Mit einem neuen Projekt gehen Christian Kolf (VALBORG) und Matin Vasari (BEYONDITION) hausieren: MOON INCARNATE. Nach zwei Jahren des gemeinsamen Abtastens und Komponierens steht mit “Hymns to the Moon” nun das erste Album parat. Der Opener “Hymn To The Moon”, der als gedrungenes instrumentales Intro gelten kann, bei welchem eine seltsam hohl klingende Stimme in die Thematik des Albums einführt, hinterlässt vorab allerdings nicht den besten Eindruck – insbesondere wenn man die Inspirationsquelle der Band aus Bonn ins Kalkül zieht: die frühen Werke der “Peaceville Three” (PARADISE LOST, MY DYING BRIDE, ANATHEMA).

“Hymns to the Moon” verzichtet auf Tempo
Doch “Hymns to the Moon” ist imstande sich zu steigern. Gerade gesanglich kommen in weiterer Folge ordentliche Growls zum Tragen, aber auch gesprochene Passagen, die jedoch etwas an Dramatik vermissen lassen. Dafür gefallen die Lead-Melodien der Gitarre recht gut und versprühen tatsächlich etwas vom Esprit dieser “Peaceville Three”. In Sachen Tempo bleiben MOON INCARNATE beinahe durchgehend auf der sehr schleppenden Seite (einzig das abschließende “The Kraken” kratzt an der Midtempo-Schwelle). Dabei hätte quasi jedem Song ein (auch nur zwischenzeitlicher) Tempo-Ausbruch nicht geschadet. Gerade wenn sich Tracks wie “A Graveyard In My Soul” über sechs Minuten hinziehen.

MOON INCARNATE reisen in der Zeit zurück
Im Grunde ist “Hymns to the Moon” eine nette Zeitreise zurück in die 90er. Leider gelingt es MOON INCARNATE nicht, mehr Kapital aus der starken Anlehnung an die damaligen Größen des Genres (insbesondere ANATHEMA) zu schlagen. Das liegt vor allem an den etwas zu schwachbrüstig umgesetzten Songs, denen die Detailverliebtheit fehlt. Pluspunkte sammeln die Deutschen dagegen in Sachen Lead-Melodien und Growls.

Veröffentlichungstermin: 22.04.2024

Spielzeit: 38:00 Min.

Line-Up:
Christian Kolf
Matin Vasari

Session-Musiker:
Peter Scartabello (SKY SHADOW OBELISK) – Schlagzeug

Label: Iron Bonehead Productions

MOON INCARNATE “Hymns to the Moon” Tracklist
1. Hymn To The Moon
2. The Tempest (Audio bei Soundcloud)
3. A Knight’s Death
4. Nemesis (Audio bei YouTube)
5. A Graveyard In My Soul
6. Minotaur
7. The Kraken

Source: Vampster

The Atlanta-based darkwave band, Now After Nothing have released an all new single, “Sick Fix”...

Source: Side Line

Today marks the release of Dallas, Texas based post-punk band Rosegarden Funeral Party‘s third album, From the Ashes, via Young & Cold Records. We’ve always adored the band’s cathartic, yet vulnerable energy and have been following them closely since their inception in 2017.

From the Ashes marks a few significant changes for Rosegarden Funeral Party, including both a lineup shift and a welcome sonic evolution. While the band’s knack for razor-sharp guitars and high octane rhythms is still intact on tracks such as “Pillar of Salt” and previously released single “Almost Heaven,” the album also features warm synth pads, clouds of horns, and more reflective, wistful passages. Songs such as “Love Like Goodbye,” “A Different Kind of Carnage,” and “Like the Rain” are bold and beautiful steps forward for the band, tapping into similar nocturnal atmosphere as Bryan Ferry, Icehouse, or even Joe Jackson.

Band architect, guitarist, and vocalist Leah Lane bares her soul across the album’s ten tracks, a phoenix shedding her skin and leaving no stone unturned during the process. The album’s lyrics are deeply inspiring and show a newfound confidence and resilience, a letting-go that’s deeply inspiring to see play out on tape.

We’re honored to premiere From the Ashes in full, and also had the chance to catch up with Leah about the genesis of the record, the evolution of the band’s sonic palate, the upcoming Obituary Festival in Dallas, and how it feels to perform so openly on stage. Please press play on the Bandcamp link below and enjoy our chat!

From the Ashes by Rosegarden Funeral Party

—–

So, these are truly exciting times for Rosegarden Funeral Party. From the Ashes is out today, and it always seems like you’re pushing the band forward with such impressive energy and productivity. What inspires that? 

I think that a lot of us in the post-punk scene, we all struggle with depression. I think for me, always having something coming up on the horizon helps me to get out of bed in the morning and keep doing my thing. If I have an active project that I’m working on, I get very committed to those goals that I set in place, and that stops me from succumbing to it. It’s not a foolproof system, but I think the reason why I’m so dedicated to always having something new on the horizon for Rosegarden Funeral Party is because it’s what keeps me sane and keeps me here.

The reason that it’s such a such an energetically charged and inspired time for us right now is because we wrote and recorded this record very quickly, over about two-and-a-half months in total. It’s jus been this whirlwind of creativity. I kind of thrive in in a pressure cooker, and I knew I had to get the album out before the tour with Night Club. It’s nice to write, demo, and record an album and then immediately go on tour, all in the course of three months. That feels really good.

I’m exhausted just thinking about all that! It’s impressive that you have that energy to get up and do it!

Well, I’m lucky I got December off, you know? We went on tour for all of November, but then I came back and took the holidays off, and then just immediately started writing this album. My booking agent really wanted to have a new record to support on this tour with Night Club, and I was really excited to have that fire under my ass to help me thrive. It’s nice to have a a brand new album of songs that were written so recently. Because, you know, I’m still feeling these songs, like everything that these songs are written about are issues that I’m dealing with right now. That charges up the inspiration, I think.

Well, that’s precisely how I wanted to kick this interview off, honestly. Your work is always so autobiographical and from the heart. What are you feeling on this record? 

I feel like I always ride this line of too honest, so I don’t know if I should answer that question honestly…

The confessional is open…

Well, I think the record in general is about my inability, through the last six or so years of Rosegarden’s career, to really let go of people that have hurt me, or circumstances that have hurt me. I’ve spent a long time wearing the the bad things that I’ve gone through as like this kind of purple heart, and I’ve spent a long time glorifying my pain and thinking that was healing. But really what I was doing was building an altar to tragedy. I took two years off from writing for the band, and we started changing a lot. When I came into the studio to record this album. I realized that I was a different person and that I had learned a lot. One of the main things that I discovered is that I spend a long time really believing that if you love someone, even if you let them go from of your life, you still hold them really tight in the center of your chest forever. That’s how you can love them, even if they’re not in your life. Sometimes the best way and the most pure way that you can love someone is fully letting them go.

So I think that this album is as a whole is about genuinely realizing when it’s time to let go and when it’s time to let go in a loving way. It’s about forgiveness and this kind of self-reflection and self-ownership and self-awareness. I feel like a lot of my albums in the past have been very confused and desperate and very, very broken, in regards to the lyrical content. I think the biggest difference on From the Ashes is that I’m not confused or broken. I’m sad, but I’m resigned and I’m very deliberate, and I think that’s reflected in my personal life, for sure. There’s a lot of acceptance, that this is the way things are gonna be. You know, just because it hurts, doesn’t mean it’s not right, you know? Sometimes things in life hurt. But that doesn’t mean that they’re wrong. Sometimes things are just gonna work out in a way that you know you wish were different. It’s a lot of self-preservation like that.

Image by Vera “Vicious Velma” Hernandez
Well, hearing you say all this, the album cover seems to be very reflective in a way. Really, it’s so different than the last few albums, the photo of you on the motorcycle, which is usually a symbol of freedom. Does that factor in at all?

Well, I’m glad that you asked about that, because the the album cover is actually an extremely personal image! I’ve always told my friends that, when I was really able to heal and was at a good point in my life, there would be signs. One of the signs was that I would bleach all my hear blonde to signify the total rebirth that I had always planned on…

Well, check!

Yeah! I’ve always paired emotional transformation with physical transformation. I’ve done that my whole life. It’s just a way for me to bring the nonphysical into the physical world, to cement it a little bit more. So, another thing I said, another sign, was that I’ll get a motorcycle. When I said that, all of my friends recoiled in horror because they all know that I’m insane, and I’ve always been a hard partier, but what I explained to them that I don’t see it as a sign of recklessness, it’s a sign that I can handle it, finally. Now that I’m not destroying myself with partying, that irresponsible nature is is gone. The motorcycle is such a kind of universal sign for recklessness and self-destruction, but for me, I would only ever get a motorcycle if I knew that I wouldn’t kill myself on it.  So, the image of me on the motorcycle, with my blonde hair, is exactly what I’ve always imagined my fully healed self would look like. That’s why I chose that image specifically for the album cover.

It’s funny, because when I told folks in my close creative circle what this cover was going to be, they all knew what it meant, but they wondered if it really encapsulated the vibe of the album, or if anyone would get it without the backstory. I don’t know if it does exactly, but for me it does. This music and the visual representations of my art have always been first and foremost like a tool for me and for my processing and my healing. And I’ve just been, so lucky and and so blessed that it’s also gone on to to help others. With that in mind, I wasn’t really concerned with whether or not other people would get it. But I also was hoping that I would have a chance to explain it.

So how much of the album was demoed in advance, vs. say, writing it in the studio? 

We spent a total of eight days in the studio, I think. I spent a month demoing the songs out, but very, very little of what was recorded on the demos actually made it onto the album. Maybe a few synth pads for convenience and a couple of guitar tracks. Other than that, everything was re-recorded. The recording process really did fly by.

It’s my first album with this new lineup of guys. It’s Scott White on bass, who I’m also in a shoegaze band with called Deep Red… Then I have Dean Adams on drums, who is just an exceptional musician. Not only on drums, but he’s a great piano player… Really both Scott and Dean have incredible range. So, this is the first Rosegarden record that was a full collaboration between all three of the members, we  all worked out the arrangements together, you know? Scott and I both tracked guitar and we all played keys at some point.It was the first record that was entirely collaborative like that. I loosened my vice grip on the on the music a little bit, and I couldn’t be happier with that decision, because I really feel like it serves the songs.

I was able to go places with the music that I used to be afraid to go to, even though I’ve always known that Rosegarden is not like a typical goth band from the beginning. I’m hyper-aware you know? I have an understanding of the genre and there was a long time where I was  afraid to do anything that kind of touched on my other influences, like Japan or Bryan Ferry, or even say, Genesis. I didn’t want the goth scene to turn on me or lose interest. I didn’t want to disappoint the people who first started listening to my band, first and foremost. I was afraid. But the guys on this record really encouraged me to pursue different avenues than I had in the past and not be so worried about the way that the songs would be perceived or whether or not the songs were goth enough, or dance-y enough, or energetic enough. They reassured me that this is Rosegarden’s third album and the fan base is going to stick with you because they like you, and that it was more about the lyrical content and your voice and that kind of personal connection to the band.

Someone else reminded me that The Smiths aren’t goth at all, but somehow are a band that goths tend to love, outside of that.

Exactly! All of these bands you mention have darkness and beauty in there, and honestly, I find it more interesting when bands don’t stick to the traditional gospel of what is or isn’t goth in that way… With that in mind, let’s talk about the saxophone! Obviously we talked about sax and outside influences a little over text the other day, so let’s get into it. Who’s playing sax?

So that’s Alyssa Gallagher from Trigger Discipline, out of the the Boston area. They’re a duo that we took on tour with us in November and I just fell in love with both of them, and when I fall in love with bands, man… I’m just so big on collaboration and I just want everybody to work together.

So yeah, while the sax on the album obviously can remind someone of say, Bauhaus, Sad Lovers and Giants, or Theater of Hate, but it also finally delivers on your secret love of yacht rock… 

Hah, you mean my not-so-secret love…

Well, I was trying to give you the benefit of the doubt…

*Chuckles* So, yeah the saxophone on “Doorway Ghost” stems from wanting to involve Trigger Discipline on a track. I wrote that song when we were on tour – it was the only one I wrote while out on the road. I asked Dean, who was on tour with me, if there was room on this song for Alyssa to collaborate on, and he said absolutely. When we demoed it I intentionally left space for her. I sent the track to Alyssa, and then booked Trigger Discipline to play New Year’s Eve with us in Dallas so that they would come down our way. That’s when we recorded the track.

I knew that I’ve I’ve wanted to put saxophone in our music for a long time, and sadly I was always vetoed.

Well that’s just odd to me – even if you were intentionally aiming for more post-punk or goth influences at the time, it’s not like Bauhaus, The Cure, Essential Logic, etc. didn’t have saxophone galore! I could name a bunch of bands who use it! 

