Mit “ReHydrated” wird am 20. September 2024 via Pride & Joy Music das neue Album der Melodic Rock-Band HYDRA erscheinen. Es ist nach “Point Break” (2022) das zweite Album der Schweden.

HYDRA Line-Up:
Henrik Hedström – keyboards, backing vocals
Andi Kravljaca – lead vocals, guitars
Daniel Flores – drums, keyboards, backing vocals
Jonny Trobro – bass

HYDRA “ReHydrated” Tracklist
01. We belong
02. Marionette
03. Still the same
04. Eye of the storm
05. Made up stories
06. Clown whithout a circus
07. Two of a kind
08. I remember
09. Out in the cold
10. Love remains
11. Me minus you

Source: Vampster

Flamboyant ode to lifeASTARI NITE“Resolution of Happiness”Album (Danse Macabre) Resolution of Happiness”, Astari Nite‘s fifth studio album, has an aesthetic, artistically valuable, driving and heart-warming effect on the listener. Supposed genre boundaries flow into one another as if by magic. A cozy nineties alternative vibe meets sophisticated glam rock to unite with dark wave and […]

Source: Orkus

Die australische Metalcore / Nu-Metal-Band ARCADE STORIES hat nach “Night Negatives” mit “Attack Sequence” eine weitere neue Single veröffentlicht. Der Song befasst sich mit dem unerbittlichen Streben der Menschheit nach fortschrittlichen Waffen und Methoden der Zerstörung.

ARCADE STORIES sind Sänger und Gitarrist Adam Djensen, Gitarrist Ben Burrows, Drummer Dan Simpson, Synthesizer Hayden Burrows und Bassist Liam Briggs.

ARCADE STORIES “Night Negatives” (Lyric-Video bei YouTube)

ARCADE STORIES “Attack Sequence” (Audio bei YouTube)

Source: Vampster

Die Stockholmer Stoner / Doom Metal-Band MÖUTH hat einen Vertrag bei Bonebag Records unterzeichnet. Gemeinsam veröffentlichte man im Zuge dessen die Single “Holy Ground” via bandcamp.

Das Stück ist gleichzeitig auch Vorbote des Debütalbums “Global Warning”, das Anfang 2025 erscheinen soll. Weitere Infos will man in Kürze bekannt geben.

Source: Vampster

Out via VUZ Records is “Words Sword Words”, a book about the Belgian electro band Parade Ground. The English written book counts 336 pages filled with more than 300 rare and unseen pictures, concerts posters, memorabilia, complete lyrics, biographical text and liner notes.

It comes printed on heavy, glossy, 135g artpaper, full color, hardcover with soft touch finish, thread stitching and bookmark. Measuring 17 cm x 24 cm in size, it weighs a little more than 1 kilogram. The book comes with a free CD (“Orange Et Labora”) with unreleased rehearsal tracks from the Rosary era.

Published by VUZ Records, the book was written by the band themselves.

Parade Ground says this about this publication: “And now the book , an autobiography. 1981, the hidden life of the band Parade Ground. The cursed brothers of the scene. 42 years, more than 2000 concerts. Pierre and Jean-Marc Pauly speak to you: overwhelming. A dive into an era, a thousand encounters, never had a band witnessed so closely, so intimately, the process of creation and the rise of another band: Front 242. A style like scalpel blows. One doesn’t ask a corpse what it is doing in its coffin. End so on. You will never be able to forget them again.”

You can order your copy now via VUZ Records.

Source: EBM.gr

Die Modern Metal-Band AD INFINITUM präsentiert ihre neue Single “My Halo” in Bild und Ton bei YouTube. Wie der letzte Vorab-Song “Outer Space” stammt die Nummer vom kommenden Album “Abyss”, das auf die Platte “Chapter III – Downfall” (2023) folgt und eine neue Ära einleiten soll:

“Willkommen zu einer neuen Seite der Geschichte von AD INFINITUM, wo eine neue Ära beginnt. Eine Reise von der bedrohlichen Dunkelheit des Abgrunds zu den befreienden und belebenden Traumlandschaften von Elysium, vorbei an der Hoffnung und der Kraft, die man an der Oberfläche findet. Entdeckt unsere neue Single ‘Outer Space’, ein Song, der wie ein aufrichtiges und intimes Stück eines Tagebuchs klingt. Ein graues Wiegenlied, das mit ein paar Tropfen hoffnungsvoller Farben getönt ist.”

“Abyss” erscheint am 11. Oktober 2024 via Napalm Records auf CD, Vinyl sowie digital.

Im Oktober ist das Quartett dann im Vorprogramm von KAMELOT live zu sehen:KAMELOT, AD INFINITUM, FROZEN CROWN, BLACKBRIAR – Tourdaten 2024 bei vampster.

AD INFINITUM “Abyss” Artwork

AD INFINITUM “Abyss” Tracklist

My Halo (Video bei YouTube)
Follow me Down
Outer Space (Video bei YouTube)
Aftermath
Euphoria
Surrender
Anthem for the Broken
The one you’ll hold on to
Parasite
Dead End
My Halo (Orchestral Version) nur Earbook

AD INFINITUM Line-up 2024
Melissa Bonny – VocalsAdrian Thessenvitz – GuitarsKorbinian Benedict – BassNiklas Müller – Drums

Fotogalerie: AD INFINITUM – Summer Breeze 2023 – 16.08.2023

Source: Vampster

Die Viking-Band EIHWAR unterschrieb im Winter 2023 einen Labeldeal bei Season of Mist. Im Zuge dessen wird das französische Duo, welches erst seit 2023 aus Asrunn und Mark besteht, ihr neues und erstes Album “Viking War Trance” veröffentlichen, welches am 20. September 2024 zu erwarten sein wird. Zum Titeltrack gibt es nun einen Video-Clip.

Eine erste Vorab-Single erschien im Juni als Videoclip: “Völva’s Chant” bei YouTube.

Die vorherigen Songs und Videos stehen auf YouTube parat.

EIHWAR “Viking War Trance” Tracklist

Viking War Trance (Video bei YouTube)
Ragnarök (Viking War Trance Reforged)
Völva’s Chant (Video bei YouTube)
Geri And Freki
Baldr
Fenrir (Viking War Trance Reforged)
Berserkr (Viking War Trance Reforged)
Mjölnir
Sir Mannelig

EIHWAR “Viking War Trance” Artwork

Source: Vampster

Nach dem Amphi Festival ist vor dem Amphi Festival! Schon jetzt wurden die ersten Bands für 2025 bestätigt - hier gibt es den Überblick!

Source: Sonic Seducer

Die Blackened Horror / Heavy Metal-Band CAMOS hat mit “Hide from the Light” ein neues Album angekündigt. Es ist nach “Kaim 666” (2009) das zweite Album der Brasilianer und wird am 18. Oktober 2024 via Murder Records erscheinen. Vorab gibt es einen Video-Clip vom Titeltrack.

CAMOS “Hide from the Light” Tracklist
01 – Hide From The Light (Video bei YouTube)
02 – Desert Devil
03 – Run To Kill
04 – When Love Ends In Blood
05 – Lord Of Flies
06 – The Devil’s Concubine
07 – Waiting Your Command
08 – Riding To Hell
09 – Hopeless [
10 – Swimming With The Sharks

Source: Vampster

Bach as a classical rocker, Beethoven as a heavy metal musician and Mozart as a popper – these masters of classical music can only be brought into the modern age in this way by someone who really knows his stuff: The Dark Tenor aka Billy Andrews. We talk to the likeable musician about music of […]

Source: Orkus

Mit "Veil Of Rain" haben The Beauty Of Gemina soeben eine weitere Single vom kommenden Album "Songs Of Homecoming" ausgekoppelt. Mehr Infos und das Musikvideo hier!

Source: Sonic Seducer

Hailing from the rainy streets of Manchester, The Speed of Sound is a band that’s got a family affair at its core. With John Armstrong on guitars and vocals, and his son Henry on keyboards, they’re joined by Ann-Marie Crowley on vocals and guitar, Kevin Roache on bass, and John Broadhurst banging the drums. Formed in 1989, with origins tracing back to the day Andy Warhol died in 1987, their music is idiosyncratic and ever-evolving, forever seeking new horizons.

Their style? It’s like a jukebox in a blender. They pull from the ’60s, punk, and new wave, creating a concoction that’s as unpredictable as a Manchester forecast. Their music is a merry mix of experimentation, catchy hooks, melodic sensibility, sharp wit, and lyrical depth. It’s got that spark of joy that makes you tap your foot and think a bit deeper.  They embody the DIY ethos of punk and the experimental spirit of psychedelia.

Following 2021’s critically acclaimed album Museum Of Tomorrow, the band returns triumphant, defiant and redemptive with this trilogy, marking their 35th anniversary.

Now, The Speed Of Sound debuts “Underground,” a luminous psychedelic rock single heralding the release of A Cornucopia: Victory, the second disc in their trilogy A Cornucopia: Minerva, Victory, Bounty, via California’s Big Stir Records.

Featuring dual vocals from Armstrong and Crowley, the track evokes the essence of a lost gem from David Bowie with a hint of Bob Dylan-esque charm. Thematically, it shares a kinship with songs like Todd Rundgren’s “An Elpee’s Worth of Toons” and Dire Straits’ “Money For Nothing.” This single offers a biting commentary on consumerism and the music industry. “Underground” expertly encapsulates The Speed of Sound’s ability to merge astute social critique with their signature sonic expeditions, making it a captivating glimpse of what’s to come.

“Can you hear the unheard music? This is subterranean dance-rock with an insatiable groove in celebration of independent music,” says frontman John Armstrong. “The theme of non-mainstream creativity is present throughout the three linked albums of A Cornucopia; ‘Underground’ is where it is all explicitly pulled together. Immunity from the toxic tentacles of major labels and ‘the music business’ gives a freedom of expression simply not possible from within the machine…The ‘We’ stated in ‘We are the underground’ is a collective ‘We’ – not just The Speed Of Sound – instead the ‘We’ is made up of every single independent artist across the planet. Together ‘We’ are all the Underground and ‘We’ are defiantly proud of our existence beyond the exclusive major label ‘club’. ‘We’ have the power to just do our thing and get on with it!”

Watch the video for “Underground” below:

Pre-Order A Cornucopia: Victory here

The fourteen songs on Victory are more laid-back and relaxed while retaining an optimistic, upbeat, and lively feel. In contrast, the first disc in the trilogy, Minerva, displays joyous belligerence in the face of a dominant mainstream music machine.

Minerva kicks off with an ’80s radio pop-style bang, boasting buoyant guitar-driven rhythms and the dual vocals of West Wind. It slides seamlessly into the acoustic groove of SS-100-X, then drifts into the spacious shimmer of Eight Fourteen Monday. The lively ascent of The Party Sniper follows, leading to the glowing metaphor of radioactivity in Half-Life.

Mind Palace tackles the bright and uplifting themes of dementia and identity loss, while Bodysnatchers keeps you on your toes, warning against slipping into the drabness of normalcy. The crunching melodic punch of Clickbait zings into the typewriter intro of Yet Another Tuesday, and the punkified rhythm and blues of So Faux keeps the energy high. The album wraps up with the acoustic riot of Question Time.

Brisk pop power and harmony push this homage to individual identity, memory, and self-awareness. It’s not the dull déjà vu of nostalgia, but the interactive memory that shapes a person’s very essence. Sparked by a visit to Sintra Palace in Portugal and borrowing a trick from Sherlock Holmes, Mind Palace muses on losing oneself as memory fades, while the twelve-string guitar chimes and canters.

