APRIL ART gehen im Herbst und Winter 2024 auf “Rodeo”-Tournee. Tourstart ist Anfang Oktober in Aschaffenburg, das letzte Konzert findet am 21. Dezember in Schmallenberg statt.

Für das Vorprogramm konnte die Band GHOSTHER gewinnen.

Tickets sind ab sofort via reservix.de erhältlich.

APRIL ART, GHOSTHER Tourdaten 2024

02.10. Aschaffenburg – Colos-Saal
03.10. Hamburg – Logo
04.10. Leipzig – Hellraiser
26.10. Kaiserslautern – Kammgarn
16.11. Stuttgart – Im Wizemann
29.11. München – Backstage
30.11. Biberach – Kulturhalle Abdera
05.12. Köln – gebaeude9_koeln
06.12. Viersen – Rockschicht
07.12. Essen – Turock Essen
12.12. Dresden – GrooveStation
13.12. Berlin – Badehaus
14.12. Hannover – LUX – Concerts
20.12. Osnabrück – B.C. Osnabrück
21.12. Schmallenberg – Habbels

Fotogalerie: APRIL ART – Der Cult, Nürnberg – 27.10.2023

Source: Vampster

Die Blackened Technical / Brutal Death Metal-Band HOUR OF PENANCE veröffentlicht mit “Devotion” am 5. April 2024 ein neues Album.

Nun gibt es auch zum zweiten Vorab-Song “Birthright Abolished” ein Lyrics-Video. Mit einem Clip zu “Devotion for Tyranny” haben HOUR OF PENANCE schon Mitte März die erste Single im Netz geteilt.

“Devotion” wurde im Bloom Studio und im Kick Studio aufgenommen und im polnischen Hertz Studio gemixt und gemastert. Erscheinen wird das Album am 5. April 2024 via Agonia Records. Es ist das neunte Album der Italiener aus Rom und behandelt die fehlgeleitete Ergebenheit, die ein Volk seinen Anführern entgegenbringt.

HOUR OF PENANCE sind Sänger und Gitarrist Paolo Pieri, Gitarrist Giulio Moschini, Bassist Marco Mastrobuono und Drummer Giacomo Torti.

HOUR OF PENANCE “Devotion” Tracklist
1. Devotion For Tyranny (Video bei YouTube)
2. Parasitic Chain Of Command
3. Birthright Abolished (Lyrics-Video bei YouTube)
4. Retaliate
5. Breathe The Dust Of Their Dead
6. The Morality Of Warfare
7. Severance
8. The Ravenous Heralds
9. A Desert Called Peace
10. Spiralling Into Decline

Source: Vampster

I shook the devil’s hand
And walked away free
Staring into the fire
Feeling at low risk
After four years of disappearing into the wilds of Scandinavia, Sweden’s Isolated Youth is back with a new revelation, dropping their latest single, Psykosoma. Previously releasing mostly EPs, such as Iris and Warfare, this track marks the forthcoming release of the band’s much-anticipated full-length debut album, Miserere Mei, which, for those who skipped Latin class, means “have mercy on me.”

Conceived during the pandemic—a period marked by unprecedented global disruption and confinement to one’s home—the single emerged in an era dominated by virtual meetings, heightened hygiene practices, and the tangible anxiety of essential goods shortages. Amid the challenges of isolation and the necessity to adapt their living spaces for music production, Isolated Youth were industriously crafting their art. They were supported in this endeavor by esteemed producers Faris Badwan of The Horrors and Max Heyes, known for their work with Primal Scream and The Rolling Stones, respectively. Together, they have crafted a sound that embodies the essence of classic post-punk and early 90s alternative rock.

Psykosoma hits all the right notes, with vocals that carry the grace of an angel before its fall and icy guitar work that could raise the dead—or ink a deal with the Devil. The track is a melting pot of influences, with nods to Robert Johnson’s delta blues, the soulful wails of Nina Simone, and even a sprinkle of Old Testament drama for good measure.

Recorded in a studio that’s practically on a first-name basis with the neighbouring, rather introspective residents of a forested graveyard, Psykosoma is imbued with an atmosphere that’s less about the spookiness of its locale and more about an ambiance that could inspire a thousand Gothic novels. With a chorus that feels like it’s floating in from another realm, courtesy of an ethereal backing ensemble, and Axel Mårdberg’s voice, which could soothe even the most troubled soul, Psykosoma dives deep into the mind-body conundrum with the grace of a literary classic.

“Thematically, Psykosoma delves into the protagonist’s struggles and the inevitable confrontation with personal demons in perceived safe havens, yet it also embodies an esoteric and hopeful psychedelic essence,” muses the band. “This duality traces back to the blues influences in guitar tuning and beyond. The overarching themes of the album draw loose inspiration from Nina Simone’s “Sinnerman,” reimagined with modern elements like industrial drum patterns and unconventional synthesizers.”

Listen to Psykosoma below:

Psykosoma by Isolated Youth

Miserere Mei is out on June 7, 2024.

Pre-order here.

Follow Isolated Youth:

Website 
Instagram
Facebook
Spotify
Bandcamp

The post Swedish Post-Punk Quartet Isolated Youth Return With New Single “Psykosoma” appeared first on Post-Punk.com.

Source: Post-Punk.com

In the dim-lit sanctuaries of our fleeting mortal essence, a melancholy hymn resonates—an elegy spun from the fibres of yearning intertwined with the perfume of smoldering incense. “Don’t Be a Stranger,” murmurs the ethereal chorus, those phantasmal entities that navigate the threshold of realms unseen.

Hailing from Switzerland, collaborators Fabrice Noir, the architect of the illustrious Cabaret Bizarre—an event that stands as a nocturnal beacon of European dark cabaret, and the distinguished DJ Blake, famed for his “Cloak and Dagger” soirées, converged in the year 2020 to birth the project A Sinister Light. Imbued with a contrasting array of sounds, including the dark allure of darkwave, the mechanical heart of industrial, the mournful soul of post-punk, and the rhythmic pulse of techno, A Sinister Light ventures into bleak, dystopian tales steeped in existential despair and nihilistic musing, traversing metaphysical landscapes. Their music beckons a purgatorial enlightenment.

Their latest single, Don’t Be a Stranger, wraps listeners in a poignant melody and ghostly singing, echoing the anguish of a spirit trapped in a liminal state, desperate to reconnect with an unaware loved one, blind to the secrets of the beyond. The song skillfully captures the fleeting essence of life, illustrating how the whirlwind of daily existence turns promises into regrets, as moments escape us like grains of sand. The sorrowful tunes and eerie vocals act as a stark reminder of the delicate nature of human connections, casting a somber light on our earthly endeavours. The call for salvation becomes more fervent as the song proceeds. Its driving synths and beats and introspective lyrics invite listeners to confront mortality’s stark reality, urging them to find solace in the shared journey of souls.

The song’s gorgeous video takes viewers on a cinematic tour, starting with the Cimitero Monumentale di Staglieno in Genoa, Italy. This sprawling hillside graveyard captured global attention when its evocative black-and-white image of the Appiani family tomb graced the cover of Joy Division’s Closer album. The journey continues to the mystical St. Margaret’s Church and its holy well in Binsey, near Oxford, UK. Revered for its ancient legends and curative waters, this site gained literary fame through Lewis Carroll’s depiction of it as a treacle well in Alice’s Adventures in Wonderland. The narrative then shifts to Switzerland, showcasing Friedhof am Hörnli in Riehen, the country’s most expansive cemetery. The final destination is the Basilique de Sainte Marie-Madeleine in Saint-Maximin-la-Sainte-Baume, Southern France, a revered site housing the relics of Mary Magdalene.

Watch the video for “Don’t be a Stranger” below:

Since their arrival on the scene in March 2021, A Sinister Light’s first EP has quickly enchanted both DJs and fans of darkwave music. That same month, they achieved a notable breakthrough by inking a deal with Cold Transmission Music in Germany. Currently, they are hard at work putting the finishing touches on their debut album, Discerning Spirits, which is eagerly anticipated for its release in May 2024.

Don’t be a Stranger by A Sinister Light

Follow A Sinister Light:

Bandcamp
Facebook
Instagram
Spotify

The post Wandering the Famed Cemetery of Staglieno in Genoa — A Sinister Light Debut Their Video for “Don’t Be a Stranger” appeared first on Post-Punk.com.

Source: Post-Punk.com

Mit “Shades Of Night” wird in einigen Wochen das neue Album der Death Metal-Band NOKTURNAL erscheinen. Es ist das erste Album der Band aus Indonesien und wurde von Yuda “Bable” Hasfari Sagala im Watchtower Studio produziert. Das Cover-Artwork stammt von Bayu Mors. Release-Termin ist der 3. Mai 2024 via Pulverised Records. Vorab gibt es den Track “Dagger Of Will” zu hören.

NOKTURNAL “Shades Of Night” Tracklist
1. Bewail The Fallen Light
2. Dagger Of Will (Audio bei YouTube)
3. Chainless Soul
4. By The Nightside
5. Blood And Valour
6. Cold Embrace

Source: Vampster

Suburb-ination, my devastation, live and die
Cul de sac violence, living in silence, in the customs of the time
In the somber lland of Connecticut, where the night whispers its mysteries like cicadas amidst the hellscape of Taco Bells and convenience stores, one finds Midnight Psychic, a duo whom you might guess is mysterious as their name suggests. Comprised of Jayson Munro, who both serenades the six-string and lends his vocal cords, and George Moore, who coaxes the deep, brooding tones from his bass, this pair conjures a sound that feels both familiar and eerily novel. By integrating programmed keys and the distinctive rhythm of an ’80s drum machine, they create an atmosphere reminiscent of a candlelit séance, held within a magic circle etched onto a linoleum floor.

Munro and Moore, more than bandmates, true comrades in arms, set forth on this musical journey with a clear vision. Their inspiration? The captivating, albeit unsettling, interplay of beauty within the remnants of what could playfully be called “the era of extreme commercial indulgence.” Midnight Psychic serves as a poignant yet incisive reflection on the unique era we find ourselves enmeshed in

They go on to aptly describe their music as “goth rock inspired by abandoned shopping malls, clown paintings, and window blinds.”

