Die Melodic Death Metal-Band MOYRA hat mit “Will Never Die” eine neue Single mitsamt Video-Clip veröffentlicht. Der Song folgt auf das 2023er-Album “Omen” und sei eine Hymne der Unverwüstlichkeit und des Trotzes. Der Text handelt von Helden, die sich selbst treu bleiben und trotz der unerbittlichen Versuche, sie zu brechen, niemals aufgeben.

MOYRA Line-Up:
Małgorzata Szkoda-Hreczuch – Vocals
Kordian Bogusz – Bass
Wojciech Muchowicz – Drums
Szymon Wójtowicz – Guitars

MOYRA “Will Never Die” (Video bei YouTube)

Source: Vampster

Los Angeles music scene heroes Cold Cave, the enigmatic purveyors of icy synth-pop, post-punk, and darkwave, have announced their next full-length studio album, Passion Depression, slated for release on October 15, 2024. This latest offering promises to stir the blood with its brooding melodies and intense emotionality, capturing a glittering darkness that pulses like a starlit sky and the cityscape at night. The album features eight new tracks, including the haunting singles “She Reigns Down,” “Shadow Dance,” “Blackberries,” and “Hourglass.” 

Cold Cave emerged from the LA underground in 2007, crafting a smoldering sound that resonates with the melancholic beauty of a rainy day. Wesley Eisold, transitioning from his hardcore roots, infused Cold Cave’s music with a deft blend of post-punk, industrial, and synth-pop. The band’s lineup has evolved over the years, much like the ever-changing faces in a noir film, yet Eisold remains the steadfast core, now joined by Amy Lee. Their music delves deep into themes of love, loss, and existential reflection, forging a loyal following with their atmospheric allure.

After a whirlwind year sharing stages with Depeche Mode and The Cult and headlining iconic festivals such as Tomorrow’s Ghost Festival in the UK, Wave Gotik Treffen in Germany, Grauzone in the Netherlands, W Fest in Belgium, Adverso Fest in Mexico, and Cold Waves, Levitation, and Darker Waves in the US, Cold Cave found themselves compelled to create anew.

The album Passion Depression is the embodiment of Eisold and Lee’s creative synergy, elegantly blending Cold Cave’s celebrated poetry with brooding romance and propulsive new-wave melodies. This record exemplifies Cold Cave’s rare 100% DIY approach to producing and releasing their own music and stands as a protest against the inner and outer wars we all face. With this album, the band is driven to directly engage with fans and curate their world on their own terms, showcasing their spiritual depth and unwavering vision in a media-manipulated world.

Passion Depression will be released on Rainbow Ice vinyl with a hologram sleeve or glitter vinyl on October 15, 2024. Pre-orders are available here.

Following three Latin American tour dates, Cold Cave is set to embark on a North American tour with Buzz Kull this fall. Check out the dates below:

Cold Cave Tour Dates:

September 5: Santiago, Chile @ Blondie
September 6: Sao Paolo, Brazil @ Carioca
September 7: Lima, Peru @ C Festiva
September 8: San Jose, Costa Rica @ Amon Solar
September 20: Santa Ana, CA @ The Observatory
September 22: San Diego, CA @ The Observatory
September 27: San Francisco, CA @ The Chapel
September 28: Sacramento, CA @ Harlow’s
October 4: Brooklyn, NY @ The Monarch
October 5: Amityville, NY @ Amityville Music Hall
October 6: Chicago, IL @ Thalia Hall
October 11: Phoenix, AZ @ Crescent Ballroom
October 27: London, UK @ O2 Forum
November 2: Los Angeles, CA @ Substance Festival

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The post Cold Cave Announces New Album, “Passion Depression,” due out This October appeared first on Post-Punk.com.

Source: Post-Punk.com

Die Cinematic Progressive Djent-Band VANITAS hat nach “E.D.G.” mit “Queen of Nowhere” eine weitere Single ihrer neuen EP “Chaos Theory” als Video-Clip veröffentlicht. Die Scheibe wurde von Matthew Jones in den CapsArx Studios gemixt und gemastert und ist am 2. August 2024 erschienen.

Zuvor ist nach dem Video-Clip zu “Grey Morality” mit “Lies” eine weitere Single mitsamt Video-Clip erschienen. Der Song sei eine Hymne auf die weibliche Wut, die sich mit der Idee der bewaffneten Inkompetenz auseinandersetzt und ein Aufruf an Frauen in aller Welt ist, ihrer Wut auf das Patriarchat Ausdruck zu verleihen.

VANITAS Line-Up:
Mitchell Barlow – guitar
Elijah Storer – guitar
Jackson Cann – drums
Jade Maris – vocals
Jon Willingham – Bass

VANITAS “Chaos Theory” Tracklist
01. Can We Let Go?
02. Grey Morality (Video bei YouTube)
03. Lies (Video bei YouTube)
04. E.D.G. (Video bei YouTube)
05. Chaos Theory
06. Queen Of Nowhere (Video bei YouTube)

Source: Vampster

Die Modern Post-Rock-Band RUNJULIET hat mit “Burning Point” eine erste Single mitsamt Video-Clip von ihrem kommenden Album “Rituals” veröffentlicht. Es ist der erste Release der Finnen und soll in den kommenden Monaten erscheinen. Produziert wurde das Album von Teemu Aalto.

RUNJULIET Line-Up:
Kaisa Ylärakkola (vocals)
Nico Pörhönen (guitar)
Ville Niemi (guitar)
Niko Salo (bass)
Henri Kärkkäinen (drums)

RUNJULIET “Burning Point” (Video bei YouTube)

Source: Vampster

  Philadelphia-based post-punk and multimedia artist George Alley has unveiled “Wishlist” as the latest single from his forthcoming debut album. “Have you ever been in a secret relationship with someone who’s already married,” Alley asks when explaining the song’s themes [..]

Source: RE:GEN Mag

Mareux, one of the most popular darkwave acts in the world, has unveiled the haunting video for the title track of his debut album, Lovers From the Past. In a recent article by The Guardian, darkwave was recognized as one of the hottest trends in pop music, and Mareux, the enigmatic project of Los Angeles-based musician and producer Aryan Ashtiani, stands at its forefront. The visual masterpiece released today perfectly complements the album’s themes of unfulfilled desires and ghostly lovers.

The title track, “Lovers From the Past,” delves into themes of longing, unrequited love, and the relentless grip of past relationships. Mareux’s melancholic lyrics and raw, foreboding vocals are paired with an eerie synth backdrop, creating a deeply nostalgic and haunting atmosphere:

“Let’s do
What great lovers do
I want to be
Just like you
But you give yourself away
To a lover from the past”

These lines poignantly capture the torment of watching a loved one remain tethered to memories and emotions of a former lover, unable to fully embrace the present relationship. The melancholic tone of the lyrics perfectly aligns with the song’s haunting musicality.

A Muted Widows Production, directed by Michael E Linn and Nedda Afsari, the video for “Lovers From The Past” stars Mareux and Sedona Legge, with supporting performances by John Hein, Rachel Daily, Ted Buchanan, James Miller, and Milana Burdette. The series of imagery channels the surreal aesthetics of Tim Burton and David Lynch. It begins with an ethereal woman at the top of a Victorian Mansion, her crystalline eye glistening as the camera zooms in. She wanders through a hedge maze, leading us to Mareux and his band performing amidst Roman pillars, busts, and statues. The dreamlike narrative intersperses scenes of a seedy woman and a man blowing cigar smoke by a swimming pool, a gardener methodically trimming hedges, and a woman photographer using an old-fashioned camera. The eerie journey concludes with the revelation that the grand house is, in fact, a dollhouse, encapsulating the video’s haunting and otherworldly vibe.

Watch the video for “Lovers From The Past” below:



Regarding the album, Mareux has previously shared, “For me, Lovers From the Past marks the first time that my work has been organized in a very intentional and curated way. It’s taken me over a dozen years to get here from when I first began writing music. It’s the absolute best bit of my creative qualities and storytelling. I love setting the mood and this album is incredibly moody. I hope it can inspire and connect with my fans for years to come.”

FOLLOW MAREUX:

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The post Los Angeles Darkwave Artist Mareux Debuts his Surreal Video for “Lovers From The Past” appeared first on Post-Punk.com.

Source: Post-Punk.com

Premiering on Side-Line today is the brand new video, “Eve”, from the Los Angeles-based industrial rock band Fleischkrieg. The song was produced, mixed, and mastered by Logan Mader (Machine Head, Once Human).

Here’s the excellent video for the song.

This is what the band says about the track: “The song “Eve” is based on the Gnostic tradition of Adam’s wife being the hero in the Genesis creation myth – rather than the villain. This 2nd century Christian sect revered Eve as an early incarnation of the Divine Feminine, and if it weren’t for her courage to commit “original sin” – we’d still be trapped in a genetics lab known as the Garden of Eden.

Related newsFleischkrieg launch all new single & video, 'I Believe In Gnomes'The song is sung from Adam’s point of view where he praises Eve for delivering them from the tyranny of the Elohim. Though they are “thrown out the gilded cage”, Adam asks Eve to “make the thorns our home”, a poetic nod to human resilience in the face of catastrophe.”

Italian scholar Mauro Biglino and his research on the Biblical Apocrypha inspired the song’s themes and lyrical content. Mauro briefly translated for the Vatican – but was eventually fired when his published works revealed modern Christian theology was incompatible with the written texts of ancient Hebrew authors.

About Fleischkrieg

Fleischkrieg premieres ‘Eve’ video on Side-Line

Fleischkrieg is an industrial rock band based in Los Angeles. The band was formed when vocalist Richard Cranor, with a background in video production and small acting roles, met guitarist Thomas “Ceraphym” Crawford while driving for Uber. They discovered a shared passion for industrial and metal music, leading to the formation of Fleischkrieg​.

Related newsClick Interview with FleischKrieg: ‘I Don’t Think There’s A More Powerful Form Of Music In The World Than Industrial-Metal’The band’s sound is heavily influenced by acts like Rammstein, Lord of the Lost, 3TEETH, and DK-Zero. Their music explores complex themes such as the conflict between physical, emotional, and intellectual survival.

Their previous single, “I Believe In Gnomes”, released in April 2024, delves into the themes of belief and its shapers, which is well linked to the band’s newest offering, “Eve”.

Source: EBM.gr

Auch wenn man es nicht sofort heraushört, ist "The Brutal Gardener" eine gesellschaftspolitische Platte geworden. Unmissverständlich aber ist ihr amtlicher Retro-Synthie-Sound, der begeistert.

