Die Metalcore / Post Hardcore-Band ACRES hat einen Plattenvertrag mit Solid State Records abgeschlossen. Um den Deal zu feiern, hat die Gruppe zudem ein Musikvideo zu ihrer neuen Single “A Different Shade Of Misery” bei YouTube hochgeladen.

Produziert wurde das Stück von Landon Tewers.

Source: Vampster

What I want, is too late to mend
What you want, burn it down again
What I want, is too far out of reach
What you want, can you make us complete
In the spring of 2021, the Philadelphia alt-rock scene was invigorated by the emergence of Forest Circles, fronted by the enigmatic Angel Ocana. Known for crafting haunting melodies that evoke the mystery of a fog-enshrouded forest at dawn, Angel’s songwriting prowess shines in their latest offering, “Holy Again.” This track marks a compelling collaboration with the darkwave sensibilities of My Manifesto and the synthwave expertise of Rogue VHS, who provided the mastering, resulting in a blending of genres to create a unique auditory experience.

“Holy Again” starts with a simple yet captivating piano riff, which swiftly transitions into a realm where electronic elements are enshrouded in a haze of guitar fuzz and feedback. Angel’s vocals, both delicate and haunting, intertwine with the sorrowful undertones laid down by My Manifesto, creating a sound that is both ethereal and deeply emotional. The song is a poignant journey through themes of regret, longing, and the yearning for redemption. It vividly portrays the struggle with betrayal and the desperate desire to erase painful memories, oscillating between pleas for forgiveness and the acknowledgment of irreparable damage. Despite the complexities of connection and disconnection it explores, “Holy Again” retains an undercurrent of hope, serving as a raw, emotional hymn for reconciliation and healing. It’s a siren song for the lost, the lingerers, and those caught in the transient spaces of life, brimming with melancholy and echoing with plaintive cries.

Listen below:

Purchase and stream the song below:

Holy Again by Forest Circles, My Manifesto

Follow Forest Circles:

Website
Instagram 
Bandcamp 

Follow My Manifesto:

Bandcamp
Instagram

The post Dream Pop and Darkwave Collide in Forest Circles and My Manifesto’s Collaborate Track “Holy Again” appeared first on Post-Punk.com.

Source: Post-Punk.com

Die Alternative Rock / Electro / Pust-Punk-Band WEIRD WOLVES hat mit “A Lovely Day” eine neue Single veröffentlicht.

“Der Song erforscht das Thema der zerstörerischen Liebe und wie manche Menschen von ihr angezogen werden, weil sie seit ihrer Jugend mit Schmerz vertraut sind. Der Song bietet jedoch auch einen Hoffnungsschimmer, denn er ermutigt die Zuhörer, zu heilen und an ihren Erfahrungen zu wachsen. Schließlich ist das Leben für viele von uns eine Heilungsreise”, erklärt die Band.

Im Oktober 2023 ist mit “The Passengers” eine weitere Single erschienen. Beim Song geht es um die Schnelllebigkeit des Lebens und die Hoffnung auf sinnvolle Verbindungen, bevor es zu spät ist, und die Frage, ob wir alle einsame Passagiere auf dieser Reise sind.

Im August ist mit “Rage” eine weitere Single des US-amerikanischen Duos, welches aus Ava Gore und Raphael Colantonio besteht, erschienen.

WEIRD WOLVES “The Passengers” (Visualizer bei YouTube)

WEIRD WOLVES “Rage” (Audio bei YouTube Music)

WEIRD WOLVES “A Lovely Day” (Audio bei Streaming Plattformen)

Source: Vampster

Die Heavy Metal-Band AARDVARK hat mit “Tough Love” ein neues Album angekündigt. Es ist das erste Album des australischen Quartetts aus Melbourne, welches aus Sänger und Gitarrist Ed Vaark, Bassist Danny Smith, Gitarristin Sorcha Wilcox und Drummer Dylan Lieberman besteht.

“Tough Love” wurde von Nao Anzai gemixt und Dav Byrne gemastert. Erscheinen wird das Album am 15. März 2024 via Dying Victims Productions. Vorab gibt es den Track “Fight Back” zu hören.

AARDVARK “Tough Love” Tracklist
1. Ankh
2. Tough Love
3. Don’t Call Me a Liar
4. Fire
5. Destructor
6. Fight Back (Audio bei YouTube)
7. Killer
8. The Dream is Nearly Over
9. Too Old to Cry

Source: Vampster

Was macht eigentlich der Glam-Rock? Leute, was haben wir Idealisten des guten schlechten Geschmacks, die wir unsere T-REX- und CINDERELLA-Shirts noch immer mit leidlicher Würde tragen, in letzter Zeit ertragen müssen. Da kommen so Bands wie JOHN DIVA daher und downgraden die Musik mit biederer Hartmannskost auf Fernsehgartenniveau. Billige Posen, klischeehafte Texte und Produktionen, die mehr Plastik enthalten als so mancher Hochseefisch. Auch ich hatte manchmal das Bedürfnis, mein Fönfrisuren-Toupet in die Tonne zu werfen, aus dem Ganzkörper-Latexanzug zu schlüpfen und meinem musikalisch gebildeten Freundeskreis zuzurufen: „Ihr Götzen des Kontrapunkts, ab heute bin ich einer von euch!“ Fast hätte ich mir schon so einen Pinguinfrack gekauft, wie man ihn manchmal in Konzertsälen mit Kristalllüstern sieht.

Und dann – swooosh – kommt die Rettung. Sie kommt mit übersteuerten Gitarren, mit breitbeinigen Posen, mit Mitgröhlmomenten, mit Lust, Spielfreude und Sexappeal. Nein, nicht mit Sexismus, sondern ernsthaft mit Sexappeal. STARBENDERS sind eine Band, die 2013 in einem Suburb von Atlanta/Georgia gegründet wurde. Es ist die Stadt, in der die Coca Cola Company ihren Sitz hat, Geburtsstadt von Martin Luther King: und bekannt für ihre große LGBT-Community, Austragungsort der Atlanta Pride Parade. Ein ideales Pflaster für eine Band, die mit androgynen Images spielt, mit knallenger Lederkluft posiert und mit Glitzer: Schlagzeugerin Emily Moon ist auf manchen Bandfotos ebenso oberkörperfrei zu sehen wie Gitarrist Kriss Tokaji, die Brustwarzen nur mit Tape zugeklebt, alle Bandmitglieder tragen wallende Mähnen. Schon die Bandfotos verströmen viel Star-Appeal: und eine schwüle Erotik.

STARBENDERS: von “Heavy Petting” zur Rückeroberung der Nacht
Wer wissen will, wohin es programmatisch geht, dem seien die Titel ihrer bisherigen Alben zitiert. „Heavy Petting“ hieß das Debüt von 2016, „Love Potions“ der Zweitling von 2020: Dass die Band ihre Musik als Aphrodisiakum versteht, liegt auf der Hand. Und auch der Titel des vorliegenden Albums, „Take Back The Night“, ist programmatisch zu verstehen. Es ist Musik für das nächtliche Zwielicht, für verrauchte und verschwitzte Nachtclubs, in denen sich Körper auf abgewetzten Kissen regen, Küsse und Bisse ausgetauscht werden. Würde im Berliner Kit Kat Club Rockmusik gespielt – was leider nicht der Fall ist – wäre STARBENDERS der ideale Soundtrack.

Doch darf man den Sex der STARBENDERS nicht missverstehen. Frontfrau Kimi Shelter, die auch das Songwriting in der Hand hält, versteht sich als Feministin: Und so ist ihr Sex gemischt mit Wut, Schmerz und Autorität, sammeln sich Blutspritzer auf den samtenen Kissen. Romantischen Beziehungen erteilt sie schon mal eine Abfuhr. „Ich will nicht verliebt sein/ Ich will nur deinen Sex/ Deine Tränen schmecken/ Ich will deinen Namen nicht wissen/ Ich will deine Stöße“ singt sie im zweiten Song „Sex“ drängend und fordernd. Und weiter: „Ich kenne all die Freude, die die Liebe bringt, aber ich habe genug davon“. Der dritte Song „Body Talk“ beschreibt, wie sie nachts auf Jagd geht, „Lost Boys in the Clubs“ sucht: trunken vor Liebe und blutlüstern. „Ich will fühlen, was im Inneren tot ist“. Das „New Future“ des Punk schimmert durch die glitzernde Hülle, befällt Körper, Lust und Gefühle. Mehrfach thematisiert Shelter Sucht und Depressionen, schmerzhafte biographische Erfahrungen und ihren Umgang damit: Selbstermächtigungs-Statements, deren Zwischentöne man überhören könnte.

Auf ihrem neuen Album entkleiden sich die STARBENDERS bis auf die Knochen: Sie mögen es roh, fett und manchmal ungeschliffen. Es ist eine infektiöse Mischung aus Hard Rock und Hair Metal, die zwar die 80er zitiert: „Whohoo“-Chorus im spritzigen Opener „The Game“, aber weiter zurückreicht. Es ist auch der Punk der NEW YORK DOLLS, der sich in ihrem Sound spiegelt, das nervöse Flackern der Protopunks MC5, der rotzige, wie Kaugummi auf die Straße gespuckte Rock ’n’ Roll von JOAN JETT und den RUNAWAYS. Und, wenn auch weniger präsent als auf den Vorgängeralben, die polyphonen Harmonien von FLEETWOOD MAC, die den Songs bisweilen eine sehnsuchtsvolle Melancholie verleihen. Die STARBENDERS bringen einem den Glauben an die Ideale des Glam zurück. Wenn auch nicht frei von Nostalgie, so bieten sie doch simple, aber taufrische Rock-Hymnen für Hedonisten, Strapsträger und Löwenmähnen. Dass sich Frontfrau Kimi Shelter zuweilen anhört wie die nikotinsüchtige kleine Schwester von FLEETWOOD MAC-Sängerin Stevie Nicks, ist da sicher kein Nachteil. Da verzeiht man es auch, dass sich mit der überflüssigen Coverversion von ALICE COOPERs “Poison” ein echter Totalausfall auf der Platte befindet.