Exactly! I knew that it wasn’t that far off. When it came time to record the full album I knew I wanted more horns on the album, and that’s when Dean brought in his friend named Miles Belvin, who’s a really really great jazz trumpet player, and he’s the one that did the rest of the horn work on the album, whether it’s trumpet or flugelhorn on songs like “Like the Rain,” “First to Cry,” and “A Different Kind of Carnage.”  I started putting it everywhere. A lot of that influence for me was from The National. I’m a really big fan of the band, especially Boxer and High Violet. I love the way they use horns. So yeah. this was just another wonderful way that my toolbox was expanded by the encouragement of my bandmates.

I mean, you have to evolve. If you made the same record over and over again, that would be letting people down in a way.

Right. entirely and like, and I kind of felt like I had gotten into a little bit of a rut with In the Wake of Fire. I really did not like that album. I mean, I liked some songs on it, but I came away from that album, and I look back on it back at it, and I know that will forever be the worst album I ever make. That’s not to say that it’s a terrible album and nothing against people who like it, I just don’t ever wanna make an album that feels that contrived again. I wanna keep pushing the boundaries. Now, with From the Ashes, I genuinely feel like I made an album that’s representative of my influences, whether it is like yacht rock, night rock like Bryan Ferry, or Nick Cave, or bands like White Lies. I feel like this is probably the album that, so far, is the most indicative of my direct influences and the music that I listen to all the time, and I’m excited about that, because I haven’t been able to say that about any of my past releases.

 

Well, now that you feel comfortable in your own skin, will you be continuing down this path, or is it too soon to say?

Yeah, I have no idea what what I’ll do next. But I’m I’m really excited about it, especially because I have these players with me. They’re kind of limitless in their ability, and that’s showcased on the record, especially if you get closer to the end of the record, on tracks like “A Different Kind of Carnage” and “Like the Rain.” Those are my two favorite tracks on album, but are also the biggest departures from what we’ve ever sounded like. I remember when we were recording “Carnage” – I was thinking about Bryan Ferry and trust me, one day when the budget allows, I am just gonna start wearing suits. We’re gonna have a horn section and a percussionist and like, three backing singers. I was poking at that dream with that song. I came up with the lyric idea when we were on tour. Dean and I were talking about all of these people in my life that have taken advantage of my vulnerability and my kindness. I was waxing poetic in a silly way. All of these vultures are just circling a dying thing, and Dean told me that I needed to write that dow and to write a song about that. When I sat down at the piano to write, it came out sounding like this kind of late-Roxy Music melody line and I got really excited because I loved the juxtaposition of this like very brutal, goth lyric with this different kind of sound. It sounds like it’s gonna be a romantic piece of music, but it it’s totally not it.

From the Ashes by Rosegarden Funeral Party
I love parallels, I love when things sound one way and say another, and so that that was really cool. Also, because we share a title, I also started to revisit the Nick Cave and Warren Ellis album, and that’s how “Like the Rain” formed. I wanted to do a song that was an homage to late-era Bad Seeds. I know it’s kind of an unpopular opinion, but I love his later work.

Oh, me too! I can’t really hang with the early stuff as much anymore. Of COURSE it’s great and iconic and there’s lots of gems, but I’ve grown alongside the band, and I’m more moved by Skeleton Tree, Ghosteen, and I’ve always said my favorite record of his was No More Shall We Part, which is not really a popular opinion either. I dunno, I was so put off recently when he was touring Skeleton Tree and played “Stagger Lee” as an encore. I know he has to play some of those murder ballads, that’s part of his brand, but it just felt so… performative in a way that was distasteful after basically being moved tears by what, for all intents and purposes, is pretty much a requiem mass for his son. Long story short, I’m all for listening to and channeling those latter-era Bad Seeds albums… 

Dude, I totally agree with you and I really wanted to write an homage to that sound. I’m glad we got to do it. I’m so lucky to have the people that I make music with now and that’s nothing against the previous lineup of Rosegarden. They are my brothers, and we’re still all really good friends.

Sometimes you just need explore different paths with a new group of musicians…

Exactly! No one was sacked. It was just that circumstances change in people’s lives and I had to keep the train rolling. With that personal change comes change to the music, you know? I’m really excited about where it went, because I get to do something really different. Changing lineups takes away some possibilities, but it also gives birth to a whole bunch of new ones, and I feel like we really leaned into the strength of change rather than kind of trying to repeat what we’ve done in the past just because we knew it would be safe. That’s not to say that there aren’t songs on the album that are kind of quintessentially Rosegarden.

Yeah, this record is still you at your core, it’s still your voice and your lyrics and your passion. This kind of reminds me in a way of that band Blitz who pretty much made a New Order record that alienated all their punk fans – I mean those original punk kids HATED it, but all us post-punk kids prefer that record. While some of the old fans turned their backs on the bands, a lot of them embraced both sides of the band. It’s proof of concept that sometimes it pays to evolve and try new things, if that’s what you need to do… 

Absolutely! I’m glad you get that…

Image by Vera “Vicious Velma” Hernandez
So you mentioned Deep Red earlier, and I’ve always liked that project as well. You just put out a few singles last year, right? What’s next for that project?

So, Deep Red, perhaps as the name implies, is deeper. We’re never not working. We have about 40 unreleased songs that are like completely demoed out. Scott and I get together every week and and work on Deep Red. Scott is kind of the antithesis to me in the way that he runs that band. In Rosegarden I am very go go go – close enough to rock n’ roll, let’s get in the studio, let’s get on stage, let’s go on tour, let’s just fucking GO! But Deep Red is extremely methodical, and everything has to be perfect and meticulously prepared before anything happens. I’m sure that the correct way to run a band is like somewhere in the middle of what we both do.

That said, Deep Red is gonna be putting out an EP this year and we’re going to be recording a full-length album. We’re gonna be putting out a few more singles. I think, later in the summer, we’re finally going to start playing live shows after six years of being a band. It’s insane that we’ve never played a show in six years, but Rosegarden feels like we’ve played a thousand shows at least! Deep Red has never been on stage before, and I know we’ve built up a lot of anticipation for it. I was originally gonna put Deep Red in place of Rosegarden on Obituary Fest – the festival that I’m throwing in Dallas in July, but we’re not going to be ready by then, so Rosegarden it is! Alas, maybe next year…

Well, tell me more about Obituary Fest, then! 

Yeah, so it’s in Dallas, and Rosegarden will be playing alongside a lot of great acts. As soon as I get back from this tour with Night Club, all of my energy, every single bit of my soul is going to be in Obituary. We’ve got Lorelei K, Astari Nite from Florida, Trigger Discipline of course… House of Harm, Forever Grey, Urban Heat from Austin, and Deceits from Los Angeles. Also, we have Sean Templar and Dave Bats DJing!

Nice! A bi-coastal family affair!

Yeah! I just wanted to throw a big party with a whole bunch of people I like… That’s the coolest thing about the festival. It feels like a fully national goth festival since we’ve got just as much east and west coast flavor here in Texas, it just feels very inclusive and fresh. There’s no legacy acts on it, either. We’re really encouraging the younger bands of the scene to stake their claim. We’re also trying to encourage older folks who might not be in touch with what’s happening now to come out and see these new bands and see where the scene is these days. I’m really excited about it and will be pouring all my energy into it when we get back, making sure it goes off without a hitch and hopefully creating the possibility for it to it to happen again. I’d love to keep doing it for years to come. It was a dream of mine before Covid hit. Now I know so many more people, and I think it’ll just be ten times more fun than I originally planned. It’s at a really beautiful historic theater in Texas.

Well, while we’re here, I’d love to talk about your live show. The way you perform on stage has so much passion and vulnerability in it. Has that always been the case?

I mean, I kind of grew up on stage! I  started playing in bands when I was 12 – I played keyboards and percussion  and sang backing vocals in a psych band.

How Texas of you!

Yep, so very Texas! We were all obsessed with 13th Floor Elevators, of course. Those are my roots! But growing up, I was one of maybe two girls in the scene, playing in a boys club. All the guys I knew were in bands, and it was kind of weird being not only one of the only girls, but also being in sixth/seventh grade. I performed my ass off just to compete with the boys. When that first band I was in split, I went with one of them, and he really encouraged me to start playing guitar live. It was always my first instrument, but he encouraged me to start playing it more on stage, and pushed me to write my own songs. I started doing that, and wound up performing two of the ten songs of our set.

That band lasted until I was 19. After that, Rosegarden Funeral Party was born, and that was really the first band where I was the sole writer and director of of the group. It’s the first time I’ve ever been a front woman. I was super lucky and I really do thank God for all of this when I have a reflective moment. I look back on the way my career has gone, having been every member of a band other than a drummer, working my way from the back of the stage to the front. I feel like I very gradually got to grow as a performer.

I dunno man, I have this kind of philosophy that when you sing you’re not allowed to lie…that singing is something that’s really sacred, so I’m at my most honest, my most vulnerable, and my most unguarded when I’m when I’m on stage. That’s why I always get weepy and emotional. Being on stage is the only time that I’m not protecting some part of myself.

So between always being on stage and always feeling very at home up there, I don’t feel like anything could hurt me. It’s a safe space where I can express myself the easiest. I think that that’s probably why I’m so performative. It’s actually not performative for me, but it’s the only time in my life when the mask comes off…

I feel exactly the same way – it’s always been about exorcising my demons when I play on stage… So, let’s finish by circling back to the record. I’m just so happy to see a band making the music they want to make without trying to chase trends. In this day and age, that seems so rare, and I commend you all for it!

Yeah, this isn’t at all a fame grab. People give me all kinds of advice about how they think the band could be much more successful if I would just do X, Y, or Z. I’m just not really interested. The only goal that I have ever had with Rosegarden Funeral Party was to lead as an example of kindness and healing. That’s all I want. I just want to be regarded as a nice group of people who have a positive influence on their listeners. All I wanna do is make music that helps me heal and and pray to God that it helps somebody else heal.

I’ve always said this and I’ll say it till the day that I die: If it never gets any bigger than this, I’m happy. I just am so thankful that people are enjoying our music and are getting something out of it. There is no part of me, that is, is, you know, clamoring to to be bigger than anybody else. I don’t view myself in any sort of competition with any other band. I don’t get jealous of other band’s successes. The goal is just to to be a nice person and to encourage other people to be nice people as well.

Hopefully we can aid in making people feel less alone with those feelings that isolate us the most… §

Check below for the full list of tour dates for Rosegarden Funeral Party’s tour with Night Club and be sure to pick up a copy of From the Ashes via Bandcamp!

 

Header image by Vera “Vicious Velma” Hernandez

The post From the Ashes An Interview with Leah Lane of Rosegarden Funeral Party and Album Premiere appeared first on Post-Punk.com.

Source: Post-Punk.com

Die Power Metal-Band NEW HORIZON hat mit “Conquerors” ein neues Album angekündigt. Es ist nach “Gate of the Gods” (2022) das zweite Album des schwedischen Duos, welches aus Sänger Nils Molin (AMARANTHE, DYNAZTY) und Multi-Instrumentalist Jona Tee (H.E.A.T, AUTUMN’S CHILD, CROWNE) besteht.

“Conquerors”, das am 14. Juni 2024 via Frontiers Records erscheinen wird, präsentiert sich als thematische Anthologie, die sich mit zentralen Momenten der Geschichte und den bemerkenswerten Persönlichkeiten, die sie geprägt haben, auseinandersetzt. So wie bei der ersten Vorab-Single “Daimyo“: Der Song entführt die Zuhörer in das feudale Japan des 16. Jahrhunderts und erzählt die Saga des berühmten Feldherren und Einigers Oda Nobunaga.

NEW HORIZON “Conquerors” Tracklist
Against The Odds
King Of Kings
Daimyo (Video bei YouTube)
Shadow Warrior
Apollo
Fallout War
Messenger Of The Stars
Before The Dawn
Edge Of Insanity
Alexander The Great (356-323 B.C)

Source: Vampster

(Photo by Lina Gabrielli) The Swedish electropop trio Me The Tiger are to launch a second single, “I want it back”, taken from the upcoming album “Envy” expected to be released in Spring 2024. Earlier they released “Post Denial War”. The new single is also out via Progress Productions.

Below is already the cover artwork.

Cover artwork “I want it back” single

Me The Tiger (Gabriella Åström, Jonas Martinsson, and Tobias Andersson) was formed in Falun in the Spring of 2012 and has since released three full-length albums, a series of singles, and performed at festivals like M’era Luna (Germany), W-fest (Belgium), Eine Nacht im Bergwerk (Switzerland), Infest (England), E-Only (Germany), electriXmas (Sweden), and shared stages with Vince Clarke (Depeche Mode, Yazoo), Front 242, Kite, and Emmon.

Related newsSwedish trio Me The Tiger back with first single from new album: 'Post Denial War'In 2024, they will tour in Europe, including a performance at Solitary Experiments’ 30th-anniversary festival in Berlin and their festival debut in Poland.