Source: MedienKonverter

Walt Disco have already supported Duran Duran, Simple Minds and OMD. The Scottish band played at the WGT this year. With “Warping”, Walt Disco release their second album. Describing her style is almost impossible. They seem to hover somewhere between David Bowie and The Cure, filled with a seventies vibe, post-punk attitude and plenty of […]

Source: Orkus

Die Queercore-Band DEATH GOALS hat mit “Knife Bouquet” eine neue Single mitsamt Video-Clip veröffentlicht. Der Song folgt auf das 2023er-Album “A Garden of Dead Flowers”, dem zweiten Album des englischen Duos, welches aus Harry Bailey und George Milner besteht, und wartet mit Gast-Vocals von Matt Reynolds (HAGGARD CAT, HECK) auf.

DEATH GOALS “Knife Bouquet” (Video bei YouTube)

Source: Vampster

We are comprised of a collection of memories, those ghosts in the grey matter that shape us, scar us, and sometimes save us. Some memories, the ones that bite and burn, can change you forever – if you let them teach you their twisted lessons. They linger in the back alleys of your mind, flickering like a faulty neon sign, waiting for you to glean their gritty wisdom. They haunt you, help you, and if you’re lucky, they harden you just enough to handle the next punch life throws. In the end, it’s the bruises of the past that build the backbone of the future.

The essence of “Pictures In My Mind,” the latest track from Skelesys featuring his comrade Curses, Fading Echoes, is a masterful collision of influences that define the underground’s most enduring eras. As the debut single from his forthcoming album ” set to drop this fall on Pinkman Records, it’s an alchemical blend of 80s post-punk, synth-pop exuberance, goth’s suave and shadowy grace, and the raw angst of 90s alt-rock. Imagine the soundtrack to a late ’80s buddy cop show drenched in neon and danger, or a Giallo thriller scored by the enigmatic Goblin. At moments, it channels the brooding intensity of Depeche Mode’s Black Celebration era with echoes of Bauhaus, The Lords of the New Church, and the gritty bellows of Alice In Chains. This track is a rare gem that’s got the beach ball bounce of a summer anthem tempered with a caustic edge that is bitter like a shot of bourbon, a perfect mix of nostalgia and noir that leaves you wanting another round.

“I wrote Pictures In My Mind during a dark period in my life last September,” says the Berlin-based artist. “It’s an anthem to myself, symbolizing the death of my old self and the emergence of a new one. We are made of memories, and some can change you forever if you learn from them. The song is very special to me, so I decided to invite Curses to sing the chorus with me. I’m very happy with the outcome, especially since it was my first time doing this. The album as a whole is deeply self-reflective and personal.”

Listen to “Pictures In My Mind” below:

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The post Berlin-based Darkwave Artist Skelesys Recruits Curses for New Single “Pictures In My Mind” appeared first on Post-Punk.com.

Source: Post-Punk.com

Mit “Creation’s Call” wird am 23. August 2024 die neue EP der Fantasy Power Metal-Band SIEGE PERILOUS erscheinen. Es ist nach “Betrayal of the Dracolich” (2022) die zweite EP der US-Amerikaner aus Denver, die von LARP, historischen Ereignissen und Fantasy-Literatur beeinflusst sind.

Produziert wurde die EP von Nick Nordurft bei Rusty Sun Audio. Das Cover-Artwork stammt aus der Feder von Melissa Desatoff.

SIEGE PERILOUS Line-Up:
Shaughnessy McDaniel – Vocals
Scott Hancock – Guitar
Cody Martinez – Guitar
Eric Fischer – Bass
Mark Girard – Drums

SIEGE PERILOUS “Creation’s Call” Tracklist
1. Oathsworn (3:13) (Lyric-Video bei YouTube)
2. Across the Rubicon (3:42)
3. Sons of the Verdant (4:49) (Lyric-Video bei YouTube)
4. Creation’s Call (4:03)
5. Brothers of the Five (5:13)

Source: Vampster

Mit "Coming Or Going" haben New Model Army eine weitere Single von ihrem aktuellen Album "Unbroken" ausgekoppelt. Den Videoclip und alle Infos hier!

Source: Sonic Seducer

Am 18. Oktober erscheint "The Age Of Consent" neu auf fünf CDs! Neben den regulären Stücken finden sich viele Remixe und unveröffentlichte Titel auf dem Rerelease, darunter auch die erste Single-Auskopplung. Planningtorock hat "Smalltown Boy" geremixt und die Band hat die Neufassung mit einem Video geadelt, welches Ihr unten anschauen könnt!

Source: Sonic Seducer

Die Speed / Thrash Metal-Band INTÖXICATED hat mit “Red Light Ripper” eine erste Single ihrer kommenden EP “Under the Sign of the Red Light” als Video-Clip veröffentlicht. Die Scheibe folgt auf das 2023er-Album “Sadistic Nightmares” und soll im November 2024 (auf Vinyl) via Diabolic Might Records 666 und MDD Records erscheinen

INTÖXICATED “Red Light Ripper” (Video bei YouTube)

Source: Vampster

Die Symphonic / Modern Death Metal-Band CARVED hat mit “Last Exhale” eine neue Single mitsamt Video-Clip veröffentlicht. Der Song folgt auf das vierte Album der Italiener, “Ares” (2022).

CARVED Line-Up:
Lorenzo Nicoli – Bass, Guitars
Alessio Rossano – Guitars
Cristian Guzzon – Vocals
Lorenzo Righini – Bass
Emiliano Burchi – Drums
Laura Ginevra Tonarelli – Vocals

CARVED “Last Exhale” (Video bei YouTube)

Source: Vampster

Die Black Metal-Band MALASORTE hat mit “Apex Sovereignty” ein neues Album angekündigt. Es ist das erste Album des finnischen Solo-Projekts von Jari “Jal’zoroth” Rantakaulio und wird am 11. Oktober 2024 via Inverse Records erscheinen. Vorab gibt es den Opener “The Rift Is Now Open” und den Track “Slaying The Messengers” zu hören.

MALASORTE “Apex Sovereignty” Tracklist
01. The Rift Is Now Open (Audio bei Bandcamp)
02. Cerebral Pandemonium
03. Across The Frozen Tundra
04. Into The Killing Fields
05. Behind Closed Doors
06. Constellation Of The Wolf
07. Inscribed In Blood, Bound By Will
08. Slaying The Messengers (Audio bei Bandcamp)
09. The Devil’s Pact At Roanoke
10. Apex Sovereignty
11. Crowned In Astral Majesty

Source: Vampster

Die Symphonic Metal-Band REVENGIN hat einen Labeldeal bei Wormholedeath Records unterschrieben. Im Zuge dessen werden die Brasilianer aus Rio de Janeiro ihr neues Album “Dark Dogma Embrace” veröffentlichen. Das nach “Cymatics” (2012) zweite Album der Band soll Anfang 2025 erscheinen.

Vorab gibt es mit “Circle Of Mistakes” einen Video-Clip. Der Song erforsche die Dualität, die wir alle in uns tragen, die Verleugnung unserer Fehler, die uns in einem sich selbst aufrechterhaltenden Kreislauf der Negativität gefangen halte.

REVENGIN Line-Up:
Bruna Rocha (vocals)
Thiago Contrera (guitar)
Themys Barros (guitar)
Diego Pirozzi (bass)
Nacife jr (drums)

REVENGIN “Circle Of Mistakes” (Video bei YouTube)

Source: Vampster

Mit "Komm schenket ein" haben Corvus Corax eine weitere Single vom kommenden Album "Tausend Jahre Tanzmusik" ausgekoppelt. Mehr Infos und das Musikvideo hier!

Source: Sonic Seducer

Viel zu lange liegen die Track zu Track-Notizen von HELGAs Debütalbum “Wrapped in Mist” schon bei mir herum. Dabei hat das Album gutes Potenzial, als dass es von einer intimen Charakteristik gekennzeichnet ist, die von der sehr angenehmen Stimme von Helga Gabriel getragen wird – begleitet von einer klaren instrumentalen Sprache. Zudem wird die Abwechslung groß geschrieben.

“Wrapped in Mist” Track by Track
Das beginnt bereits beim Opener “Skogen mumlar”, der mit Streichern und kompositorischer Abwechslung brilliert und für sich wohl mit einer der besten Songs des Albums ist. Sind dann das eher maue “Burden” und das ruhigere und ohrenschmeichelnde “Water” im Post-Rock angesiedelt, versprüht das ebenso ruhige und interessante “If Death Comes Now” anhand der Gitarren-Arbeit mehr Post-Metal-Charme und liefert einen leicht progressivem Abschluss – ähnlich wie “Mountain Song”. “Farväl” ist dank seiner Aggressivität gar angeschwärzt und überrascht mit kurzen (und leisen) Growl-Ausflügen. “Alive Again” spielt mit einem Hauch von Dramatik, die sich jedoch wieder auflöst und mit variantenreicherem Gesang punktet. Mit “Vast and Wild” gibt es dann eine Ballade, ehe “Som en trumma” leichtes Western-Feeling aufkommen lässt. Der Song ist etwas einfacher gehalten, wodurch das Album erstmals mit Längen zu kämpfen hat. Diese lösen sich spätestens mit dem abschließenden Titeltrack auf, der liebreizend mit Streicher-Klängen kokettiert und trotz seiner ruhigen Ausrichtung Akzente zu setzen weiß.

Veröffentlichungstermin: 24.11.2023

Spielzeit: 46:07 Min.

Line-Up:
Helga Gabriel – Gesang
Ryan Fairclough – Bass
Cameron Gledhill – Gitarre
Cai Sumption – Gitarre
Sami Javed – Schlagzeug

Gast-Musiker:
Damian Bolotin – Violine
Antonio Guerra – Klavier
Mafram do Maracanã – Percussion
Bruno Migliari – Kontrabass
Luiz Felipe Netto – akustische Gitarre
Ayran Nicodemo – Violine
Bruno Serroni – Cello
Joe Zeitlin – Cello

Label: Season of Mist

Mehr im Netz: https://helgamusic.bandcamp.com
Mehr im Netz: https://www.facebook.com/thebandhelga

HELGA “Wrapped in Mist” Tracklist
1. Skogen mumlar (4:23) (Video bei YouTube)
2. Burden (4:57) (Video bei YouTube)
3. Water (3:55)
4. If Death Comes Now (3:58)
5. Farväl (4:34)
6. Alive Again (3:35) (Video bei YouTube)
7. Vast and Wild (4:04)
8. Som en trumma (4:26)
9. Mountain Song (5:34)
10. Wrapped in Mist (6:41)

Source: Vampster

Die Symphonic / Melodic Deathcore-Band KAMI NO IKARI hat mit “The Forgotten” eine erste Single ihres kommenden Albums “See You In Hell” mitsamt Video-Clip veröffentlicht. Es ist das erste Album der Franzosen aus Paris, die 2020 mit der EP “Hakai” debütierten.