„Bring Back The Night“ klingt schroffer und dunkler als der Vorgänger
Schon die ersten drei Songs des Albums, „The Game“, „Sex“ und „Body Talk“, machen deutlich, dass es die beiden Girls und Boys diesmal etwas ruppiger angehen lassen als auf dem Vorgängeralbum. Man könnte die Songs fast als Trilogie betrachten: Shelter verzichtet weitgehend auf ihre sanfte Singstimme und fordert stattdessen rau und aggressiv die Rückeroberung der Nacht. Sie faucht und knurrt, sie springt dich zuweilen an, sie singt drängend und voller Ungeduld, auch ein wenig kühl. Und sie lässt wenig Raum für Sentimentalität. Die Gitarren, tatsächlich ein wenig übersteuert klingend (was passend und angemessen ist), liefern ein ebenso schroffes Fundament wie der verzerrt pulsierende Bass und das hart im mittleren Tempo groovende Schlagzeug. Shelters Feminismus ist offensichtlich, denn es ist eine weibliche Perspektive, die hier eingenommen wird: „Es nützt nichts, Hexen zu verbrennen/ Wenn wir sterben, macht uns das doppelt so wütend/ Das Feuer brennt in deinen Augen/ Die Macht ist dein, erobere die Nacht zurück!“

Ein erstes Luftholen erlaubt „We’re Not OK“, wobei auch hier der Atem noch brennt und schmerzt von der durchfeierten Nacht. Ein psychedelischer, leicht verschleppter New-Wave-Song mit schlingernden Gitarren, die an Grunge und Noise erinnern. Dann aber reichen uns STARBENDERS den Kelch und streichen uns sanft mit der Fingerkuppe über die Haut, denn „Cherry Wine“ ist eine schöne und eingängige 60s-Goth-Pop-Nummer, bei der sich LEE HAZLEWOOD und STEVIE NICKS im Unterholz begegnen. Vergifteter Wein, den man gerne trinkt.

Melodieverliebt geht es weiter mit „Seven White Horses“: Ein Song, der nun wirklich in der Sonne Kaliforniens tanzt und mit süßem Harmoniegesang tief in den Westcoast-Sound der 60er Jahre eintaucht. „Liebe wie Heroin brennt wie die Hölle/ Ich habe eine Vorliebe für Engel, die gefallen sind/ Leck mich, fick mich, lass es andauern/ Sieben weiße Pferde reiten zur schwarzen Messe“, singt Shelter. In eine ähnliche Kerbe schlägt „Marianne“: Hier klingen die vier wohl am ehesten nach FLEETWOOD MAC in ihrer goldenen Phase, wenn auch vermählt mit dem Hair Metal der 80er. „Blood Moon“ kommt mit schroffen MOTÖRHEAD-Riffs daher, „Midnight“ mit viel Atmosphäre und einem durch und durch hitverdächtigen Refrain. Mit der versöhnlichen Ballade „Say You Will“ schenken uns die Vier zum Abschluss noch eine tröstende Umarmung, damit wir die Flecken von unserer Kleidung abwischen können und den Glauben an das schönste (und schmerzhafteste) aller Gefühle nicht aufgeben müssen.

Veröffentlichungstermin: 22. September 2023
Spielzeit: 47 Min. 38 Sek.
Label: Sumerian Records

Line-up:
Kimi Shelter (Gesang und Gitarre)
Emily Moon (Schlagzeug)
Aaron Lecesne (Bass)
Chris Tokaji (Gitarre)

STARBENDERS “Take Back The Night” Tracklist
1 – The Game (Lyric-Video bei YouTube)
2 – Sex (Visualizer bei YouTube)
3 – Body Talk (Audio bei YouTube)
4 – We’re Not OK (Video bei YouTube)
5 – Cherry Wine (Audio bei YouTube)
6 – Seven White Horses
7 – The End Is Near
8 – Blood Moon (Video bei YouTube)
9 – If You Need It
10 – Marianne
11 – Poison
12 – Midnight
13 – Say You Will

Source: Vampster

(Photo by Cal McIntryre) The shoe gaze act Ride have announced a seventh studio album,...

Source: Side Line

We wish Rob Zombie all the best for his 59th birthday! Did you know?– Rob Zombie was born Robert Bartleh Cummings in Massachusetts.– In 1985 he became the singer of White Zombie and has been working as a solo artist since 1996.– His films include “House of 1000 Corpses”, “The Devil’s Rejects” and the remake […]

Source: Orkus

Ein Album im Konjunkitv: "Ungelebte Leben" beleuchtet verpasste Möglichkeiten im Leben und präsentierz L'âme Immortelle so stark wie lange nicht mehr.

Source: MedienKonverter

  Alison Lewis – a.k.a. Zoè Zanias – has announced the release of a new album to follow up on 2023’s Chrysalis, which will see the Berlin-based artist delving further into more sensual and alien dimensions; whereas Chrysalis represented a state of transition, Ecdysis appropriately sees the artist emerging from “total destruction” of the former […]

Source: EBM.gr

Mit “The Ritual Has Begun” wird in wenigen Wochen das neue Album der Heavy Metal-Band SHOW N TELL erscheinen. Es ist das erste Album des US-amerikanischen Quartetts aus Phoenix, welches aus Bandgründer, Gitarrist und Sänger David Rodriguez, Bassist Cade Gardner, Drummer Mike Thomas und Gitarrist Daniel Dobbs besteht.

“The Ritual Has Begun” wurde gemeinsam mit Joe Asselin bei Switchblade Sound aufgenommen, von Jeffrey Robens gemixt und von Bart Gabriel (u.a. für CRYSTAL VIPER tätig) gemastert. Erscheinen wird das Album, dessen Cover-Artwork von Luca “Zeero” Zironi (GAME OVER) stammt, am 26. Januar 2024 via No Remorse Records. Vorab gibt es mit “Night Stalker” einen Video-Clip.

SHOW N TELL “The Ritual Has Begun” Tracklist
1. Rip N Tear
2. Run To The Light
3. Night Stalker (Video bei YouTube)
4. The Ritual Has Begun
5. Heavy Metal
6. I’m Alive
7. All Alone Tonight
8. Tortured By Reality
9. The Second Death

Source: Vampster

Goethes Erben begeben sich auch 2024 auf eine kurze, dreitägige Konzertreise. Mit 10 Studioalben im Gepäck und verstärkt durch Benni Cellini am Cello begeben sich Goethes Erben...

Source: MedienKonverter

Die US-Metal-Band RUTHLESS hat im Frühjahr 2023 einen Plattenvertrag mit Fireflash Records abgeschlossen. Gemeinsam mit dem neuen Label veröffentlicht man am 12. Januar 2024 das vierte Studioalbum “The Fallen”, welches auf das Drittwerk “Evil Within” (2019) folgt.

Nun gibt es auch ein Lyrics-Video zum Titelsong “The Fallen” bei YouTube.

Fronter Sammy DeJohn verspricht:

“Ihr könnt erwarten, dass es sehr kraftvoll sein wird, mit einer Rückbesinnung auf die frühen Tage der Band. Dieses Album wird euch alles bieten, was Ruthless ausmacht.”

Des Weiteren kommentiert der Frontmann den Vertragsabschluss:

“Wir fühlen uns sehr geehrt und freuen uns sehr über die Zusammenarbeit mit Fireflash Records und damit auf eine rosige Zukunft. Unser neues Album ist sehr kraftvoll ausgefallen und knüpft an die frühen Tage der Band an. Es wird euch alles bieten, was Ruthless ausmacht.”

“The Fallen” enthält zehn Songs und wurde von Bart Gabriel produziert. Zum Preview-Track “Soldiers Of Steel” gibt es nun einen Visualizer-Clip bei YouTube.

Eine weitere Single steht in Form von “Betrayal” bei YouTube bereit.

RUTHLESS “The Fallen” Tracklist
01. The Fallen
02. Dark Passenger
03. Betrayal (Lyric-Video bei YouTube)
04. No Mercy
05. Dead Fall
06. End Times
07. Soldiers Of Steel (Visualizer bei YouTube)
08. Thulsa Doom
09. Order Of The Dragon
10. Live To Die

RUTHLESS Line-up 2023
Sammy DeJohn – Gesang
Glen Paul – Gitarre
Sandy K. Vasquez – Bass
Bob Guitrau – Schlagzeug

Source: Vampster

Wir wünschen dem Einstürzende-Neubauten-Mastermind Blixa Bargeld alles Gute zu seinem 65. Geburtstag. Schon gewusst?• Als Hans-Christian Emmerich wurde Blixa Bargeld in Westberlin geboren.• 1980 gründete er Einstürzende Neubauten.• Er ist auch Gründungsmitglied von Nick Cave and the Bad Seeds, wo er von 1983bis 2003 als Gitarrist tätig war.• Blixa ist leidenschaftlicher Koch und veranstaltet regelmäßig […]

Source: Orkus

Die Doom-Death Metal-Band MOON INCARNATE hat mit “Hymns to the Moon” ein neues Album angekündigt. Es ist das erste Album des in Bonn lebenden Duos, welches aus Christian Kolf (VALBORG, OWL) und Matin Vasari (BEYONDITION, VASARI) besteht. Die Drums wurden von Peter Scartabello (SKY SHADOW OBELISK) eingespielt.

“Hymns to the Moon”, das von Armin Rave (PAVOR) gemastert wurde, wird am 22. März 2024 via Iron Bonehead Productions erscheinen. Vorab gibt es den Track “The Tempest” zu hören.