With their latest release, “Suburbination,” Midnight Psychic conjures all the doom and gloom of a thunderstorm brewing just after you’ve washed the car in the driveway. It artfully explores the themes of solitude and desolation set against suburban backdrops, portraying the introspective journey of growing up and facing the emptiness in once-familiar surroundings. Weaving together feelings of disconnection and longing through striking depictions of quiet streets and unfulfilled dreams, the lyrics poignantly lament the decline of community and personal identity, set against a canvas of silent longing and the search for a more profound meaning in life.

The band directed the song’s video clip themselves, with a little help from their friend David Brook. What unfolds is not the typical idealized version of America, but rather the dark underbelly that is often depicted in David Lynch’s films. “Suburbination” portrays a world where the streets are cracked, and dreams of being someone or something are easily shattered, demonstrating that even when living in the suburbs, one can still feel truly alone despite having neighbors living just next door.

“We tried to echo the thematics of the song with a kaleidoscopic array of unsettling suburban imagery shot in stark black-and-white,” they explain.

Watch the video for “Suburbination” below:

Midnight Psychic will be playing at this year’s Dark Spring Boston Festival on the 13th of April.

Find Suburbination on Bandcamp and Spotify!

Suburbination by midnight psychic Follow Midnight Psychic:

Instagram
Bandcamp
Facebook
Spotify

The post Subdivide the Souls of the Lost — Connecticut Post-Punk Duo Midnight Psychic Debut Video for “Suburbination” appeared first on Post-Punk.com.

Source: Post-Punk.com

VOIDGAZER haben mit “Expectations Management” einen weiteren Song von ihrem kommenden Album “Dance Of The Undesirables” veröffentlicht. Die neue Platte der Progressive Metal-Band erscheint am 19. April 2024 via Reigning Phoenix Music abgeschlossen. Den Platten-Deal kommentieren die US-Amerikaner wie folgt:

„Wir sind ultragespannt, was wir gemeinsam mit [Reigning Phoenix Music], deren Roster u.a. einige wirklich genreprägende Acts, aber ebenso weitere aufstrebende Bands beinhaltet, bewerkstelligen können. Wir sind hier gut aufgehoben und befinden uns zur rechten Zeit am rechten Ort, um gemeinsam altmodische Regeln zu brechen und diese gar neu zu definieren. Mit der AFR-DNA im Blut und ihrer Unterstützung im Rücken freuen wir uns, hiermit unser eigenes Kapitel in der Heavy-Metal-Geschichte aufzuschlagen.“

“Dance Of The Undesirables” erscheint als CD, Vinyl sowie digital. Darauf enthalten sind alle Tracks der gleichnamigen EP aus dem Jahr 2021 sowie neues, bislang unveröffentlichtes Material.

Eine erste Single steht außerdem seit Anfang März in Form dem Musikvideos “Jesus Take The Needle” bei YouTube bereit.

VOIDGAZER “Dance Of The Undesirables” Tracklist
01. Jesus Take The Needle (Video bei YouTube)
02. Dance Of The Undesirables
03. Expectations Management (Video & Stream)
04. Blast Equalizer
05. Sexual Sadist Serial Slasher
06. Grand Appeasement
07. From Nothing

VOIDGAZER Line-up 2023
Omar Olivares II Gesang
Manny Watts Gitarre
Mitchell Bussone Bass
Kyle Hammer Schlagzeug

Source: Vampster

The Greek dark electro / post-punk duo Midnight Poetry (John Spanos & Cleopatra Kaido) has...

Source: Side Line

 
Among the many bands to emerge in the U.K. post-punk scene of the early ’80s was Red Lorry Yellow Lorry, who has now signed with COP International for the release of what will be the group’s final studio offering. Formed in 1981 in Leeds by guitarist/songwriter Chris Reed, the band had undergone numerous lineup changes [..]

Source: RE:GEN Mag

Out now is the all new Pororoka track “Aidar”. This time the Ukrainian dark folk...

Source: Side Line

  Today marks the release of Dimensions, the sixth full-length effort from producer/DJ Chris Taylor under his moniker of Destryur. The album draws heavily on the artist’s love of ghost stories and horror movies, weaving them through a varied electronic sound that incorporates elements of synthwave, dubstep, and mid-tempo atmospheres, what Post-Punk.com refers to as […]

Source: EBM.gr

Kilmarth, the avant-garde musical project of Cedric Wattergniaux, has announced the release of a new...

Source: Side Line

On the cusp of his sixth full-length release, Chris Taylor, better known as Destryur, beckons listeners into the shadowy realms of his latest creation, Dimensions, set to emerge under the aegis of the Doom Vision label on March 29. This new chapter marks a pivotal collaboration with the label Doom Vision, a venture by the multifaceted Omar Doom, known for his work under the moniker STRAIGHT RAZOR.

Dimensions is an intricate lattice of sound, drawing from the eerie whispers of horror cinema, the chilling tales of phantoms, and the vibrant world of dark electronic dance music. It’s a collection that defies easy categorization, weaving through mid-tempo beats, the depth of dubstep, the raw energy of punk, and the nostalgic glow of classic synthwave.

The album kicks off with the ominous track Terrify, immediately setting a chilling tone. The slow, heavy beat acts as a foundation for demonic vocal elements and a creeping melody that together create an industrial vibe with a spooky essence. An unexpected breakdown further intensifies the atmosphere.

The album’s vanguard, Under Your Skin (featuring Iyes Keen), showcases Taylor’s fascination with the gothic charm of vampires and the mystique of New Orleans’ French Quarter. It’s a track that marries haunting melodies with a bass that resonates deep within, setting the tone for the album’s exploration of shadow and light.

The peculiar Lucifemme evokes the infernal themes of hellfire and brimstone. As you listen, there’s an undeniable sensation of spiraling through Dante’s concentric circles of hell, each note drawing you deeper into a labyrinth of despair and darkness. The use of synth elements and echoing cackles adds an otherworldly layer to the composition, reminiscent of the haunting ambience crafted by the BBC Radiophonic Workshop for classic Doctor Who episodes.



Pit of Doom begins with an eerie spoken word warning, setting the stage for what unfolds as an intensely powerful track. Its growling rhythms and heavy beats create an almost dirgelike atmosphere, pulling the listener into its depth with relentless force. Amidst the sonic turmoil, screams pierce through, culminating in a thunderous proclamation of “DOOM” that reverberates with an ominous echo. This piece is a tempest of sound, commanding attention with its dark energy and formidable presence.

Possession unfolds like a vivid nightmare, marked by pulsing laser sounds and echoing voices that weave an unsettling soundscape. Here, the gritty essence of industrial music meets the neon-infused vibes of synthwave, creating a unique blend of light and dark. This track is a surreal exploration, with eerie melodies and rhythmic pulses crafting a landscape that feels haunting and hypnotic, inviting listeners into a world where the familiar takes on an otherworldly quality.

The next track, MK Altima, carries a curious space alien ambiance, propelled by a lively disco beat and interspersed with curious squiggle sounds. The track, reminiscent of something from late 90s Chemical Brothers, is underpinned by a minor chord backbeat, adding a layer of depth and intrigue. It evokes the imagery of frogs crooning on a warm summer night, blending natural serenity with an otherworldly charm that’s engaging and slightly off-kilter, mirroring the unexpected harmonies of nature and the cosmos.

Remixes of Terrify by Stilz and Pit of Doom by Straight Razor close out the album.



Destryur, with roots in both Tampa, FL, and New York City, traces his musical genesis back to high school, where he first dabbled in hip-hop mixes. Influenced by Daft Punk’s “Homework” and Justice’s “Cross,” Taylor’s passion for EDM took flight, eventually leading him to the realms of trap and dubstep by 2011. It was the discovery of synthwave artists like Mitch Murder and Perturbator that steered his creative compass toward the neon-lit noir of his current sound. Each album is a distinct realm, a mix of gritty urban darkness and cinematic terror, with Taylor channeling his love for Troma films into every beat, primarily through digital synthesis, with occasional forays into hardware like the Moog SubPhatty and Jupiter 8.

A staple in the New Orleans electronic music scene, Destryur curates the New Orleans ‘Splatterday Night’ event, blending synthwave with darker electronic rhythms, with the next gathering scheduled for March 23rd at The Goat.

Looking ahead, Destryur is set to play live on October 19th at the House of Rock in Corpus Christi, Texas.

Dimensions is out on March 29th, 2024. Pre-Save Here

Follow Destryur:

SoundCloud
YouTube
Instagram
Facebook
Website

The post A Terrifying Journey — Dark Synth Artist Destryur to Release New Album “Dimensions” appeared first on Post-Punk.com.

Source: Post-Punk.com

Wer aktuell durch deutschsprachige Musikmagazine blättert/scrollt, dem ist wohl schon mal Christin Nichols begegnet. Die Sängerin, Musikerin und Schauspielerin hat nun ihr zweites Soloalbum...

Source: monkeypress.de

Die Melodic Metal-Band VIOLET ETERNAL hat nach dem Lyric-Video zu “The Echoes of Time” und dem Video-Clip zu “Under the Violet Sun” mit “Now And Forever” eine dritte Single ihres kommenden Albums “Reload The Violet” veröffentlicht. Es ist das erste Album des internationalen Projekts, welches von Gitarrist Jien Takahashi (MAJUSTICE) und Sänger Ivan Giannini (VISION DIVINE, DERDIAN) ins Leben gerufen wurde. Als Gäste wirken zudem unter anderem Andrea Cappellari (NEKOMATA, Ex-SKELETOON), Ollie Bernstein (ILLUSION FORCE, MAGIC OPERA), Takao (MINSTRELIX) und Gabriel Guardian (IMMORTAL GUARDIAN) mit.

“Reload The Violet”, das von Dennis Ward produziert wurde, wird am 3. Mai 2024 via Rockshots Records erscheinen.

VIOLET ETERNAL “Reload The Violet” Tracklist
1. The Titans – 1:35
2. The Echoes of Time – 4:59 (Lyric-Video bei YouTube)
3. Now and Forever – 3:53 (Audio bei YouTube)
4. Ember Flame – 4:06
5. Under the Violet Sun – 3:38 (Video bei YouTube)
6. Land of Golden Sun – 4:13
7. Never Surrender – 3:41
8. Heartless – 3:27
9. Over the Sorrow – 4:17
10. Sonata Black – 5:17

Source: Vampster

 
Six months after the single’s release, Minneapolis industrial/EBM act Zwaremachine has revealed a music video for “A Sickness.” Shot and edited by Inpoet NWC, the video is comprised of footage from the band’s performance at the Poppodium Nieuwe Nor (PNN) in Heerlen, NL on September 8, 2023, when Zwaremachine opened for electro/EBM legends Front 242 [..]