The message the band wants to spread via their material is the following: “In a time where individualism thrives, the trio aims to highlight values of solidarity and contribute to a fairer and warmer society. We live together and have a collective responsibility to care for one another, regardless of class, ethnicity, or gender.”

Here’s their previous single “Post Denial War”.

Source: EBM.gr

IRON MONKEY haben mit “Concrete Shock” einen weiteren Track ihres kommenden Albums veröffentlicht. Die neue Platte des Sludge-Trios aus UK heißt “Spleen & Goad” und erscheint am 5. April 2024 via Relapse Records.

Bereits vor einigen Wochen teilten IRON MONKEY auch ein Video zu “Misanthropizer” sowie den Song “Off Switch”.

Zur aktuellen Besetzung von IRON MONKEY gehören neben Gründungsmitglied J. Rushby auch D. Berry, der auf dem Album “Our Problem” zu hören war, sowie  ex-WIDOWS Drummer Z. Big.

 

IRON MONKEY “Spleen & Goad” Tracklist
1. Misanthropizer (Video bei YouTube)
2. Concrete Shock (Audio bei YouTube)
3. C.S.P.
4. Off Switch (Audio bei YouTube)
5. Rat Flag
6. Lead Transfusion
7. Exlexed
8. The Gurges
9. O.D. Rose

Source: Vampster

Nitzer Ebb – kein EBM-Act, abgesehen natürlich von Front 242, löst in der Fan-Community größere Emotionen und Reaktionen aus. Zu lang ist die Liste...

Source: monkeypress.de

Out now is “Medusa”, the latest single from the Portuguese darkwave/gothic rock project Order in Chaos. A video for the single was also released, you watch it below.

Order in Chaos is a project formed at the end of 2019 by Hugo Santos (former bassist of the Portuguese industrial rock group Waste Disposal Machine) in the city of Torres Novas, in Portugal. Although it is a solo project, it occasionally involves the participation of other musicians.

Hugo explains his project as follows: “The objective has always been to make music without genre limitations within my musical universe. The influences of darkwave, gothic rock, metal, synth pop and orchestral music are obvious.”

Related newsPortuguese darkwave act Order in Chaos launches all new single and video 'Like a fever'Since the end of 2019, the project has been releasing single after single, which has culminated so far with the creation of the album “S(k)in” in 2022. Until 2025, singles will be released periodically that will equally culminate in the creation of another album that year.

Source: EBM.gr

Die Psychedelic Folk Rock / Doom Metal-Band ITERUM NATA hat mit “The Drifter” ein weiteres Video von ihrem kommenden Album “From the Infinite Light” veröffentlicht.

Im Februar ist mit “A Manifested Nightmare” die dritte Vorab-Single vom Album erschienen.

“In “A Manifested Nightmare” geht es um Verzweiflung und die Akzeptanz eines dunklen Schicksals. Es schildert unbesiegbare, unheimliche Kräfte, die einen unerbittlich verfolgen und zu einer unvermeidlichen Kapitulation führen. Musikalisch zeichnet sich dieser eindringliche, dramatische Track durch seine hypnotischen, sich wiederholenden Elemente aus und enthält einige der besten Klavierstücke, die ich je aufgenommen habe. Es ist ein idealer Soundtrack für Schlafwandeln durch Albträume”, sagt Jesse Heikkinen.

Zuvor sind die Vorab-Singles “This Gleaming Eternity” und “A Darkness Within” – mit Gast-Sänger Rob Coffinshaker (THE COFFINSHAKERS) und Gast-Drummer Petri Heinonen (KING SATAN) – erschienen.

“”A Darkness Within” fasst das gesamte metaphysische Konzept des neuen Albums zusammen”, erklärt Jesse Heikkinen. “Er erzählt, wie die Dunkelheit bzw. das Bewusstsein aus dem “grenzenlosen Licht” entstanden ist – eine Idee, die von der Qabbalah inspiriert ist. Die Geschichte ähnelt der von Luzifer, aber hier ist es die Dunkelheit, nicht das Licht, das Wissen vermittelt.”

Es ist das fünfte Album von Solo-Künstler Jesse Heikkinen (HENGET, BENIGHTED IN SODOM, PHALLOSOPHER, Ex-HEXVESSEL) und wird am 15. März 2024 via Nordvis erscheinen.

“”From the Infinite Light” ist ein Konzeptalbum, das die Geburt von Dunkelheit und Tod erforscht. Die Erzählung entfaltet sich durch zwei Stimmen: die “Dunkelheit”, die aus dem unendlichen oder grenzenlosen Licht geboren wird – ein Konzept, das der Qabbalah entlehnt wurde, um die kosmische Genese zu erklären – und ein verzweifelter Mann, der sein Schicksal enträtselt, während er in den Wahnsinn abrutscht. Schließlich verschmilzt der Mann mit der Dunkelheit und verkörpert gemeinsam den Tod”, erklärt Heikkinen.

ITERUM NATA “From the Infinite Light” Tracklist
1 – Overture: Infinite Light
2 – This Gleaming Eternity (Video bei YouTube)
3 – A Manifested Nightmare (Video bei YouTube)
4 – Ambrosia
5 – The Drifter (Video bei YouTube)
6 – A Darkness Within (Audio bei Bandcamp)
7 – Something Truly Almighty
8 – The Crown of All

Source: Vampster

FREEDOM CALL veröffentlichen am 10. Mai 2024 ihr neues Studioalbum “Silver Romance” via SPV/Steamhammer.

Mit einem Lyric Video zu “In Quest Of Love” stellt die Power Metal-Band nun einen weiteren Song daraus vor, als erste Single teilten FREEDOM CALL ein Video zum Titeltrack.

Der Albumtitel “Silver Romance” bezieht sich auch auf das 25-jährige Bestehen der Band – Sänger/Gitarrist und Bandgründer Chris Bay sagt dazu:

„Dem Edelmetall Silber werden Eigenschaften wie Klarheit, Freiheit und Leichtigkeit zugeschrieben“, erklärt Bay und fügt hinzu: „Außerdem soll Silber das Selbstbewusstsein und die Fantasie stärken können. Allesamt Attribute, die auch zu Freedom Call passen und die wir sowohl musikalisch als auch textlich in unsere neuen Songs mit einfließen lassen.“

 

FREEDOM CALL “Silver Romance” Tracklist
1. Silver Romance
2. Symphony Of Avalon
3. Supernova
4. Infinity
5. Out Of Space
6. Distant Horizon
7. In Quest Of Love (Lyrics-Video bei YouTube)
8. Blue Giant
9. Meteorite
10. Big Bang Universe
11. New Haven
12. High Above
13. Metal Generation

FREEDOM CALL live 2024

09.05. München – Backstage *
10.05. Memmingen – Kaminwerk *
11.05. Stuttgart – Im Wizemann *
16.05. Nürnberg – Hirsch *
17.05. Wacken – LGH *
18.05. Siegburg – Kubana *
23.05. Aschaffenburg – Colos-Saal *
24.05. Leipzig Hellraiser *
25.05. Karlsruhe – Substage *
30.05. Augsburg – Spectrum *
31.05. Duisburg – Rage Against Racism
01.06. Burglengenfeld – VAZ *
30.08. Wennedach – Rock am Glois
06.09. CH-Pratteln – Z7 #
07.09. Bruggen – Bongert Open Air
21.09. Dotternhausen – Upper Saw Festival

Source: Vampster

You’re stumbling
Crawling all the way home
And it keeps coming closer
I know
Spire Circle, hailing from the industrial cradle of Manchester, England, heralds a new chapter in its musical exploration with the release of Creeping.

The brainchild of Gregg Alexander Neville (Push/Button/Press; Golden Gardens), Spire Circle weaves a complex web of influences, employing EBM-inspired bass lines and ethereal leads reminiscent of witch house, all anchored by a haunting vocal delivery. The result is a distinctive sound that, while novel, pays homage to the nuanced realms of modern darkwave and coldwave, evoking parallels with the likes of Kontravoid, Ultra Sunn, and Night Hexe.

Creeping delves into the uneasy terrains of existential disquiet, articulating themes of uncertainty, corporeal unease, and profound trepidation. The threads woven throughout the track draw the listener into a gazing pool of introspection, where the specters of dysmorphia and fear loom large, casting long shadows over the psyche.

An undercurrent of house-inspired synthesizer leads shines through, their luminous tones piercing the shadowy ambiance with trails of melodic light. This brilliance is artfully counterpoised by the commanding force of heavy techno beats, each resonating like a pulse in the expansive uncertainty of the night. These elements meld seamlessly, heightening the atmosphere of impending dread that envelops the track, drawing the listener into a crescendo of suspense. The track resonates with the pulse of ’90s industrial electronica, drawing comparisons to seminal acts such as Nine Inch Nails, yet it melds these influences with the softer, more rhythmic, and nuanced textures of bands like The Soft Moon and Boy Harsher alongside Ultra Sun and Kontravoid. The resulting tenebrous alchemy is both cinematic and deeply rooted in the contemporary darkwave ethos, providing an ideal auditory backdrop for evenings filled with enigmatic occurrences.

Listen below:

The entirety of the track was conceived and brought to life by Gregg Alexander Neville, whose musical journey has seen him as a pivotal figure in bands like The Vera Violets and Push/Button/Press from the Tampa area, and Golden Gardens in Seattle. Gregg is now at the helm of Spire Circle, meticulously curating a live ensemble with ambitions to ignite the stage with tours and performances in 2024. Creeping heralds a striking evolution from guitars and drum machines, transitioning towards a realm where synthesized and electronic textures reign supreme. This new direction sees the band weaving dense atmospheric layers, each threaded with reverb-soaked rhythms and profound lyrical depth.

Now anchored in Manchester, Gregg’s native city known for its storied post-industrial landscape, Spire Circle is poised to carve out its niche, making waves both within the hallowed confines of recording studios and on the dynamic forefront of live performances.

Spire Circle are playing live at the Castle Hotel in Manchester, England on August 17th 2024, opening for Auger and Feather Trade.

Creeping by Spire Circle

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The post Manchester Darkwave Project Spire Circle Debuts Harrowing New Single “Creeping” appeared first on Post-Punk.com.

Source: Post-Punk.com

Wir alle kennen die typische Faustregel für Sequels: Ganz selbstverständlich muss alles eine Nummer größer sein. Den Charme des Debüts dabei nicht zu verlieren, ist dabei die eigentliche Kunst, welche leider nicht immer gelingen will. Trittsicher zeigen sich in dieser Hinsicht GHØSTKID, die zwar nicht gezielt auf Megalomanie aus sind, aber – und das ist umso bedeutender – an den richtigen Stellschrauben drehen.

„Hollywood Suicide“ ist wie das selbstbetitelte Erstlingswerk (2020) ein moderner Genre-Mix ohne Scheuklappen. Die Härte des Metalcore trifft auf Alternative und Nu-Metal-Vibes, wobei das Quintett auch vor stilfremden und teils poppigen Einflüssen nicht zurückschreckt. Die Grundstimmung bleibt allerdings düster und bedrückend, was dem heftigen Titeltrack genauso gut zu Gesicht steht wie dem zurückgenommenen „Heavy Rain“. Hier kommt die Heaviness in der Folge weniger durch die Musik als den lyrischen Inhalt.

GHØSTKID gehen in den besten Momenten sowohl zielsicher ins Ohr als auch unter die Haut
In den besten Momenten geht „Hollywood Suicide“ somit ähnlich zielsicher ins Ohr wie unter die Haut, eben weil Bandkopf Sushi erst eingängige Gesangslinien aus dem Ärmel schüttelt, um kurz darauf in souveräner Weise emotional bedrückende Klangkulissen zu untermalen. Bissig und schwungvoll drängt beispielsweise „FSU“ nach vorne, nachdem „S3X“ dem unbehaglichen Bass in der ruhigen Strophe einen verzweifelt-dramatischen Refrain gegenübergestellt hatte.

Das Spannungsfeld aus laut und leise ist im Allgemeinen ein wiederkehrendes Stilmittel, das sich GHØSTKID routiniert und höchst effizient sowohl auf Song- also auch auf Albumebene zunutze machen. So setzt die Band mit dem bedrohlich vorankriechenden „Valerie“ kurz vor Halbzeit eine überraschende Zäsur, nur um bald darauf in „Bløød“ eine fast gegensätzliche Energie an den Tag zu legen.

GHØSTKID stellen mit “Hollywood Suicide” ihr Debüt in den Schatten
Für eine Formation, die ausschließlich in dunklen Farbtönen kommuniziert, ist „Hollywood Suicide“ somit ein fast schon schillernder Ausdruck an Farbe. Ein Sequel, das überraschenderweise sogar mit der allgemeinen Faustregel bricht: Weil GHØSTKID eben nicht automatisch größer denken als auf dem Debüt „Ghøstkid“ und stattdessen ihren Ansatz gezielt verfeinern, stellen sie den ebenfalls formidablen Einstand letzten Endes mit Leichtigkeit in den Schatten.