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
5. A Graveyard In My Soul
6. Minotaur
7. The Kraken

Source: Vampster

How are we meant to grow
When your head is in the clouds
How do we learn to live with or live without it now
What is the purpose of existence? The inevitability of aging? The contrast of youthful aspirations with the harsh reality of time’s passage?

Portland-based act Dancing Plague, a solo project of musician Conor Knowles, has been a steady presence in the dark/cold electronic music scene, releasing a constant flow of independent releases rich in EBM, goth, industrial, and darkwave influences.

With the new single from their fifth studio album Elogium, Dancing Plague pulls out all the tricks with this showstopping darkwave track, Fading Forms.

Knowles masterfully blends aggressive electronic waves with pop sensibilities and a catchy hook, infusing his music with poignant lyrics that delve into the depths of uncertainty and confusion in life, love, and dreams. The song encapsulates a deep sense of loss and hurt: it artfully portrays the struggles of clinging to a dwindling relationship amidst the suffocating feelings of being suppressed and misunderstood, and the inexorable fading of memories and connections. This intertwining of longing, regret, and the painful acceptance of change and loss is all set against a backdrop of throbbing basslines, rave-inspired synths, and powerful drum beats.

Knowles’ emotive baritone voice adds a layer of melancholy, painting a vivid picture of time’s slow erosion and the accompanying sense of personal fading. His words cascade over a landscape of pulsating 80s synths and robust drum machine rhythms, creating a nostalgic yet refreshingly modern sound. We hear nods to Depeche Mode, Ministry, Cold Cave and Kontravoid in their disturbingly beautiful sound.

Directed, filmed, and edited by C.W. Carter, the video unfolds as an eerie, Lynchian vignette that casts a nightmarish shadow over tinsel curtains. Its unsettling ambiance is likely to linger in your mind, subtly altering your perception of these festive decorations for a lifetime.

Watch the video below:

Elogium is out on the 22nd of March via Avant! Records. The album will be available on yellow-orange vinyl, limited to a pressing of 250, and CDs with a limited printing of 200.

Pre-order and pre-save here.

Elogium by Dancing Plague

Follow Dancing Plague:

Bandcamp
Instagram
Facebook

The post Portland Darkwave Project Dancing Plague Debuts Video for “Fading Forms” appeared first on Post-Punk.com.

Source: Post-Punk.com

In an era when fleeting internet fame is often pursued through social media antics and unimaginative ploys, the story of Diane Luckey stands in stark contrast as a genuine tale of serendipity and determination. During the 1980s, Luckey, a New York City cab driver, housekeeper, and au pair, quietly forged her musical identity as the frontwoman as Q Lazzarus, of Q Lazzurus and the Resurrection. In the scant hours away from her day jobs, she and her band would craft vocal harmonies, recording them on cassettes in the basement of her employer’s home. Her voice also found a place in the backdrop of Sigma Sounds Studio, where she lent her talents as a backup singer and penned jingles for various advertisements.

Confronted with a relentless stream of rejection, racism, and sexism from the industry’s gatekeepers, Luckey’s fortuitous encounter with an unsuspecting passenger seemed almost fated. Unbeknownst to her, this chance encounter would propel her from the anonymity of a New York City cab to the annals of cinematic history, cementing her story as a true exemplar of the Cinderella narrative — not spun from social media virality, but woven from the threads of real-life struggle and fated opportunity.

She played him her demo tape, to which he replied, “Oh my God, what is this and who are you?”

The passenger, as it turned out, was filmmaker Jonathan Demme, and the rest is history. Q’s deep androgynous contralto made appearances in subsequent films: “Candle Goes Away” in Something Wild, 1988’s Married To The Mob, and her cover of Talking Heads’ “Heaven” in 1993’s Philadelphia. But by far, she was best known for Silence of the Lambs, in the infamous, haunting scene where Buffalo Bill seduces himself in the mirror to her song “Goodbye Horses.” The juxtaposition of her rich, honeyed voice and the horrors of his sewing room burned in the minds of millions.

As “Goodbye Horses” climbed the charts, Diane Luckey intriguingly stepped back from the limelight. After a fruitful stint in the UK, touring with her band, penning a plethora of songs, and becoming the life of every party, Luckey returned to New York City, where she dabbled in the pulsating beats of house music. However, as the ’90s drew to a close, so did the musical chapter of Q Lazzarus.

Embarking on a markedly different journey, Luckey ventured into the depths of South America, immersing herself in a tapestry of cultures and experiences. This adventurous spirit later led her to the chilly Alaskan waters, where she spent six months aboard a fishing boat. These adventures, far from the spotlight of her musical past, painted a portrait of a woman on a quest for personal growth. Luckey exemplified a relentless pursuit of diverse and transformative adventures.

Psyche, MGMT, Bloc Party, and Deftones covered Goodbye Horses, which also took on new life with Gen Z in TikTok sounds, but as time went on, Luckey stayed behind the wheel. For many years, she worked as a bus driver in Staten Island, content to live a life of privacy. At the time of her death, however, it was revealed that Luckey had been working with filmmaker Eva Aridjis on a feature documentary about her life.

Aridjis has spent the past four years making Goodbye Horses: The Many Lives Of Q. Lazzarus, an intimate documentary about the long-lost Luckey. The two met in an unexpected way, embarking on a friendship and collaboration until Q’s tragic unexpected passing in 2022. Eva has launched a Kickstarter campaign to try to raise the funds to finish her documentary, which features Q’s life story told through Q’s own words and music, many of which has never been heard before.

The Kickstarter video features the only footage of Q to be released in the past 30 years.

There will be an official soundtrack of Q’s songs which feature in the film that will be released, but a record label for this has yet to be determined.

If you would like to help Eva Aridjis preserve the legacy of Q. Lazzarus, the link to the Kickstarter is here.

This Kickstarter is an all-or-nothing venture, so if you are a fan of – or curious about – Q. Lazzarus, and would like to see her take her rightful place in the annals of music history, now is your chance.

This year, Dark Entries Records is also set to release a Q Lazzarus reissue, alongside the documentary about the enigmatic New York artist. The label from San Francisco expressed, “We’ve been working on a Q Lazzarus reissue since we started the label 15 years ago, and it will finally see the light of day this year.”

The post Kickstarter Campaign Launched for Q Lazzarus Documentary — Dark Entries Records to Reissue Music appeared first on Post-Punk.com.

Source: Post-Punk.com

“Downer Folk & Outlaw Lounge” verspricht Taneli Jarva mit seiner Band T. JARVA & THE DARK PLACE. Das neue Album “Post Festum” erscheint Anfang Februar 2024 als CD und LP.

Reinhören kann man in die Songs “Can’t Let Go“, “Golden Girl” und “The Crossroads Song“.

Jarva war bis Mitte der 1990er Jahre Sänger bei SENTENCED, gehört zur IMPALED NAZARENE– und CHAOSBREED-Besetzung und gründete danach THE BLACK LEAGUE und POISON WHISKY.

Source: Vampster

GOETHES ERBEN begeben sich auch 2024 auf eine kurze, dreitägige Konzertreise.
Mit 10 Studioalben im Gepäck und verstärkt durch Benni Cellini am Cello begeben sich Goethes Erben auf eine musikalische Zeitreise, die ganz bewusst nicht ein „Best of“, sondern ein „wichtig war und ist“ sein wird.

Den Abend eröffnen werden auf Einladung von GOETHES ERBEN die belgische Band THE ARCH.

15.02.24 – Belgien – Waregem – SOLD OUT
16.02.24 – Bochum – Kulturbahnhof Langendreer
17.02.24 – Glauchau – Alte Spinnerei

 

Source: Amboss-Mag.de

The industrial metal act FEBRVVM has released the third single from its upcoming new album...

Source: Side Line

Mit “Night Stealer” wird in wenigen Wochen das neue Album der Heavy / Speed Metal-Band SAVAGED erscheinen. Es ist nach der 2021er-EP “Knights of Metal” das erste Album der Basken aus Barcelona.

“Night Stealer” wurde von Javier Felez in den Moontower Studios produziert und wird am 26. Januar 2024 via No Remorse Records erscheinen. Vorab gibt es mit “Running For Your Love (Tonight)” einen Video-Clip.

SAVAGED “Night Stealer” Tracklist
1. I Will Fight
2. Tons of Leather
3. Knights of Metal
4. Welcome to…
5. Elm Street
6. Money Sucks
7. Stealing the Night
8. Running for Your Love (Tonight) (Video bei YouTube)

Source: Vampster

Die Doom Metal-Band NEÀNDER veröffentlicht eine Akusik-EP: “Ir” beinhaltet drei Unplugged-Versionen bereits veröffentlichter Songs und einen neuen Track.

Digital ist das Album bereits erhältlich, eine Vinyl-Auflage wird im April 2024 veröffentlicht.

“Den Gedanken, Akustik-Songs aufzunehmen, trage ich schon länger mit mir herum”, sagt Jan Korbach, der 2022 sein Alternative Country-Solodebüt unter dem Namen ATEM veröffentlichte. “Beim Schreiben des ‘Concrete Americana’-Albums hatte ich die Idee, eine ruhigere und intimere Version eines Neànder-Songs aufzunehmen”.

NEÀNDER “Ir” EP Tracklist
01. yola des goz (acoustic version)
02. eremit (acoustic version)
03. aas
04. malven (acoustic version)

 

Source: Vampster

Das WASTED! OPEN AIR 2024 findet vom 6. bis 8. Juni 2024 am Obernzenner See (Landkreis Neustadt an der Aisch-Bad Windsheim) statt.