“See You In Hell” wurde im Vamacara Studio aufgenommen und mit einem orchestralen Arrangement von Francesco Ferrini (FLESHGOD APOCALYPSE) ausgestattet. Der Release-Termin via darkTunes Music Group steht noch aus.

KAMI NO IKARI “The Forgotten” (Video bei YouTube)

Source: Vampster

Die Post-Punk / Gothic Rock-Band THE HOUSE FLIES hat nach einem Video-Clip zum Opener “She Hums Mozart” mit “Queen Underground” einen weiteren Video-Clip ihres neuen Albums “Mannequin Deposit” veröffentlicht. Es ist das erste Album des US-amerikanischen Trios, welches aus Sänger und Gitarrist Alex Riggen, Bassist Ozzie Woods sowie Drummer Nick Pompou besteht.

“Mannequin Deposit” ist am 2. Juli 2024 erschienen.

THE HOUSE FLIES “Mannequin Deposit” Tracklist
1. She Hums Mozart (Video bei YouTube)
2. Sequin
3. Twilight Eyes
4. Queen Underground (Video bei YouTube)
5. Hounds
6. Apple
7. Marrow
8. Ghosts Will Speak Again

Source: Vampster

This could be my birthright
Abdicate me
Cultivate every conflict bound
Upon this crown
Fueled by the conviction that the bones of music matter as much as the melody, Hurt Sermons emerged from scavenged scraps and salvaged steel. Their unconventional creation involved antique scrap metal discarded agricultural materials, an amplified windmill, and bone chimes crafted from sun-bleached skeletons. These elements were meticulously assembled on a secluded rural property in southern Western Australia, forging a unique, raw sound. The band’s environment and the origins of their instruments were as integral to their music as the notes they played, creating an authentic and haunting harmony that resonated with the grit and spirit of their surroundings.

“Broken Bough” is a gritty, doom-laden post-punk piece that reflects feelings of alienation in one’s own homeland. It combines the brooding darkness of Type O Negative, the melancholic edge of early U2 and The Cure, the raw intensity and poetic passion of Midnight Oil, and the eerie dissonance of deserted ruins. It almost sounds as if And Also the Trees were to have grown up in the outback with bedtime stories of defiant heroes such as Ned Kelly and his suit of armour.

Every rattle and grind in the music reflects the history of the abandoned materials used in its creation, yet it delivers a fresh, forward-thinking sound. This track doesn’t just play—it pierces, plunging deep with its heavy, haunting melodies and relentless drive, demanding attention and stirring the soul.

The lyrics paint a picture of hopelessness and desolation, symbolized by a barren, broken bough. There’s a feeling of being lost, with no hope sprouting in country towns, yet a refuge is offered, hinting at shared salvation in a desolate place. The imagery of a homestead, furnace, and headstone melds despair with a glimmer of solace, capturing the stark contrast of finding peace amidst ruin.

“The unique ‘sustainable misery’ of Hurt Sermons is built of the past for an uncertain future,” says the artist. “Old becoming new. Resurrection music.”

Listen to the song below or order here.

Broken Bough by Hurt Sermons

By ditching traditional band instruments and methods, and sticking to DIY sustainable practices, Hurt Sermons’ mastermind J Allan Wrrts did everything solo on Broken Bough: writing, playing, recording, and mixing, even down to the artwork and crafting instruments from discarded objects on the property.

Broken Bough is the first in a series of singles leading up to an eight-track album. Stay tuned.

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The post Melancholy Amidst Desolation — Australian Post-Punk Project Hurt Sermons Debuts New Single “Broken Bough” appeared first on Post-Punk.com.

Source: Post-Punk.com

Die Progressive Modern Metal-Band SLEDEON hat mit “Superhuman” einen Video-Clip ihres kommenden Albums “Futuroscope” veröffentlicht. Es ist nach zwei EPs das erste Album der Niederländer.

“Superhuman” wurde von Milan Steinbach bei Pointbreak Recordings gemixt und gemastert und soll im November 2024 erscheinen.

SLEDEON Line-Up:
Sjors Bes – Bass, Vocals (backing)
Willem Peters – Drums
Mike van Keulen – Guitars, Vocals (harsh)
Fabienne Hurkens – Vocals

SLEDEON “Superhuman” (Video bei YouTube)

Source: Vampster

The powerful ones are lusting our submission
But we resist, feed the riot and rise up your fist
A fire is burning in these days of glory
Keep it lit and believe, to die or to win
Emerging from the labyrinthine streets that etch out many of the ancient cities found in Italy, Harbiter, the EBM solo project of Samuele Salvel, carves a niche in the dark underbelly of electronic music. Formerly the bassist for metal outfit Scyther, Salvel’s transformation is as dramatic as it is compelling. Now, he conjures a melange of melancholic darkwave and aggressive industrial beats, spiced with the raw power of metal-infused guitar riffs. Drawing influences from Ultra Sunn, Blutengel, and Pure Obsession & Red Nights, Harbiter channels a brooding, cyberpunk energy that is both visceral and intoxicating.

His debut album, Blinded In Chains, reimagines the works from his Scyther days, transforming them into “electro alternative covers.” Salvel speaks of this transition as a natural progression, a fusion of coldwave, EBM, industrial, and metal elements. “Having such songs already written and defined helped me a lot, experimenting with synths and new sounds (for me) and not having to start from zero,” he explains. “I took the main guitar riffs of those songs and brought them into this hybrid genre. It’s been a perfect practicing field for me—even for mixing and mastering the songs by myself—and I’m really proud of the result.”

In the face of societal oppression, Harbiter stands as a rebel, unseen and daring to challenge the unjust system. Forced out of the shadows and into the perilous alleyways, he finds the courage to defy all odds. Listening to the city’s whispers, he emerges as a leader of change, sparking a revolution. Throughout this solo debut album, Harbiter expresses his refusal to be defeated, turning his words into anthems of defiance and his music into the heartbeat of an uprising.

The album opens with the ominous post-industrial soundscapes of the title track, Blinded In Chains, a brooding instrumental piece that sets the stage for the record to follow. It’s followed by the guitar-driven post-punk and darkwave of Remember Who You Are, a defiant, anthemic declaration of personal conviction in the face of criticism. This track emphasizes individuality and inner strength, urging listeners to hold on to their identity, uniting and supporting each other in the journey.

Feed The Riot intertwines industrial rock and coldwave guitars with EBM beats, crafting a vivid depiction of resistance against oppressive forces while urging defiance and rebellion. The fire of revolution burns fiercely, demanding belief and perseverance, presenting a stark choice: die or win. In the modern industrial track, Corruption, a dialogue of disillusionment and betrayal unfolds. One voice accuses another of succumbing to corruption and abandoning principles, leading to moral decay and irreversible damage.

Infection, a brief 49-second instrumental interlude, sets the stage for the majestic baroque metal of “Thirst of Power.” This track delves into the captivating allure of power and control, showcasing the dehumanizing effects of the relentless pursuit of dominance. The escalating thirst for control is illustrated through the song’s composition and emerges as a burdensome weight evoked through the music, dragging the soul toward damnation, while the recurring refrain underscores the destructive nature of this insatiable longing.

The album concludes with the ensnaring dynamism of “Chain Reaction,” a captivating Darkwave and Gothic Rock anthem featuring mesmerizing synth beats that entwine seamlessly with powerful guitar riffs. The song serves as a resounding call to arms for revolution and an unwavering quest for freedom, painting a vivid picture of the city’s call igniting an inferno within, catalyzing a chain reaction that shatters the silence and shadows. It eloquently portrays a new world born of metal and thunder, ascending to liberate our souls, symbolizing the dawn of a unified brotherhood galvanized by truth and unwavering faith in dreams, standing stronger than ever before.

With the record’s compelling narrative, Blinded In Chains marks the beginning of Harbiter’s journey toward redemption and the quest for justice. The LP, baroque and mechanical, blends the human spirit with defiance against the oppressive machine of the system. Harbiter’s debut is a rallying cry for influence and empowerment, leading listeners on a transformative odyssey from the shadows of despair to the bright light of freedom. The genre-defying album speaks of breaking the titular chains of oppression while sparking dreams of a better future — to embrace meaningful change, urging us to live lives of personal significance beyond the confines of societal expectations.

Listen to Blinded in Chains below, and order the album here:

Blinded In Chains by Harbiter

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The post Italian Artist Harbiter Fuses EBM, Darkwave, and Metal in his “Blinded in Chains” LP appeared first on Post-Punk.com.

Source: Post-Punk.com

Freilichtbühne Niederburg, Kranichfeld, Germany 12th to 13th June 2024Black Lower Castle Festival Day 1 with Atlas Bird, X-Perience, 80’s Express and Forced to Mode The third edition of the Black Lower Castle Festival kicks off this year on Friday, dedicated entirely to the 80s and 90s. Our travel group, coming from all different directions to Kranichfeld, has chosen Weimar as our base for this year. So, I’m leaving work early and heading out on Friday afternoon to the charming provincial town where Goethe and Schiller, Cranach and Bach, Wieland and Herder, Liszt and Strauss, and later Nietzsche and Feininger strolled through the winding alleys, inviting squares, and vast parks. This small town on the Ilm is bursting with cultural history, so we can’t resist taking a leisurely walk through the Ilm Park on Saturday afternoon before heading back to Niederburg for another wonderful day at the festival. But first things first, but not necessarily in that order.

Source: Reflections of Darkness

Parque el Batel, Cartagena, Spain 19th to 22nd June 2024Rock Imperium Festival 2024 Day 1 with Turmion Kätilöt, Ronnie Romero, Eclipse, Uriah Heep, Extreme, Judas Priest, In Extremo and Day 2 with Celtian, Xandria, Cirith Ungol, Arwen, Kadavar, Ritchie, Shores of Null, TNT, Glenn Hughes, Avantasia, Kamelot, Marduk Rock Imperium Festival 2024 - A spectacular celebration of Rock music in ancient Cartagena! For the third time, the ancient city of Cartagena, nestled under Murcia, plays host to the Rock Imperium Festival, a grand celebration of Rock music. This year marks a significant expansion of the festival, extending its duration from the usual three days to an exhilarating four-day event.

Source: Reflections of Darkness

Nachdem sie vergangenes Jahr u.a. mit Depeche Mode und The Cult auf Tour waren, haben Cold Cave nun ihr neues Album "Passion Depression" angekündigt. Mehr Infos und die Single "She Reigns Down" hier!