Veröffentlichungstermin: 22.03.2024

Spielzeit: 36:48

Line-Up
Sebastian ”Sushi“ Biesler – Vocals
Jappo van Glory – Gitarre
Chris Kisseler – Gitarre
Stanislaw Czywil – Bass
Steve Joakim – Schlagzeug

Produziert von Sky van Hoff und Jens Dreesen (Mastering)

Label: Century Media

Homepage: https://www.ghost-kid.de/
Facebook: https://www.facebook.com/ghostkidofficial

GHØSTKID “Hollywood Suicide” Tracklist
1. Hollywood Suicide (Video bei YouTube)
2. S3x
3. FSU (Video bei YouTube)
4. Heavy Rain (Video bei YouTube)
5. Valerie
6. Black Cloud
7. Ugly
8. Bløød
9. Murder Feat. Inhuman (Audio-Stream)
10. Dahlia
11. Helena Drive

Source: Vampster

Die Death Metal-Band DEVOTION hat nach “To Dementia” mit “Horror Beyond the Stars” einen zweiten Track ihres kommenden Albums “Astral Catacombs” veröffentlicht. Es ist nach “Necrophiliac Cults” (2015) und “The Harrowing” (2021) das dritte Album der Spanier aus Valencia, welches am 22. April 2024 via Memento Mori erscheinen wird. Das Cover-Artwork stammt von Naroa Etxebarria.

DEVOTION “Astral Catacombs” Tracklist
1. The Passing
2. Horror Beyond the Stars (Audio bei No Clean Singing)
3. In Ungraven Tombs
4. Execration
5. The Wake
6. The Cosmic Pilgrims
7. To Dementia (Audio bei YouTube)
8. The Seething Universe
9. Astral Catacombs
10. The Evanescence

Source: Vampster

Die Modern Metal-Band MY FAVOURITE NEMESIS hat mit “A Paradox You Seek” einen weiteren Video-Clip ihrer kommenden EP “We Annihilate I” veröffentlicht. Die Scheibe, welche den ersten von zwei Teilen einer EP-Reihe darstellt, folgt auf das zweite Album der Finnen, “Eidolon” (2023), nach und wird am 26. April 2024 via Seek and Strike erscheinen. Vor wenigen Wochen ist ein Video zum Opener “We Annihilate” erschienen.

“Der Track handelt davon, etwas Neues zu erschaffen und einen neuen Weg zu finden, und um das zu tun, muss man das Alte zerstören. Es geht auch darum, was die Zukunft bringt, und das ist ein Kernthema für die ganze EP und deshalb haben wir es als Leadsingle ausgewählt. Dieser Track ist sehr schnell entstanden, sowohl beim Komponieren als auch beim Schreiben der Texte. Nachdem das erste Demo fertig war, passte einfach alles, und es wurde ein sehr ergreifender und eingängiger Song”, erklärt die Band.

MY FAVOURITE NEMESIS sind Sänger Janne Piela, Sängerin Sanna Solanterä (Ex-FIREPROVEN), die Gitarristen Joel Aav und Janne Suominen sowie Drummer Valtteri Estola (CRUCIFY THE FAITH).

MY FAVOURITE NEMESIS “We Annihilate I” Tracklist
01 – We Annihilate (Video bei YouTube)
02 – Paradox You Seek (Video bei YouTube)
03 – Corporeal Husk
04 – Chimera
05 – Blind

Source: Vampster

Die finnische Melodic Death Metal-Band WOLFHEART arbeiten derzeit an einem neuen Album. Der Nachfolger von “Kings Of The North” wird via Reigning Phoenix Music (RPM) veröffentlicht, die Finnen haben vor kurzem einen Plattenvertrag bei dem Label unterschrieben.

Live kann man WOLFHEART im Herbst erleben: Im Oktober und November 2024 sind WOLFHEART mit DARK TRANQUILLITY, MOONSPELL und HIRAES auf Tour.

DARK TRANQUILLITY, MOONSPELL, WOLFHEART, HIRAES Tourdaten 2024
31.10.24 – Berlin / Astra
01.11.24 – Prague / Meet Factory
02.11.24 – Leipzig / Hellraiser
03.11.24 – Köln / Live Music Hall
05.11.24 – London / O2 Academy Islington
06.11.24 – Einhoven / Effenaar
07.11.24 – München / Backstage
09.11.24 – Kortrijk / Hells Balls Festival
10.11.24 – Paris / La Machine
11.11.24 – Toulouse / Bikini
13.11.24 – Barcelona / Salamandra
14.11.24 – Pamplona / Totem
15.11.24 – Madrid / Shoko
16.11.24 – Santander / Escenario
18.11.24 – Lyon / La Rayonne
19.11.24 – Lindau / Vaudeville
20.11.24 – Budapest / Barba Negra
21.11.24 – Wien / Arena
22.11.24 – Karlsruhe / Substage
24.11.24 – Copenhagen / Pumpehuset
26.11.24 – Oslo / Vulkan Arena
28.11.24 – Stockholm / Fryshuset Klubben
29.11.24 – Örebro / Club 700
30.11.24 – Gothenburg / Filmstudion

WOLFHEART Line-up:

Vageliss Karis (Gitarre, Gesang)
Joonas Kauppinen (Schlagzeug),
Tuomas Saukkonen (Gesang, Gitarre)
Lauri Silvonen (Bass, Gesang)

Source: Vampster

Die Industrial Metal-Band COMBICHRIST hat wird am 17. Mai 2024 via Out Of Line Music ihr neues Album “CMBCRST” veröffentlichen. Es ist das fünfte Album des Projekts Andy LaPlegua. Mit “Violence Solves Everything PTII (The end of a dream)” gibt es nun einen zweiten Vorab-Track.

Im Februar hat die Band mit “Planet Doom” einen Video-Clip veröffentlicht.

“Dieses Video war nichts weniger als ein leidenschaftliches Projekt für mich. Horrorfilme sind ein großer Teil meines Lebens und beeinflussen auch die Art, wie ich Musik schreibe”, sagt Bandleader Andy LaPlegua. “Die Idee für dieses Video war eine Hommage an die Filme, die ich als Kind geliebt habe und auch heute noch liebe. Das Video wurde in drei kalten Novembernächten in Alabama von Ben Winston gedreht. Es wurde alles so gedreht, wie man es früher gemacht hat. Low-Budget, alles auf 16-mm-Film, und alles mit praktischen Spezialeffekten, um den Slasher-Look der späten 70er und frühen 80er Jahre zu vermitteln.”

COMBICHRIST “CMBCRST” Tracklist
01. Children Of Violence
02. D For Demonic
03. Heads Off
04. Only Death Is Immortal
05. Compliance
06. Northern Path
07. Through The Ravens Eyes
08. Wolves Eating Wolves
09. Not My Enemy
10. Modern Demon
11. Planet Doom (Video bei YouTube)
12. Sonic Witch
13. Violence Solves Everything PTI
14. Violence Solves Everything PTII (The end of a dream) (Audio bei YouTube)

Source: Vampster

In the shadowy corners of the liminal realm between dreams and the waking hour, there’s an eerie tune that chimes and resonates and reverberates, underscoring the cryptic number 2.56. In this place, there’s a songbird crooning about the kind of obsession that could drive a saint to sin, where seduction and sacrifice dance cheek to cheek under a flickering neon light. This enigmatic number, which is 2.56, is a serenade to the complexity of lust, to the kind of emotions that weave through your heart like a shiv through butter: smooth but deadly. It speaks the language of the damned and the desperate, of souls tangled up in a dance too intricate to unravel, where every step is a gamble on the razor’s edge of desire.

2:56, the latest single from The Dharma Chain, heralds a daring new direction for the Australian-born, now Berlin-based psychedelic rockers. Set to grace their eagerly awaited album Nowhere, due out in May 2024, this piece ventures into novel realms with its slasher film-inspired themes, setting a backdrop of anxious uncertainty.

With Bronte Perkinson at the helm, delivering haunting vocals, the song explores the dark territories of stalking, fear, and obsession. The stark interplay between the harsh guitars and ominous strings against the smooth, repetitive rhythms of the bass and drums crafts an atmosphere that’s both tense and intriguing, drawing listeners into a world rife with intrigue and suspense.

“2.56 alludes to a story of a lover gone mad,” reveals singer Bronte Perkinson.” Obsessed with the one she desires, the lyrics play with metaphors of seduction and sacrifice. 2.56 portrays the complexity of the emotions involved in lust.”

“The song was originally titled ‘576’, a reference to the approximate resolution of the human eye, 576 megapixels, but through time and various set lists and file name confusions,  have mysteriously ended up with ‘2.56’, and have grown to love it,” says the band.

The monochromatic video accompanying the track is a study in suspense, unfolding with the deliberate drama akin to the works of cinematic giants like Hitchcock and Kubrick. Every frame is meticulously crafted, creating a visual experience as gripping as the iconic scenes from these legendary directors, drawing viewers into a spellbinding interplay of shadow and light. Snacks For Your Eyes (aka Jordan Pavey) filmed, edited and produced the video with the band .

“A dark blurry night in a tiny bar with black velvet walls and no windows. It’s the inevitable Alfred Hitchcock/Dharma Chain collaboration,” quips guitarist Jarra Grigg.

Watch the dream that is “2.56” unfold below:



The process of recording and mixing the song “2.56” was skillfully handled by Ben Rompotis and Jarra Grigg. They made sure to capture each note and nuance with clarity and depth. For the final touch of mastering, Enyang Urbriks expertly executed the task, bringing a polished finish to the creative output of the song.

Follow The Dharma Chain:

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The post The Resolution of the Human Eye — The Dharma Chain pays Homage to Hitchcock in Their Video for “2.56” appeared first on Post-Punk.com.

Source: Post-Punk.com

Mit ihrem letzten Album “The Entombment Of Chaos” haben SKELETAL REMAINS 2020 ein feines Stück Ami Death Metal rausgehauen. Irgendwo zwischen DEATH, MORBID ANGEL und CANNIBAL CORPSE haben SKELETAL REMAINS ihren Sound gefunden. Vier Jahre später ist die Band um Chris Monroy nun ihr fünftes Album am Start. Natürlich gab es mal wieder eine Änderung im Line Up – die Rhythmusabteilung wurde erneut ausgetauscht. Nicht ausgetauscht wurde der Künstler für das Artwork, hier setzen SKELETAL REMAINS erneut auf Dan Seagrave, dessen Artworks für die Band irgendwie immer bunter werden.

Mehr CANNIBAL CORPSE wagen – SKELETAL REMAINS halten mit ihren Vorbildern nicht hinterm Berg
Von DEATH nehme ich im Sound der Band inzwischen gar nicht mehr so viel wahr, umso mehr sind auf “Fragments Of The Ageless” CANNIBAL CORPSE in den Vordergrund gerückt. Pierce Williams, der Neuzugang auf dem Drumhocker, trommelt auf diesem Album stellenweise gefühlt am Rande des menschlich Machbaren, kann aber auch filigran. Das ganze Album ist musikalisch gesehen eine Machtdemonstration. Tight wie ein ganzes Rudel Entenärsche, allerdings mit weniger Gefrickel und Gedudel. Leider bleibt vom Großteil der Songs aber wenig hängen. Man hört beeindruckt zu, doch fehlen mir die wirklich griffigen Songs.

Musikalisch ist “Fragments Of The Ageless” eine Machtdemonastration, es mangelt nur an griffigen Songs
Gegen Ende lockert das atmosphärische Intro “Ceremony Of Impiety” samt dem folgenden “Void Of Despair” das ganze etwas auf, das über sieben Minuten langen “Unmerciful” hat gute Ansätze, verliert sich über die Länge aber auch ein wenig. Alles in allem ist SKELETAL REMAINS mit “Fragments Of The Ageless” ein solides, atmosphärisch dichtes Death Metal-Album gelungen, welches mich allerdings aufgrund der wenigen wirklich packenden Momente doch etwas enttäuscht.

Veröffentlichungsdatum: 08.03.2024

Spielzeit: 43:12

Line Up:
Chris Monroy – guitars, vocals
Mike De La O – guitars
Brian Rush – bass
Pierce Williams – drums

Label: Century Media Records
Produziert von: Dan Swanö

Facebook: https://www.facebook.com/SkeletalRemainsDeathMetal
Bandcamp: https://skeletalremains.bandcamp.com
Instagram: https://www.instagram.com/skeletalremainsofficial

SKELETAL REMAINS “Fragments Of The Ageless” Tracklist

Relentless Appetite (Video bei YouTube)
Cybernetic Harvest
To Conquer The Devout (Video bei YouTube)
Forever In Sufferance
Verminous Embodiment
Ceremony Of Impiety
Void Of Despair (Video bei YouTube)
Unmerciful
…Evocation (The Rebirth)
Messiah of Rage (HATE ETERNAL-cover)

Source: Vampster

Vier Jahre nach “Forgotten Days” bringen PALLBEARER ein neues Album raus: “Mind Burns Alive” erscheint am 17. Mai 2024 via Nuclear Blast Records.