In the coda, a chorus of overlapping Memory Voices adds depth. Big Stir label-mates Mark Britton of Amoeba Teen, Ruth Rogers and Peter Watts of Spygenius, Nick Frater, solo artist Louise Turner, Jason Edge of The Electric Stars, and Janet Armstrong, Janet Stacey Dando, and the heartbeat of Ivy Frater, all lend their voices. It’s a melodic musing on memory with a playful punch, mixing introspection with a touch of charm and plenty of chimes.

Watch The Video for “Mind Palace” below:

Full of ambition, energy, and melodic brilliance, Speed of Sound is offering A Cornucopia: Minerva as a deluxe edition on vinyl and CD.

Listen to A Cornucopia: Minerva below and order here.

A Cornucopia: Minerva by The Speed Of Sound

Follow The Speed Of Sound:

Website
Facebook
Instagram
YouTube
Spotify
Apple Music

Artist photos by Shay Rowan

The post Manchester Ensemble The Speed of Sound Debut Video for “Underground” From “A Cornucopia: Victory” appeared first on Post-Punk.com.

Source: Post-Punk.com

Die Heavy Metal / Hard Rock-Band THE NAIL hat ein neues und selbstbetiteltes Album angekündigt. Es ist das erste Album des jungen Trios, welches aus Sänger Girish Pradhan, dem Multiinstrumentalisten Reis Ali Eroglu und dessen Bruder und Gitarrist Efe Eroglu besteht.

“The Nail” wurde von deren Vater Cenk Eroglu produziert und wird am 13. September 2024 via Frontiers Music erscheinen. Vorab gibt es einen Video-Clip vom Titeltrack.

THE NAIL “The Nail” Tracklist
1. Hit & Run
2. The Nail (Video bei YouTube)
3. No Time To Burn
4. Broken
5. Walk The Line
6. Soul Screamer
7. BlackOut (Popeye Sin)
8. Exorcist
9. Hangman’s Noose
10. Underdog
11. Fall Back Now

Source: Vampster

Im November kommen Xandria und Sirenia auf Co-Headliner-Tour und machen im Rahmen dieser auch vier mal Station in Deutschland. Wir freuen uns, Euch die Dates präsentieren zu dürfen!

Source: Sonic Seducer

Die Welt ändert sich: nur der Hardrock nicht? Klar, ich kenne die Klischees. Der Musikrichtung haftet längst etwas Biederes an – der Mief von Bierzelten und der Gestank von radiotauglichen Mitgrölsongs, bei denen Rebellion nur noch eine Geste und Wildheit bestenfalls der Geruch einer nicht gewaschenen Jeansjacke ist. Aber das ist nicht die ganze Wahrheit. Denn selten habe ich ein Subgenre erlebt, das in letzter Zeit so viele gute junge Bands hervorgebracht hat, das so lebendig atmet und sich so wenig um die neuesten Trends kümmert. Die kleine Schwester von bieder ist bekanntlich “bodenständig”, was hier nicht negativ gemeint ist. Und wer einmal teuren Beluga-Kaviar (500 Euro für 100 Gramm!) probiert hat, zieht vielleicht doch gute Hausmannskost vor.

Und da sind wir auch schon bei MAVERICK, die definitiv keine Newcomer mehr sind. Mit „Silver Tongue“ bringen die sympathischen Nordiren bereits ihr fünftes Album heraus, das Debüt liegt genau zehn Jahre zurück. Und die Erfahrung hört man der Band an. Die Songs schmettern tight und spielfreudig aus den Boxen, die Hooks stimmen, und es gibt genug Dreck und Energie, dass die Musik innerhalb der Genregrenzen frisch und aufregend bleibt. Aber auch jede Menge melodische Momente, die angenehm an den Muskeln kitzeln und dieses leicht schwebende Gefühl geben, dieses gewisse Kribbeln, das ein gutes Hardrock-Album einfach braucht, um eben nicht biederer Einheitsbrei zu sein. Dass diese Band noch immer ein gut gehütetes Geheimnis ist, trotz Support-Slots für Bands wie H.E.A.T. und zahlreichen Festival-Auftritten, ist ausdrücklich zu bedauern.

MAVERICK spielen ihren Hardrock hungrig und perfekt
Doch der Blick auf den Hardrock offenbart Nuancen: Wie also klingen MAVERICK? Ein Ford Mustang amerikanischer Bauart mit rotem Lederinterieur, die Karosserie kraftvoll, aber gleichzeitig weich und geschmeidig, kein schwerfälliges Ungetüm wie heutige Sportwagen. Das verchromte Sportlenkrad lässt sich gut lenken, das Leder fühlt sich weich und griffig an. Tritt man aufs Gaspedal, schiebt sich der Wagen energisch vorwärts, die Kraftübertragung ist direkt, die Beschleunigung sofort spürbar, der Motorsound warm. Cabrioverdeck offen, die Fender Stratocaster liegt honigfarben auf dem Beifahrersitz. STOP! STOP! Meine Güte, bin ich etwa Ulf Poschardt? Oder ein Autohausverkäufer? Und hatte ich schon erwähnt, dass Hardrock ein konservatives Genre ist? Man kann zu diesen Klängen auch gut mit dem E-Bike zum See rasen und sich eine fette Boombox um die Schultern hängen.

Vielleicht muss man hier auch einen Volvo neueren Baujahrs vorfahren, denn die Band hat auch einiges von den skandinavischen Neo-Sleaze-Bands zu bieten, die heute wohl am überzeugendsten die 80er-Fönfrisur – äh – in den Wind halten. Es gibt einen leicht europäischen Einschlag, auch Bands wie PRETTY MAIDS klingen immer mal wieder durch, und eine gewisse Erdverbundenheit. Es ist keineswegs so, dass MAVERICK rein äußerlich Wert auf perfektes Styling legen, in Videos sieht man sie auch mal mit Basecap und Metal-Kutte. Sie headbangen auf der Bühne, Sänger David Balfour trägt im Video zu „Sweet Surrender“ ein SODOM-Shirt. Bitte erwartet hier keine Pudelband, ich will keinen falschen Eindruck erwecken. Es geht auch um Schweiß, um kleine verrauchte Clubs, um dreckige Energie. Zuweilen erinnert der Enthusiasmus an Bands wie BLACK STONE CHERRY, wenn auch ohne Southern- und Neogrunge-Momente.

Sänger David Balfour ist ohne Zweifel ein Aushängeschild der Band. Mit seiner kraftvollen und vielseitigen Stimme meistert er sowohl hohe Töne als auch rauere Momente, immer mit einer leicht rauchigen, kehligen Note – und das auf höchstem technischen Niveau. Wie gut ist Balfour? Am Ende ihres Albums covern die Iren den Song „We All Die Young“ von STEELHEART. Ihr kennt sicher die Audition-Szene aus dem biederen Film „Rock Star“, in der Mark Wahlberg den gerade ausgestiegenen Sänger seiner Lieblingsband ersetzen soll, erst nervös und unsicher wirkt und dann plötzlich alle verblüfft, weil er leidenschaftlich und kraftvoll Töne trifft, die für einen Rocksänger ungewöhnlich sind? Seine Freundin, gespielt von Jennifer Aniston, steht mit weit aufgerissenem Mund da und ist überwältigt. Natürlich singt nicht Mark Wahlberg, sondern Miljenko Matijevic, einer der besten seines Fachs. Balfour meistert diesen Song ebenfalls beeindruckend. Ein möglicher Kritikpunkt könnte sein, dass seine Interpretation dem Original zu nah bleibt.

MAVERICK bewegen sich in den Genrekonventionen, sind aber raffinierte Songwriter
Das Songwriting bewegt sich im Rahmen der Genre-Konventionen, ist aber raffiniert und variabel genug, um nicht cheesy zu sein. Ja, es gibt „Whoawhoowhoo!“ und „Yeah Yeah Yeah!“-Momente aus der Mottenkiste des Singalongs, die hier aber gut eingebettet sind – und in der Regel funktionieren. Und es gibt eine druckvolle, angenehm wuchtige Produktion, die alle Beteiligten gut in Szene setzt. Dass das Album in mehreren Studios aufgenommen wurde, hört man ihm nicht an: ein transparenter Sound, der modern, aber nicht künstlich klingt und die erdige Note betont.

Höhepunkte finden sich bereits im ersten Drittel des Albums. Da startet der Opener „Puppet Show“ mit pulsierendem Bass und tight groovendem Schlagzeug, um im schnelleren Midtempo einen Refrain auszupacken, der live schnell sitzen sollte und aus zwanzig wie aus zwanzigtausend Kehlen funktionieren könnte. Es folgt mit „Sweet Surrender“ der vielleicht heimliche Hit des Albums, Refrain und Postchorus sind infektiös und clever gesetzt. Die Powerchords des Gitarrenduos Ryan Balfour und Ric Cardwell klingen angenehm schroff und halten die Balance zwischen tiefem Groove und dezenter Verspieltheit. Die Soli sind großartig.

Hardrock-Perlenfischer sollten sich vom etwas plakativen Beginn des dritten Songs „Daywalker“ nicht abschrecken lassen. Wenn Sänger Ryan mit kraftvollem Timbre zum Refrain ansetzt, erinnert das an die sträflich unterschätzten und zu Unrecht vergessenen Melodic-Metal-Virtuosen GLENMORE. Exzellent! Hier zeigt sich die songwriterische Reife der Band, sodass man das kraftvolle, aber etwas konventionelle Riff gerne mitnimmt. Auch die folgende Halbballade „Lorelei“, ein sehnsuchtsvolles Stück Powerballade, das Ende der 80er gute Chancen auf MTV-Rotation gehabt hätte, trägt das GS-Gütesiegel.

Musik für Leinenhemd-Träger und BMX-Kleinstadtrebellen
Der Mittelteil des Albums fällt dann etwas ab, bietet aber immer noch genügend Hooks und erinnerungswürdige Momente, um mit einem deutlich überdurchschnittlichen Ergebnis über die Ziellinie zu brausen. „Halfway to Heaven“ ist ein treibender Rocker mit geschickt gesetzten Lead-Harmonien und einprägsamem Refrain, „Evenfall“ ein sehr okayer AOR-Rocker zwischen Midtempo und Ballade: „The second Kiss is never the same“, singt Balfour in dem Song, der wieder gut komponiert ist, aber nur knapp am Etikett „zu gefällig“ vorbeischrammt. Und wer den Refrain von „Bloody Mary“ nicht nach dem zweiten Hören mitsingen kann, sollte mal dringend seine Ohren untersuchen lassen.

Es folgt mit „Time“ der Schwachpunkt des Albums, wenn auch dieser noch okay ist: eine angenehm und stimmungsvoll düstere Strophe nimmt im Prechorus ordentlich Anlauf – um einen Refrain zu präsentieren, der große Ballade sein will, aber doch etwas erzwungen und verkrampft klingt. Die Latte ist nicht gerissen, nur leider ist der Hochspringer darunter durchgesprungen. Mögen oder nicht mögen? Ich habe mich tendenziell zu letzterem entschieden, behalte mir das Recht auf Korrektur meiner Meinung aber vor.