Jetzt haben die Veranstaler die ersten Bands bekannt geben, die auf dem Billing stehen: MAID OF ACE, ROUGHNECK RIOT, TANKZILLA, SCUMBAG MILLIONAIRE

Neben drei Tagen Musikprogramm gibt es den festivaleigenen WASTED! Biergarten mit fairen Preisen, regionalen Spezialitäten sowie vegetarischen und veganen Alternativen zum fränkischen Schäufferla. Für Kinder gibt es eigenes Programm unweit vom Festivalgelände.

Der reguläre Kartenvorverkauf startet am 15. Januar 2024 wasted-openair.de/tickets. Die Early Bird-Hardtickets sind bereits ausverkauft.

Source: Vampster

Die Thrash Metal / Hardcore-Band DRAIN DOWN hat mit “Toxic Society” ein neues Album angekündigt. Es ist das zweite Album der Deutschen aus Freiburg. Produziert von Christoph Brandes in den Iguana Studios wird das Album am 29. Februar 2024 via Black Sunset/MDD erscheinen.

Source: Vampster

Die Post-Rock-Band PAINT THE SKY RED wird am 9. Februar 204 via Moment of Collapse Records mit “Tamat” ihr neues und letztes Album veröffentlichen. Das vierte Album der Band aus Singapur, das übersetzt so viel wie “beendet” bedeutet, wurde von Mokhtar Rizal im Iseekmusic Studio produziert.

PAINT THE SKY RED “Tamat” (Stream bei Bandcamp)

PAINT THE SKY RED “Tamat” Tracklist
1. tamat 07:07
Informationen
2. bussorah 10:31
3. putri 08:00
4. nescaya 08:32
5. م (mÄ�m) 09:11
6. menyerlah 09:02
7. sedar 10:25

Source: Vampster

Strap in, folks, because GRIZZ is turning up the heat with his latest banger, Club Flesh. The Los Angeles artist burst onto the scene during the Halloween season with Frightening, but blissful, tearing down convention with this eerily captivating track.

In today’s musical landscape, dominated by the hard-hitting beats of gangsta rap and the predictable churn of the Top-40, Grizz stands out like a beacon in the night. With a cadence that’s unmistakably his own, Grizz’s narratives, dripping with an ominous allure, ride atop drum machine beats that pulse with the relentless energy of a heart racing in the dark. In Grizz’s hands, the worlds of darkwave, hip-hop, and goth blend seamlessly, proving that in music, as in life, the boldest steps often lead to the most extraordinary destinations. Club Flesh showcases Grizz’s knack at bridging worlds.

This little number is a heart-thumping, foot-stomping journey straight into the pulsating heart of the underground. Picture this: the raw, visceral energy of Nitzer Ebb and Cabaret Voltaire, fused with the dark, sultry vibes of Depeche Mode’s Violator-era, all while channeling the industrial clout of Einstürzende Neubauten. You’re the special guest in a spicy scene where sexual tension simmers and dark romance broods over a backdrop of fiery synth beats and hauntingly echoing vocals.

Club Flesh is perfectly crafted for those who love to lose themselves on the dance floor in this spirited – albeit slightly sinister – tribute to DJ Electric Eye’s Los Angeles concert series. Get ready to dance like nobody’s watching, in a world where the shadows have rhythm and every heartbeat is part of the song.

Welcome to Club Flesh – where the night is forever young, and the dance never dies. Make out, zone out, freak out – your call, night crawler.

Find Club Flesh on Spotify here.

Follow Grizz:

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Spotify
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YouTube

 
The post Los Angeles Darkwave Artist Grizz Turns Up the Heat with “Club Flesh” appeared first on Post-Punk.com.

Source: Post-Punk.com

ANCIIENTS haben ihren Song “Raise The Sun” in aktueller Besetzung neu eingespielt. Darauf zu hören sind Bassist Roy O’Brien sowie Gitarrist Brock MacInnes, die beide erst nach der Veröffentlichung des zweiten Albums “Voice Of The Void” (2016) zur Band stießen. Ursprünglich stammt “Raise The Sun” vom Album “Heart Of Oak” (2013).

Sänger und Gitarrist Kenny Cook erklärt:

“Das 10-jährige Jubiläum von ‘Heart of Oak’ fiel in die Zeit, in der wir unser neues Album aufnahmen, und wir beschlossen, ein paar Songs mit unserer aktuellen Besetzung neu aufzunehmen. Es war eine Reise in die Vergangenheit, ein Jahrzehnt später erneut mit Produzent Jesse Gander am Ruder an diesem Song zu arbeiten. Wir hoffen, dass euch der Sound dieser neuen Version von ‘Raise the Sun’ gefällt.”

Der Nachfolger des aktuellen Werks “Voice Of The Void” soll noch 2024 via Season of Mist erscheinen.

Source: Vampster

Am 1. März 2024 veröffentlichen PROFANE BURIAL ihr neues Album “My Plateau” via Crime Records. Einstimmen kann man sich mit einem Video zum Titeltrack.

“My Plateau” wurde von Børge Finstad im Toproom Studio gemischt und gemastert. Das Cover kommt von Sondre Tajet Søbyskogen.

PROFANE BURIAL “My Plateau” Tracklist

1. My Plateau (Video bei YouTube)
2. Moribund
3. Fragments Of Dirge
4. Righteous Indoctrination
5. Disambiguate Eradication
6. Horror Code

Line-up:

Kjetil Ytterhus – Vocal & Keys
André Aaslie – Guitar, Bass & Keys
Bjørn Dugstad Rønnow – Drums

Source: Vampster

Die norwegischen Death Metaller BLOOD RED THRONE haben die letzte Single mit dem Titel „Seeking To Pierce“ aus ihrem neuen Album „Nonagon“ veröffentlicht, das am 26. Januar 2024 über Soulseller Records erscheinen wird. Mit ihrem 11. Werk, feiern BLOOD RED THRONE ihr 26-jähriges Bestehen in der Szene. Das Album wurde von Ronnie Björnström (Bjornstromsound) gemischt und gemastert und mit einem Cover-Artwork von Giannis Nakos / Remedy Art Design versehen.
Preorder: https://soulsellerrecords.bandcamp.com

Bandgründer / Gitarrist Daniel „Død“ Olaisen kommentiert: „Blood Red Throne war schon immer eine Kombination aus Groove und Brutalität. Während wir dem BRT-Sound und -Gefühl treu bleiben, fühlt sich ‚Nonagon‘ frisch und neu an. Die Texte des Albums basieren lose auf den neun konzentrischen Kreisen der Qualen, die in Dantes ‚Inferno‘ beschrieben werden. Das Album besteht aus neun Songs, und es wäre passend, das Konzept darauf abzustimmen. Davon abgesehen ist jeder Text frei interpretierbar und ich ermutige die Leute, ihre eigene Bedeutung und Themen zu finden.“

 

Source: Amboss-Mag.de

Le vague à l’âme, je le creuse à la pelle.
C’est dans les souterrains que je remue le ciel
The etymology of the word ‘clivota’ is shrouded in mystery, hovering somewhere in the geographical and cultural limbo between Slovakia and Romania – possibly lurking in the eerie mist of a Dario Argento landscape. ‘Clivota’ echoes the Baudelairian concept of ‘spleen,’ yet it carries a more nonchalant air. A quaint translation renders it as “she blinked,” a phrase that seems to encapsulate an embrace of existential ennui, tinged with a certain indolent grace.

Lila Ehjä embraces the concept with her stunning new gothic-laden darkwave album Clivota, addressing the questions, nuance and experience of mundane existence through poetic writing.

“Writing songs is my way to transform the trivial banality of everyday life and observe it through the swirls of my brain,” she says.

The album commences with Intro Vague, setting the tone and establishing the thematic essence of the entire work. The lyrics, ‘Le vague à l’âme, je le creuse à la pelle. C’est dans les souterrains que je remue le ciel’, translate to ‘the soul is lost, I dig it with a shovel. It is in the underground that I move the sky’. This translation, while somewhat rough in English, poetically conveys a deep introspection and a transformative journey from the depths of the soul to the vastness of the sky.

The Book is a cover of Nitzer Ebb, from their first demo tape in 1983. “I love this band and EBM in general, and this track in particular because I was listening to it a lot at that time, I just love it,” Ehjä gushes. “And I really like the demos of 80’s groups, they exude the charm of a group which created something new, because that was the case at the time.”

For Ehjä, Clivota encompasses a ‘feeling of evanescent sadness – though not necessarily unpleasant. It is a kind of gentle melancholy, of reverie too, it is like another world which we access by entering into ourselves.” Following the opening track, the album transitions into the more tumultuous Ghost Love. It surges forward with a New Wave beat, reminiscent of the Go-Gos, but with a darker, minor chord twist, evoking the aura of a haunted house. Ehjä’s vocals then enter the scene, ethereal yet assertive, imbued with a spectral, haunting quality that perfectly complements the song’s eerie dynamism.

Rust stands as a dark anthem to misanthropy, offering a vivid journey through a shadowy, liminal space. It’s in this in-between world that the song weaves its narrative, a stark and tangible exploration of disillusionment. Amidst the gloom, however, emerges a powerful beacon of light, creating a striking contrast that illuminates the depths of its introspection. Trigger moves into a slower pace, with ringing echoes and groaning basslines reminiscent of Pornography-era Cure, her voice wavering between heaven and hell. Worship hops back into frenetic EBM territory, its cacophony furiously churning through a melange of emotion.

Noyades is a haunting ode to Ophelia, the emblematic figure caught in a perpetual state of suspension between two realms of existence. The song captures the essence of her tragedy, reflecting the limbo she occupies—hovering between life and death, reality and myth. It’s a poignant portrayal of her ethereal presence, suspended in an eternal, melancholic dance with the waters. Oudrone, Ehjä quips, is the result of two hours of a free synth and Moog practice with artist and friend Luz Leon Noire.