“Die Songs gehen in Puncto Dynamik und Klang tiefer als alles, was wir je veröffentlicht haben”, so beschreibt Sänger/Gitarrist Brett Campbell  das Album. “Echte Emotionen erzeugen wahre Härte, manchmal ist reines Geknüppel nicht der richtige Ansatz, um ein Gefühl zu transprtieren.”

Mit einem Video zu ‘Where The Light Fades’ hat die Doom Metal-Band jetzt den ersten Song von “Mind Burns Alive” vorgestellt.

Eigentlich sollte “Mind Burns Alive” bereits 2020 aufgenommen werden, es wurde dann aber 2023, bis sich die Band wieder im Studio zusammenfand. Die Platte entstand im neuen, bandeigenen Idlewild Audio Studio sowie im Fellowship Hall Sound.

PALLBEARER – Mind Burns Alive
1. Where The Light Fades (Video bei YouTube)
2. Mind Burns Alive
3. Signals
4. Endless Place
5. Daybreak
6. With Disease

Source: Vampster

Die Blackened Industrial Metal-Band DAMNED TO DOWNFALL hat mit “Last Man Falling” eine neue Single veröffentlicht. Der Song folgt auf die 2023er-EP “Slavery for You”. Davor haben die Schweden mit “Born to Breed” (2020) eine weitere EP sowie mit “Embrace Your Extinction” ein Album veröffentlicht.

DAMNED TO DOWNFALL “Last Man Falling” (Lyric-Video bei YouTube)

Source: Vampster

In a tale that could only be described as “From Cornfields to Carnivals,” Indiana Bradley has spun his Midwestern roots into a kaleidoscope of spun yarns, traipsing from the tango halls of Argentina to the tempestuous terrains of Indonesia. Bradley’s life reads like a passport on a caffeine binge, each stamp a slice of humanity wrapped up in a neat little vignette.

As a journalist, Bradley gathered stories, each one a fresh lens through which to peer at the ever-puzzling human saga. Now, these wanderlust-infused narratives find a home in his music, turning songwriting into a globetrotter’s guide to the soul. Bradley’s existential musings tackle the big-ticket items – life, death, the murky waters of morality, and that eternal tango between the light and the dark.

His band, now consisting of the inimitable Eddie Curi laying down the bass grooves, Lucas Aton keeping the beats on drums, Andy Rehfeldt shredding the guitar, and Daddy Priest adding that extra layer of guitar magic, chart unexplored territories of sound and soul.

“Rival’s Plunder,” a standout track from “The Canticles of Los Angeles,” unfolds as a languorous dirge, leading listeners through a haunting melody towards a climactic, resplendent outro. Bradley infuses the piece with a shadowy, romantic elegance, marrying melancholy with grandeur.  In the cavernous depths of his striking baritone, one discerns echoes of a venerable lineage: the haunting reverberations of Nick Cave, the rugged timbre of Johnny Cash, all seasoned with the experimental flair of Frank Tovey’s neo-folk odysseys. Bradley’s voice seems to traverse the annals of time, conjuring the primal essence of ancient balladry with a modern twist.

Indiana Bradley crafted the video by blending stock footage of vintage fashion models with live recordings. The live segments were expertly captured by Marcela Porcaro in various rock venues across Belo Horizonte, Brazil, including A Obra Bar Dançante, 80s Bar, and Beerstock,

Watch the video for “Rival’s Plunder” below:

Six years have passed since Bradley’s feet first touched the sun-baked streets of Los Angeles. Amidst the urban hum, he birthed the haunting LP, “Ghost Star,” punctuated by two raw live albums echoing the soul of The Satellite and the pulse of Harvard & Stone. From Silverlake’s bohemian alleys to the neon glow of the Sunset Strip, to the fiery rhythm of Belo Horizonte, Brazil, Bradley’s sound has found its echo.

Hunter Burgan of A.F.I., enchanted by Bradley’s resonance, lent his hand in sculpting the ethereal “Pale City” – a 4-track EP. Yet, another offering looms just at the horizon: a 6-track EP, melded with the alchemy of Seth Olansky, christened “Canticles Los Angeles.” With a style refusing confinement, Bradley is flanked by Eddie Curi’s bass, Lucas Aton’s drumbeat, Andy Rehfeldt’s guitar strains, and Daddy Priest’s electrifying strings.

Indiana Bradley is gearing up for a tour of Brazil this summer, with an impressive lineup that includes Eddie Curi on bass, Felipe Valderrama on drums, Gustavo Bracher on guitar, and Hugo Bizzoto on keyboards. In addition to the tour, there’s an exciting future music collaboration in the works: Bradley is teaming up with producer and engineer Keith Cooper, who is also known for his role as the drummer for the band Dear Boy.

Follow Indiana Bradley:

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Facebook
YouTube
Spotify
Website
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The post Indiana Bradley Croons Away in the Video for his Romantic Dirge “Rival’s Plunder” appeared first on Post-Punk.com.

Source: Post-Punk.com

Wer sich auf den Weg nach Louisiana macht, kehrt meist nicht auf dem gleichen Weg wieder zurück. Die Songs von BROTHER DEGE atmen die schwüle Luft der sumpfigen Wälder im Mississippi-Delta und beschwören die Geister der Bayous herauf. In den Adern des für den GRAMMY Award nominierten Singer & Songwriter Dege Legg, der seine musikalische Heimat an den Kreuzwegen aus mitreißendem Rock'n'Roll, wortgewandtem American Folk und psychedelischer Glückseligkeit gefunden hat, fließt das heiße Blut seiner Heimat in Form von surrenden Slide-Gitarren, unverfälschtem Gesang und schweißgetränkter Poesie. Mit der Magie des tiefen amerikanischen Südens zieht BROTHER DEGE auf seinem sechsten Album "Aurora" die Hörer in den Banner seiner üppigen musikalischen Welt. Sein Aufstieg fand beinahe im Stillen statt und das, obwohl der Amerikaner zig Millionen Streams generiert hat und seine breite Anerkennung sogar von keinem geringeren als Quentin Tarantino honoriert wurde, der persönlich den Song "Too Old to Die Young" für eine Schlüsselsequenz in seinem Film "Django Unchained" auswählte. Die Musik von Dege Legg lässt kühne Hooks über einer Unterströmung aus bluesiger Verzerrung aufblitzen. Dabei kanalisiert er seine Liebe für die Klassiker der Siebziger und Achtziger in einer höchst individuellen Variante des Southern Rock in den Sound des 21. Jahrhunderts. Aus diesem stilistischen Nebel erwächst eine unvergleichliche Klangvision, die Alt-Americana gleichermaßen Schärfe und Gusto verleiht. Als Dege Legg im Jahr 2004 unter dem Namen BROTHER DEGE mit seinem Debütalbum "Trailerville" in der Szene des Südens aufkreuzte, war sein höchst individueller Sound bereits voll ausgeprägt. Schon der zweite Langspieler "Folk Songs of the American Longhair" brachte gleich mehrere Hymnen hervor, darunter auch "Too Old to Die Young". Dege Legg nutzte diesen Schwung, um gleich eine ganze Reihe von Fan-Favoriten zu veröffentlichen: "How To Kill A Horse" (2013), "Scorched Earth Policy" (2015) und "Farmer's Almanac" (2018). Es lässt sich nicht leugnen, dass BROTHER DEGE stark von der Musik und den Klängen des Deep South der USA beeinflusst ist, gegen die er in seiner wilden Jugend noch rebellierte. Doch obwohl seine Wurzeln stark hervortreten, übersetzt der amerikanische Gitarrist und Sänger die Songs seines neuen Meisterwerks "Aurora" noch einen Schritt weiter in die universelle Sprache des Rock'n'Roll. Aber Vorsicht: Wer sich einfach zurücklehnt, die Augen schließt und dieses wunderbare Album auf sich wirken lässt, könnte in Louisiana aufwachen!

Tracklist:
01. Aurora
02. Where the Black Flowers Grow
03. Climbing Ivy
04. A Man Needs a Mommy
05. Turn of the Screw
06. Ouroboros
07. The Devil You Know
08. Loser's Blues
09. The Longing

Source: Prophecy

 
Portuguese gothic rock and darkwave act Order in Chaos has released the music video for “Medusa,” the band’s latest single. With portions of the video recorded by Nuno Guedelha and Valéria Prudente and edited by Beatriz Santos, the video delves deeper into the band’s signature blend of romantic and erotic imagery [..]

Source: RE:GEN Mag

Die Symphonic Blackened Death Metal-Band LAMENTARI hat mit “Ex Umbra In Lucem” ein neues Album angekündigt. Es ist das erste Album der Dänen aus Kopenhagen, die davor drei EPs veröffentlicht haben. Die orchestralen Parts des Albums wurden dabei in den AIR Studios in London aufgenommen. Release-Termin ist der 24. Mai 2024. Vorab gibt es mit “Dolorum Memoria” einen Video-Clip.

“”Dolorum Memoria” ist eine Ballade, die sich mit den intensiven Gefühlen von Verlust und Trauer auseinandersetzt, wenn ein geliebter Mensch verstorben ist”, erklärt die Band. “Sie reflektiert, wie weit wir gehen, um den Schmerz über ihre Abwesenheit festzuhalten.”

LAMENTARI sind Sänger Daniel Lønberg, die Gitarristen Emil Holst Partsch und Michael Møller (SUNLESS DAWN), Bassist Jamie de la Sencerie (LYSBAERER), Keyboarder Max Uldahl sowie Drummer Thomas Mascagni (LYSBAERER, SUNLESS DAWN).

LAMENTARI “Ex Umbra In Lucem” Tracklist
1. Spiritus Noctis
2. Tenebrae
3. Tragoedia in domo Dei
4. Intra Muros Mentis
5. Appugno
6. Dolorum Memoria (Video bei YouTube)
7. Spiritus Diurnus
8. Arcanum Ignis Animae

Source: Vampster

 
With the Berlin post-punk duo’s debut album released at the start of the month, Circolo Vizioso has revealed the music video for the title track, “Verrückt.” The song centers on themes of losing one’s sanity in “an even crazier world,” with the video’s concept depicting the isolation and alienation [..]

Source: RE:GEN Mag

Interview with Aaron Van Wonterghem (i.e. Monolith among other projects) Aaron Van Wonterghem is gradually carving out his path in the music world. He performs with MONOLITH, DJs sets, runs a production company, and this year saw the release of his outstanding album ‘Super Nova’. Let’s delve into his musical inspirations, the album itself, and his collaboration with family and more.

Source: Reflections of Darkness

Die Psychedelic Doom Metal-Band UFOMAMMUT kündigt ihr zehntes Studioalbum “Hidden” für 17. Mai 2024 an. Die erste Single-Auskopplung “Leeched” ist als Visualizer-Clip bei YouTube verfügbar.

Gitarrist Poia kommentiert:

“‘Leeched’, der erste Song des neuen Albums Hidden, repräsentiert perfekt die neue Richtung von UFOMAMMUT, die mit dem Album Fenice begann und mit der EP Crookhead fortgesetzt wurde, und bekräftigt einmal mehr, dass es keine Ausfälle oder Zögern in unserer klanglichen Forschung gibt. Die Verschmelzung von Heaviness und Psychedelia, eine Obsession der Band seit ihren Anfängen, nimmt in ‘Leeched’ eine neue, veränderte Form an.”

“Hidden” wurde im Flat Scenario Studio in Piemonte aufgenommen und erscheint via Neurot Recordings/Supernatural Cat Records auf CD, Vinyl sowie digital. Mix und Mastering übernahm Lorenzo Stecconi.

UFOMAMMUT “Hidden” Tracklist
1. Crookhead
2. Kismet
3. Spidher
4. Mausoleum
5. Leeched (Visualizer bei YouTube)
6. Soulost

UFOMAMMUT Line-up 2024
Poia – guitars, effects
Urlo – bass, vocals, effects, synths
Levre – drums, effects
Ciccio – soundlord

Source: Vampster

Out on May 24 via Fourth Dimension / Lumberton Trading Company is the all new album by Bass Communion aka Steven Wilson: “The Itself Of Itself”. Wilson previously was active in other projects such as Porcupine Tree, Blackfield, Storm Corrosion, No-Man, next to solo records under his own name, plus much more.

Begun in the mid-90s, Bass Communion is a solo project dedicated to exploring his deviations into the realms of ambient, drone, noise and other sub-genres. This has resulted in ten Bass Communion albums to date, plus numerous collaborative projects. The 7-track album “The Itself Of Itself” represents his first all-new work under the name for more than 12 years.

