Norwegian alternative rock band Seigmen just released “Så nært”, the third and final single leading...

Source: Side Line

US-based darkwave/EBM duo Ghostbells have signed to Berlin label Out Of Line Music for the...

Source: Side Line

Junkyard Open Air, Dortmund, Germany 22rd August 2025Kettcar - “Gute Laune Ungerecht Verteilt Sommer 2025” Even though their current studio album, ‘Gute Laune ungerecht verteilt’, topped the German album charts upon its release in April 2024 as the first KETTCAR album ever to do so, and was extensively promoted on tour immediately after its release, the Hamburg quintet is not deterred from adding about ten more concerts in Switzerland, Austria and, of course, Germany in the summer of 2025. We were in Dortmund for their open-air performance at the beautiful Junkyard venue to see them once again before the well-deserved break the band will take after completing their summer tour.

Source: Reflections of Darkness

  Distortion Productions has announced two new releases this September, one being a collaborative maxi-single from NØIR and Silver Walks, the other presenting the latest collection from Metamorph. [..]

Source: RE:GEN Mag

  Ritchard F. Napierkowski has certainly not stood idle in the 14 years since subNatural’s last release, working in various production, instrumental, and remix capacities for the likes of Adoration Destroyed, Dread Risks, The Nimbus, and Bloody Knives. Now, he has joined forces with Abel Autopsy to revive the industrial/rock band, releasing “Was It?” [..]

Source: RE:GEN Mag

With the new single “Pop the Smoke”, Skold looks deep into the darkness. We have probably never heard Swedish musician, producer and multi-instrumentalist Tim Skold sound so melancholy. Skold began his career back in the late 1980s with Shotgun Messiah, was later part of Marilyn Manson and began his solo career almost 30 years ago. […]

Source: Orkus

On August 29, 1989 – exactly 36 years ago to the day – Depeche Mode released the single “Personal Jesus”. Did you already know these 5 facts? ★ According to Martin Gore, the song “Personal Jesus” is about the relationship between Elvis and Priscilla Presley. As her mentor and husband, Elvis was like a god […]

Source: Orkus

  The Organist Collective is rapidly building up an impressive roster of collaborators with August 27 seeing the release of the band’s latest two singles, “Shadow on the Run” and “Heaven Knows,” both of which feature production by Jason Corbett (ACTORS). In contrast to the more darkly electronic and post-punk sounds of previous releases [..]

Source: RE:GEN Mag

Nach dem Erfolg ihres letzten Albums „A Dream Of Wilderness“ (2021) schlägt die melodische Death Metal Band AEPHANEMER aus Toulouse erneut zu: Ihr viertes Studioalbum „Utopie“ soll am 31. Oktober 2025 über Napalm Records erscheinen.
Album-Preorder: lnk.to/AephanemerUtopie/napalmrecords

Heute hat das Trio die erste Single „La Règle du Jeu“ veröffentlicht mit rasendem Tempo, fleischfressenden Growls von Frontfrau Marion Bascoul und einer epischen Balance aus Death Metal und klassischen Einflüssen.

The band comments:
„We’re really proud of La Règle du Jeu – it’s one of the most energetic and catchy songs on the album, and we feel it captures the balance we’ve been aiming for between our favorite melodic death metal influences and classical music arrangements. We hope listeners will like it!“

 

Source: Amboss-Mag.de

Die Industrial Metal Legenden DIE KRUPPS haben die Veröffentlichung einer exklusiven Tour-EP angekündigt. Dieses handnummerierte Sammlerstück mit dem Titel „Will nicht – MUSS! / On Collision Course“ wird von der genreübergreifenden Band auf ihrer bevorstehenden 45-jährigen Jubiläumstour angeboten. Die Tour hat am 27.8. im DVG Club in der berühmten belgischen mittelalterlichen Stadt Kortrijk begonnen.
https://www.diekrupps.com/tour

Die EP „Will nicht – MUSS! / On Collision Course“ enthält Gastbeiträge und Remixe von prominenten Mitgliedern von MINISTRY, mit denen DIE KRUPPS gerade durch die USA getourt sind. Als ersten Vorgeschmack auf die EP sowie das kommende neue Album haben die Deutschen die Vorab-Single „On Collision Course“ veröffentlicht, die ab sofort über Dependent Records auf allen digitalen und Streaming-Plattformen erhältlich ist.

 

Source: Amboss-Mag.de

I decided to take the shorter way
A brighter day is leading me to
Find my people, upon the dawn
Souls astray, the light is gone
Hamburg’s Joy Forever arrives drenched in stormwater, carrying with them the thunder of their new single City of Rain. The track moves like a sudden downpour upon glass and concrete: fast, merciless, gleaming with flashes of danger and possibility. It seethes with guitars that grind against pounding drums, a rhythm section that pushes forward without pause, until the whole edifice collapses into an industrial haze.

City of Rain is the kind of song that feels like a night remembered through fractured glass. The words conjure streets awash in corrosion and futility. A city tries to wash itself clean, yet the stains of humanity’s residue remain embedded in every surface. There is an awareness of ruin, but also of kinship: “souls astray, the light is gone, but I’ll wait.” In those words, faith lingers among alleys and rain-slick corners, searching for silence, for the beauty in stillness. The ruin is deliberate, the finale abrupt, the sensation closer to the city at midnight than a song on tape.

“This song came together quickly, without much overthinking or twisting around, and was nearly instantly accepted among the whole band, which means a lot,” explains vocalist and guitarist Mikolas Rendl. “Inspired by the grim backstreets of our hometown — shady corners that rot, shrouded in darkness yet shine in daylight. It’s a punch in the chest and light at the end of the tunnel. We love it.” His words reveal the tension at the heart of the track: decay that still gleams, corruption that hides glimmers of grace.

The production sharpens that vision. Recorded in Brighton with Theo Verney (English Teacher, Lime Garden), and finished at Metropolis Studios under the hand of Felix Davis, the piece is as precise as it is feral. The Brighton sessions grant it immediacy, a closeness that feels unflinching.

Visually, the band promise more. A performance video shot by Philipp Hartinger below deck on a ship captures the track’s airless weight. A vessel adrift, steel walls enclosing a storm…such a setting amplifies the song’s claustrophobic edge, as though the city itself had set sail with nowhere to go but further into rain.

Watch the video for “City of Rain” below:

Listen to City of Rain below and order the single here.

City of Rain by Joy Forever

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The post Hamburg Post-Punk Outfit Joy Forever Rain Down Fury in Their Video for “City of Rain” appeared first on Post-Punk.com.

Source: Post-Punk.com

Throw our future into the ocean
Cast out anger
Cast out fear
Let the gods of the deep purest love appear
Creating a fervent following since its debut release, Kiss + Swallow in 2004, Chris Corner’s musical project IAMX has been a tour de force in the realm of DIY artistry with ten studio albums, scores of music videos, and remix releases. Deftly avoiding easy classification, IAMX spans genres and explores both the individual and collective challenges and spectacles of humanity, often probing his own experiences to curate deeply personal lyrics and musical compositions. 

With an extensive tour schedule of 27 dates over six weeks, Corner will be joined by longtime IAMX live members Janine Gezang and Jon Siren (Psyclon Nine, Skold, Front Line Assembly) as well as Sarah Pray (Carrellee). Corner and Gezang have also collaborated on HEADNOISE since 2019, a project that creates gatherings fostering dialogue around a range of topics relating to mental health and held both online as well as in-person at Corner’s Southern California home, and before IAMX performances, with all gatherings recorded and available online. From the dynamic live shows to HEADNOISE and the level of connection Corner maintains with the IAMX community, it is easy to see how IAMX has enjoyed such a dedicated following and the longevity of over 20 years producing music.

Chris Corner spoke with Post-Punk.com ahead of his upcoming Fault Lines² North American Tour about the firsts of this tour, the unique issues emerging for artists with the rise of AI, the role of vulnerability and obsession in creativity, and what Corner would add to an IAMX mixtape.

For the upcoming tour, I was surprised to see that this will be your first time performing as IAMX in New Orleans at Santos Bar.

I don’t know if it’s the money thing, the scene thing, it could just be a practicality thing, or it could just be bad luck that it never really happened—even with Sneakers, the previous band, it never fell into place. Everybody would talk about it and say how incredible it was. It could be the niche that I’m in is a little bit less covered in that area. I don’t really know much about it but everybody seems very excited about it and I’m starting to get excited about it, too, now.

I think New Orleans has an appreciation for all types of music. Its the kind of place where people can wander the streets and pop into a bar to sit down and listen to whoever it is that happens to be playing. It’s easy to become totally engrossed in the moment in a place like that.

That’s very exciting. I’ve heard a lot about that free, open-minded attitude and all types of freaks and I like that. I’ve had that in a few different places and I do love that about cities that have that intense freedom feeling. Berlin is like that. So to have it in the States is going to be interesting.