Source: RE:GEN Mag

Artist: Garbage Title: Bleed Like Me (2024 Deluxe Expanded remastered Edition) Genre: Alternative / Rock / Industrial / Pop Release Date: 5th April 2024 Label: BMG

Source: Reflections of Darkness

 
Hailing from Connecticut, Midnight Psychic – the duo of guitarist/vocalist Jayson Munro and bassist George Moore – presents a different take on goth/rock and post-punk. “Suburbination” marks the duo’s third and latest single, its lyrics addressing the loneliness of life in suburbia [..]

Source: RE:GEN Mag

“Are things getting darker out there, or is it just us?”
Reaper On Red, an aural experience comprising the enigmatic duo of Robert and Carla Cherry, ventures into an alchemy of sound that one might liken to a dark kaleidoscope of psychedelia, the succinct spirit of post-punk, and the mercurial dance of shoegaze electronica. Fans of seminal bands such as Joy Division, Love and Rockets, Jesus and Mary Chain, Black Rebel Motorcycle Club, The KVB, and Sisters Of Mercy will find familiar echoes within Reaper On Red’s music, yet the duo’s unique interpretation and innovative approach ensure that their sound remains distinctly their own.

Today, Reaper On Red has revealed the video for the titular track from their upcoming album, “Doom Daze.” As the song’s lyrics implore, “Come save us from all our doom days,” amidst a tempest of fuzz, siren-like synths, and bass. Robert and Carla Cherry have crafted a spellbinding experience that transcends the spirit of our times.

With a sound that dances on the razor’s edge between dark psychedelic rock and an almost ethereal ambiance, Reaper On Red manages to conjure echoes of the Happy Mondays’ danceable grooves while simultaneously channeling the haunting depths of The Cure. The backbone of the song is formed by eerie synth pads that lay a dense fog over the soundscape, setting the stage for a kind of frightening imagery that feels like wandering through a beautifully desolate nightmare. Yet, amidst this spectral setting, the vocals emerge not as a howl in the dark but as a sweet croon, a soothing presence that guides you with an unexpected warmth. Doom Daze is weird but undeniably wonderful: a paradox, with its ability to unsettle and comfort all at once.

“On Doom Daze, we tried to capture the collective unease many feel today,” Cherry reveals. “Yet, we hold onto hope, believing we can reverse the world’s troubling trends. The album contemplates a future if we fail to do so, questioning if love can’t transcend these challenges.”

In the song’s intense video, wrought from the dark depths of psychedelia by the hand of their long-standing confederate, Patrick Miller, the duo dispatches their distress signal from the confines of a bunker.

Watch the video for “Doom Daze” below:



Doom Daze, now unfurled into the ether through the auspices of Requisite Recordings, is the fruit of the conjoint endeavors of Robert and Carla Cherry—who not only birthed its essence but also nurtured it into being through their own hands and spirits. The alchemical process of mixing and mastering was entrusted to the skilled Mike Montgomery at the hallowed halls of Candyland Studio, while the single’s visual embodiment was conjured by Jeff Johns, and its cinematic incarnation brought to life by Patrick Miller.

Within the somber realms of “Doom Daze,” a solitary beacon of hope dares to pierce the gloom—a series of live invocations of the album, anticipated as the earth tilts towards the sun and then away again, all hinging on the mercy of these tempestuous, doom-filled times.

The album is set to release this autumn.

Doom Daze by Reaper On Red

Links:

YouTube
Spotify
Instagram
Bandcamp

Band photos: Nikita Gros

The post Reaper On Red Ponders our Collective Unease in Their Video for “DOOM DAZE” appeared first on Post-Punk.com.

Source: Post-Punk.com

Die Zahl null auf der Kelvin-Skala repräsentiert bekanntlich den absoluten Nullpunkt, die theoretisch tiefstmögliche Temperatur. Ein musikalisches Äquivalent hierfür steht zwar noch aus, könnte aber nicht mehr allzu weit in der Zukunft liegen. Denn in punkto Härte nähern wir uns seit geraumer Zeit immer mehr dem tatsächlich Machbaren an. OSIAH aus Großbritannien sind dabei keine Ausnahme, wie „Kairos“ in rund 54 Minuten darlegt.

Der brutale Deathcore des Quintetts ist selbstverständlich den aktuellen Hörgewohnheiten entsprechend ungemein druckvoll produziert, so dass jedes Riff, jeder Breakdown mit der größtmöglichen Wucht in der Magengrube landet. Zwischen dominanter Death-Metal-Couleur in „Great Nothing“, kleineren technischen Eskapaden („White Feather“) und plakativen Slam-Parts schöpfen OSIAH munter aus dem Genre-Fundus, um Shouter Ricky Lee Roper die Spielwiese seiner Träume zu bereiten.

OSIAH legen auf “Kairos” alles in Schutt und Asche
Dabei legt der variable Frontmann höchstselbst all das in Schutt und Asche, was seinen Bandkollegen durch die Lappen ging. Zwischen Growls, Screaming und Pig-Squeals meistert Roper jede Disziplin, um der unerbittlichen Zerstörungsorgie seinen eigenen Stempel aufzudrücken. Gerade weil „Kairos“ den Pegel nahezu komplett am Anschlag hält, macht die Platte eine gewisse Ausdauer und Resilienz zur Grundvoraussetzung. Immerhin: Obwohl das Gesamtwerk um eine Viertelstunde gestutzt wohl eine rundere Sache gewesen wäre, finden OSIAH im letzten Drittel mit dem Material der EP “Chronos” (2023) einen Weg, unsere Aufmerksamkeit wieder an sich zu binden.

Vornehmlich gelingt das durch das hochaggressive „Elder King“, wo nicht nur die Gitarren zwischendrin dem Wahnsinn anheimfallen, sowie dem anschließenden „The Golden Throne“. Hier führt eine unheilschwangere Leadgitarre durch den Refrain, während Blastbeats und Doublebass den Weg ebnen – zumindest, bis der nächste Beatdown-Part über uns hereinbricht. Locker lassen OSIAH erst mit dem siebenminütigen „Hues Refract“, wo es zum Finale atmosphärisch wird und sogar ein paar klar gesungene Passagen Einzug erhalten.

Erst im Finale lassen uns OSIAH kurz aufatmen
Zugegeben, das mag Punkte auf der noch imaginären Heavy-Skala kosten, ist nach all der Tortur aber eine wahre Wohltat, um wieder zurück auf den Boden der Tatsachen zu finden. Im Vergleich zu den teils ähnlich gelagerten INGESTED orientieren sich die Briten jedoch noch zielstrebiger in Richtung Tiefstwert: Recht viel mehr dürfte bald wohl nur theoretisch möglich sein.

Veröffentlichungstermin: 08.12.2023

Spielzeit: 54:36

Line-Up
Ricky Lee Roper – Vocals
Chris Keepin – Gitarre
Andy Mallaby – Gitarre
Carl Dunn – Bass
Danny Yates – Schlagzeug

Produziert von Andy Mallaby und Christian Donaldson (Mix)

Label: Unique Leader

Homepage: https://osiah.uk/
Facebook: https://www.facebook.com/osiahuk/

OSIAH “Kairos” Tracklist
1. A Great Nothing (Visualizer bei YouTube)
2. White Feather
3. Malice
4. Disillusion
5. The Inherited Sorrow (Video bei YouTube)
6. Kardashev Denied (Video bei YouTube)
7. Guardian
8. Memento Mori
9. Elder King
10. The Golden Throne
11. Seeds Of Despair
12. Hues Refract

Source: Vampster

ARROGANZ stellen einen ersten Song ihres kommenden Albums “Quintessenz” vor: Die Doom Death Punks haben ein Video zu “Dungeon Soul” bei YouTube geteilt.

Wer sie zu dem Song inspiriert hat, verraten ARROGANZ hier:

“Lasst uns mit ‘Dungeon Soul’, dem kürzesten Song auf ‘Quintessenz’ beginnen! Auf musikalischer Ebene zeigt er unsere Liebe zur Musik von Bands wie ASPHYX genauso wie unsere Vorliebe für D-Beat-Geballer von Bands wie WOLFBRIGADE oder ähnlichen – kombiniert mit langsamen Thrash-Metal-Riffs und einem epischen Bass-Solo am Ende. Und nun ja, die Texte? Lest sie selbst, liebt sie oder verzweifelt dran! Nur eine Sache dazu: Grüße gehen an EYEHATEGOD, denn ‘I hate god, too!’. Dreht diesen Bastard so laut auf, wie ihr könnt!“

„Quintessenz“ ist der Nachfolger des 2020 veröffentlichten Albums “Morsus” und erscheint via Supreme Chaos Records.

ARROGANZ “Quintessence” Tracklist
1. The Origin Of Fire
2. Outlaw Reborn
3. Flames For Nemesis
4. Dungeon Soul (Video bei YouTube)
5. The Devil And My Companion
6. Deadened Rawness Of Life
7. Guardian Of Old Scars
8. Scorned Lifeblood
9. The Essence Gospel

 

Source: Vampster

Die Death / Thrash Metal-Band SIRIUN hat mit “Psychonaut” den Titeltrack ihres neuen Albums als Video-Clip veröffentlicht. Es ist nach “In Chaos We Trust” (2018) das zweite Album des brasilianischen Quartetts, welches aus Sänger und Gitarrist Alexandre Castellan, Drummer Braulio Drumond, Gitarrist Djavan Fernandes sowie Bassist Marcos Medeiros besteht.

“Psychonaut” wurde von Mark Lewis gemastert und ist am 26. März 2024 erschienen.

SIRIUN “Psychonaut” Tracklist
1. Deep Water Flow 04:56 (Video bei YouTube)
2. Psychonaut 04:55 (Video bei YouTube)
3. Another Reality 05:21 (Video bei YouTube)
4. Encoded Inception 04:45 (Video bei YouTube)
5. Final Hour 05:12 (Video bei YouTube)
6. Kailash 02:21
7. Primal 03:46
8. Into The Pillars of Existence (Axis Mundi) 08:05
9. The Trial 04:09
10. Expanded Optics 05:49
11. Igneous 05:32
12. Zenith 08:26
13. Outro – Ascension 03:36

Source: Vampster

(Photo by Neil Chapman) COP International has announced the signing of the British post-punk band...