Source: Sonic Seducer

Mit "You Are Not Alone" hat Vitalic eine brandneue Single veröffentlicht. Mehr Infos und das Musikvideo zum Feature mit Vimala hier!

Source: Sonic Seducer

Back in April, California-based trio Houses of Heaven released their long-awaited sophomore LP, Within/Without, via Felte Records. With their visceral blend of pummeling post-punk energy and deep synth grooves, the band has been a forever favorite for us here at Post-punk.com since the release of their first EP in 2017. Within/Without, their first LP in four years, explores new horizons and combines eclectic genres such as krautrock, dub, drum and bass, and psychedelic-tinged techno while still remaining engaging and heartfelt across each track. Guest vocalists such as Ms. Boan (aka Mariana Saldaña) and Douglas McCarthy of Nitzer Ebb add extra flavor to the LP’s already diverse sonic palate.

We had the pleasure of catching up with Houses of Heaven’s current lineup, including vocalist and multi-instrumentalist Keven Tecon, fellow multi-instrumentalist Adam Beck, and newcomer Rachel Travers, who drums on the record. Matia Simovich (INHALT/Infinite Power Studios) also stopped by to answer a few questions about producing the album.

—–

Congratulations on a stellar second album! How did Within/Without come together? What is your writing process like these days? 

Adam: Most of this record came about while Keven was living in LA and the rest of the band was living in the Bay Area, so a lot of this record came about from sending Logic files back and forth. Someone would write something, send it off to the rest of the band, who then may edit it, change it, or add to it, and then send it back, and the process repeated. In the past we would pull demos into the practice studio and try to flesh them out, but this record was primarily done remotely. I think in terms of songwriting this led to a more electronic and sequencer based album than some of the previous work.

Keven: I think Within/Without was a lot less stressful for us to make than the first album. With Silent Places there was a lot of conflict as we were trying to figure out how best to express our different influences. It was a really difficult record to make and there were several times I felt like giving up during the process. I’m really happy with it now, though. With the new record, we had already established a certain direction and template so it was easier for us to explore within those boundaries. As Adam said, since we were in different locations, we each worked on demos and passed them back and forth. I think between that way of working and what we were listening to at the time, the demos were a lot more electronic. Part of the challenge from there was how to adjust the songs for a live band. It wouldn’t have made sense for us to turn into a fully techno or experimental electronics project so a lot of this was done with the arrangements. I really enjoy the contrast of the experimental sounds and ideas and arranging them in a more traditional pop structure.  

Matia: I was in Los Angeles and I remember “Sightline” was technically the first track we worked on before commencing the LP outright. Keven and I came up with a new drum track on an MPC 2000xl and the legendary funky drummer loop; chopped and rearranged of course. 

Within/Without by Houses of Heaven

Can you expand on some of the lyrical themes of the record? 

Keven: The title “Within/Without” was sparked by a quote from Thatcher, describing the country being at war on two fronts. From both within and without. I feel like that’s what each of us is doing on a personal level, fighting both within and outside of ourselves. There’s a real search for human connection running through the lyrics. The paradox of how it can be easier to open up to a stranger than to those closest to us. A yearning for meaningful connections, but without true vulnerability or consequences. That’s why trauma bonding is so powerful, we can quickly make intense connections and it can feel like a drug. Another theme is fear of an uncertain future while also being bored and tired of the past. The desire to set ablaze the old and familiar, making room for something entirely new to emerge. Living in this balance is a very anxious place to be. I read a book called The Coming Wave, which delves into how each new technological leap could hold the power to either propel civilization forward or become its undoing. And it’s only through sheer luck that we’ve managed to survive this long.

Houses of Heaven by Black Plastica
What were you listening to when writing the record? The band is generally pretty eclectic as far as the post-punk genre is concerned, so I’d love to talk about where you find inspiration. Were there any outside influences that permeated your writing? 

Keven: I wasn’t listening to much post-punk or darkwave stuff. We were listening to more techno, jungle, drum & bass, dub and experimental electronics stuff. Music from labels like SVBKVLT, Metalheadz, LIES. Things like Tzusing, Goldie, Acid Arab, Andy Stott, DJ Lag etc.. But of course there are still plenty of classic influences mixed in like Clan of Xymox, Cabaret Voltaire, Nine Inch Nails etc… 

Adam: I started getting far more into synths than I ever have before, which then led to me listening to a lot more electronic music than I was when working on previous records. From my side, influences came from ominous and heady electronic artists like Kwartz, Shifted, or Andy Stott, as well as a prolonged period of listening to almost nothing but Gqom. These things always end up getting filtered through a punk/noise/indie background, though..

Did you record any extra material – b-sides, compilation tracks, etc.? 

Keven: We have tons of additional demos and ideas from that time that were never completed. Sometimes it’s a matter of not being able to unlock a particular track at that moment so we occasionally bring back old ideas and rework them. It can take a while for a song to present itself. 

Adam: Aside from two songs, we sort of narrowed down what tracks we were going to put on the record prior to hitting the studio. Once in the studio decisions were made to ditch a sort of ambient instrumental we were going to add, and a slower dark track that Keven was struggling to find vocals for. I absolutely loved both those tracks, so hopefully we’ll find a place for them in the future! Almost all of the record was written by making demo recordings in Logic, and we tend to churn out tons of ideas and filter down from there – so every thought we had is on a hard drive somewhere. There are literally dozens of tracks that we worked on for a bit but which just didn’t feel right for the record. That being said, we’ve been known to pull songs that are years old and rework them, (for example, the end track, “Sightline”, was originally written for our first EP) so I wouldn’t be surprised if some of the demos found a home on a later release.

Keven – you’ve been incredibly active for as long as I’ve known you – can you tell me how your creative process has evolved over the course of all the bands you’ve been involved with? 

Keven: That’s a tough one to answer! This could probably be its own interview so I’ll try to move quickly through each one. I’ve been lucky enough to play with some amazing people and learned a lot from each experience. Veil Veil Vanish was very guitar based with a mix of post-punk and shoegaze so we used to jam out most of the ideas in a rehearsal studio. None of us had recording software so we would bring in very basic song ideas recorded on a 4-track and work them out together. It’s strange to think about now, but every song we wrote ended up on either the EP or LP. We didn’t have any extra songs or things we threw away. When that band fell apart I needed a break and didn’t want to be a singer anymore. That’s when Amy Rosenoff (bass player in Veil Veil Vanish) and I met Hether Fortune from Wax Idols. I told her I could play drums even though I had never played drums in a band before. It was a great experience for me to just play drums and not have to be the band leader. Hether is a great songwriter and would bring in ideas she had written on guitar. Amy and I had been playing together for so long that it was easy for us to create the rhythm sections to the songs. I really enjoyed writing from the drummer perspective and tried to make each part interesting and lyrical in its own right.

Rachel ended up joining Wax Idols on drums when I left. Around that time I met Luis Vasquez in Oakland who had just started The Soft Moon with Damon Way and Justin Anastasi. Justin and I had previously played together in Veil Veil Vanish. Bay Area bands were very incestuous with everyone playing in each other’s bands. The Soft Moon started out with guitar, bass, keys and a drum machine but Luis was really inspired by psych bands so wanted to have a live drummer. Justin and I spent a lot of time figuring out how to incorporate live drums, trying to keep the power and relentlessness of the drum machine but give things a human feel. That’s when I started getting into samplers, drum triggers and learning how to sync gear with midi. We didn’t know anyone else in our circle doing this at the time so it took a lot of experimenting before we settled on a setup we liked. With The Soft Moon it was all about repetition and the writing was very loop based. Luis was writing in Ableton Live where he would cut and paste ideas on the grid and have elements coming in and out. I learned a lot about the power of rhythm and repetition from him.

Though I think Houses of Heaven sound different from all of the previously mentioned bands, the creative process is very much a mix of those past experiences. The different ways of writing, of viewing music and sound, and of trying to connect with people through the songs…

Rachel, this is your first collaboration with the group, tell us more about how you joined and your work on the album.

Rachel: Though this is my first collab with the group, I’ve actually known both Keven and Matia for years. I ended up filling Keven’s spot when he was the drummer in Wax Idols. Despite not meeting him for a few years, I became intimately aware of his compositional style through learning the drum parts he wrote. Later when he joined back in for a tour supporting the group on synth + guitar, we hit it off! Years later when he called me and asked if I could start rehearsing with him and Adam, I was ecstatic since I loved what they had been putting out.

Providing live drums for the album, I was able to add another punchy, textural layer that I feel a lot of drum machine bands are missing. They’re something ineffable about the way air travels through a room and into a mic behind that first big transient of a drum strike. The way Matia mixed and blended the electronic drums and acoustic drums felt perfect. 

Within/Without by Houses of Heaven

Of course, I have to ask about Douglas McCarthy – how did that collaboration come about? 

Keven: I was having some difficulty coming up with the right vocal approach for the song that would eventually become “The End of Me”. The vocals on the demo were very monotone and percussive, inspired by some of the early Nitzer Ebb songs so Matia suggested we see if Douglas would want to sing on it. We sent him both my vocal demo and an instrumental of the track and told him he could do whatever he wanted. When he came into the studio we had no idea what he was going to sing. I remember Matia and I being blown away with his approach to the track and how it brought the song to life. 

Matia: We were working on a version of the song with Keven singing and we were having a really hard time finding the right vocal vibe. During the vocal tracking I called for a break and told Keven that maybe what we needed was a more aggressive vocal in a classic sort of way. The voice I kept hearing in my head was Douglas’ unmistakable swagger so I gave him a call and asked him last minute to come in. I’ve been working with Bon and Doug on several of their projects over the last couple of years so it was smooth sailing as Doug knew how seamless tracking vocals is with me. What we weren’t prepared for was the level of melodic genius that Doug had worked out, totally elevating the song to a new level and forcing us to rethink additional melodies. Doug is a stone cold pro and a genius when it comes to interesting vocal arrangements and his studio etiquette is immense. I love working with artists who have real studio experience because it makes the whole process seamless.

…and it’s always a pleasure to hear Mariana’s vocals – was “Deserve” written together, or was the track written before she contributed her vocals? 

Keven: We had the instrumental written and along with the title. Sonically the song was different from anything else we were working on. More pop with some Italo influence so I didn’t think my voice would be right for it. We were already friends with Mariana and loved her work with BOAN, Medio Mutante, and Boy Harsher, so we asked her if she wanted to contribute some vocals to the track. We loved what she came up with and had a great time making the video together as well.

Matia – tell us about your production on this record. Were you hands on in the creative process from day one, or did you help mold all the tracks once they were laid down? 