I wonder if you’re going to feel similarly to the way you did about Berlin when you get to that show in New Orleans, that similar sense of beauty in the decay with the past seeping into the present and topped with people’s hopes for the future.

I can sense that and it’s very attractive to me. When I enter cities or places like that I do want to plant myself and be part of the evolution because you feel like you can be part of it in a place like that, or you can get involved in growth in a natural way as opposed to just pumping the place full of money. I can see how Berlin is a little bit more gentrified these days but it’s not over, it’s still a beautiful city. There’s definitely a lot of freaks out here [in Southern California] in the sense of true freaks and I don’t know, I find it magnetic. I grew up totally working class, zero money and hope and all that kind of stuff and yet there was also a real beauty to the attitude, so whenever I am around that, it’s very grounding. I know it’s weird because there’s also some weird criminal shit going on and yet I’m still attracted to it. I don’t know why that is, but it’s still there.

IAMX Live. Photo by Kris Sulekova
Your desert oasis Silent Valley Studios is one part studio, one part gathering point for the IAMX community. How has it evolved since you first relocated to this space and what has it taught you about community as well as your relationship with your work? 

It’s a quiet time right now, so in a way it’s come full circle. It’s come back to being quite solitary here. I started with a lot of big plans and actually put a lot of it into motion and a lot of life stuff said ‘no’ to it. I’m still hopeful to make a lot of it happen but I’ve had to rethink my time scale. I’ve learned a big lesson. I tried to jump into it, you know, it was post-Covid, everybody’s going fucking wild and minds were all over the place, as was mine. It’s beautiful right now, it’s very calm and I feel stable and good and ready to really lean into what I was trying to do. I think I got it wrong and I think I now know why.

You’re describing a vulnerable part of the creative process when you try and stumble.

It is, on a life scale. It’s like, rather than just one song or one piece of art, it’s a whole phase of my life that even though I had the best of intentions and felt like I was doing it skillfully, I didn’t navigate that very well.

It sounds like you’re going into a new chapter with this space.

There’s so many moving parts we’d need to talk a whole day about it. But in terms of just skimming the surface, there’s a real unmasking that I’m doing now in many aspects of my life: autism, relationships, polyamory, things like that are just coming to the surface that have been touched upon but not fully explored. It’s a very exciting time for me but I’m not there yet. So you’re catching me at an interesting moment, a transitional moment.

It seems like there are so many crosswinds blowing, it’s difficult to know what’s worth investing our energy and time into, because you don’t want to invest in something that won’t grow. I think this is connected to the digital revolution we are living through right now. Bringing people together, even if it’s only through a digital platform like Zoom, is a great use of energy, and I see your project HEADNOISE doing this.

Absolutely. We are resonating here. This is exactly what I’m feeling plus life events that have fast-tracked that. I feel the cultural shift, too, and it’s probably subconsciously AI poking at our deepest human fears that we’re all going to become redundant.

IAMX Live. Photo by Kris Sulekova
As a performer, how have you seen culture change since the rave scene of the 90s when you were in Sneaker Pimps, and do you now see a blurring of genre lines or more edges around them? In other words, do you think we’re in a place where music genres have become more crystallized or genres have instead become blurred or hybridized?

It’s so difficult to pin down all of those things that you’re talking about. I flip-flop between everybody just wants authenticity and at least we’re still flesh. You know, at least we can still go into a room and be tribal with each other. Is that all we have left? I don’t know, because you also described the benefits of communicating digitally and there is that. Some lonely people may want to connect and can connect on a totally different philosophical level than has ever been possible. So there are so many different facets to it. I think it would be naïve to say we’re all going to be chopped and AI is going to provide everything because there’s so many different parts of culture and society that do want different things or will tolerate different things. I think if you take my audience, they probably wouldn’t tolerate inauthentic things but then there’s also the convenience of certain things. As an artist, do I spend a month slogging away at making a great video or great piece of visual art for it to not be seen or for it to be seen as AI or to be second-guessed or questioned or for it to just be a part of a reel that no one really cares about because the attention span is so tiny? What is that? I think we have to look at culture rather than just the artistic process and that’s the difficult part. If we can’t second-guess anything, all we can do is lean into what we feel has meaning. I feel like it changes so often, I know we all still feel like we want music, we all want physically to dance. We want to connect. The next generation may see that in a different way but it’s still biology, right? It’s still physical, at least for now. That might change as the brain gets rewarded in different ways. It’s mind blowing but I can’t deny that there’s a certain excitement to the idea. For instance, I would be lying if I said it’s not exciting that I could possibly not have to go to a photo shoot, spend loads of money on it, and somebody could take my likeness and do it. It sounds gross, but there is a little part of me that thinks that might just make my life easier, actually, and I could get on with the stuff that I think is more meaningful. I don’t know, I still feel there is room for true, authentic human art expression, maybe in conjunction with AI or maybe not. Maybe people start to be able to discern and there’s just two genres, AI and human.

So the record store is going to be the AI section and the human section? No more rock and pop, no more world, no more jazz.

Possibly, and with AI you can get so specific. It could be genre-less or it could make a new genre. It could also be boundless in terms of how it could express itself.

You strike me as someone who’s never attached yourself as IAMX to a single genre; you’re in the liminal space of genres. Do you agree with that sentiment or do you see it differently?

I do. There’s a certain part of me that’s quite contentious. It annoys me that one can be so frivolous with one’s perception of something. So yes, they may hear something and go, oh, that sounds a bit like darkwave or goth, or it sounds a bit rock or electronic. Fair enough, that’s fine if you’re moving through it in passing, but it always felt annoying because humans are so multi-dimensional. If I think of a person in a band that we all know like The Cure, I just think of their lives, I think of the whole package, what their philosophies are or what did they like to eat? Yes, there’s the music, but it’s just part of their expression. I’m more interested in the human and that’s where the genre thing always annoyed me because if I like something, I want to know more about the human creating it and not where it fits in a nice package. So I guess maybe I’ve subconsciously been aware of that and try to avoid certain genres, but I haven’t been fully aware that I’ve been doing that. I just react to what I think is valuable at the time and what I can achieve as well. It’s not like I feel like I can do everything, I just do what I can do. I can do me and me is this thing which is multidimensional. Maybe it sounds a bit like this or that or whatever, but that’s all I can do. Being in the music industry and coming out the other side and finding IAMX is the point where I feel like I went through the grinder and then found something that was meaningful to me. Since that point, I made it the minimum how I would engage with the industry because I just felt like its agenda was never really aligned with my own.

“Obsession,” from the Latin “obsessus” signifying the act or state of being besieged, is a word I associate with you as an artist and as someone who is well read and enjoys learning about technology and exploring the human mind. Do you think this is a central theme for any artist and does that word resonate with you?

It’s a fantastic question. I think it’s almost so second nature. I can’t perceive it from a distance. I don’t know if I would see myself like that, but that might be the problem because it feels like I’m never doing enough. Not that I haven’t achieved anything but it’s more like I need to push further, I need to do more and the little voice says, “Just do it. You need to complete it and you need to live with it.” So there is an inner voice that, depending on which subject I’m focusing in on, is a bit obsessive and I feel like it’s a positive thing for me. These days I don’t feel consumed or anxious about it anymore. That’s actually a positive driving force that gets me to finish something and for it to be valuable and something I can stand behind. From the outside it may look obsessive. It doesn’t feel so much so. Also, partly because I think I have a terrible working memory, there are certain things I don’t remember so when I zone in on something I do feel like I have to obsess enough to just remember what I’m doing. You talked about technology and unless it’s a special interest, which is connected with my autism in which special interests are natural, I don’t even have to think about it but I do have to be a bit obsessive if I throw myself into something. Otherwise, I guess it could be a standard that I’ve set for myself that if I don’t do that I will regret it and I don’t like that feeling, so I’d rather suffer a little bit of obsession than regret.



What do you love about the process of making music videos—visualizers, as you call them—and do you find that a style has emerged in your filmmaking?

Again, that’s a very penetrating question. I think it gives a broader value to expression for me, for this project at least. It allows me to give a broader understanding of me to others and hopefully to be accepted and loved and seen through the lens of a visual as opposed to music. I feel like music is beautiful but it can be quite limiting and once I get to that limit, I feel like I can’t say much more with that. I mean, I could do a remix or I could rewrite that thing or I could get a different singer—I could do lots of things, but that’s it. How do I expand on that? And that’s where the visual comes in. That combination of music and video I’ve always just felt is so powerful, it seems to elevate the emotion more for me when I see my own music connected with a visual. It doesn’t even have to be something I’ve made, it just transcends me as an individual. It becomes something that’s out of my control and something ineffable that is beyond me. I like putting those things into motion when you hit something and you don’t know how you did it and you don’t really care that [it was] you that did it, you can enjoy it and see this transcendent thing that’s happening.

Do you recall an experience that felt like a transcendent moment of the visual and the audio coming together?