Source: Side Line

Mit “Gateways Of Eternity” wird in wenigen Wochen das neue Album der Epic Heavy Metal-Band DOLMEN GATE erscheinen. Es ist das erste Album der Portugiesen aus Lissabon, die 2023 mit der EP “Finis Imperii” debütierten.

“Gateways Of Eternity” wurde von Paulo “Paulão” Vieira (PERPETRATÖR, Ex-THE FIRSTBORN) in den Imperial Studios produziert und mit einem Cover-Artwork von Marcio “Blasphemator” Menezes (u.a. für FATHOMLESS RITUAL tätig) ausgestattet. Releasetermin ist der 26. April 2024 via No Remorse Records. Vorab gibt es mit “Chambers of Magic” ein Lyric-Video.

DOLMEN GATE “Gateways Of Eternity” Tracklist
1. Dolmen Gate
2. Rest in Flames
3. The Oath
4. Chambers of Magic (Lyric-Video bei YouTube)
5. The Wheel
6. Retribution
7. Horizon’s Call
8. Betrayal
9. Gateways of Eternity

Source: Vampster

(Photo by Pere Masramon) Diamanda Galás has announced details of her latest live release, “Diamanda...

Source: Side Line

Nachdem die früheren Veranstalter des WITH FULL FORCE FESTIVALS in diesem Jahr mit einem neuen Festival namens FULL REWIND in Dresden im Schlachthof ihr Comeback eingeläutet haben, kehren Sie nun an den Flugplatz Roitzschjora zurück, wo das WITH FULL FORCE von 1999 bis 2016 stattgefunden hat.

Das FULL REWIND 2024 findet vom 2. bis 4. August statt. Geplant sind zwei Bühnen, ein zu Fuß erreichbares Campinggelände, die Veranstalter versprechen außerdem faire Preise – und die legendäre Erdbeer-Bowle. Neu im Programm sind SLOPE sowie CROWNSHIFT.

Zuvor bestätigte man außerdem MOTIONLESS IN WHITE, H2O, IGNITE sowie die US-Thrash-Metal-Band TESTAMENT.

In der zweiten Bandwelle kündigten die Organisatoren zuletzt TERROR, LIFE OF AGONY, ELSTERGLANZ, EMMURE, EKTOMORF, RISE OF THE NORTHSTAR, ROTTING CHRIST, PRO-PAIN, SPIRITWORLD, EXCREMENTORY GRINDFUCKERS, TRAGEDY, STESY und DRILL STAR AUTOPSY an.

Die ersten Namen der Bands für das FULL REWIND 2024 hat man nun Mitte Oktober 2023 verraten: Das Billing führen AMON AMARTH als erster Headliner an. Außerdem mit dabei sind HATEBREED, SICK OF IT ALL, EMIL BULLS, THE BLACK DAHLIA MURDER, BODYSNATCHER und MILKING THE GOATMACHINE.

Tickets gibt es zum Early-Bird-Preis von 129,-€ auf der offiziellen Festival-Website. Ein zusätzliches Parkticket schlägt dabei mit 35,-€ zu Buche.

Übersicht: FULL REWIND FESTIVAL 2024 Lineup, Billing & Bands
(Stand: 01.03.2024)

Headliner

AMON AMARTH

Alle weiteren Bands beim Full Rewind 2024 in alphabetischer Reihenfolge

BODYSNATCHER
CROWNSHIFT
DRILL STAR AUTOPSY
EKTOMORF
ELSTERGLANZ
EMIL BULLS
EMMURE
EXCREMENTORY GRINDFUCKERS
HATEBREED
H2O
IGNITE
LIFE OF AGONY
MILKING THE GOATMACHINE
MOTIONLESS IN WHITE
PRO-PAIN
RISE OF THE NORTHSTAR
ROTTING CHRIST
SICK OF IT ALL
SLOPE
SPIRITWORLD
STESY
TESTAMENT
THE BLACK DAHLIA MURDER
TERROR
TRAGEDY

Hinter dem FULL REWIND FESTIVAL stecken die Veranstalter des WITH FULL FORCE, die bis ins Jahr 2018 für das Event verantwortlichen waren. 2018 zogen sich Roland “Bogo” Ritter, Sven Borges und Mike Schorler zurück. Das ehemalige WITH FULL FORCE heißt seitdem FULL FORCE  und findet im Juni in Ferropolis zwischen Leipzig und Berlin statt, 2024 vom 21. bis 23. Juni 2024.

Source: Vampster

Die Black Metal-Band STORMCROW hat einen Labeldeal bei Time To Kill Records unterschrieben. Im Zuge dessen werden die Italiener ihr neues Album “Path to Ascension” veröffentlichen, welches am 31. Mai 2024 erscheinen wird. Es ist nach “Disposition to Tyranny” (2012) und “Face the Giant” (2019) das dritte Album der bereits 1997 gegründeten Band aus Mailand und wurde von Carlo Meroni im ADSR Studio aufgenommen und gemixt und von Magnus “Devo” Andersson gemastert. Das Cover-Artwork stammt von Arianna “Trollenskog” Carbone. Als Vorgeschmack auf das Album gibt es nach dem Video-Clip zu “Vulgus Vult Decipi” und dem Track “Dark Existence” mit “Petit Dru” nun auch ein Lyric-Video.

“”Petit Dru” ist der epische Gipfel im Mont-Blanc-Massiv, der am 22. August 1955 vom italienischen Alpinisten Walter Bonatti im Alleingang bezwungen wurde. Das Lied erzählt von dieser unmöglichen Herausforderung, die er als “verrückte Idee aus moralischer Depression” bezeichnete. Bonatti verbrachte sechs Tage in einer senkrechten Wand, um sich seinen Dämonen zu stellen, er hatte Halluzinationen von der Anstrengung, in manchen Momenten dachte er sogar daran, aufzugeben, aber seine enorme Willenskraft ermöglichte es ihm, diesen Gipfel zu bezwingen, den schwierigsten seines Lebens”, erklärt die Band.

STORMCROW “Path to Ascension” Tracklist
01. Astral Deconstruction
02. Dark Existence (Audio bei YouTube)
03. Vulgus Vult Decipi (Video bei YouTube)
04. Detached
05. Ascension
06. Vertical Horizon
07. In This Solitude
08. Petit Dru (Lyric-Video bei YouTube)
09. Ancient Forest

Source: Vampster

The Los Angeles-based dark electronic duo, Die Sexual (aka Rosselinni and Anton Floriano), have released...

Source: Side Line

Nach ihrem gemeinsamen Duett "Left On Mars" kommen die beiden ehemaligen Nightwish-Mitglieder Tarja Turunen und Marko Hietala deses Jahr zusammen auf Tour. Alle Dates im deutschsprachigen Raum hier!

Source: Sonic Seducer

Mit “Misery / Disgorged Exsanguination” wird in einigen Tagen das neue Split-Album der beiden portugiesischen Death Metal-Bands RAGEFUL und RUTTENSKALLE erscheinen. Beiden Bands gemein ist Drummer Paulo Soares, der die Split auch gemixt und gemastert hat. Auch haben beide Bands zuvor ein Album veröffentlicht. Release-Termin ist der 5. April 2024.

RAGEFUL / RUTTENSKALLE “Misery / Disgorged Exsanguination” Tracklist
Rageful
01 – Enchained: A Prelude to Misery
02 – Medical Chaos
03 – Apathy
04 – Lacking Future
05 – Pay To Breathe
06 – Hanging The Teacher

Ruttenskalle
07 – A Hymn To Exsanguination
08 – Destroyer Of The Flesh
09 – Chaos
10 – Murderous Desire
11 – Ritual Of The Dead
12 – Blood Soaked Cunt

Source: Vampster

In 50 days’ time, Pentecost is just around the corner. In our upcoming May/June issue, we have already spoken to the organizers, who reveal the news and highlights of the 31st WGT. Until the next issue is published, you can take a look at the current line-up here. There’s bound to be something for you, […]

Source: Orkus

(Photo by Lena Shkoda) Out 31 May on Dais Records is the brand new album...

Source: Side Line

Mit "Ominous" haben Evergrey noch eine Single vom aktuellen Album "A Heartless Portrait (The Orphean Testament)" ausgekoppelt. Mehr Infos und das Musikvideo hier!

Source: Sonic Seducer

In the winding paths of love gone awry, where affection veers from its blissful beginnings, the experience becomes fraught with complexity. Senses deceive, reality fractures, and an all-consuming obsession grips the heart. Paris-based songstress Julia Gaeta opts not for stark representation of these somber themes in her latest EP through A La Carte Records, Blur Divine, however. Instead, she envelops these darker notions in a veil of sheer delicacy, giving them a touch of ethereal lightness.

Her voice, carrying whispers of vulnerability and hidden depths, imbues the song with a haunting beauty. The title track, Blur Divine, acts almost as a gossamer curtain, lightly dancing in a gentle breeze, behind which unfolds the stormy drama of love transformed from sweet to bitter.

“This is about losing oneself in love, or the disguise of love,” Gaeta says. “Being drunk on it, seeing what you want to see. It’s about having to pull yourself out of love in order to center and find yourself again. There’s a really jungly, swampy beat to this that lends itself to the subject matter of getting stuck in something and finding your power again.”

In the mesmerizing music video for “Blur Divine,” directed by David Fitt, the atmosphere is charged with the enigmatic allure of the potent spirit absinthe, a favorite of the exiled poet Oscar Wilde,  from which Julia Gaeta drinks from a cloudy glass louched with dripping water.  Full of symbolism and metaphors, the setting weaves through the restlessness of a night filled with tumultuous dreams and the awakening of dark, primal forces within, akin to a leather-and-latex-clad specter that stirs the soul from slumber. It delves into profound themes such as the awakening of one’s kundalini, confronting the shadow self, and unearthing dormant desires.

This rich melange of visuals in “Blur Divine” captures the essence of a journey toward self-discovery and transformation, underscored by haunting melodies and compelling rhythms. The inclusion of an absinthe fountain adds a layer of mystique and depth, reminiscent of the iconic scene in Francis Ford Coppola’s “Bram Stoker’s Dracula,” where Dracula and Mina share absinthe in a moment that is both intimate and foreboding. In both instances, absinthe serves as a potent symbol of the blurred lines between reality and illusion, the conscious and the subconscious, and the mortal and the immortal, highlighting the transformative power of love and the intoxication it can bring, akin to the ‘Green Fairy’ itself.

