE KREUZEN.

Neben Daniel Kubinski (ex-DIE KREUZEN) gehören Gitarrist Jim Potter (DR. SHRINKER), Bassist Christopher Ortiz (MAGNETIC MINDS / SPEED FREAKS) und Drummer Jesse Sieren(Big Laugh) zur aktuellen Besetzung von THE CROSSES.

THE CROSSES „Outliar“ Tracklist & Cover
1. Nails
2. Hate Market
3. Nychthemeron
4. Natronium
5. Man In The Trees (DIE KREUZEN Cover)
6. I’ll Never Forget You (HUSKER DU Cover)

Source: Vampster

Am 24. April 2026 bringen TERROR ihr zehntes Studioalbum raus: „Still Suffer“ erscheint via Flatspot Records.  Zum Titelsong gibt’s schon jetzt ein Video.

„Wenn man all seine Laster ablegt und versucht, ein klareres Leben zu führen, beginnt der wahre Kampf. Es gibt keine Ausreden mehr, sich vor sich selbst zu verstecken. ‚Still suffer to return harder‘ fasst die letzten Jahre meines Lebens und dieses Albums zusammen“, sagt Sänger Scott Vogel über den Song.

„Still Suffer “ entstand in Zusammenarbeit mit  Gemeinsam mit Produzent (und ehemaligen TERROR-Gitarristen) Todd Jones und Taylor Young , der Mix ist von  Jon Markson und das Mastering von Brad Boatright bei Audiosiege.
Gastvocals stammen von Jay Peta von MINDFORCE , Brody King von GOD’S HATE und Dan Seely von KING NINE “ sowie Chuck Ragan von HOT WATER MUSIC, d

 
TERROR Lineup 2026: 

Scott Vogel – vocals
Martin Stewart – guitar
Jordan Posner – guitar
Nicholas Jett – drums
Christopher Linkovich – bass

 

TERROR  Festival-Tour 2026

30.07.2026 Löbnitz, Full Rewind Festival
12.08.2026 Dinkelsbühl, Summer Breeze Open Air
13.08.2026 Sulingen, Reload Festival
14.08.2026 Villmar, Tells Bells Festival

TERROR „Still Suffer“ Tracklist & Cover
Erase You From My World
Still Suffer (Video bei YouTube)
Promised Only Lies
Destruction Of My Soul
Fear The Panic
Death Of Hope
Beauty In The Losses
A Deeper Struggle
To Hurt The Most

TERROR – Löwensaal, Nürnberg – 15.11.2025 – Konzertfotos
 

Source: Vampster

Die Neue Deutsche Härte ist inzwischen alt genug, um entweder zur eigenen Karikatur zu werden – oder sich neu zu erfinden. Seit den späten Neunzigern steht das...

Source: MedienKonverter

Ihr wollt Sonic Seducer bequem nach Hause geliefert bekommen, aber nicht gleich ein Abo abschließen? Wie wäre es mit dem Sonic Seducer Probe-Abo? Zum Vorzugspreis von 14,99 Euro erhaltet Ihr zwei Ausgaben und Prämien zu Depeche Mode, Subway To Sally und Placebo!

Source: Sonic Seducer

Die ehemalige The Gathering-Frontfrau Anneke van Giersbergen hat einen neuen Song veröffentlicht und ihre neue EP "La Mort" angekündigt. Mehr Infos und das Musikvideo zu "Red Sky" hier!

Source: Sonic Seducer

Knust, Hamburg, Germany19th February 2026Universum25 - “Die Maschinen wollen leben” Tour 2026 - Support: SOABHamburg became the starting point of UNIVERSUM25’s “Die Maschinen wollen leben” Tour 2026 - and what a powerful beginning it was. As the first city on the tour schedule, the Hanseatic metropolis carried a special weight: not only did it mark the live launch of the new album ‘Die Maschinen wollen leben’, released just days ago, but it also set the tone for the entire German run.

Source: Reflections of Darkness

Manchmal sind es nicht die Releases mit Marketingbudget, Promo-Offensive und fünfstelligen Followerzahlen, die spannend sind. Manchmal sind es genau die Projekte, die mit zwei Instagram-Posts, vier Followern...

Source: MedienKonverter

Das Team von KAD Konzertagentur Dresden kündigt an: Am 5. Juli 2026, fast auf den Tag genau drei Jahre nach ihrer gefeierten Show an gleicher Stelle, werden HURTS vor der Kulisse der monumentalen Festung Königstein in Sachsen eine Show spielen. Und wie es derzeit aussieht, ist es das einzige Konzert 2026 in Deutschland.
Weiterlesen …

Source: Hell Zone