Entschädigt werden Hörer mit „Hideaway“, bei dem sie sich auf den Lederbezügen eines weißen Ferrari Testarossa wiederfinden, an den schlanken Palmen von Miami vorbeirauschen und in Art-Déco-Villen mit Sonny Crockett Kriminalfälle lösen. Der rosafarbene Leinenanzug sitzt perfekt, und die Girls winken. Ein flottes Stück 80s-AOR mit breiten Kotflügeln. Auch der kraftvolle Rocker „Do Or Die“ ist mit seinem eleganten Refrain, verschnörkelten Soli und den Mitsingmomenten ein weiteres Highlight. In seinen hohen Stimmlagen zeigt hier David Balfour wieder, welch exzellenter Sänger er sein kann.

Weil auch „Cheyenne“ ein exzellenter Track mit melodischen Riffs, flotter Strophe und tollem Refrain ist, steigen wir zufrieden und mit breitem Grinsen aus dem Ferrari aus, um uns abends noch ein bisschen im weißen Sand zu sonnen. MAVERICK bieten mit „Silver Tongue“ ein starkes und zuweilen euphorisierendes Hardrock-Album, das Kuttenträgern mit Vokuhila ebenso empfohlen sei wie Seidenhemden-Trägern am Strand von Miami oder am Starnberger Ufer. Und natürlich ist es auch ein Tipp für BMX-fahrende Kleinstadtrebellen, die vom zweiten Album der Überflieger NESTOR etwas enttäuscht waren. Denn hier geht es rauer und druckvoller zur Sache. Gerade live, da bin ich mir sicher, kann diese Musik wunderbar funktionieren: Augen auf, wenn sie mal in der Gegend sind!

VÖ: 21. Juni 2024

Spielzeit: 48 Min. 52 Sek.

Line-Up:
David Balfour – Vocals
Ryan Balfour – Guitars, Keyboards
Ric Cardwell – Guitars
Richie Diver – Bass
Mike Ross – Drums

Label: Metalapolis Records

MAVERICK “Silver Tongue” Tracklist:
1. Puppet Show
2. Sweet Surrender (Offizielles Video bei Youtube)
3. Daywalker
4. Lorelei
5. Halfway To Heaven
6. Evenfall
7. Bloody Mary (Offizielles Video bei Youtube)
8. Time
9. Hideaway
10. Do Or Die
11. Cheyenne
12. We All Die Young

Mehr im Netz:

Offizielle Bandwebseite

Source: Vampster

  From the highly acclaimed Sentimental Craving For Beauty album comes “My Blues,” the latest single and music video from band without a country VEiiLA. Starring Liza Dubinina in a series of slow motion loops, the video conveys the song’s themes of preserving moments of a beautiful past [..]

Source: RE:GEN Mag

What can I do if she’s lost?Just the thought fills my heart with Pink Frost
Martin Phillipps, the heart and soul behind New Zealand’s jangle-pop band The Chills, met a sudden end after a recent stay at Dunedin Hospital with complications from his long bout with Hepatitis C. Phillipps was 61. The news of his passing broke on Sunday, 28 July, through The Chills’ social media channels.

“It is with broken hearts the family and friends of Martin Phillipps wish to advised Martin has died unexpectedly. “The family ask for privacy at this time. Funeral arrangements will be advised in due course.”

The Chills, hailing from Dunedin, New Zealand, sprang to life in 1980. They anchored the Dunedin Sound, an indie pop subgenre championed by Flying Nun Records. With jangly guitars, melodic basslines, and lo-fi grit, they carved out a niche that mixed punk, pop, and psychedelia. Their music, rich in emotion and melody, stood tall alongside the likes of Belle and Sebastian, Split Enz, and the Magnetic Fields. The Chills’ influence rippled far beyond New Zealand, inspiring overseas acts like REM, Yo La Tengo, and Pavement. Iggy Pop hailed them as “fine art” on his radio show.

Their breakthrough came with the 1984 single Pink Frost, followed by a string of successful releases, including Doledrums, I Love My Leather Jacket, and the 1987 album Brave Words. Their 1990 album Submarine Bells, featuring the hit Heavenly Pop Hit, brought international recognition.

The band thought Pink Frost sounded decent but believed they could produce a superior version, so the initial recordings were shelved. Tragedy struck when drummer Martyn Bull fell ill and passed away from leukemia in July 1983. Faced with this loss, they revisited the original tapes and realized they were good enough, with just a new vocal track and guitar overdub needed.

The ’90s were turbulent, marked by lineup changes and Phillipps’s personal struggles, yet they continued producing music. In the 2010s, The Chills experienced a resurgence. Phillipps’s determination led to Silver Bullets (2015) and Snow Bound (2018), both critically acclaimed.

Despite his sudden departure Phillipps had long known his mortality would catch up to him, and in fact faced it bravely.

In 2019, the documentary The Chills: The Triumph & Tragedy of Martin Phillipps took a hard look at the band’s storied past and Phillipps’s personal struggle with Hepatitis C. The film painted a poignant picture of a life steeped in musical brilliance and personal turmoil. Phillipps gave documentarians Julia Parnell and Rob Curry unfettered access to his treatment process, weaving candid moments with interviews from numerous former bandmates. The result was a compassionate yet unflinching look at the chaos of addiction, showing the gritty – and grim – reality behind the music.

“I do have regrets,” Phillipps admitted. “I’ve told myself the appropriate lies. You go to great lengths to create a self-serving reality.”

In a 2021 interview with RNZ, Phillipps confessed that watching the documentary led to some self-reflection.

“I had not sort of seen how basically odd I was and how that impacted on other people and that gave me a lot of cause for reconsidering things that had happened in the past and so on,” he said. “I know that I’m not a hurtful person by nature, but realising that just the sheer being unaware of people’s situations around me could also be hurtful, so that was quite a revelation really.”

Despite his challenges, Phillipps’ legacy as a songwriter is remarkable, with a body of work that will stand the test of time.

Follow The Chills:

Instagram
Facebook
Spotify
YouTube

The post Martin Phillipps of The Chills Passes Away at 61 appeared first on Post-Punk.com.

Source: Post-Punk.com

CATEGORY 7 veröffentlichten am 26. Juli 2024 ihr Debütalbum “Category 7”. Nach dem Video zu “Mousetrap” und “Apple Of Discord” gibt es mit “Land I Used To Love” nun einen weiteren Video-Clip.

Anfang Juni teilte die Band ein Video zu “Exhausted” bei YouTube. Der Track folgt auf das Video zu “In Stitches”.  Vor kurzem hat das All Star-Projekt einen Plattenvertrag bei Metal Blade Records unterschrieben.

Laut John Bush lief das Songwriting für “Category 7” wie am Schnürchen:

“Die großartigen Riffs von Mike Orlando und Phil Demmel machten Texten zum Kinderspiel. Bittner und Gibson rundete als Rhythmus-Tandem den Sound ab. Es fühlt sich an, als ob diese Band von einer höheren Macht zusammengestellt worden ist!  Dass wir alle Veteran der Metalszene sind, machte die ganze Sache noch einfacher.”

Zur Besetzung von CATEGORY 7 gehören:

Sänger John Bush (ex-ANTHRAX, ARMORED SAINT)
Gitarrist Phil Demmel (ex-MACHINE HEAD, KERRY KING)
Gitarrist Mike Orlando (ex-ADRENALINE MOB)
Bassist Jack Gibson. (EXODUS)
Drummer Jason Bittner (OVERKILL; SHADOWS FALL)

CATEGORY 7 “Category 7” Tracklist
01. In Stitches (Video bei YouTube)
02. Land I Used to Love (Video bei YouTube)
03. Apple of Discord (Video bei YouTube)
04. Exhausted (Video bei YouTube)
05. Runaway Truck
06. White Flags and Bayonets
07. Mousetrap (Video bei YouTube)
08. Waver at the Breaking Point
09. Through Pink Eyes
10. Etter Stormen

Source: Vampster

Morgens, mittags, abends – man hätte unserem Hund zu Lebzeiten immer und ohne Ausnahme den gleichen Fraß auftischen können; für ihn war es stets ein Festmahl. Es sind andere Ansprüche, als wir Menschen sie haben, möchte man meinen. Und doch übertragen POWERWOLF dieses Prinzip ihrer Verwandten im Geiste ziemlich erfolgreich auf unsereiner. Mit steter Regelmäßigkeit setzen uns die Saarländer ihre bombastischen und hocheingängigen Power-Metal-Hymnen vor, deren Innovationswillen zumeist mit dem Songtitel oder einem anzüglichen Witzchen darin endet.

Die Massen begeistert das Quintett mittels seines todsicheren Erfolgsrezepts dennoch, indem man ähnliche Kniffe des Pop- und Schlager-Instrumentariums kurzerhand in ein metallisches und ungleich lauteres Vokabular überträgt. Schwungvoll und energiegeladen zeigt sich in der Folge auch „Wake Up The Wicked“, das ansonsten jedoch elf Songs lang zuvorderst das große Problem an POWERWOLFs derzeitiger Marschrichtung aufzeigt.

POWERWOLF waren noch nie so berechenbar wie auf “Wake Up The Wicked”
Große Standout-Tracks fehlen trotz catchy Grundausrichtung und offensichtlicher Singalongs fast vollständig, da die Formation vornehmlich damit beschäftigt ist, sich und ihren eigenen Backkatalog wiederzukäuen, ohne auch nur irgendeinen frischen Akzent zu setzen. So finden wir in „Heretic Hunters“ die obligatorischen Folk-Anleihen, deren tanzbarer Grundcharakter in „1589“ bald von opulentem Kitsch abgelöst wird. Dass wir schon beim ersten Lesen des Titels eine exakte Vorstellung des Refrains im SABATON-Stil im Kopf haben, unterstreicht die Berechenbarkeit, mit der POWERWOLF mittlerweile zu Werke gehen.

Dicker aufgetragen wird nur in „Joan Of Arc“, das als beschwingter Aufguss von „Sainted By The Storm“ jedoch ein weiteres Indiz dafür ist, dass die größte Power-Metal-Band der Nation in einer kreativen Krise steckt. Der Versuch, in „Kyrie Klitorem“ und „Viva Vulgata“ eben das mit überdrehtem Bombast zu kaschieren, bleibt so farblos wie das Songwriting, das sich in seiner kompakten Natur auf das absolute Minimum beschränkt. Weder Ballade noch der Versuch, eine schaurige Mär jenseits der Vier-Minuten-Marke zu spinnen; dafür allerdings eine geradezu erschreckende Erkenntnis: Sogar SABATON sind mittlerweile die mutigeren Songschreiber.

Routiniert und risikoscheu – POWERWOLF steuern in eine Sackgasse
Es spricht Bände, dass mit „Thunderpriest“ und dem Titeltrack ausgerechnet die beiden temporeichen Stücke hervorstechen, die das sakral-orchestrale Wettrüsten eben nicht uneingeschränkt mitmachen. Enttäuschend ist das mit Blick auf das Album, aber auch die komplette Diskografie, dennoch: zu risikoscheu, um gut zu sein, und zu routiniert, um als kompletter Fehltritt abgetan zu werden. Zumindest wissen wir, für wen “Wake Up The Wicked” mit seinen immergleichen Zutaten ein Festmahl gewesen wäre – morgens, mittags und auch abends.