Listen to the album below:

Clivota by Lila Ehjä

Clivota is out now via CROUX Records on CD and LP, distributed by MODULOR.

Order Here

Lila Ehjä’s release party will take place on Feb. 9, 2024, at Mecanique Ondulatoire (Paris), with a show in collaboration with the performer Urferaqua.

Follow Lila Ehjä:

Facebook
Instagram
YouTube
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The post Explore the Icy Soundscapes of French Darkwave Artist Lila Ehjä in Her Latest Album “Clivota” appeared first on Post-Punk.com.

Source: Post-Punk.com

Mit dem Titeltrack hat Yello-Mitbegründer Boris Blank eine weitere Single von kommenden Album "Resonance" ausgekoppelt. Mehr Infos und das Video hier!

Source: Sonic Seducer

The French electro industrial act Flagorne has a first album out, “Les couleurs d’une fièvre”...

Source: Side Line

“America became a land of myths for me.” No joke: the fly in the soupFor his sixth studio album “Aladdin Sane”, David Bowie really soaked up American culture. In an interview for the BBC documentary “Cracked Actor” (1974), he sipped a large carton of milk in the back seat of a limousine and said: “There’s […]

Source: Orkus

 
40 years and still going strong, the Ultra Heavy Beat marches on as KMFDM has revealed “Let Go” as the introductory single to the band’s forthcoming album. Having made its premiere on January 11 via Spill Magazine, the song is an electro-fuelled rocker [..]

Source: RE:GEN Mag

In 2022, longtime Dead Can Dance percussionist Peter Ulrich released Drumming With DEAD CAN DANCE and Parallel Adventures, a memoir collecting his adventures with one of 4AD’s best and most beloved bands as well as his own solo adventures. For those who haven’t read it, the tome is full of first hand recounts of the band’s early years and even carries beyond his time with the group. It’s a heartfelt, honest, and often funny recollection of events and a must-read for any fan of the band.

Before the publication of the memoir, Russian label Infinite Dawn had pressed a vinyl reissue of Peter’s first solo outing, 1999’s excellent Pathways and Dawns, which was originally released on Projekt Records and among additional tracks, contains both sides of the Taqaharu’s Leaving 12” from 1990. Peter has issued several releases since, including a follow-up solo record in 2005 and a trio of releases under The Peter Ulrich Collaboration. I had the pleasure of meeting with Peter and friends/cohorts Bret Helm (Audra, Unto Ashes, Black Tape for a Blue Girl) and Greg Fasolino (The Harrow, Bell Hollow, The Naked and the Dead) for a discussion of Dead Can Dance’s music, in which we ranked the band’s records and interviewed Peter about his career in addition to his memoir. As a follow up – Peter has lovingly constructed and addendum to his memoir that covers the events since the book’s release (including Dead Can Dance’s unfortunate 2023 breakup), and we’re honored to publish it here.

Without any further ado…

Addendum to:
Drumming with DEAD CAN DANCE and Parallel Adventures
the published memoir by Peter Ulrich

Such is the process of bringing a book into being, two years drifted past between my completion of my memoir and its publication in November 2022. A significant chunk of this period saw the world on pause while health organisations struggled valiantly to contain and control Covid 19, then tentatively emerging from its bunker. As we now head into 2024, another year and a bit has escaped since publication, and this overall extended period has thrown up some further ‘parallel adventures’ and reflections from which I offer this addendum:

April 2022. Following enforced cancellations of tour on tour, Dead Can Dance finally hit the road on a re-scheduled European Tour. Shortly beforehand, I heard from Brendan that preparations had been thrown out of kilter when Lisa went down with Covid while touring with Hans Zimmer’s orchestra, and a bad reaction caused her to miss virtually all the DCD rehearsal period – both a nasty scare for Lisa and a significant issue for Brendan who was introducing new arrangements of several DCD classics.

Percussionist David Kuckhermann was not available this time – principally because of commitments to his young family (ah, that rings a bell) – so Brendan was also re-arranging and redistributing percussion parts. For the support act, long-established DCD touring band members Astrid Williamson and Jules Maxwell would step into the breach, taking turns to open the shows with selections from their respective solo catalogues. In the months preceding the tour, I’d tried to help Jules arrange a couple of low-key warm-up gigs in England, but my efforts had fallen on stony ground, largely again because of the reluctance of venues to commit while the Covid threat still lurked menacingly in the wings.

The tour was scheduled to open in Glasgow on April 7th. As this would be DCD’s first ever show in Scotland, a couple of days later was our daughter Ellie’s birthday, and we (Ulrich family) had long wanted to visit the lands north of the border, Nicki booked the trip. In the foyer of the Royal Concert Hall before the show I was re-acquainted with Looby – the first time we’d seen each other since he’d toured with us back in 1987. Despite the passage in time, we recognised each other instantly, though he immediately demanded to know what had happened to the slug that used to live under my nose – an appendage which I hadn’t sported for nearly as long as I’d not seen Looby, and which we agreed had never been a good look (despite Confucius maintaining that ‘A man without a moustache is a man without a soul’). Also in the foyer was old DCD stalwart Tony Hill, making me envious as he was planning to get along to several shows on the tour while this would be my one and only.

I’d assumed Astrid would provide the opening set in her native land – albeit she’s a Shetlander – but it was Jules who took the stage, and surprised me with a set of folk songs rather than the more ambient, filmic repertoire I’d expected. Then, as the houselights dimmed, I waiting curiously to see how DCD would be greeted in Glasgow – notoriously difficult to win over! The initial reception was very warm, then took a while to properly lift-off, but ultimately the audience brought the house down for the encores as Brendan apologised that ‘it’s only taken us 40 years to get here!’ For a tour opening night, the performance was remarkably relaxed, with both Brendan’s and Lisa’s voices already hitting the highs, Astrid and Jules front of stage either side, Dan providing the percussive bedrock, Robbie flitting seamlessly from instrument to instrument as ever, and Richard supplementing his bass playing with some accomplished forays into the percussion department. The set covered pretty much the entire 40 year span of DCD’s canon and included seven or eight of the pieces we’d played live back in my drumming days. Amongst the new arrangements, I particularly liked how Brendan had breathed new life into “In Power We Entrust…” and “Severance”.

Dead Can Dance live in Glasgow, April 7, 2022. Photo by Ellie Ulrich
After the show we managed a quick chat with Brendan, Jules and Robbie before the DCD tour bus rolled out of town, leaving us with a couple more days in Glasgow, then a few days up around Loch Lomond. While our Tartan adventure was great, I was curious to know how DCD had fared the following night in Manchester Cathedral. Cathedrals can offer magnificent settings, but the acoustics can be very difficult to manage. I badgered Tony Hill for a report from the front line in the knowledge that, as a Manc, he’d be there on home soil. He’d been surprised – and in turn surprised me – to find that the audience was all standing, and reported that there’d been some mildly aggravated jostling around the Cathedral’s great pillars for a better view of the stage. But Tony had found the sound to be ‘special’ and considers that night’s rendition of “The Host of Seraphim” to be the best live version he’s ever encountered.

Back home, and rummaging around Norwich vintage emporium ‘Loose’s’, I came across an old bass (kick) drum case concealed under a rack of hanging rugs. I pulled it out to find the name ‘The Monochrome Set’ stencilled across the lid, a band I never saw, and whose path DCD didn’t cross during our early touring, but who are on my radar from having featured on the seminal and wonderful 1979 Cherry Red compilation
album “Pillows and Prayers”. Both case and drum inside were in ‘heavily used’ condition, but after a light bit of bargaining, I secured it for 40 quid. Although the heads were knackered and a few of the tensioning bolts had seen better days, the shell was sound and it is, I believe, an old Tama Swingstar model, which will bring a tear to the eye of a fair few drummers from back in the day. With the noble efforts of Tristan who runs Drum Attic somewhere in deepest Somerset and keeps an heroic stock of salvaged parts from days of yore, and the purchase of a new pair of Evans EMAD heads, the Tama’s restoration is nearing completion, ready to feature in an upcoming recording. It seems to add something that there’s a bit of history behind it.

Peter at work restoring the bass drum. Photo by Nicola Arundell.
It’s been widely reported that Covid lockdowns caused much hardship to musicians prevented from earning their crust through live performance and having to rely on income from sales and airplay. This, in turn, brought back into sharp focus the issue of the pitiful level of payments squeezed out to songwriters by the various download and streaming services. Glancing through my own statement for the April 2022 royalty distribution from the PRS (the UK’s Performing Right Society) gave me a reminder close to home. To pick just one example, my song “The Scryer and the Shewstone” had registered a total of 215 streams/downloads across monitored European territories in the previous accounted quarter. As sole songwriter, I retain a relatively high 75% of the income on that song (the other 25% going to the publisher) – yet in total for that, I received the princely sum of 15.62 pence!

At much the same moment, I happened to read a newspaper article which referenced a tweet by former Undertones singer Feargal Sharkey from March 2021 that a UK musician would need to register 7,343,157 streams per month just to pocket the legal ‘minimum wage’. The same article observed that, while eight out of 10 music creators earn less than £200 per year from streaming, the average base salary for Spotify employees in the UK is (or was then) £60,563 per annum, while in late 2023 it was widely reported that Spotify Chief Financial Officer Paul Vogel resigned his post after cashing in $9.3M worth of shares in the company. In Europe, new copyright regulations should now be starting to bring musicians an increased share of the proceeds of digital streaming, but thanks to the UK’s near-suicidal ‘Brexit’ vote and a government with its thoughts elsewhere, British musicians are back to square one. ‘Mad’ and ‘world’ spring to mind.