Matia: After I produced the first HOH LP, I think we all built a good creative relationship. Keven kept me in the loop with the demos for the second record as they were developing so I gave my feedback on some songs early on in the stages of its gestation. There was a lot of pressure on everyone to up the ante after we completed the first LP, which we all felt was a landmark and success for the band and for me as a producer and mixer. The pressure on me, with this one, was to come up with an overall sound and identity for this second album that both made sense for the band but also raised the bar after the last one. What I was looking for was three separate identities and overall sounds that would become the overarching vibe of the LP and help reinforce a narrative through a seamless listen. With that in mind, I realized early on that it would be a matter of experimentation and trying things this time around and being ok with the process not always working out.

I needed to find a way to better integrate Rachel into the band and into the music so I split the record up into more traditional tracking of instruments (drums, guitars) separate and before the outright production and mix process, so that all the elements would be there in some form on the multitrack before I brought the knife out. Doing things this way really helped create a sense of confusion especially in the drum tracks because it wasn’t clear what was live drums and what was drum machines and samples in the end result. And that was the whole point, to be absorbed into the music so that the production defined the experience of viscerality and seamlessness rather than allow trainspotters to spot the odd 808 loop.

I have a couple of co-writes on this record as well and I think there was a general sense of openness and trust between the band and myself in that we were all working towards the same goal and I was allowed plenty of time to establish the final identity without any hindrance or constraint. Within/Without is a perfect example of what happens when I work on the next record and when there is no producer change from the previous LP. It took a year but the results speak for themselves.

Matia Simovich by Brandon Burkart
I’d love to hear what gear y’all used on the record. Can you tell us a bit about that? 

Adam: Right around when our last record was released I got really into modular synths. It’s a great format for sort of creating something that’s unique to yourself and your own interests, or even to sort of compensate for the elements of songwriting you may find challenging. I’ve always found sound design really inspiring, with the majority of parts I write come from creating a unique tone or sound and then moving from there to incorporate it into a track, and modular really lends itself to that.

Keven: For me everything is based around the MPC Live II. I love the workflow so much and can’t live without it. The majority of the drum programming and keyboard sequencing was done on the MPC then recorded through a mixer and preamp to give it some color. This is all before things get to Matia and he does his own processing. We used a ton of different keyboards including a few from Sequential/Dave Smith, Korg MS20, Elektron Digitone, Oberheim OB8, Roland Jupiter 8 and Juno 60, Kurzweil K1000, and a Minimoog. Matia also sampled a lot of parts into a Synclaviar. We really enjoy the mix of using both new and old gear. In the studio we replaced some of the sampled drums with Rachel’s live drumming and hand played percussion. The percussion is an eclectic mix, blending the sounds of modular synths with the organic tones of live drums, shakers and tambourines. It helped create more movement and a live feel by not having everything perfectly quantized to the grid. There’s also a lot of guitar from both Adam and I that’s heavily processed. 

Matia: There are several pieces of equipment that were fundamental to the sound of Within/Without. The first one is the centerpiece of Infinite Power Studios, the AMS Neve 8424 mixing console. I knew early on that one of the key components to the record was going to be distortion so I used to liberal extent a custom made distortion pedal from Days of Yore/Skrewed Circuits, a small company in Canada that makes some of the most interesting audio equipment I’ve heard. The Synclavier PSMT was also extensively used, which is the main synth/sampler at IPS. This is an obscenely overbuilt sampler and sequencer workstation from the mid 1980s that’s responsible for some of the biggest records ever made (Black Celebration, Music for the Masses, “Two Tribes,” Slave to the Rhythm, Thriller …). You can hear it doing the drums and bass on “The Depths You Hold” and the giant FM sounds on the end of”New Decay.” We also used it to sample many sounds including Rachel’s drums as well as a memorable sound in “The End of Me” which is a pitched metallic strike that’s actually a sample of me hitting the loading zone sign in front of the studio with a baseball bat. Also ever-present was the PPG Wave 2.3 which made an appearance on many songs. From a medium standpoint, I made sure to traverse several recording mediums and some songs were dumped to analog tape and sped down, much to the dismay of my assistant engineer Grover Greenberg who had to re-edit tape dumps into time.

Within/Without by Houses of Heaven

What touring plans do you have for the LP – are you going to tour more extensively? 

Keven: We’re trying to play in as many new cities as we can right now. We never had a chance to tour the first album because it came out right when everything closed for covid. We’re working on US shows now and hoping we can make it over to Europe early next year. §

Within/Without is out via LP and digital formats via Felte Records. Listen/purchase at any of these links here and check below for a list of current tour dates:

July 28 – Calgary, Terminus Festival
Sept 21 – Sacramento, Cafe Colonial w/ Tassel
Sept 29 – Chicago, Cold Waves Festival
Oct 4 – Portland, Immortalis Festival
Oct 13 – Los Angeles, Cold Waves Fest LA
Nov 1 – San Francisco, Substance Fest

Header photo of Houses of Heaven by Alejandro Restrepo

The post The Depths You Hold — An Interview with Houses of Heaven appeared first on Post-Punk.com.

Source: Post-Punk.com

Freilichtbühne Niederburg, Kranichfeld, Germany 12th & 13th June 2024Black Lower Castle Festival Day 2 with Gulvøss, Zoodrake, Rroyce, Melotron, Solar Fake and Diary of Dreams We kick off Saturday with a hearty breakfast at our chosen café for the weekend and take a leisurely stroll through the nearby “Park an der Ilm” (also known as Ilm Park or Goethe Park). In the late afternoon, we head to Kranichfeld, parking our carriage at quarter past four and heading back towards the entrance. There seems to be quite a buzz at the merch stand already. I also pay a visit to the merch stand right away.

Source: Reflections of Darkness

Mit "Pornography - A Tribute To The Cure" hat Claus Larsen aka Leaether Strip ein neues Cover-Album angekündigt. Mehr Infos und die ersten Hörproben hier!

Source: Sonic Seducer

(Photo via London Records) London Records will mark the 40th anniversary of the iconic Bronski Beat debut album, “The Age of Consent”, with a series of deluxe reissues available on October 18, 2024. Fans can pre-order these reissues at bronskibeat.tmstor.es.

In conjunction with the reissue, London Records has released a new remix of “Smalltown Boy”’” by Planningtorock. This artist, known for queering sound and visual art, has previously collaborated with Lady Gaga, Robyn, and Christine and The Queens. The remix can be listened to below.

Jimmy Somerville, reflecting on the album, said, “When there is something we do in our life that can have such an impact on other peoples’ lives, and to be told this by others, it’s humbling. ‘The Age of Consent’ is, and always will be, such a special part of my life.”

Related newsBronski Beat founder Steve Bronski dies aged 61Planningtorock shared their thoughts on the remix as well: “I first saw ‘Smalltown Boy’ on telly back in 1984 when I was twelve. I remember it having a big impact on me even then. Just loved how it told the story so directly like a mini documentary but as a music clip sharing a gay experience that was sad to watch but at the same time so empowering. Those early years as a queer trans kid were so lonely for me and Bronski Beat made me feel less alone showing me how music can help you translate a painful experience into something liberating.”

Released in 1984, “The Age of Consent” was a pioneering album addressing LGBTQ+ rights and struggles. The album remains relevant today, reflecting ongoing issues faced by the LGBTQ+ community. Its original release included a listing of ages of consent worldwide, symbolizing both the progress made and the challenges still ahead.

The 40th-anniversary reissue will be available in various formats, including a 5-Disc Deluxe Edition (4CD+DVD), a 2CD set with new reworks, a 2LP set, a yellow 1LP edition, and a Super Deluxe Edition exclusive Blu-Ray. The deluxe edition features essays, remixes, rarities, and restored promo videos.

Tracklisting for the 4CD+DVD Deluxe Edition

Related newsNew single electropop act Canal Pop is a cover of Françoise Hardy's 'Comment Te Dire Adieu'Disc One: The Age of Consent – The Album Plus

Why?

It Ain’t Necessarily So

Screaming

No More War

Love and Money

Smalltown Boy

Heatwave

Junk

Need a Man Blues

I Feel Love / Johnny Remember Me

Smalltown Boy (DJ 7” Edit) – Bonus track

Why? (Remix) – Bonus track

It Ain’t Necessarily So (7” Version) – Bonus track

I Feel Love (7” Version) with Marc Almond – Bonus track

Run from Love (Radio Version) – Bonus track

Hard Rain (NME 7” Version) – Bonus track

Disc Two: Hundreds & Thousands – The Remix Plus

Heatwave (Harvey Goldberg Remix)

Why (Harvey Goldberg Remix)

Run from Love (Dominic Maita Remix)

Hard Rain (Harvey Goldberg Remix)

Smalltown Boy (Harvey Goldberg Remix)

Junk (Harvey Goldberg Remix)

Love and Money (Hundreds & Thousands Remix) – Bonus track

Infatuation / Memories – Bonus track

Close to the Edge – Bonus track

I Feel Love (Cake Mix) with Marc Almond – Bonus track

Cadillac Car (Extended) – Bonus track

Disc Three: Consent Extended – The 12 Inches Plus

Smalltown Boy (12” Version)

Why? (12” Version)

It Ain’t Necessarily So (12” Version)

I Feel Love (12” Version) with Marc Almond

Run from Love (US Club Remix ‘85) – Bonus track

Smalltown Boy (US Club Remix ‘84) – Bonus track

Red Dance

The Potato Fields

Puit D’Amour

Signs (And Wonders)

I Feel Love (Fruit Mix)

Related newsErasure's Andy Bell releases 'Variance III - The Queereteria Remixes' feat. Bronski Beat remixes - check a first trackDisc Four: Ignore at Your Peril – The Rarities Plus

Smalltown Boy (Capital Radio Session, May ‘84) – Bonus track

Heatwave (Capital Radio Session, May ‘84) – Bonus track

Hard Rain (Capital Radio Session, May ‘84) – Bonus track

Why? (Early Version, March ‘84) – Bonus track

Crazy Maraquitta (Studio Session) – Bonus track

It Ain’t Necessarily So (Early Version) – Bonus track

Upside Down (Studio Session) – Bonus track

Screaming (Early Version, March ‘84) – Bonus track

The Power of the Gold (Studio Session) – Bonus track

Love and Money (Early Version) – Bonus track

First Church (Feel Love) (Studio Session) – Bonus track

Junk (Early Version 2) – Bonus track

Walking (Studio Session) – Bonus track

No More War (Early Version) – Bonus track

Go (You & Me) (Studio Session) – Bonus track

Close to the Edge (Early Alternate Extended Mix) – Bonus track

Heatwave (Early Version) – Bonus track

The Other Side of the Tracks (Studio Session) – Bonus track

Smalltown Boy (Early Version, March ‘84) – Bonus track

Disc Five: The First Chapter – The Videos Plus [DVD]

Official Music Videos

Smalltown Boy (Restored Promo)

Why? (Restored Promo)

It Ain’t Necessarily So (Restored Promo)

I Feel Love (Restored Promo) with Marc Almond

Top of the Pops Performances

Smalltown Boy (BBC ‘Top of the Pops’, June ‘84)

Why? (BBC ‘Top of the Pops’, September ‘84)

It Ain’t Necessarily So (BBC ‘Top of the Pops’, December ‘84)

I Feel Love (BBC ‘Top of the Pops’, April ‘85) with Marc Almond

Original TV Adverts

The Age of Consent – TV Advert #1 (December ‘84) – Bonus track

The Age of Consent – TV Advert #2 (January ‘85) – Bonus track

About Bronski Beat

Formed in 1983 in London, Bronski Beat was an influential British synthpop trio known for their groundbreaking music and outspoken advocacy for LGBTQ+ rights. The original lineup included Steve Bronski (keyboards, percussion), Larry Steinbachek (keyboards, percussion), and Jimmy Somerville (vocals).