In other news, an exclusive new Bass Communion track, the nine minute “To The Ship Now Underwater”, appears on “When Worlds Collide”, a 2xLP compilation also due in May via Fourth Dimension/Lumberton Trading Company. Other artists included on the limited edition set include Edward Ka-Spel of The Legendary Pink Dots, Alternative TV, Final, Sion Orgon, Splintered, Kleistwahr, Ashtray Navigations and more.

Source: EBM.gr

"Die Zukunft heißt: Tod - egal was wir tun". Mit diesen Worten beginnt "Bin ich blind", der Opener von "X", dem zehnten und letzten Studio-Album von Goethes...

Source: MedienKonverter

Mit einem Video zu “realm Of The Impaler”  stellen VULTURE einen weiteren Song ihres kommenden Albums “Sentinels” vor. Das vierte Album der Thrash Metal/Speed Metal-Band aus Nordrhein-Westfalen erscheint am 12. April 2024 via Metal Blade Records.

Bereits im Februar teilte die Band ein Video zu “Unhallowed & Forgotten”.

Live präsentieren VULTURE “Sentinels” Mitte April bei Record Release Shows in Essen, Hamburg und Halle.

Gitarrist Stefan Castevet ordnet das neue Album so ein:

“Im Vergleich zum letzten Album Dealin’ Death haben wir das Tempo wieder deutlich angezogen. Wir sind wieder mutiger und ein bisschen wilder. Es war uns wichtig, eingängig zu sein und Refrains einzubauen, die hängen bleiben. Natürlich haben wir unseren Stil grundsätzlich beibehalten, aber wir haben den Rahmen der Songs klarer definiert. Das fing schon beim Songwriting an, für das wir uns mehr Zeit gelassen haben als sonst. Wir haben drei Demos aufgenommen, die wir ziemlich gut produziert haben. Wir konnten deshalb die Songs in so gut wie fertiggestellten Versionen auf uns wirken zu lassen, um dann die besten Stücke auszuwählen und – zumindest teilweise – noch einmal zu überarbeiten.”

Für “Sentinels” arbeiteten VULTURE mit Marco Brinkmann im Hellforge Studio  – und zwar ziemlich diszipliniert, wie Castevet berichtet:

“”Sentinels” die  VULTURE-Platte mit den bislang besten Sound, aus diesem Grund: Wir hatten klar strukturierte  normale Arbeitstage mit festen Zielen und uns ganz auf die Aufnahme der Songs konzentriert. Früher waren unsere Aufnahmen weniger gut organisiert, das führte am Ende zu Überstunden für alle Beteiligten.”

VULTURE “Sentinels”  Tracklist
01. Screams from the Abattoir
02. Unhallowed & Forgotten (Video bei YouTube)
03. Transylvania
04. Realm of the Impaler (Video bei YouTube)
05. Draw Your Blades
06. Where There’s a Whip (There Is a Way)
07. Der Tod Trägt Schwarzes Leder
08. Death Row
09. Gargoyles
10. Oathbreaker
11. Sentinels (Heavier Than Time

VULTURE Konzertdates 2024
3/14-17/2024 Underground Resistance Festival – Göteborg, SE
4/11/2024 Don’t Panic – Essen, DE * Record Release Show
4/12/2024 Bambi Galore – Hamburg, DE * Record Release Show
4/13/2024 Hühnermanhattan – Halle, DE * Record Release Show
4/26/2024 SWR Festival – Barroselas, PT
5/10/2024 Huginns Awakening Fest – Ostende, BE
5/30 – 6/1/2024 Muskelrock Festival – Alvesta, SE

VULTURE-Besetzung:
L. Steeler – vocals
S. Castevet – guitars
M. Outlaw – guitars
A. Axetinctör – bass
G. Deceiver – drums

Source: Vampster

Am 12. April 2024 erscheint das neue Album von TAROT via Cruz Del Sur Music: “Glimpse Of The Dawn” gibt’s auf  CD, als LP und als Digitalrelease.

Mit “Leshy’s Warning” bei YouTube hat die Retro-Rock-Band aus Australien jetzt einen weiteren Song des Albums veröffentlicht. bereits im Februar teilten TAROT ein Lyric Video zu “The Winding Road”.

TAROT  “Glimpse Of The Dawn” Tracklist

1. Glimpse of the Dawn
2. The Winding Road (Lyrics-Video bei YouTube)
3. Leshy’s Warning (Audio bei YouTube)
4. Echoes Through Time
5. The Harrier
6. The Vagabond’s Return
7. Dreamer in the Dark
8. Heavy Weighs the Crown

 

Line-up:

Will Spectre – Vocals / Guitar
Felix Russell – Guitar
David Walsh – Bass
Dave Harrington-George – Keyboards
The Hermit – Drums

Source: Vampster

And I, oh I, I’ve always been a brawler.
And I, oh I’m sick of feeling smaller.
And I, oh I could be ten foot taller.
But I, oh I’m sick of all the bother
Making your way through the music biz as a lady rocker isn’t just about dodging the odd guitar cable—it’s a full-on battle against the age-old boys’ club and their not-so-secret handshake. It’s about cranking up the volume of your talent and creativity in a mix that’s been pretty heavy on the bass.

Cue the entrance of Sydney, Australia’s Second Idol, stepping into the spotlight with their latest one-two punch banger, Boxing Ring. This battle cry is belted out by the fiercely talented Kate Olivia, smashing stereotypes with a rhythm that won’t back down and a melody that dares to stand its ground. The band explodes with raw honesty, exposed nerves, and the kind of grit that makes diamonds look soft.

“Boxing Ring is a reflection on being a woman in the music industry,” says Second Idol. “It can be a circus. It’s informed by the barriers women in music face. It’s about our aspirations, dreams, and struggles. The title refers to the continual fight that we face in the industry. That women, non-binary and trans musicians are often treated as diversity trophies, novelised, and not taken seriously. We’re constantly pitted against each other and cut down. It feels as though we’re thrown into a boxing ring with each other, fighting for scraps, where often the more femme-presenting individual wins and men leer from every corner. Join us in the ring to fight our way out.”

Rolling into the scene with a touch of retro flair, the latest music video from the gang, directed by Cameron Davies, takes us on a visual joyride from the graffiti-splashed lanes of Brighton Le Sands to the edgy streets of Sydney’s Inner West. Kicking off with cryptic peeks at street art, the band jams out against a dreamy beach scene that’s about as clear as a foggy day in London. But it’s the kind of mystery we’re here for. Then, in a blink-and-you-miss-it whirl of instruments, the video dives headfirst into the glorious, grainy world of VHS nostalgia, complete with those hues that remind you of your aunt’s 80s wedding video. Let’s not skim over Kate Farquharson’s powerhouse performance—her expressions pack more punch than a double espresso, bringing a raw emotionality to the table that’s as captivating as the vintage vibes.

Watch the video for “Boxing Ring” below:

Diving into the studio ring with ‘Boxing Ring,’ Second Idol threw some heavyweight punches with Clayton Segelov (Shady Nasty; Sleepmakeswaves) at The Brain Studios.

On the live circuit, Second Idol has r믭 shoulders and shared mics with The Buoys and Teenage Joans, not to mention throwing down with SCABZ, Baxter Dury, and Jen Cloher.

If ‘Boxing Ring’ has you throwing your fists in the air and begging for an encore, this track is just the opening act, a sneak peek of the headliner that’s on its way. Stay tuned: Second Idol’s got more up their sleeve, and the big reveal is just around the corner.

Boxing Ring by Second Idol

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The post Sydney Post-Punk Outfit Second Idol Drops Video for “Boxing Ring” — An Anthem for Women in the Music Industry appeared first on Post-Punk.com.

Source: Post-Punk.com

Life is short
Read between the lines
don’t wait for your chance
Won’t be wasting my time
Madrid’s New Wave Kill are saddlin’ up once again, riding out into new horizons from their eclectic post-punk sound: frontman Felipe Vein, with his guitar in hand, joins forces with the keystrokes of Iulia Richea, the rhythmic pulse of drummer Juan Córdoba, and the deep grooves of bassist Nico Aguirre. Though they can deftly channel haunting echoes of The Smiths and Joy Division, this quartet is diversifying their palette as they conjure up their full-length debut album, slated to drop in the crisp days of early Autumn 2024.

New Wave Kill’s latest single, Your Way, takes a detour from their usual route, with its deep vocal hues, acoustic strums, and the mournful cry of a violin. This mature number peels back layers to reveal a soul steeped in neo-folk and dark Americana, nodding to the likes of Chelsea Wolfe and Nick Cave while injecting a dose of fresh energy into the genre.

The lyrics express a poignant reminder of youth’s fleeting nature and the importance of seizing the moment. Emphasizing the brevity of life, the song encourages listeners to act on their desires, discard fears, and not rely on others for validation or direction. It acknowledges the growing challenges with age but reaffirms the resolve to live fully and independently.

“Your Way is a topic that arose from a conversation with a close friend who inspired me to write the song, says Felipe Vein. “It was composed in the same afternoon and took shape when we went to record it in the studio. The song is a trip to the past, a way to remember those moments when someone feels alive and is enjoying the moment. What the song wants to convey is how these memories can be a source of inspiration and in turn, give you the strength you need in difficult times.”

The video for Your Way exudes a strong Western aura, characterized by its evocative desert scenes and the commanding presence of figures who seem to merge with the rugged terrain, their silent gazes piercing the lens as they navigate the verdant surroundings. The cinematography is nothing short of stunning, presenting a story that, while minimalist, reveals a profound inner fortitude. It channels a distinctive vibe that echoes the iconic work of Anton Corbijn with Depeche Mode, yet it carries the polished, contemporary production signature of A24. Conceived and directed by Juan A. Ros and Marta Ribate, the video artfully highlights the band’s deep musical heritage, painting their soundscapes against a backdrop that’s richly infused with Western motifs.

Watch the video for “Your Way” below:



Crafted under the keen production of Swedish maestro Ola Ersfjord, known for his work with the likes of Lucifer and Tribulation, and given the final touch by Chris Common, who’s lent his mastering skills to Chelsea Wolfe, the band’s latest single weaves a rich soundscape. Following their initial foray into the music world with debut singles “Cold Night” and “Maze of the Devil” in 2022, they’ve now cast a new spell with “Between Shadows,” a tantalizing preview from their eagerly awaited debut album. Drenched in the dark hues of Goth, Post-Punk, and Neofolk, their music is a siren call for aficionados of Bauhaus, The Cult, Joy Division, Nick Cave, Chelsea Wolfe, and The Smiths, promising a deep dive into a brooding, melodic abyss.

Recently, the band confirmed they’ll be playing their first massive festival on 1 June: O Son Do Camiño in Santiago de Compostela.

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The post Madrid’s New Wave Kill Debuts Video for Gothic Western Ballad “Your Way” appeared first on Post-Punk.com.

Source: Post-Punk.com

LOCRIAN haben Details zum Nachfolger des 2022er Albums “New Catastrophism” verraten und die ersten Songs daraus veröffentlicht: Die neue Platte heißt “End Terrain” und erscheint am 5. April 2024 via Profound Lore Records.

Drei Tracks kann man sich vorab schon anhören, seit kurzem gibt es den Song “After Extinction” bei YouTube. Außerdem hat das Post Metal-Trio bereits ein Video zu “Chronoscapes”  sowie einen Visualizer zu “Excarnate Light” geteilt.

“End Terrain” ist ein Konzeptalbum mit der Vision einer von Müll und Abfall übersäten Erde. In dieser apokalyptischen Landschaft lebt eine Generation, die ihre Herkunft verachtet. Der langsam aussterbende Rasse ist bewusst, dass sie nur ödes Land hinterlassen wird. “End Terrain” handelt auch von Trägheit und Bedauern, von der Zukunft und der Gegenwart, von Trauer und Auslöschung.

Produktion und Mix von “End Terrain” kommen von J. Robbins at Magpie Cage, das Mastering von Brad Boatright. Für das Artwork ist Chris Dorland verantwortlich.

LOCRIAN “End Terrain” Tracklist
1. Chronoscapes (Video bei YouTube)
2. Utopias
3. Umwelt
4. The World Is Gone, There is no World
5. Excarnate Light (Visualizer bei YouTube)
6. Black Prisms of Our Dead Age
7. Innenwelt
8. In the Throes of Petrifaction
9. After Extinction (Audio bei YouTube)

Source: Vampster

ALESTORM haben für 22. März 2024 eine neue EP angekündigt: “Voyage Of The Dead Marauder” enthält fünf Tracks und wurde erneut von Lasse Lammert produziert. Ein Musikvideo zur Single “Uzbekistan” gibt es nun bei YouTube im Stream.