Yeah, there are a few moments. There is a video that I did for one of the instrumental tracks that is in my instrumental phase, it’s called “Art Bleeds Money” and it was just a very cheap handheld little shitty camera and the product just transcended all of the parts. So just from a DIY perspective, it was great and very fulfilling in how it came out and the little tricks that I did. Again, I feel like I’m just the vessel a lot of the time, I’m not really in control, but when it comes together and you see it and it’s beyond what you imagined, that video did that for me. I think it’s not my best musical work but it was a moment that I felt very locked in.

Can you divulge any of the art direction in store for the upcoming tour? IAMX performances are notable for the thoughtfulness behind what you’re wearing, the lighting, and how everyone is presented on stage—it feels alchemical in a way because of how you change the energy in that space for the audience.

About a month before the tour, I usually start in the barn piecing things together. A lot of it comes from practicality because with indie tours you can have incredible ideas but a lot of it just cannot translate.

IAMX Live. Photo by Kris Sulekova
So Jon Siren won’t be playing drums upside down over the audience like Tommy Lee?

Exactly! Give me a million bucks and I will make the most perfect show. I learned a long time ago, I accepted my fate as an indie artist and there’s something quite lovely about the challenge of having to work with minimal means every time. How do you make it interesting and better? Mostly for myself, so I feel like I can go out there and actually project enjoyment as well as everything else. I probably speak for most artists on every level because touring is a grind. I mean, it’s also kind of beautiful. You go to connect and if I didn’t have that really sort of sweet, deep connection with those people in those intimate spaces I don’t think I would be able to last very long doing this. I feel like I’m part of the experience with them and that’s very rewarding. I love that part of it but with the practicalities it’s hard. I’m at a point in my life where I’m adding meaning, so I need this to feel it was meaningful and it was valuable not just to them, but to me, so that we can keep this thing going. I do work on that a lot in the month before and the more interesting I can make the show, the more successful I feel like the tour will become.

Your approach to touring during the pandemic with all of the health and safety restrictions was met with innovation: performing at outside venues and using Silent Disco headphones for attendees. Those were great because they allowed you to hear the music properly and the way it was intended to be heard. Are you incorporating any of this into your upcoming tour? 

I did love that part of it but some people didn’t like it. I think they just felt like they would be disconnected from the energy in the room. But I loved it.

Performing in outdoor spaces was part of your response to what we were dealing with during the pandemic. Of course, performing outdoors means you’re dealing with a lot of other issues with sound. So headphones were one way to solve that.

That’s exactly why I brought it in, I really wanted to be able to go out, not make much sound and be able to play in a parking lot, which we did a couple of times on that Covid tour. We first started doing it just as an open rehearsal where people came in the event space here and it worked well. So then we thought, well, fuck it, we’ll just take it on tour. I’d like to do it again, for sure. It’s quite impractical and it’s a lot of headphones—you have to clean them every night, too.

You previously stated in an interview for Reflections of Darkness that “We can all be creative to some extent, we can all claim to be artists and writers and musicians, yet the commitment to progress to move forward to authentically help and affect others, to change their viewpoints to open people up to guide them, to improve yourself, to make people feel less alone, to ask big questions and to probe what others don’t. These are the duties the artist has. Otherwise, it is a glorified hobby. You must expose yourself, fail, succeed, fail again, be humiliated, be ashamed, be ecstatic, be adored, hate yourself, love yourself, be respected, be inspected. Art is psychological risk-taking.” Do you still agree with this statement and is there anything you would add to this? It sounds like what you were saying earlier about your space and all the changes that you’re going through right now.

I do. It was definitely a good thing for me to find my duty in life. There’s so many questions as an artist, you’re constantly questioning the world, yourself, everything. That can be very productive, very good, but it can also be incredibly self-destructive. To place it in the realm of something that’s bigger than yourself is comforting. I’d say that I’ve probably leaned more and more into that. It’s not purely altruistic, of course; all artists are selfish to some degree or self-obsessed to some degree. They have to be, but there’s definitely the feeling of wanting something in the world and the realities of the exposure of that is good to know. I think you have to own it as an artist, at least I do. The more I own that shit and it becomes second nature the less I suffer in it because you can suffer a lot by thinking, “Oh, that’s shit, what did I do?” or “Oh God, I have to go on stage tonight, you’re going to die from adrenaline,” or whatever. You drink less because you know that’s what you have to do or you question your well-being less. I think it could just be age, wisdom, I don’t know, but definitely at some point you have to make peace with what the life of making art is and there is a difference between true art and hobby. I think there is.

In your lifetime so far, you’ve let fans in to see those ups and downs. You’ve been vulnerable publicly and it seems like there was quite an outpouring of support and compassion in response to that. Hopefully, that support fueled your return to creating, which is right back to the creative process of try, fail, reform, try again.

Absolutely. And you have to get used to that rhythm so that when you are down you don’t question the whole thing. When I had a major breakdown years ago I started to try and identify the triggers and the stressors of what put me in this place and I really did identify music as one of those things at that time. I found it difficult to get back into because I thought that was doing the damage or at least some of the damage. I don’t think that now, but then I was very doubtful that I could continue because I thought it was too exposing, too intimate, too self-obsessive, you know, constantly writing about myself, constantly being on the slab, going out, being inspected or other things I described in that quote, really. Coming out through the other end of that and getting back into the rhythm, seeing how much it gave me and how nourishing the process is and how safe it is for me, it reversed. I’m sitting in my white trash trailer, which is a studio that I built for myself that I can drag around anywhere on the property and I love it. I mean, in here I feel safe and I feel like I can access my core at any point through that or through this, and through this interview.

If you were to curate an ‘IAMX starter’ mixtape what songs would you include to introduce your artistry?

Because it’s such a squirrelly project, I feel like it depends on what you’re looking for in it. You know, you can get a bit of sex, a bit of drugs, a bit of emotion—what do you want today?

What if the listener wants to meet you, the artist? There’s a lot of ground to cover. If they were to listen to the latest album, Fault Lines², and then go backward through your catalogue, they will be listening for a long time.

This is true. It could just be a weird AI medley of the ‘best of’ stuff in one song, in one reel. It stimulates me into thinking about the retrospective, the history, the whole thing. What is it? What the fuck am I doing? You know, what am I saying? But it’s so moment-specific I don’t feel like I can easily wrap it up. But if I have to, I’d probably take the album tracks, stuff where you have to dig a little deeper and I think that’s where you’ll find the heart of it all. You can choose a track from each album and definitely choose the ones that haven’t been released as a single and that’s where my true nature is. You pick a song like “Look Outside” from Metanoia (2015) that’s very meaningful to me. It’s very short, but it means a lot. You could take something from The Alternative (2006), “Lulled by Numbers” or something, where the pace is slow, it’s kind of heavy but hopeful. There’s so much in the album tracks and that’s where I’d point to. There’s a track called “War of Words” from Fault Lines² (2024) which I just did an orchestral version of, I re-sung the whole thing. It’s going to be released on the rework package coming out just before the tour. That’s a nice version of a track that I felt a little bit like I should have done that on the album but it didn’t feel as coherent with the rest of the sound so it’s just a little excursion. But again, that probably demonstrates more about me as an artist, restless and I have to keep tweaking and I enjoy those more oblique tracks.



I think about that line from “The Ocean (feat. Hafdís Huld)” where you sing “We cannot fight the tide.” That song feels like a battle hymn right now for anyone who’s paying attention to what’s going on—and it’s quite a lot going on for those of us who are sensitive to the fragility of the situations we find ourselves in. You really went somewhere quite deep with that song and I have the sense that you sat with that material for a long time before it came to light and before you approached a microphone to deliver those words. 



It did take a long time and that thing’s been floating around for probably ten years. But it never was finished and it never had the depth and the meaning that I wanted to put into it. Not to get too dark, but Janine, who is part of IAMX, her parents died last year in a car crash and it was very sudden and unexpected, of course. I knew them very well and it was just wild. I’d already finished the track, but it was certain tweaks that I needed to do to it when that happened. I went back to it and added a few things and it became a kind of anthem for them and it was played at their funeral on the request of Janine and it just sort of transcended how I’d imagined the song and it sort of took on a life of its own. So it’s interesting that you pick up on that because it is a very meaningful track.

There’s a lot of pain in that song and there’s grief. The experience of aching to find some meaning in the grief, I’ve heard wise advice to “take those feelings to the water,” as a way of saying we don’t have to bear it alone. What you’re saying reminds me that if you’ve been touched by loss or trauma and if it’s ripped open a part of you, it has changed you. If it took ten years, Chris, it’s because you now were ready to do the song. The song was ready, but you were not ready to be the one bringing it into the world yet.

That’s so true. It may be an artist thing, but I find myself behind myself. I find I’m always trying to play catch up, which is a very strange thing, because you’re kind of writing your future and later you see “I was saying that” and that’s who I really was at that time. Very cathartic, of course, but peculiar.

I think ‘peculiar’ is a good word to end this interview on, don’t you think?