Watch the video for “Blur Divine” below:

Gaeta’s new offering invites listeners into a nocturnal world where introspective melodies of unrequited love become danceable laments. In “Blur Divine,” she skillfully blends the dark allure of pop with the raw edge of industrial textures, delving into the chaotic aftermath of love gone wrong—twisted perceptions, broken realities, and overpowering fixations—while wrapping these deep themes in a delicate, ethereal shroud.

Blur Divine was mostly written between two locations in Paris, beginning in 2020 pandemic lockdowns, after Gaeta had just moved to Paris from Berlin. One was a sublet in the 8th floor of a 1970s apartment complex, with renowned Père Lachaise Cemetery as her backyard and the sprawling cityscape of Paris in the front. The apartment felt like a lo-fi sex dungeon with faux leather curtains, fetishwear found in closets, mysterious stains and a mirror surrounding the bed. To Gaeta, it represented a window into a collective psyche, of others’ pain and pleasure. The second location was more isolated from much of the city’s hustle and bustle, providing an introspective and personal space to create. These dual locations certainly influenced the record’s dynamic.

LA-based producer Alex DeGroot (Zola Jesus), who is particularly adept at blending organic and electronic sounds, worked with Gaeta across the planet to bring Blur Divine to life. With this release, Gaeta merges the sharp contrast of post-punk, the mysterious allure of synth-pop, and the raw force of industrial sounds. Her music resonates with fans of influential artists like Depeche Mode, Chelsea Wolfe, and the Cocteau Twins, and draws parallels with the bold styles of Garbage, The Knife, Curve, and Zola Jesus.

Oscar Wilde, a connoisseur of beauty and the decadent intricacies of the human experience, once mused, “What difference is there between a glass of absinthe and a sunset?” His fascination with absinthe mirrored his exploration of love’s profound depths and the darker corners of desire. Wilde articulated the absinthe experience as a journey through stages:

“The first stage is like ordinary drinking, the second when you begin to see monstrous and cruel things,” wrote Oscar Wilde of absinthe, “But if you can persevere you will enter in upon the third stage where your see things that you want to see.”

Wilde also asserted that “The Mystery of Love is Greater than the mystery of Death.” This is a poignant reflection, especially when considering Wilde’s final resting place in Père Lachaise Cemetery in Paris, a city where he was exiled to after the disaster of following his heart.

The Blur Divine EP is due out July 2nd.

Follow Julia Gaeta:

Facebook
Bandcamp
Instagram
YouTube

The post Absinthe Makes the Heart Grow Fonder — Dark Songstress Julia Gaeta Debuts Video for “Blur Divine” appeared first on Post-Punk.com.

Source: Post-Punk.com

Es ist vollbracht. Vor sechs Jahren veröffentlichten Project Pitchfork ihre beiden Studioalben Akkretion und Fragment. Nun vollendet Elysium diese wohlbedachte Trilogie. Peter Spilles hat...

Source: monkeypress.de

Die Death Metal-Band ENGULFED hat nach dem Opener “In the Abyss of Death’s Obscurity” mit “Cursed Eternity” einen zweiten Track ihres kommenden Albums “Unearthly Litanies of Despair” veröffentlicht. Es ist nach “Engulfed in Obscurity” (2017) das zweite Album der Türken.

“Unearthly Litanies of Despair” wurde von Emre Bingol gemixt und gemastert und wird am 19. April 2024 via Me Saco Un Ojo Records (Vinyl) und Dark Descent Records (CD) erscheinen.

ENGULFED “Unearthly Litanies of Despair” Tracklist
1. In the Abyss of Death’s Obscurity (Audio bei Bandcamp)
2. Voidwalker’s Dominion
3. Echoes of Suffering
5. Blasphemous Despair
4. Infernal Desolation
6. Cursed Eternity (Audio bei NoCleanSinging)
7. Ancient Abyssal Conquest
8. Occult Incantations

Source: Vampster

Sonic Seducer 04/2024 + CD: Combichrist (exklusiv Track!) + Depeche Mode + ASP + Project Pitchfork + Einstürzende Neubauten + Then Comes Silence + The Vision Bleak + Saltatio Mortis + Feuerschwanz

Source: Sonic Seducer

ÆTERNUM SACRO
„Cielos Prometidos, Cielos Clandestinos“
(Black Metal)

Wertung: Sehr gut

VÖ: 24.11.2023

Label: Exit/Kombinat Schwarz Metall

Webseite: Homepage / Bandcamp / Facebook

Die Band ÆTERNUM SACRO ist ein Projekt von Wintergrimm (Drengskapur/Rimruna) und dem Argentinier Marcelo Aguirre (Early Death, Evil Spirit u.a.), der mittlerweile auch in Berlin beheimatet ist. Die Band wurde 2020 gegründet und hat trotzdem Ende letzten Jahres schon ihr zweites Album herausgebracht.
Beim Debüt „O Cruor Sanguinis“ von 2021 ging es noch etwas anders zu.
Da konnte man digital oder auf einem der 150 Tapes einen über 40 Minuten langen Instrumentaltrack hören, der nur aus Gitarre und Schlagzeug besteht, sehr atmosphärisch und ambient ist, meistens eine schwer greifbare Stimmung verbreitet und mir anfangs wirklich Mühe bereitet hat. Teilweise fühlte ich mich an Hypothermia erinnert, die mich teilweise faszinieren, teilweise aber so schwer greifbar sind.
Auf dem Nachfolger „Cielos Prometidos, Cielos Clandestinos“ gibt es
4 Songs mit Gesang!
Die Songlängen schwanken zwischen über 16 Minuten und fast 7 Minuten stark, aber jeder Song ist genau richtig so wie er ist. Längen kann ich da keine vermerken.
Seine Texte hat jeder selbst geschrieben und eingesungen.
Marcelo zeichnet verantwortlich für die Songs „Panem Et Circenses“ (Track 1), „Lamentum Obscurae“ (Track 2) und „Templar’s Gaze“ (Track 4), neben den Drums für die Platte. Gesanglich bedient er hauptsächlich die
melancholisch schmerzende Seite.
Wintergrimm hören wir auf „Scorned Entity“ (Track 3), sowie an Gitarre und Bass.
Er hält sich gesanglich größtenteils an grimmigen Black Metal,
so wie man es von ihm kennt.
Ich bin wirklich fasziniert von dieser Scheibe!
Weniger ambient als der Vorgänger kommt sie mir an der Stelle entgegen und wenn mich die musikalische Ausrichtung prinzipiell sonst nicht so bedient, weiß sie mich hier aber zu packen.
Die Scheibe ist aber auf jeden Fall nichts für nebenbei. Da sollte man schon mit Aufmerksamkeit bei der Sache sein, sonst könnte das eine oder andere wichtige Detail doch glatt flöten gehen.
Da „Scorned Entity“ aus meiner Sicht am meisten harschen Black Metal Touch abbekomen hat, liegt mir der Song am nächsten, aber die anderen 3 sind deswegen nicht zu verachten, erweitern mir sogar etwas den musikalischen Horizont.
Nach dem Debüt hätte ich nie mit so einem Nachfolger gerechnet und bin deswegen total positiv überrascht.
Nach einigen Durchgängen entdecke ich immer mehr an der Scheibe!
Die CD im Digipack ist über Exit erschienen.
Das wirklich schöne Vinyl, von dem ich eines mein Eigen nennen darf, ist über Kombinat Schwarz Metall erschienen.
Ich hoffe auf mehr aus dem Hause ÆTERNUM SACRO und bin jetzt schon gespannt, was mich dann wohl erwartet. (hendrik)

Source: Amboss-Mag.de

It’s not an early April 1 joke; synthpop duo Kite will actually play the gigantic Avicii Arena in Stockholm, surrounded by guests, figure skaters, hockey players and ice machines. We’ve also heard that least one of the members have started to practice ice skating… The audience will be seated, just like when Kite performed at […]

Source: Release Music Magazine

British-born, rural-centric post-punk project And Also the Trees has been a forever favorite for us here at Post-punk.com. Their music ages like a fine wine, full of heavy body and immense passion, and for our money, they remain one of the most criminally underrated, yet most consistent bands from the original post-punk era. They’re also immensely prolific, having followed up 2022’s excellent The Bone Carver with a brand new album, titled Mother-of-pearl Moon, another shimmering and stunning masterpiece that has already captured our hearts and minds since its release last February. The album is their 14th studio record to date (16th if we’re counting two excellent acoustic records in 2009 and 2011, respectively), and was recorded quickly, with each track built around guitarist Justin Jones’ late dusk-’til-dawn electric guitar improvisations. The band’s knack for literary-influenced, dark jazz passages amongst a powerful post-punk bedrock forever adds an arresting element of drama to their recordings, and Mother-of-pearl Moon is no exception to the rule. The album’s heady mix of minimal electric and organic textures sits gorgeously alongside vocalist Simon Huw-Jones‘ deep, improvisational crooning. The brothers Jones are joined once more by multi-instrumentalist Colin Ozanne (piano, clarinet) and drummer Paul Hill, both of which have been full time members of the band for quite some time now.

And Also the Trees show no signs of stopping, with a handful of European tour dates and upcoming collaboration records on the horizon (to horizon). We had the immense pleasure of catching up once more with vocalist and lyricist Simon Huw-Jones about the new record, his pandemic-borne social media memoirs, and favorite classical composers, amongst other topics. Enjoy!

—–

Congratulations on the new record! How has the reception been so far?

The reviews have been exceptionally good! Unusually, I think that’s the first time that’s ever been the case. We’ve employed a press agent to work for us, because we’ve kind of been very much under the radar, as you probably aware, for years. To be fair, that was kind of deliberate on our part, because we lost our faith in the media and press, particularly in the UK, but things have changed in the end. The internet has opened things up for a lot more bands. It’s not the closed shop that it used to be with just three or four magazines and papers that were hopelessly in control about who you could read about. So this is a really good thing. We’re getting lots of reviews, and they’ve all been really positive. We’ve been kind of a bit surprised by how much people like the album. I think the people that like it truly get it and are really blown away by it, and the rest still think it’s a good album, even if it’s not what they necessarily expect from us.

It’s especially interesting for us, cause we didn’t know that it was gonna be an And Also the Trees album right up until the wire. It was planned to be a Brothers of the Trees album right up until we got up to the mastering process. We got it back and listened to it and I thought, “How can it NOT be an And Also the Trees album?” It’s like a kind of condensed, purified version of one. So, we went for that route, and and it was the right thing to do, because I think our our followers are very open to us being a little bit more experimental and different.

