Out now is the video for “Pleromantic” from the Estonian outdustrial band Forgotten Sunrise. The...

Source: Side Line

  After releasing a number of standalone singles and EPs, as well as appearing as a guest vocalist on KMFDM’s HYËNA album in 2022, London-based musician Sissy Misfit has announced the release of her full-length debut, titled EXXXOSKELETON. Misfit describes the record as “sexy, dark, and dangerous with a touch of camp,” spotlighting her abrasive […]

Source: EBM.gr

Mit "Universal" haben Xandria eine brandneue Single veröffentlicht. Mehr Infos und das Musikvideo hier!

Source: Sonic Seducer

Laibach has released the two-track single, “Opus Dei Live 1987 – 1989 pt.1”, featuring two...

Source: Side Line

  Dark electronic duo i Häxa is following up on the February release of the Part 1 EP with “Eight Eyes” marking the first taste of the forthcoming Part 2. As Rebecca Need-Menear asks “How does it feel?,” the song’s acoustic guitar arpeggios and rhythmic electronics give rise to an atmospheric introduction to this latest […]

Source: EBM.gr

Die Blackened Thrash Metal-Band DESASTER hat eine alte Live-Aufnahme aus dem Jahr 1997 ausgegraben und wird diese als Live-Album “Bringing the Storm to Rotterdam” veröffentlichen. Die Scheibe wird – limitiert auf 100 Stück in Schwarz und 200 Stück in Marble Schwarz / Silber – am 1. Juli 2024 via Nomad Snakepit Productions erscheinen. Inkludiert ist zudem ein doppelseitige A2-Poster, Bandfoto von der 1997er-Tour sowie ein Interview, das für dieses Konzert gegeben wurde.

DESASTER “Bringing the Storm to Rotterdam” Tracklist
Side A
1. In a Winter Battle
2. The Swords Will Never Sink
3. Fields of Triumph
4. Devil’s Sword

Side B
5. Porter of Hellgate
6. Black Magic (SLAYER cover)
7. Sacrilege
8. Tormentor (KREATOR cover)

Source: Vampster

Lost in the echoes
Can’t break the bond
A love so strong
Where dreams respond
Enthralled by her idol, a fervent admirer navigates the boundaries of obsession. Tangled in the web of adoration and limerence, she grapples with a tumultuous dance between devotion and reality, where the allure of idol worship blurs such distinctions and tests her grasp on sanity.

Obsession: This is the theme of Caput Medusae’s Überfan, from the German duo’s forthcoming debut album You Can’t Negotiate With Zombies. The song, performed in German, means “super-super fan.” This sinister track, laid down by Tina Mar and Stefan Scott, showcases the experimental dynamics of post-punk and dark wave grounded in more conventional ’00s riffs.

Überfan is a timely subject, particularly within the nebulous domain of social media. Parasocial relationships between viewers and celebrities or influencers have materialized en masse, nurturing unilateral bonds between users and digital personas. However, beneath this initial allure lies a terrain fraught with dangers: emotional dependency, entanglement of identity, and the burden of unrealistic expectations. These consequences transcend the digital realm, potentially affecting mental health and trapping individuals in a cycle of loneliness and disillusionment.

This perilous plunge into despondency is palpable in the sinister Überfan, as Scott’s somber vocal bellow spins a saga of turmoil unfolding, as the pedestal supporting her idol threatens to teeter and topple.

Listen to the single below and pre-order You Can’t Negotiate With Zombies here. The album will be available on vinyl, digipak CD, and cassette.

You Can’t Negotiate With Zombies [Debut Album] by Caput Medusae
You Can’t Negotiate With Zombies unveils a fusion of post-punk, good old-fashioned gothic charm and eerie electro-wave, teasing the potential brilliance of newcomers Caput Medusae. Though their defining sound is still gestating, the collection offers a tantalizing peek into their artistic evolution. For dedicated Überfans of the goth subculture, it’s not merely a decadence but a meticulously crafted starting point.

Follow Caput Medusae:

Spotify 
Instagram
Facebook
Bandcamp

The post The Punishment of Idol Worship — German Darkwavers Caput Medusae Debut New Single “Überfan” appeared first on Post-Punk.com.

Source: Post-Punk.com

Collection D’arnell-Andrea is now active for nearly forty years. Originally set up in 1986 by 1986 by Jean-Christophe d’Arnell, Pascal Andréa who left the band a few years later) and Chloé St Liphard the band has released an impressive number of successful records. Somewhere in between Gothic, Neo-Classical and Dark-Wave music this French formation clearly created a very own sound-DNA. Their newest album “A Forest Inside” -released by Trisol (Germany) and Meidosem plus Infrastition Records (France), revealed a more Electronic driven composition although holding on the melancholic, acoustic, elements of their sound. It’s a new masterpiece filled with delicacy but still danceable passages. I talked about it with core member Jean-Christophe d’Arnell.  

(Courtesy by Inferno Sound Diaries)

Q: Collection D’arnell-Andréa was set up nearly forty years ago now and your sonic voyage clearly doesn’t sound like coming to its end. What holds on this creative fire and how did you see yourself evolving throughout the years?

Related newsCollection D’Arnell-Andréa – A Forest Inside (Album – Infrastition)Jean-Christophe: Indeed, our first record “Autumn’s Breath For Anton’s Death” (maxi 45T 4 titles / Valotte Records) was released in 1988, almost 40 years ago, at a time when none of us would have imagined that our ‘collectionism’ adventure would last that long! All of this seems quite incredible to me today, dizzying and at the same time really stimulating. The reasons for such longevity are obviously numerous, but to be honest, I must first mention the ‘luck’ factor. This chance to have, at each moment of our history and from the beginning, met people who not only felt ‘connected’ with our universe, but often also, who demonstrated a desire to share this interest. All this attention, this dynamic and so benevolent support from one or the other (fans, bands, labels, radio shows, magazines, concert organizers, webzines, fanzines, sound engineers, graphic designers, etc.) has been essential and still is.

Then, from a more pragmatic (and economic) point of view, the presence of labels at our side, ready to invest and get involved, has obviously largely contributed to our longevity. It always seems easier to create when we feel a form of desire, or at least an expectation from the ‘external world’.

We are currently witnessing, with pleasure, a strong comeback of groups who, like us, started in the 80s; but most of the time, these bands have, at some point, ceased all artistic activity for several years. This is not our case: Collection D’arnell-Andrea has indeed existed ‘full-time’ for more than 35 years and the solidity of the links which now unite all its members also obviously has a lot to do with it!

Q: You previous album “Another Winter” was released in 2019 so I can imagine the first songs for “A Forest Inside” must have been written during the pandemic and the confinements. How did you experience this period and its restrictions and did it have an impact on the new songs?

Jean-Christophe: Being lucky enough to live in the countryside, the effects of confinement were much more bearable for us than for others. I also realize that the title of the album “A Forest Inside” nevertheless also expresses, and in a completely unconscious way, a certain idea of confinement; this natural and external world, this forest that the constraints of confinement made inaccessible and which therefore condemned us to a form of intimacy, of interiority.

Even if it was obviously difficult, if not impossible, to bring together all the musicians in the group during this period, my research and composition work using keyboards made it possible to lay the synthetic bases for future pieces (rhythms, bass lines, synths). In any case, we had already gotten into the habit for several years of composing with 2 or 3 musicians at the same time maximum, and not with the whole group together. This working process allows more flexibility in terms of everyone’s schedule (a significant aspect when there are 7 in a group!) and also much more freedom in terms of inspiration for everyone.

Q: “A Forest Inside” is clearly holding on your ‘classical’ influences although you never released an album which became that Electronic and danceable. How did this evolution happen and can you give us more details about the writing- and production process?

 Jean-Christophe: To understand this evolution, I think we must first return to our album “Another Winter” released in 2019. My desire at that time was to modify my usual composition process. My new work constraint was quite radical: a ban on using my old drum machines and my vintage synths (DX21, CS 01). So I only composed from new instruments and used different drum kits from previous albums. Then, another development, the idea was that the strings (viola & cello) do not systematically intervene on all the titles. Likewise, Carine proposed using only piano on this album. Thus, all these changes have allowed our sound to evolve, and, under the leadership of our sound engineer Pierre-Emmanuel Mériaud, to further highlight our ‘synthetic’ dimension (which has nevertheless been at the heart of our music since the beginning!).

Then, still in 2019, there was the release of the album “A Recrafted Winter”, the initial idea and production of which came entirely from our sound engineer. This is a spontaneous initiative on his part; his bias was to emphasize the most electronic parts of everything we recorded for “Another Winter” (synth lines, rhythms) while keeping the original vocals and structures of the pieces relatively intact. Of course he also added a lot of programming and felt completely free to reinterpret the pieces as he wanted. He started by reworking 5 tracks and then played them for us. Chloé and I were initially surprised, but quickly totally seduced by the new sound textures and the general more Electronic atmosphere that resulted. I had the impression of listening to pieces that were both completely new and so familiar… a strange feeling indeed!

It is therefore in this context that we approached the composition of “A Forest Inside” with the desire to accentuate this evolution of our sound (while retaining the same instruments) and thus to offer an album, which allows us to renew a little, and therefore, to be of particular interest to all those who are interested in our music. Moreover, the ‘machines’ bias was not decided at the time of mixing, but well in advance. I started composing the tracks on the synth, with much more Electro atmospheres in mind; inevitably the programming of the rhythms followed, as well as the choice of sounds and the place that each of the other musicians could take in this process. There are still some very ‘collectionism’ string arrangements remaining, but in general each member of the group has adapted without difficulty to this principle of more punctual interventions, and more effective, too. It happened that some musicians only discovered the lines composed by their comrades in the studio, since most initially only had the basic structures of the pieces (rhythms, electro bass, synths). Adjustments and modifications were necessarily necessary to maintain consistency of style and sometimes also… harmony!

Q: You’ve been often inspired by nature so I guess “A Forest Inside” is clearly connected to this theme but what’s the deeper meaning and exposure of the title and the songs?