Den Titeltrack kann man sich ebenfalls als Video bei YouTube ansehen – als Gast ist PATTY GURDY zu hören.

“Voyage Of The Dead Marauder” erscheint wie das letzte Album “Seventh Rum Of A Seventh Rum” (2022) via Napalm Records

ALESTORM “Voyage Of The Dead Marauder” Artwork

ALESTORM “Voyage Of The Dead Marauder” Tracklist
1. Voyage of the Dead Marauder (Video bei YouTube)2. Uzbekistan (Video bei YouTube)3. The Last Saskatchewan Pirate              4. Sea Shanty 25. Cock

ALESTORM Line-up 2023
Christopher Bowes – vocals, keytarGareth Murdock – bassMate Bodor – guitarPeter Alcorn – drumsElliot Vernon – keyboard

Fotogalerie: ALESTORM – Zenith, München – 18.11.2023

Source: Vampster

Die Heavy Metal-Band TUNGSTEN hat einen Plattenvertrag mit Reigning Phoenix Music abgeschlossen. Gemeinsam wird man noch 2024 das vierte Studioalbum “The Grand Inferno” veröffentlichen, die erste Single “Walborg” erscheint am 5. April 2024.

Schlagzeuger Anders Johansson (ex-HAMMERFALL) kommentiert:

„Reigning Phoenix Music mag zwar ein neuer Name sein, aber die Menschen bei RPM gehören zu den erfahrensten der gesamten Branche. Wir sind gespannt, welche Pläne wir gemeinsam verwirklichen können.“

Weitere Details zur Platte sollen bald folgen.

TUNGSTEN Line-up 2024
Mike Andersson GesangNiklas „Nick“ Johansson Gitarre, BegleitgesangKarl „Kalle“ Johansson Bass, Keyboards, SchreigesangAnders Johansson Schlagzeug

Fotogalerie: TUNGSTEN – Hirsch, Nürnberg – 05.03.2023

Source: Vampster

Die Death Rock / Post-Punk-Band ROPE SECT hat mit “Estrangement” ein neues Album angekündigt. Es ist nach “The Great Flood” (2020) das zweite Album der Deutschen und folgt der 2021er-EP “Proskynesis” nach. Das Album ist eine Art geistige Vorgeschichte zur Debüt-EP “Personae Ingratae” (2017) und erforscht den Gedanken, warum sich Menschen entfremdet fühlen und sich von der Gesellschaft abkapseln und ihre eigene Sekte gründen (würden).

“Estrangement” wurde von Mario Dahmen bei Liquid Aether Audio gemastert und wird am 17. Mai 2024 via Iron Bonehead Productions erscheinen. Vorab gibt es den Opener “Revel in Disguise” zu hören.

ROPE SECT “Estrangement” Tracklist
1. Revel in Disguise (Audio bei YouTube)
2. Cesspool of Vice
3. Nefelibatas
4. L’Appel Du Vide
5. Mementote
6. Massenmensch
7. Hindsight Bias
8. Rope of the Mundane Love

Source: Vampster

Out on May 24 via Fourth Dimension / Lumberton Trading Company is the all new...

Source: Side Line

Die Death Metal-Band NECROT stellt mit “Drill The Skull” bei YouTube einen weiteren Song ihres kommenden Albums “Lifeless Birth” vor. Als erste Single teilten NECROT im Februar den Track “Cut The Cord”.

“Lifeless Birth” folgt den Alben “Mortal” (2020) und “Blood Offerings” (2017), aufgenommen wurd es mit Produzent Greg Wilkinson. Das Mastering kommt von Brad Boatright aus dem Audiosiege.

Bassist und Sänger Luca Indrio will mit “Lifeless Birth” ein Zeichen setzen:

“Die letzten Jahre waren für uns und jeden anderen ziemlich hart. “Lifeless Birth” ist das Ergebnis dieser Zeit. Es ist unser aggressivstes Album, aber  auch das melodischste. Wir haben uns als Band immer weiterentwickelt, und ich denke, dass wir jetzt den Höhepunkt erreicht haben. NECROT gibt es seit 13 Jahren, wir arbeiten hart, und wir haben eine Menge für die Band geopfert. Wir wollen unseren Beitrag zu dem leisten, was Metal ist und sein wird. Wir wollen nicht einfach unbemerkt bleiben. Wir wollen dem Metal unseren Stempel aufdrücken und bis jetzt ist “Lifeless Birth” ohne Zweifel unser bestes Werk.”

NECROT “Lifeless Birth” Tracklist
1.Cut The Cord (Audio bei YouTube)
2.Lifeless Birth
3. Superior
4. Drill The Skull (Audio bei YouTube)
5. Winds Of Hell
6. Dead Memories
7. The Curse

Necrot-Line-up:
Luca Indrio – vocal/bass – songwriter and lyricist
Sonny Reinhardt – guitar
Chad Gailey – drums

Source: Vampster

Die Symphonic / Gothic Metal-Band ROSSOMETILE hat mit “Gehenna” ein neues Album angekündigt. Es ist das siebte Album in der langen Geschichte der italienischen Band, deren Gründung bereits 1996 erfolgte.

“Gehenna” wurde gemeinsam mit Francesco Tedesco im Studio XXXV aufgenommen und von Simone Mularoni (DGM) in dessen Domination Studios gemixt und gemastert. Erscheinen wird das Album am 10. Mai 2024. Vorab gibt es zu “Sangue e Seduzione” einen Video-Clip.

“”Sangue e Seduzione” ist die erste Single aus unserem neuen Album und markiert ein neues Kapitel für die Band. Es ist ein Stück, das einen stilistischen Wendepunkt gegenüber der Vergangenheit darstellt, mit dynamischeren Arrangements und Orchestrierungen, die Platz für elektronische Elemente machen. Dieser Song führt auch das Thema des neuen Albums ein, das sich um Qualen dreht und in jedem Stück anders entwickelt wird. In ‘Sangue e Seduzione’ geht es um das Verlangen nach Besitz, sowohl körperlich als auch geistig, und um das Verlangen, das sich in Qualen verwandelt und in Gewalt ausartet”, erklärt die Band.

ROSSOMETILE Line-Up:
Ilaria Hela Bernardini: vocals, piano
Rosario Runes Reina: guitars
Pasquale Pat Murino: bass
Gennaro Rino Balletta: drums

ROSSOMETILE “Gehenna” Tracklist
01. Gehenna
02. Voci Dal Deserto
03. Magdalena
04. Pasionaria (Frida)
05. Sangue e Seduzione (Video bei YouTube)
06. La Rosa d’Inverno
07. Dat Melti Min Modir
08. Valhalla
09. Stella del Mattino
10. Geminus
11. Duet With Satan
12. The Dying Mermaid

Source: Vampster

14  Jahre nach dem letzten Studioalbum “Dååth” veröffentlichen DÅÅTH wieder eine neue Platte: “The Deceivers” erscheint am 3. Mai 2024 via Metal Blade Records.

Mit einem Video zu “Hex Unending” bei YouTube stellt die Progressive Death Metal-Band jetzt die erste Single daraus vor.

Zur aktuellen Besetzung gehören neben Gitarrist Eyal Levi und Sänger Sean Zatorsk 2024 auch Drummer Kerim “Krimh” Lechner, Gitarrist Jesse Zuretti und Bassist David Marvuglio.

“Bei DÅÅTH gibt es nun mehr Orchesterparts, mehr von allem. Wir haben mehr Melodien und die sind wunderschön”, sagt Eyal Levi. Die neun Tracks wurden von Levi produziert, Andrew Wade übernahm die Gesangsproduktion, John Douglass das Engineering, Jens Bogren den Mix und Tony Lindgren das Mastering.

Jeff Loomis (NEVERMORE, ARCH ENEMY), Mark Holcomb (PERIPHERY), Dean Lamb (ARCHSPIRE), Per Nilsson (SCAR SYMMETRY, MESHUGGAH), Spiro Dussias (PLATONIST) und Dan Sugarman (ICE NINE KILLS) steuern Gast-Gitarrensoli bei, der Videospiel-Komponist Mick Gordon ergänzte Sounddesign und Synthesizer zu “Purified By Vengeance”.

DÅÅTH “The Deceivers” Tracklist
01. No Rest No End
02. Hex Unending (Video bei YouTube)
03. Ascension
04. With Ill Desire
05. The Silent Foray
06. Unwelcome Return
07. Purified by Vengeance
08. Deserving of the Grave
09. Into Forgotten Dirt

 

DÅÅTH Line-up:
Eyal Levi – guitar
Sean Z – vocals
Krimh – drums
Jesse Zuretti – orchestration, synth, guitar
Rafael Trujillo – lead guitar
Davis Marvuglio – bass

Source: Vampster

Mit “Mechanics of Predacity” ist vor wenigen Tagen das neue Album der Heavy / Power Metal-Band LORDS OF BLACK erschienen. Es ist das sechste Album der Spanier aus Madrid.

“Mechanics of Predacity” wurde von Roland Grapow (MASTERPLAN) gemixt und gemastert und ist am 15. März 2024 via Frontiers Records erschienen. Nach dem Video zum Opener “For What Is Owed To Us” und dem Video zu “I Want The Darkness To Stop” gibt es mit “Let the Nightmare Come” nun einen weiteren Video-Clip.

LORDS OF BLACK sind Sänger Ronnie Romero (SUNSTORM, CORELEONI, Ex-RAINBOW), Gitarrist Tony Hernando (RESTLESS SPIRITS, Ex-SARATOGA), Bassist Dani Criado (KAOTHIC) und Drummer Jo Nunez (FIREWIND, DRAGONLAND, Ex-NIGHTRAGE).

LORDS OF BLACK “Mechanics of Predacity” Tracklist
1. For What is Owed to Us (Video bei YouTube)
2. Let the Nightmare Come (Video bei YouTube)
3. I Want the Darkness to Stop (Video bei YouTube)
4. Let It Burn
5. Can We Be Heroes Again
6. Crown Of Thorns
7. Obsessions of the Mind
8. Build the Silence
9. A World That’s Departed
I. About to Reset
II. Absentia
III. A Final Sense Of Truth
10. Born Out Of Time

Source: Vampster

 
From the Brussels-based band’s debut album comes the music video for “Brasov,” the latest single by Factheory. Named for the Romanian City founded by the Saxons. vocalist Bruno Uyttersprot explains that the song is inspired by his travels to the city [..]

Source: RE:GEN Mag

Die Black / Death Metal / Punk-Band TORTURERS´ LOBBY hat mit “Deadened Nerves” ein neues Album angekündigt. Es ist das erste Album der US-Amerikaner aus Florida, die 2022 die EP “Man in Zugzwang” veröffentlicht haben.

“Deadened Nerves” wurde von Jani Loikas (SVARTKRAFT) gemixt und gemastert und wird am 17. Mai 2024 via Caligari Records (Tape, CD) und Ixiol Productions (Vinyl) erscheinen. Vorab gibt es den Track “Reaper’s Impunity” zu hören.

“Wir schreiben keine albernen Songs über jugendliche Vorstellungen von ‘dem Bösen’, dem ‘Okkulten’ oder fiktivem Grusel”, erklärt die Band. “Wir bemühen uns, die Menschheit dazu zu bringen, sich ihrem grotesken Spiegelbild zu stellen und sich mit ihrem eigenen Bösen und ihrer fehlgeleiteten Besessenheit von Grausamkeit, Morbidität und dem Mangel an unabhängigem Denken zu versöhnen. Dies ist eine reale Reflexion der verfallenden Welt um uns herum, obwohl wir nicht versuchen, sie zu befürworten.”

TORTURERS´ LOBBY “Deadened Nerves” Tracklist
1. Dawning
2. Barbaric Alchemy
3. Chromosomal Devastation
4. Captured Pieces
5. Reaper’s Impunity (Audio bei Bandcamp)
6. Hypnotic Seeds Sown
7. Humanity’s Husk
8. Re-education
9. Enduring Spirit
10. Reptilian Hide

Source: Vampster

Im kommenden Jahr findet das PROPHECY FEST in der Balver Höhle vom 5. bis 7. September 2024 statt. Nun haben die Veranstalter fünf weitere Bands bekannt gegeben, die 2024 spielen: THIEF, AUREOLE, TCHORNOBOG, AUSTERE und GERM.

 

Das Billing des PROPHECY FEST 2024
Schon im September 2023 wurden die ersten Bands bestätigt: EMPYRIUM werden ihr Album “Where at Night the Wood Grouse Plays” auf die Bühne bringen. Außerdem spielen DOOL, ARTHUR BROWN, IN THE WOODS… und PERCHTA, PARADISE LOST, FEN, ARÐ,  TRIPTYKON und FARSOT.

Der Kartenvorverkauf für die 2024-Ausgabe des Festivals startete am Sonntag, 10. September 2023 um 20 Uhr. Das Ticket kostet 139 €.