Related newsBronski Beat – The Age Of Reason (DCD Album – Cherry Red Records)Their debut single, “Smalltown Boy”, released in 1984, became an instant hit. The song’s poignant narrative about a young gay man facing homophobia and isolation resonated deeply with listeners. It climbed the charts, reaching number three in the UK. Later in 1984, Bronski Beat released their debut album, “The Age of Consent”. The inner sleeve listed the ages of consent for homosexual acts worldwide. The album produced other hits like “Why?” and “It Ain’t Necessarily So”.

In 1985, lead vocalist Jimmy Somerville left Bronski Beat to form The Communards with Richard Coles. Despite his departure, Bronski Beat continued, recruiting John Foster (also known as Jon Jon) as their new lead singer. The band released the album “Truthdare Doubledare” in 1986, which included the hit single “Hit That Perfect Beat”.

Throughout the late 1980s and early 1990s, Bronski Beat underwent several lineup changes, with the late Steve Bronski remaining the constant member. They continued to release music, though with less commercial success than their early years. In the 2010s, Steve Bronski reformed the band with new members and continued to perform and release new music.

Source: EBM.gr

Am 28. Juli 2024 veröffentlicht die Post Metal / Post Rock-Band BARYON ihr Zweitwerk “Hypnos”. Nun haben BARYON mit “Communion” bei YouTube einen weiteren Song daraus veröffentlicht – und verrät, welche Band als Inspirationsquelle dienten:

„’Commuion’ hat alles, was einen ‘großen’ Song ausmacht. Es gibt Anklänge an OPETH, CULT OF LUNA und auch KATATONIA, die alle in dieses Ungetüm einfließen. ‘Communion’ nimmt dich mit auf eine Reise und beinhaltet so viel, wi eman in zwölf Minuten nur unterbringen kann.“

“Hypnos” ist der Nachfolger von “Inauguration” (2015) wurde im RAMA Studio aufgenommen und von Tobias Schwarz produziert. Inhaltlich drehen sich die sechs Stücke um Themen wie Schuld, Befreiung und Ankunft. Eine erste Single steht seit Juni  in Form von “Cardiac Eye” bei YouTube bereit.

 BARYON “Hypnos” Tracklist
1. Ambitendency
2. Cardiac Eye (Audio bei YouTube)
3. The Bargain
4. Hedron
5. Will of Hamartia
6. Communion (Audio bei YouTube)

BARYON Line-up 2024
Philipp Schäfer – Drums
Felix Schäfer – Keys
Maximlian Hausner – Bass
Philip Neumann – Gitarre
Dimitrios Kasprzyk – Gitarre

Source: Vampster

Am 27. September 2024 erscheint das neue Album von ANATHEMAs Daniel Cavanagh – sein neues Projekt WEATHER SYSTEMS trägt denselben Namen wie ein ANATHEMA-Album aus dem Jahr 2012.

Das Debütalbum von WEATHER SYSTEMS heißt “Ocean Without A Shore” und erscheint via Music Theories Recordings, aufgenommen haben es Multi-Instrumentalist Daniel Cavanagh und ex-ANATHEMA-Drummer Daniel Cardoso.

Reinhören kann man in den Song Do Angels Sing Like Rain? bei YouTube.

Ein großer Teil der Songs von “Ocean Without A Shore” war ursprünglich für ANATHEMA gedacht und entstand 2019.  2020 einigte sich die Band jedoch auf eine unbefristete Auszeit.

Für Daniel Cavanagh sind seine alte und seine neue Band eng verbunden:

„Diese Platte ist direkt, ehrlich und kommt von Herzen. Mit sehr persönlichen, intensiven und emotionalen Songs lädt sie auf eine Reise ein. Für mich hat sie etwas spirituelles, die Musik kommt von einem unweltlichen Ort, und ich hoffe, sie berührt euch. Anathema hatten nie wirklich ‘nebenbei-Fans’.  ANATHEMAs Musik war so intensiv und emotional, viele Menschen hat das auf einer bestimmten Ebende berührt. Ich respektiere das, und ich versuche weiterhin, Musik zu schreiben, die in den Herzen und Seelen der Hörer nachhallt.“

 

WEATHER SYSTEMS “Ocean Without A Shore” Tracklist
Synaesthesia
Do Angels Sing Like Rain? (Audio bei YouTube)
Untouchable Part 3
Ghost In The Machine
Are You There? Part 2
Still Lake
Take Me With You
Ocean Without A Shore
The Space Between Us

 

Source: Vampster

Disconnect myself today
Self-destruction works every day
Numb myself to get away
Keeping the evil at the bay
The reasons for deciding to black out from overindulgence in a potent libation are as murky as a midnight alley in the rain. It’s about escaping the drudgery of daily life, numbing the nagging nightmares, and silencing the sinister whispers of worry. People tip the bottle to find solace in forgetfulness, drowning their demons in a sea of spirits, hoping to dodge the harsh glare of reality, if only for a fleeting, foggy moment.

Swedish hauntwave auteur aux animaux returns with a creepy new video about this very escape for Blackout, a powerful anthem about the cataclysmic battles we often face with our inner demons.

Blackout explores a battle with self-destructive behaviour, using numbness as a means to escape inner turmoil and keep dark thoughts at bay. The recurring lines about losing vision and experiencing a blackout underscore a sense of disconnection and fading awareness, highlighting a profound struggle with inner demons and personal chaos.

”While going through a dark time, it’s a stream of consciousness that kept reoccurring that inspired this song,” says the artist. “The short lyrics say it all, it’s a very literal song. It’s about getting blackout drunk to numb oneself and escape reality.”

The video, filmed in the eerie catacombs of Paris and the shadowy streets of Stockholm, serves as a metaphor for a plunge into the depths of despair and the arduous ascent back into the light. The artist’s journey through these haunted hallways and hushed alleys mirrors a descent into darkness, only to find hope and redemption at the tunnel’s end.

Watch the video for “Blackout” below:

Body Horror, aux animaux’s latest offering from Manic Depression Records, marks a significant turn in aux animaux’s artistic vision, as it represents her inaugural foray into an LP steeped in the distinct rhythms and textures of EBM. This album emerges as a deeply personal reflection of a year marred by health challenges that have left their imprint both physically and psychologically. The artist’s experiences have mirrored the surreal and unsettling dimensions of a body horror film, lending a visceral authenticity to this work. Aux Animaux’s album was also inspired by her deep connection to astrology. During the writing process, she explored the nuances of Venus in retrograde as both a morning and evening star. This exploration provided insights into relationship patterns that psychology had failed to provide.

Body Horror retains a strong thematic connection to the horror genre, underscored by a more intimate exploration of the artist’s own experiences. aux animaux’s well-established affinity for horror, particularly her fascination with the disturbingly surreal and psychologically complex world of the human body and its fragility, has long been the lifeblood of her musical inspiration. It was this passion for horror cinema that initially drew her to the expressive potential of synthesizers, allowing her to craft soundscapes that resonate with the eerie and the uncanny. In its exploration of the grotesque and the deeply personal, Body Horror is both disconcerting and intriguing.

Body Horror is out now. Order here

Body Horror by aux animaux

aux animaux will make their debut in the US at Das Bunker in Los Angeles on July 19th, and then will spend the next few months touring Europe. Dates are below:

Tour Dates:

19.7 Los Angeles, Das Bunker, US
2.8 Alvesta, Revolutionsfestivalen, SE
30.8 Musta Juhla festival, FI
8.9 Leipzig, NCN, DE
19.9 Oberhausen, Kulttempel, DE”
20.9 Liège, Le Garage, BE” (sold out)
21.9 Rouen, Dans La Crypte, FR”
22.9 Paris, Théâthre El Duende, FR”
23.9 Toulouse, Setmana Santa, FR”
24.9 Nantes, Cold Crash, FR”
25.9 Marseille, TBA, FR”
26.9 Liège, Le Garage, BE”
27.9 Frankfurt, Nachtleben, DE”
28.9 Skurup, Shadowplay festival, SE”
18.10 Bologna, Freakout Club, IT
19.10 Caserta, Lizard Club, IT
7.11 Ilmenau, TBA, DE
9.11 Siegen, Beautiful Noise, DE
10.11 Graz, PPC, AT+
19.12 Stockholm, Kollektivet Livet, SE

More TBA

” With Then Comes Silence

+With She Past Away

Follow aux animaux:

Spotify
Instagram
Facebook
Apple Music
Soundcloud
Bandcamp
Youtube
Website

The post Demon in a Bottle — Swedish Hauntwave Artist aux animaux Debuts Video for “Blackout” appeared first on Post-Punk.com.

Source: Post-Punk.com

Chaosbays ursprünglich 2020 erschienenes Album "Asylum" ist nun als CD-Neuauflage wieder erhältlich. Mit "Asylum" machte die Berliner Progressive Metalcore-Band den ersten größeren Schritt in ihrer Karriere. Die Songs dieses Albums sind ein wichtiger Bestandteil jeder Chaosbay-Live-Show, mit Songs wie "Amen" und "Mediterranean", die zu den absoluten Lieblingssongs der Chaosbay-Fans gehören.

Source: Prophecy

Electronic / Alternative-Künstler YODELICE präsentiert sein Studioalbum “What’s The Cure?” mit einem Live-Video zu “Desert Song” bei YouTube.

Zuvor erschienen bereits die Singles “Cutting Like A Knife“, “Desires Never Die“, “Muse In Motion” sowie “Ghostly Affair“.

“What’s The Cure?” erscheint am 18. Oktober 2024 via Spookland.