May 2022 brought down the curtain on the English Premier League football (soccer) season which saw Norwich City claim the dubious honour of becoming the most relegated club – having now managed the feat six times in the League’s 30 year history. I attended all but three matches, only missing two of those because I contracted Covid on the away trip to Newcastle and had to self-isolate for 10 days. I was lucky, thanks to the vaccinations, to get away with a few days with a bad cough. In a generally dismal season, the outstanding highlight was a 3-0 away win at Elton John’s Watford back in January, but ultimately both teams went down. Sir Elton apparently didn’t bear a grudge as Norwich’s Carrow Road stadium hosted a concert on his Farewell Yellow Brick Road tour in June.

Lisa and Peter at the in-store signing, Paris, 1989
When embarking on my memoir, I had no idea of the grief that lay in store when it would come to tracking down the images I wanted, and gathering the necessary signed permissions. It was epic – writing the book had been the easy bit! At final reckoning, we ended up with 32 illustrations and – I think – a decent balance between images already well-known to DCD fans, and others newly revealed. Several I found and would like to have used eluded me, but one in particular still bugs me. I didn’t even know of its existence until after I’d finished writing the text and Brendan emailed me a photo he’d found online with the subject line: “Hardly recognised you!” It had been taken at an in-store “meet’n’greet” in Paris in 1989 to which I’d accompanied Lisa because Brendan didn’t want to do it. The picture is amusingly odd in that, despite being over 30 and already a father when it was taken, I appear to be about 12 years old. I’m looking over Lisa’s shoulder as she signs an autograph, and there’s a promotional backdrop of “Serpent’s Egg” album covers behind us. The photo is (or was) uploaded on the Pinterest page of a user called only ‘Yaroslava’, but all attempts to contact her failed or were ignored, and in any case, it looks to be a picture she probably downloaded from a third party source, though we could find no trace of an original. It would have been very different from all the other images in the book, and it neatly illustrates a specific event described in the text… but it wasn’t to be.

DCD announced another European tour for the autumn/fall of 2022, and confirmed the re-scheduled US/Canada/Mexico dates for spring 2023. While the Americas tour broadly set about reinstating the shows cancelled and re-cancelled through the pandemic, calling the autumn tour ‘European’ was a little misleading. Although it would kick off down well-trodden paths through France, Germany and DCD-fanatical Poland, there would be debuts in the capitals of Lithuania, Estonia and Finland, and first times back in Oslo and Stockholm since our Scandinavian mini-tour in 1984.

In June 2022, former Cocteau and 4AD label-mate Liz Fraser emerged from self- imposed exile with the fruits of a collaboration with partner Damon Reece (drummer in stints with Echo and the Bunnymen, Spiritualized and Massive Attack) – both project and EP called “Sun’s Signature”. At pretty much the exact same moment Kate Bush – apparently without lifting a finger – reached number one in the UK charts (and, indeed, around the world) with her 1985 single “Running Up That Hill” – a mere 37 years after release. This record-busting feat – the longest ever period between release and hitting numero uno – was the result of the song being prominently featured in Netflix TV series “Stranger Things” which poured it down the collective throat of a global audience. Even at the pitiful royalty rates I bemoaned a few paragraphs earlier, with Spotify logging well over 300 million streams and with the song reportedly appearing in around two million TikTok creations by the end of June, a startled Kate found her bank balance expanding by substantially more than minimum wage. The phenomenon also makes her the oldest female singer to attain the chart summit at 63. Keen-eyed fact-absorbers will have noted that I’m the same age as Kate so, probably illogically, I’m rather ch￭. I’d also like to point out that my 1990 single “Taqaharu’s Leaving” would love to be rediscovered should anyone…

In support of the charity our daughter Ellie then worked for, Nicki and I went to a fund-raiser for Prostate Cancer UK at London’s Royal Albert Hall on June 22nd hosted by Jools Holland and his big band which provided our first live sightings of an array of big name guest performers, including Sir Rod Stewart, Sir Van Morrison and ‘Sir-in-waiting’ (perhaps – though he might not accept if offered) Paul Weller. Highlight of the night, though, was an appearance by Celeste, disappointingly limited to a single song. I’m not sure if she was ‘new’ to a lot of the audience, but there was a discernible ‘electric’ surge through the gathered mass during her performance and, while I’d been mightily impressed when I’d previously seen/heard her on Jools’s TV shows, it was genuinely thrilling to hear her sing live. The same week ended with the post-Covid return of the UK’s Glastonbury Festival. DCD have never played it, and I’ve not been as a punter – a quarter of a million people in a field doesn’t fire my desire – but it’s always compulsive TV viewing. Top spot went to another senior knight of the realm – Sir Macca still rocking as he turned 80 and became the oldest ever headliner (hats off to that) – but a smart bit of scheduling saw the previous night fronted by the Festival’s
youngest ever headliner – Billie Eilish (at 20) – whose set I really enjoyed.

The World Wide Web continues to veer between indispensable information source and purveyor of utter tosh. I was alerted to a site called ‘allfamousbirthday’ which purports to dish the dossier on celebrity folk, and wherein I’m apparently worthy of a listing on account of being a ‘famous percussionist’. Initially the personal details were correct, having been lifted directly from my verified Wikipedia entry, until the website’s algorithm determined that my August birthdate renders me a ‘Capricorn’ (if you don’t know, look it up). This early clue to questionable content was then royally trumped by the revelation that my parents were Grand Duchess Anna Petrovna of Russia and Charles Frederick, Duke of Holstein-Gottorp, and my spouse is, or was, Catherine the Great. Presumably then spotting that Catherine the Great died in 1796, the no-flies-on-me algorithm advised ‘as of May 2022 Peter Ulrich is not dating anyone’. The site further confessed not to know my shoe size (though tantalisingly my body measurements ‘will update soon’), but revealed my net worth to be ‘approximately $1.5 Million’. Bouyed by this wonderful news, I ordered a luxury yacht…. but then failed the credit check. Pah!

August 2022 bestowed grandparenthood on Nicki and me, courtesy of daughter Louise and partner Chris introducing baby Anna to the world. Utterly joyful – enough said. Later the same month came a new album from Lisa’s ongoing collaboration with composer Marcello De Francisci, this called “Exaudía” and said to be inspired by the expulsion of Sephardic tribes from Spain in the late 15th to early 16th centuries, and their subsequent dispersal around the perimeter of the Mediterranean. The album’s seven pieces give great breadth to both Lisa’s vocal styles and Marcello’s compositions, ranging from gentle, tender passages to moments of swirling drama, and have a thematic base in that heady cooking pot where the musics of Andalusia and northern Africa meet, which I love. As a small aside, there’s an interesting interview with Lisa and Marcello on YouTube with our friend and great music supporter Claudio Bustamante on his Fairfax City Music channel – worth checking out! For the final months leading up to publication of my book, I was deeply back into my old press & promo role, compiling e-lists of music and literary reviewers, sifting through old contacts, drafting my news releases, designing a postcard, identifying retailers who might support it, checking out upcoming literary festivals, and so on. In late October my parcel of author pre-publication copies landed on the doorstep and there I was holding a copy of my first book in my hands – much akin to the thrill of receiving my first vinyl record decades earlier. Publishers Red Hen Press had done a fabulous job – the cover which I’d only previously seen in e-form looked great, and there’s a lovely kind of sheen matt finish on it which doesn’t fingermark. This moment suddenly made the exhaustive process a reality, and shortly after, on November 15, 2022 – publication day arrived.

front cover of Peter’s memoir
There was no launch party, no fanfare and no blaze of publicity, but a websearch of the title quickly revealed that Red Hen’s distributors had also done an amazing job – my title was listed by booksellers across the planet. I’ve no idea if it sells in Norway, Switzerland, Chile, Columbia, Taiwan or Korea (to pluck a few retailer locations I’ve seen at random), but it’s out there! Reviews have rolled in steadily ever since and have really exceeded my expectations. I won’t regurgitate them en masse here – suffice to say that, happily, as well as bestowing high praise, they broadly bought into what I was trying to achieve, a few examples of which include:

so different from the typical sex-and-drugs-and-rock-and-roll memoir…really smart recount of a life in music
Eric Alper, That Eric Alper Show, SirusXM

detailed descriptions of the band’s [DCD] unusual songwriting and recording processes left me pretty enthralled
Greg Fasolino, Goth and Post-Punk historian

deftly weaving in tales of life… a vast musical landscape
Jane Cornwell, Songlines Magazine

Happier still, the response from DCD fans across online forums and social media has been overwhelmingly positive, for which I’m hugely grateful. It’s very exciting to create that connection with people who have supported our music over the years and to provide a means for us all to relive the experience. I was also somewhat unexpectedly thrown back into contact with various characters from the plot. Brendan put me in touch with Ivo Watts-Russell for, I think, the first time in around 30 years, triggering a very touching email exchange. Ivo really enjoyed the book and particularly felt I’d captured the serendipity of those early 4AD years when everyone was winging it, acting on gut instinct and clinging onto the stone that had been set rolling down the Alma Road hill in London SW18. Steve Webbon of Beggars Banquet independently gave me much the same response, while Ivo tipped off former Cocteaus and 4AD manager Colin Wallace who then similarly embraced the retro ride and memories. Former v23-er Tim O’Donnell sent a hearty thumbs-up from Pennsylvania, while original DCD bassist Paul Erikson sent his seal of approval from DCD birthplaceMelbourne. Piano Magic’s Glen Johnson was in touch, having received the book as a birthday gift from his brother to bring his own memories flooding back, and we met up at London’s Barbican Centre for him to interview me for his ‘Arcane Delights’ website. Projekt’s Sam Rosenthal loved a story I recount in chapter seven about a dinner one evening in Venice, and then give Lisa’s quite different recollection of the same event, thus confirming his belief that all memory is faulty and there is no reality… a somewhat questionable endorsement for a memoir!

