Long hailed as a pivotal force in the post-punk musical landscape, Manchester’s The Chameleons have indelibly influenced luminaries such as The Verve, Oasis, White Lies, The Slow Readers Club, Interpol, The Killers, and Editors, among countless others. Renowned for their deeply evocative live performances and transformative musical oeuvre, their impact transcends far beyond the release of their previous quartet of studio albums.

The Chameleons’ distinctive sound swiftly captivated audiences with its unique fusion of melancholic yet robust and dynamic compositions, entrancing ethereal guitar riffs, and poignant, enduring lyrical themes. Celebrated as one of the quintessential guitar-driven bands of the ’80s and ’90s, they have made significant contributions to the post-punk, shoegaze, and indie genres. Despite their expansive influence, they remain one of Manchester’s most underrated musical exports.

Though their last studio album surfaced over two decades ago, the band has unveiled a surprising resurgence, including a tour and the release of their new single, “Where Are You?”, now available via Metropolis Records in conjunction with Strange Times Entertainment.

“It’s exciting to finally be putting out fresh Chameleons material for the first time in over twenty years, although initially I found it quite daunting,” admits vocalist/bassist Mark Burgess. “The question about new music is one I had been asked the most from people coming to the shows, a great many of whom weren’t even born when those records were originally made but nevertheless were excited and inspired by the music enough to catch multiple shows on multiple tours.”

The new single “Where Are You?” unfurls with quintessential Chameleons flair, where dense, beautifully resonant guitars interlace with Mark Burgess’s iconic, unmistakable vocals. Echoes of psychedelia weave through the track, reminiscent of “Mad Jack” from Strange Times, while a ’60s rock essence infuses the post-punk foundation. It’s a sublime reawakening of their classic sound, blending nostalgic allure with vibrant reinvention.

The next track is a re-recording of a song previously available on the compilation The Fan and the Bellows, “Endlessly Falling.” This polished version of the song sees The Chameleons at their most jagged and anthemic, with Mark Burgess’s vocals sinuously threading through scorching guitar riffs. This track harkens back to the style of their early albums, The Script of the Bridge and What Does Anything Mean Basically. Its new reverb-drenched refrain evokes the surreal descent of Alice down the rabbit hole. The brisk, entrancing drumbeat propels the track forward, ushering in guitars that eventually yield to the band’s signature riff-laden soundscape.

“Forever” is a mesmerizing acoustic gem, enveloping the listener in its atmospheric embrace. The track finds The Chameleons in a reflective, somber mood, reminiscent of “Tears” from Strange Times but rendered softer, slower, and steeped in a deeper melancholia. It unveils a fresh emotional spectrum, a solitary light seeking transcendence in the dark, presenting an intimate and hauntingly beautiful close to this remarkable collection.

Coupled with these tracks, the Where Are You? EP is a slight taste of an upcoming album titled Arctic Moon, which is planned for later 2024.

“At this moment, we’re halfway through, but already everyone in the band is excited by what they’re hearing,” Burgess says. “We’ve managed to transcend the confines of our own legacy and finally forge something fresh. It’s undoubtedly The Chameleons to everyone that has heard the direction the band is now heading in.”

Currently preparing for a round of North American dates beginning on May 30th in San Diego and working their way East to Washington, DC on August 17th, the band will be celebrating their 1986 breakthrough album Strange Times, which spawned the singles Tears and the alt-rock club staple Swamp Thing.

“I initially wasn’t a huge fan of album performance tours,” Burgess admits. “I believed instead that they ought to have been confined to one-off, special events.” Marking the difference between the highly personal experience of enjoying an album alone with a “good pair of headphones” versus the collective social coming together at a concert, he muses that, in general, the track listing of an album doesn’t take into account a live show’s needs for crest and drama. “Performing Strange Times changed my mind,” he says. “For one thing, the album marked a significant evolution by the band both in its sound and the maturity of the writing. Secondly, it’s a challenging album to perform live and thus, it’s much more fun to play. When all is said and done, we look forward to recreating this particular album for our North American fans!”

The Chameleons are Reg Smithies (guitar), Mark Burgess (bass, vocals, lyrics), Stephen Rice (guitar), Danny Ashberry (keyboards), and Todd Demma (drums). Where Are You? was produced by Christophe Bride and The Chameleons and mastered by Guy Massey.

Order the EP via Bandcamp or Steam it Here

Where Are You? by Chameleons

Follow The Chameleons:

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TOUR DATES:

May 30 San Diego, CA Music Box
May 31 Los Angeles, CA The Belasco
Jun 4 Vancouver, BC The Pearl
Jun 5 Seattle, WA El Corazon
Jun 6 Portland, OR Hawthorne Theater
Jun 7 Sacramento, CA Harlow’s
Jun 8 San Francisco, CA Great American Music Hall
Jun 9 San Francisco, CA Great American Music Hall
Jun 11 Salt Lake City, UT Urban Lounge
Jun 12 Denver, CO Oriental Theater
Jun 13 Kansas City, MO recordBar
Jun 14 Dallas, TX Sundown at The Granada
Jun 15 Houston, TX Dark Ceremony Festival
Jun 17 El Paso, TX Lowbrow Palace
Jun 18 Albuquerque, NM Launchpad
Jun 19 Tucson, AZ 191 Toole
Jun 20 Phoenix, AZ Last Exit Live
Aug 8 Philadelphia, PA Underground Arts
Aug 9 New Haven, CT Space Ballroom
Aug 10 Boston, MA The Sinclair
Aug 12 Montreal, QC Theatre Fairmount
Aug 13 Toronto, ON Opera House
Aug 14 Buffalo, NY Town Ballroom
Aug 15 Pittsburgh, PA Spirit Hall
Aug 16 New York, NY Webster Hall
Aug 17 Washington, DC Black Cat


The post The Chameleons Release “Where Are You?” Single with Three Songs Ahead of North American Tour appeared first on Post-Punk.com.

Source: Post-Punk.com

Die Death Metal-Band AD PATRES hat einen Plattenvertrag mit Non Serviam Records abgeschlossen. Gemeinsam veröffentlicht man das Studioalbum “Unbreathable” am 7. Juni 2024. Es ist bereits die dritte Full-Length Platte der Franzosen, aus welcher es nun mit “Deserter” die zweite Hörprobe bei bandcamp gibt.

Auch zum Vorab-Track “The Dream Chaser” gibt es ein Lyric-Video bei YouTube.

Den Vertragsabschluss kommentieren AD PATRES wie folgt:

“Wir sind stolz darauf, dass wir für die Veröffentlichung unseres kommenden und entscheidenden dritten Albums bei dem Label Non Serviam Records unter Vertrag genommen wurden. Wir möchten uns bei ihnen für ihre Unterstützung und ihren Glauben an unsere Vision bedanken. Seid bereit für die Fortsetzung dieser Reise in den Death Metal.”

Zuletzt veröffentlichte die Gruppe das Album “A Brief Introduction To Human Experiments” (2018).

AD PATRES “Unbreathable” Tracklist
1. Intro
2. The Dream Chaser (Lyric-Video bei YouTube)
3. Versus
4. Deserter (Audio bei bandcamp)
5. Exodus
6. Interlude
7. Chapter X
8. The Medium
9. Rebellion Grief
10. Deus Deceptor

AD PATRES “Unbreathable” Artwork

AD PATRES Line-up 2024
Olivier Bousquet – Songwriting, Guitars
Sylvestre Alexandre – Guitars
Mathieu Larroudé – Bass
Axel Doussaud – Vocals
Alsvid – Drums

Source: Vampster

Die Black Metal-Band ANTIFLESH hat einen Labeldeal bei Theogonia Records unterschrieben. Der Deal sieht den Release des neuen Albums “Hosanna” vor, welches am 14. Juni 2024 erscheinen wird. Es ist nach “Ashes” (2020) das zweite Album der Polen. Das Cover-Artwork stammt von Temira De Temirin. Nach dem Video-Clip zu “Kres Istnienia” gibt es mit “Funeral Whore” nun auch ein Lyric-Video.

ANTIFLESH “Hosanna” Tracklist
I. Ceremony of Black
II. My Name is Death
III. Black Dawn
IV. Et Gloria in Saecula
V. Kres Istnienia (Video bei YouTube)
VI. Impaled Flesh
VII. Holy Poison
VIII. Black Manifest
IX. Funeral Whore (Lyric-Video bei YouTube)

Source: Vampster

Invalid
The astrology doesn’t match
I’m starving
No sun or moon is ever free
Twin Ion Engine, a two-piece post-punk/darkwave band, was conjured by Eddie Lopez in 2020, back when the world decided it needed to dial up the existential dread. Originally a solo project in sunny San Diego, CA, the band explores love, loss, and intimacy with somber vocals, catchy guitar melodies, heavy bass lines, and drums that crash like an unsettled spirit haunting an attic.

Drawing inspiration from the early 2000s indie/alternative rock and the brooding aura of 80s post-punk/synthwave, Ion Engine has brewed a modern concoction of post-punk and darkwave. They carve their place in the thriving underground scene in the vein of contemporary acts such as Molchat Doma, Lebanon Hanover, Twin Tribes, and Vestron Vulture. Their new LP, Dark Fetish, is a record as cheerfully grim as its title suggests.

“We are ecstatic,” gushes Lopez. “…It’s our first TIE release as a duo. Lots of emotions went into the making of it, such as love and lust, which made the term ‘Dark Fetish’ a perfect name and description.”

The album commences with the Spanish-language Distancia, which explores a sense of emotional detachment and resignation. The singer acknowledges the distance between them and their partner, noting that it no longer matters to them if the partner is indifferent. Next comes the bilingual Idée Fixe, which delves into a provocative exploration of desire and ambiguity in a relationship. The singer questions whether the connection is fueled by love or mere physical attraction, seeking clarity in a world of blurred lines. The call to escape to Tijuana and the intimate confessions underscore the tension between emotional distance and physical closeness, highlighting the complexity of their bond.

Then comes SUPERNOVA, which captures the disarray and disconnection of someone struggling to understand both their own and another’s emotional state. The repetitive plea for clarity and the refrain of seeking medical help underscore a sense of confusion and distress. Fittingly, this is followed by Night Terrors, which paints a stark and unsettling landscape of emotional detachment and haunting memories. Amidst a backdrop of night terrors and failed connections, one grapples with feelings of self-loathing and the inescapable presence of someone who lingers in their dreams. Solstice follows, which depicts a raw confrontation with betrayal and lingering desire. Amid the pain of feeling abandoned, there’s a plea for the relationship to remain intact, despite the haunting memories and slow emotional torment.

New Devotional dives into the disquiet of losing control, a recurring theme that lingers in the mind like a relentless echo.  The repeated refrain in Spanish underscores the inevitability and helplessness that define their current state, painting a stark picture of inner turmoil. Next comes Self-Diagnosis, which explores a consuming and almost primal desire, juxtaposing admiration for physical beauty with an inner beast that can’t let go. The singer’s longing intensifies with every encounter, creating a relentless cycle of attraction and torment. This raw and visceral connection underscores the complexity of their emotional state.

The album concludes with Aeonian Prismatica, which depicts an unresolvable tension between love and hate, set against the backdrop of cosmic misalignment. The singer feels trapped and deprived, unable to find solace under the stars. There’s a relentless cycle of hidden despair and emotional conflict, ultimately leading to a stark declaration of departure.

As an album that weaves through its haunting themes of love, loss, and inner turmoil, Dark Fetish mirrors a journey both personal and global. “Part of this album was thought-of, produced, and worked on while I was at different parts of the world; from California to New Jersey, Portugal to Spain, which made the building process significantly more fun,” Lopez states.

Listen to Dark Fetish below, and order the album here:

Dark Fetish by TWIN ION ENGINE

Follow Twin Ion Engine:

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Website
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The post Between Love and Lust — Listen to San Diego Darkwave Duo Twin Ion Engine’s Debut Album “Dark Fetish” appeared first on Post-Punk.com.

Source: Post-Punk.com

Die Progressive Metal-Band FADING ECHOES hat einen Labeldeal bei Wormholedeath unterschrieben. Im Zuge dessen werden die Griechen ihr neues Album “Shadow of Another” veröffentlichen. Es ist das erste Album des Trios, welches aus Sänger und Bassist Dimitris Stratikis, Pianist und Keyboarder Vasilis Sarou sowie Gitarrist Petros Printezis (AFTERIMAGE) besteht. Als Session-Musiker wirkten Gitarrist Jim Politis und Drummer Nick Vell (LUCIFER’S CHILD, CHAOSTAR) mit. Ein Release-Termin steht noch aus.

FADING ECHOES “Shadow of Another” Tracklist
1. The Stages of Grief, Pt.1 – Denial
2. The Stages of Grief, Pt.2 – Anger
3. The Stages of Grief, Pt.3 – Bargaining
4. The Stages of Grief, Pt.4 – Depression
5. The Stages of Grief, Pt.5 – Acceptance (ft Zak Stevens) (Audio bei YouTube)
6. The First Step Forward
7. Rumination
8. The Final Act

Source: Vampster

Mit “Heavenly Down” wird am 28. Juni 2024 via Hammerheart Records das neue Album der Atmospheric Black Metal-Band SEAR BLISS erscheinen. Es ist das neunte Album der Ungarn und folgt auf das 2018er-Album “Letters from the Edge” nach.