Jean-Christophe: Absolutely, Nature once again remains a central element of this new album, but the question of ecology is addressed in a rather unique way: there is no question here of guilt or despair, but of an evolution, of a ‘return to the sources’; an invitation for Man to definitively blend into Nature until the ultimate hope of becoming a constituent element and thus aiming for a little eternity: “Lichen On My Name”.

Furthermore, the much more Electro treatment of the compositions accompanies and describes feelings of revolt, of doubt, in the face of a rather dark ecological reality.

Finally, each of the titles describes in a more or less explicit manner Man’s struggles with the Nature that surrounds him, and his difficult and often painful awareness of the evolution that is imposed on him.

The title of the album was chosen at the very end of the process. The song “A Forest Inside” was already written, and we found that all the symbolism of these 2 words; completely corresponded to the album: the immensity ≠ the intimate / the concept ≠ the particular / the plant ≠ the technological

And then this title gives food for thought: is this a representation of the forest that everyone carries inside themselves? Is it an intimate forest (only known to oneself)? Is it finally about these indefinable, intangible elements which are linked to the forest (and to nature in the broad sense) and which allow us, we humans, to live and dream?

Q: I noticed the digital version of the album has been released by the end of 2023 on Trisol while physical formats are available today on Meidosem Records (vinyl) and Infrastition (CD). How comes? And what does it say about the music industry which is evolving and wherein physical releases became rare? 

Jean-Christophe: Indeed, physical releases are no longer necessarily in tune with the times because sales themselves have collapsed. However, it was inconceivable that our album would only be available on digital platforms, even if we are perfectly aware of the evolution of the record market and the economic constraints which inevitably weigh on labels. Also, we sought to set up a sort of partnership with 2 French labels that we know and appreciate very much (Meidosem & Infrastition) so that “A Forest Inside” could be available on vinyl and on CD/Digipack. We had already collaborated with Meidosem for the vinyl editions of “Another Winter” and the reissue of “Villers-Aux-Vents”. As for Infrastition, this label already offers part of our back catalog (digipack) for sale; our proposal therefore responded to certain logic, even evidence. Their positive response to this proposal and their enthusiastic participation gave us great pleasure. It took a few weeks for things to come to fruition (artwork, pressing, etc.), which explains the different official release dates, depending on the formats!

Q: In a previous interview you said you’re definitely nostalgic. So I would like to know how you experience modern times referring to evolutions like streaming platforms and the lack of interest for physical material, labels closing their doors, (r)evolution of software, but also ChatGPT? ao

Jean-Christophe: It’s true, I tend to let myself be overcome by a certain form of melancholy or rather nostalgia; fortunately, these feelings are always accompanied by an overflow of positive and dynamic energy (even optimism!)… A paradox which inevitably shines through in CDAA’s compositions and in my musical tastes since always. This emotional distance that the past imposes on us has often been a great source of inspiration for my texts. In any case, I remain passionate about the period which extends between the end of the 19th century and the beginning of the 20th.

As for technological evolution, we have experienced it up close, whether it concerns recording techniques and/or the media for our music. Our first album “Un Automne à Loroy” was recorded on magnetic tape, we attended the mastering at Translab and the record was released in 3 formats: K7, vinyl and CD! Obviously, I have remained very attached to the physical medium and I admit, I still buy CDs and do not yet consume music via streaming platforms. As for vinyl and its big comeback, it is with nostalgia and amusement that I see in the record store bins reissues of albums that I bought when I was 18!

Indeed, I have the impression that the artistic offer has developed in an incredible way thanks in part to technological progress making it possible to compose and produce music. It is obvious that with a home studio you can more easily and at a reasonable cost, produce an entire album, distribute it and sell it (possibly) via the internet. As in many areas, the monopoly of the big record companies tends to eliminate independent networks (labels, press, distribution). Fortunately, there are still a few independent labels courageous, competent and motivated enough to offer a real partnership with groups, there will always be some, and that’s so much the better. We started with New Rose / Lively Art (a true reference in terms of independent label) and today we could not imagine not collaborating with a label. Our (small) notoriety and our music have always allowed us to have this chance, and to be honest, we would have a hard time changing how we operate….too much ‘nostalgic’ perhaps!

Autumn & best regards…

Source: EBM.gr

Die französischen Black Metaller SETH haben mit „Et Que Vive le Diable!“ eine neue Single veröffentlicht, die ihr nächstes Album „La France des Maudits“ ankündigt. Das Album erscheint via Season Of Mist am 14. Juli.
Pre-order & pre-save: https://orcd.co/sethlafrancesdesmaudits

Mit „Et Que Vive le Diable!“ entwirft SETH eine Erzählung, die Geschichten von göttlichem Trotz und Befreiung miteinander verwebt und vor dem Hintergrund von atmosphärischem Black Metal in seiner kunstvollsten und aufrührerischsten Form präsentiert. SETH taucht wieder auf, nicht nur um zu herrschen, sondern um zu revolutionieren, nicht nur um ein Echo zu geben, sondern um Wahrheiten in die Leere der göttlichen Unterdrückung zu sprechen.

 

Source: Amboss-Mag.de

Die Death Metal-Band CRYPTIC HATRED hat einen Labeldeal bei Time To Kill Records unterschrieben. Im Zuge dessen werden die Finnen ihr neues Album “Internal Torment” veröffentlichen. Das nach “Nocturnal Sickness” (2022) zweite Album der 2019 gegründeten Band aus Helsinki soll im Sommer 2024 erscheinen.

CRYPTIC HATRED Line-Up:
Eemil Lajoma – Guitar & Vocals
Tatu Saves – Drums
Miska Hagelberg – Bass
Joonas Honkanen – Guitar

Source: Vampster

Die Death Metal-Band ILLDISPOSED hat ihr neues Album “In Chambers Of Sonic Disgust” für 28. Juni 2024 angekündigt. Erscheinen wird die Platte via Massacre Records auf CD, Vinyl sowie digital.

Gemischt und gemastert wurde “In Chambers Of Sonic Disgust” von Tue Madsen, das Artwork gestaltete Timon Kokott. Es ist die erste Platte seit der Rückkehr von Ex-Gitarrist Ken Holst, die erste Single “Spitting Your Pain” ist auf allen gängigen Streaming-Portalen verfügbar.

ILLDISPOSED “In Chambers Of Sonic Disgust” Tracklist

Spitting Your Pain (Audio-Stream)
I Walk Among The Living
Lay Low
The Ill-Disposed
Flying Free
Start Living Again
For Us
I Suffer
And Of My Hate
All Electric
Pain Suffer Me

ILLDISPOSED, DEFACING GOD Tourdaten 2024

12.09.2024 DK Aarhus – Train
15.09.2024 DE Leipzig – Hellraiser
17.09.2024 CZ Praha – Rock Club
18.09.2024 AT Wien – Viper Room
19.09.2024 DE München – Backstage
20.09.2024 DE Weinheim – Cafe Central
22.09.2024 BE Kortrijk – De Verlichte Geest
25.09.2024 NL Hoofddorp – Podium Duycker
27.09.2024 DE Hamburg – Logo (*)
28.09.2024 DK Fredericia – Tøjhuset

ILLDISPOSED Line-up 2024
Bo Summer – Vocals
Jakob Batten – Guitars
Ken Holst – Guitars
Onkel K. Jensen – Bass
Rasmus Schmidt – Drums

Source: Vampster

Die dänischen Death Metaller von ILLDISPOSED haben für den 28. Juni ihr brandneues Album, „In Chambers Of Sonic Disgust“, über Massacre Records angekündigt, ihr erstes neues Album seit 2019. Eine erste Single, der Album Opener „Spitting Your Pain“, ist ab sofort bei allen digitalen Streaminganbietern hier verfügbar: https://illdisposed.bfan.link/spittingyourpain
„In Chambers Of Sonic Disgust“, feat. Gast-Performances von Sandie The Lilith (Defacing God), wurde von Tue Madsen im Antfarm Studio gemixt und gemastert. Das Album Artwork wurde von Timon Kokott / Art-Work designt. Erhältlich als CD Digipak, Ltd. Vinyl LP und Digital Formaten, sind Album Vorbestellungen ab sofort hier möglich: https://lnk.to/sonicdisgust

Info:
Zweifelsohne ungewöhnlich, dass zwischen den Alben der Band eine solche Lücke entstanden ist, aber diverse Ereignisse haben dazu beigetragen. Zuerst hatte die COVID-19-Pandemie erhebliche Auswirkungen auf die Musikindustrie und zwang die Band, sich für eine Weile auf andere Dinge zu konzentrieren. Dann wurde beim Gitarristen Rasmus Henriksen ein Hirntumor diagnostiziert. Rasmus hat die Band inzwischen verlassen, um sich zu 100% auf die Behandlung zu konzentrieren. In seine Fußstapfen ist ILLDISPOSEDs ehemaliger Gitarrist Ken Holst getreten. Nun melden sich ILLDISPOSED also endlich zurück, um der Welt zu zeigen, wie diese von Krisen und Anstrengungen gezeichneten Jahre in Musik umgewandelt wurden. „In Chambers Of Sonic Disgust“ ist voller Wut und Frustration und das ehrgeizigste und kreativste ILLDISPOSED-Album aller Zeiten!

 

Source: Amboss-Mag.de

Principe Valiente (the duo Fernando Honorato & Jimmy Ottosson) have a new single and video...

Source: Side Line

Die Blackened MxC & Dark Ambient Band ANCST aus Berlin kündigt ihr viertes Album “Culture of Brutality” an, welches am 3. Mai 2024 erscheinen wird. Am 4. Mai 2024 wird die Truppe in ihrer Heimatstadt spielen und hoffentlich auch Auszüge ihres neuen Werkes dem Publikum vorstellen. Denn die offizielle Tour zum neuen Album startet erst am 8. Mai in Kassel. 