Veröffentlichungstermin: 26.07.2024

Spielzeit: 37:11

Line-Up
Attila Dorn – vocals
Falk Maria Schlegel – organ
Charles Greywolf – guitar
Matthew Greywolf – guitar
Roel van Helden – drums

Produziert von Joost van den Broek

Label: Napalm Records

Homepage: https://www.powerwolf.net/
Facebook: https://www.facebook.com/powerwolfmetal
Instagram: https://www.instagram.com/officialpowerwolf/
Bandcamp: https://powerwolf.bandcamp.com

POWERWOLF “Wake Up The Wicked” Tracklist

Bless ’em With the Blade
Sinners of the Seven Seas (Video bei YouTube)
Kyrie Klitorem
Heretic Hunters
1589 (Video bei YouTube)
Viva Vulgata
Wake Up the Wicked
Joan of Arc
Thunderpriest
We Don’t Wanna Be No Saints
Vargamor

Source: Vampster

The Belgian electro-pop duo Metroland released “Forum” a few months ago, an electrifying conceptual hymn to the industrial revolution of the 21st century, a sonic journey exploring the crossroads of innovation and nostalgia. Fresh and experimental vintage electronic prowess for fans of the melodic Düsseldorf synth style. We talked with Passenger A and Passenger S about this new album, while new singles from this album are in the pipeline. 

The album is available on Bandcamp and on CD via the Alfa Matrix webstore.

Forum (Exclusive Bandcamp Version) by METROLAND

SL. “Forum” is described as a continuation and evolution of your previous work “0”. Can you explain the conceptual link between these two albums and how the EP “Industry” serves as a bridge between them?

Related newsMetroland lands all new album, 'Forum' - Out nowPassenger A&S: When “0” was not yet released and seriously delayed by many different factors, we were toying with the idea to extend the ‘World Economic Forum’ concept around the industrial revolutions. We planned 5 EP’s, each with a variance of the song “Industry 4.0” alongside new tracks. However, once “0” was out, we no longer had the urge to release these foreseen EP’s. We both felt it was simply not enough and, to be honest, it was close to being even pointless. After some creative discussions and a Belgian beer or 2 (make that 4) an album felt better, more significant and certainly in the afterglow of “0”, unfinished business.

The album indeed draws inspiration from the World Economic Forum in Davos. How did this influence shape the themes and musical direction of “Forum”?

Passenger A&S: It is in fact almost never the theme itself that shapes the songs or the direction. We mostly start from a sample, a sound, or a title. While building the song we come across other sounds and samples and even then what we had in mind to start with could turn out totally different from that. “Forum” is an album which is not as dark as its predecessor, but you can surely put it alongside the atmosphere and direction of it.

Related newsMetroland returns with new 'Industry' single ahead of new albumTracks like “Happy Nothing”, “The Great Reset”, and “Infotainment” showcase your melodic side. Can you discuss the inspiration and creative process behind these particular songs?

Passenger A&S: These 3 songs all started from a totally different base. “Happy Nothing” came from a textual idea, whereas “The Great Reset” was built on a sampled baseline and “Infotainment” started from a melody. While melodies are a continuum of Metroland’s way of working, we don’t really have 1 way to go about a song, nor do we start together in the studio every time. It is quite possible that a Passenger comes up with a demo or a loop of a few seconds.

“Forum” includes experimental song structures and fresh sounds. What new techniques or approaches did you explore in this album that differ from your previous work?

Related newsMetroland's new '0' album released today: Belgian electronica duo launches on CD & blue vinyl, plus standalone 'X' albumPassenger A&S: Every album is an occasion to broaden our sound palette and discover new electronics. However, we never set out from the start with a clear goal; it mainly comes along during the creative process; our more ‘experimental’ side you could say. Sometimes, we even delete parts of a song or a sound, and yes, even sometimes a complete song is being omitted. We have around 5 to 6 songs that never make it on a release, and we never re-use any of these either. We do have our special things and tricks that we tend to do with shifting notes, trying different layers or strange effects. But we never look back, never try to copy something from our past, or use any of the sounds we used before. Every new release is a fresh new audio canvas where we use different approaches in sound scaping.

The EP “Industry” features different versions of the industrial revolutions, culminating in a 10-minute epic experience on the CD edition. How did you conceptualize and create this multi-part industrial journey?  And why these different versions always between CD, digital, vinyls… it’s quite conceptual for METROLAND isn’t it?

Passenger A&S: Apart from the music, there is art, there is concept, there is hard work. So, if you “only” want digital, you might get less. We strongly believe in the item as an entity to complete our message. It is only by holding, reading the booklet and seeing the full package that you understand what that message ought to be. Digital platforms should be an argument to buy a physical version on an album and not “the end”. We want to deliver value to those who appreciate it. That requires much more input from our end, more songs, more art, but in the end, it brings much more value. And yes, this is a harsh view, we confirm. But since we entered the music business in 2012 with “Mind The Gap” we get the appraisal for that from our loyal fan base.

Related newsFinal opportunity to secure your free 'X' album by Metroland with double blue vinyl pre-order of '0'Your music often reflects a blend of innovation and nostalgia. How do you balance these elements to create a sound that feels both fresh and rooted in the vintage electronic tradition?

Passenger A&S: It is the blend of our very rich background and music collectors from 80s to modern, from dark wave to electronics and everything in-between that results in the typical Metroland sound. Where Passenger S is inspired by dark music but loves the high-pitched sequences, Passenger A loves club stuff but prefers not to make things too jolly. We push each other in both directions and extremes, but we meet each other in the middle. It is that synergy that keeps us going, that delivers that Metroland attitude.

The tracks “Activity as a Timetrigger,” “Baukultur,” and “Quantum” continue the trajectory set by “Industry.” Can you delve into the themes and messages you wanted to convey through these electro-infused pieces?

Passenger A&S: We never thought of it that way. We never make a song, deliberately thinking of a message or a link with another album track. We do read and discuss often about the concept and about what would/could be the right direction to take, both music and art wise. Things just happen, albeit everything is linked to the theme. The current concept we are creating songs for is basically an easy one, opens a lot of opportunities, but is the hardest one for us to give it the right approach in art, when looking at all our endeavours.

As a duo, how do Passenger A and Passenger S collaborate in the studio? Can you share some insights into your creative dynamic and how it influenced the making of “Forum”?  And how different is it for both of you compared to your respective solo-projects?

Passenger A&S: Usually, we meet up weekly in the Underground Studio and work on no matter what upcoming release. There is never any pressure, but once someone holds the final result, he or she can be sure that everything is meticulously planned to the hilt, from every little stroke of art to the very last second of every song. But we never follow the same pattern or path; nor for music nor for art, and the further we can step outside of the box the more we like it!  The solo-projects are clearly without the influences of the other Passenger and music wise, although both electronic, it is very different for 90% (some things are in our DNA and we cannot ignore it. But that feels natural after working together for more than 30 years). The biggest difference is that the synthpop from 808 DOT POP (Passenger S) is built around concepts and more sequence based, whereas LECTREAU (Passenger A) works in singles only and aims for the club floors. The mutual aspect is electronics; that will remain a fact, no matter what.

Source: EBM.gr

Die Dungeon Synth / Symphonic Black Metal-Band HYVER hat mit “Fonds de Terroir” eine neue EP angekündigt. Die Scheibe folgt auf das zweite Album der Franzosen, “Noirceur mystique d’autrefois” (2024), nach und wird am 17. September 2024 via Antiq erscheinen.

HYVER “Fonds de Terroir” Tracklist
1. Lanterne des Morts
2. La Vieille près du Lavoir
3. Frère Jean-Théophane
4. Terroir Terreur

Source: Vampster

Words unspoken, meanings arise
In the realm of silence, where wisdom lies
Night In Athens is an artist who inhabits the liminal spaces between genres, exuding an uncanny theatricality and atmosphere that few contemporaries can match. Her music feels like an unearthed cassette from the archives of European minimal synth and cold wave labels, yet it pulses with a modern vitality. Her work is a bridge between the haunting echoes of the past and the stark realities of the present, merging the spectral beauty of old-school post-punk with the raw, visceral energy of modern darkwave.

Night in Athens burst onto the East London music scene in 2020, crafting a dark synth landscape that feels like the soundtrack to a haunting, otherworldly dream. Her music immerses listeners in a phantasmagorical realm where sci-fi and dark fantasy collide, driven by the relentless beat of synthesizers. Her voice, shifting from soft murmurs to piercing cries, weaves through the tracks, uncovering the hidden decay beneath society’s polished facade. Each composition serves as a gothic requiem, unearthing long-buried secrets and laying bare the harsh realities of human existence. Guiding listeners through a labyrinth of shadowy corridors and hidden chambers, their music is a dark and sensual excavation of the soul. It’s a chilling, somber melody that peels back facades to expose the raw, unvarnished truths and the frail vulnerability lurking beneath.

Now, Night In Athens has recently released their latest full-length album, “Wasted Reflections.” The album delves into themes of isolation, regret, and haunted thoughts, creating vivid portraits of individuals finding solace in shadows, grappling with identity and self-worth, and feeling the weight of paralysis and guilt. The songs in the album serve as a compelling guide into an abyss of chaos and despair, painting a vivid picture of an unsettling inner world whose turmoils are assuaged through the power of music.

The album opens strong with Pale Rose, a song heavily channeling Anne Clark’s pulses and poetics. It depicts a figure with skin as pale as the moon and veins running cold like icy streams. They find comfort in shadows and dreams, using a pale rose as a mask and wrapping themselves in garments of sorrow. Shunned by society, they embrace the darkness without hesitation, seeking solace in its cold embrace.

In Nightshades, the theme of solace and awakening in the shadows takes center stage, with an eclipse heralding a shift. Nightshade, both poison and panacea, pulses through their veins as they embrace tension and siren cries. In the dark, they come alive, finding peace and bliss in a lover’s arms. They dance with the eastern breeze, shrouded in lingering obscurity, where shadows hide secrets and every moment feels stolen from the encroaching dawn.

The album’s title track, Wasted Reflektions is plagued by disarray and despair, with shattered dreams and fractured visions casting a long shadow. Echoing voices and flickering illusions reflect a mind on the brink of collapse. Behind every façade, unique agony festers, unraveling thoughts and intertwining desire with fate. It’s a haunting portrayal of a fragile mind grappling with a symphony of brokenness, caught in the relentless routine of distorted reality.

Your Shadow portrays a soul tormented by its own thoughts and past transgressions, shackled by a suffocating sense of guilt and fear, with memories that linger like unwelcome guests. The silence around them only amplifies the inner storm, as shadows of the past stalk every step. It’s a bleak dance with despair, a mind imprisoned by its own echoes, struggling to escape the inescapable darkness.

Pressure prowls like a panther in a hellish nightclub, where chaos and creation tango through blindness and bewilderment. Blood drips in relentless rhythms, painting scenes of crimson suffering. The constant call to “run” crackles with frantic urgency, leading to a twisted chase through shadowy corridors. It’s a rollercoaster ride through a haunted house, steeped in existential dread and dark delirium, where every corner holds new terrors, and escape feels like an impossible dream.

Words Unspoken, delves into the profound serenity of silence amidst the cacophony of modern existence. Initially, it may seem like a dark wave tune, yet it reveals silence as unsettling, odd, and even frightening. The lyrics portray silence as a sanctuary, a place of wisdom and peace, standing in stark contrast to the world’s turmoil. Through hushed whispers and unspoken words, the song underscores how silence offers true freedom and respite from constant demands, highlighting the modern struggle to communicate emotionally and love genuinely. Silence is often more than just a lack of sound.



Sheeeee drifts through a shadowy world of disconnection, savoring her last breath while grappling with identity and worth. The relentless repetition underscores her confusion, a struggle for control in a chaotic void. A sinister shadow questions her place and purpose, casting doubt on existence itself. It’s a dance with darkness, a silent scream in the night, where each breath is a battle, and every thought a twisting knife. In this bleak ballet, she teeters on the edge, lost in a labyrinth of her own making, seeking meaning in the shadows that refuse to release their grip.