“Heavenly Down” wurde gemeinsam mit Viktor Scheer im The Mushroom Studio aufgenommen und von Dan Swäno bei Unisound gemastert. Das Cover-Artwork stammt von Kris Verwimp. Vorab gibt es mit “Chasm” einen Clip zur Platte bei YouTube. Reinhören ist außerdem in  das Lyric-Video “The Upper World” möglich.

SEAR BLISS Line-Up:
András Nagy – Bass, Vocals, Synth, Guitars, Hangdrum
Gyula Csejtei – Drums
Márton Kertész – Guitars
Zoltán Pál – Trombone, Backing Vocals
Zoltán Vigh – Guitars

SEAR BLISS “Heavenly Down” Tracklist
1. Infinite Grey
2. Watershed
3. The Upper World (Lyric-Video bei YouTube)
4. Heavenly Down
5. Forgotten Deities
6. The Winding Path
7. Chasm (Video bei YouTube)
8. Feathers in Ashes

Source: Vampster

Wie schon vor einem Jahr angekündigt, gibt es von den „Songs Of 1940‘s“ des KING DUDE eine Fortsetzung und auch gleich wieder als Doppelschlag. Weitere 8 Titel des „American Songbook“ gibt KING DUDE hier in zünftiger Johnny Cash-Manier zum besten, welche diesmal jedoch etwas weniger knorrig-düster daher kommen. Dafür ist ein verstärkter Heimorgel-Einsatz auszumachen, wie teilweise seine Versionen schon recht Whiskey trunken mit Schlagseite umher torkeln. Hat was, wie KING DUDE den schon 100fach gecoverten Klassikern, wie zum Beispiel „Blood On The Sattle“ oder „Lost Highway“, trotzdem noch neue Facetten abringen kann. Die Aufmachung und Gestaltung der Doppel-Single ist logischerweise identisch sepiafarben zum Vorgänger bzw. mit Fold-Out-Cover, extra Cardbord-Schuber, Prägedruck + Download wieder sehr hochwertig in Haptik und Optik ausgefallen. Die Limitierung beträgt diesmal allerdings 615 Stück, was genau 11 Exemplare weniger gegenüber dem Vorgänger-Pack sind. Wer also schon bei „Part One & Two“ A gesagt hat, kommt jetzt nicht umhin, hier auch B zu sagen, damit man am Ende nicht noch leer ausgeht!
PS: Parallel zu dieser Veröffentlichung ist auch eine On Side-Picture-Flexi-Disc-Single mit dem Song „Smoke On The Water“ erhältlich, welche auf 315 Exemplare limitiert ist. Diese DEEP PURPLE-Interpretation ist ausschließlich nur auf diesem Format zu hören und daher nicht digital erhältlich! (Marco Fiebag)

Source: BLACK Onlinemagazin

Im Rahmen der Festivalsaison 2024 werden BODYSNATCHER auch einige ausgewählte Club-Shows spielen. Headliner-Konzerte sind im August 2024 in Salzburg (A), Oberhausen und Wolfsburg angesetzt. Außerdem spielt die Deathcore-Band einen Gig in Berlin im Vorprogramm von THE AMITY AFFLICTION.

Live erleben kann man BODYSNATCHER zudem auf dem RELOAD FESTIVAL, dem FULL REWIND FESTIVAL sowie dem SUMMER BREEZE 2024.

BODYSNATCHER Tourdaten 2024
Festivals:

02.08.24 Rumänien Rasnov @ Rockstadt Extreme Fest
03.08.24 Slowakei Bratislava @ Bordel Na Dunaji Vol. 2
04.08.24 Deutschland Löbnitz @ Full Rewind Festival
08.08.24 Tschechische Republik Jaromer @ Brutal Assault
10.08.24 Belgien Kortrijk @ Alcatraz Open Air
15.08.24 Deutschland Sulingen @ Reload Festival
16.08.24 Schweiz Vallamand @ Rock The Lakes
17.08.24 Deutschland Dinkelsbühl @ Summer Breeze
18.08.24 Die Niederlande Eindhoven @ Dynamo Metalfest

Headline-Shows:

05.08.24 Österreich Salzburg @ Rockhouse mit HUMANITY’S LAST BREATH (Co-Headline), DISTANT
09.08.24 Deutschland Oberhausen @ Kulttempel
12.08.24 Deutschland Wolfsburg @ Jugendhaus Ost mit GUILT TRIP

Support-Shows:

06.08.24 Polen Kraków @ Kwadrat
07.08.24 Polen Warschau @ Proxima
13.08.24 Deutschland Berlin @ SO36 mit THE AMITY AFFLICTION
14.08.24 Die Niederlande Leeuwarden @ Neushoorn

Source: Vampster

LUCIFER absolvieren im November 2024 den zweiten Abschnitt ihrer “The Satanic Panic Tour”. Abermals mit dabei sind THE NIGHT ETERNAL, außerdem wurden TANITH als Opener gebucht.

Geplant sind Konzerte in Hildesheim, Oldenburg, Dresden, Freiburg und Köln. In Österreich spielt man zudem eine Show in Salzburg, für die Schweiz steht Monthey auf dem Programm.

Johanna Platow Andersson erklärt:

“Es ist ein guter Tag heute, gefallene Engel. Wir sind wahnsinnig aufgeregt, den Start von LUCIFERS SATANIC PANIC TOUR EUROPE PART II diesen Herbst anzukündigen. Wir bringen unsere Freunde, die deutschen Heavy-Metal-Unruhestifter THE NIGHT ETERNAL und die hart rockenden TANITH aus New York City, mit. Das ist eine ziemlich gute Dreifaltigkeit des Rock-and-Roll-Arschtritts! Kommt vorbei! […]”

LUCIFER, THE NIGHT ETERNAL, TANITH Tourdaten 2024

08.11. DE – Hildesheim Kulturfabrik
09.11. DE – Oldenburg MTS Records
10.11. DE – Dresden Blauer Salon
12.11. PL – Poznań 2Progi
13.11. CZ – Ostrava Barrák Music Club
14.11. PL – Warschau Hybrydy
15.11. PL – Krakau Hype Park
16.11. HU – Budapest Barba Negra
17.11. AT – Salzburg Rockhouse
19.11. IT – Mailand Legend Club
20.11. CH – Monthey Pont Rouge
21.11. DE – Freiburg ArTik
22.11. DE – Köln Club Volta
23.11. NL – Amstelveen p60

Source: Vampster

Die Death Metal-Band INTOLERANCE hat mit “Waking Nightmares of an Endless Void” ein neues Album angekündigt. Es ist nach “Dark Paths of Humanity” (2022) das zweite Album der Spanier aus Saragossa. Produziert von Javier Félez (GRAVEYARD, KÖRGULL THE EXTERMINATOR) wird das Album am 22. Juli 2024 via Memento Mori und Godz ov War Productions erscheinen. Das Cover-Artwork stammt ein weiteres Mal von Juan Alberto Hernandez. Vorab gibt es den Track “Fade into Oblivion” zu hören.

INTOLERANCE “Waking Nightmares of an Endless Void” Tracklist
1. Towards Perdition
2. Fade into Oblivion (Audio bei YouTube)
3. The Dark Forest
4. Rite of Passage
5. Hand of Glory
6. Devourer of Worlds
7. Spontaneous Self-Awareness of the Void
8. Melting Skies

Source: Vampster

Die Deathcore-Band SLAUGHTER TO PREVAIL meldet sich mit einem neuen Song zurück: “K.O.D.” gibt’s als Clip bei YouTube und folgt auf das Musikvideo “Conflict”.

Auch die vorherige Single “Viking” ist als Musikvideo bei YouTube verfügbar.

Eine Standalone-Single gab es zuletzt im August 2022 mit “1984“, das letzte Album der Formation erschien mit “Kostolom” im Jahr 2021.

Source: Vampster

ZEAL & ARDOR haben mit “Clawing Out” eine zweite neue Single als Stream veröffentlicht.

Das Stück folgt auf den Song “To My Ilk”: Einen Visualizer-Clip kann man sich bei YouTube ansehen. Es handelt sich dabei um die erste Auskopplung aus dem neuen Album “Greif”, das am 23. August 2024 auf CD, Vinyl sowie digital erscheinen wird.

Zuvor teilte die Band Ende 2022 die beiden Singles “Firewake” sowie “Cinq”. Das letzte Album “Zeal & Ardor” erschien ebenfalls im Jahr 2022.

ZEAL & ARDOR “Greif” Artwork

ZEAL & ARDOR “Greif” Tracklist
01. The Bird, The Lion And The Wildkin02. Fend You Off03. Kilonova04. Are You The Only One Now?05. Go Home My Friend06. Clawing Out (Visualizer bei YouTube)07. Disease08. 36909. Thrill10. Une Ville Vide11. Sugarcoat12. Solace13. Hide In Shade14. To My Ilk (Visualizer bei YouTube)

Fotogalerie: ZEAL & ARDOR – Summer Breeze 2023 – 19.08.2023

Source: Vampster

Die Brutal Technical Death Metal-Band MALIGNANCY hat nach “Purity Of Purpose”  mit “Biological Absurdity” einen zweiten Track ihres kommenden Albums “…Discontinued” veröffentlicht. Es ist das fünfte Album der US-Amerikaner aus New York und wird am 14. Juni 2024 via Willowtip Records erscheinen. Das Album wurde von Lasse Lammert im LSD-Studio gemixt und gemastert, während das Cover-Artwork von Tony Cosgrove stammt. Vorab gibt es den Track “Purity Of Purpose” zu hören.

MALIGNANCY Line-Up:
Ron Kachnic – Guitars
Mike Heller – Drums
Danny Nelson – Vocals
Alex Webber – Bass

MALIGNANCY “…Discontinued” Tracklist
1. Existential Dread
2. Binary Paradigm
3. Irradiated Miscreation
4. Purity of Purpose (Audio bei YouTube)
5. Ancillary Biorhythms
6. Haunted Symmetry
7. Decomposing Divinity
8. Oppositional Defiance
9. Biological Absurdity (Audio bei YouTube)

Source: Vampster

Swan•seas, hailing from Milan, are a dream-laced indie rock ensemble composed of Corrado Angelini (vocals, guitar), Daniele De Liberato (guitar, synths), Andrea Di Dedda (bass), and Enrico Buttafuoco (drums, programming). Bursting onto the scene in 2022, they have unveiled their debut LP, Songs in the Key of Blue.

Songs in the Key of Blue have distilled their experiences into nine tracks that shimmer with ethereal rock beauty, each serving as a snapshot of the band’s formative period, marked by the turbulence of the pandemic and shifting personnel line-ups. Rooted in the classic guitar/bass/drums foundation, the album is augmented with electronic elements and drum machines. Their sound navigates the 90s indie rock landscape of both the UK and US, subtly infused with shoegaze and dream-pop textures, evoking anything from Suede, Ride, and The Jesus and Mary Chain, washing over the senses with a tactile wall of sound.

On Songs in the Key of Blue, Each track is a journey—a soundscape of longing and loss, woven from gossamer threads of whispers and echoes that crash like emotional tidal waves.

Themes of absence and its ramifications, articulated through a personal lexicon that merges metaphors and allusions, serve as the connective thread uniting the nine tracks. This exploration of absence creates a cohesive and reflective atmosphere.

The album opens with Frosted Glass, which drifts through a hazy dreamscape, its shoegaze melodies laced with a gentle wistfulness. The song carries a subtle melancholy, like distant memories viewed through a fogged window, evoking a bittersweet longing. Fuzzy Feeling gently envelops you in its shoegaze embrace,. The accompanying performance video captures the band’s live energy, set against a backdrop of kaleidoscopic lights, enhancing the song’s dreamy atmosphere and leaving an echo of bittersweet longing in its wake.

Next comes A Line Slowly Tracing, spinning a delicate web of metaphors and allusions, its melody lingering like whispered secrets. Following is Clarity, with a steady, slow pace that mirrors the weight of emptiness, each note a step through the echo of what once was, a poignant meditation.

Ethan continues the theme with a melancholic tenderness, unfolding with a graceful elegance. Fountainhead follows, its deliberate pacing and haunting melodies reflecting the weight of absence, underscored by its eerie guitar.

Then arrives 2002, haunting in its stark simplicity, with plaintive, almost angelic minor chord guitar. Drop to the Floor offers dense layers and blissful percussion, creating a hypnotic, almost trance-like state, pulling you into a swirling vortex of psychedelia. Finally, the album closes with Such a Drag, enveloping the listener in a haze of plodding, swirling guitars and delicate synths. The track’s dreamy, almost lethargic pace transports you to a place where everything seems beautifully blurred.

 Songs in the Key of Blue is out now on CD, LP, and digital via Waddafuzz! Records and Shore Dive Records.

Order Here

songs in the key of blue by swan•seas

Particular care and imagination have been lavished on the album’s artwork and its singles, springing from the minds of Corrado Angelini and Andrea Di Dedda. The central visual theme—blue—draws its essence from the cyanotype photographic technique. This distinct visual approach amplifies the thematic resonance and unity of the music.