ANCST Line-Up Tom Schmidt – all studio instruments, vocals, lyrics Stefan Pannwitz – live bass Robert Ott – live guitar Conor Michael – live drums Jonas Hasselhoff – live guitar 

ANCST “Culture of Brutality” Tracklist 

01. Armed With Despise02. Of Rusty Knives03. Chasing Horizons04. Spanking Your Laser Brain05. Damaged Goods06. Destination Nowhere07. Doing Your Part08. Vitreous Conformity09. Beneath These Hills of Iron10. Negativity Bias11. Whiteboard Criminal12. Teeth Into Flesh13. Edge of Reason14. Keyboard Wars15. Icons of Filth16. Tearless Oblivion17. Thanks for Nothing18. Positive Vibes Only19. Gatekeepers From Hell20. Lowborn Extinction

ANCST Tour 2024 

08.05. – Goldgrube, Kassel, Deutschland 09.05. – Zeckentempel, Leipzig, Deutschland 10.05. – Immerhin, Würzburg, Deutschland 11.05. – AK40, Suhl, Deutschland 12.05. – Kafe Kult, München, Deutschland 14.05. – EKH, Wien, Austria 15.05. – Dopamin, Budapest, Ungarn 16.05. – AKC Attack, Zagreb, Kroatien 17.05. – Astro Club, Fontanafredda, Italien 18.05. – Live Stage, Innsbruck, Austria 19.05. – Rössli Bar, Bern, Schweiz 21.05. – Ebrietas, Zürich, Schweiz 22.05. – Juha West, Stuttgart, Deutschland 23.05. – P8, Karlsruhe, Deutschland 24.05. – Halle am Rhein, Köln, Deutschland 25.05. – B58, Braunschweig, Deutschland 

 

Source: Vampster

Die Death Metal / Grindcore PROFANATION hat nach “Global Terror” mit “Profanation” nun auch den Opener ihrer kommenden EP “Skull Crushing Violence” veröffentlicht. Es ist der erste Release der Franzosen rund um die Gitarristen Kev Desecrator (DESTRÖYER 666, VENEFIXION) und A.M. (REGARDE LES HOMMES TOMBER).

“Skull Crushing Violence” wird am 3. Mai 2024 via Iron Bonehead Productions erscheinen.

PROFANATION “Skull Crushing Violence” Tracklist
1. Profanation (Audio bei Bandcamp)
2. Global Terror (Audio bei Soundcloud)
3. Modern Sickness
4. Graveyard Stomp
5. No Surrender
6. Skull Crushing Violence

Source: Vampster

"Schnee" ist im Schaffen des Schweizer Black-Metal-Künstlers Wintherr alias​ Paysage D'Hiver allgegenwärtig und bildet einen vierteiligen Songzyklus, der nach und nach auf der LP-Compilation "Wurzelgeister" ('Schnee II', 2002) sowie Split-Veröffentlichungen mit Vinterriket ('Schnee I', 2003), Nordlicht und Drudkh ('Schnee III' and 'Schnee IV', 2017) erschien.
Alle vier Stücke - entstanden innerhalb einer Zeitspanne von fast 20 Jahren, wobei unterschiedliche Facetten von Schnee verarbeitet wurden - sind nun erstmals auf CD erhältlich. Sie wurden eigens für diesen Release teilweise neu abgemischt und alle remastert.

Tracklist:
1. Schnee (I)
2. Schnee (II)
3. Schnee (III)
4. Schnee (IV)

Source: Prophecy

Few artists have transcended the confines of mere celebrity as much as Michael Hutchence, the captivating frontman of the Australian band INXS, who occupies a unique place in the pantheon of rock history. A quintessential rock star, Hutchence captivated audiences with his suave demeanor, magnetic charisma, and distinctive vocal style, manifesting a larger-than-life persona that was the embodiment of rock and roll spirit. The shock of his untimely death in 1997 sent ripples through the music world, leaving a void that was felt profoundly by his fans, friends, and contemporaries.

Despite the passage of three decades since his departure, a hidden treasure of unreleased music from Hutchence continues to emerge, shedding light on his prolific creativity. Danny Saber, a distinguished producer and Hutchence’s close collaborator, renowned for his work with icons such as Madonna, the Rolling Stones, and U2, has dedicated himself to bringing these unfinished pieces to fruition. The recent release of the single “One Way” through Boss Sonics marks a significant posthumous addition to Hutchence’s musical legacy.

When Hutchence passed away, he had been intensely involved in the production of his debut solo album, engaging with influential figures like Andy Gill of Gang of Four, producer Danny Saber, and Tim Simenon from Bomb the Bass. This album, which saw the light of day two years after his death, was a bold step outside the shadow of INXS, featuring a blend of collaborations, primarily with Gill. It included standout tracks like the duet “Slide Away” with U2’s Bono, recorded posthumously, which highlighted the enduring appeal of Hutchence’s vocal prowess.

“One Way is the culmination of nearly two decades of work,” says Saber. “One of the fundamental reasons for releasing this music is to allow the fans to hear Michael’s voice on something new and fresh, offering a glimpse into what might have been, and, in turn, reawakening millions of people who may have simply forgotten about him.”

Saber recalls that Hutchence first contacted him in 1995. “Michael was a huge fan of my record (It’s Great When You’re Straight) and wanted to find the right sound for a solo record, a sound that would galvanize all the success he had with INXS and allow him to establish himself as a solo artist and spread his creative wings outside the confines of being the frontman of one of the most successful bands in the world.”

Working closely with Hutchence, the two became friends and creative partners. Over the next two years, they became very close collaborators. “The period we worked together was one of the best times of my life,” Saber remembers. “I had just broken through with a #1 record and having Michael as a ‘big brother’ to help me navigate this was so important to me.”

Before Hutchence’s death, a self-titled solo album was released posthumously two years later. Though that seemed like the end of his musical output, a trove of unreleased demos and song ideas resurfaced in a tape locker in London in 2006. “I set about reviewing the recordings to find out if there was enough of a quality for some sort of release,” says Saber.

Meanwhile, a documentary about Hutchence’s life was released in Australia and New Zealand, appropriately titled The Last Rockstar (2017), which included some snippets of these unfinished tracks. “I have been working towards bringing this music to the public for over 20 years,” he adds. “While some portions of these songs were featured in the documentary, the fully mastered versions had never been released.” Until now.

Taking one of the a capella vocal recordings that Hutchence left, Saber faithfully fleshed out and fashioned the track into “One Way,” ensuring it retained the elevated refinement that Hutchence demanded in life. “Michael and INXS set a really high standard for their music,” he explains. “I’ve said many times that you would be hard-pressed to find a crappy INXS song… a certain level of excellence had to be maintained!”

“One of the best things for me personally is that through this journey, I have come to a better understanding of what happened to Michael and why,” he says, referring to the emotional and tragic toll that fame and its excesses had on Hutchence. “I want to share that perspective as I really feel Michael’s story has so much relevance and value on so many levels, and along the way, hopefully we can shift the focus to how he lived and not how he died. Michael deserves to take his place in the pantheon of great frontmen and finally get the recognition he and the band deserve.”

Listen to One Way below:

With a legacy that extends over four decades, beginning with the iconic multi-platinum band INXS, who have sold over 50 million albums worldwide, which effectively makes them the biggest-selling Australian act ever, as well as his solo projects, including short-lived but adored side project Max Q and also starring in films such as Dogs in Space and Frankenstein Unbound, Hutchence was an unbridled talent whose cultural significance knew few bounds. Even in death, his impact continues.

Boss Sonics will be releasing this track and another, Save My Life, on a 10″ picture disc in mid-May.

Purchase HERE.

The post Listen to “One Way,” One of Two Lost Michael Hutchence Solo Songs to be Released by Producer Danny Saber appeared first on Post-Punk.com.

Source: Post-Punk.com

Anomia Report has emerged as a collaborative force, uniting creators, makers, and musicians with a shared history that stretches back to the depths of Chicago’s underground punk scene. Drawing inspiration from a diverse array of sources, including post-punk icons and heavy metal rebels, as well as the nostalgia of sugary cereals and Saturday morning cartoons, their arc began in 1985. Since then, they’ve continuously evolved, integrating new influences, tools, and techniques into their creative arsenal.

Their newly unveiled LP, God Laughs: Reflections on the Dark Art of Living for Another Day, marks a turning point in their journey. Above all, Anomia Report is driven by two things: connections and a will to create….the members of Anomia Report have never exactly aimed for fame. For the past four years, in fact, this tight-knit group has quietly released four LPs under three different monikers.

“We’ve had some questions,” says lyricist and multi instrumentalist Durak Polezny. “Why does your Spotify say ‘Ænemia Report’?” He laughs. “I don’t have a good answer. We kind of fail at branding, I guess. It’s not really what drives us.”

Musically, the record sees a return to guitar-based, heavy post punk, diverging from the production-oriented sound of 2023’s “Big Electric Remix.” God Laughs is a return to a more live-oriented sound. Lyrically, however, things take a much heavier turn and marks a significant change for the collective. In a departure from the sardonic narrative style of their previous works, “God Laughs” delves into more personal and emotionally charged territory. The album’s lyrics peel back layers, revealing the group’s raw emotions—anger, despair, and a dark, yet sometimes humorous, perspective even in the face of serious subject matter.

“We make the sounds that we’re inspired to make,” says Polezny. “And we’re inspired by each other. Sometimes those are heavy rock tracks like ‘Everyone Dies.’ At other times, they’re spacy piano tunes like ‘I Don’t Have the Words…If you are moved by something, you’ve got to get it out, right? That’s where we start. What comes next is the journey of creation.”

Lister Pew, vocalist and agent provocateur, describes the process as “the most intense artistic experience of my life.”

The opening track When I Crack explores moments of intense pressure and struggle, yet also resilience and determination shine through. Despite overwhelming feelings of isolation, there’s a sense of solidarity in confronting challenges and breaking free. Following this, Next Life delves into a sense of monotony and yearning for change. The speaker feels trapped in a repetitive cycle, longing for the presence of someone significant. However, there’s a palpable readiness for a fresh start, a new chapter, and a renewed sense of belief.

In Old Habits (Part 1), the track takes an unexpected turn with a spoken word interlude, where various voices recite a stern letter dissolving a contract. Jazzy piano and sax solos pepper the piece, creating a peculiar ambiance reminiscent of Fad Gadget and Tuxedomoon. This theme continues in I Ain’t Over It, delving into lingering resentment and regret over past mistreatment. Wasted reflects on lost love and its influence on identity. Check My Pulse recounts a night with old friends, where an unexpected exclusion prompts a supportive intervention. Despite uncertainties, the speaker asserts their vitality and determination.