In “Frozen Landscape,” we delve into the profound sense of being paralyzed and isolated, capturing the feeling of being trapped in one’s own mind. The protagonist of our song experiences the world spinning around them while they remain frozen, lost, and unable to break free from their thoughts. The silence overwhelms them, and the weight of despair suffocates their spirit. Their longing for a guiding light to help them escape the darkness and discover hope is palpable.

The closing track of the album, “Emotions,” captures a fervent and intense love, portraying it as a chemical reaction and revolution. Love is presented as a potent force, dismantling barriers and leaving an enduring impression. In this “war of hearts,” there’s no evading the profound impact of their connection.

Wasted Reflektions is out now via Wave Records. Listen below and order on CD and limited edition splatter vinyl here.

W173 – Night In Athens “Wasted Reflektions” by Wave Records
Night In Athens began composing and producing to exorcise her demons while confined to her East London room during lockdown. Her debut EP, METROPOLIS, dropped in 2021, featuring dark electro with a mix of punk, darkwave, and coldwave. She self-released records like 2022’s CRIME SEEN, a proto-minimal-synth cult blend with analogue synth-wave vibes, also dabbling in electroclash preachings. In under two years, Night In Athens has performed extensively across Europe and the UK, known for her visually thrilling stage shows that match her musical energy. She’s a standout in the minimal synth and cold wave revival, pairing crisp analogue synths with a detached lyrical tone.

Follow Night In Athens: 

Instagram
YouTube
Facebook

 
The b&w photos are by Peny Sotiropoulou,
Coloured one is Simone Pellegrini

The post Pale as The Moon at Night — Listen to the Icy Darkwave of Night in Athens’ “Wasted Reflektions” LP appeared first on Post-Punk.com.

Source: Post-Punk.com

  After making an auspicious return late last year with a new video for 1998’s “Duvet,” rumors have abounded that English indie/alt. rock band Bôa would soon be announcing a new album. Now, the trio of Jasmine Rodgers, Alex Caird, and Lee Sullivan has confirmed that Whiplash will be arriving on October 18, with the title track serving as its latest single. “From the first moment in the rehearsal room, we were writing again [..]

Source: RE:GEN Mag

Die Melodic Rock-Band Melodic Rock FIND ME hat mit “Nightbound” ein neues Album angekündigt. Es ist das fünfte Album des von Daniel Flores (THE MURDER OF MY SWEET) ins Leben gerufenen Projekts. Als Sänger steht dem gebürtigen Chilenen Robbie LaBlanc (BLANC FACES, Ex-FURY) zur Seite.

“Nightbound” wird am 13. September 2024 via Frontiers Music erscheinen. Vorab gibt es zum Opener “Never Be Alone” einen Video-Clip.

FIND ME “Nightbound” Tracklist
1. Never Be Alone (Video bei YouTube)
2. I See You In Everyone
3. Can’t Wait Here Anymore
4. Distant Lovers
5. Nightbound
6. Love Always Finds A Way
7. Speechless
8. Walk Through The Fire
9. Said And Done
10. Savage Blue
11. The Time Has Come
12. I See You In Everyone (Remix) Bonus track Japan

Source: Vampster

Die Alternative Rock / Modern Metalcore-Band VILLAIN OF THE STORY hat nach “Spiral” – mit Taylor Barber (LEFT TO SUFFER) – mit “My Own Way” eine weitere neue Single veröffentlicht. Anfang des Jahres ist mit “Decade” eine weitere neue Single erschienen. Der Song erscheint anlässlich des Releases der ersten Single der US-Amerikaner aus Minneapolis vor zehn Jahren.

“10 Jahre sind eine lange Zeit, um irgendetwas zu tun, ganz zu schweigen davon, in einer Band zu sein. Es war eine wilde Fahrt von unserer Highschool-Zeit bis heute. Wir sind gewachsen, haben uns weiterentwickelt, standen vor zahllosen Herausforderungen, aber unsere Leidenschaft und Freundschaft sind nur noch stärker geworden. Es ist surreal zu denken, dass wir zusammen mit unseren Fans erwachsen geworden sind”, sagt Sänger Christian Grey.

VILLAIN OF THE STORY sind die Sänger Christian Grey und Logan Bartholomew, Gitarrist Cody Pauly sowie Bassist Page Brownie.

VILLAIN OF THE STORY “Decade” (Video bei YouTube)

VILLAIN OF THE STORY “Spiral” (Video bei YouTube)

VILLAIN OF THE STORY “My Own Way” (Video bei YouTube)

Source: Vampster

Die Trap / Nu Metal-Band SWARM6IX hat Anfang 2024 einen Labeldeal bei Out Of Line Music unterschrieben. Jetzt legt die Gruppe nach der Single “TOX(sick) nach, die auf allen gängigen Streaming-Plattformen verfügbar ist, nun auch die Single “Blood $oda” – ein Song über Drogenmissbrauch – nach.

Die Stücke folgen auf den Release der Single “LIP$TICK” mitsamt Video-Clip.

“Letztendlich ist es die Erkenntnis, dass jemand nicht der ist, für den er sich ausgibt. “LIP$TICK” steht für die Vertuschung der Unvollkommenheiten und Lügen, die Menschen verbergen, um sich als bessere Person darzustellen, bis ihr wahres Ich zum Vorschein kommt. Die Verräter, die Manipulatoren, die Narzissten und die Betrüger”, erklärt die Band.

SWARM6IX sind Gitarrist Daniel Sloane, Sänger Ben Fordham, Bassist Owen Morris und Drummer James Lane.

SWARM6IX “LIP$TICK” (Video bei YouTube)

SWARM6IX “Blood $oda” (Video bei YouTube)

Source: Vampster

Die Psychedelic / Fuzz Rock-Band FREE RIDE hat mit “Vice” einen zweiten Track ihres kommenden Albums “Acido Y Puto” veröffentlicht. Es ist das zweite Album der Spanier und sei eine klangliche Erkundung der menschlichen Psyche und der Abgründe des Unbekannten.

“Acido Y Puto” wurde von Matt Dougherty gemixt und gemastert und wird am 9. August 2024 via Small Stone Recordings erscheinen. Vorab gibt es zum Opener “Space Nomad” – eine Geschichte über einen nomadischen Reisenden, der das Universum auf der Suche nach kosmischer Wahrheit und Verbindung durchquert – ein Video.

FREE RIDE Line-Up:
Borja Fresno Benítez – vocals, guitars, synthesizer, percussion, sitar
Víctor Bedmar Lam – bass
Carlos Bedmar Lam – drums

FREE RIDE “Acido Y Puto” Tracklist
1. Space Nomad (Video bei YouTube)
2. Outsider
3. Kosmik Swell
4. Vice (Audio bei Decibel Magazine)
5. Nazaré
6. Steamroller
7. Joy
8. Blackout
9. Living For Today

Source: Vampster

Die IRON MAIDEN-Coverband METAKLAPA geben Anfang 2025 drei Konzerte in Deutschland – die sechsköpfige A-capella-Band aus Kroatien intoniert die Songs im traditionellen Klapa-Stil Dalmatiens.

Zum Kennenlernen: Zu “Wasted Years” von METAKLAPA gibt es ein Video bei YouTube, im vergangenen Jahr veröffentlichten METAKLAPA das Album “The Choir Of The Beast“.

METALKLAPA “The Choir Of Beasts Tour” 2025
24.01.2025 Köln – Kulturkirche
31.01.2025 Hamburg – kleine Elbphilharmonie
01.02.2025 Berlin – Passionskirche

Source: Vampster

Neue Musik aus dem Hause THE OFFSPRING: Die Punk-Rock-Band veröffentlicht am 11. Oktober 2024 ihre Platte “Supercharged”, welche sie mit der Single “Make It All Right” vorstellen. Nun gibt es auch ein Musikvideo zum Track. Der Titel des Albums ist dabei bewusst gewählt, wie Sänger Dexter Holland erklärt:

“Wir wollten, dass diese Platte von Anfang bis Ende pure Energie ausstrahlt! Deshalb haben wir die Platte auch SUPERCHARGED genannt. Auf dieser Platte sprechen wir über alles, von den Erfolgen bis hin zu den Schwierigkeiten, die wir hatten – und zwar auf eine Art und Weise, die das Leben feiert, das wir gemeinsam teilen und wo wir jetzt sind. Unsere Single „Make It All Right“ ist ein gutes Beispiel dafür, denn sie handelt von den Menschen in unserem Leben, die uns stark machen, wenn es uns schlecht geht – unsere Partner in Crime, die dafür sorgen, dass es uns gut geht. […]”

“Supercharged” wurde von Bob Rock produziert und erscheint über Concord Records / Universal Music.

THE OFFSPRING “Supercharged” Tracklist

Looking Out For #1 (3:16)
Light It Up (2:52)
The Fall Guy (2:34)
Make It All Right (3:34) (Audio-Stream) (Video bei YouTube)
Ok, But This Is The Last Time (3:23)
Truth In Fiction (2:00)
Come To Brazil (4:19)
Get Some (2:57)
Hanging By A Thread (3:26)
You Can’t Get There From Here (3:54)

Source: Vampster

Die Hard Rock-Band STEELCITY hat mit “Reverence” ein neues Album angekündigt. Es ist nach “Fortress” (2018) und “Mach II” (20019) das dritte Album der von Mike Floros (LOVE IN CHAINS) gegründeten Band und wird am 20. September 2024 via Frontiers Music erscheinen. Vorab gibt es den Track “Walk Away” zu hören.

STEELCITY Line-Up:
Mike Floros – Guitar
Roy Cathey – Vocals
Jason Cornwell – Bass
Anthony White – Drums

STEELCITY “Reverence” Tracklist
1. I Ain’t Dreamin’ ‘Bout You
2. Hammer’s Fallin’
3. No Angel
4. Dizzy
5. Walk Away (Audio bei YouTube)
6. B.A.N.K.
7. Midnight Dancer
8. Broken
9. Losing Control
10. Blinded
11. The Journey
12. The Journey (acoustic version) bonus track Japan

Source: Vampster

Die Thrash Metal / Hardcore-Band HATCHEND hat einen Labeldeal bei Selfmadegod Records unterschrieben. Im Zuge dessen werden die Schweden ihr Debütalbum “Summer Of ’69” veröffentlichen. Der Release erfolgt am 23. August 2024.

“Summer Of ’69” wurde binnen zwei Tagen aufgenommen und von Ulf Blomberg gemixt und gemastert. Nach “Scapegoat” gibt es mit “Shackled Humanity” nun die zweite Vorab-Single.

HATCHEND Line-Up:
Rikard Wermén – drums
Elis Edin Markskog – guitar
Kalle Nimhagen – vocals
Dan Bengtsson – bass

HATCHEND “Summer Of ’69” Tracklist
1. Shackled Humanity (Audio bei MetalSucks)
2. Who’s The Foe Today?
3. Bloodthirsty Degenerate
4. Scapegoat (Video bei YouTube)
5. A Fierce Scalpel Menace
6. Feed This Emptiness
7. Fascist By Design
8. First Blood

Source: Vampster

Mit “Shut Up!” wird am 20. September 2024 via Pride & Joy Music das neue Album der Hard Rock-Band DANGER ZONE erscheinen. Es ist das fünfte Album der Italiener aus Bologna. Vorab gibt es mit “Evil” einen Video-Clip.