YODELICE “What’s The Cure” Tracklist

Cutting Like A Knife (Lyric-Video bei YouTube)
Desires Never Die (Audio bei YouTube)
Muse In Motion (Audio bei YouTube)
Ghostly Affair (Audio bei YouTube)
What’s The Cure?
Let Us Never Hit The Ground
Vampire
Desert Song (Live-Video bei YouTube)
What’s The Fuss?
Bliss Hope

Source: Vampster

Where whispers weave
And shadows sway
A synapse of spirits collide
Each soul a constellation
Seattle’s Society of the Silver Cross sets sail with Festival of Invocations, a mystic mélange by Joe Reineke and Karyn Gold-Reineke. Their music meanders through murky realms, where life and death, beauty and darkness, waltz in wicked waltz. With each eerie echo and haunting harmony, they pierce the mundane, tugging at the twilight threads between worlds. This release beckons listeners into a trance, urging introspection and exploration with its powerful pull.

Festival of Invocations, born in the bleakness of Covid, led Joe and Karyn to hope through haunting harmonies. In their Temple of the Trees—a studio resembling a gothic cathedral from another dimension—they meticulously produced the album. Each track was sonically sculpted within this sacred space, designed for this release and their future works. They painted sounds across a grim landscape, layering witchy undertones into their music. The compositions evoke an eerie urgency, as if plucked from The Tibetan Book of the Dead. Each note pulls us into a labyrinth of shadows and light, where the dark and divine dance in spectral splendour.

Their songwriting style merges lush layers of instrumentation with immersive rhythms and chant-like vocals, drawing from the rich textures and tones of India. The ensemble includes 12-string guitar, harmonium, Hammond B3 organ, shahi baaja, rare synthesizers, and drums. The result is a hypnotic blend of melodies, dark undertones, and twisted Americana. With a mix of Eastern mysticism and Western charm, their music conjures a world where shadows dance with light, serenading the soul in harmonic reveries.

Circle Cast Around, mixed by John Fryer (This Mortal Coil), honours the sacred circle—a timeless symbol of unity without beginning or end. Magic and rituals flourish within the circle, where ethereal forces are harnessed: North/Earth, East/Air, South/Fire, West/Water. Guest musician Mike Squires (Peter Hook) lent his expertise, layering a distinctive bass line that cycles throughout. The album’s ethereal echoes and elemental energies dance in a mystical, melodic embrace,

“We selected Circle Cast Around as the opening track…to serve as an invitation to step inside the round for a mystical, immersive journey with us,” says Reineke. “The song emerged from Karyn’s haunting riff on the shahi baaja (an Indian instrument which we fondly call “the baaj”). The idea had been saved as a simple iphone recording a couple years earlier, before it was rediscovered again, and we felt inspired to begin working out an arrangement.”

Setting forth on a journey of release, The Crown delves into the crucible of transformation. Traversing bleak, barren landscapes, it reaches a profound surrender—a sacred rite where earthly burdens are cast into the purifying fire. The song starts with a dissonant yet hypnotic guitar pattern over the heavy drone of the harmonium. Mid-song, the drums strike a military march, while the harmonium and guitar trade roles, symbolizing the transformative nature of life’s experiences.

What are the answers to life’s biggest questions? Reineke found inspiration for When You Know while traveling solo in India. His spiritual teacher sent him to Rishikesh, the yoga and meditation capital, to sit by the holy Ganges and meditate on three questions: Who am I? Why am I here? Where do we go when we die? In that sacred setting, he sought to unravel the mysteries of existence and the eternal enigma of life’s purpose.

They Are Coming explores the human fear of the unknown, the tendency to label the unfamiliar as “others” while hiding behind metaphorical barriers. The song’s progression mirrors an advancing army, gradually building tension as if appearing over distant hills, its pounding pulse driving forward like a relentless locomotive. It serves as a potent commentary on the human inclination toward tribalism and the dire consequences of societal division, a grim reflection of our fractured world.

Garden of Rituals plunges into a reflective reverie. Amidst the garden’s shadows, subtle truths lurk, waiting to be uncovered. It’s an exploration of hidden wisdom and mystical connections, a shadowy stroll through the enigmatic echoes of existence and the eternal dance of dreams and reality.

“…We looped a few parts out to create a framework, then layered in Swarmatron—an esoteric synth primarily used in film scoring that is powered on with a car key as well as a Critter & Guitari Pocket Piano – a small toy-like synth box with retro textures and sequences, some guitar feedback that we reversed in Pro Tools, along with an impromptu poem and other sonically inspired vocals by Karyn….Not only was it really fun to create this song that afternoon while in a state of total creative flow, but it served as an important lesson in non-attachment. By letting go of something that didn’t work, space immediately opened up for something new to come in, and we got to experience what felt like magic working through us.”

By The Millions mirrors the fear and uncertainty at the pandemic’s onset. Faced with a bleak, unknown future, we grappled with isolation and abandonment. The lyrics convey our profound vulnerability, feeling like nameless shadows in a vast, indifferent world. The lumbering instrumental sections evoke a reluctant march, millions trudging one by one, amplifying the eerie solitude amidst a shared ordeal. The song concludes on a hopeful note, steering the tale toward a brighter, more uplifting end.

“Because of the magnitude of the experience for the collective, we wanted the song’s choruses to feel bigger than just the two of us. We decided to create a gang-style vocal to create the effect of many voices walking and singing in unison. To achieve this, we took advantage of the size of our live room at our studio Temple of the Trees for natural reverb and depth. We placed a single microphone at one end of the room, after each vocal take we took one step back until we reached the other side. We ended up with 48 takes of vocals.”

Deepest Sleep dives into the alpha and omega, the cosmic dance of death and rebirth. Hidden magic whispers of rest and renewal through silence. The bewitching melody ebbs and flows, blending the Wurlitzer and Hammond B3 organ in seamless unison, echoed occasionally by a distant piano. Karyn’s contemplative vocals capture the song’s core, embodying its essence and meaning with haunting beauty. It’s a solemn serenade to the cycles of existence. We All Belong to Time muses on our ignorance and the enigmatic nature of time. We’re granted a fleeting existence on Earth, glimpsing just a fraction of the vast universe’s happenings. Then, one unforeseen day, time reclaims us all. The song’s somber reflections remind us of our ephemeral journey, a poignant reminder of our brief dance under the stars before the inevitable return to the shadows.

Finally, the majestic Rajasthan draws inspiration from the majestic state in northwestern India, known as ‘The Land of Kings’ for its resilience through countless battles. The sole lyric, “Rajasthan,” gives the song a hypnotic chant-like feel, echoing traditional harmonium-led Kirtan rhythms. Thundering drums, gongs, hand drums, bells, and shakers amplify its intensity. The ending evokes a dream within a dream, a distant memory gently fading, leaving an ethereal echo of timelessness and tradition.

Listen to the album below, and order here

Festival of Invocations by Society of the Silver Cross

Follow Society of the Silver Cross:

Spotify
Website
Instagram
Facebook

The post Where Whispers Weave — Dark Folk Duo Society of the Silver Cross Release “Festival of Invocations” LP appeared first on Post-Punk.com.

Source: Post-Punk.com

  Cold Cave has been teasing the possibility of a new album with a series of single releases throughout 2024; now, the dark electro/post-punk band is making good on the promise with the announcement of Passion Depression. Calling the album “protest music against the war within and without,” [..]

Source: RE:GEN Mag

  Disciples of the Lord of Lard have been mistreated to numerous delights from PIG’s back catalog, not the least of which have been Armalyte Industries’ remasters of Wrecked and Sin Sex & Salvation. Now, after nearly 30 years, one of the Mighty Swine’s most virulent offerings is receiving the same treatment, as Metropolis Records announces Sinsation [..]

Source: RE:GEN Mag

Die schwedische Power Metal-Band MAJESTICA präsentiert mit einem Video zu ‘A New Beginning’ ihren ersten neuen Song seit 2201.

Sänger Tommy Johansson sinniert über Neuanfänge:

„Es hätte keinen besseren Song für die Rückkehr MAJESTICAs geben können als A New Beginning’. Er ist nicht nur ein Power-Metal-Song mit einem eingängigen Refrain zum Mitsingen, sondern auch sehr melodisch im Stil von STRATOVARIUS, 80er-Rock oder HELLOWEEN und hat einige Anklängen an GARY MOORE. Der Song handelt von einem Neuanfang, aber auch von etwas, das zu einem Ende kommt. Ein  Ende ist nicht immer eine schlechte Sache. Es fühlt sich großartig an, endlich wieder neue Musik mit Majestica zu veröffentlichen und zu zeigen, dass wir zurück sind – zurück mit einem neuen Anfang.“

MAJESTICA Line-up:
Tommy Johansson guitars, vocals
Petter Hjerpe  guitarsChris David bass
Joel Kollberg  drums

Source: Vampster

Mit dem Album “Orchards of a Futile Heaven” präsentierte die Drone / Industrial Colab THE BODY & DIS FIG  Anfang des Jahres das Ergebnis ihrer Zusammenarbeit.

Im Oktober kann man die Songs von “Orchards of a Futile Heaven” auch bei einigen Konzerten in der Schweiz und Deutschland erleben. Einstimmen kann man sich mit einem neuen Video zu “Holy Lance”.

“Orchards of a Futile Heaven” wurde von Seth Manchester gemixt und gemastert und wird am 23. Februar 2024 erscheinen. Vorab wurden die Songs “Dissent, Shame” bei bandcamp und “Holy Lance” veröffentlicht.

THE BODY & DIS FIG “Orchards of a Futile Heaven” Tour 2024
19. 10. 2024 Dampfzentrale Bern, CH
20. 10. 2024 Werk21 Zurich, CH
22. 10. 2024 Bi Nuu Berlin, DE
29. 10. 2024 MS Stubnitz Hamburg, DE
30. 10. 2024 Pre-Halloween D�st Karlsruhe, DE
31. 10. 2024 Stapeltor Duisburg, DE

THE BODY & DIS FIG “Orchards of a Futile Heaven” Tracklist
1. Eternal Hours
2. To Walk a Higher Path
3. Dissent, Shame (Audio bei bandcamp)
4. Orchards of a Futile Heaven
5. Holy Lance  (Audio bei Bandcamp) (Video bei YouTube)
6. Coils of Kaa
7. Back to the Water

Source: Vampster

Sie verkörpert den Sound SIBIIRs nahezu perfekt: Die gewaltige schwarze Rauchwolke, die auf dem stimmigen Cover-Artwork gen Himmel steigt, ist so mächtig und bedrohlich wie potenziell lebensfeindlich. Dass „Undergang“ jegliches Sonnenlicht im Keim ersticken würde, lässt ja schon der Titel durchblicken; eine konsequente Fortführung der Marschrichtung des Zweitwerks „Ropes“ (2019) also.