I think it is, yes. §

IAMX will launch the Fault Lines² North American Tour on October 10th, 2025, in San Francisco at The Chapel, kicking off a six–week trek across the continent. From California, the itinerary winds north to Sacramento before cutting inland through Salt Lake City and Denver, then eastward to Kansas City, Chicago, Toronto, and Montreal. The tour continues down the Eastern Seaboard with stops in Philadelphia, Baltimore, New York City, and Richmond, before heading south through Atlanta, Tampa, and New Orleans. From there, Corner and his bandmates turn west once again, with performances in Texas, New Mexico, and Arizona, before concluding the run back in California at The Teragram Ballroom in Los Angeles on November 21st and Brick By Brick in San Diego on November 22nd.

Tickets for all shows are available now via IAMX’s official website,

Tour Dates

10 Oct 2025 San Francisco, CA – The Chapel
11 Oct 2025 Sacramento, CA – Harlow’s
19 Oct 2025 Salt Lake City, UT – The Urban Lounge
21 Oct 2025 Denver, CO – Ophelia’s Electric Soapbox 
22 Oct 2025 Kansas City, MO – recordBar
24 Oct 2025 Chicago, IL – Bottom Lounge
26 Oct 2025 Ferndale, MI – Magic Bag
28 Oct 2025 Toronto, ON – The Axis Club
29 Oct 2025 Montreal, QC – Théâtre Fairmount
31 Oct 2025 Philadelphia, PA – Dracula’s Ball at Underground Arts
01 Nov 2025 Baltimore, MD – Ottobar
02 Nov 2025 New York City, NY – Le Poisson Rouge
04 Nov 2025 Richmond, VA – The Broadberry
06 Nov 2025 Atlanta, GA – Purgatory at The Masquerade
07 Nov 2025 Tampa, FL – The Orpheum
09 Nov 2025 New Orleans, LA – Santos Bar
12 Nov 2025 San Antonio, TX – Sam’s Burger Joint
13 Nov 2025 Austin, TX – Elysium
15 Nov 2025 Houston, TX – Numbers
16 Nov 2025 Dallas, TX – Trees
18 Nov 2025 Albuquerque, NM – Launchpad
19 Nov 2025 Phoenix, AZ – The Rebel Lounge
21 Nov 2025 Los Angeles, CA – The Teragram Ballroom
22 Nov 2025 San Diego, CA – Brick By Brick

Follow IAMX:

Website
Facebook
Instagram
YouTube

The post “We Cannot Fight the Tide” — An Interview with IAMX Ahead of “Fault Lines²” North American Tour appeared first on Post-Punk.com.

Source: Post-Punk.com

Belgian electronic musician Dirk Da Davo (The Neon Judgement, Neon Electronics) will release the digital...

Source: Side Line

Beatport has opened a new Global Remix Challenge around Madonna’s 1998 single “Ray of Light”,...

Source: Side Line

  Following the conclusion of the band’s Still Making Monsters Tour earlier this summer, Combichrist is back with a new single and music video. In contrast to the more melodic emphasis of the previous “Desolation” single, “RISE” sees founder/vocalist Andy LaPlegua dishing out the aggression [..]

Source: RE:GEN Mag

  It’s been 15 years since Charon released any new material, with August 27 breaking the long silence as the Finnish gothic/metal band released the “Fall of Angels” single. The new song follows up on the announcement this past March of a reunion tour in Finland, which sold out within days [..]

Source: RE:GEN Mag

Mit "Kein Kommando" haben Schattenmann die erste Single vom kommenden Album "Endgegner" ausgekoppelt. Mehr Infos und das Musikvideo hier!

Source: Sonic Seducer

Mit "Rise" haben Combichrist eine brandneue Single am Start - mehr Infos und das Musikvideo hier!

Source: Sonic Seducer

Wie immer haben wir beim M'era Luna Festival auch dieses Jahr diverse Artists zum Interview geladen. Heute präsentieren wir Euch Lacuna Coil - viel Spaß mit Cristina Scabbia & Andrea Ferro!

Source: Sonic Seducer

Kollaborationen zwischen renommierten Musikern sind keine Seltenheit – doch was mit „Fractiles“ im Hafen von Danse Macabre vor Anker gegangen ist, übertrifft alle Erwartungen. Wie eine majestätische Triere aus antiken Zeiten vereint dieses Projekt klassische Erhabenheit, epische Dramatik und industrial-tanzbare Energie zu einem unwiderstehlichen Ganzen.

Source: Danse Macabre News

Artist: Deftones Title: Private Music Genre: Hard Rock Release Date: 22nd August 2025 Label: Warner Records

Source: Reflections of Darkness

Der Gründer und Bandkopf von Behtlehem Jürgen Bartsch ist tot - mehr Infos hier.

Source: Sonic Seducer

Vor einiger Zeit hatten wir ja schon mal über 'Nation Of Language' geschrieben – jene Band, die Kritiker*innen regelmäßig in die Verlegenheit bringt, ihr verstaubtes Genre-Lexikon von...

Source: MedienKonverter

Mit "Blood Magick (It's A Ritual)" haben Creeper eine neue Single vom kommenden Album ausgekoppelt. Fans von The 69 Eyes, Type O Negative, Rob Zombie, The Other oder Ramones sollten hier ein Ohr riskieren!

Source: Sonic Seducer

EBM legends Die Krupps have just released a new single, to coincide with their 45th Anniversary European tour. The new track is called “Collision Course”, and strays a bit from their usual sound. Check out the official visualizer video below. If you’re lucky enough to go to one of their concerts, a special limited tour […]

Source: Release Music Magazine

Neue Musik aus dem Hause MISS MAY I. Nach dem Studioalbum „Curse Of Existence“ (2022) meldet sich die Metalcore-Formation mit der Single „Pray For Silence“ zurück.

Ob der Track zugleich Vorbote einer neuen Studiplatte ist, haben MISS MAY I nicht verraten. Derzeit stehen die US-Amerikaner bei Solid State Records unter Vertrag.

Source: Vampster

Die Metalcore- / Alternative Metal-Band ANNISOKAY stellt ihre neue Single „My Effigy“ mit einem Musikvideo vor: Gedreht wurden die Live-Aufnahmen auf dem SUMMER BREEZE sowie dem WACKEN OPEN AIR 2025.

Ab Oktober geht die Formation auf Europatour, um ihre aktuelle EP „Abyss Pt II“ (2025) live vorzustellen. Im Vorprogramm mit dabei sind je nach Spielort HEART OF A COWARD bzw. OUR PROMISE. THE NARRATOR eröffnen den Abend an jedem Termin.

ANNISOKAY Tourdaten 2025
Support: HEART OF A COWARD, THE NARRATOR

FI-Tampere – 10.10.25
FI-Helsinki – 11.10.25
SE-Stockholm – 13.10.25
NO-Oslo – 14.10.25
DK-Copenhagen – 16.10.25
DE-Hamburg – 17.10.25
NL-Eindhoven – 18.10.2025
BE-Antwerp – 19.10.25
FR-Paris – 21.10.25
FR-Toulouse – 22.10.25
ES-Barcelona – 23.10.25
ES-Madrid – 24.10.25
PT-Lisbon – 25.10.25

Support: OUR PROMISE, THE NARRATOR

DE-Saarbrücken – 20.11.25
DE-Dortmund – 21.11.25
DE-Köln – 22.11.25
DE-Berlin – 23.11.25
DE-Frankfurt – 25.11.25
DE-Stuttgart – 26.11.25
CH-Zürich – 28.11.25
IT-Milan – 29.11.25
DE-München – 01.12.25
AT-Wien – 02.12.25
HU-Budapest – 03.12.25
PL-Krakow – 04.12.25
CZ-Zlin – 05.12.2025
DE-Leipzig – 06.12.25

Support: HEART OF A COWARD, THE NARRATOR

UK-London – 15.01.26
UK-Leeds – 16.01.26
UK-Bristol – 17.01.26
UK-Nottingham – 18.01.26

Fotogalerie: ANNISOKAY – UFO, Berlin – 14.10.2024

Source: Vampster

Das Doom / Post Metal-Projekt THE DEVIL’S TRADE stellt ihr neues Album „Nincs Szennyezetlen Szép“ mit einem Clip zur Single „Weltschmerz“ bei YouTube vor. Der Albumtitel bedeutet übersetzt so viel wie „Es gibt keine unbefleckte Schönheit“.

„Nincs Szennyezetlen Szép“ erscheint am 7. November 2025 via Pelagic Records. Für die Produktion erhielt das Duo Unterstüzung von Márton Szabó, das Mastering übernahm Nikita Kamprad.