DANGER ZONE Line-Up:
– Giacomo Gigantelli: Lead Vocals
– Roberto Priori: Lead Guitar
– Paolo Palmieri: Drums
– Matteo Minghetti: Bass
– Danilo Faggiolino: Guitar
– Pier Mazzini: Keyboards & Vocals

DANGER ZONE “Shut Up!” Tracklist
01-I Like It
02-Evil (Video bei YouTube)
03-Tell Me The Truth
04-I Don’t Care
05-Too Late
06-Run (From The Madness)
07-I’ll Make It Right
08-Hurt
09-When You Broke My Soul
10-Faithless Ways
11-Straight Down The Line

Source: Vampster

Die Stockholmer Stoner / Doom Metal-Band MÖUTH hat einen Vertrag bei Bonebag Records unterzeichnet. Gemeinsam veröffentlichte man im Zuge dessen die Single “Holy Ground” via bandcamp.

Das Stück ist gleichzeitig auch Vorbote des Debütalbums “Global Warning”, das Anfang 2025 erscheinen soll. Weitere Infos will man in Kürze bekannt geben.

Source: Vampster

Mit “The Unforgivable” wird am 6. September 2024 das neue Album der Progressive Rock-Band ANUBIS erscheinen. Das neue Album der Australier erzählt die Geschichte eines jungen Mannes, der einer religiösen Sekte im Mittleren Westen der USA, der “Legion of Angels”, verfällt. Vorab gibt es mit “Back” einen Video-Clip.

ANUBIS Line-Up:
Robert James Moulding – Vocal, Guitar, Percussion
David Eaton – Keyboard, Guitar, Vocals
Douglas Skene – Guitar, Vocals
Dean Bennison – Guitar, Vocals
Anthony Stewart – Bass, Vocals
Steven Eaton – Drums, Percussion, Vocals

ANUBIS “The Unforgivable” Tracklist
Part I – A Legion of Angels
Part II – The Mark of Cain
Part III – Alone
Part IV – The Chains
Part V – One Last Thing
Part VI – All Because of You
Part VII – The End of the Age
Part VIII – Back (Video bei YouTube)
Part IX – Shadows Cloak the Gospel
Part X – The Unforgivable

Source: Vampster

Mit einem Video zu “True As Lies” stellen REZET die dritte Single ihres kommendes Albums vor – als Gast ist Steve „LIPS“ Kudlow von ANVIL zu hören.

Die sechste Platte der Thrash Metal-Band trägt den Titel “Rezet” und erscheint am 30. August 2024 via Violent Creek Records / Soulfood.

Schon im Mai teilten REZET ein Video zu „Unholy Grail“, im Juni folgte ein Video zu “Duck & Cover”.

Anfang 2023 stieß Gitarrist Nikolay Atanasov (u.a. AGENT STEEL) zur Band, neu dabei ist auch Bassist Lorenz Kandolf (u.a. TRAITOR). Zur Stammbesetzung  gehören seit dem Debütalbum „Have Gun, Will Travel“ (2010) Sänger und Gitarrist Ricky Wagner sowie Schlagzeuger Bastian „attt“ Santen.

Produziert, gemixt und gemastert wurde das Album erneut von Eike Freese.

REZET “Rezet” Tracklist
Opus 1984.2
Time To Die
Unholy Grail (Video bei YouTube)
Duck & Cover (Video bei YouTube)
Burning Prophets
Together Apart
Prisoner Of Fate
Killing Spree
Atmosfear
True As Lies (Feat. Lips) (Video bei YouTube)
World War Z
Into The Abyss

REZET Besetzung:
Ricky Wagner – Vocals, Guitars & Piano
Bastian “attt” Santen – Drums
Lorenz Kandolf – Bass
Nikolay Atanasov – Guitars

Source: Vampster

Eine ungewöhnliche Kollaboration: Die Modern / Alternative Metal-Band EMIL BULLS hat mit Sängerin Doro Pesch (DORO) zusammengearbeitet. Das Resultat ist der Track “Warriors Of Love”, den man auch als Musikvideo bei YouTube sehen kann.

Das Stück dient gleichzeitig als Soundtrack der Charity-Aktion “The Ride To Wacken”, für die Sänger Christoph von Freydorf die Strecke von München bis zum Open Air im Norden mit dem Fahrrad zurücklegt. Rund 1000km legt der Frontmann für den dortigen Auftritt zurück, um Spenden für die Wacken Foundation zu sammeln.

Zuletzt veröffentlichten EMIL BULLS das Album “Love Will Fix It” (2024).

EMIL BULLS Line-up 2024
Christoph von Freydorf  vocalsStephan Karl  guitarAndy Bock  guitarPascal Theisen  bassFabian Füss  drums

Fotogalerie: EMIL BULLS – Backstage Werk, München – 15.12.2023

Source: Vampster

Nachdem in den letzten Jahren via Minimalkombinat das Vermächtnis des deutschen Post Minimal Industrial Electro-Duos BAKTERIELLEN INFEKTION (fast) umfassend aufgearbeitet wurde und es von den späteren BRIGADE ROSSE zumindest eine Best Of-Platte bei Young & Cold Records gab, kalibriert sich deren Frontmann Uwe Marx wieder neu. Sein neues Projekt zusammen mit Jonas Heyn heißt jetzt PLEASURE VICTIM und startete 2020 völlig unter dem Radar mit einer Single auf dem obskuren kanadischen Label Nancy Records. Der Titeltrack „Stadt aus Glas“ war ja noch eine eingedeutschte Coverversion von der BAKTERIELLEN INFEKTION, aber mit dem Debüt-Album „Hypnovisions“ kann er nun völlig aus dem Schatten des legendären Projektes heraustreten, bleibt jedoch weiter im nächtlichen Neonlicht des urbanen Großstadtdschungels. Die repetitiven Texte von Uwe Marx drehen sich dabei (wie meist immer) um seine Lieblingsthemen Schlaf und Träume, für die Multi-Instrumentalist Jonas Heym mit seinen analogen Equipment für die entsprechend passende musikalische Minimal Electro Wave-Untermalung sorgt. Trotz aller dem Genre verpflichtenden Kühle und Distanziertheit haben die elektronischen Klängen eine gewisse Wärme und sind durchzogen von einprägsamen Melodien, was „Hypnovisions“ zu einer ungemein tanzbar gängigen Angelegenheit macht. Wenn es denn mit rechten Dingen zu gegen würde, wären zum Beispiel Tracks wie „Telecult Power“, „Leben in Schwarzweiss“, „Driftwood“ oder „Panopticon Prison“ längst Hits auf den schwarzen Tanzfluren der Nation. Um so verwunderlicher, dass dieses wirkliche aktuelle Glanzlicht des Minimal Electro Wave nur auf 150 Exemplare limitiert ist und diese noch auf drei verschiedene Vinyl-Farben aufgesplittet sind. Es gibt davon keinen Download und kein Tape oder CD, was fast schon ein wenig schade ist, denn die 9 Songs von PLEASURE VICTIM hätten das Zeug für etwas mehr Popularität! Anderseits kommt das herrlich Retro-Coverartwork nur in der LP-Größe so richtig zur Geltung, die übrigens solide gepresst ist und mit einem stabilen Insert aufwartet. Demnächst gibt es im Interview mit Uwe Marx hier mehr über PLEASURE VICTIM, die BAKTERIELLE INFEKTION, BRIGADE ROSSE etc. zu erfahren. Bis dahin habt Ihr allerdings die Hausaufgabe, Euch ran zuhalten, um noch ein Exemplar der Platte zu bekommen, was man am besten direkt beim Label EINS:ZWEI:ACHT versucht! (Marco Fiebag)

Source: BLACK Onlinemagazin

Am 13. September 2024 veröffentlichen AGRYPNIE ihr neues Album “erg”. Zum Reinhören hat die Black Metal-Band nun auch ein Video zu “Blut” bei YouTube veröffentlicht. Für den Song holten sich AGRYPNIE Verstärkung von GROZA-Sänger PG.

Schon im Juli teilten AGRYPNIE einen Ausschnitt aus dem Track „Aus Rauchlosem Feuer“ bei YouTube veröffentlicht. Bei dem Song ist Phil von SECRETS OF THE MOON und CRONE als Gastmusiker zu hören.

Auf “erg” gibt es weitere Kooperationen, für einen weiteren Song haben AGRYPNIE mit Hupogrammos von DORDEDUH  zusammengearbeitet.

Cover und Layout von “erg” kommen von Marco//Synquadrat, produziert hat das Album Phil Hillen im SU2 – Studio.

AGRYPNIE “erg” Tracklist
1. Aus rauchlosem Feuer (feat. Phil // SECRETS OF THE MOON, CRONE) (Ausschnitt bei YouTube)
2. Meer ohne Wasser
3. Sturm (feat. Hupogrammos // DORDEDUH)
4. Blut (feat. P.G. // GROZA) (Video bei YouTube)
5. Entität
6. Stunde des Wolfes
7. Geister
8. Unter Sand

 

Source: Vampster

Philip Glass, the American composer, has publicly condemned the unauthorized use of his music by the Sevastopol Opera and Ballet Theater in Crimea. This protest stems from the theater’s plan to premiere a ballet adaptation of “Wuthering Heights”, based on the novel of the same name by Emily Brontë with music by Philip Glass, without his consent.

Glass expressed his outrage in a letter posted on X, saying that the use of his music and name without permission violates the Berne Convention for the Protection of Literary and Artistic Works. He described this action as “an act of piracy” but also acknowledged that the current political situation in temporarily occupied Crimea renders him powerless to legally enforce his rights. However, he made it clear that he strongly objects to the unauthorized use of his work and name.

pic.twitter.com/A0mp2atmyx

— Philip Glass (@philipglass) July 25, 2024

The ballet is set to include not only Glass’s compositions but also music by Icelandic composer Hildur Guðnadóttir.

Related newsWim Mertens completes triptych 'Cran aux Oeufs' with 'Dust of Truths'The theater’s director, Sergei Polunin, a known supporter of President Vladimir Putin, is expected to perform a leading role in the production​.

In 2019, the Paris Opéra Ballet revoked an invitation for him to perform due to backlash over his homophobic and sexist social media posts. Polunin is also an outspoken supporter of Vladimir Putin and the Russian invasion of Ukraine, which has alienated many in the dance community. Sergei Polunin also has three tattoos on his chest and shoulders depicting Russian President Vladimir Putin.

A full blown fanatic in other words.

Source: EBM.gr

Die Stuttgarter Band SCHUBKARRE hat ihren neuen Song “Ungebremst gegen die Wand” mit Musikvideo veröffentlicht: “Ungebremst gegen die Wand” bei YouTube  ansehen.

“Ungebremst gegen die Wand” ist die erste Veröffentlichung des Quartetts aus Marbach am Neckar bei Stuttgart. Die Band, die einen Mix aus Metal, Sludge, Noise, Rock und Punk spielt, wurde 2023 gegründet.

Sänger und Bassist Frank Strebel sagt dazu:

“Nachdem wir ‘Ungebremst gegen die Wand’ live im Proberaum eingespielt und ein Video dazu erstellt hatten, haben wir es ohne große Erwartungen auf unseren Social Media Kanälen geteilt. Von den vielen Aufrufen und der großen Resonanz wurden wir ziemlich überrascht.” Strebel fügt hinzu: “Diese Veröffentlichung war ein Test, um zu sehen, wie unsere Musik überhaupt ankommt. Die positiven Reaktionen zeigen uns, dass wir auf dem richtigen Weg sind und wir werden definitiv mehr Material veröffentlichen.”