Follow Swan•seas:

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Bandcamp
Spotify

The post Listen to the Tidal Wave of Dream Pop, Shoegaze, and Indie Rock in Swanseas’ “Songs in the Key of Blue” appeared first on Post-Punk.com.

Source: Post-Punk.com

Underneath the bridge, tarp has sprung a leakAnd the animals I’ve trapped have all become my petsAnd I’m living off of grass, and the drippings from my ceilingIt’s OK to eat fish ’cause they don’t have any feelings
Something In The Way, the haunting closing track of Nirvana’s classic Nevermind, embodies raw emotion and Kurt Cobain’s deeply personal reflections. The song’s minimalistic arrangement, featuring Cobain’s sombre vocals and acoustic guitar, creates an atmosphere of despair and vulnerability. Inspired by Cobain’s troubled experiences and feelings of alienation, it stands as a stark contrast to the album’s more aggressive tracks, encapsulating the sense of desolation and the weight of invisible barriers that defined his inner turmoil.

Now, Painted Vein has released their hypnotic cover of Something In The Way. Painted Vein is the brainchild of Seattle’s Andrea Fox Volpato, a musician, producer, and audio engineer with a storied background in global music collaboration, including work with MØAA and New Candys. After a decade of gathering insights and experiences through his extensive work with international bands, Volpato is steering his own ship with this solo endeavour and giving his own interpretation of the track.

Volpato puts a shoegaze spin on the song, which is his first released cover. Friends encouraged him to release it after hearing him perform it while testing some new studio preamps.

“I usually don’t like to do covers unless I am able to make it almost like a new song, and because I prefer to invest time in my own songs and feelings,” he admits. “…It also seems like destiny wanted this to happen because the cover ended up coming together during the 30th anniversary of Kurt Cobain’s death and this is the first Nirvana song that I ever listened to when I was 6 years old. This song shocked and haunted me at that age and Nirvana are one of the reasons why I started to play electric guitar and drums so young, helping me find my place in the world through music (probably like another milion of ’90s babies).”

“The demons in my head become alive and connect with the feelings and the meaning of the original song written by Kurt,” he reflects. Thanks to the super talented video animator Francesca Papi, I was able to make these feelings and creatures come alive.”

Papi’s video presents a hauntingly illustrated exploration of Cobain’s classic lyrics, transforming his symbolic language into a realm of dreamlike surrealism. The visuals evoke an ethereal quality, blending the enigmatic with the familiar, and creating a visually compelling interpretation of Cobain’s evocative words. This surreal portrayal transcends mere illustration, offering a profound and immersive experience into the psyche of the lyrics.

Watch the video for Painted Vein’s cover of “Something In The Way” below:

Volpato’s studio brilliance underpins New Candys’ celebrated albums Bleeding Magenta and Vyvyd, key releases in the indie landscape. His collaboration with Seattle’s MØAA produced standout tracks Euphoric Recall and Jaywalker, with his voice and songwriting shining on their single X Marks. His touring ventures have seen him share stages with Yves Tumor and illuminate festivals from Sicily’s Ypsigrock to Lisbon’s MIL, including a significant showcase at SXSW.

Previously, as the drummer for the Italian noise-rock band Love In Elevator, he toured Europe, opening for Shellac, Mudhoney, and Refused.

His debut album represents the culmination of a decade of musical evolution, showcasing his talents in writing and production. Every instrument on the record was meticulously conceived and performed by Volpato himself in his Venice and Seattle studios.

Follow Painted Vein:

Website
Facebook
Instagram

The post Painted Vein Debuts Video for Haunting Shoegaze Cover of Nirvana’s “Something In The Way” appeared first on Post-Punk.com.

Source: Post-Punk.com

Genre/Influences: Electro-Pop, Ambient-Pop. Format: Digital, CD. Background/Info: Stefan Poiss has taken some of the best...

Source: Side Line

Die Modern Metal-Band MISTER MISERY hat ihr drittes Studioalbum angekündigt. Die selbstbetitelte Platte erscheint demnach am 2. August 2024 via AFM Records. Eine weitere Single steht nun in Form von “The Doomsday Clock” auf den üblichen Streaming-Portalen bereit. Auch “Eye Of The Storm” kann man dort hören.

Der Preview-Song “Erzsébet (The Countess)” ist ebenfalls auf allen gängigen Streaming-Plattformen verfügbar. Einen Clip zur Single “Survival Of The Sickest” kann man sich außerdem bei YouTube ansehen.

Darüber hinaus kommt die Formation im Oktober 2024 auf Europatour. Auf dem Programm stehen dabei auch Shows in Berlin, Leipzig, Obertraubling, Tübingen, Aarau (CH), Neunkirchen, Frankfurt, Bochum sowie Hamburg (Termine s. unten).

Zuvor schlossen die Schweden im Herbst 2023 einen Plattenvertrag mit AFM Records ab. Im Februar 2024 präsentierte die Gruppe mit “Hand Of Death” eine weitere neue Nummer bei allen gängigen Streaming-Portalen.

Außerdem verfügbar: “Boogeyman Boogie” als Lyric-Video bei YouTube.

Zuletzt veröffentlichten die Schweden eine neue Single veröffentlicht, um den Label-Deal zu feiern: “Root Of All Evil” bei YouTube. Es handelt sich dabei um die erste Single des kommenden, noch unbetitelten Drittwerks, das 2024 erscheinen soll. Die Platte folgt auf das Album “A Brighter Side Of Death” (2021).

Sänger und Gitarrist Harley Vendetta kommentiert:

„Root Of All Evil schien der perfekte erste Song für dieses nächste Kapitel zu sein. Der Song ist schnell, hart und hat diese melodischen Hooks, die einen dazu bringen werden, ihn immer und immer wieder hören zu wollen.”

MISTER MISERY “Mister Misery” Tracklist
01 – Root of All Evil (Video bei YouTube)
02 – Erzsébet (The Countess) (Audio-Stream)
03 – Eye Of The Storm (Audio-Stream)
04 – Hand of Death (Audio-Stream)
05 – The Doomsday Clock (Audio-Stream)
06 – Crooked Man
07 – Survival of the Sickest (Video bei YouTube)
08 – Until The End
09 – Haters
10 – Sinner Or Saint
11 – Ripper
12 – Dark Legacy

MISTER MISERY Tourdaten 2024

19.10.24 – BERLIN, Badehaus – DE
20.10.24 – LEIPZIG, Hellraiser – DE
22.10.24 – PRAGUE, Storm Club – CZ
23.10.24 – KRAKOW, Hype Park – PL
25.10.24 – OBERTRAUBLING, Eventhall – DE
26.10.24 – TÜBINGEN, Sudhaus – DE
27.10.24 – AARAU, Musigburg – CH
29.10.24 – NEUNKIRCHEN, Reithalle – DE
30.10.24 – FRANKFURT, Das Bett – DE
31.10.24 – HAARLEM, Patronaat – NL
01.11.24 – BOCHUM, Rockpalast – DE
02.11.24 – HAMBURG, Bahnhof Pauli – DE

MISTER MISERY Line-up 2024
Harley Vendetta – Vocals/Gitarre
Alex Nine – Lead Gitarre/Backup Vocals
Rizzy – Drums/Backup Vocals
Alex Alister – Bass/Backup Vocals

Source: Vampster

A light soul
Trying to find its way
blissfully unaware
Vivid like the day
Mount Villa, a project led by composer Paulo Andruszkow, blends ’80s synthwave, vibrant pop, and cinematic jazz. This combination pulls listeners into a contemplative, almost otherworldly space where music serves as both storytelling and emotional exploration. Mount Villa’s debut album, Hour of Glitter, is out now via Villa Venus.

The album’s title and music endeavor to document and encapsulate a deeply personal narrative, capturing life’s shimmering, pivotal moments. It emerges from a desire to liberate oneself from societal norms, doubts, and adversities—a therapeutic and self-affirming manifesto urging both self-trust and bold steps toward forging an individual path.

The album delves into familiar themes such as everyday observations, relational conflicts, loneliness, and positive growth, presented through vivid storytelling. It transcends a mere collection of songs, positioning itself as a curated archive that seeks to distill the essence of life’s fleeting yet profound episodes, which resonate with a universal presence and immediacy.

Hour of Glitter opens with a gorgeous, shimmering sax solo instrumental with Closer. This is followed by the chill vibes of Feel It, which captures the relentless pace of life, where time races by and boundaries blur. Amidst the momentum, there’s an urgent plea for guidance and a search for direction. The repeated mantra emphasizes a visceral connection to the present moment, underscoring the instinct to move forward despite uncertainty.

Deep into the human psyche we go with the sophisticated city pop of Glitter, charting its conflicts and dreams with sharp emotional insight. It portrays a soul in the throes of transformation, eager to break free and fully realize its potential, thereby painting a vivid portrait of personal evolution and the quest for self-expression.

With the nocturnal reverie of Strange Time, we plunge into the depths, feeling a stirring connection. It’s a surreal epoch, where we ride waves of change, challenging perceptions and escaping mundanity. The embrace of arms, the intensity of pushing forward, and the cyclical allure of intense feelings all signify a burning desire for transformation and liberation.

Another chillwave instrumental, Interlude, happens before launching into Diorama. In this reflective piece, the yearning for freedom and deeper connection takes center stage. The speaker feels an acute sense of alienation, voicing a desire to escape down an uncertain path. Amidst the isolation, there’s a resolute spirit, a call to be heard, and an unspoken bond that seeks to transcend the indifference and distance.

In the introspective yet defiant No Call, the speaker oscillates between being an outsider and insider, seeking to amplify their own power and ascend beyond misjudgments. Amidst unreturned calls and unreciprocated efforts, there’s a striving for something new and meaningful. A plea for acceptance and authenticity intertwines with reflections on isolation, generational conflicts, and the persistent pursuit of genuine connection.

The final track, Wish, grapples with feelings of unreality and frustration. Despite earnest efforts, they face constant rejection and longing. There’s a yearning to give and receive more in a shared existence, burdened by impatience and the desire for fulfillment. Ultimately, the message centers on an unyielding wish to fully connect with a significant other.

Hour of Glitter is a dreamy album for all the fleeting souls and those who appreciate life’s processes. It is with the hope that it can be recognized by many. Listen to the album on your bike, in your car, or just at home in a quiet place. You are invited on a journey through various vibrant and uplifting sound collages that lead you into a personal and dreamy universe.

Listen below:

Paulo Andruszkow has worked as a DIY artist for many years and previously had the solo project Fuji Dream, which was presented on P3 Barometer in 2015-2016, and released the lo-fi album ‘Fifth Floor View’ under the former record label Idiot Disc Records. After that, he had the psych and post-punk project JUDEX (2017-2019) and released the album ‘Side Street Show’ in collaboration with producer Jens Benz (Ice Age, Modest, Moon Duo, etc.) and primarily performed in small clubs mainly in Copenhagen and Aarhus.

Follow Mount Villa: 

Instagram
Spotify

The post Drift into the Otherworldly and Contemplative Space of Danish Synthpop Artist Mount Villa’s “Hour of Glitter” LP appeared first on Post-Punk.com.

Source: Post-Punk.com

"CMBCRST" ist in erster Linie eine Lektion in kreativer Energieveräußerung. Großartige Songs zwischen Electro und Metal mit Doppel-Wumms.

Source: MedienKonverter

I don’t wanna stare into the darkness or settle for the give and take
Can it be we have another problem? I feel like everything is a mistake
A mere year after the release of their brooding and intense album Krypt, the LA-based ensemble Male Tears has made a remarkable return with a completely new sound. Now a quartet, with vocalist James Edward leading the charge, they’ve shifted from being more than just a dark wave act to integrating the dance-driven pulse of 80s synth-pop Italo disco.

With their upcoming fourth album in just three years, this American electronic-pop act from Southern California raises the stakes once more. Where Krypt was steeped in gothic gloom and unsettling intensity, the forthcoming new album Paradisco stands in stark contrast, embracing the brighter, more vibrant energy that feels like the collision of genres and beats found in NYC’s Danceteria circa 1984.

This transformation unfolds in the dimly lit corners of a disco ball-lit nightclub dance floor, bathed in deep reds and magentas. Here, the charismatic James Edward takes center stage, adorned with ruffles and makeup that pay homage to icons like Steve Strange and Robert Smith. His presence is magnetic, offering a masterclass in the enchanting allure of New Romanticism.

The latest single from Paradisco, Talk To Me, wraps us up in a fuzzy memory of delicate nostalgia driven by sounds that pay homage equally to Miko Mission, Ken Laszlo, New Order, Exposé, and The Smiths. While the sound is bouncy and upbeat with effervescent female voices in the chorus, the lyrics betray an entirely different truth.

The song depicts someone grappling with solitude and internal conflict, feeling as though their life is scripted and their heart is cold. They seek a cure for their turmoil, haunted by visions and uncertain truths. The recurring plea for communication underscores a palpable tension and fear, as they confront their own desires and the darkness within, ultimately yearning for connection and validation in the midst of their emotional chaos.