BesucherInnen des PROPHECY FEST 2023 können zwischen dem 7. und 9. September 2023 bereits auf dem Festival ihr Ticket für das kommende Jahr kaufen.

 

Source: Vampster

Die Modern Metal- / Metalcore-Band WHILE SHE SLEEPS hat für den 29. März 2024 ein neues Studioalbum mit dem Titel “Self Hell” angekündigt. Die vierte Single “Leave Me Alone” gibt es nun als Visualizer bei YouTube zu hören.

Ein Musikvideo zum Stück “To The Flowers” kann man sich nun auf YouTube ansehen.

Zur zweiten Single “Down” steht ebenfalls ein Clip bei YouTube bereit. Als Gast zu hören ist zudem Sänger Alex Taylor (MALEVOLENCE). Den Titeltrack gibt es vorab auch als Musikvideo bei YouTube.

“Self Hell” folgt auf die Platte “Sleeps Society” (2021) und erscheint via Spinefarm Records auf CD, Vinyl sowie digital.

WHILE SHE SLEEPS “Self Hell” Artwork

WHILE SHE SLEEPS “Self Hell” Tracklist

Peace Of Mind
Leave Me Alone (Video bei YouTube)
Rainbows
Self Hell (Video bei YouTube)
Wildifre
No Feeling Is Final
Dopesick
Down (Video bei YouTube)
To The Flowers (Video bei YouTube)
Out Of The Blue
Enemy Mentality
Radical Hatred / Radical Love

Fotogalerie: WHILE SHE SLEEPS – Summer Breeze 2023 – 18.08.2023

Source: Vampster

Genre/Influences: Gothic, Dark-Cabaret, Cinematic.

Format: Digital.

Background/Info: Belgian solo-project Murmur Of Monks released by the end of 2023 its third full length album. “Artista Non Grata” features eleven songs written by ‘Humwawa’.

Related newsMurmur Of Monks – Laibachesque (EP – Murmur Of Monks)Content: The least I can say is that this work sounds rather different from previous releases. There’s a more explicit Gothic touch emerging which even reminds me of legendary formations like Sopor Aeternus and Das Ich. The songs are characterized by symphonic sounds and arrangements while Humwawa’s deep, timbre of voice accentuates the obscure and desperate atmosphere hanging over the work. The work also features several instrumental songs which have a more Cinematic appeal.

+ + + : This work took me by surprise for its delicacy. The songs have been meticulously built up with poignant, intimate atmospheres and the magic of symphonic arrangements -which reminds me of Sopor Aeternus. There also is a kind of dark poetry running through the lyrical part. This work sounds desperate and yet it also has a strong intimate exposure. Some of the songs have a strong visual appeal getting the listener to face the darker corners of his inner self. Last but not least I also want to say a word about the front cover featuring an obscure and enigmatic painting by Léon Spilliaert. The painting in a way fits the dark, misty, atmosphere of the album.

– – – : If this album could have been played with real instruments it would simply become a true masterpiece.

Related newsMurmur Of Monks – Sacrament (Album – Murmur Of Monks)Conclusion: “Artista Non Grata” is an interesting and challenging title for an album that has the potential to reach a wider Gothic-minded audience.

Best songs: “Wolf Amongst The Kettle”, “The Fragile Existence Of Courtesan Lovers”, “Rebel And The Goat”, “Slavedrums And Sunset”, “Coffin Break”.

Rate: 8.

Artist: http://www.facebook.com/murmurofmonks

Source: EBM.gr

„Ich nehme an, wir sind in einem natürlichen Tempo gereift.“ In den ersten beiden Teilen, (Nummer eins kannst Du hier nachlesen), begannen wir mit Simon Huw Jones über das neue Album „Mother-of-pearl Moon” und einen Song, der unbedingt ein Liebeslied sein wollte, aber keiner werden sollte, zu sprechen. Außerdem thematisierten wir den imaginären Städtebau, Visuelles […]

Source: Orkus

Die IMPERICON FESTIVALS gehen 2024 in eine neue Runde und feiern dabei auch eine Premiere: Erstmals erhält die Festival-Reihe auch einen Ableger in Hamburg. Stattfinden wir ddie Veranstaltung außerdem wie gehabt in den fünf Städten Wien, Leipzig, Zürich, Oberhausen sowie München.

Nun steht auch die Running Order der Festival-Reihe. Wir haben die Spielzeiten und Timetables weiter unten zusammengefasst.

Wie gehabt erhält jede Stadt ein anderes Line-up, wobei der Headliner AS I LAY DYING an allen Terminen gesetzt ist. Für Leipzig, Hamburg und Oberhausen wurde zuletzt mit LANDMVRKS ein weiterer Act bestätigt.

AS I LAY DYING sind der Headliner der IMPERICON FESTIVALS 2024
Außerdem treten SAMURAI PIZZA CATS in Leipzig sowie Oberhausen auf. Kurz vor Weihnachten präsentierten die Veranstalter außerdem eine Überraschung: BREAKDOWN OF SANITY feiern auf allen vier deutschen Festivals ihr Comeback.

Eine zweite Bandwelle erweiterte das Billing um CALLEJON (Leipzig), TERROR, NEAERA (Leipzig, Oberhausen), NASTY, DYING WISH, THORNHILL (Leipzig, Oberhausen) sowie THROWN (Leipzig, Oberhausen, Zürich, München). Zudem spielen FUTURE PALACE aufgrund der hohen Nachfrage jetzt auch in Leipzig, MENTAL CRUELTY sind zusätzlich in Wien, Zürich und München am Start.

Mit der ersten Bandwelle bestätigten die Organisatoren zudem folgende Acts: WHILE SHE SLEEPS, AUGUST BURNS RED, POLARIS, CASEY, SILENT PLANET, FUTURE PALACE, MENTAL CRUELTY und PALEDUSK. Achtung: Jede Stadt bekommt ein eigenes Line-Up! Welche Bands in welcher Stadt spielen, haben wir weiter unten zusammengefasst.

Tickets gibt es ab sofort zum Preis zwischen 59,90€ (Wien) und 95,90€ (Leipzig) via impericon.com.

IMPERICON FESTIVALS 2024 Termine

28.03.2024 – Hamburg, Sporthalle
30.03.2024 – Leipzig, Halle Eins
31.03.2024 – Oberhausen, Turbinenhalle
05.04.2024 – Zürich, Komplex 457
06.04.2024 – München, Zenith
07.04.2024 – Wien, Arena

IMPERICON FESTIVALS 2024 – Running Order & Timetable
Hamburg – 28. März 2024
Einlass: 13:00 Uhr

13:30-14:00 Uhr – THROWN
14:20-14:50 Uhr – DYING WISH
15:10-15:40 Uhr – FUTURE PALACE
16:00-16:30 Uhr – CASEY
16:50-17:25 Uhr – NASTY
17:45-18:20 Uhr – BREAKDOWN OF SANITY
18:40-19:15 Uhr – TERROR
19:35-20:15 Uhr – LANDMVRKS
20:35-21:15 Uhr – AUGUST BURNS RED
21:35-22:20 Uhr – WHILE SHE SLEEPS
22:45-23:45 Uhr – AS I LAY DYING

Leipzig – 30. März 2024
Einlass: 9:30 Uhr

Monster Stage

10:45-11:10 Uhr – MENTAL CRUELTY
11:45-12:10 Uhr – THROWN
12:50-13:20 Uhr – DYING WISH
14:00-14:30 Uhr – SILENT PLANET
15:15-15:50 Uhr – CASEY
16:35-17:15 Uhr – BREAKDOWN OF SANITY
18:05-18:45 Uhr – TERROR
19:35-20:15 Uhr – LANDMVRKS
21:05-21:45 Uhr – AUGUST BURNS RED
22:40-23:40 Uhr – AS I LAY DYING

American Socks Stage

10:15-10:40 Uhr – DON’T TRY
11:15-11:40 Uhr – PALEDUSK
12:15-12:45 Uhr – THORNHILL
13:25-13:55 Uhr – FUTURE PALACE
14:35-15:10 Uhr – SAMURAI PIZZA CATS
15:55-16:30 Uhr – NASTY
17:20-18:00 Uhr – NEAERA
18:50-19:30 Uhr – CALLEJON
20:20-21:00 Uhr – POLARIS
21:50-22:35 Uhr – WHILE SHE SLEEPS

Oberhausen – 31. März 2024
Einlass: 13:30 Uhr

Monster Stage

14:30-15:00 Uhr – MENTAL CRUELTY
15:25-15:55 Uhr – CASEY
16:20-16:50 Uhr – SAMURAI PIZZA CATS
17:15-17:45 Uhr – BREAKDOWN OF SANITY
18:10-18:45 Uhr – NEAERA
19:10-19:50 Uhr – LANDMVRKS
20:15-20:55 Uhr – POLARIS
21:20-22:05 Uhr – AUGUST BURNS RED
22:35-23:35 Uhr – AS I LAY DYING

American Socks Stage

15:10-15:40 Uhr – PALEDUSK
16:05-16:35 Uhr – THROWN
17:00-17:35 Uhr – THORNHILL
17:50-18:25 Uhr – DYING WISH
18:50-19:30 Uhr – FUTURE PALACE
19:55-20:35 Uhr – SILENT PLANET
21:00-21:45 Uhr – NASTY
22:10-23:10 Uhr – TERROR

Zürich – 5. April 2024
Einlass: 13:30 Uhr

14:00-14:30 Uhr – MOMENT OF MADNESS
14:50-15:20 Uhr – MENTAL CRUELTY
15:40-16:10 Uhr – THROWN
16:30-17:00 Uhr – DYING WISH
17:25-17:55 Uhr – FUTURE PALACE
18:20-18:55 Uhr – CASEY
19:20-19:55 Uhr – NASTY
20:20-21:05 Uhr – TERROR
21:30-22:15 Uhr – AUGUST BURNS RED
22:40-23:40 Uhr – AS I LAY DYING

München – 6. April 2024
Einlass: 12:00 Uhr

13:00-13:30 Uhr – MENTAL CRUELTY
13:50-14:20 Uhr – THROWN
14:40-15:10 Uhr – DYING WISH
15:30-16:00 Uhr – FUTURE PALACE
16:20-16:50 Uhr – CASEY
17:15-17:50 Uhr – NASTY
18:15-18:50 Uhr – BREAKDOWN OF SANITY
19:15-20:00 Uhr – TERROR
20:25-21:10 Uhr – AUGUST BURNS RED
21:35-22:35 Uhr – AS I LAY DYING

Wien – 7. April 2024
Einlass: 14:30 Uhr

15:30-16:00 Uhr – MENTAL CRUELTY
16:25-16:55 Uhr – DYING WISH
17:20-17:55 Uhr – FUTURE PALACE
18:20-18:55 Uhr – CASEY
19:20-20:00 Uhr – NASTY
20:25-21:10 Uhr – TERROR
21:40-22:40 Uhr – AS I LAY DYING

Übersicht: IMPERICON FESTIVALS 2024 Lineup, Billing & Bands
(Stand: 21.03.2024, alle Angaben ohne Gewähr)

Hamburg – 28. März 2024

AS I LAY DYING (Headliner)
AUGUST BURNS RED
BREAKDOWN OF SANITY
CASEY
DYING WISH
FUTURE PALACE
LANDMVRKS
NASTY
TERROR
WHILE SHE SLEEPS

Leipzig – 30. März 2024

AS I LAY DYING (Headliner)
AUGUST BURNS RED
BREAKDOWN OF SANITY
CALLEJON
CASEY
DYING WISH
FUTURE PALACE
LANDMVRKS
MENTAL CRUELTY
NASTY
NEAERA
PALEDUSK
POLARIS
SAMURAI PIZZA CATS
SILENT PLANET
TERROR
THORNHILL
THROWN
WHILE SHE SLEEPS

Oberhausen – 31. März 2024

AS I LAY DYING (Headliner)
AUGUST BURNS RED
BREAKDOWN OF SANITY
CASEY
DYING WISH
FUTURE PALACE
LANDMVRKS
MENTAL CRUELTY
NASTY
NEAERA
PALEDUSK
POLARIS
SAMURAI PIZZA CATS
SILENT PLANET
TERROR
THORNHILL
THROWN

Zürich – 05. April 2024

AS I LAY DYING (Headliner)
AUGUST BURNS RED
BREAKDOWN OF SANITY
CASEY
DYING WISH
FUTURE PALACE
NASTY
TERROR
THROWN

München – 06. April 2024

AS I LAY DYING (Headliner)
AUGUST BURNS RED
BREAKDOWN OF SANITY
CASEY
DYING WISH
FUTURE PALACE
NASTY
TERROR
THROWN

Wien – 07. April 2023

AS I LAY DYING (Headliner)
BREAKDOWN OF SANITY
CASEY
DYING WISH
FUTURE PALACE
NASTY
TERROR

Source: Vampster