Die Band arbeitet derzeit an der Fertigstellung von weiteren Songs. Bis Jahresende plant SCHUBKARRE, eine EP mit dem neuen Material herauszubringen.

Weitere Infos online:
Instagram
Facebook
Youtube
bandcamp

 

Source: Vampster

Andreas Catjar-Danielsson, a Swedish alternative music musician and producer is dead in cancer, way too young. He was a member in Souls, Covenant and many other acts. He also composed music for theaters and has produced the next Abu Nein album. He will be missed by many, especially in the music scene in southern Sweden.

Source: Release Music Magazine

The iconic Belgian dark electro/future pop act Aiboforcen recently returned with their 7th studio album, “Between Noise & Silence”. Led by Benoit Blanchart and featuring the enigmatic Patrice Synthea (REGENERATOR), this album merges melancholic dark synth/EBM anthems with thrilling collaborations! Notable appearances include EBM/industrial legends like Patrick Codenys of FRONT 242, POUPPEE FABRIKK & IMPLANT (in a duet), and NUMB. The album also features outstanding female vocalists from the pop wave scene, such as Mari Kattman (HELIX), Noemi Aurora (HELALYN FLOWERS), Emke (BLACK NAIL CABARET), and SORROW STORIES… Without forgetting the splendid collaboration with Jan Dieckmann of NORDERNEY who sings on several songs and strongly contributes to crafting the album’s magic through moving lyrics, catchy dark pop melodies, and upbeat EBM sequences that often evoke the melodic and emotional depth of VNV NATION!  Benoit gave us more insights on his new album… 

You can order the new album now on Bandcamp as download and on 2CD via the Alfa Matrix webstore. Note that the 3CD version was sold out immediately.

Between Noise & Silence (Bandcamp Version) by AIBOFORCEN

S. “Between Noise & Silence” is your 7th studio album and features an impressive 22 tracks. Can you share the journey of creating such a substantial body of work, and what inspired the album’s title?

Related newsAiboforcen strikes back with 7th studio album including 3CD version limited to just 50 copies - Pre-order available nowB. I started working slowly on what would become this new album during the covid period.  Like many bands, those very special times allowed me to concentrate and spend much mor time in the studio creating new sequences and sounds.  After a few months, what was started with no clear objective became to take shape and I started gathering several demo tracks thinking I could use them for an EP or album.  It was a very creative period and also (hopefully for me) the opportunity to learn/improve a bit more the mixing and production side of the aïboforcen sound…  I thus also started thinking about the right vocalist for each track.  The title track “between noise & silence” is actually a sentence coming from a demo track that Tina from SORROW STORIES was working on for me…  it became the title for the track but also for the album.  It’s a bit of a special track (a bit more complex) that I really wanted to be on the album but couldn’t find the right vocalist for it…   Then Tina did a test and she nailed it down!! 😊  It also has a double meaning because since I’m not considering myself as a musician what I create in a studio probably lies in the grey area between noise and silence! 😉

S. On this album it seems that Patrice Synthea and Jan D. play a key role as vocalists? Tell us more about these collaborations?

B. Well, Patrice (REGENERATOR) has been the main vocalist with aïboforcen for quite a long time now and she helped creating some kind of a trademark for us.  But I’m always interested in working for certain tracks with other vocalists, either male or female.  Of course it can break a bit the cohesion of the album but for me it’s more like trying to avoid the monotony of the album. I see/hear the different voices as new instruments I can play with, and it can totally change the result of the tracks.  I also appreciate the fact that I can offer a broader pallet of sounds and emotions. I was introduced to Jan while working on a remix for our label mates of ELEKTROSTAUB.  I knew a bit of his project NORDERNEY that I also appreciated a lot and I thought he would be the right vocalist for a track I was working on at the time.  I sent him a demo and after a few days he came up with something really brilliant for me. I was so pleased with the result that I asked him to do a second track and the result turned out to be even better…  He has such an emotional voice that it really adds another dimension to the song and brings them to a next level.  After a while we started swapping ideas but also sequences and sounds and he eventually became more and more involved in the whole process.  He helped me a lot giving advises and also programmed several synth lines, what was totally new and unusual for me… it was surprising, challenging and it contributed in creating a more mature and developed sound.  In the end he helped for a great bunch of the album in various forms…  Therefore the album is also much more balanced between male and female vocals.  He also made a duet with Patrice on the track “everything” and I’m pretty sure that it’s something we should try again in the future…

Related newsAiboforcen – Cycle Of Life (EP – Alfa Matrix)S. The album indeed boasts collaborations with a variety of other artists too, from EBM/industrial legends to outstanding female vocalists. How did these collaborations come about, and what unique contributions did each guest artist bring to the album specifically?  

B. As I said, when a demo is finished I try to think about what would be the right vocalist and what it would add to the sound of it.  Of course there are some people/singer I would dream of having on the album but sometimes I have to stick to reality.  My choice is influenced by the music I listen to, people I met through remixing, bands I know and so on… I’ve been blessed in the past working with great artists such as Jean-Luc from FRONT 242 and this album also gathers some legend from the scene such as Henrikk from POUPPEE FABRIKK or yet Don Gordon from NUMB who both helped me deliver the most aggressive cuts from the album.  Tina from SORROW STORIES was also really involved in the process, contributing to several tracks that we can find both on the EP and the album but also on the special 8cm cd available with the limited edition.  I had met her through a remix I had done for PSY’AVIAH actually and I had been mesmerized by her rather delicate and otherworldly vocals. She is also a very passionate and nice person, and meeting and exchanging  with people is another aspect of collaborating on tracks.  Then there is also Noemi Aurora who helped us with her very characteristic and powerful voice and it helped adding the extra touch to “cycle of life” and “heaven knows” you can find on the album.  It was a pleasure working with her and she’s a professional and also involved and more than passionate with music…  Also doing a track with Emese from BLACK NAIL CABARET was really an honor for me.  She has one of the most distinctive voice from the scene at the moment and the result is a very captivating cut with upbeat sequences.  I really hope listeners will like this track as much as I do…

Mari Kattman also lends her voice on the opening track as well as on a remix of “In My Arms” (a track from the previous album) and she also has a very distinctive and beautiful voice. Last but not least I also worked with Len from Implant since he is a long time friend of us and I was glad to have him back in one form or another.  With the lyrics of the track he did evoke, it’s like a celebration of a long-time relationship between us (including also Seba, Bernard, Stephan) and how it was when we started this all as students (the magazine, the label, the bands, the gigs).

Patrice Synthea

Related newsAiboforcen returns with all new EP, 'Cycle Of Life', featuring 7 tracksS. Your sound is often compared to iconic acts like VNV NATION, FRONT 242 or yet COVENANT. How do you approach honoring these influences while still maintaining your own distinct identity as AIBOFORCEN? “Between Noise & Silence” seamlessly weaves between oppressive industrial assaults and catchy synth-pop tunes. Can you discuss the creative process behind balancing these contrasting elements to create a cohesive listening experience?

B. Well, it’s sure that I’ve been listening to those bands a lot (one of my first vinyl was 242’s politics of pressure, along with Kraftwerk radioactivity’s 7”) but I am also influenced by other acts from inside and outside the scene.  I listen to a lot of music from the EBM but also to darkwave, gothic, experimental, industrial or yet metal…  All this is ingested and some parts/influences appear here and there in my music.  Also I hope that with time I manage to create a bit of my own distinctive sound and style. 

As far as VNV NATION is concerned, I have to admit that Ronan has a deep sense for great melodies and a very emotional voice and is an example of what soulful music is. So if we sound a bit like this it’s a good point for us! 😊  Remember he remixed one of our track at our respective very beginning!  But I always try to balance catchier tracks/tunes with a rougher sound and more complex structures or experimentations.  For me it’s kind of logical and it can create a cohesion because some sounds, fx, way of treating things are the same and reflects the different side of one same “machine”.  Also  I tend to focus on recording an album with highs and lows rather than a succession of single tracks…  so this new album (especially the first disc) needs to be explored and listened as a whole, with the tracks kind of merging one into another.  I spent hours / days / months working on sometimes very little details of mixing, samples, eq’s to find the best result I could.  I like it when it takes several listening to really get all the details included in the tracks and hopefully surprise the listeners…

Related newsAlfa Matrix celebrates its 20th anniversary with free compilation download 'matriXX - 20 Years of Alfa Matrix'S. One of the tracks on the album is a cover of DEATH IN JUNE’s “Break The Black Ice.” What drew you to reinterpret this particular song, and how did you make it your own while staying true to the original?

B. We’ve always tried to include at least one cover song on any of our releases, either for fun or to show where our roots are…  I was introduced to DEATH IN JUNE’s music more than thirty years ago and the album “The World That Summer” from 1986 has always been a favorite of mine.  “Break the black ice” was an obvious choice because it is a rather simple, dark but catchy song, kind of desperate also and I really liked the version sung by Rose McDowall which is a fragile and delicate dark cut.  I thought that Patrice could do it as well and recorded a demo.  The first version was really slower and darker than the one on the album. We will feature it on a compilation from our label later this year actually.  The final version has a stronger beat and an aggressive lead sound while the original one is softer.  Both Patrice and I liked the version very much and what was a the beginning more like a “b-side” became one of the main important track from the album…  I hope fans of DEATH IN JUNE and AIBOFORCEN will be pleased by this tribute…  the structure is rather close to the original version from DEATH IN JUNE but of course it’s 100% electronics and there are some distortions here and there… 😊

S. The album is described as a high-tension dark elektro masterpiece. How did you approach crafting the sound production to achieve this level of intensity and maturity?

B. I always spend a long time editing, changing, mixing, adding details and I hope it can be reflected in the overall sound of the album.  I never intend to choose the easiest way while producing the music and I hope I raised the level a bit more on this new release.  I spent much more time on the vocals (cutting, eq’s , volumes, …) than on any other previous releases; there are lot of movie samples (hidden or not), lots of different synths and fx…  I can sometimes leave a track for one month and then come back with new ideas and Jan also helped me developing as much as possible this new sound which is probably more focused than before.  It still goes into any directions but with a common thread and overall atmosphere throughout the numerous tracks.  It was exhausting (especially at the end) but it was worth (at least personally) and I really hope our fans will like it… 

S. How important is the visual aspect of your music, and what role does it play in enhancing the overall experience for listeners?

B. It is important, not as much as the music, but it sets the tone for the whole album.  We always tried to have eye-catching sleeve or at least mysterious ones that will give the envy to enter into the universe of aïboforcen…  When I was a kid, I used to go to a place where you could rent vinyls and I would sometimes rent releases just because the sleeve would attract me in a way or another.  On this release we obviously used AI to create the graphics but it was intended and assumed. It was our easiest way to express and get the closest to the images we had in mind while creating the music.  And since our music relies on techniques, processors, synthetic soundscapes, it makes sense…

S. Lastly, the first 50 orders from the official Alfa Matrix e-shop received a signed version with an exclusive bonus mini-CD. Can you tell us more about the significance of this bonus content and what fans can expect from these exclusive tracks?

B. When the album was completed and sent to the mastering, I noticed that there were a few tracks left without vocals that couldn’t make it on the album but were a good insight of what it’s like being in the studio and working on new tracks.  It is more like demo’s but also I had the feeling that they could stand on their own and give another view on our music.  The first of those 4 tracks is called “eliza effect” and is a brand new one that maybe will give some infos of how the future sound of aïboforcen will be (or not).  The track “pulsions” (with vocals by Tina from SORROW STORIES) arrived too late in the process of the album but was good enough as well. In the end it gives the opportunity to the die-hard fans to have some extra tracks (unreleased) and have a bit more “intimacy” with the band…

Source: EBM.gr

Am 20. September 2024 erscheint das MICHAEL SCHENKER-Album “My Years with UFO”. Auf dem Album präsentiert Schenker elf UFO-Songs aus den Siebziger Jahren. Schenkers Ära bei UFO reichte von 1972 bis 1978, er wurde im Alter von nur 17 Jahren gebeten, sich UFO anzuschließen.