In a dim room, surrounded by the glow of screens, a figure plays video games with friends, fingers moving deftly across a mega-drive controller, yet no joy was felt. Our protagonist, but a mere puppet, actions dictated by unseen forces. The sound of laughter rings hollow, an echo of the whispers that guided his tactile combinations. Commands were followed. Life but a series of button presses and joystick tilts. In the game, he is a hero, but in reality, merely an avatar manipulated by wires. Longing for control, yet trapped in a personal prison. He and others like him yearn for contact, yet are separated by the split screen. They are partygoers in this carnival of life, all wanting to reach out to touch someone. But in the hands of a mime, a phone is but a brick whose distant voice cries out in the glow of a room swathed in a helium haze of party balloons.

This is the theme behind the poignant and enigmatic video, directed by Danniel Maggio. Watch below:



Paradisco features eight new tracks that delve deep into the realms of Italo disco, hi-NRG, and freestyle. This new album marks a departure from the darker tones Male Tears has explored over the past three years. With their quest for darkness now behind them, the band invites listeners to dress up and embrace the lighter side of life, encouraging a break from self-pity and urging them to cut away the unnecessary and stagnant.

The album is available in a variety of limited editions via Avant! Records, with only 250 copies each of light blue vinyl, yellow vinyl, and digipak CDs, along with a digital version. Fans can look forward to the release on July 12th.

You can pre-order Paradisco here:

Paradísco by MALE TEARS

Catch Male Tears live:

Jul 20 Kensington Club San Diego, CA

Jul 25 The Virgil Los Angeles, CA

Sep 27 Metro Chicago, IL

Oct 10 Crowbar Ybor City, FL

Nov 8 Warehouse Live Midtown & Numbers Nightclub Houston, TX

Nov 23 Lodge Room Los Angeles, CA

Follow Male Tears:

YouTube
Spotify
Bandcamp
Facebook
Instagram

The post LA Dark Synth Pop Ensemble Male Tears Throw a Retrowave House Party in Their Video for “Talk to Me” appeared first on Post-Punk.com.

Source: Post-Punk.com

Wir wollen nicht gleich von einer Mogelpackung sprechen, doch ihrem Titel wird diese Digital-EP in keiner Weise gerecht: Statt eines belebenden Impulses reproduzieren LEVELS genau jene hundertfach durchgekauten Versatzstücke, die dem modernen Metalcore noch das letzte bisschen Leben aus dem Leib gequetscht haben. Wobei „Pulse“ mit dem Genre eigentlich nur noch am Rande zu tun hat. Klammern wir die wenigen Screams und artig gesetzten Breakdowns aus, flaniert das Quartett inmitten überzogener Post-Produktion durch zeitgenössischen Modern bzw. Alternative Metal.

Die herunter gestimmten Gitarren gaukeln uns ein wenig Härte vor, bis in der zumeist ruhigen Strophe und dem eingängigen Refrain der von Effekten verzerrte Klargesang das Ruder übernimmt. Dabei agieren LEVELS durchgehend nach Schablone und Baukastenprinzip, bewegen sich wie in „Siren Hymn“ stellenweise sogar mehr im Hyperpop als Metal.

Etwas härtere Augenblicke, wie sie der Titeltrack und „Opium Of Man“ bereithalten, wirken im Kontext nicht minder kalkuliert und leblos – eben, weil die Band einzig darauf bedacht ist, exakt jenes Songmuster zu reproduzieren, das in US-amerikanischen Radiostationen rauf und runtergespielt wird. Allein für Liebhaber:innen des OF VIRTUE– und radiotauglichen WAGE WAR-Sounds ist das sterile „Pulse“ nicht unbedingt die schlechteste Wahl, wenngleich die EP in seiner Mutlosigkeit die nachhallende Enttäuschung dennoch nicht ganz verbergen kann.

Veröffentlichungstermin: 02.02.2024

Spielzeit: 16:56

Line-Up
Kolby Carignan – Vocals
Jager Felice – Guitar
Jacob Hubbard – Bass
Dalton Kennerly – Drums

Produziert von Jonathan Dolese

Label: SharpTone Records

Homepage: https://levels-band.com
Facebook: https://www.facebook.com/levels.metal

LEVELS “Pulse” Tracklist

Pulse (Video bei YouTube)
Breed (Video bei YouTube)
Realign (Video bei YouTube)
Opium Of Man (Video bei YouTube)
Siren Hymn (Video bei YouTube)

Source: Vampster

To celebrate the release of their album, the Belgian goth metal/pop duo Lovelorn Dolls have...

Source: Side Line

Heute haben Lovelorn Dolls nicht nur ihr neues Album "Deadtime Stories" veröffentlicht, sie präsentieren zusätzlich ein neues Musikvideo zu "Diary Of Nothing". Mehr Infos und den Clip hier!

Source: Sonic Seducer

Als Black Metal-Band der zweiten Reihe sind KRATER nicht unbedingt die ersten, die den meisten Genre-Freund*innen in den Sinn kommen, wenn es um deutsche Genre-Vertreter geht. Eigentlich schade, denn das fünfte Album der Sachsen hat mehr zu bieten als technisch sauberes, aber ansonsten emotionsloses Geprügel. Im Gegenteil: KRATER agieren frenetisch-wahnsinnig, wie der Titel es bereits andeutet und bieten auf „Phrenesis“ vieles von dem, was Black Metal mitreißend werden lässt.

Aggression und Atmosphäre: Auf „Phrenesis“ präsentieren sich KRATER als wandlungsfähige Einheit.
Das Quintett KRATER bläst schnell zum Angriff: Mit „Hopesmoker – Celestial Apex“ startet die Band gleich furios, mit Aggression beinahe auf MISþYRMING-Level, eingängigen Riffs, einem starken Chorus und einem beschwörenden Finale mit DARK FORTRESS-Flair. Und doch, auf deren Niveau spielen KRATER noch nicht. Mit Moreans Kehlkopfgesang kann Frontmann Abortio nicht mithalten. Das Gros des Genres stecken KRATER aber locker in die sprichwörtliche Tasche. Ob kranker Wahnsinn wie in „Schattengeister“ oder ausladende Midtempo-Songs wie „Splitter“, alle Facetten von KRATER funktionieren tadellos auf „Phrenesis“.

Dabei hätte es zu verkopft werden können, da sich Aufnahmen, Mix und Mastering über vier Jahre hinzogen. Die Energie hat dieser lange Prozess der Musik glücklicherweise nicht geraubt. KRATER sind mit atemloser Intensität unterwegs und bleiben immer kurzweilig, da sie ihre Spannungsbögen sehr gut unter Kontrolle haben. Zwischendurch gibt es dennoch den ein paar Songs – „Withered Hands“ und „Enlightment’s Grieving“ –, die mit dem Rest des Albums nicht mithalten können. Doch gerade, wenn KRATER sich vom brutalen Black Metal lösen und Atmosphäre oder auch Goth-Vocals einfließen lassen wie in „Once – Into The Endless Void“, können sie voll überzeugen. Gerne mehr davon!

KRATER kosten „Phrenesis“ vom Wahnsinn, bleiben aber zugänglich: Das Black Metal-Quintett spielt seine Erfahrung gekonnt aus.
Bis zur Spitze des Genres ist es noch ein wenig, aber KRATER haben in den vergangenen 20 Jahren genug Erfahrung gesammelt, um spätestens mit dem folgenden Album das Potenzial zu haben, etwas wirklich Großes zu erschaffen. „Phrenesis“ ist derweil aber mehr als ein Übergangsalbum: Ein starkes Stück Black Metal mit einem Hauch Death Metal, das mit Intensität und Atmosphäre punktet, aber auch noch Luft nach oben hat: Nicht jeder Song ist ein Treffer, der Snaresound ist bisweilen recht penetrant und das Cover sieht – mit Verlaub – recht billig aus. Davon abgesehen präsentieren sich KRATER als souveräne Einheit, als saubere Komponisten und Instrumentalisten, und haben genug eigene Ideen, um aus dem Genre herauszustechen. Für das Black Metal-Publikum empfiehlt sich „Phrenesis“ also durchaus.

Wertung: 5 von 7 Veitstänze

VÖ: 31. Mai 2024

Spielzeit: 43:19

Line-Up:
Abortio – Vocals, Bass
Ibbur – Guitars
3E.3 – Guitars
Z.K. – Guitars
Shardik – Drums

Label: Eisenwald

KRATER „Phrenesis“ Tracklist:
1. Hopesmoker – Celestial Apex (Official Audio bei Youtube)
2. Schattengeister
3. Withered Hands
4. Splitter
5. Enlightenment’s Grieving
6. Once – Into The Endless Void
7. Phrenesis (Official Audio bei Youtube)

Mehr im Netz:
http://www.bastion-krater.de/
https://www.kraterblackmetal.com/
https://abstrusekrater.bandcamp.com/
https://www.facebook.com/abstrusekrater/
https://www.instagram.com/krater_blackmetal

Source: Vampster

Music can’t rewrite history, but it can revise the context through which we experience the past, letting us live it with newfound empathy and understanding. In this spirit, REVISER emerged in the Winter of 2023 from the smoky haze of the mid-west underground landscape. The new collaborative project transports listeners to a realm where the echoes of the past are reborn with fresh intensity, with songs that explore the internal and external struggles of power. This project, guided by the resonant baritone guitar and vocals of Krysztof Nemeth from Emmaline Twist, forms a musical alliance with Dedric Moore, his partner from Kansas City’s electro-dance outfit Monta, on the second guitar. Krysztof’s programming intricately weaves expansive post-punk and shoegaze guitars with the dark allure of keyboard textures and the relentless pulse of drum machines. The trio is rounded out by Tom Romero on synths, also a Monta alum.

REVISER’s sound channels the ghostly echoes of iconic 80s pioneers such as Sisters of Mercy, The Cure, and Killing Joke, while their contemporary kindred spirits include Actors, Soft Kill, and Drab Majesty. Their adept synthesis of these influences conjures a soundscape that feels both hauntingly familiar and invigoratingly fresh, imbued with a deep, resonant, and danceable energy.

Recently, REVISER unveiled two new singles: Assassins and Burn It Out, each exploring different dimensions of resistance and empowerment.

Assassins is a relentless anthem confronting the oppressive forces that seek to crush our individuality. With its haunting guitar and keyboard hooks, the track delivers a powerful message of defiance and rebellion, urging listeners to stand against the shadows that threaten to overtake them.

ASSASSINS by REVISER
Burn It Out delves into the theme of harnessing one’s inner strength and wielding it with deliberate intent. As with all of REVISER’s lyrics, the ultimate meaning is left to the listener’s interpretation. This bass-driven powerhouse is equally suited for the dance floor or those introspective midnight drives, blending raw energy with reflective undertones.

BURN IT OUT by REVISER
Produced by Paul Malinowski of SHINER, these two tracks are now accessible across all major digital platforms.

Follow REVISER:

Instagram
Bandcamp
Spotify

The post Listen to the Oldschool Post-Punk, Darkwave, and Gothic Rock Sound of REVISER’s “Assassins” & “Burn It Out” appeared first on Post-Punk.com.

Source: Post-Punk.com

Out now is the newest EP by the Nordic electro sensation Code 64. The EP...

Source: Side Line

SOLUTION .45 gehen fortan getrennte Wege. Das gab die Modern / Melodic Death Metal-Band in einem Statement auf ihren Social-Media-Kanälen bekannt. Als Grund für diesen Schritt nennt das Quintett kreative Blockaden, die sich auch auf die Motivation auswirkten – die Entscheidung, das Projekt zu beenden, sei daher geradezu erleichternd gewesen.

Das komplette Statement zum Nachlesen:

“Liebe Fans und Anhänger, wir sind traurig, euch mitteilen zu müssen, dass wir das Ende erreicht haben – Solution .45 gibt es nicht mehr

Wir haben tief in uns hineingeschaut und versucht, den motivierenden und inspirierenden Funken wiederzufinden, aber leider ist er einfach nicht mehr da. Als wir uns Anfang 2023 entschlossen, den Ball wieder ins Rollen zu bringen, dachten wir, wir hätten es immer noch in uns, und Gott weiß, dass wir in den letzten 1,5 Jahren versucht haben, auf den richtigen Weg zu kommen, aber egal, welche Richtung wir eingeschlagen haben, es hat sich einfach gezwungen, freudlos und aus den falschen Gründen angefühlt. Nach mehreren neuen Anläufen, verschiedenen Ansatzpunkten und zahllosen Treffen haben wir uns darauf geeinigt, dass es das Beste ist, diesen Giganten für immer ruhen zu lassen (was wir eigentlich schon im Dezember letzten Jahres getan haben).

Es gibt einfach für alles eine Zeit und einen Ort, und im Nachhinein ist klar, dass die Zeit und der Ort für S.45 in der Vergangenheit liegt. Unsere Herzen und unser Wille sind heutzutage offensichtlich woanders, und ohne diese beiden Zutaten in der Mischung wird das Ergebnis, egal wie sehr man sich bemüht, für niemanden zufriedenstellend oder lohnend sein. So traurig es auch klingen mag, aber das Aufhören war für uns eine Erleichterung, denn der Versuch, dieses Biest wieder auf die Beine zu bringen, war eher eine angstbesetzte Last als etwas, das uns inspiriert und Spaß macht. Ende gut, alles gut! Andererseits leben wir im Zeitalter der Comebacks und Wiedervereinigungen, wer weiß, was die Zukunft bringt.