While all this activity was a pure delight, my big opportunity to ‘shift some units’ was going to be the merchandising for DCD’s upcoming tours of Europe and North America. I was in planning for this, as well as hoping to fly over to the States with Nicki to catch a few shows, when news of the cancellation came through. In my fan capacity, I immediately regretted not having attended more shows in the 2022 tour, but this was also a big blow to sales. The American tour was due to play to 60,000+ people, and losing the opportunity to put my memoir right there in front of all those fine folk… well, no need for explanation. Along with the DCD fraternity, I awaited news.

Continuing to check my memoir’s availability across the globe, I found it offered on the website of American supermarket giant WalMart then, scrolling down the page, nearly toppled off my drumstool on encountering a suggestion panel headed ‘Similar items you might like – based on what customers bought’ proffering “Spare” by Prince Harry. Really…??? I clicked through to “Spare” to see if the Duke of Sussex’s readership might be returning the interest, but disappointingly my tome was nowhere to be seen.

March 2023 saw the release of a debut album by an artist unfamiliar to me – Lucinda Chua. What caught my eye was a review in the UK Observer newspaper which began: ‘Signed to 4AD (home to the Cocteau Twins and Jenny Hval)…’ and how curious it seemed that 4AD might be summed up thus. Thinking about it further, I guess writer Tara Joshi had simply chosen to bookend the label’s output with one of its earliest acts and one of its most recent. In April, Cincinnati kids The National – who had inadvertently become a 4AD act following a reshuffle within the Beggars Banquet stable back in 2009 – released new album “First Two Pages of Frankenstein” featuring a guest appearance by global superstar Taylor Swift, which somehow seemed an extraordinary stretch from those early ’80s days! Then in May, 4AD alumni Nick Cave unexpectedly (I suggest) popped up as an invitee to the Coronation of King Charles III of the United Kingdom and its Commonwealth Realms. Old Nick was spotted entering Westminster Abbey in deep conversation with former Archbishop of Canterbury Rowan Williams, prompting one journalistic wag to speculate they may have been discussing Cave’s lyrical disbelief ‘in an interventionist god’. Cave was later reported to have been ‘extremely bored’ during the ceremony, begging the question what exactly was he expecting?

Old 4AD connections seemed to be flavour of the moment. In April a contestant on the BBC’s renowned quiz show “Mastermind” nominated ‘The 4AD Record Label’ as his specialist subject for two minutes’ worth of hard grilling by presenter Clive Myrie. Much to the glee of a swathe of the old guard, Colin Wallace emerged as the answer to one of the questions, setting off a chain of messages including Tanya Donnelly and Emma Anderson posting on their respective Instagrams. In May Glen Johnson invited me to contribute some percussion and sundry bits to tracks for his project Allegory of Vanity, in which old Wolfgang Presser Mick Allen was also due to participate, though ultimately that fell through. And in June, a friend of mine – writer and filmmaker Juliet Jacques – secured a slot for her to interview me about my memoir at the prestigious Stoke Newington Literary Festival in north London, where I discovered on the programme for a couple of days later was Miki Berenyi discussing her memoir “Fingers Crossed”.

Stoke Newington Literary Festival 2023 programme entry
June saw Lisa awarded an Order of Australia Medal for ‘service to the performing arts through music’ in the King’s Birthday 2023 Honours List – richly deserved say I, and she seemed mightily ch￭. June also brought the announcement that filming had finally started on “Gladiator 2” – the movie having reportedly been in planning for some 20 years! Way back in this process, word circulated that Nick Cave had been contracted to write the script and had submitted a time-warped tale under the working title “Christ Killer” in which central character Maximus – revived and cursed to live forever – battles his way through the Crusades, World War II, the Vietnam War, and ultimately winds up in The Pentagon. Somewhat disappointingly, Cave’s concept didn’t fly, and it’s reported that the eventual storyline, written by David Scarpa, gives the central role to a now grown up Lucius, being played by Irish actor Paul Mescal. Whether or not Lisa will be involved in creating the soundtrack again I cannot say – principally because, at time of writing this, I genuinely have no idea. Then a while later, in a nod to a hitherto little aired string of 4AD’s bow, I spied a ‘Q&A’ in the UK’s Guardian newspaper with Jane’s Addiction frontman Perry Farrell in which, when asked his choice of best song to have sex to, he replied ‘anything by Cocteau Twins – every song sounds like an orgasm’.

On the flip side, a headline caught my eye in a Songlines circular in July: ‘MARRS supporting Iranian musicians at WOMAD’. It turned out to have nothing to do with pumping any volume up, and – more as a sad sign of the times – this current acronym is for ‘Musicians Artists at Risk Resettlement Scheme’, an organisation established in Northern Ireland in response to persecutions under regimes which censor or even outlaw music. It seems we are going backwards, rather than making progress. Suddenly the online DCD community was buzzing frantically with the news that Lisa had given a couple of interviews stating that DCD was no more, dashing hopes that previously cancelled tour dates were being rescheduled behind the scenes. I’d been out of touch with both her and Brendan for a while, so thought to let the dust settle a little. Then Lisa contacted me asking how the book was doing and if there was anything she could do to help – she gave it a fresh shout-out across her social media which generated a lively response. And then, following a YouTube blog session I recorded with fellow Projekt alumni Bret Helm and post-punk aficionados Frank Deserto and Greg Fasolino comprising a two hour long appraisal of the DCD back catalogue, Brendan emailed to say he’d seen it and really enjoyed it, then shared it on the DCD Facebook page. That both these wonderful friends are still looking out for me after all these years is something very special.

Among various themes in my memoir, classification and ‘pigeon-holing’ of music pops up a few times, and 2023 has emerged as a year to bring that strangely elusive category of ‘Goth’ back into focus, at least here in the UK. In July the publishers of ‘Uncut’ magazine issued their ‘Ultimate Genre Guide’ to Goth, with a front cover listing the eight bands/artists it apparently sees as its most prominent flag-bearers:

Siouxsie and the Banshees
The Cure
Nick Cave
Bauhaus
The Cult
Joy Division
The Sisters of Mercy
The Cramps

The inclusion of Joy Division in this Top 8 surprised me as I’ve never thought of them as ‘Goth’ and can’t recall having seen them previously categorised thus. The Cramps were ‘psychobilly’ until becoming aware they were gathering some goth following and swiftly coining the additional category of ‘gothabilly’ to welcome them in. Emerging from a clutch of ‘Goth’ books – rather oddly issued in the height of the UK’s summer months – publication of original Cure drummer/keyboardist Lol Tolhurst’s retrospective entitled ‘Goth: A History’ might seem to confirm their credentials, until he revealed in an interview with the Observer newspaper in September: ‘there are loads of fans who are going to say ‘What? No, the Cure were never goth!’ In fact, the original title for the book wasn’t Goth. I wanted to call it The Lesser Saints, but the publishers said: ‘What’s that about?’ I tried ‘Post-Punk’ on my editor, but he said that was too broad.’

I’ve previously said in the early days of Dead Can Dance we were surprised – albeit very grateful – to be so taken to heart by the Goth community, and my memoir explains Brendan’s thinking behind the DCD name which had no intended Goth connotations at its inception. But, having been firmly planted in the heart of Goth territory by so many commentators, I combed through the 124 pages of Uncut’s Ultimate Guide and initially thought we’d been overlooked. A second trawl through revealed I’d missed the inclusion of “Severance” in a Guide to the Top 50 Goth Club Anthems tucked away on page 112, describing Brendan’s opus as “The ‘Jerusalem’ of the late-1980s goth scene”. If I’m honest, I would have been miffed if DCD had been entirely omitted!

To many it appears the currently emerging primary issue facing musicians (and artists/creators/performers more widely) is Artificial Intelligence – ‘AI’. It polarises opinion between the highly alarmed and the dismissive, and personally I’m inclined towards the latter. Polly Jean Harvey makes an interesting point in a recent interview in The Guardian newspaper: ‘I can’t imagine that the imperfection of the human touch will be outridden by the perfection of a computer. I think there’s something beautiful about imperfections and failings of us as human beings.’ I guess AI proponents would counter that imperfections can simply be programmed in to mimic human frailties where desirable – perhaps so, but I’m still not convinced. To me, AI in the music world is just another songwriter and performer. There are millions already out there, and that doesn’t prevent any of us continuing on our creative paths. For decades songwriters have tried to bottle the formula of what makes a ‘hit’, but while some clearly churn out more chartbusters than the average, nobody has ever come close to a definitive blueprint. And they won’t, and I’m highly doubtful AI will either. As regards another application of AI, while avatars may be harnessed to great effect to bring back to life and re-imagine performances of artists and bands no longer with us, would that ever entirely replace the live shows of human beings? And OK, I appreciate that ‘deep fake’ videos in which artists can be replicated and misrepresented are bad news, but those artists (and their management people) are going to get wind of such incidents almost immediately, and can issue disclaimers to their legions of followers and complain to the hosting media – seriously annoying, sometimes upsetting, and a sad reflection on elements of our society, but still not an overly-daunting threat to the artistic community… is it?