Auf “My Years with UFO” sind etliche Gastmusiker zu hören, eingespielt haben die Songs Derek Sherinian am Keyboard, Brian Tichy am Schlagzeug und Barry Sparks am Bass.

Reinhören kann man in die beiden Singles “Rock Bottom” und “Mother Mary”

Dieses Album ist der erste Teil einer bevorstehenden Trilogie: Schenker hat einen Drei-Alben-Deal mit earMUSIC unterzeichnet, weitere Alben folgen 2025 und 2026.

MICHAEL SCHENKER “My Years With UFO” Tracklist

1. Natural Thing feat. Dee Snider & Joel Hoekstra
2. Only You Can Rock Me feat. Joey Tempest & Roger Glover
3. Doctor Doctor feat. Joe Lynn Turner & Carmine Appice
4. Mother Mary feat. Slash & Erik Grönwall
5. This Kids feat. Biff Byford
6. Love to Love feat. Axl Rose
7. Lights Out feat. Jeff Scott Soto & John Norum
8. Rock Bottom feat. Kai Hansen
9. Too Hot Too Handle feat. Joe Lynn Turner, Adrian Vandenberg & Carmen Appice
10. Let It Roll feat. Michael Voss
11. Shoot Shoot feat. Stephen Pearcy

Source: Vampster

THERE’S A HOLE IN THE SKY
WHEN WE WALK OUT OF TIME
LOST IN YOUR MIND
I KNOW WHAT YOU HIDE
In the swirling chaos of the world today, there’s a trio spinning their own melodic, gossamer web of artistry: Magic Wands. Formed in the musical heartland of Nashville by guitarists and vocalists Chris and Dexy Valentine, they later found their rhythm amidst the neon glare of Los Angeles as they welcomed the percussive talents of drummer Pablo Amador. Magic Wands has been enchanting the American music landscape with their dark, seductive dream-pop, leaving a trail of bewitched listeners in their wake.

Today, they announce a new single along with an accompanying video for the song Hide that features a remix by Lars Deutsch. Its dreamy, heavily-textured guitars, droning synths, and ethereal vocals, designed to create an otherworldly atmosphere, paint a picture of drifting and disconnection, with a gaping hole in the sky and the sensation of walking out of time.

The speaker is lost in another’s mind, aware of secrets lurking in the shadows, and seeks to erase past memories. There’s a pervasive sense of being distant, both physically and emotionally, grappling with the hidden darkness of the night.

Watch the ethereal self-directed video for “Hide” below:

Magic Wands have released several albums, including their critically acclaimed Metropolis Records album Switch, that perfectly showcases their unique sound and style. Today, Hide is available through Metropolis Records.

Listen to the song below or order here.

Hide by Magic Wands

Magic Wands’ Switch is a mesmerizing ensemble of darkly enchanting dream pop tunes. This captivating journey transports listeners through moody and atmospheric soundscapes reminiscent of the shadowy drama that flourished within alternative rock between 1988 and 1991. Each song weaves a somber yet enthralling mood that is both cathartic and exhilarating.

The band’s spellbinding performances have also seen them share the stage with an impressive roster of iconic bands and artists. They’ve rocked out alongside giants like Radiohead, Slowdive, The Jesus & Mary Chain, The Breeders, The Horrors, Dinosaur Jr, The Wombats, Deerhunter, Mac DeMarco, The Kills, The Black Keys, Sebadoh, Ty Segall, and The Raconteurs. Moreover, they’ve enchanted audiences at esteemed music festivals such as Lollapalooza, SXSW, Noise Pop Festival, Culture Collide, Desert Stars Festival, Levitation Festival Austin, and Echo Park Rising. Their music’s universal appeal was further underlined by their headline tours across the UK and Europe in 2017 and 2018, including the Great Escape Festival.

Follow Magic Wands:

Facebook
Instagram
Bandcamp
Spotify

The post Lost in Your Mind — Los Angeles’ Magic Wands Debut Video for Dreamy Darkwave Track “Hide” appeared first on Post-Punk.com.

Source: Post-Punk.com

Hi? Hey? Hello?
How are you?
If you’re breathing and own a phone, a sleazy slide into your DMs is as certain as sunrise in the East. It begins innocently with a “hey” or a “haha,” but soon shifts into a storm of lewd propositions, OnlyFans requests, and unsolicited snapshots of a veritable garden of eggplant varieties. By 10 AM on a Monday, your inbox is already a circus of human folly and misplaced desires from nice guys who just wanna get a glimpse of your gams.

404 Error, the shadowy brainchild of Newcastle’s semi-anonymous project of an artist known as 36663, pieced together the clichés to create Please Reply, a satirical dance floor hit that reads like a litany of those infuriating DMs. The artist even admits, “I find it hard to say whether I even wrote this song, or if the lyrics are just the contents of far too many inboxes.”

Known for sharp social commentary and provocative takes on goth scene politics, Please Reply is a pastiche drawn largely from the cesspool of unsolicited messages. Drawing from the biting social satire of Fad Gadget and Heaven 17, the lyrics sketch a man in his mancave, desperate and crude, yearning to be a woman’s submissive partner. His attempts to get her attention are filled with insincere promises and disrespect. He calls himself a nice guy, but his focus is selfish, driven by his own needs and desires, completely ignoring her boundaries or interests.

“I think it’s terrible that women get messages like these,” clarifies 36663. “And I know many receive much worse, but I didn’t want to make the song too vulgar. I know a lot of women, especially goth women, who get strange guys addressing them as Mistress, or wanting to be their slave – even if there’s nothing they’ve said or done to signify that they’re even into fetish/BDSM. Some have had open propositions for pictures of their feet. And of course, many of these guys also try to guilt trip, hence the line “It’s so hard for men like me, nice guys just want a chance”.  As if there’s anything ‘nice’ about propositioning a stranger.”

Please Reply features an animated black-and-white lyric video by someone credited only as Arif.

Please Reply is the third promo single release from their debut album, Scene Killers. The digital single on Bandcamp includes two bonus “virtual B-side” tracks: Hawk Tuah, and a cover of Chop Suey by System of a Down, featuring vocals by MXVC.

“Hawk Tuah was a bit of fun that I didn’t know if I’d release,” says the artist. “The problem with viral memes is they become old very quickly.  But given the person in question is currently living her best life getting paid big money for club and TV appearances, I’d say people are still interested.  Gosh knows how many messages she’s had from ‘Please Reply’ guys.” 

Listen below and order the Please Reply EP here.

Please Reply (single) by 404 Error

Scene Killers delves into themes of regionally skewed histories and rose-tinted memories of the dark alternative scene, as illustrated in the track Nostalgia. It addresses the pressure from gatekeepers and influencers to “support the scene” or risk losing it, highlighted in ACAB (Includes the Fun Police). The album also tackles the persistent scapegoating of fans, accused of “killing the scene” when bands, DJs, and promoters fail to generate interest in their events. This is exemplified in songs like Cancel Culture, Vote for Us, and (It’s Not Your Fault) Our Band is Shit.

“The whole “Killing the Scene” trope has been happening for decades, and the scene is still here,” says the artist.” Despite all the odds, ‘dark alternative’ remains a popular subculture. And one we love. Scene Killers is ultimately about a scene that won’t die.”

Follow 404 Error:

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The post Newcastle Dark Synthpop Project 404 Error Reads Those Unwanted DMs in Their Video for “Please Reply” appeared first on Post-Punk.com.

Source: Post-Punk.com

Country-Musiker CORY MARKS hat mit “(Make My) Country Rock” den Opener seines neuen Albums “Sorry For Nothing” als Video-Clip veröffentlicht. Es ist nach “Who I Am” (2020) das zweite Album des Musikers und wird am 11. Oktober 2024 via Better Noise Music erscheinen. Produziert wurde das Album von Andrew Baylis.

Zuvor sind schon die Singles “Drunk When I’m High” und “Guilty” erschienen.

“In ‘Guilty’ geht es wirklich darum, sich selbst zu sein und damit klarzukommen”, so Cory Marks. “Dass DL von Bad Wolves bei diesem Track dabei ist, gibt diesem Rocksong noch mehr Treibstoff und macht ihn noch härter und schwerer – er klingt großartig. Wenn mein Leben zu leben ein Verbrechen ist, dann bin ich schuldig.”

Zuvor ist mit “A Different Kind Of Year” eine Stand-Alone-Single mitsamt Lyric-Video erschienen. Produziert wurde der Song von Kevin Churko (u.a. für OZZY OSBOURNE tätig).

“Es ist der Beginn eines neuen Jahres, eine Chance für dich, neu anzufangen, dich neu zu konzentrieren und zu sehen, was wirklich wichtig ist in diesem Leben”, sagt Cory Marks. “In diesem neuen Song geht es um gute Zeiten, um die Wiedervereinigung mit Familie und Freunden. Sich selbst zu verpflichten, die Dinge im kommenden Jahr besser zu machen und diese besonderen Dinge nicht als selbstverständlich anzusehen.”

CORY MARKS “Sorry For Nothing” Tracklist
1. (Make My) Country Rock (feat. Sully Erna of Godsmack, Travis Tritt, and Mick Mars) (Video bei YouTube)
2. Guilty (Lyric-Video bei YouTube)
3. Whiskey For Sale
4. Sorry For Nothing
5. Drunk When I’m High (Lyric-Video bei YouTube)
6. 17
7. Fast As I Can
8. Tough To Be Strong
9. A Lot Like Me
10. 1949
11. Lit Up
12. Late Night Of Drinking Again
13. Learn To Fly

Source: Vampster

Die Doom Metal-Band TOMMY STEWART´S DYERWULF hat zum Opener “Me ‘n My Meds” ihrer kommenden EP “Fyrewulf One” ein Lyric-Video veröffentlicht. Es ist der erste Teil eines zwei Teile umfassenden Konzept-Projekts. Zuvor hat das US-amerikanische Duo, welches aus Tommy Stewart (Ex-HALLOWS EVE) und Dennis Reid besteht, zwei Alben veröffentlicht.

“Fyrewulf One” wird am 13. September 2024 erscheinen.

TOMMY STEWART´S DYERWULF “Fyrewulf One” Tracklist
1. Me ‘n My Meds (Lyric-Video bei YouTube)
2. Kept Pain Busy
3. Zoomagazoo
4. Melvin Laid an_Egg

Source: Vampster

Wer Rammstein auf der aktuellen Tour nicht live gesehen hat oder dies bei den drei finalen Konzerten noch tut, muss sich gedulden - laut Paul Landers geht die Band angeblich 2025 und 2026 nicht auf Tour und legt eine längere Pause ein.

Source: Sonic Seducer

  IMPRESSIONEN AMPHI FESTIVAL 2024 – Köln (27./28.07.2024)

Source: monkeypress.de

AGRYPNIE haben die zweite Single aus dem kommenden Album „Erg“ veröffentlicht, welches am 13. September via AOP Records erscheinen wird. „Blut“ feat. P.G. of GROZA ist u.a. auch als Video bei YouTube zu sehen. https://shop.aoprecords.de

 

Source: Amboss-Mag.de