Everyone Dies ponders the feeling of the world halting and the illusion of control. They question which hardships one wishes would cease and where they’ll find themselves when options dwindle. The refrain emphasizes the inevitability of mortality. I Don’t Have The Words delivers exactly as promised: it is a minimalist song expressing a sense of emptiness and longing. God Laughs pushes us onto a rollercoaster of fortunes, from wealth to poverty, as luck ebbs and flows. Despite playing by the rules and achieving success, unexpected twists leave the protagonist feeling out of control. Ultimately, the song reflects on the inevitability of divine laughter at human folly and ambition. The album concludes with Old Habits (Part 2), leaving us with a sense of unease and discomfortThe repetition of “I can’t feel my face” emphasizes their growing concern and disconnection from their body. Despite questioning if their face is still present, the uncertainty persists.

God Laughs: Reflections on the Dark Art of Living for Another Day is available now for purchase on Bandcamp and streaming on all platforms.

Listen below, and order here.

God Laughs: Reflections on the Dark Art of Living for Another Day by Anomia Report

Their previous experimental forays during the production of The Mycelium Sessions led to more eclectic ideas for song structure and instrumentation. God Laughs: Reflections on the Dark Art of Living for Another Day presents a compelling spectrum of energy and emotion, shifting between moments of restraint and bursts of intensity. Across its eleven tracks, the album offers a fusion of bass-driven, dark alternative rock, enriched by the prominent presence of piano, jazz and Latin influences, and percussive synthesizers.

“We did a lot more production work on The Mycelium Sessions,” Polezny reflects. “It was a way to get more exposure for the Big Electric Eye songs, which we thought were great, and allow for more sonic experimentation. We wanted to turn things on their head and see what we could do.”

“In the end, we’re here trying to make things better, right?” Polezny says. “We all like to laugh. If we don’t come out of this process having created something that is enjoyable, we need to get back to work.”

Follow Anomia Report: 

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Website
Spotify
Bandcamp

The post Listen to Chicago Outfit Anomia Report’s Latest LP “God Laughs: Reflections on the Dark Art of Living for Another Day” appeared first on Post-Punk.com.

Source: Post-Punk.com

In 1991, Moonshake emerged from the collaborative efforts of David Callahan, formerly of The Wolfhounds, and Margaret Fiedler, whose artistic roots trace back to New York. The ensemble quickly solidified with John Frenett bringing his bass skills to the fore and Miguel “Mig” Moreland on drums. Their initial EP, released by Creation Records, marked the beginning of an adventure that would later see them join forces with the Beggars label.

The debut album, Eva Luna, arrived in 1992 to critical acclaim. Drawing from a wide array of musical influences, from Can to Erik B & Rakim, Moonshake’s music was a defiant mosaic that eschewed the confines of genre.

Taking its cue from Isabel Allende’s literary masterpiece, Eva Luna hinted at a depth of lyricism and extraordinary thematic richness. At the heart of Moonshake’s magic was the dynamism between David Callahan and Margaret Fiedler; their unique musical perspectives melded to form an innovative, intriguing sound. On Eva Luna, the songwriting duties are evenly distributed, showcasing the distinct styles of Callahan and Fiedler. Callahan’s contributions are charged with a certain fury, echoing the dissonant chords of post-punk rebellion – as if someone decided to throw the very essence of urban chaos into a blender, set it to ‘bewitch’, and then poured out a record. Truly, it’s like listening to the city’s heartbeat—if the city were in the midst of a particularly thrilling nervous breakdown. Fiedler, on the other hand, brings a different edge to the table—her tracks are just as sharp in their angularity, but are distinguished by a softer touch. Her vocals, often hushed to a near whisper, weave through the music, creating a compelling counterpoint to Callahan’s more aggressive tones.

Add to the mix Guy Fixsen’s engineering wizardry, and you had a record that has stood the test of time.

This dynamic interplay between the two songwriters adds a rich, textured layer to the album, making Eva Luna a study in contrasts and a beautiful homage to the creative synergy at the heart of Moonshake.

Moonshake’s brazen disregard has all the confidence of a cat sauntering where it pleases. Quite frankly, there hasn’t been anything quite like Eva Luna, before or since. One might say, without a hint of exaggeration, that it’s a record that broke the mold, then had the audacity to dance on the pieces.

Listen to Eva Luna below:

The original Moonshake crew parted ways in 1993, each venturing into new musical territories. Fiedler and Frenett teamed up with Fixsen to form Laika, while Callahan kept the Moonshake flame alive with a rotating cast of musicians until the band’s final act in 1997. The legacy of Moonshake’s brief but blazing path through the music scene remains untouched, however.

Beggars Arkive is thrilled to announce the deluxe reissue of Moonshake’s seminal debut album, Eva Luna, masterfully re-mastered from the original analogue ½” tape. This special edition, due out October 6th, 2023, is pressed on double blue vinyl and includes an expansive 19 tracks. Beyond the original album’s 10 tracks, this edition features the three-song single Secondhand Clothes, the two b-sides from the Beautiful Pigeon single, and four tracks from a November 1992 John Peel session. Complementing the auditory experience, the reissue comes with an 8-page full-color booklet.

Preorder the vinyl version here,

Track Listing:

Side A:

City Poison
Sweetheart
Spaceship Earth
Beautiful Pigeon
Mugshot Heroine

Side B:

Wanderlust
Tar Baby
Seen & Not Heard
Bleach & Salt Water
Little Thing

Side C:

Secondhand Clothes
Blister
Beeside
Home Survival Kit
Drop In The Ocean

Side D (BBC Radio 1 John Peel Session):

Coming
Beautiful Pigeon
Sweetheart
Mugshot Heroine

The post 90s Experimental Rock Act Moonshake’s “Eva Luna” Receives Reissue on Deluxe Edition Double Blue Vinyl by Beggars Arkive appeared first on Post-Punk.com.

Source: Post-Punk.com

Genre/Influences: Dark-Electro, Cinematic-EBM. Format: Digital, CD. Background/Info: Yelworc don’t need any further introduction to EBM...

Source: Side Line

What I consider to be one of industrial?'s hidden gems has just launched their second single off their forthcoming album which I don?'t believe has an official title as of just yet?'?Or at least not one that I?'ve seen yet. Or maybe I did, and I?'m just forgetting. Either way, Cell Zero is

Source: EBM.gr

Das Metal Punk Trio BAT veröffentlicht das nächste Album “Under The Crooked Claw” am 17. Mai 2024 via Nuclear Blast Records; enthalten sind auf der Platte insgesamt 13. Tracks. Zu zwei davon kann man sich vorab einen Videoclip ansehen: “Streetbanger” bei YouTube sowie “Rite For Exorcism” bei YouTube.

Sänger Ryan Waste kommentiert die Platte:

„Dieses Album entstand in dunklen Zeiten und seine Aggression spiegelt das sicherlich wider. Nick, Chris und ich hämmerten Lied um Lied in einem schmuddeligen, schimmelbefallenen Lagerhaus, um unseren Ärger über den Zustand der Welt in das zu verwandeln, was zu ‘Under the Crooked Claw’ wurde. Um den Ton für das Album zu setzen, rief ich den legendären italienischen Horror-Maestro Fabio Frizzi dazu auf, ein Intro zu komponieren, kurz bevor BATs rohe Kraft deine Ohren angreift. Während ich gleichzeitig an einem Heavy-Metal-Horror-Drehbuch mit Norman Cabrera arbeitete, teilte ich ihm einige der neuen BAT-Songs mit. Mit unserem gemeinsamen Geschmack in Film und Vision haben wir zwei Videokonzepte für das kommende Album basierend auf meinen Texten entwickelt. Das erste Angebot ist unsere Wendung einer Geschichte über einen Exorzismus, der schiefgeht, den Norman komplett an das Kreuz genagelt hat.“

BAT ist die Speed Metal-Spielwiese von Bassist und Sänger Ryan Waste (MUNICIPAL WASTE, VOLTURE), Gitarrist Nick Poulos (MUNICIPAL WASTE, Ex-CANNABIS CORPSE) sowie Drummer Chris Marshall.

Gemischt wurde “Under The Crooked Claw” von Arthur Rizk, das Mastering übernahm Joel Grind.

BAT “Under The Crooked Claw” Tracklist
1. Una Torcia Illumina Il Cielo (Fabio Frizzi)
2. Vampyre Lore
3. Rite For Exorcism (Video bei YouTube)
4. Streetbanger (Video bei YouTube)
5. Just Buried
6. Warshock
7. Horror Vision
8. Battered
9. Revenge of the Wolf
10. Marauders of Doom
11. Electric Warning
12. Bastardized Force
13. Final Strike

BAT “Under The Crooked Claw” Artwork

Source: Vampster

Renowned for his enigmatic presence and evocative soundscapes, Hermidgets is a seasoned musician with a wealth of experience both on stage and in the studio. With a deep-seated passion for music fueling every endeavor, Hermidgets’ expertise spans various domains, including songwriting, arrangement, performance, vocal work, aesthetics, and videography.

Hermidgets uses his expansive and eclectic musical palate to gravitate toward melancholic melodies that strike a chord with his creative soul. Specializing in synth-pop, the artist meticulously crafts sophisticated, boundary-shattering tracks by blending unsettling and distorted tones. While personal passions and influences leave an indelible mark, Hermidgets remains steadfast in the commitment to breaking away from cliché.

In a digital age where self-promotion often takes center stage, Hermidgets embraces anonymity, believing that the essence of creation should speak for itself, devoid of any preconceived notions. For Hermidgets, art transcends individual identity, inviting listeners to forge their own connections with the music, free from the constraints of personalism.

Now, Hermidgets reveals Meaninglessness, a haunting synth-pop single that merges past influences with contemporary sounds. Exploring existential themes and the fleetingness of human existence, the track immerses listeners in an unsettling atmosphere.

In Meaninglessness, Hermidgets delivers a poignant blend of sorrow and comfort through his vocals. The song beckons listeners to delve into their own existential ponderings, urging them to come to terms with life’s mysteries and their own place within it.