THE DEIVL’S TRADE „Nincs Szennyezetlen Szép“ Tracklist
1. The Sleep That Dragged You Away
2. Weltschmerz (Video bei YouTube)
3. All This Sadness
4. All This Sadness Will Be Gone
5. Your Pieces Scattered
6. Nincs Szennyezetlen Szép
7. Idegen Minden

THE DEVIL’S TRADE Line-up 2025
Dávid Makó – vocals, guitar, keyboard
Gaspar Binder – drums

Source: Vampster

Die Instrumental Noiserock-Band NYOS hat mit „Growl“ ein neues Album angekündigt. Es ist das siebte Album der Finnen und wurde von Guy Davie gemastert. Release-Termin ist der 10. Oktober 2025 via Pelagic Records. Vorab gibt es nach dem Opener „Get Ready“ nun auch die zweite Single „Superstar“ zu hören.

NYOS Line-Up:
Tom Brooke – guitars
Tuomas Kainulainen – drums

NYOS „Growl“ Tracklist
1. Get Ready (Audio bei YouTube)
2. Superstar (Video bei YouTube)
3. Lézard Rouge
4. Harder Than Rain
5. Pepe-Pepe
6. Lo4
7. Walking In Moonlight
8. Be Free
9. Alright, Goodnight

Source: Vampster

Der erste Eindruck ist häufig der wichtigste, sagt man. Entsprechend haben NIGHTFALL mit ihrem elften Studioalbum gute Karten: Nicht nur das Artwork sticht hervor, auch der Opener „I Hate“ macht atmosphärisch alles richtig. Das bedeutungsschwangere Spoken-Word-Intro versetzt uns umgehend in die richtige Stimmung, so dass der düstere und doch eingängige Death Metal seine volle Wirkung entfalten kann.

Der ominöse Unterton zieht sich durch das gesamte Werk und erzeugt in seinen besten Augenblicken ein ähnliches Unbehagen, wie es ROTTING CHRIST oft so gerne tun. Stilistisch ist „Children of Eve“ ansonsten recht geradlinig unterwegs, mischt härteren Riffs spätestens im Refrain ein wenig Melodie bei („The Cannibal“), wobei die Gitarrenführung dann – wie beispielsweise in „Lurking“ zu hören – gar eine Spur AMON AMARTH in sich trägt.

NIGHTFALL weben in ihre Kompositionen immer wieder schöne Melodien ein
Das Tempo zieht das aggressive „The Traders Of Anathema” an, nachdem „For The Expelled Ones“ im stampfenden Midtempo vielleicht ein wenig zu lang ausgeharrt hatte. Richtige Längen tun sich im Verlauf der knappen Dreiviertelstunde glücklicherweise nicht auf, dennoch fehlt es dem in sich geschlossen wirkenden „Children Of Eve“ an außergewöhnlichen Höhepunkten. Gelungen ist immerhin das mit Damengesang angereichertem „With Outlandish Desire To Disobey“, in das NIGHTFALL darüber hinaus schöne Melodien einweben.

Selbstbewusst und mit einem dezenten Anflug von Epik beschließt zudem „Christian Svengali“ die Platte ähnlich stimmungsvoll, wie sie begonnen hat. Ein wenig ROTTING CHRIST lässt das Finale durchblitzen und uns am Ende mit einem anerkennenden Nicken zurück: Vielleicht ist der erste Eindruck tatsächlich der wichtigste, der letzte aber entscheidet darüber, ob wir uns überhaupt nochmal wiedersehen wollen. Im Falle NIGHTFALLs hätten wir dahingehend keinerlei Bedenken.

Veröffentlichungstermin: 02.05.2025

Spielzeit: 43:23

Line-Up
Efthimis Karadimas – Vocals
Kostas Kyriakopoulos – Guitars
Vasiliki Biza – Bass
Fotis Benardo – Drums

Produziert von Efthimis Karadimas, Fotis Benardo, Thimios Krikos und Jacob Hansen (Mix und Mastering)

Label: Season of Mist

Homepage: https://nightfall.gr/
Facebook: https://www.facebook.com/nightfallband
Instagram: https://www.instagram.com/nightfallband/
Bandcamp: https://grandcadaver.bandcamp.com/

NIGHTFALL “Children of Eve” Tracklist

I Hate (6:05) (Video bei YouTube)
The Cannibal (3:36) (Lyric-Video bei YouTube)
Lurking (4:08)
Inside My Head (4:51)
Seeking Revenge (3:47)
For The Expelled Ones (5:07)
The Traders of Anathema (3:15)
With Outlandish Desire to Disobey (3:25) (Video bei YouTube)
The Makhaira of the Deceiver (4:21)
Christian Svengali (4:43)

Source: Vampster

Mit "The Scarlet Queen Of Harlots" haben Mystic Circle eine weitere Single vom kommenden Album "Hexenbrand 1486" ausgekoppelt. Mehr Infos und den Video-Clip zum Feature mit Sarah Jezebel Deva (Ex-Cradle Of Filth) hier!

Source: Sonic Seducer

Am 31. Oktober 2025 erscheint AVATARs neues Album „Don’t Go In The Forest“.

Zusammen mit der Album-Ankündigung haben die Schweden auch ein Video zu „Tonight We Must Be Warriors“ veröffentlicht:

 

Unser Geheimnis ist, dass wir immer noch das Gefühl haben, gerade erst anzufangen. „Don’t Go In The Forest“ ist voller Sachen, die wir noch nie zuvor gemacht haben. Es sind alles Songs und Konzepte, mit denen wir uns bisher noch nicht beschäftigt haben. Der Geist ist wild und wir haben uns in den dunkelsten Wäldern verloren, voller Erinnerungen und Fantasien. Wir müssen dieses Albumgenau jetzt veröffentlichen.. Das ist alles, was wir jemals wollten,. Ihr werdet feststellen, dass auch ihr genau das wollt! (Sänger Johannes Eckerström über das neue Album)

 

Die Band hat zuvor bereits ihre Singles „Captain Goat“ und „In the Airwaves“ veröffentlicht.

Die Band kündigte außerdem die Dates ihrer „In the Airwaves“ mit ALIEN WEAPONRY Tour Anfang 2026 an, in Deutschland sind sechs Konzerte geplant. Als Support spielen auch die norwegische feministische Black-Metal-Band WITCH CLUB SATAN und die norwegische Death-Jazz-Band AGABAS bei einigen Shows.

Beim METALLICA-Konzert am 24. Mai 2025 machen AVATAR den Opener.

AVATAR „Don’t Go In The Forest“ Tracklist & Cover
1. Tonight We Must Be Warriors (Video bei YouTube)
2. In The Airwaves (Video bei YouTube)
3. Captain Goat (Video bei YouTube)
4. Track 4
5. Track 5
6. Track 6
7. Track 7
8. Track 8
9. Track 9
10. Track 10

AVATAR,WITCH CLUB SATAN AGABAS „In the Airwaves“  Tour 2026
05.02.26 – (SE) Stockholm, Fållan
07.02.26 – (FI) Helsinki, Kulttuuritalo
09.02.26 – (NO) Oslo, Sentrum Scene
10.02.26 – (DK) Kopenhagen, Vega
11.02.26 – (DE) Osnabrück, Die Botschaft
12.02.26 – (BE) Brüssel, A.B.
14.02.26 – (UK) London, Exhibition
15.02.26 – (UK) Manchester, Academy
16.02.26 – (UK) Glasgow, Barrowland
17.02.26 – (UK) Nottingham, Rock City Wed
18.02.26 – (UK) Bristol, O2 Academy
20.02.26 – (NL) Amsterdam, AFAS Live
21.02.26 – (LU) Esch-Sur-Alzette, Rockhal
22.02.26 – (CH) Zürich, Komplex
24.02.26 – (ES) Barcelona, Razzmatazz
25.02.26 – (ES) Madrid, La Riviera
27.02.26 – (PT) Lissabon, LAV Sat
28.02.26 – (ES) Bilbao, Santana
02.03.26 – (FR) Lyon, Le Cube Tue
03.03.26 – (IT) Milan, Alcatraz
04.03.26 – (AT) Wien, Gasometer
05.03.26 – (DE) München, Tonhalle
06.03.26 – (DE) Köln, E-Werk
07.03.26 – (FR) Paris, Le Zenith
09.03.26 – (DE) Wiesbaden, Schlachthof
10.03.26 – (CZ) Zlin, Sports Hall Datart
11.03.26 – (PL) Warschau, Stodola
12.03.26 – (DE) Berlin, Columbiahalle
13.03.26 – (DE) Hamburg, Docks

METALLICA Deutschland-Konzerte 2026
22.05.25 Frankfurt – Deutsche Bank Park (+ GOJIRA, KNOCKED LOOSE)
24.05.25 Frankfurt – Deutsche Bank Park (+ PANTERA, AVATAR)
27.05.25 CH-Zürich – Stadion Letzigrund (+ GOJIRA, KNOCKED LOOSE)
30.05.25 Berlin – Olympiastadion (+ GOJIRA, KNOCKED LOOSE)

 

AVATAR Line-up:

Sänger Johannes Eckerström
Gitarrist Jonas Jarlsby
Gitarrist Tim Öhrström
Bassist Henrik Sandelin
Schlagzeuger John Alfredsson

 

Source: Vampster

Für ihre neue Single „The Scarlet Queen Of Harlots“ haben sich  MYSTIC CIRCLE mit SARAH JEZEBEL DEVA zusammengetan, über den Track sagt die Band:

„Mit der dritten Single zu unserem neuen Album ‚Hexenbrand 1486‘ beschwören wir Babalon, die scharlachrote Königin der Huren, die die Menschheit zur Sünde verführt. Einmal mehr haben wir mit unserer langjährigen Freundin Sarah Jezebel Deva zusammengearbeitet, was dem Song eine besondere monumentale Atmosphäre verleiht. Dieses Biest ist allen schwarzherzigen Hexen da draußen gewidmet.“

 

 

Der Song ist die dritte Auskopplung vom kommenden Album  „Hexenbrand 1486“. Das neue Album des deutschen Duos aus Ludwigshafen folgt der jüngsten Compilation „Kriegsgötter MMXXV“ nach und wird am 31. Oktober 2025 via ROAR erscheinen. Produziert wurde das Album von Nils Lesser. Das Cover-Artwork stammt von Rafael Taveres.