Yeah, I think the band has always flirted with different instrumentation, and to me, Mother-of-pearl Moon feels consistent with your body of work and evolution. I love how the band has always added new elements, more poetry, different textures, and so on. Speaking of which, I’d love to hear a bit more about Justin’s electric guitar improv passages that made up the backbone of the record. How did those passages get fleshed out by the rest of the band?

Well, yes indeed it started off with Justin’s improvisations. Most of them remained pretty loyal to to to the original compositions he had done. Sometimes, we even used the original pieces because the quality of recording was good enough. He would then send the the the improvisations to me and I would react to them, and I had quite a good success rate with these improvised reactions and vocal pieces. Then we sent the tracks to Colin (Ozanne), our multi instrumentalist, who put down some piano and clarinet, while Justin also layered some autoharp. Finally, while it was never our intention to exclude anyone, as we just wanted to write a quick album, things kept building and we brought Paul (Hill, the band’s drummer) into the mix. Being as the songs already had a bit of an orchestral sort of flavor to them, we thought it could be an interesting idea to use a more minimal drum kit for the pieces, using maybe just a floor and hanging tom, to see how it comes together.

Sometimes, less is more – simplicity can really work in your favor, since it puts emphasis on silence, melody, and the interplay can really shine that way. Where did you record the album, then?

Well, I recorded all the vocals underneath an old disused viaduct in the Muswell Hill area of London. It was a completely chaotic rehearsal room, but great for when you’re just recording a vocal. I did that with Justin, and then the the drums were put down in Worcestershire. Colin recorded the piano and clarinet in his front room, where he’s got a nicely tuned piano and the means to record himself quite well. Really, the album was done all over the place, which I know can be a little bit disappointing for some people, because they like the idea of the whole band being together and recording together.

I think we’re at a place where people can get behind whatever works best, as far as process is concerned. I do this the same way, very piecemeal. I think whatever works for the band and serves the songs is the best path forward. So, this is the third record with this lineup of the band, no?

Actually, Grant (Gordon) our bass player, wasn’t actually involved with the recording, which was not deliberate at all. Mostly, Justin also used a baritone guitar on the original improvisations, which covered the bass register. So, sadly, we didn’t actually need to involve him, which was a little bit weird for us, but we all understood that it was just the way things came together. With that in mind, this is the first time we’ve ever done anything like this really with just the three of us and Paul, even though his part is a bit different for him as well.

We didn’t want to exclude anybody and we didn’t actually want to bring anybody in just for the sake of it, either. The album was writing itself, we didn’t procrastinate over it, we didn’t rewrite anything, and I didn’t kill myself writing the lyrics. Okay, maybe there was one song, “The Whaler,” that was the difficult one for me, because I started out wanting it to be a love ballad during the improvisational period, and when I did that I realized I didn’t want it to be a song about a woman. It sounded too mournful, so that took me quite a long time to actually to get my head around that. So, I replaced the woman with a ship in the end, also because Colin plays a nautical-sounding clarinet part. I took the woman out and brought the ship in, and then and then my imagination did the rest. It took a bit of time, but it was worth it in the end.

Mother-of-pearl moon by And Also The Trees

How does Melville factor in here? 

*chuckles*

So speaking of lyrics, I know “Valdrada” was inspired by “Invisible Cities.” I’m not too familiar with Calvino’s source text, so I’d love to hear more about that track.  

So, it was interesting how I got ahold of that book. Here we have something like the neighbor’s box, which people use to put things they don’t want anymore. The idea is that people can put things there, and take other things, and the idea is that you put something back when you take something to keep it balanced.

Ah, yes, we have these in New York City too – little libraries and food pantries that serve the same purpose…

Yes! So, I found a lot of great texts  in those boxes. I really love the idea of getting stuff from those boxes because it’s so random. I’ve discovered some fantastic writers that I wouldn’t have actually discovered if I wasn’t just passing by when I was walking the dog. But actually, you know, I’ve said something wrong here – this book actually wasn’t from the box. This book was from the Red Cross Book Shop in in London. I just saw this title, Invisible Cities, and I thought that title alone sounded interesting, combined with the cover, so I bought it. I’d never heard of Italo Calvino, but the Italian writer apparently is extremely famous, and it seems everybody else I talked to knows of him. Anyway, the idea of his novel is that it’s Marco Polo, and he’s describing cities to the great Emperor Kublai Kahn of the Mongol Empire. What he’s actually doing is describing a city from his continent during every meeting that they have together. From what I understand actually, it’s  all different interpretations of Venice, but of course Kublai Kahn doesn’t understand this, and these descriptions of imaginary cities that he built up are really quite marvelous in the book

I try and read as much as I can, believing that you reap what you sow. I make a point to watch good films and read often because I rely on on improvisations and on my instincts quite a lot, so I believe you need to have good stuff in there in order to conjure the same. So, when I was working on that vocal, I knew I was already writing about a place, a city, and a journey through a city, and then “Valdrada” just came to mind. I tried to recall more about that particular text, but I remembered hardly anything from what I’d read, actually, so the rest of the details I added in myself. To that end, we can all add details to this imaginary city if we want to, because it’s all in the imagination.

That’s great. It’s almost like an exquisite corpse, in a way.

Yes, we’re all imagining different streets and different routes and different houses.

…all of which are valid because it’s such a big city, and everyone’s memories and experiences are different… I love that you discovered the book based on the cover. It’s a lost art in the internet era, being able to discover books and music and films just from digging around in bins. I really miss that, especially when we’re so bombarded by “choice,” but it’s all algorithms that often miss the mark, or don’t expose you to things outside of your comfort zone…. 

Yeah, the amount of bright lights that you see, and colors, and ads. Everything goes in one eye or ear and out the other. If you have something physical, it tends to stick more, I think…

So, Matthew Devinish worked on this this record, too. He’s been with you for a while now. What’s his production style like? 

He’s very meticulous. He’s obviously got a very good ear. We’ve been working with it for quite a long time and he’s always loved the band. He’s known us from the very, very beginning, from our first single “Shantell.” He was actually at the company offices when they had brought it back and played it to him. And he immediately knew it was for him and so he’s been with us for that long as an admirer. We started working with him as a sound engineer, God it must be twenty years now….

Wow, that’s devotion! How’s your writing process changed over the years? Has it evolved?

I tend to really rely on my instincts more and more over the years. I don’t write much. I just hope that something will come naturally. I do write things down first, lines of poetry and the like, if I have some inspiration, but generally I’m much more instinctive than I used to be. I used to sit in front of blank pieces of paper and and and kill myself over it all. It took me a long time to understand that I could actually trust myself a bit more than that, and I can just press the record button and see what happens. Justin’s the main creator. He’s the maestro. We should never forget that I do the interviews, but he’s the creator, and without that and without him there’d be nothing! He’s always been pretty prolific, thank God!

I think that was one of the only good things that came out of out of the pandemic was that we as a band had an unexpected amount of time and space to to focus on other things. There were less distractions, let’s say….

Yeah, I was pretty surprised by the quick turnaround on this record, just a couple of years after the last one! Speaking of extra time over the years, have you ever considered writing in another medium? I’ve been enjoying all the excellent social media memoirs – is there a goal for that, or perhaps another medium you’d like to work in overall?

Well, that’s just me writing down our story. I can be pretty slow and meticulous as well. I can rewrite and rewrite, but I’m enjoying that. It’s a different way of writing for me. It was never the plan to do this, I just started it off is just a random thing to do in 2020, because it was our anniversary year, and we couldn’t do any gigs. So I thought I’d just write a quick piece about the very beginning of the band and put a photo up on Facebook. People liked it and I thought it felt right to do another one, this time a bit longer, and then I’ll do another one and look back in my diaries to take bits out of there. People just seem very enthusiastic about it, and the more enthusiastic people were, the more seriously I took it. There have been lots of calls, people saying that it MUST be a book. I would definitely like to do that.

Of course! And Also the Trees has such a long history and people still seem to be discovering the band, so it’s great to be documenting so much of this for everyone to enjoy. It was very difficult for me to find information about the band in my early collecting days, the late 90s and early 2000s, and I’d have loved reading these stories as I was getting into your records. Of course, Lol Tolhurst from The Cure, who you’ve worked with a few times, has a few books out now as well, so there’s definitely a market. These stories are great and add a lot of value to the band, in my opinion.

I’m quite interested in the idea of developing it as it goes along, because originally I thought I’d have to go back to the beginning and rewrite it in more of the style that it’s turned into. Now I’m thinking it could be quite different if I keep it like that. The more I get into it, the more I realized that our experience is peripheral to our musical creativity, and like the landscape, the farmers, and the people in the village in the landscape, the more I can bring them into it, the more I can make this a little bit more than just a story about a rock band. I’m not sure but if I’m capable of doing it, but I think that could be quite an interesting direction to go in.

I wouldn’t change the early passages either… I feel like that’s perfect to have that sort of lucid beginning, that early punk ethos that’s such a big part of your sound, juxtaposed against your experiences in a more rural landscape. Most of these memoirs I’ve read are about big times and big parties in the big city, you know? I love that there’s always been more of a pastoral influence in your work and would certainly enjoy hearing more about those experiences. 

I think that’s surprised me because now, when I think about it, it’s it’s really quite interesting and quite different talking about where we came from. Really, the truth of it is that we really came from nothing. We were four kids who hadn’t had any musical education whatsoever, and thanks to punk rock, we just decided to form a band. I’ll sing because I’m the oldest, and Justin can play the guitar, which leaves Graham and Nick (Havas). Graham was going to be the drummer, and Nick was gonna be the bassist, but then it turned out that Nick was actually a natural drummer. None of us had any lessons. We all taught ourselves, we hadn’t been in bands before and we barely knew anyone in the music business. Our fourth ever gig was supporting The Cure, which is kind of incredible.. They liked our demo, invited us to play with them in in a university gig nearby, and loved us and invited us on tour. Justin had just turned 16, Nick was 15, Graham was 16, and I was the oldest at 19. We were just kids!

I always love hearing about that punk/DIY explosion. I think what you did what that energy, you really caught on pretty quickly and became great musicians. There are a lot of really beautiful musical passages in the early days, too. So I think it’s what you were saying about how you’re surrounding yourself with good art and beautiful surroundings, and you’ve been able to capture such a singular, passionate sound. I think that’s really quite impressive!