In a surreal spectacle evoking the imagery of Scary Stories to Tell In the Dark and Pink Floyd’s The Wall, the striking video, meticulously directed and edited by Hermidgets, showcases his mind-blowing artistry. Embracing his penchant for anonymity, the visuals effortlessly meld with the ethereal ambiance of the music. Hermidgets’ enigmatic presence becomes entwined with the twisted tendrils of the surrounding trees, casting an eerie spell over the viewer and amplifying the evocative power of immensa vanitas.

Watch the video  for “Meaninglessness” below:

Meaninglessness was mixed by Matteo Sandri, renowned for his work with Sananda Matreya, and mastered by Kevin Paul (David Bowie, Depeche Mode, Goldfrapp).

Hermidgets’ second album, NIHIL, will be released on June 2nd. It is his first release since 2020’s The Mire.

Pre-Order Here

NIHIL by Hermidgets

Follow Hermidgets:

Facebook
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YouTube
Bandcamp

The post Dark Synthpop Project Hermidgets Debuts Haunting and Surreal Video for “Meaninglessness” appeared first on Post-Punk.com.

Source: Post-Punk.com

Die Black Metal-Band CODEX MORTIS hat mit “Tales of Woe” ein neues Album angekündigt. Es ist nach “What Befalls of Tainted Souls” (2021) das zweite Album der Niederländer und wird am 21. Juni 2024 via Black Lion Records erscheinen. Gemixt und gemastert wurde das Album von Ronnie Björnström (u.a. für BLOOD RED THRONE tätig).

Das Album erzählt von einem bösen Geist, der einen Mann durch dämonische Besessenheit und Gedankenkontrolle quält. Mit schrecklichen Visionen von seinen früheren Opfern versucht der böse Geist, den Mann in einen Mörder zu verwandeln. Der Mann entzieht sich seinem Einfluss, indem er sich das Leben nimmt, ein verzweifelter Versuch, den Kreislauf des Terrors zu beenden. Das entsprechende Cover-Artwork stammt von Vladimir ‘Smerdulak’ Chebakov (u.a. für 1914 tätig).

Vorab gibt es das Lyric-Video zu “Capricious Disembodied Villain“.

CODEX MORTIS Line-Up:
Dirk Willems – Vocals
Jos Schilder – Lyrics
Michiel van der Plicht – Drums
Arjan van Dune – Guitars
Mathieu Westerveld – Bass

CODEX MORTIS “Tales of Woe” Tracklist
1. Forsaken
2. Capricious Disembodied Villain (Lyric-Video bei YouTube)
3. Chosen
4. Trenched in Blood
5. Fire Screams and Death
6. It Dies with Me

Source: Vampster

PRONG covern RUSH: Die Single “Working Man” gibt’s ab sofort als Video bei YouTube . In einer kürzeren Version ist der Track auch auf dem aktuellen PRONG-Album “State Of Emergency” zu hören.

PRONG-Gitarrist und Sänger Tommy Victor erklärt, warum er ausgerechnet diesen RUSH-Song covert:

“RUSH war das erste Power-Trio, das ich je live gesehen habe. Ich war hin und weg! Das Riff in ‚Working Man‘ ist simpel aber gleichzeitig heavy. Außerdem liebe ich den Text. Ich dachte, es wäre eine großartige Idee, den Song tiefer gestimmt und langsamer zu spielen. Der Versuch hat sich gelohnt.“

Source: Vampster

Die Power Metal-Band LEGIONS OF THE NIGHT hat mit “Darkness” ein neues Album angekündigt. Es ist nach “Sorrow Is the Cure” (2021) und “Hell” (2022) das dritte Album des deutschen Trios aus Bochum, welches aus Gitarrist und Bassist Jens Faber (DAWN OF DESTINY, MALEFISTUM, EXOS), Drummer Philipp Bock (DAWN OF DESTINY) sowie Sänger Henning Basse (METALIUM, Ex-FIREWIND) besteht.

“Darkness” wurde von Dennis Köhne gemastert und wird am 12. Juli 2024 via Pride & Joy Music erscheinen. Vorab gibt es mit “Another Devil” ein Lyric-Video.

LEGIONS OF THE NIGHT “Another Devil” (Lyric-Video bei YouTube)

Source: Vampster

Auch 2024 steigt Am Hawerkamp in Münster die nächste Auflage des VAINSTREAM ROCKFESTs, das zudem abermals eine Premiere feiern wird: Erstmalig findet das Open Air Festival an zwei Tagen statt – angesetzt sind der 28. und 29. Juni 2024.

Tickets gibt es im offiziellen Festivalshop zum aktuellen Preis von 159,90€.

Jetzt haben die Organisatoren mit DONOTS und THROWN zwei weitere Bands bestätigt. Die Ankündigung folgt auf die Verpflichtung von OF MICE & MEN für das Festival. Davor gab es die letzte Bandwelle im Februar, wo acht weitere acht weitere Acts für das Open Air bekannt gegeben wurden: THE HIVES, ENTER SHIKARI, AGNOSTIC FRONT, GET THE SHOT, MOVEMENTS, SPANISH LOVE SONGS, JESSE BARNETT sowie CONSERVATIVE MILITARY IMAGE werden im Juni live zu sehen sein.

In einer zweiten Ankündigungswelle wurden jetzt fast 40 neue Acts bekannt gegeben, darunter auch die Headliner PARKWAY DRIVE sowie DROPKICK MURPHYS. Des Weiteren treten auf: THE INTERRUPTERS, SONDASCHULE, FIT FOR A KING, ERRA, ADAM ANGST, BANE, DYING FETUS, COMEBACK KID, ALPHA WOLF, THE RUMJACKS, THE IRON ROSES, BRAND OF SACRIFICE, INCENDIARY, MAKE THEM SUFFER, ZULU, GEL, GUILT TRIP, MANDELKOKAINSCHNAPS, STILL TALK, SILVERSTEIN, ATREYU, COUNTERPARTS, BETONTOD, ROGERS, NASTY, BOSTON MANOR, STOMPER 98, SKINNY LISTER, HOT MULLIGAN, BLACKOUT PROBLEMS, SCOWL, BETTER LOVERS, GRADE 2, DYING WISH sowie CALVA LOUISE.

Zuvor veröffentlichten die Veranstalter eine erste Bandwelle. Mit dabei sind diesmal AGAINST THE CURRENT, BURY TOMORROW, FEINE SAHNE FISCHFILET, THE GASLIGHT ANTHEM, ICE NINE KILLS, LIONHEART, NEAERA, NECK DEEP, THY ART IS MURDER, WARGASM sowie ZSK.

Übersicht: VAINSTREAM ROCKFEST 2024 Lineup, Billing & Bands
(Stand: 15.04.2024)

Headliner

DROPKICK MURPHYS
ENTER SHIKARI
PARKWAY DRIVE
THE HIVES

Alle weiteren Bands auf dem VAINSTREAM ROCKFEST 2024 in alphabetischer Reihenfolge

ADAM ANGST
AGAINST THE CURRENT
AGNOSTIC FRONT
ALPHA WOLF
ATREYU
BANE
BETTER LOVERS
BETONTOD
BLACKOUT PROBLEMS
BOSTON MANOR
BRAND OF SACRIFICE
BURY TOMORROW
CALVA LOUISE
COMEBACK KID
CONSERVATIVE MILITARY IMAGE
COUNTERPARTS
DONOTS
DYING FETUS
DYING WISH
ERRA
FEINE SAHNE FISCHFILET
FIT FOR A KING
GEL
GET THE SHOT
GRADE 2
GUILT TRIP
HOT MULLIGAN
ICE NINE KILLS
INCENDIARY
JESSE BARNETT
LIONHEART
MAKE THEM SUFFER
MANDELKOKAINSCHNAPS
MOVEMENTS
NASTY
NEAERA
NECK DEEP
OF MICE & MEN
ROGERS
SCOWL
SILVERSTEIN
SKINNY LISTER
SONDASCHULE
SPANISH LOVE SONGS
STILL TALK
STOMPER 98
THE GASLIGHT ANTHEM
THE INTERRUPTERS
THE IRON ROSES
THE RUMJACKS
THROWN
THY ART IS MURDER
WARGASM
ZSK
ZULU

Source: Vampster

Die Post-Black Metal-Band CHROME WAVES hat mit “Lost Horizon Live 1/5/2024” ein neues Live-Album angekündigt. Es ist nach vier Studioalben das erste Live-Album der US-Amerikaner aus Chicago und wird am 7. Juni 2024 via Disorder Recordings erscheinen. Vorab gibt es den Opener “When Night Falls” zu hören.

“Ich bin seit meiner Kindheit ein Fan von Live-Alben, von der rohen Punk-Attitüde der frühen Bootlegs von NIRVANA bis zur bezaubernden Atmosphäre von EMPERORs “Emperial Live Ceremony”, und ich will uns keineswegs vergleichen, aber ich denke, dass CHROME WAVES irgendwo zwischen diesen beiden liegt. “Lost Horizon” war meine erste Chance, die Produktion einer Live-Performance zu beaufsichtigen, und das Ergebnis übertrifft meine Erwartungen”, sagt Gitarrist Jeff Wilson, der das Album auch gemixt und gemastert hat.

CHROME WAVES “Lost Horizon Live 1/5/2024” Tracklist
1. When Night Falls (Audio bei Bandcamp)
2. New Skin
3. Under The Weight Of A Billion Souls
4. When The Sun Hits
5. Wind Blown
6. Past The Lights

Source: Vampster

Die Epic Black Metal-Band SLECHTVALK hat einen Labeldeal bei MDD Records unterschrieben. Damit einher wird der Release eines neuen Albums der Niederländer gehen, welches im Herbst 2024 zu erwarten sein wird. Es wird das sechste Album der seit über 25 Jahren aktiven Band sein.

Source: Vampster

Der Soft Cell-Frontmann Marc Almond hat ein neues Soloalbum angekündigt. Mehr Infos und die erste Single hier!

Source: Sonic Seducer

  tAngerinecAt – Kulttempel, Oberhausen (13.03.2024)

Source: monkeypress.de

I’m just an alien on the run from another time and place.
Avant-garde and experimental artist Black Dahlia creates a captivating quirkiness that casts a colorful shadow in the experimental music scene. She weaves her unique artistry across the cultural expanses of the United Kingdom and Australia, with few modern parallels to her exquisite art rock theatrics. Coming from a rich background in theatre and dance, she explores the intricate mazes of performance studies and jazz theory, resulting in a diverse spectrum of progressive-infused musical projects.