Vielen Dank an alle, die Solution .45 von Anfang an in irgendeiner Form unterstützt haben! Euer Engagement und eure Hingabe haben den Unterschied ausgemacht!

Zum Abschluss werden wir unser Debütalbum “For Aeons Past” als limitierte 2LP-Splatter-Vinyl über AFM Records wiederveröffentlichen. Mehr Neuigkeiten dazu gibt es bald!
/Jani, Christian, Patrik, Rolf & Henric”

Source: Vampster

Die Thrash Metal-Band ETERNAL DRAK hat mit “Imprisoned Soul” ein neues Album angekündigt. Es ist das vierte Album der kanadischen Band, deren Ursprung aus Kolumbien stammt.

“Imprisoned Soul”, das am 17. Juli 2024 erscheinen wird, ist ein Konzeptalbum, dessen Geschichten sich um die Erlebnisse auf einem alten Bauernhof in Kolumbien drehen, wo sich während einer großen Schlacht im Unabhängigkeitskrieg ein improvisiertes Krankenhaus befand.

Vorab gibt es den Opener “Soul Of Hate” zu hören.

ETERNAL DRAK Line-Up:
Andres Martinez (Vocal/Guitar)
Francisco Avella (Drums)

ETERNAL DRAK “Imprisoned Soul” Tracklist
1. Soul Of Hate – 4:00 (Audio bei YouTube)
2. Circle Of Black Flames – 4:20
3. She Is A Magnet – 4:17
4. Haunting Place – 4:43
5. Oda A La Luna (Re Recorded) – 4:20
6. Take No Prisoners – 5:49
7. The Woman In Sandals – 4:04
8. The Mist – 3:26
9. Feasting The Anguish – 3:40
10. Bound By Ambition – 4:10

Source: Vampster

LLORA’s self-titled LP is flush with emotion. The Texas-based artist makes their SYNTHICIDE debut with nine songs that exude a spectrum of feeling: from heartbreak to mania, longing and sorrow. The album bleeds out to the genre edges of EBM and wave characteristics but is dreamlike pop at its very core—”LLORA” is the artist at their most vulnerable, a fantastical state translated into dance music.

From the Italo-disco dance of “International Discotheque” featuring SRSQ to the immensity of “Sunday,” the LP is pure pop perfection doused in plenty of dark drama. Listen below:

LLORA by LLORA

Follow LLORA and SYNTHICIDE on IG.

The post Listen to the Pop-Drenched Heartache of LLORA’s Self Titled LP appeared first on Post-Punk.com.

Source: Post-Punk.com

Die norwegischen Gothic Metal Pioniere TRAIL OF TEARS haben heute ihre lang erwartete Comeback-EP veröffentlicht. „Winds of Disdain“ ist ab sofort über The Circle Music erhältlich. „Winds of Disdain“ ist die erste Veröffentlichung der Band seit über 10 Jahren und stellt ein neues Kapitel für TRAIL OF TEARS dar.

Order the CD and LP”: https://bit.ly/TrailofTearsWindsofDisdain
Stream the EP on digital platforms: https://thecirclemusic.lnk.to/WoD

“The time has finally come for all of you to hear what we have been working on!” says Ronny Thorsen, Trail of Tears founder and vocalist. “Hopefully, you will enjoy the end result as much as we enjoyed creating it. This is just the start of our return though, so expect more news from the Trail of Tears camp. In the meantime, keep spinning Winds of Disdain and tell your friends that we’re back!”

 

Source: Amboss-Mag.de

Out via Trisol on the 7th of June is the all new Clan Of Xymox...

Source: Side Line

Olli-Pekka „Oppu“ Laine (AMORPHIS, BARREN EARTH, MANNHAI) kombiniert mit seiner neuen Band Death Metal mit 70er Prog und Psychedelic Rock: OCTOPLOID veröffentlichen am 5. Juli 2024 ihr Debütalbum “Beyond The Aeons” via Reigning Phoenix Music (RPM) auf CD, Vinyl sowie digital. Einen Vorgeschmack verschafft nun das Lyric-Video zum Vorab-Track “The Dawns In Nothingness” bei YouTube.

Die erste Single “Human Amoral” ist sogar als Musikvideo bei YouTube abrufbar – als Gast ist Sänger Tomi Joutsen (AMORPHIS) zu hören.

Laine berschreibt “Beyond The Aeons” so:

„ Meine musikalischen Wurzeln liegen im Metal der 80er und 90er Jahre sowie im Progrock der 70er. Das alles angereichert mit Psychedelic- und Stoner-Rock, so kann man  »Beyond The Aeons« eigentlich ganz gut beschrieben. Ich habe lange davon geträumt, für mich ganz alleine Musik zu machen, weshalb OCTOPLOID ein wichtiger Schritt   in meiner Karriere sind. Für das Albums brauchte es jedoch den richtigen Zeitpunkt, die richtigen Mitstreiter und die richtigen Einstellung.“

Aufgenommen wurde “Beyond The Aeons” im E-Studio, den Mix übernahm Petri Majuri, das Mastering wiederum David Castillo. Für das Artwork zeichnet Orion Landau verantwortlich.

Für OCTOPLOID spielt Olli-Pekka Laine nicht nur Bass, sondern auch Keyboard und Gitarre, auch den Gesang hat der Finne selbst aufgenommen. Zur OCTOPLOID-Besetzung gehören außerdem Schlagzeuger Mikko Pietinen (MANNHAI, KASMIR), Gitarrist Peter Salonen (THE KINKY THING), Keyboarder Kim Rantala (ex-AMORPHIS) und Sänger Mikko Kotamäki (SWALLOW THE SUN), der die Band bei Konzerten unterstützt.

OCTOPLOID “Beyond The Aeons” Artwork
1.83.0-EDOFESF5FEZLWTTM7NWMFKEMCM.0.2-0
OCTOPLOID “Beyond The Aeons” Tracklist
01. The Dawns In Nothingness [feat. Mikko Kotamäki] (Lyric-Video bei YouTube)
02. Coast Of The Drowned Sailors [feat. Tomi Koivusaari & Janitor Muurinen]
03. Human Amoral [feat. Tomi Joutsen] (Video bei YouTube)
04. Shattered Wings [feat. Petri Eskelinen]
05. Beyond The Aeons
06. The Hallowed Flame [feat. Mikko Kotamäki]
07. Concealed Serenity [feat. Mikko Kotamäki]
08. A Dusk Of Vex [feat. Jón Aldará physisch: Langversion; digital: Edit]
Bonustrack (nur physisch):
09. Monotony [feat. Petri Eskelinen]

OCTOPLOID Line-up:
Mikko Kotamäki Gesang (live)
Peter Salonen Gitarre
Kim Rantala Keyboard
Olli-Pekka Laine Bass, Keyboard, Begleitgesang
Mikko Pietinen Schlagzeug, Perkussion

Source: Vampster

DRENGSKAPUR/HÄXENZIJRKELL
„Drengskapur/Häxenzijrkell“
(Black Metal)

Wertung: Empfehlung!

VÖ: 03.04.2024

Label: Amor Fati Productions

Webseite: Drengskapur: Homepage
Häxenzijrkell: Homepage

Letztes Jahr kamen 2 alte Alben das erste Mal auf Vinyl heraus (Review „Geist Der Wälder“ + „Begrabene Tugenden“-Demo) (Review „Von Nebel Umschlungen“ + eigene Songs der Split mit Nemesis Sopor) und jetzt beglücken uns DRENGSKAPUR mit ihrem sechsten Splitbeitrag. Dieses Mal bekommt ihr sie zusammen mit HÄXENZIJRKELL aus Essen.

Wie auch schon auf der Split mit OLD ARRIVAL bekommen wir einen absoluten Überlängesong. „Ukrafts Werk“ bringt es auf fast 25 Minuten. Als ich bei der letzten Merchveröffentlichung von DRENGSKAPUR zugeschlagen habe, dachte ich bei dem Aufdruck an eine Anlehnung ans zweite Album „Der Urgewalten Werk“, aber es hat jetzt „Klick“ gemacht. Und als ich den Song dann gehört habe, war ich sehr froh, dass das Merch zu diesem Song ist, denn für mich ist er wohl das momentane Opus Magnum der Berliner.
Fast 25 Minuten, die nicht durch ein fünfminütiges Ambientintro und –outro, sowie lange instrumentaldurststrecken zustande kommen, sondern von vorne bis hinten packen und überzeugen. Ein kurzes Intro mit einer cleanen, delaybesetzten Gitarre führt uns direkt in den Anfangsteil, der mit choralem Cleangesang überzeugt. Und ratzfatz sind wir schon direkt im Song angekommen. Anfangs schlagen die typischen Gitarrenriffs noch etwas ungewohnte Kapriolen. Diese gefallen mir allerdings so gut, dass ich sie mir für ein kommendes Album auf jeden Fall als Standard wünsche. Im Verlaufe des Songs bekommen wir dann gewohnte Kost von DRENGSKAPUR. Tolle Melodien im Hochgeschwindigkeits- und Midtemposektor. Als Neuerung sei noch zu verzeichnen, dass Schlagzeuger Hiverfroid, das erste Mal am Mikro, Backing Vocals beiträgt. Die kann ich allerdings nicht genau ausmachen.
Das, was mich am meisten fasziniert ist die Fähigkeit einen Song, der fast eine halbe Stunde in Anspruch nimmt so zu konzipieren, dass absolut keine Langeweile aufkommt. Ich mache das bei mir daran fest, dass ich ihn in den letzten beiden Tage glatte zehn Mal habe laufen lassen.
Ich bin wieder Mal begeistert von der Band. Absolute Empfehlung!

Die B-Seite, der auf 300 Einheiten limitierte 12“ ist, wie schon bemerkt, von HÄXENZIJRKELL belegt.
Ihre beiden Tracks bringen es auf fast 16 Minuten Spielzeit.
Musikalisch sind sie anders gelagert. Hier bewegt man sich hauptsächlich im unteren Geschwindigkeitssektor, auch wenn in der Mitte von „Dämmerung“ mal ordentlich Gas gegeben wird. Der fast gesprochene Gesang ist durch Hall und zwischendurch eingeworfenes Kreischen angenehm unverständlich. Der bereits genannte zweite Song trifft mehr mein Ohr, im Ganzen ist HÄXENZIJRKELL aber nicht so mein „cup of tea“, was allerdings nicht bedeutet, dass es mir nicht gefällt. Interessant finde ich unter anderem die gesprochenen Passagen, die in beide Songs eingebaut sind. Ich habe versucht den Text im Netz zu suchen, da er wie Teile eines Gedichts klingt, scheint aber Eigenkreation zu sein, da ich nichts finden konnte. Bei Aussagen wie „Es gibt nur einen Lehrer und einen Schüler, beide im Menschen selbst.“ hatte ich mit einem bekannten Dichter/Poeten gerechnet. Pustekuchen!
Musikalisch weniger rasant und weniger klar im Sound, ist man in Essen auf jeden Fall düsterer unterwegs als in Berlin. Trotzdem ist das eine tolle Konstellation auf dieser Split. Wenn beiden Bands genau gleich klingen, finde ich es eher weniger ansprechend.

Ich bin gespannt, meine bereits bestellte Platte in der Hand zu halten!  (hendrik)

Source: Amboss-Mag.de

Reaching this itch in my soul
That’s like any old playing card
It must be why I’m thinking of Las Vegas
Why it’s more brighter than the sun is to me
Rose Haze, an enigmatic musical project from Oakland, defies easy categorization. Frontwoman Kate Ramsey exudes an ethereal power, her presence both fierce and otherworldly. A mercurial songwriter, vocalist, and multi-instrumentalist, Ramsey delves into experimental soundscapes and raw, vulnerable lyrics. Her performances, whether on guitar, synths, or bass, accentuate her moody vocals and often improvised movements. Alongside electric violinist and bassist Yoko Miyakawa, and drummer Dustin Coker, their soundscape is vast and experimental.

When Kate Ramsey encountered Ruben Gonzales in early 2019, they discovered a unique musical bond, which they described as an “eternal marriage in music.” This partnership transformed Rose Haze from its progressive rock roots into a blend of dream pop, shoegaze, new wave, psych rock, and experimental noise. Their musical synergy drew comparisons to Cocteau Twins, inspiring them to record an astonishingly faithful cover of  Heaven or Las Vegas. Together, they redefined the band’s sound, weaving their talents into a hauntingly beautiful collaboration that echoes their profound connection.

Originally released in 1990, Heaven or Las Vegas showcases Elizabeth Fraser’s enigmatic lyrics, drawn from personal experiences such as the birth of her daughter and her relationship with bandmate Robin Guthrie. The song masterfully blends dream-pop elements with lush, atmospheric production, cementing its place as a defining piece in the Cocteau Twins’ repertoire, brimming with haunting beauty and emotional resonance. Kate Ramsey’s vocals channel Fraser’s ethereal voice with a rare and profound authenticity, capturing the song’s essence in a way that few others could achieve.