You know, someone asked me what gave me the idea to write about the British countryside…  And honestly, while I was sitting at my window looking out at it, wondering what the hell I could write lyrics about. It’s a problem for all bands you know…

I hear you! I struggle with lyrics all the time too! I just write a bunch of nice-sounding nonsense and cut it all up most of the time…

Of course! For me, I realized that I could just write about what was right there in front of me, and so be what it is. I always knew that there was something about Justin’s guitar playing as well that had a kind grand pastoral sound to it, a little bit like an electric guitar version of a typical classical composer, inspired by landscapes as well as what we’re feeling. It’s funny, because I don’t think Justin was deliberately taking influence from the landscape, but because that’s where we were, it was just a wonderful way for it to happen. I suppose like Detroit’s influence coming out in Iggy Pop’s music, I imagine he would write about the countryside if he lived in Worcestershire!

Well, I’ve always used the word “pastoral” to describe your work and it truly makes you unique. While we’re here, what kind of classical music inspires you, or if you could speak for Justin, perhaps? 

For me it was Ralph Vaughan Williams. The woman running our record company in Malvern played me a piece called “Fantasia on a Theme by Thomas Tallis,” and it blew me away! My mother always tried to get us to like classical music as children, which kind of put us off it originally, as I felt it was too inaccessible to me. However, when I heard that piece, it opened up the whole thing for me. After that I was listening to Mahler and other composers like Debussy and Satie. All of that came to me slowly throughout the eighties as I was discovering that classical music wasn’t as inaccessible as I thought it was.

Justin was more interested and driven, I think, by film soundtracks. He was very interested in John Barry and the composers that Fellini was working with.

I always wondered if either of you were fans of  the German band Popol Vuh, since I think they share some of the same pastoral quality in their work as well. 

I’m not terribly familiar with them, but maybe Justin had picked a few of their film soundtracks. I’ll have to ask Bernard (Trontin) from The Young Gods, since he’s a big authority on Kraut rock so he’ll have to point me in a good direction or lend me some things to hear.

Actually, skipping ahead a bit and speaking of Bernard, I was going to ask about the November project. Is there a third record in the works? 

Yes, we’re working with another musician now. He was playing with us live for a couple of shows, and he’s a multi-instrumentalist. He’s actually a French guy living here in Geneva. He’s very talented, and plays bass and a bit of everything actually. So it’s the three of us now, and that means it’s going to force our hand in a different direction.

Very cool. Looking forward to that! Going back to some of the archival work you’re doing, I was curious if there’s a particular song that really stands out to you as a favorite. That is, if you can even pick a favorite. Last time we spoke, I know you mentioned Angelfish on the whole was a record that you felt wasn’t really celebrated much, but either way, I’m wondering what you think are some of the most definitive or personal favorite moments from your career. 

I can’t really say for songs, as it changes. When I went to went to Matt’s wedding in Italy a couple of months ago, they played “The Beautiful Silence” at the reception afterwards on a big system. Normally I’d feel totally embarrassed or something. But people were dancing, and I thought, “Jesus, this sounds really cool. I love this song.” So that moment really caught me by surprise.

So, if I had to name one song at the moment, it would be that one, but actually all the new ones as well. *chuckles*

I’d love to talk a bit about your photography, which has been wonderful to see in a lot of the And Also the Trees artwork. Did you provide the photos for Mother-of-Pearl Moon as well?

Yup, all the photos on the cover and throughout the sleeve are mine. I don’t very often go out to take photos. It’s just a question of whether I bring my camera along when I go out. I’ll often take my camera on tour with me, which is pain because you have to always be careful about where you leave it. Sometimes I’ll take the Nikon I’ve had since I was twenty and won’t take any photographs at all! However, the last time we were on tour, I got in the mood and took a load of them. It’s all very spontaneous for me, I don’t go out to take photos on purpose – I just take my camera along with me.

Is there anything else you’re working on at the moment? 

I’m gonna be on another album soon with Catherine Graindorge, a Belgian violinist. She reached out and wanted to collaborate with us, and as the singer, they passed it on to me. She also worked with Iggy Pop recently. She’s actually brilliant. She’s a fantastic violinist and a very nice person. Her project is called Songs for the Dead, which sounds rather morbid, of course, but don’t let that put you off…

No qualms here!

Truly, it’s quite deep, but it’s not depressing. I wrote a lot of lyrics for it. I’m singing on three or four pieces, and I always try and balance my lyrics with light as well as dark. They’re based on two things – firstly a poem written by Allen Ginsberg about a dream he had about Joan Burrows called “A Dream Record,” where they have a fluid conversation even though she’s not alive anymore. The other side of the album is based on the classic myth of Orpheus and Eurydice. That was the brief I was given and it’s marvelous music. I think it’s going to be an interesting album. We also worked with Pascal Humbert on bass, he was in 16 Horsepower and was in a French post-punk band whose name I can’t remember right now…

TANIT! I love Tanit. They’re a band I’ve often DJed in sets with your band, come to think of it! 

Oh wow, that’s lovely. He’s a great guy!

Well, this project sounds right up my alley – it’s more what I’m interested in listening to these days. It’s nice to hear artists playing with different influences instead of touching on the same thing everyone else is doing. Post-punk is just such a wide genre, which leaves lots of room to enjoy different sonic spaces. So, last but not least, time for the ever-present question… What touring are you planning in the coming months?

Well, we’re playing in Belgium in a church in Namur, which is gonna be nice, I think. Then we’ve got four or five dates in France in April. We’re also working on a German tour and all sorts of other things in the pipeline. But organizing all of this is very difficult at the moment because everyone now wants to tour at the same time after years of not being able to do so, so everything is all backlogged. You have to book gigs nearly a year in advance now, otherwise everything’s booked up already…

By that point you’ve probably already moved past the material and want to do something new… But then the cost has also gone up with labor, which then drives the price of tickets up to the point where the whole thing just feels kind of hopeless, honestly. 

It’s especially terrible in Britain because of Brexit, which has made everything much more difficult for bands. Everything is just more complicated and more expensive. It’s an absolute shit show. The cost of going to the States as a band makes it impossible, unfortunately.

It’s like you knew I was going to ask you about playing here, which I do almost every time we talk! Actually, I’m bummed I couldn’t make the shows you did in 2014 with The Cure. My cat had just passed away, so it just wasn’t in the cards. I had a ticket and everything! 

They were good gigs. They played for so long. I must say I hadn’t seen them for many years so I didn’t expect that. My big love affair with The Cure was up until about The Top era, when we were still supporting them. Soon after, they started playing in front of thousands of people, writing really brilliant pop songs, and maybe then I might have been questioning what it was all about. But then, at those gigs in 2014, which were for the anniversary of that era, I just looked at the audience, which was really quite small for them. I just looked at all the people in the crowd who were just loving it. They were just in awe… I figured, how could this not be a good thing?

Really, I’m just hell bent on seeing you play one of these days… Willing to travel at this point, hah! 

We’ll have to get a gig in Iceland so we can meet you halfway! §

Check below for the full album artwork and track listing for Mother-of-pearl Moon as well as a list of upcoming tour dates:

And Also the Trees – Mother-of-pearl Moon

1. Intro
2. The Whaler
3. Town Square
4. Mother-Of-Pearl-Moon
5. This Path Through The Meadow
6. Valdrada
7. No Mountains, No Horizon
8. Visions Of A Stray
9. Field After Field
10. Ypsilon
11. Away From Me

Purchase via Bandcamp

And Also the Trees Spring 2024 Tour Dates

APR 2, 2024 La Nef De L’Eglise Notre Dame D’harscamp – Namur
APR 3, 2024 La Laiterie – Strasbourg
APR 4, 2024 La Lune Des Pirates – Amiens
APR 5, 2024 Limoges – Centre Culturel John Lennon
APR 6, 2024 Le Trabendo – Paris
APR 7, 2024 Cabaret Vauban – Brest

Visit And Also the Trees’ website for more details

The post No Mountains, No Horizon An Interview With Simon Huw Jones of And Also the Trees appeared first on Post-Punk.com.

Source: Post-Punk.com

„Winds of Disdain“ heißt die neue Single der Gothic Metal Pioniere TRAIL OF TEARS aus Norwegen nach mehr als einem Jahrzehnt der Stille. Ihre Rückkehr beginnt mit dem Titeltrack „Winds of Disdain“ von ihrer kommenden gleichnamigen EP, die am 24. Mai 2024 über The Circle Music erscheinen wird. Die Band hat einen vielseitigen Vertrag mit The Circle Music unterzeichnet, der die Veröffentlichung der „Winds of Disdain“-EP, eines kompletten Albums und Vinyl-Neuauflagen aller sieben früheren Alben der Band vorsieht, beginnend mit ihrem kultigen Debüt „Disclosure in Red“ von 1998.
Grab the single via digital platforms: https://thecirclemusic.lnk.to/wod2024
https://thecirclemusic.gr/product-category/the-circle-releases/?filter_artist-name=trail-of-tears

Der Song wird von der eindringlichen Stimme von Ailyn Giménez García gesungen, die früher bei der Symphonic-Metal-Band SIRENIA spielte. Neben Garcías erhebender Stimme liefert Gründungsmitglied Ronny Thorsen seine markanten Growls. Der Rest der Band bietet mit Runar Hansen an den Gitarren, Nicolay Jørni Johnsen an den Gitarren und im Programming und Endre Moe am Bass ein solides Fundament. Diese Besetzung verspricht, Trail of Tears‘ typischen Gothic Metal mit einem frischen und dynamischen Sound zu liefern.

“We are finally ready to share the results of our work since first announcing our return back in 2020,” says Ronny Thorsen, Trail of Tears founder and vocalist. “We’re excited to share our first new single and lyric video with you – and hopefully seeing you out there in concert, soon!”

 

 

Source: Amboss-Mag.de

Die Industrial Black Metal-Band DUSK hat mit “Industrie” ein neues Album angekündigt. Es ist das fünfte Album der Band aus Costa Rica und wird am 31. Mai 2024 erscheinen. Vorab gibt es den Track “Industrie II” zu hören.

DUSK “Industrie” Tracklist
1) Industrie I
2) Industrie II (Video bei YouTube)
3) Industrie III
4) Industrie IV
5) Industrie V
6) Industrie VI
7) Freezing Moon (MAYHEM Cover)

Source: Vampster

Out on May 17 is the all new Combichrist album “CMBCRST”. The CD edition comes...