Her latest offering, “Bodyguard,” marks a significant chapter in her artistic chronicle, showcasing an audacious exploration of sound and performance. Adorned in an oversized suit and Steve Strange-inspired makeup, Black Dahlia channels the pioneering spirit of Laurie Anderson. Her work also resonates with the avant-garde echoes of icons like Talking Heads, Klaus Nomi, Peter Gabriel, Kate Bush, and David Bowie, drawing on their groundbreaking approaches to art and music.

Black Dahlia stands distinct in a realm often dominated by superficial tributes, plunging fearlessly into the enigmatic and the eccentric. With “Bodyguard,” she embraces a bold defiance of conventional norms, offering an invitation to her audience to immerse themselves in the vibrant and often surreal waters of the avant-garde. Her work is not just a listening experience but a call to engage with the transformative power of music as both spectacle and deep personal expression.

“I’ve been performing within theatre and music my entire life,” she explains. “My heart lies there – in the theatre. My stage performances often have elements of mime and embodying different characters, and I have no limit in what I want to do and feel is necessary for my art. It’s really important to me to bring more theatre into the music scene in general.”

In the latest visual offering, helmed by none other than Black Dahlia herself and captured through the lens of cinematographer Throne, a flamboyant journey through musical genres unfolds. Within this avant-garde realm, the boundaries blur as eccentric art pop takes centre stage.

“Bodyguard is a theatrical exploration of gaining a new body but your soul remains,” the artist explains. “It is a sonnet to your past physical body in this realm and the new union that will inevitably be formed. A harsh and gentle celebration of your capabilities, your limits, and your destiny.”

In addition to directing the music video, Black Dahlia served as producer, art director, choreographer, and concept creator for the project. Through a stunning array of roles, she epitomizes the essence of performance art, seamlessly weaving together elements of contortion, mime, surrealism, Dada, the avant-garde, and body horror. With nods to the irreverent spirit of a John Waters film, her portrayal exudes a mesmerizing blend of wit, creativity, and daring exploration.

Bodyguard also features cameos from Melbourne-based artists: Bura Bura as Dr Barget Hower, Manda Wolf as Dr Avanti and Cong Josie as Dr Cong. The artwork for the single was illustrated by artist Colin J Thompson and pays homage to surrealist artworks.

The video goes full throttle, unleashing a whirlwind of eccentric choreography, whimsical montages, and daring green screen exploits. But it’s a particular scene that steals the show, evoking the hauntingly surreal hospital musical sequences reminiscent of Dennis Potter’s iconic series, The Singing Detective.

Watch the video for “Bodyguard” below:

Black Dahlia’s formative years were split between Germany and the UK before settling in Australia, profoundly shaping her eclectic musical palette. Early exposure to experimental music in her youth, combined with formal training in dance, vocals, and keyboard from kindergarten, laid the groundwork for her artistic development. Throughout her childhood, she showcased her talents at local events and competitions, eventually attending a public performing arts high school to further hone her skills in both drama and music.

It was during this period that Black Dahlia began her foray into songwriting, composition, and production as a teenager. Drawn to the echoes of New Beat in Düsseldorf and the atmospheric allure of dark streets, she found inspiration in synthesizer pop and art pop. Her dedication to her craft was recognized with two honorary scholarships from a performing arts association, affirming her burgeoning talent and commitment to musical innovation.

She then moved to Sydney in 2015, where her art direction and eclectic style found a home. Amidst the vibrant Sydney art scene, she founded and led the hyper-vintage-pop project Daisy, gracing stages at events like Beams Festival 2015 and Heaps Gay. Embracing constant reinvention in an avant-garde fashion, she became renowned for her flamboyant, 80s-inspired attire and wigs. In 2016, she took on the role of keyboardist for Sydney-based alternative Prog band, Zu Khanu.

The Black Dahlia’s performances are often compared to artists such as Klaus Nomi and Peter Gabriel. Along with multiple international music releases and premieres, she has performed alongside artists such as Kris Baha, Buzz Kull, Zanias, Enola, Rebel Yell and has also performed at acclaimed Tasmanian music festival, Dark Mofo, alongside artists such as Kim Gordon, Nils Frahm, Spiritualized, and Chelsea Wolfe.

Find Bodyguard on Bandcamp and Spotify.

Bodyguard by Black Dahlia

Follow Black Dahlia:

YouTube
Instagram
Bandcamp
Spotify
Facebook

The post New Wave Art-Rocker Black Dahlia Debuts Her Quirky and Avant-garde Video for “Bodyguard” appeared first on Post-Punk.com.

Source: Post-Punk.com

Am Samstag waren Hell Boulevard und Sanz im Logo in Hamburg zu Gast. Seht hier unsere Foto-Galerie vom Abend!

Source: Sonic Seducer

  From the gritty streets of Baltimore comes the industrialized nü-metal of DEKAY as the enigmatic artist has now signed with Sliptrick Records. This announcement follows the March 15 independent release of his debut single, “FEAR (within),” and its corresponding video, demonstrating DEKAY’s aggressive merger of grinding riffs, haunting atmospheres. and driving synthetic rhythms; inspired […]

Source: EBM.gr

„Sweet Ermengarde“ lautet der Titel einer Erzählung von H.P. Lovecraft. Die Idee des Bandnamens stammt von Gründer und Bassist Lars. Das letzte Album der deutschen Goth-Rocker heißt „Ex Oblivione“ und erschien 2016. Acht Jahre sind relativ lang. Wir fragen in unserer Mai/Juni-Ausgabe, woran das lag und sprechen – inspiriert vom Titel des neuen Albums „Sacrifice“ […]

Source: Orkus

GENERATION STEEL haben einen neuen Frontmann: Ab sofort übernimmt Dirk Meyer (ex-IVORY TOWER; Foto) den vakanten Posten am Mikro. Wie sich das anhört, verrät die Heavy-Metal-Band aber erst am 2. Mai 2024, wenn die neue Single “Steelers” erscheint.

Aktuell arbeiten GENERATION STEEL an ihrem dritten Studioalbum.

GENERATION STEEL Tourdaten 2024

10.05.24 · DE – WETZLAR Franzis
24.05.24 · DE – KÖLN MTC Live Music Club

GENERATION STEEL Line-up 2024
Dirk Meyer (Gesang)
Jack the Riffer (Gitarre)
Pascal Lorenz (Lead-Gitarre)
Gastmusiker:
Andreas Drommershausen (Bass)
Marc Laukel (Schlagzeug)

Source: Vampster

Carpe diem. Wenn jemand wie Mark Whelan auf eine der geläufigsten Lebensweisheiten zurückgreift, dann weiß er, wovon er spricht. Erst Ende 2021 bekam der Gitarrist und Sänger die Loikämie-Diagnose. Die Zukunft lange ungewiss, konnte Whelan die Krankheit nach Therapie und Knochenmarktransplantation im Jahr 2022 besiegen. Wenn uns der Bandkopf im Vorfeld des Zweitwerks „Last Day Of Sun“ also jene Worte mit auf den Weg gibt, ist das keine bloße Plattitüde, sondern eine Lehre aus dem eigenen Erfahrungsschatz.

Zwischen fiktionalem Konzept und harter Wirklichkeit treffen die rohen Death-Metal-Kompositionen der US-Amerikaner somit umso schwerer, egal ob FUMING MOUTH in „Respect & Blasphemy“ phasenweise drauflosholzen oder „Out Of Time“ zum Auftakt die dreckige Walze mimt. Dass hier überwiegend der schwedische Death Metal alter Schule Pate stand, ist schon dem Gitarrensound anzuhören, der natürlich stilecht in bester HM-2-Manier sägt und knarzt, dass sich die Balken biegen.

FUMING MOUTH lassen uns auf “Last Day Of Sun” ihre Entschlossenheit spüren
Puristen sind hier allerdings keineswegs am Werk: Hardcore- bzw. Crust-Einflüsse komplettieren die DNA der Band, die in „The Silence Beyond Life“ sogar überaus erfolgreich mit dosiertem Klargesang experimentiert. Experimente wie hier hätten wir im weiteren Verlauf der Platte gerne mehr gehört, um die Frische des Auftakts über die komplette Dreiviertelstunde beizubehalten.

Wenngleich also die Begeisterung mit zunehmender Spieldauer etwas abflaut, behält „Last Day Of Sun“ immer sein gutklassiges Grundniveau bei. Sogar das schräge Akustik-Stück „Leaving Euphoria“ hat als Ruhepol seinen Platz, um das rotzige „I’ll Find You First“ umso belebender wirken zu lassen. Ob nun aber FUMING MOUTH wie hier verschiedene Stile ineinanderfließen lassen, im Titeltrack sich von ihrer schleppenden Seite zeigen oder in „Kill The Disease“ relativ unverblümt dem Oldschool-Death-Metal huldigen: Durchzogen ist jedes der Stücke von einer latenten Entschlossenheit, als würde uns Mark Whelan auffordern wollen, aller etwaigen Widrigkeiten zum Trotz nie den Kopf in den Sand zu stecken. Nutze den Tag, solange die Sonne noch am Himmel steht.

Veröffentlichungstermin: 03.11.2023

Spielzeit: 46:43

Line-Up
Mark Whelan – Vocals, Gitarre
Andrew Budwey – Gitarre
Patrick Merson – Bass
James Davis – Schlagzeug

Produziert von Kurt Ballou und Alan Douches (Mastering)

Label: Nuclear Blast

Homepage: https://fumingmouth.com/
Facebook: https://www.facebook.com/fumingmouth/

FUMING MOUTH “Last Day Of Sun” Tracklist

Out of Time
Respect and Blasphemy
The Silence Beyond Life (Video bei YouTube)
The Sign of Pain
Leaving Euphoria
I’ll Find You (Video bei YouTube)
Disgusterlude
Kill the Disease (Lyric-Video bei YouTube)
Last Day of Sun
R.I.P. (Rest in Piss)
Burial Practices
Postfigurement

Source: Vampster

BLAZING ETERNITY
„A Certain End Of Everything“
(Melancholic Dark/Doom Metal)

Wertung: Empfehlung!