Zuvor teilen MYSTIC CIRCLE einen Video-Clip zu „Ghost Of Whitechapel„.

„Die klassische Jack-the-Ripper-Geschichte aus der Sicht des Monsters. Wir haben viel recherchiert, von den angeblichen Briefen des ursprünglichen Mörders bis hin zu den Versen, die er angeblich zu sich selbst gesprochen hat. Inspiriert durch den Comic „From Hell“, der ein wahres Meisterwerk ist, mussten wir diesen Song einfach schreiben“, sagt Frontmann Beelzebub.

Mit dem Video-Clip zu „Boogeyman“ gab es zuvor schon einen ersten Vorab-Song.

MYSTIC CIRCLE Line-Up:
Beelzebub – Vocals, Guitars, Bass, Keyboards
A. Blackwar – Drums, Guitars, Keyboards

MYSTIC CIRCLE „Hexenbrand 1486“ Tracklist
01. Luciferian
02. The Scarlet Queen Of Harlots (Video bei YouTube)
03. Boogeyman (Video bei YouTube)
04. In The Sign Of The Goat
05. Ghost Of Whitechapel (Video bei YouTube)
06. Institoris (Heinrich Kramer)
07. The Bible Of Witch Chase
08. Blutschande Unzucht Sodomie
09. Dance On The Wings Of Black Magic
10. Zeugnis Der Verachtung (Outro)

Source: Vampster

Death Metal aus Norddeutschland: SOUL GRINDER veröffentlichen am 16. Oktober 2025 ihr neues Album „Frozen Hall“.

Das Cover stellen SOUL GRINDER heute vor, einen ersten Vorab-Song will die Band in Kürze teilen.

Thematisch geht es auf Frozen Hall um Horrorgeschichten wie die von H.P Lovecraft und gesellschaftliche Themen wie Selbstreflexion oder die Grausamkeit der menschlichen Natur. Beim Song „Malevolent Reality“ ist ASENBLUT-Sänger Tetzel als Gast zu hören.

SOUL GRINDER „Frozen Halls“ Tracklist & Cover
1. Cursed Covenant
2. Frozen Halls
3. Malevolent Reality
4. Into the Nightmare
5. Dreaded Fate
6. Amorphous Blight
7. Cosmic Scourge
8. The Lurking Death
9. Ominous Retribution
10. Towards a silent Grave

30.08. Rostock, Mau Club
02.10. Oldenburg, MTS Records
03.10. Aalen, Rock It
04.10. Weiher, Live Music Hall
10.10. Hamburg, Bambi Galore
11.10. Hannover, Subkultur
24.10. Oldenburg, Cadillac
25.10. Trier, Mergener Hof
08.11. Lohr am Main, Stadthalle

Source: Vampster

Klaus Gratzel started Rotoskop over 20 years ago, but after a long hiatus he has...

Source: Side Line

Jürgen Bartsch, Gründungsmitglied, Songwriter, Texter und einzig verbliebenes Originalmitglied von BETHLEHEM, ist tot. Der Bassist starb am 27. August 2025 nach langer Krankheit, wie BETHLEHEM-Sängerin Onielar über Instagram mitteilte.

Die Dark Metal-Band BETHLEHEM zeichnete mit ihren frühen Alben „Dark Metal“ (1994), „Dictius Te Necare“ (1996) und „Sardonischer Untergang im Zeichen irreligiöser Darbietung“ (1998) die Blaupause für das DSBM-Genre. Zuletzt erschien „Lebe Dich leer“ (2019).

Rest easy, Jürgen.

 

Sieh dir diesen Beitrag auf Instagram an

 

Ein Beitrag geteilt von Onielar (@onielar666slaughtercult)

Source: Vampster

On August 28, 2001 – exactly 24 years ago – Slipknot released their second album “Iowa”. Did you already know these 5 facts? Because the background to the creation of “Iowa” is tragic … ★ The pressure after the successful self-titled album was enormous, and the relationships between the band members suffered greatly as a […]

Source: Orkus

On August 28, 1986 - exactly 39 years ago to the day - "True Colors" by Cyndi Lauper. Did you already know these 5 facts? ★ “True Colors” was the first single from Cyndi Lauper’s second album of the same name. ★ The single stayed at number 1 on the US Billboard Hot 100 for […]

Source: Orkus

The words of Ruth Bader Ginsburg fall like a hammer upon the long stone of history: “When will there be enough women on the court? … when there are nine.” In their cadence lies both simplicity and revelation. For centuries, nine men seemed natural, inevitable; the architecture of law was built to exclude. Her retort is not whimsy, but justice inverted and restored. It forces us to confront the blindness of habit, the tyranny of assumption. To imagine nine women is not excess…it is balance, redress, and a vision of equality so clear it startles us awake.

New York City’s Bi Tyrant has never been subtle. Since their 2016 cult protest track F*** Donald Trump racked up millions of TikTok streams, the queer feminist punk-jazz/No Wave trio has specialized in sound-as-weaponry, bending rage into riffs and saxophone squalls into sermons. Now they return with their most urgent and unruly declaration yet: Bi Tyrant vs. The Supreme Court, a nine-track concept album set to drop September 23, 2025 (which happens to be Bi+ Visibility Day). If you want a metaphor for the pure rage of the Divine Feminine, this is it.  

Bi Tyrant vs. The Supreme Court overflows with lyrical truths: think if Laurie Anderson had joined forces with Public Enemy and Pere Ubu, torched to ashes by a Molotov cocktail. It’s smart, calculating, and fearless. Fronted by Brittany Anjou, a multi-instrumentalist composer and educator whose jazz credentials meet their punk ethos head-on, BiTyrant are joined by guitarist Valerie Vetere (drag persona in full blaze) and drummer Laura Cromwell (Cibo Matto, Laurie Anderson). Together they’ve built something furious, funny, and defiantly alive: a band bleeding out rhythm and resistance in equal measure.

This is no ordinary release. Structured around the monthly cycle, each single arrives like a bloodletting, a ritual act of resistance against a political system hellbent on legislating bodies it does not own. It’s a campaign as much as an album: menstrual protest in motion, politics inscribed in rhythm. Imagine, if you will, Laurie Anderson joining forces with Public Enemy and Pere Ubu.

It festers like rot beneath the floorboards, this swollen, festering pride called manhood. Red-pill prophets whisper dominion, feeding boys a diet of scorn and brittle rage. The manosphere becomes a sewer of entitlement, where cruelty struts as strength and tenderness is mocked into silence. June’s release, Incel B***h, thrashes against this toxic inheritance: a 21st-century echo of Bush Tetras’ Too Many Creeps.

July 4’s Put Nine Womxn on the Supreme Court followed with incendiary force, channeling Ruth Bader Ginsburg’s vision into a punk-jazz manifesto for representation. The lyrics satirize corrupt leadership through the image of a “bad dog,” attacking the Electoral College, toxic patriarchy, and the Supreme Court’s assault on bodily autonomy. They call for reproductive freedom, channel Ruth Bader Ginsburg’s vision of nine women justices, and demand representation – women, BIPOC, and trans voices – for true equality.

August’s Bloodslug slithers into unexpected territory, twisting menstrual imagery through a serene jazz ballad that mutates into Brazilian bossa nova – a sardonic reminder of jazz’s own gendered hierarchies. And when September arrives, seven more tracks land in a torrent of fury and improvisation, underscoring the anxiety and urgency of abortion rights in America.

The atonal protest of The Clibretto (How Many Womxn Are In Your Band?), dropping in October, takes aim at sexism in both the jazz industry and the Oval Office in one staggering breath. November’s post-release standalone, The Creator Has a Master Plan, featuring saxophonist Jessica Lurie, reframes Pharoah Sanders’ cosmic spirituality as feminist cosmology…another reminder that this band refuses to separate the personal from the political, or the sacred from the raw. 