Source: Side Line

Amsterdam’s Automatic Noise Festival 2024 is set to deliver an immersive shoegaze experience once again with a focus on international acts. Curated by Antonio Zelada of Resplandor, the 2024 spring edition lineup boasts headliners from across Europe, including Sweden’s Svart Ridå, Ireland’s Sun Mahshene, Germany’s Attic Ocean, and Rotterdam’s L’orne. The event promises an evening rich with soundscapes characterized by walls of sound, distortion, ethereal voices, and beautiful noise.

Behind the scenes, Automatic Music, a well-regarded record label and concert promoter based in the Netherlands, powers the festival. With a history spanning eighteen years, Automatic Music has been instrumental in bringing a diverse array of shoegaze, post-punk, and post-rock artists to the stage, including notable names like The Jesus & Mary Chain, The Mission UK, and The House Of Love. The festival is not just a collection of performances but a reflection of a continuing musical movement that deeply connects with its audience.

Meet this year’s artists:

Svart Ridå (Sweden)

Svart Ridå
Over the last year, Svart Ridå, an indie dream rock band from Malmö, has garnered acclaim from prominent Swedish music publications such as PSL, Popmani, Hymn, Gaffa, and Sydsvenskan. Their unique blend of dark dream pop and dynamic live shows has drawn an ever-growing fanbase. With their debut album, the band expanded from a duo to a trio, transitioning towards a more guitar-centric sound infused with dream pop influences. This album showcases a band unafraid to delve into and express deep, intense emotions.

Sun Mahshene (Ireland)

Sun Mahshene
Hailing from Dublin, Ireland, Sun Mahshene emerged in 2018, breathing new life into the Psych and Shoegaze scenes. After taking the stage at Electric Picnic, Ireland’s premier music festival, Sun Mahshene captivated audiences with headline performances at renowned venues like Whelan’s and The Workman’s Club. These shows cemented their reputation as a must-see live act.

Attic Ocean (Germany)

Attic Ocean
The five members of Attic Ocean are united by their love of spherical and dreamy music. Attic Ocean – and in particular their lead vocalist, Hanni – captured attention both locally and internationally with their debut single, August / Glass. Now, with their debut EP the heavy blue and then after, they embark on a fresh musical adventure, embracing a sound rich in nostalgia and melody. Critics have already drawn parallels between Attic Ocean’s style and iconic bands like Slowdive, The Cranberries, and Wolf Alice, highlighting their deep roots in ’90s shoegaze and indie music. 

L’orne (Rotterdam)

L’orne
L’orne is an emotionally charged band mixing chaotic noise with soothing slowcore and shoegaze. They released their EP in 2022 and will release their first single leading towards their debut album on February 2nd 2024. This LP promises to be even sadder, heavier, more dreamy and atmospherical!

Follow the Automatic Noise Festival for more info:

Instagram
Facebook
Website

The post Amsterdam’s Automatic Noise Festival Returns This Spring with Svart Ridå, Sun Mahshene, Attic Ocean, and L’orne appeared first on Post-Punk.com.

Source: Post-Punk.com

Interview withGrzegorz Szyma (DJ, Composer) from Hiroszyma Multimedia artist HIROSZYMA born in Warsaw is a painter, graphic designer, DJ, and musician, holding a degree from the Academy of Fine Arts in Warsaw. Since 2002, he has been active in the music scene, co-founding the RH+ collective with Marek Musiol, which later evolved into DAS MOON upon joining Daisy K. DAS MOON performed at major festivals in Poland and internationally, contributing to the Dark Synth Wave scene. HIROSZYMA has been a fixture in the Polish DJ scene since 2003, with over 2,000 club and event performances to his name. In 2008, he represented Poland at the International Club Night in Berlin.

Source: Reflections of Darkness

Mit "Apocalyptica plays Metallica" begann die Band ihre Karriere, nun haben Apocalyptica eine Fortsetzung in Aussicht gestellt! Alle Infos zu "Vol. 2" und die Leadsingle "The Four Horsemen" ft. Rob Trujillo hier.

Source: Sonic Seducer

Don’t try to tell me
I haven’t seen death before
It’s always knocking
Knocking at my door
Berlin’s Curses, helmed by renaissance man Luca Venezia, is a music project that seemingly has mastery over any underground music genre in the international darkwave scene. Curses can blend romantic desolation with the new wave cinematics of 80s sci-fi, horror, and fantasy, creating a sound that is able to traverse the moody landscapes of ’80s Goth with uncanny ease and earnestness while maintaining the deep emotional resonance core to post-punk. And then switch gears to drop an icy electronic music banger infused with the primal energy of early electronic body music.

Recently signed to Italians Do It Better, Curses introduces Elegant Death, a new single that offers a captivating mix of classic musical influences and modern sophistication.

The lyrics to Elegant Death express a deep familiarity with death, depicting it as a relentless visitor. Through repetition and vivid imagery, the song explores the inevitability of mortality and the effects of loss on the spirit. It discusses themes of enduring grief and the subtle, yet constant, presence of death in life, intertwining resilience with the metaphorical depiction of death’s quiet approach until the conclusion of existence.

“Death has a looming, dark reputation, it’s always there, but embracing the elegance in its romantic ceremony, and aesthetic of funerals in Italy is something that has always captured me,” says Curses. “Especially being raised half Italian between NYC and Sicily.  There is a beauty in the legacy of a person’s story that death leaves behind. The power of a new chapter, shedding old skin to discover a new.  In the last few years, I’ve had to face the reality that all of us eventually die. I’ve lost many friends, family members have passed, and overcoming the fear of death has allowed me to appreciate the present, the importance of now, creating life memories through music, to be remembered beyond when that time comes to eventually say goodbye.”

Listen to Elegant Death below:

Curses straddles the line between homage and forward-thinking innovation, creating a sound that resonates with the rich history of Darkwave while simultaneously pointing the genre toward new horizons. The project’s recent partnership with Italians Do It Better signals a pivotal moment, poised to propel their music to a broader international audience.

In 2022, Curses released “Incarnadine,” an album that not only stood out for its craftsmanship but also for its ability to encapsulate the essence of the genre’s past while peering into its future. The album track “Miriam” is gothic rock perfection while being a direct nod to the cult classic vampire film “The Hunger” from 1983. Meanwhile, “Boundless,” a collaboration with Jennifer Touch, is a dance-driven darkwave track further exploring the album’s thematic depths with a blend of cinematic scope and intimate introspection.

Adding another layer to their genre-defying approach, Curses has introduced the “New Wave Acid Punks” remix series. This endeavor has already produced two volumes, each featuring innovative remixes of Nuovo Testamento, a band that authentically captures the essence of Italo Disco-inspired synth-pop.

Listen to Curses’ new single, Elegant Death, via streaming here.

See Curses live:

29 Mar – NL, Ams Bordello a Parigi Lo Fi *
30 Mar – NL, Rotterdam Operator Radio *
31 Mar – UK, London Joyride *
5 Apr, EST Tallin Tallin Music Week *
6 Apr – ES, Sun And Snow Festival *
12 Apr – GE, Tbilisi Khidi Club *
19 Apr – DE, Panorama Bar Berlin *
20 Apr – FR, Toulouse Rex *
27 Apr – DE, Acid Tears Golden Pudel *
7th May – FR, Marseille Le Bouge 
8th May – FR, Paris Petit Bain 
9th May – FR, Lyon Nuits Sonores *
10th May – Zurich Zentralwäscherei 
18th May – DE, Extrema Outdoor Festival*
21st May – UK, London Moth Club 
24 May – IT, Milano Tempio del futuro perduto 
25th May – IT, Bologna TANK 
26th May –  HR, Zagreb Mochvara 
27th May – HU, Budapest A38 
28th May – CZ, Prague Bike Jesus 
29th May – PL, Kraków Zaścianek 
30th May – PL, Warsaw Chmury 
31st May – DE, Berlin Kantine am Berghain 
8th June – IT, Capri Rumore Club *
10th June – ES, Circoloco DC-10 *
* – DJ Set

Follow Curses:

Instagram
Facebook

The post Berlin’s Curses Signs to Italians Do It Better and Releases New Single ‘Elegant Death” appeared first on Post-Punk.com.

Source: Post-Punk.com

Die Dark Wave-Band DPERD hat nach einem Video-Clip zum Titeltrack mit “Amore E Libertà” ein Lyric-Video von ihrem kommenden Album “Choices” veröffentlicht. Es ist das achte Album der italienischen Band, die aus Valeria Buono und Carlo Disimone besteht. Das Cover-Artwork stammt von Lilith Terra. Erscheinen wird das Album am 19. April 2024 via My Kingdom Music.

DPERD “Choices” Tracklist
1. Another Chance
2. Go On
3. Amore E Libertà (Lyric-Video bei YouTube)
4. Only Void
5. Salamanca
6. A Needed Desire
7. For Me
8. Old Friend
9. Dreams Behind A Barbed Wire
10. Ran Out Of Tears
11. In The Middle
12. Mr. Savage
13. Choices (Video bei YouTube)
14. Mr. Good
15. The Night Of The World
16. My Way
17. It’s Gone
18. Only Tonight

Source: Vampster

The Los Angeles-based Trade Secrets returns with “Escaping History”, a “new collection of stories about...

Source: Side Line

Genre/Influences: Industrial-Acid, Electro, Acid.

Format: Digital, Vinyl.

Background/Info: This new issue of the “Acid Avengers” features three songs by Bound By Endogamy (Switzerland) and two cuts by Raw Ambassador (Italy). 

Content: Bound By Endogamy sounds into heavy Industrial-Acid music with cold, emotionless, female vocals on top. Raw Ambassador brings us back to retro Acid with an extra cold touch on top.

+ + + : The debut cut “Jaw 2000” by Bound By Endogamy is a true dancefloor killer; an impressive production mixing Industrial and acid together with sterile vocals on top.Raw Ambassador don’t really innovate but there’s a great, cold, atmosphere recovering their Acid composition.

– – – : Despite of the astonishing “Jaw 2000” both other  Bound By Endogamy-cuts are less interesting.

Conclusion: I highly recommend this new issue of “Acid Avengers” for this outstanding Bound By Endogamy-track.

Best songs: Bound By Endogamy: “Jaw 2000” + Raw Ambassador: “Never A Step Back”.

Rate: 8.

Artists: http://www.facebook.com/BoundByEndogamy666 

Label: http://www.tripaliumcorp.com / http://www.facebook.com/tripaliumcorp

Source: EBM.gr