VÖ: 19.04.2023

Label: Mighty Music

Webseite: Facebook

Die Dänen BLAZING ETERNITY sind nach 20 Jahren mit einem neuen Album zurück und bieten für Freunde des melancholischen Metals gleich ein Jahreshighlight. „A Certain End Of Everything“ ist eine Dreiviertelstunde modern eingespielter und dennoch old schooliger Dark/Doom Metal, wie er mich – zu Hochzeiten des Gothic Metals – auch vor 20 Jahren fasziniert hat. Mit ihrem Debütalbum ”Times And Unknown Waters” (2000) – damals bei Prophecy Productions erschienen – hat mich die Musik der Band schon damals fasziniert. Auch einen Liveautritt in 2001 mit Dornenreich, Mysterium und Paragon Of Beauty durfte ich miterleben. Umso neugieriger war ich nach so langer Ruhe auf das neue Album.

Gleich die erste Single, „One Thousand Lights“, offenbarte vor einigen Wochen ein mögliches Highlight. Seitdem habe ich den Opener von „A Certain End Of Everything“ bestimmt schon über 100 Mal gehört, denn der wird einfach nicht langweilig. Mitreißend, melancholisch und eingehüllt in eine dunkelschöne Atmosphäre trifft der Song voll meinen Nerv. Auch die weiteren sechs Tracks des Albums lassen das alte Herz höher schlagen und ziehen einen in einen tieftraurigen Abgrund, darunter vor allem der Titeltrack, der sich nachhaltig in die Gehirnwindungen schleicht.

Für die klare und moderne Produktion sorgte Jacob Gundel (Withering Surface, Invocator etc.). Gemischt und gemastert hat Markus Stock Schwadorf (Empyrium, The Vision Bleak, Alcest, etc.), der auch die ersten beiden Alben von BLAZING ETERNITY produziert hat. Der Kreis schließt sich erstmal zu den Anfängen der Band und öffnet sich hoffentlich für weitere Musik in den nächsten Jahren.

Aber erstmal genießt „A Certain End Of Everything“ und hoffentlich wie ich jeden Song daraus. Ein Dark/Doom Metal Leckerbissen für Melancholiker alter Schule. (eller)

Source: Amboss-Mag.de

Die Metalcore- / Alternative Metal-Band WAGE WAR hat eine neue Single samt Musikvideo veröffentlicht: “NAIL5” kann man u.a. via YouTube anhören.

Auch “Magnetic” gibt es in Bild und Ton bei YouTube. Dabei handelt es sich um den ersten neuen Track seit dem Studioalbum “Manic” (2021) sowie der Akustik-Platte “The Stripped Sessions” (2022).

Entnommen sind alle Singles dem kommenden Werk “Stigma”, das am 21. Juni 2024 via Fearless Records digital erscheinen wird. Die physische Variante der Platte folgt dann am 6. September 2024.

WAGE WAR “Stigma” Tracklist

THE SHOW’S ABOUT TO START
SELF SACRIFICE
MAGNETIC (Video bei YouTube)
NAIL5 (Video bei YouTube)
BLUR
TOMBSTONE
HAPPY HUNTING
HELLBENT
IN MY BLOOD
IS THIS HOW IT ENDS?

WAGE WAR Line-up 2024
Briton Bond [lead vocals]
Cody Quistad [rhythm guitar, clean vocals]
Seth Blake [lead guitar]
Chris Gaylord [bass]
Stephen Kluesener [drums]

Source: Vampster

Die Brutal Death Metal-Band OLAMOT hat nach dem Lyric-Video zu “Soul Harvest” und “Everlasting Chains Of Darkness” mit “All Seeing Eye” einen dritten Track ihres kommenden Albums “Path of Divinity” veröffentlicht. Es ist nach der 2021er-EP “Realms” das erste Album der italienischen Band. Erscheinen wird das Album am 29. April 2024 via Lethal Scissor Records.

OLAMOT Line-Up
Daniele Boccali – Songwriting, Rhythm Guitars
Edoardo Casini – Lyrics, Vocal Lines & Concept, Solo Guitars
Matteo “Shade” Vitelli – Vocals

OLAMOT “Path of Divinity” Tracklist
01. Eternal Sorrow (Intro)
02. Everlasting Chains Of Darkness (Audio bei Bandcamp)
03. Human Cloning Facilities
04. Where Chaos Reigns
05. Behold the Highest Throne
06. Adrenochrome
07. Soul Harvest (Lyric-Video bei YouTube)
08. Luciferic Allegiance
09. All Seeing Eye (Audio bei YouTube)

Source: Vampster

Die Modern Melodic Death Metal-Band BURN DOWN EDEN hat nach einem Video zum Opener “Reap The Apocalypse” mit “The War Within” einen weiteren Video-Clip von ihrer neuen EP “Dismal” veröffentlicht.

“Unsere neue Single ‘The War Within’ handelt von Depression und Selbstmord”, erklärt die Band. “Der Text wurde durch den sehr tragischen und schockierenden Tod von Trevor Strnad (THE BLACK DAHLIA MURDER) im Jahr 2022 inspiriert. Ich habe Trevor nie als depressiv erlebt, wenn ich die Band live gesehen habe, daher war sein Selbstmord ein ziemlicher Schock für mich und mir wurde klar, wie schwer es sein kann, zu erkennen, wie sich ein Mensch wirklich fühlt. Ich bin tiefer in dieses Thema eingetaucht und habe mir eines seiner letzten Interviews mit Metal Injection vor seinem Tod angesehen. Dort sprach er offen darüber, wie er sich innerlich fühlte, und viele dieser beschriebenen Gefühle findet man in diesem Song wieder.”

“Dismal” ist am 5. April 2024 via Seek & Strike erschienen und folgt der 2022er-EP “Sermonize” nach. Davor hat die Band (in ihrer rund zehnjährigen Bandgeschichte) auch drei Alben veröffentlicht.

BURN DOWN EDEN “Dismal” Tracklist
01 Reap The Apocalypse (Video bei YouTube)
02 Death Of A Songbird
03 Blood Splattered Symphony
04 Aim For The Stars
05 The War Within (Video bei YouTube)

Source: Vampster

Fast richtige Nachrichten: „Söder hört HIGH ON FIRE beim Erlass des Gender-Verbots.“ Gar nicht mal so weit hergeholt, immerhin sind HIGH ON FIRE eine der Bands, die den Testosteronspiegel kräftig ankurbeln. Die unschlagbaren ersten Alben des Trios mehr, das schwache 2018er Werk „Electric Messiah“ und das furiose, aber vergleichsweise substanzlose 2015er Album „Luminiferous“ weniger. Also ja, zuletzt sah es für das Trio nicht so rosig aus. Doch dass sich Matt Pike mit „Cometh The Storm“ an den eigenen Haaren aus der Songwriting-Krise ziehen würde, ließen die Vorzeichen bereits erhoffen: Alter Schriftzug? Check. Cover von Arik Roper? Check. Also, was soll da noch schiefgehen?

Und tatsächlich, bei „Cometh The Storm“ ist der Name Programm und HIGH ON FIRE erschaffen ein Album, das exzellent neben „Death Is This Communion“ ins Regal passt. Von der stilistischen Ausrichtung bis zur Struktur sind HIGH ON FIRE wieder genau an diesem Punkt angekommen, selbst ein kurzer Banger wie „Rumors Of War“ steht auf „Cometh The Storm“. Dass HIGH ON FIRE hier auf gefährlichem Terrain wandeln, sollte nicht außer Acht gelassen werden: Die Erfolgsformel der von Glanzzeiten zu kopieren hat schon viele andere Bands kaputt gemacht. Glücklicherweise tappen HIGH ON FIRE nicht in diese Falle. Sie klingen runderneuert, frisch und zwingend – und blasen zum Angriff.

Für „Cometh The Storm“ knüpfen HIGH ON FIRE an ihre Glanzzeiten an: Mit neuem Drummer klingt das Trio runderneuert, frisch und zwingend.
Möglicherweise hat Frontviech Matt Pike hieran nicht einmal den größten Anteil. Drummer Coady Willis (BIG BUSINESS, ex-MELVINS) ersetzt den 2019 ausgestiegenen Ur-Schlagzeuger Des Kensel und zerstreut sogleich sämtliche Sorgen, er wäre zu zahm für den urwüchsig-brachialen Sound von HIGH ON FIRE. „Cometh The Storm“ profitiert von seinem mal primitiven, mal überraschend komplexen, aber immer kraftvollen Spiel, mit dem er die Band gnadenlos antreibt. Gut möglich also, dass sein Spiel das Songwriting indirekt geprägt hat, durch die Neuaufstellung des Bandgefüges.

Dass „Cometh The Storm“ aber gleich eine gewaltige Menge an brillanten Riffs und epischer Songs beinhaltet war nicht unbedingt zu erwarten. Umso erfreulicher, dass „Lambsbread“ sofort dazu einlädt, sich das Shirt vom Leib zu reißen, wie es für Matt Pike Standard ist. Das doomige Mainriff in Verbindung und Pikes kehligem Gebell sorgt für ein Gefühl des Heimkommens und bietet mit dem orientalisch klingenden Finale, das sich in Richtung epischem Stoner Metal steigert, auch etwas fürs Köpfchen. In der Folge zeigen HIGH ON FIRE, dass sie auch im neuen Line-Up gut eingespielt sind: „Burning Down“ hat ein recht simples Riff, doch dank kraftvollem Drumming und Geezer Butler-Basslinien wird der Song lebendig und zeigt, wie wichtig die Rhythmiker für den Gesamtsound der Band sind.