Gonzales tragically passed away on January 31, 2024, at the young age of 37, succumbing to complications of lymphoma, an illness unknown to everyone – including himself. On the day he left this world, Rose Haze received the final mix of their cover of “Heaven or Las Vegas.” Initially a tribute to Cocteau Twins, the song has transformed into a sacred piece to honor their beloved Gonzales. Rose Haze chose this track because Ramsey loved the challenge of deciphering its lyrics, adored the melody, and knew that Gonzales’s brilliance on the guitars would shine through, making it a fitting homage to his memory.

Haze recalls that Gonzales wasn’t so keen on covering Heaven or Las Vegas at first, but the track grew on him as he discovered its nuances during recording. At first Ramsey wanted to go in a more unique direction, but after hearing Gonzales’s guitar tracks, decided to keep it a more faithful interpretation to the original.

Heaven or Las Vegas by the ROSE HAZE

The video is a poignant encomium for the band’s deep friendship through montage; a heartfelt tribute to the creative synergy and partnership that will forever endure. It is a touching and enduring gesture, a love letter to a bond that transcends time, capturing the essence of their shared journey and the irreplaceable connection they forged as Rose Haze.

Kate Ramsey spoke more about the creation of the song and music video with Post-Punk.com:

This track and video hold heavy sentiment for you. When you watch the music video now, is it more of a joyful or grieving experience?

Joyful, and I enjoyed putting it together because I felt connected to Ruben.

The DIY feel of this video makes it feel intimate. Can you talk more about the filming and editing process?

This tour footage was just us rolling around in with our VHS cam from coast to coast, capturing all the moments on stage and in-between last November. I intended to eventually throw the whole tour footage up as is and chop up some parts to use as little fun reels to share with our fans.

But once I released the single, the idea came to me to put the tour footage to this song to create a lasting visual to celebrate Ruben. It feels like after making this, I can start to take the steps to move forward.

I purposefully chose as many silly or cute moments as possible against the fast movement of moving from place to place. to capture what really goes on with a DIY indie band on tour across the country. of course, the end is a bit macabre, but as an artist, I like the juxtaposition of us holding hands down the aisle in St. Roch cemetery in New Orleans. I actually had us go there to capture footage because I had made a music video there once that I lost and I was so mad about that. I wanted to recapture footage. little did I know how much of a premonition it was. That final scene is a visual representation of my relationship with Ruben. Holding hands like recess playmates with not a care in the world no matter what’s going on around us.

I got lost in my head many times while editing the video, but to my surprise, i didn’t cry. it was healing to create and I felt a lot of gratitude that I worked really hard to book that indie national tour in November because I never could’ve imagined it was our last and now it’s one of my most cherished memories captured on fuzzy grainy VHS.

Is there a part or moment in the music video you feel encapsulates who “Rose Haze” is as a band best?

The scene of Ruben and I playing as a duo with my winged outfit and the close-ups of his guitar playing when the first chorus comes in. Ruben shredded his Jazzmaster and me playing at least 2 different instruments while doing witchcraft. that was truly Rose Haze. As we move forward, we are finishing the album we started with him and reworking our musical roles to continue forward with our sound and aesthetic with Ruben in spirit.

Rose Haze is in the midst of re-working the album and tour plans with the passing of Ruben Gonzales.

Follow Rose Haze:

Website
Facebook
Instagram
YouTube
Bandcamp

The post Watch Oakland Dream Pop Project Rose Haze’s Video for Their Cover Cocteau Twins’ “Heaven or Las Vegas” — Plus Interview appeared first on Post-Punk.com.

Source: Post-Punk.com

SO36, Berlin, Germany 17th May 2024Fiddler’s Green - “The Green Machine Tour 2024” - Support: The Feelgood McLouds On Friday night, May 17, 2024, FIDDLER’S GREEN and THE FEELGOOD MCLOUDS turned the legendary SO36 in Berlin Kreuzberg into a whirlwind of dance, song, and sheer energy.

Source: Reflections of Darkness

Mit "The Reckoning" haben Within Temptation einen brandneuen Clip aus "Worlds Collide Tour, Live In Amsterdam" veröffentlicht. Mehr Infos und das Video-Feature mit Evanescence-Frontfrau Amy Lee hier!

Source: Sonic Seducer

Mit "Noch eine Flasche Wein" haben Tanzwut eine weitere Single vom kommenden Album "Achtung Mensch!" ausgekoppelt. Mehr Infos und das Musikvideo hier!

Source: Sonic Seducer

Felin creates cheeky and sonorous connections between sound and image. Today sees the release of her album “Whatever”, in which the alternative artist combines her sounds with visual concepts to create a total work of art. An important theme in her life is equality, which is also reflected in “Whatever”, an emancipated female power with […]

Source: Orkus

 
Portland synth/punk trio Masonique has unveiled a new single, titled “Status Erratus,” marking the band’s second taste of the forthcoming album. Following up on “As the World Burns,” the new song offers further indications of the band’s developing sound [..]

Source: RE:GEN Mag

WITHIN TEMPTATION werden sich im Herbst 24 mit der „Bleed Out 2024 Tour“ auf eine weitere musikalische und visuelle Reise begeben – eine Tournee, die voller musikalischer Kollaborationen ist und im Oktober 2024 beginnen soll. Fans können sich jedoch jetzt schon für das Spektakel aufwärmen, indem sie die adrenalingeladene Show der „Worlds Collide Tour“ bequem von zu Hause aus nacherleben, denn die Show der Band, die am 29. November 2022 im Ziggo Dome in Amsterdam stattfand, wird am 21. Juni auf Vinyl, CD, Blu-Ray/DVD und in einem speziellen 64-seitigen Hardcover-Artbook erhältlich sein.

Während der Worlds Collide Tour spielten Within Temptation 2022 zwei ausverkaufte Shows in ihrer Heimat im Ziggo Dome in Amsterdam (NL). Es waren ihre allerersten Headliner-Shows im Ziggo Dome und insgesamt 30.000 Fans waren vor Ort.

Vorbestellungen der Vinyl, CD, Blu-Ray/DVD und in einem speziellen 64-seitigen Hardcover-Artbook von „World Collide Tour – Live in Amsterdam“ von Within Temptation sind über den Within Temptation Music Store ab jetzt möglich.

 

Source: Amboss-Mag.de

Mit der neuen "Where Are You?"-EP hat die Kultband The Chameleons zum ersten Mal seit über 20 Jahren neue Musik veröffentlicht. Mehr Infos und die Tracks im Stream hier!

Source: Sonic Seducer

Red Lokust have released a new album, “Hope is the Last Refuge of the Dying!”....

Source: Side Line

Die Mittelalter Rock-Band TANZWUT veröffentlicht ein neues Album: “Achtung Mensch!” erscheint am 9. August 2024 via NoCut Music und enthält zwölf Songs. Mit einem Musikvideo zu “Noch eine Flasche Wein” präsentiert die Gruppe nun den zweiten Vorab-Track bei YouTube.

Die erste Single in Form des Titelstücks ist ebenfalls als Clip bei YouTube verfügbar.

Im Herbst 2024 stellt die Formation ihre elfte Studioplatte dann live vor.

TANZWUT “Achtung Mensch! Tracklist

Achtung Mensch! (Video bei YouTube)
Wenn du betrunken bist
Roter Mohn
Loch in der Mauer
Feuer in der Nacht
Hexenweib
Leichen im Keller
Noch eine Flasche Wein (Video bei YouTube)
Neues Spiel, neues Glück
Alles klar
Zauberland
Wir sehen uns wieder
Bonus Tracks:
Prügelknabe
Frei sein
Zauberland (Orchester Version)
Komet / Schattenmann feat. Tanzwut
Gefallene Engel / Elli Berlin feat. Tanzwut

TANZWUT, FLORIAN GREY Tourdaten 2024

11.10.2024 Rostock – M.A.U. Club
12.10.2024 Dresden – Reithalle
18.10.2024 Hannover – Musikzentrum
19.10.2024 Leipzig – Hellraiser
25.10.2024 Bad Salzungen – Pressenwerken
26.10.2024 Frankfurt – Das Bett
27.10.2024 München – Backstage Halle
01.11.2024 Berlin – Columbia Theater
07.11.2024 Wien – ((szene))
08.11.2024 Lindau – Club Vaudeville
09.11.2024 Stuttgart – Wizemann Club
10.11.2024 Saarbrücken – Garage
15.11.2024 Hamburg – Bahnhof Pauli
16.11.2024 Köln – Live Music Hall
23.11.2024 Zwickau – Alter Gasometer

Source: Vampster

Anglo-American dream pop duo Still Corners have had quite the successful year thus far. For the uninitiated, Still Corners’ music is both nocturnal and cinematic, ripe with beautiful, gauzy melodies, breezy, jangly guitars, chirpy synths, and led by Tessa Murray‘s heavenly vocals. Their 2011 debut, Creatures of an Hour, was a shoe-in for our 100 best dream pop records list, and every record they’ve released since has been as elegantly gorgeous as the last.

On April 5th of this year, the band self-released Dream Talk, their sixth record, via their own Wrecking Light imprint. The album, which was recorded in pieces in many different locations, is another stunning entry to the band’s catalogue, with Greg Hughes‘ forward-minded guitar licks taking a bigger role than on previous records. Lead single “Crystal Blue,” channels the sensual late night energy of Sade, The Sundays, and even a bit of Spandau Ballet, a heady blend of influences that can be heard throughout the rest of Dream Talk.

The band are currently on tour to support the record. We had the chance to catch up with both Tessa and Greg to talk about plants, recording in upstate New York, and the joys tour karaoke. Enjoy!

—

Hello to you both, and congrats on the new record! I’d love to hear about recording Dream Talk – how was that experience? 

Tessa: It was primarily a reaction to being stuck in one place for so long with COVID. We were like, “we’ve got to get out, we’ve got to see stuff.” Normally, when we write a new record, we’ve been on a tour, we’ve had some downtime and then we feel ready to go again, whereas with this one we started the process straight away since we weren’t able to tour for our last record. We got this portable setup together that basically meant that we could work on songs from wherever we were. We did some of it in the south of France, some in England, and some in Woodstock, New York, and it was a really liberating approach to songwriting. It sounds silly, but one minute you’ll be by a pool, and then a half an hour later, you’re working on a new song, and then back to the pool, but it was a really fun way to do it.

Wherever inspiration strikes, right? I’d love to hear more about recording in Woodstock. I grew up in Orange County, New York. I lived in Woodstock for a summer after college, it was a wild time! 

Greg: I fell in love with it immediately. We originally saw the town in this film with Jane Fonda called Peace Love and Misunderstanding. We were living in Austin, Texas at the time, and it was just so expensive. We thought that there has to be a cool, cheaper place. And then we saw Woodstock in this film. We were looking up prices and found it pretty crazy – it’s like two hours from New York and vastly more affordable than Austin… So we went, and it was amazing because three clicks out from the town, you were immediately in the woods in the Catskill Mountains. It’s a very small town of 3,000 or so people.

Lots of critters! Lots of bears! Did you see any bears? 

Greg: Oh yeah!

Tessa: Yeah, the the nature is totally insane! I’ve never experienced so much nature, especially compared to the UK. You’ve got bears, turkeys, lots of carpenter ants, woodpeckers, chipmunks, and so on.

Greg: It’s like a zoo without bars! It’s beautiful. One day we found that some bears had stolen our trash. They usually just tear it open, but one time we found it was just completely gone. They just took our trash back to their lair…

Sounds like they did you a favor! Did you go to the Little Bear restaurant? It’s beautiful, the restaurant has a little creek running through the backyard. It’s kind of a rite of passage up there. 

Greg: Well, that’s a famous spot, but sadly it has closed.

No! It was there forever! 

Tessa: Yeah, it was a British lady, I think, who bought out all of that complex, and she didn’t want to have a Chinese restaurant there, which is too bad since Al Grossman insisted on it opening back in the day. Now it’s called something like the Bear Café, and it’s this version of a large Mexican restaurant that used to be there. Anyway, it’s all changed, and it’s pretty sad.

Wow, I feel like I was there not that long ago, but perhaps it’s been longer than I remember. Gotta pour one out for Little Bear I guess. Well, I guess that’s a good segue. Since you’ve written this record in different spots and in different countries, does the atmosphere you’re in permeate the record at all? I imagine that happens quite often… 

Greg: Yeah, we’re fond of this quote – “environment is mined,” because people often say that the environment influences you. But take it one step further, it’s actually is about how you interface with the world and stuff. I think it’s impossible not to be in Woodstock and not have that town permeate the work, and definitely the same with England, where it’s grey and rainy. We like to lean into that heavily.

Tessa: I think there’s a lot of nature as inspiration for this this album. We’ve worked with that in the videos as well. Because we feel so close to it in Woodstock, England, and even when we were in Austin. You know, it’s a struggle to grow grass, but people still try to do it. You’re fighting the world by trying to have this green backyard, but in England, it’s just extreme green mixed in with the color of grey in the sky. There’s such beauty in that and this kind of moody, dark atmosphere that you just feel when you’re in in that kind of environment. I guess this album’s like a mixture of dreams and the dreamlike state, and then informed deeply by this kind of nature.