Was sich im hohen Norden jedoch gewandelt hat, ist der fokussierte Ansatz des Songwritings. Die Grundzutaten aus Hardcore, Sludge, Black und Post Metal blieben unangetastet, werden nun jedoch noch in noch schlüssigere, noch giftigere Strukturen kanalisiert. Unbequeme Dissonanzen treffen auf einen melodischen roten Faden, treibende Zerstörungsorgien auf massive Riffwände. Ganz dezent stützen etwa feierliche Chorgesänge im Hintergrund die nach vorne drängenden Gitarren in „Placid Waters“, wohingegen die drückenden Riffs mitsamt der brachialen Vocals im starken „Watch The World Burn From A House On Fire“ irgendwo zwischen THE OCEAN und CULT OF LUNA angesiedelt scheinen.

SIBIIR legen auch auf “Undergang” eine rohe Entschlossenheit an den Tag
Interessante Facette: Die sludgigen Post-Metal-Vibes spielten SIBIIR zuvor bereits in „Ruinous“ gegen eine Black Metal / Hardcore-Mixtur aus, die wir entfernt so auch von ANCST kennen. Doch auch das zunächst zähfließend nach vorne kriechende Instrumental „Engerdal“ und „The Flood“ im dezent groovenden Midtempo rücken diese Trademarks in jeweils eigener Weise ins Scheinwerferlicht.

Durch diese geschickten Variationen im Detail bleibt „Undergang“ bis zum Schluss ansprechend, obwohl SIBIIR grundsätzlich um ein homogenes Klangbild bemüht sind. Roh und unwirtlich zeigen sich die Norweger auf ihrem dritten Studioalbum, selbst wenn zum Ende hin „The Famine“ dem angeschwärzten Fundament ein wenig Thrash beimischt. Seine Entschlossenheit legt das Quintett jedenfalls zu keiner Sekunde ab, selbst wenn im Gegenzug jeglicher Lichtstrahl, jegliches Quäntchen Hoffnung bereits im Keim erstickt wird.

Veröffentlichungstermin: 14.06.2024

Spielzeit: 41:02

Line-Up
Jimmy Nymoen – Vocals
Steffen Grønneberg – Guitar
Tobias Gausemel Backe – Guitar
Kent Nordli – Bass
Eivind Kjølstad – Drums

Produziert von Ruben Willem

Label: Fysisk Format

Homepage: http://www.sibiir.com/
Facebook: https://www.facebook.com/sibiir/
Instagram: https://www.instagram.com/sibiirband/
Bandcamp: https://sibiir.bandcamp.com/

SIBIIR “Undergang” Tracklist
1. Divergence And Deceit
2. Placid Waters
3. Ruinous
4. Engerdal
5. The Flood
6. Watch The World Burn From A House On Fire
7. The Plague
8. Wearing The Weight
9. The Famine

Source: Vampster

  From her most recent EP release, post-punk and goth/rock artist Heather Galipo – a.k.a. CrowJane – has revealed a music video for “Nomad.” Directed by Davy Pelletier and utilizing drone footage shot by Brendan O’Neal in France, the video was filmed at a European castle to capture the somber tone and ethereal atmosphere of the track [..]

Source: RE:GEN Mag

Die Black Metal-Band HAG hat mit “Over stormskapte fjell” ein neues Album angekündigt. Es ist nach “In Traumschwebe erstarrt” (2017) das zweite Album der österreichischen Band aus Wien. Release-Termin ist der 30. August 2024 via Naturmacht Productions. Das Cover-Artwork stammt von Artem Grigoryev.

HAG “Over stormskapte fjell” Tracklist
1. En sorgfull vind blåser rundt gravhaugene
2. Om vinteren banker tankene som hagl
3. Veien er lang
4. Over stormskapte fjell
5. En siste solnedgang over skogen

Source: Vampster

SARCATOR arbeiten an ihrem dritten Album, die neue Platte der Thrash Metal-Band wird Anfang 2025 via Century Media Records veröffentlicht.

Ab Juli sind die jungen Schweden mit HELLRIPPER, CLOAK und SCALPTURE auf Europatour, in Deutschland sind drei Konzerte angekündigt, in Österreich eines.

HELLRIPPER, CLOAK, SARCATOR, SCALPTURE Tour 2024
SARCATOR – Live 2024
FR 19.07. Poznan (Polen) – Pod MinogÄ� *
SA 20.07. Warschau (Polen) – Hydrozagadka *
SO 21.07. Ostrava (Tschechische Republik) – Barrák Music Club *
MO 22.07. Bratislava (Slowakei) – Pink Whale *
DI 23.07. Salzburg (Österreich) – Rockhouse *
MI 24.07. Mörlenbach-Weiher (Deutschland) – Live Music Hall *
DO 25.07. Namur (Belgien) – Das Belvédère *
FR 26.07. Tilburg (Niederlande) – Next Stage *
SA 27.07. Bochum (Deutschland) – Trompete **
SO 28.07. Stuttgart (Deutschland) – Schwarzer Keiler ***
FR 23.08. Malmö (Schweden) – Malmö Massacre Festival
SA 31.08. Västerås (Schweden) – Bulgasal Metal Fest

* mit HELLRIPPER & CLOAK
** mit HELLRIPPER & SCALPTURE
*** mit CLOAK

SARCATOR – Line-Up 2024:
Felix Lindkvist – Bass
Mateo Tervonen – Vocals, Gitarre
Leo Buchalle – Gitarre
Jesper Rosén – Drums

Source: Vampster

(Photo by Esme Bones) To celebrate hitting the 100.000 streams milestone London-based alt.goth and electro-metal act Ray Noir will release his mixtape “Scorpio” in a deluxe edition this Thursday.

The deluxe edition holds the bonus track “All Alone” featuring Mariann Rosa from Surferosa and a brand new remix of “Double Trouble” by alt.rockers TOVA. Additionally, it includes remixes by Gothminister, Corlyx, Tension Control, and others, along with the track “You, Me & The Devil” featuring Tom Saint.

Ray Noir will be playing some shows in August with Combichrist at Underworld and a headline show in Oslo, Norway.

7th of August – London, UK – Underworld, supporting Industrial Core legends Combichrist

31st of August – Oslo, Norway – Revolver, co-headlining with Piston Damp

Source: EBM.gr

Fresh news from In The Nursery as they have delivered a score for Basil Copper’s 1950s film adaptation of “The Fall of the House of Usher” (from the story by Edgar Allan Poe).

Basil Copper was a prolific writer, best known for his horror and detective fiction. His film adaptation of “The Fall of the House of Usher” was created in the 1950s and was a passion project. But it remained a personal project, unseen by the public until its discovery in a film can in Basil’s study following his death in 2013.

This version has now been professionally transferred to digital format and features a music score by In the Nursery (ITN), as originally intended by Copper. The edited version on this DVD runs for around twenty-six minutes.

Related newsUK duo In The Nursery releases instrumental version 2017 album "1961" including a previously unreleased trackITN adapted their score for Copper’s alternative film version of the classic story noting the similarities in pace and style between Copper’s film and Jean Epstein’s 1928 adaptation, attributing this to the influence of Edgar Allan Poe’s storytelling.

The DVD, featuring ITN’s adapted score, will be included in a slipcased hardcover collection limited to 100 numbered and signed copies. ITN will also have a limited number of DVDs for sale upon release in August.

As for the hardcover book itself, after Basil Copper’s death in 2013, additional papers and manuscripts were discovered. This newly found material has been incorporated into the revised edition. The book now includes the most comprehensive working bibliography of Copper’s work, rare articles on subjects ranging from Arkham House creator August Derleth to a brief history of Count Dracula, numerous short story fragments and ideas, and a complete television script based on M.R. James’ classic horror story “Count Magnus”.

Source: EBM.gr

Dr. Martens, a brand long synonymous with rebellious spirit, has previously collaborated with iconic bands such as Joy Division and New Order. Now, as Nine Inch Nails marks the 30th anniversary of their groundbreaking 1994 release, The Downward Spiral, the seminal industrial band has announced a new collaboration with Dr. Martens, unveiling a footwear collection inspired by the “visceral, ground-breaking album.”

The collection features the iconic 8-eye 1460 boot, reimagined with a black and white rendition of Russell Mills’ artwork “Wound” from the album cover. It also includes the 3-eye 1461 shoe in black, adorned with the “Crystal Teeth” image from the album’s inner art, and the extra-tall black 10-eye 1490 boot, echoing the band’s pre-show ritual of covering themselves in corn starch for a decayed, post-apocalyptic look. Prices for the collection start at $160.

John Crawford, Nine Inch Nails’ Creative Director, explained the collaboration: “When I think of the era of the album, I think of the physicality of the tours and Russell Mills’ visceral paintings that were used as the artwork for the album.” Reflecting on his first NIN show at the Fox Theatre in Atlanta in 1994, he added, “I very well may have been wearing Dr. Martens.”

Crawford collaborated closely with Trent Reznor, brainstorming and refining concepts with physical samples from Dr. Martens. “We started picking parts we liked, including textures, heights of the soles, precision in embossing, etc. Then it was a matter of applying elements that were representative of The Downward Spiral and, more broadly, the level of detail and consideration NIN is known for.”

The synergy between NIN and Dr. Martens is clear. “Not just because of the countless fans I’ve seen wearing Dr. Martens at NIN concerts over the years (myself included), but because NIN and Dr. Martens are both known for rejecting convention and expectation in favor of innovation.”

The Nine Inch Nails x Dr. Martens capsule will be released on July 19th at DrMartens.com and select retailers. Fans can visit the site and sign up to be first in line for notifications when the collection drops.

For most of the 30 years since The Downward Spiral debuted, Crawford experienced NIN as a fan, always anticipating the visual direction accompanying each release. He noted, “It was always clear that Trent cared deeply about an album or tour’s visual components and presentation and how those connected to the music.” Reflecting on the evolution of their visual style, he added, “I think…it’s more about the art being willing to take the same risks as the music NIN is creating.”

Earlier this year, Trent Reznor and Atticus Ross unveiled ambitious plans for Nine Inch Nails, including a new album, a festival, a clothing line, a record label, and more. Following the release of their score for “Challengers,” the track “Together” from Nine Inch Nails’ 2020 album “Ghosts V: Together” was showcased in the premiere episode of the latest season of “The Bear.”

 

View this post on Instagram

 

A post shared by Dr. Martens (@drmartensofficial)

The post Nine Inch Nails Announces Dr. Martens Collaboration for The Downward Spiral’s 30th Anniversary appeared first on Post-Punk.com.

Source: Post-Punk.com