Furiose Songs und epische Tracks stehen gleichberechtigt nebeneinander: HIGH ON FIRE zelebrieren große Songwriting-Kunst auf „Cometh The Storm“.
Ob die Songs nun furios und wild voranpreschen („Trismegistus“, „Lightning Beard“) oder die epische und dynamische Seite von HIGH ON FIRE präsentieren („Comet The Storm“, „Sol’s Golden Curse“, „Hunting Shadows“), das Trio macht auf seinem neunten Full Length-Album wirklich vieles richtig. Dass das exotisch klingende Instrumental „KaranlÄ�k Yol“ an „Khandrad’s Wall“ erinnert, ist nur ein weiterer Pluspunkt für „Cometh The Storm“. Gegen Ende können HIGH ON FIRE das Niveau der ersten halben Stunde mit dem thrashigen „The Beating“ und dem kompakten „Tough Guy“ allerdings nicht halten und agieren verglichen mit den vorherigen Songs relativ eindimensional. Dass am Ende mit „Darker Fleece“ ein zehnminütiges Monstrum mit mörderischen Riffs steht und das Album mit Nachdruck abschließt, sollte auch dem Letzten ein Lächeln ins Gesicht zaubern.

Ob Matt Pike auch ein Genderverbot erwägen, oder ein Schokoladenei mit seinem Konterfei verlosen würde? Auf gar keinen Fall, denn Pike ist ein Ehrenmann. Somit ist diese testosterongetränkte Stunde Metal für alle Menschen empowernd, und nicht dazu da, um andere kleinzumachen. Zusammen mit Bassist Jeff Matz, Neu-Drummer Coady Willis und Stammproduzent Kurt Ballou erschafft Matt Pike mit „Cometh The Storm“ das beste HIGH ON FIRE-Album seit „Snakes For The Divine“ mit erstaunlich hoher, wenn auch nicht ausschließlicher Trefferquote. Kurz und gut: HIGH ON FIRE sind wieder da – und wie!

Wertung: 8,5 von 11 Männertitten

VÖ: 19. April 2024

Spielzeit: 57:52

Line-Up:
Matt Pike – Vocals, Guitar
Jeff Matz – Bass
Coady Willis – Drums

Label: MNRK Heavy

HIGH ON FIRE „Cometh The Storm“ Tracklist:
1. Lambsbread
2. Burning Down (Official Video bei Youtube)
3. Trismegistus
4. Cometh The Storm (Official Video bei Youtube)
5. Karanl�k Yol
6. Sol’s Golden Curse
7. The Beating
8. Tough Guy
9. Lightning Beard
10. Hunting Shadows
11. Darker Fleece

Mehr im Netz:
https://highonfire.bandcamp.com/
https://www.facebook.com/highonfire
https://www.instagram.com/highonfireband/
https://twitter.com/HighonFireBand

Source: Vampster

Mit "Push The Pusher" haben Pain eine neue Single vom kommenden Album "I Am" ausgekoppelt. Mehr Infos und das Musikvideo hier!

Source: Sonic Seducer

You wear your sunglasses while watching TV
Enter the avant-garde realm of Sheebaba, the brainchild of Eliott Eccho & Prof.Costello. Born in the vibrant confines of an art space, Sheebaba calls Mainz & Köln, DE, its home, with a nod to its roots in Luxembourg, LU.  Sheebaba is noise, thoughts, and drum loops woven together with genre-bending brilliance. Think art wave meets experimental with a dash of industrial glitch thrown in for good measure.

They’re loud, conceptual, and performative—all while painting with the broad strokes of the rainbow. But perhaps most importantly, Sheebaba stands as a defiant beacon against hate, using its artistry to challenge norms and break boundaries. Immerse yourself in the world of Sheebaba and let its unapologetic creativity speak for itself.

“marguerite” is the third single of Sheebaba’s upcoming EP radau. In this song, our granny heroine dons sunglasses indoors to alleviate her persistent headaches. The lyrics serve as a heartfelt reflection on aging and memory, weaving a tale that explores the bond between Eliott and her grandmother.

Marguerite makes a grand entrance with its angular groove, subtly shifting gears as it progresses. The track takes unexpected turns, with a spoken word bridge emerging, seamlessly transforming into a pulsating beat. Drawing inspiration from the likes of The Normal, Grauzone, and Kraftwerk, Marguerite hypnotizes with its lyrics, layered over industrial percussion and melody. As the song reaches its peak, it’s a sonic whirlwind, building to a crescendo that leaves you breathless.

If you’re paying close attention, you’ll catch a poignant nod to Anna Calvi’s “don’t beat the girl out of my boy.” However, in Sheebaba’s rendition, the message is clear: “don’t beat the boy out of my girl.” It’s a bold statement of queer and feminist empowerment, woven into the fabric of the track with unmistakable intent.

“The song can be seen as a homage to the strong women in our families,” says Professor Costello. “Eliott wrote this song a while ago and it took us a long time to finish as it went through various versions and titles but we are proud to show the final result with this animated video.”

Marguerite comes to life through a beautiful video directed and stop-motion style animated by Paulo Bras and Océane Maître. In this tale, the inner monologue of an elderly woman intersect with the band and their music. Adding to the retro vibe, Tim Zerban’s analogue processing gives the video a nostalgic, VHS-like quality. This deliberate aesthetic choice ties Marguerite seamlessly to Sheebaba’s catalogue of glitchy, DIY visuals.

Watch the video for “Marguerite” below:

Since their live debut in the summer of 2021, Sheebaba has graced stages across Luxembourg, Germany, Switzerland, and The Netherlands, sharing bills with acclaimed acts like Fatamorgana (ES), Henge (UK), Gustaf (US), Lathe of Heaven (US), and Das Kinn (DE).

Headlining shows in The Hague, Amsterdam, Luxembourg, Luzern, and Mainz, Sheebaba have solidified their presence on the live circuit. Their summer 2022 performance at Amsterdam Fashion Week, during Rosa Kampinga’s runway presentation, marked a milestone alongside appearances at festivals and art spaces in Luxembourg and Germany.

In spring 2024, Sheebaba embarked on a small tour with Swiss Drag Queen LaMer as their support act, setting the stage for the release of their upcoming EP “radau”, slated for April 19th. Following this, they’ll join Drahla (UK) for two dates in Germany, alongside Brik Tu-Tok (BE), while also headlining two shows in Luxembourg and Mainz to celebrate the EP’s release.

Follow Sheebaba:

Spotify
YouTube
Instagram

The post Avant-garde Artwavers Sheebaba Debut Stop-Motion Style Animated Video for “Marguerite” appeared first on Post-Punk.com.

Source: Post-Punk.com

  Synthpop artist Hermidgets has released a new single, titled “Meaningless,” offering the third taste of the forthcoming sophomore album, NIHIL. Mixed by Matteo Sandri and mastered by Kevin Paul (Depeche Mode, Goldfrapp), the artist explains that the song addresses existential questions about human life and its transient nature; calling it “both a lament and […]

Source: EBM.gr

Mit "Achtung Mensch!" haben Tanzwut den Titeltrack ihres kommenden neuen Albums als Single ausgekoppelt. Mehr Infos und das Musikvideo hier!

Source: Sonic Seducer

Mit “The Orwellian Dream” wird in wenigen Wochen das neue Album der Technical Death Metal-Band SENTIMENT DISSOLVE erscheinen. Es ist das erste Album des kanadischen Quartetts aus Ontario, welches aus Sänger Nathan Ferreira (SKYLESS AEONS), Gitarrist Nicholas Luck (SKYLESS AEONS), Bassist Spinny Guilbault (KAVARA) und Drummer Matthew Johnson besteht.

“The Orwellian Dream” wurde von Dave Kaminsky im Studio Wormwood gemixt und von Ryan Williams gemastert. Das Cover-Artwork stammt von Mark Cooper. Release-Termin ist der 24. Mai 2024 via CDN Records. Vorab gibt es mit “Omnipotent Panopticon” einen Video-Clip.

SENTIMENT DISSOLVE “The Orwellian Dream” Tracklist
1. Forced Birther
2. Totalitarian Doctrine
3. Transcending the Hierarchy of Knowledge
4. Omnipotent Panopticon (Video bei YouTube)
5. The Orwellian Dream

Source: Vampster

Die Thrash / Death Metal-Band ABREAKTION hat mit “Bornhatred” eine neue EP angekündigt. Es ist der erste Release des chilenischen Trios, welches aus Gitarrist und Sänger Ignacio “Roran Fatehatred” Cortés, Gitarrist und Drummer Javier Salgado (MAYHEMIC, Ex-HELLISH, Ex-CRITICAL DEFIANCE) sowie Bassist Sebastian Logan besteht.

“Bornhatred” wurde mit einem Cover-Artwork von Alex Aguayo ausgestattet und wird am 31. Mai 2024 via Chaos Records erscheinen. Vorab gibt es den Opener “Empty Promises” zu hören.

ABREAKTION “Bornhatred” Tracklist
1. Empty Promises (Audio bei Bandcamp)
2. Pyromaniac
3. Amnesia Chronicle
4. Mental Torture
5. Welcome to the Slaughterhouse (DARK ANGEL Cover)

Source: Vampster

HARPYIE, die Folkmetalband aus Ostwestfalen, veröffentlicht mit „Omen“ feat. Kalle Koschinsky , die zweite Single vom kommenden Studioalbum „Voodoo“ welches am 25.10. bei Metalville Records (Rough Trade) erscheinen wird.
https://www.harpyien.de/

Info:
„Omen“ von Harpyie, featuring Kalle Koschinsky ist eine explosive Mischung aus Mittelalter Folkrock/Metal, durchzogen von 90er Eurodance. Dieser einzigartige Crossover-Hit, der speziell Fans von Mittelalterrock, Metal und Folk Metal anspricht, bricht musikalische Grenzen und zelebriert das Eurodance-Erbe als ultimatives Partylied. „Omen“ lädt zum Feiern ein und steht stellvertretend für Harpyie‘s Fähigkeit, traditionelle Musik mit modernen Vibes zu vereinen.

HARPYIE TOURDATEN
18.05.2024 Volkerode – Kopffrei Open Air
07.06.2024 Langeneß – Kultur auf Halligen
27.07.2024 Bückeburg – MPS Bückeburg
09.08.2024 Aach – DGT Das große Treffen
17.08.2024 Saarbrücken – Phantasie & Mittelaltertage
06.09.2024 Westergellersen MPS – Luhmühlen
13.09.2024 Danneberg – Streetz Open Air

 

Source: Amboss-Mag.de