Greg: What’s that restaurant that’s off of 290, that long windy road in Woodstock? Oh, The Pines! Yeah it kind of looks like The Black Lodge from Twin Peaks. Have you been?

No! 

Greg: It’s this beautiful drive. It takes about 30 minutes, and you’re going through heavy, deep pines and creeks. It’s just gorgeous. I was thinking about that that you can’t help but be enamored by it all so beautiful.

I wanted to ask about the guitar work on the record. There’s a lot of swagger on it – a lot of Lindsay Buckingham or Carlos Alomar-esque playing, which is a little bit of a departure from your previous records. How did that come about? 

Greg: Well, I think in 2018, we determined that we should really concentrate on vocals and guitar, so I started down that path. On this album, I really deeper into the guitar universe. I mean, the deeper you go, the more there is, and you’ll never get to the end. There’s finger picking and flat picking. I mean, it just goes on and on but I wanted to try to take a few elements and and push it as far as I could. So I did that with this album, and and then we’re also doing that with a live show.

Yeah, I noticed that kind of live guitar energy when you were playing – that was great! What about the synths? I sometimes moonlight as a bit of a synth nerd, so I’m wondering what you both used on the new record. 

Greg: I mean, we’ve we’ve got some amazing analog synths. We’ve got the OB-6 from David Smith’s instruments. That’s my favorite. We’ve got a slim effect synth.

Tessa: The D-550.

Greg: Yeah! But you know we didn’t pull any of those out for this record. We used Omnisphere on this, and I think that’s because I was going to replace these sounds with real synths, but then we just decided that it already sounded amazing, so we left it there!

Tessa: Because of this portable setup we had, we then had the challenge of having t0 re-record everything. With the synths we both felt that this provided the perfect backdrop. It just worked in the context of the percussion and the guitar and the vocals. So we just kind of stuck with it.

I mean, sometimes if you re-record things anyway, it’s just not going to be the same, and it might change the song for the worse. Sometimes those early takes or even the demos, turn out to be the final version. I kind of love when that happens… 

Tessa: And then you have that internal battle – this one sounds more polished, but the other recording has this quality that you just can’t quite put your finger on, especially with vocals, because you might change the lyrics or whatever. You’ve got to try to capture that energy again, which is hard to do. Normally we get there after a lot of work, but sometimes it’s a pretty tall process.

Right! Emotions can factor in so much – however you’re feeling in that moment can affect the performance in some big ways. You really have to be in tune with that, especially with the kind of music you make. There’s a vibe, you have to connect to that, I can’t imagine it’s easy to put a mask on.

Greg: Exactly. Yeah, that’s it!

So how has the writing process evolved for you over the years? What mindset are you before you begin each record? Is it more of a relaxed start or more about it being time to make a record? 

Greg: I think it’s mostly the same. I mean, we’ve always sort of done writing sessions, basically where we get together to hash out some ideas. Or maybe I’ll have a bit of something and Tessa will come in and riff off of that. We just go back and forth and keep building it. Sometimes we’ll have an idea that comes straight out, and it’s amazing. Other times it’ll be partially formed and we hate it, but when we revisit it three months later we realize that maybe it wasn’t so shit and we can do something with it. It comes in spurts. I think the the one thing that we’ve learned over time is just to stay steady and to consistently work. I don’t wanna say it’s like a job, but we like to have some discipline. We’re going to work during these hours. This schedule seems to help us overcome any writers block, I find. Writers block inevitably happens, but if you ignore it and just keep going…

The way out is through!

Greg: Yeah, and I think that’s how we’ve done every album.

Tessa: I think it’s about having that structure, but also giving yourself time to not do it for a while. Let that well refresh and refill and come back to things when you’re ready. You can tell when it’s going to happen or not.

Greg: You can tell when it feels stale. You can’t dictate innovation.

Tessa: So you’re on that see-saw between wanting to go fishing, but sometimes the fish just aren’t there…

Greg: …but the important thing is that you show up and put the rod in. You try.

I love that – way to finish each others sentence there! I guess the good thing is, with having your own label, is that you likely don’t have that pressure to put out product just to do it. You can likely work at your own pace, and that’s gotta be freeing in a way.  Are you thinking about signing other artists to Wrecking Light, or is the label just so you have more control over your own process? 

Tessa: I mean, it started just by us wanting to be in control of the process, to be able to release whatever we wanted when we wanted, and not letting other factors muddy that process. Often we have to go with our intuition, but hopefully other people are going to enjoy listening to that as well. So really it’s about us, but from time to time we’ll hear something and we’ll think that maybe this could be the first Wrecking Light production that’s not us. But since we like to have a lot of control over our own work, we’ll have to find the right person that you feel could put as much attention to detail and quality as we try to do, or someone who’s open to collaborating and working together quite closely. So it’s probably a bit of alchemy that could lead to the first, non-Still Corners, Wrecking Light release, but I don’t know when that might happen.

It’s also a time thing… I was speaking to someone at Sub Pop since they still work on the publishing side of things with them, and he would describe our approach as a bit of a cottage industry, and I quite like that. But really it also takes a lot to keep this running and to do everything because the two of us are so involved with every aspect.

Greg: I wanted to add that we want our work to be, in our minds, a masterpiece. We wouldn’t quit until it was the absolute best that we could do. When we started the label, I certainly came from a very DIY punk rock attitude, that we should just be able to do everything ourselves, and that’s worked very well. It just really suits us, we love to be hands on and cultivate those relationships with distributors, pressing plants, and in all other aspects of the process.

Tessa: It’s just fun, especially in the digital age. We really manage it ourselves, and it’s just fun. Sometimes it’s a bit overwhelming, but most of the time it’s worth it…

Greg: Sometimes there’s tears…

Photo by Paul Winter
Hah! I mean that’s great otherwise. I can’t imagine you making a hardcore punk record, but I suppose you could if you wanted to. There’s so much label intervention with most of the bands I’ve loved over the years, where they’re forced to keep recreating the same hit machine over and over again and are not allowed to evolve naturally. With the label, you can do what you want, at your own pace, and if you don’t like it, no one is going to force you to release it. That makes me wonder if there’s ever been a moment if you’ve ever recorded anything together that is clearly NOT a Still Corners track, but still very much what you want to make… 

Tessa: Oh, yeah, we’ve got some funny stuff. Hilarious.

Greg: Did you watch Get Back, the Beatles documentary?

Yeah, I did. Loved it. 

Greg: So yeah, 90% of it is them screwing around and capturing the stuff that’s coming out. Some fun, silly things, and then they chisel the final songs out of those sessions. It’s very much like that for us too.

We’ll we’re looking forward to your “Maxwell’s Silver Hammer” then. I loved that one moment in the doc when Paul just kind of pulls “Get Back” out of thin air. That’s never been my favorite Beatles track, but just the way it just fell out of him was impressive. Effortless! As a musician myself, it’s rare when that happens, usually there’s a lot of toil and experimentation, and the same with them I guess, but I was sort of stunned with how easy that track came together, if the timeline there is accurate. 

At this point, my cat Clara interrupts the interview for the second time, so we talk about cats for a bit.

Okay. So you’re still on tour, right? How’s everything been going with the tour so far? 

Greg: It’s been awesome, probably one of our favorite tours, This is the first time that we decided to take on the massive space that is the US and just fly into shows and and backline some of the gear which we’ve never done before. We’ve always put the whole thing five weeks in advance.

With the van and everything? 

Greg: Yeah, the van vibe is great because you get to hit all the spots, but we were kind of limited for time. So we just did some major spots, all our favorite places. As good as it was though, I did miss going to all those smaller places and connecting with those fans. I’m kind of old school that way.

Tessa: It was a bit of an experiment to try it this way, and we also had a change of personnel, that meant that timing-wise, this is what was possible. It was really cool in a lot of ways, but obviously, you’re always sacrificing in other ways, and it’s about finding that balance. We’ve only had a bit of time, maybe four days or something, to recalibrate before the European tour we’re on now. I swear it feels like we just got back, and have barely slept. I blink, and now it’s time to pick someone up from the airport and do it all over again.

Barely enough time to get the plants in order! As for driving around the US, I’m sure you really miss getting stuck in traffic at 5pm in the middle of Connecticut, an hour away from the show. I’m sure those gas station burritos are calling to you right now! 

Greg: Well you know, you get used to that in a way, and then it’s the weird stuff that you start to miss. I wanna be in the middle of Montana, you know? In that weird routine. It’s great in its own way.

Still Corners live in NYC. Photo by Frank Deserto.
Oh, there’s definitely a rhythm to it, I can see that. So I went to the NYC show by the way and was there right in the front for most of the show, and caught the last song or two from further back just to take in the full experience with the projections. Firstly, it was great to see an all ages show like that. The crowd was a great mix of us older folks, but a lot of young people as well. 

Greg: Oh wow, really? I don’t think I knew about that!

Tessa: Me neither, cool! I wish the all the shows were like that, because I think the concept of someone only being able to see a show at 21 is like, really weird.

It’s all about selling booze, sadly. It just drives the whole machine, and that’s kind sad. While some people were back at the bar, hanging out and getting drunk (which, no judgements, mind you, do what you want to do and all), all the young folk were up front, blissing out. No aggression, no territorial pushing or shoving, they’re just happy to be in the room and to hear your band. I was wondering if that was intentional – but I guess you didn’t know about that!

Greg: Yeah, I guess we should do more of those by design then!

It’s great too, because kids usually have disposable income and less responsibilities. I remember how formative music was for me at that age. There was so much coming out in the 90s that I was in love with, and I wish I could have seen most of those bands at the time, when they were in their prime, or still alive, and so on. Never going to happen with some of them, and I think that 21+ mentality blocked me and a lot of others from having these moments, and that just feels kind of wrong in a way.

Anyway, I just think this speaks to your appeal – that folks of all ages can connect to your music and find something to latch on to. Were you aware that you had such a diverse fan base?

Tessa: I feel like we’re like an all-ages band, literally from 12-year olds to 70-year olds. On Youtube, we’ll see comments from people that are 65 and still doing music, and they wear it like a badge of honor. There’s just this cool filter with our music that it seems that the majority of people who like it are just really nice. Often after shows the security people will tell us that everyone was so well behaved – there’s no beef, everyone was just out for a good time. Like you said, they’ll bliss out and just be in the moment. That’s great, that’s exactly what we want.

Greg: A small part of me wishes there was a bit more rock and roll in there…

There’s that swagger I was talking about – love that you’re getting a bit of that energy in there

Greg: Yeah! Maybe next we’ll add some heavy metal or something. *chuckles*

So, I really loved the projections that were behind you when you were playing. Who made all the visuals?

Greg: It was mostly myself. I film them and then edit them together. There’s some older ones there that Leon, a friend of ours made as well. But we’ve branched off a bit and I’ve been filming stuff. Where wherever we go. I’ll just have a camera with me, film what I see, and then add it all together, and then time it to the music.

Who’s drumming with you on this tour?

Greg: His name’s Jim. He’s from London, and he’s been with us for six years.

Tessa: This is actually the first shows he’s done with us in the US. Just because of VISA reasons. We’ve had a US-based drummer in the past, but since Jim played on the album, we were really keen for him to be there from the outset. So we forked over for the VISA this time around.

I’m glad you got to work out. I know there’s so much drama with those aspects and so many bands have to cancel tours at the last minute…

Tessa: Yeah, there was drama, there was definitely some drama…

Greg: But we made it through, and he came, and he loved it, cause he hadn’t been back in the US since SXSW, which was in 2009 or something.

How do you pick the songs you play in the set? I mean, do you stick to the same set every night, or do you mix it up based on how you’re feeling that day?

Tessa: It’s interesting you should say that because actually, after the New York show, we just felt we had to switch it up…On the flight over to San Francisco, we reorganized everything, and that’s the set we ended up doing every night after. Because of the technical aspects, with all the program changes with midi and the projections, it’s hard to change it on the fly, but we tend to have to go with the set as it is. So, you are actually probably the only city who will have seen that earlier version of the set.

Wow! And you were backlining the gear, too, so I can imagine that takes some dialing in every night during sound check.

Tessa: Yeah, there were a few funnies along the way with that!

Greg: Oh yeah…

So, tell us more about the European tour – will it be a similar setup then? The same visuals, lineup, etc.? 

Greg: Yeah, it’s pretty much the same as the one that we redid.

Well then, after six records, you have quite a body of work to choose from. How do you decide what tracks to play on tour? 

Greg: Well, I think that only some of them work live. It took this long to get a whole set together, and we used to do some covers and stuff. We try to do a blend, you know? Spotify shows the songs that are the most popular. So you know, we obviously want to go from there a bit, because that’s what people want to hear. But then there are personal songs that we want to play and we think are cool, even if others don’t.

Tessa: yeah, it’s that blend of kind of what people are listening to, plus what we wanna do and say. It does get harder like the more songs you have, because there are ones that we just don’t have room to play, but then we’ll get loads of messages on Instagram and Facebook being asking for those. Unfortunately because of our structure, it’s hard for us to react on the fly to those requests. Maybe next tour we should do a shoutout six months in advance and see if there are any people are really dying to hear!