Bi Tyrant vs. The Supreme Court was engineered and mixed by the legendary Martin Bisi at Brooklyn’s legendary BC Studios, a site of sonic insurgency where Swans, Sonic Youth, Teenage Jesus and the Jerks, and Herbie Hancock have all collided. Bisi’s touch amplifies the contradictions at Bi Tyrant’s core: math metal rage smashed against grunge-punk noir, vibraphones shimmering under snarling guitars, flute and Rhodes emerging like sudden reprieves in a battlefield of distortion.

Follow Bi Tyrant:

Instagram
YouTube
Facebook
Bandcamp

The post Brooklyn Punks Bi Tyrant Honor Ruth Bader Ginsburg and Shout: “Put Nine Womxn on the Supreme Court!” — New Album Announced! appeared first on Post-Punk.com.

Source: Post-Punk.com

The words of Ruth Bader Ginsburg fall like a hammer upon the long stone of history: “When will there be enough women on the court? … when there are nine.” In their cadence lies both simplicity and revelation. For centuries, nine men seemed natural, inevitable; the architecture of law was built to exclude. Her retort is not whimsy, but justice inverted and restored. It forces us to confront the blindness of habit, the tyranny of assumption. To imagine nine women is not excess…it is balance, redress, and a vision of equality so clear it startles us awake.

New York City’s Bi Tyrant has never been subtle. Since their 2016 cult protest track F*** Donald Trump racked up millions of TikTok streams, the queer feminist punk-jazz/No Wave trio has specialized in sound-as-weaponry, bending rage into riffs and saxophone squalls into sermons. Now they return with their most urgent and unruly declaration yet: Bi Tyrant vs. The Supreme Court, a nine-track concept album set to drop September 23, 2025 (which happens to be Bi+ Visibility Day). If you want a metaphor for the pure rage of the Divine Feminine, this is it.  

Bi Tyrant vs. The Supreme Court overflows with lyrical truths: think if Laurie Anderson had joined forces with Public Enemy and Pere Ubu, torched to ashes by a Molotov cocktail. It’s smart, calculating, and fearless. Fronted by Brittany Anjou, a multi-instrumentalist composer and educator whose jazz credentials meet their punk ethos head-on, BiTyrant are joined by guitarist Valerie Vetere (drag persona in full blaze) and drummer Laura Cromwell (Cibo Matto, Laurie Anderson). Together they’ve built something furious, funny, and defiantly alive: a band bleeding out rhythm and resistance in equal measure.

This is no ordinary release. Structured around the monthly cycle, each single arrives like a bloodletting, a ritual act of resistance against a political system hellbent on legislating bodies it does not own. It’s a campaign as much as an album: menstrual protest in motion, politics inscribed in rhythm. Imagine, if you will, Laurie Anderson joining forces with Public Enemy and Pere Ubu.

It festers like rot beneath the floorboards, this swollen, festering pride called manhood. Red-pill prophets whisper dominion, feeding boys a diet of scorn and brittle rage. The manosphere becomes a sewer of entitlement, where cruelty struts as strength and tenderness is mocked into silence. June’s release, Incel B***h, thrashes against this toxic inheritance: a 21st-century echo of Bush Tetras’ Too Many Creeps.

July 4’s Put Nine Womxn on the Supreme Court followed with incendiary force, channeling Ruth Bader Ginsburg’s vision into a punk-jazz manifesto for representation. The lyrics satirize corrupt leadership through the image of a “bad dog,” attacking the Electoral College, toxic patriarchy, and the Supreme Court’s assault on bodily autonomy. They call for reproductive freedom, channel Ruth Bader Ginsburg’s vision of nine women justices, and demand representation – women, BIPOC, and trans voices – for true equality.

August’s Bloodslug slithers into unexpected territory, twisting menstrual imagery through a serene jazz ballad that mutates into Brazilian bossa nova – a sardonic reminder of jazz’s own gendered hierarchies. And when September arrives, seven more tracks land in a torrent of fury and improvisation, underscoring the anxiety and urgency of abortion rights in America.

The atonal protest of The Clibretto (How Many Womxn Are In Your Band?), dropping in October, takes aim at sexism in both the jazz industry and the Oval Office in one staggering breath. November’s post-release standalone, The Creator Has a Master Plan, featuring saxophonist Jessica Lurie, reframes Pharoah Sanders’ cosmic spirituality as feminist cosmology…another reminder that this band refuses to separate the personal from the political, or the sacred from the raw. 

Bi Tyrant vs. The Supreme Court was engineered and mixed by the legendary Martin Bisi at Brooklyn’s legendary BC Studios, a site of sonic insurgency where Swans, Sonic Youth, Teenage Jesus and the Jerks, and Herbie Hancock have all collided. Bisi’s touch amplifies the contradictions at Bi Tyrant’s core: math metal rage smashed against grunge-punk noir, vibraphones shimmering under snarling guitars, flute and Rhodes emerging like sudden reprieves in a battlefield of distortion.

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The post Brooklyn Punks Bi Tyrant Honor Ruth Bader Ginsberg and Shout “Put Nine Womxn on the Supreme Court!” — New Album Announced! appeared first on Post-Punk.com.

Source: Post-Punk.com

  Metropolis Records has announced the release of a 25th anniversary edition of Serenity is the Devil, the debut album from Norwegian futurepop trio Icon of Coil. Still beloved by audiences, the album was originally released via Tatra in 2000 [..]

Source: RE:GEN Mag

  Following last week’s announcement of Die Krupps signing with Dependent Records, the longstanding industrial/metal band has wasted no time with unleashing new material. The Will Nicht – MUSS! / On Collision Course double A-side EP will be sold exclusively on the band’s 45th anniversary tour [..]

Source: RE:GEN Mag

  As Clock DVA gears up to join the Industrial Nation 2025 Tour, Mute Records has announced a remastered edition of the electro/industrial outfit’s debut album, White Souls in Black Suits. Originally released in 1980 in a limited cassette run via Industrial Records, the album has been out-of-print since 1990 [..]

Source: RE:GEN Mag

  Somberwind guitarist/vocalist Marco Cusato is following up on his 2024 solo debut with a new album, releasing “This is My Night” as the first single. The accompanying music video was directed by Simon Arcano, presenting what Cusato calls a tribute to the cartoons, comic-books, and fantasy movies [..]

Source: RE:GEN Mag

  Pelagic Records has announced the latest album from The Devil’s Trade, revealing the music video for “Weltschmerz” as the first single. With the title translating to “world-pain,” the band explains the track to be about the sacrifices a person makes to achieve a healthier, more loving mindset in the face of hopelessness [..]

Source: RE:GEN Mag

There are moments when a children’s tale rises into the realm of anthem. Robert Munsch’s The Paper Bag Princess is one of them. In this classic story, Princess Elizabeth loses her castle, her clothes, and the comforts of privilege, but never her power. Clad only in a paper bag, she outsmarts a dragon and rescues Prince Ronald with wit and courage. When he criticizes her appearance instead of offering gratitude, she turns away, choosing herself over his approval. This is no tale of waiting – it is one of action. Elizabeth proves that girls need not be ornamental or rescued; they can be their own heroes, walking proudly into independence.

Silvia Ryder has absorbed that spirit. Once half of Sugarplum Fairies, she now steps out alone under the name My Violence. Gone is the cushioning haze of her earlier project; here, Ryder channels sharpened minimalism, stripping the canvas to piano, voice, and silence. The result is unflinching.

Her sophomore album, Monday’s Child, takes its cue from a 19th-century nursery rhyme used to sketch the fate of the week’s newborns. Fatalism lingers at the edges of the record, but Ryder treats it less as prophecy than provocation: what does it mean to inherit doom, or promise, simply because of when one is born? That unease seeps through every measure.

The album’s lead single, Paper Bag Princess, functions as a thesis: a melancholic piano ballad that captures the record’s somber beauty. Ryder’s piano strikes are stark, each note weighted with deliberation. Against this skeletal frame, her voice trembles yet steadies, plaintive but unbowed. She sings as though seated alone in a dim hall, unafraid to let silence breathe between phrases. There are no orchestral swells, no grand percussive gestures; only the quiet insistence of a woman calmly, bravely telling her truth. Ryder turns the children’s fable into adult revelation: the paper bag is a garment of resilience. The heroine’s choice to walk away becomes a meditation on leaving behind roles that diminish and squash our souls.

Paper Bag Princess is not a relic of nostalgia..it is a mirror, showing what remains when the castle burns, the clothes fall away, and expectation collapses. In that stripped space, strength speaks. My Violence dares to let it echo.

Watch the visualizer below:

Paper Bag Princess is out now via Starfish Records. Pre-save Monday’s Child on Spotify here.

Across the forthcoming album, Ryder orbits influences both spectral and grounded. References to Nico and Mazzy Star may serve as touchstones, but Ryder is less about emulation than invocation. Think Maria Somerville’s hushed intensity, Primitive Heart’s stark poetics, or the spectral spellwork of Zola Jesus, yet always refracted through Ryder’s own lived history. Silvia Ryder spoke with Post-Punk.com about the album’s genesis, meaning to her, and where she plans to take My Violence.