Well, I’m such a deep cuts kind of guy, and I always want to hear those tracks, and I appreciate when bands put in songs they find relevant, regardless of their popularity. Then of course you’ve gotta play the hits – a band that ignores them entirely is bound to fail on stage and not connect with the audience. 

Tessa: Yeah. we’ll see headlines of bands that they play everything from the new album that no one really knows yet. I understand why – the band just finished it and they’re excited about it, but you know, the fans just haven’t had time to really connect with the new songs yet.

Yeah, you have to play new stuff, and I think it’s always kind of crummy when people and audiences are only there for the first two singles, too. It’s such a precarious balance… I figure, play 4-6 new ones, the expected hits, and a few deep cuts, and that’s how I like a show to be. Actually, didn’t you do a Richard & Linda Thompson cover?

Greg: Yeah, “Calvary Cross!” We love that song.

What a great choice! 

Greg: Great album!

Tessa: He plays in Woodstock pretty regularly.

Greg: Yeah, the tickets were like, $200…

Yeah you know, you were saying that upstate New York is cheaper? It is NOT cheaper, hah! I grew up there, and now that it’s cool to be there, I can’t afford to go back home ever, it seems.  Post COVID, everyone wanted to move out of the city and that drove the prices up and bought up all these houses, and now they’re $3,000,000 homes. Game over, man.

Tessa: Yup, and you go out for dinner in the middle of nowhere, and it’s $600 for four people. How is this happening?

Next time you there. If you didn’t do this already, check out the Phoenicia Dinner. Phoenicia in general has this tubing culture that’s pretty cool, and there’s the diner, which they revamped over the years. I miss how crummy it was in that Twin Peaks/Double R Diner kind of way. Definitely some mysteries have taken place there, you know? One of those mysteries was the kids menu, which had a bunch of He-Man characters as names for food options, but then also simply: chicken nuggets. Chicken nuggets is totally my favorite He-Man character! Anyway, now the diner, like everything upstate, is  super posh, but the food is still good, last I checked.

Greg: We know the place, but we’ve never went in there, but it looked great!

Well, you need a greasy spoon while on the road. Keep that one in mind! Since you mentioned driving around Woodstock while listening to records – what do you tend to listen to these days?

Greg: I mean. I was just thinking about this because we listen a lot of movie soundtracks.

That makes sense. Yeah, I can see that.

Greg: As for current bands, have you heard The KVB’s new album?

Yes, they’re fantastic! They’ve been around for quite some time, and I love how consistent they are… 

Greg: Yeah, their new album is so great. Also, we met this amazing singer/songwriter in LA called Shannon Lay and we started listening to her. She’s just this amazing, funny, crazy, talented…

Tessa: Lovely person…

Greg: Yeah, such a lovely person! Her stuff’s really good. But yeah. mostly movie soundtracks, you know?

Tessa: We listen to A LOT of Bob Dylan!

Greg: A lot of his newer stuff actually. People seem to be quite split on him, our drummer, he and I are always kind of arguing about him.

You know, deep down, I still have this idea his newest album is Love & Theft, which I loved at the time, but that’s like 2001, not quite new any more, is it? So, what film soundtracks? I know your work has so many cinematic moments, so that makes so much sense…

Tessa: We’ve been listening to The Witness soundtrack by Maurice Jarr, but also lots of stuff by Vangelis, Morricone, and of course, spy soundtracks. Those spy soundtracks are always really good. There’s also that thing, you know, when you become aware of albums that come out on the same day as yours, and we really wanted to check out some of those. There’s this British artist, Jane Weaver, she put out her record on the same day as Dream Talk.

Greg: Yeah, and it’s really good!

Last question for you both, and it’s a bit of a fun one – what are some of your favorite moments been from over the years?

Tessa: Yeah, there’s a lot! I can’t necessarily put a finger on one – there are so many things, some are little and some are bit. I remember the first time we went to the US, to SXSW, and we played in a pizza place or something, but they actually had good monitors, and the wind was blowing in my hair, and we were just super chill. Everyone was having a nice time, and that was the first time we had ever played in the States. I couldn’t believe that we were there. Actually a lot of moments for me have been like that, just taking a step back and realizing that this is happening now.

On the last tour for The Last Exit, we had this show at this massive old movie theater called EartH…

Oh my god, I was just there to see Cranes – what a BEAUTIFUL space!

Tessa: Yeah! that was completely sold out. Everyone’s like sitting on these weird, big steps. And then, as we like kicked off with “The Trip,” everyone, stood up and started dancing, it just reminded me of all those little shows we played in London through the years, you know, opening for people and going to work the next day exhausted. Then suddenly, you’re there in this moment, and all these people are there to see us. It was just like a really big, special moment

Greg: I liked when we stopped in Marfa on the way. I think that’s just a magical place. We didn’t play a show there, but…

Tessa: We did do karaoke there, so…

I must know – what’s your go-to karaoke jam? 

Greg: David Bowie’s “China Girl,” hands down.

Tessa: He’s really good at it!

Perfect! “Life on Mars?” is my ringer! What about you, Tessa? 

Tessa: Well, I really like doing “Dancing Queen” by Abba but it is quite challenging vocally. I’m not that good at singing it, but I just love it.

Greg: I wanted to add when we first played SXSW, we played a lot of shows that, you know, weren’t really venues, and one of them was a bicycle shop that had one plug, and we played to an empty parking lot. One person walked up with their dog, so we played to them mostly. I also remember a guy riding by on a bicycle, and as he passed he yelled “sounds good!” §

Indeed, Still Corners live show certainly sounds good, a great deal more than good even! Be sure to catch the band for the final leg of their European tour, and be sure to check out Dream Talk, available via Bandcamp. Here are the band’s remaining tour dates:

24 MAY  ISTANBUL, TR SALON IKSV
25 MAY ISTANBUL, TR SALON IKSV
27 MAY  ŠKOFJA LOKA, SI  ŠKOFJA LOKA CASTLE
28 MAY  BOLOGNA, IT  LOCOMOTIV
29 MAY  MILAN, IT  ARCI BELLEZA
31 MAY  ATHENS, GR  GAGARIN 205

Header photo by Frank Deserto. 

The post Dream Talk An Interview with Still Corners appeared first on Post-Punk.com.

Source: Post-Punk.com

In the wake of their performance at the Cruel World Fest in Pasadena last week, The Jesus and Mary Chain return with another offering from their latest LP, Glasgow Eyes. Released in March via Fuzz Club, the album is a testament to their enduring legacy. It stormed the UK Official Album Chart and landed at number seven—a height not seen since their iconic Darklands era in 1987.

Now, the band has kept the momentum going with the release of their latest video from the record, “Silver Strings.” The retro-inspired clip, a mesmerizing blend of enigmatic and dreamlike visuals, features Izzy Glaudini of Automatic wandering through a desolate landscape, clutching metaphorical silver strings, a vintage 1960s girly magazine, and a few wine glasses. The visual narrative exudes a unique fusion of Bond Girl allure and Lawrence of Arabia mystique, punctuated by the ethereal presence of the Reids, who appear like specters through flickering airwaves.

Directed by Ambar Navarro (known for her work with Weyes Blood and The Lemon Twigs) and filmed in Los Angeles by Navarro and Max Flicks, with additional scenes in Berlin by Carolina Romillo, the video is a visual treat. Watch the video for “Silver Strings” below:

Watch the video for “Silver Strings” below:

Glasgow Eyes, which has seen almost every physical format sell out, will soon be available on a new blue vinyl edition, available for pre-order here.

Adding to the excitement, the much-anticipated biography Never Understood is set for release on August 15th. This volume, penned by William and Jim Reid, recounts the saga of one of Britain’s most iconic guitar bands, oscillating between wild humor and improbable poignancy. The book delves into the tumultuous world of brotherly discord, feedback-drenched performances, riots, battles with addiction, and the profound shyness of the Reids, serving as an unexpected homage to the Scottish working-class family.

Limited edition versions of the biography will be available in Record Store and White Rabbit formats starting September 5th, with the latter including an exclusive LP featuring excerpts from the book, narrated by the brothers themselves. The book is available for pre-order here.

Looking ahead, The Jesus and Mary Chain are gearing up for a rare headline tour of Australia and New Zealand, alongside select European headline shows interspersed among a packed summer festival schedule that stretches from New Zealand to Japan.

Check out the dates below and grab your tickets here.

MAY

25th – Spain, Madrid, Tomavistas Festival

JUNE

23rd – Italy, Medimex Festival

JULY

25th – Taiwan, Zepp New Taipei
28th – Japan, Fiji Rock Festival
30th – New Zealand, Auckland, PowerstationAUGUST
1st – Australia, Sydney, Enmore Theatre
3rd – Australia, Brisbane, The Tivoli
4th – Australia, Melbourne, Forum
6th – Australia, Sydney, Hindley St Music Hall
8th – Australia, Perth, Astor Theatre
17th – Portugal, Paredes de Coura
19th – Hungary, Fekete Zaj Fesztivál (HEADLINERS)
21st – Estonia, Tallinn, Alexela Kontserdimajas
22nd – Finland, Tampere, Tullikamari
24th – Czechia, TrutnOFF Open Air (HEADLINERS)

Follow The Jesus and Mary Chain:

Spotify
Apple
YouTube
Facebook
Instagram
Website

The post The Jesus and Mary Chain Debut 1960s Inspired Video for “Silver Strings” Starring Izzy Glaudini of Automatic appeared first on Post-Punk.com.

Source: Post-Punk.com

NYC-based dream pop duo Mahogany have always been a band near and dear to our heart. Over many years, a veritable bounty of releases, and a handful of lineup shifts over time, the band has remained a live fixture throughout NYC’s underground scene, opening up for the likes of Anika, Interpol, and Luna. Consisting now of multi-instrumentalist/vocalist Andrew Prinz and guitarist/vocalist Jaclyn Slimm, the pair have just released a new two-track single via Renovo. The single, their first release in nearly eleven years, expands on some of the more new wave/disco sounds that were hinted on in 2013’s eight-minute jam “Phase Break.” B-side “Polyvalence” features bubbling synth bass and a soaring string line before kicking into guitar-driven bliss. The track recalls the original Factory Records band The Wake as they progressed from dark post-punk band to indie-pop darlings. However, the A-side is a bonafide smash, with a high-necked bass groove and scintillating guitars sitting alongside perfectly programmed synthesizers, with a vocal melody from Slimm that is both heavenly and driving all at once.

The band has just released a video for the track, shot in Manhattan and directed by Julia Khoroshilov. The video is a beautifully textured affair, with purple and pink light shimmers adding an ethereal glow to Slimm’s  travels through both the beautiful and gritty New York City streets. “We sought to interpret the modes of self-empowerment in the lyric through traversing and penetrating a brutalist urban landscape,” says Slimm.

Watch the video for “A Scaffold” below, and be sure to pick up a copy of the single via Bandcamp.

Header photo by Mats Bakken

The post Dream Pop Luminaries Mahogany Unveil New Shimmering Video for “A Scaffold” appeared first on Post-Punk.com.

Source: Post-Punk.com

Ihr habt noch kein Sonic Seducer-Abo? Jetzt abonnieren und teils limitierte & signierte CD-Prämien abstauben! Unter anderem zur Auswahl: dArtagnan, Visions Of Atlantis, Gothminister, Funker Vogt, Diary Of Dreams, Combichrist, Solar Fake, Leaves' Eyes, Fiddler's Green, Joachim Witt & Lacrimosa.

Source: Sonic Seducer

  VIKTORIANISCHES PICKNICK, 31. Wave-Gotik-Treffen (WGT), 17.05.2024

Source: monkeypress.de

Die Supergroup BLACK COUNTRY COMMUNION wird am 14.06.2024 ihr neues, mittlerweile fünftes Album „V“ veröffentlichen. Die Allstar-Band besteht aus GLENN HUGHES (Vocals, Bass), Jason Bonham (Drums), Derek Sherinian (Keyboards) und JOE BONAMASSA (Gitarre), der eine Woche später zudem sein neues Livealbum “Live At The Hollywood Bowl – With Orchestra” veröffentlicht.

BLACK COUNTRY COMMUNION präsentieren weiteren Song vom neuen Album „V“
Mit „Enlighten“ wurde nun die nächste Vorab-Single veröffentlicht. Vorher gab es bereits den Song „Red Sun“.

“Enlighten” bietet einen Einblick in das gesamte Spektrum dessen, was das Album verspricht, und läutet für die Band und ihre Fans weltweit ein neues Kapitel ein. Die Produktion von „V“ unter der Leitung von Kevin Shirley (u.a. IRON MAIDEN, AEROSMITH, JOE SATRIANI, BETH HART) fängt die Essenz des dynamischen Sounds perfekt ein. BLACK COUNTRY COMMUNION wurde von einigen der angesehensten Namen der Rock- und Bluesszene gegründet und ist tief in der klassischen britischen und amerikanischen Hard-Rock- und Blues-Rock-Tradition verwurzelt.

Source: Vampster