The album title “Monday’s Child” draws from the 19th-century nursery rhyme—how did that concept shape the thematic arc of the record?

The “Monday’s Child” nursery rhyme (which is based on a tradition of fortune telling by the day of birth) inspired me to create both fictional and non-fictional protagonists, e.g. Turnstile Johnny and Paper Bag Princess. Incidentally, there is a “Monday’s Child” interlude which incorporates Omnichord and 1950’s toy piano arrangements.

“Paper Bag Princess” references a banned children’s book from the 1980s—what drew you to that story, and how did it shape the song’s message?

The Paper Bag Princess book by Robert Munsch is rather revolutionary in regards to children’s books because it challenges traditional fairy tales tropes to raise questions about gender roles and identity. It’s “the princess saves the prince from the dragon while dressed in a paper bag” instead of the other way around.

As My Violence, your sound explores darker, more cinematic territory than your work with Sugarplum Fairies—how has adopting this new identity changed the way you express yourself artistically?

My “new” identity is a culmination of my personal and creative split from my previous songwriting partner/husband. I ventured out into unknown territories; exploring songwriting in addition to just being a lyricist. Sugarplum Fairies was pretty pop. My Violence is more cinematic. My son Marlon Rabenreither aka Gold Star helped with production and mixing.

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The post Dream Pop Project My Violence Debuts “Paper Bag Princess” From Forthcoming New Album “Monday’s Child” appeared first on Post-Punk.com.

Source: Post-Punk.com

Nach 15 Jahren Pause kehrt die finnische Gothic Metal Band CHARON mit ihrer brandneuen Single „Fall of Angels“ zurück, die am 27. August 2025 über Ranka Kustannus veröffentlicht wurde. Der Track erscheint zeitgleich mit der ausverkauften „Fall of Angels Reunion Tour der Band“ in ihrer Heimat und markiert das Comeback eines der bekanntesten Namen der finnischen Gothic-Metal-Szene.
Listen: https://orcd.co/charon_fallofangels

CHARON wurde 1992 in Raahe gegründet und gelangte mit ihrem 2002 erschienenen Album „Downhearted“ an die Spitze der finnischen Metal-Szene. Während ihrer aktiven Zeit veröffentlichte die Band insgesamt fünf Studioalben und eine Compilation.

„Die Diskussionen über die Veröffentlichung eines neuen Charon-Tracks begannen intern bereits vor der Ankündigung der Fall of Angels-Tour Anfang 2025. Wir wollten mit dieser Besetzung frische Musik auf den Tisch bringen – nicht nur als Teil der Tour-Setlist, sondern auch, um kommende Shows zu unterstützen und wieder eine sinnvolle Verbindung zu unserem Publikum herzustellen. Der neue Track ist eine reichhaltige Fusion aus dem modernen Charon und der melodischen, emotionalen Tiefe, die unsere Musik in den frühen 2000er Jahren geprägt hat – sowohl klanglich als auch textlich. Er zeigt Charon auf dem Höhepunkt seiner Identität und verkörpert die unverwechselbaren Qualitäten, die die Band ursprünglich während ihrer gefeierten Aufnahme- und Tournee-Ära auszeichneten – kühne, kompromisslose Rockelemente, mitreißende Gitarrenriffs und die unverwechselbare Stimme von JP Leppäluoto, dessen Interpretationsstil nach wie vor unübertroffen ist“, kommentiert die Band.

 

Source: Amboss-Mag.de

There is a peculiar futility in desiring the embrace of one whose heart is winter itself, a hunger that blinds the soul to its own undoing. The vampire lingers at the threshold, patient and cold, shimmering with the promise of warmth that does not exist in their icy heart. Yet by inviting their embrace, each fleeting pleasure—sweet in the moment—becomes a counterfeit glow that vanishes with the dawn. What follows is the hollow ache of having offered one’s blood to an energy vampire, cold and unyielding, while the dreamer is left clutching shadows, still thirsting for a love that was never truly alive.

French Police’s latest single LIBRA begins like a door left ajar; a draft slipping through, carrying both invitation and warning. Here, the Chicago post-punk trio carries itself with precision: the drums are clipped, the bass is taut, eerie synths stir the atmosphere, and the guitar lines trace skeletal arcs across the melody. At the center, Brian Flores sings low, his voice thick with ache, a chant caught in endless return. He admits to lies, asks for closeness, and then recoils from it. The words ‘want’ and ‘refusal’ circle desire, pressed against frost.

The result is stark, a frame for the tension between hunger and distance, yearning and denial. It recalls the smoke-stained atmospheres of The Chameleons and the deceptively sharp pop ache of The Smiths, yet their stride feels urgent, melancholy, and unadorned.

Lyrically, LIBRA plays like a confession and a dare. Flores leans into repetition, hammering the same phrases until they take on the weight of ritual. “Cold as ice” becomes less metaphor than diagnosis, the song’s spine and sentence. Each refrain presses harder, the language collapsing into rhythm, the rhythm collapsing into need. There is intimacy here, but it is bruised and unwilling to unclench. The song closes with repetition folding in on itself; no resolution in sight, with the voice insisting on its own chill. Love here is a transaction of control, a fever, and a freeze.

Listen to LIBRA below and order the single here.

LIBRA by French Police

French Police have unveiled an expansive North American tour for 2025, bringing their hypnotic post-punk sound to audiences across the U.S., Mexico, and Canada. Kicking off on October 2nd in Milwaukee, the band will wind through major cities including Minneapolis, Denver, Seattle, Vancouver, San Francisco, Los Angeles, and Las Vegas before heading south to Mexico with dates in Tijuana and Monterrey. They’ll then sweep across the southern and eastern U.S., with stops in Orlando, Miami, Atlanta, Washington DC, Brooklyn, Philadelphia, and Boston, before closing the run in Canada and the Midwest with shows in Montreal, Toronto, Detroit, and Chicago. The final stretch takes them deep into Mexico with performances in Guadalajara and Mexico City.

Tour Dates:

Oct 2 – Milwaukee, WI – Vivarium *
Oct 3 – Minneapolis, MN – Amsterdam *
Oct 4 – Omaha, NE – Reverb Lounge *
Oct 6 – Denver, CO – Meow Wolf *
Oct 7 – Salt Lake City, UT – Urban Lounge *
Oct 9 – Seattle, WA – The Crocodile *
Oct 10 – Vancouver, BC – Fox Cabaret *
Oct 11 – Portland, OR – Wonder Ballroom *
Oct 13 – Reno, NV – Holland Project *
Oct 14 – San Francisco, CA – Great American Music Hall *
Oct 15 – Fresno, CA – Strummer’s *
Oct 16 – Los Angeles, CA – The Novo *
Oct 17 – Tijuana, MX – Marko Disko +
Oct 18 – Santa Ana, CA – The Observatory *
Oct 19 – San Diego, CA – Observatory North Park *
Oct 21 – Las Vegas, NV – House of Blues *
Oct 22 – Phoenix, AZ – The Nile *
Oct 23 – El Paso, TX – The Lowbrow Palace *
Oct 25 – San Antonio, TX – Aztec Theater *
Oct 27 – McAllen, TX – Cine El Rey *
Oct 28 – Austin, TX – Hotel Vegas *
Oct 29 – Dallas, TX – Trees *
Oct 30 – Houston, TX – Warehouse *
Nov 1 – Orlando, FL – The Social ^
Nov 2 – Miami, FL – Gramps ^
Nov 3 – Tampa, FL – The Crowbar ^
Nov 4 – Atlanta, GA – The Masquerade ^
Nov 5 – Charlotte, NC – Neighborhood Theater ^
Nov 6 – Carrboro, NC – Cat’s Cradle ^
Nov 7 – Richmond, VA – Richmond Music Hall ^
Nov 8 – Washington, DC – Black Cat ^
Nov 9 – Brooklyn, NY – Elsewhere ^
Nov 11 – Philadelphia, PA – The Foundry ^
Nov 12 – Boston, MA – Brighton Music Hall ^
Nov 13 – Montreal, QC – Theater Fairmount ^
Nov 14 – Toronto, ON – Lee’s Palace ^
Nov 15 – Detroit, MI – El Club ^
Nov 16 – Chicago, IL – Ramova ^
Nov 18 – Monterrey, MX – Nodriza Estudio +
Nov 21 – Guadalajara, MX – Foro Independencia + #
Nov 23 – CDMX, MX – Foro Indie Rocks + #

Support Acts:

= RIKI
^ = SOCIAL ORDER
= VILEVO
= SAN CHARBEL

More information can be found here.

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The post Chicago Post-Punk Trio French Police Drops Icy New Single “LIBRA” — North American Tour Kicks Off in October appeared first on Post-Punk.com.

Source: Post-Punk.com