The last album of The Peter Ulrich Collaboration’s trilogy – 2019’s “Final Reflections” – opens with the song “Artificial Man”, whose lyrics were written by chief among my cohorts Trebor Lloyd, and in which the protagonist is ’empty of all feeling’ and ultimately confined to an ’empty hell’ – ironic, perhaps, that Trebor found a source of creative inspiration in the robotic world. The clue is in the tag – the ‘Intelligence’ is, by definition, ‘Artificial’. Sorry to bang on, but can a computer be given the ability to create a catalogue of music as widely varied as that of Dead Can Dance – from (and I pluck randomly) “The Trial” to “The Host of Seraphim”, to “The Ubiquitous Mr Lovegrove” to “Kiko” to “Dance of the Bacchantes” – but incorporating the intangible essence of what makes all those pieces intrinsically DCD? And even if it can, what really would be the purpose? And can AI clone and re-project Lisa’s spine-tingling live renditions? I’m doubtful, but in any case, isn’t that just like offering people the chance to go and see a virtual tribute act? Maybe I’m missing some greater point, but I’ll stick with the real world and its imperfections… thanks!

cover image for “Artificial Man” by The Peter Ulrich Collaboration. courtesy of City Canyons LLC.
Updates from Lisa’s world find her remaining in insatiable demand for movie soundtracks. Another intriguing collaboration with Marcello De Francisci has spawned the music for a Nepalese film “Gunyo Cholo”, while a return to her earliest big screen collaboration saw her contribute to Michael Mann’s latest blockbuster “Ferrari”. I still love that Lisa’s voice can sit with equal comfort in such extraordinarily different worlds!

Returning to another theme of my memoir, it seems that sales of physical music formats are going from strength to strength, with 2023 seeing a rise in vinyl sales for the 16th consecutive year while CD and cassette sales continued to hold up. Seemingly an increasing number of people weaned on the disposable, background noise of streaming are newly discovering the joys of getting immersed in an ‘album’ and properly ‘listening’ to music. And for those readers who recall my particular frustrations with UK music retail chain HMV, it was bought out of administration by ‘Canadian tycoon’ Doug Putman in 2019 and is being revitalised with a greatly increased emphasis on vinyl sales. Symbolic of this rebirth was the recent re-opening of the original HMV store on London’s Oxford Street, originally opened in 1921 and whose closure four years ago had previously seemed terminal. The album format has long-since infiltrated my DNA, and its resurgence inflates my optimistic sails.

Brendan’s “Eye of the Hunter” re-release with additional live show from the ICA London, 1993
Talking of albums… just as I was about to sign this additional chunk of memoir off, Brendan has leapt back into the spotlight with a retro classic. His beautiful first solo album “Eye of the Hunter” has been re-mastered and re-released in a package together with his live solo performance at London’s ICA in 1993. I wax lyrical about this performance in Chapter Eight of my memoir, but hadn’t previously realised it had been recorded, then the tape stashed away in the proverbial attic. It’s wonderful to be transported back these 30 years later and re-live the experience. And I believe I’m right in saying that it’s reunited Brendan with 4AD for the first time this century. Anyway, it’s been on repeat play in our house since I got my hands on a copy, and I can’t recommend it strongly enough. That feels like a perfect point on which to end.

©️ Peter Ulrich 2024

* * * * * * *

Read the full story:
Drumming with Dead Can Dance and Parallel Adventures
by Peter Ulrich
with foreword by: Lisa Gerrard
published by Red Hen Press
ISBN: 978-1-63628-073-8

available NOW from:
book and music stores everywhere, both bricks’n’mortar and online
Amazon worldwide
Projekt online store: https://www.projekt.com/store/product/reh80738/

eBook also available – usual sources

news, updates and chatter at:
https://www.facebook.com/DrummingwithDeadCanDanceandParallelAdventures/

The post Peter Ulrich Drumming with DEAD CAN DANCE and Parallel Adventures – An Addendum appeared first on Post-Punk.com.

Source: Post-Punk.com

Mit “Hellcare” wird in einigen Wochen das neue Album der Alternative Rock-Band TSO erscheinen. Es ist nach “In-Sanity” (2016) und “Hearth” (2019) das dritte Album der von den Brüdern Marco und Andrea Abbrescia gegründeten Band aus Triest.

“Hellcare” wurde von Davide Linzi produziert und mit einem Cover-Artwork von Jakob Jugovic ausgestattet. Erscheinen wird das Album am 9. Februar 2024. Vorab gibt es mit “Constraint” einen Video-Clip.

TSO “Hellcare” Tracklist
1. Already Knew
2. Miss Comprehension
3. Constraint (Video bei YouTube)
4. Brodo
5. Slant
6. Henry
7. Getting So Real
8. Dugout
9. Despise Enterprise
10. Scotch
11. Godspeed

Source: Vampster

Die Goth Rocker WISBORG haben eine weitere Single mit Visualizer vom kommenden, bandbetitelten Album „WISBORG“ veröffentlicht. Der Track heißt „Unter Menschen“ und ist ein Feature mit Je T’aime Frontmann dBoy. Zuvor ist u.a. die Single „Im freien Fall“ erschienen, bei der auch LORD OF THE LOST Sänger Chris Harms zu hören ist.
Pre-order: https://wisborg.hamburgrecords.com

 

Source: Amboss-Mag.de

Nachdem Rammstein-Sänger Till Lindemann bereits am ersten Weihnachtsfeiertag sein Héroes Del Silencio-Cover "Entre Dos Tierras" veröffentlicht hatte, gibt es nun einen Videoclip dazu. Hier anschauen!

Source: Sonic Seducer

Die Black / Death Metal-Band PYRA hat nach “Becoming” mit “Palingenesis” einen zweiten Track ihres kommenden Albums “Those Who Dwell in the Fire” veröffentlicht. Es ist das erste Album der Italiener, die 2022 mit der EP “Pyra” debütierten. Erscheinen wird das Album am 23. Februar 2024 via Immortal Frost Productions.

PYRA “Those Who Dwell in the Fire” Tracklist
01. Cacus
02. Summit of Existence
03. Palingenesis (Audio bei YouTube)
04. Becoming (Audio bei YouTube)
05. Purified in Infinity
06. Funeral Pyre

Source: Vampster

  Hailing from Providence, Rhode Island, one would imagine that FEBRVVM is no stranger to the weird and unusual; such can describe the lyric video to the industrial/metal act’s latest single, “One Two Three Four,” the third single from the artist’s upcoming album. Created utilizing Midjourney A.I., the video depicts manga and anime girls with […]

Source: EBM.gr

  Following up on the London synthpop duo’s North American tour this past autumn, Isaac Howlett and Adam Relf will be celebrating their tenth anniversary as Empathy Test with a U.K. and European tour. Kicking things off will be a pair of one-off performances, the first taking place tonight, January 12 in Prague in the […]

Source: EBM.gr

LORD DYING bringen Anfang 2024 ein neues Album raus:  “Clandestine Transcendence”, so der Titel, erscheint am 19. Januar 2024 über MNRK Heavy.

Nach dem Video zu “The Endless Road Home” kann man sich nun auch den Opener “The Universe Is Weeping” als Video-Clip bei YouTube ansehen.

Mit einem Video zu “I Am Nothing I Am Everything” hatte die Sludge/Death Metal-Band aus Portland Anfang Oktober den ersten der neuen Songs im Netz geteilt.

Erik Olson (Gitarre, Gesang) und Chris Evans (Gitarre) haben für “Clandestine Transcendence” mit Alyssa Mocere (ehemalige Bassistin von EIGHT BELLS) und Kevin Swartz (aktueller Schlagzeuger von Tithe) zusammengearbeitet.  Produziert hat die Platte Kurt Ballou im God City Studio.

LORD DYING “Clandestine Transcendence” Tracklist
1. The Universe Is Weeping (Video bei YouTube)
2. I Am Nothing I Am Everything (Video bei YouTube)
3. Unto Becoming
4. Final Push Into The Sun
5. Dancing On The Emptiness
6. Facing The Incomprehensible
7. A Brief Return To Physical Form
8. A Bond Broken By Death
9. Break In The Clouds (In The Darkness Of Our Minds)
10. Soul Metamorphosis
11. Swimming In The Absence
12. The Endless Road Home (Video bei YouTube)

LORD DYING Line-up 2024
Erik Olson – Gesang / Gitarre
Chris Evans – Gitarre
Alyssa Maucere – Bass / Gesang
Kevin Swartz – Schlagzeug

Source: Vampster

Marcus Testory und Matthias Ambré aka Die Kammer haben ein neues Album namens "Season V: Maybe Forgotten, Maybe Glorious" angekündigt. Zu Finanzierung hat die Band eine Crowdfunding-Kampagne gestartet - mehr Infos hier!

Source: Sonic Seducer

Mit "Realm Of Dark Waves" haben Leaves' Eyes eine weitere Single vom kommenden Album "Myths Of Fate" ausgekoppelt. Mehr Infos und den Clip hier bei uns!

Source: Sonic Seducer

Die Symphonic Metal Wikinger LEAVES‘ EYES haben neue Details zu ihrem neuen Album „Myths Of Fate“ bekannt gegeben. Die Veröffentlichung ist für den 22. März 2024 über AFM Records geplant, der Vorverkauf des Albums hat auf https://leaveseyes.bfan.link/Myths-of-Fate begonnen. Um das neue Album live zu feiern, haben LEAVES‘ EYES außerdem einen umfangreichen Tourplan angekündigt, der im März beginnt. Nun haben LEAVES‘ EYES ein Musikvideo zu ihrer zweiten Single, der mittelalterlichen Hymne „Realm Of Dark Waves“, veröffentlicht, das uns in die trostlosen Tiefen des Ozeans zu Rán, der Göttin des Meeres, hinabzieht.
Listen: https://leaveseyes.bfan.link/realm-of-dark-waves

Info:
Mit „Myths Of Fate“ setzt die Band einmal mehr die Segel für neue Winde, die definitiv aus den rauen Untiefen des Symphonic Metal-Genres wehen. Die fantastische Sagenwelt der nordischen und osteuropäischen Mythologie ist der Schauplatz für monumentale Unterhaltung. „Das frühe Mittelalter war eine faszinierende Zeit des Wandels. Einige dieser Neuerungen haben rund um den Globus ihre Spuren hinterlassen und wirken bis in unsere moderne Welt hinein“, erzählt Band-Mastermind und Sänger Alex Krull.

 

Source: Amboss-Mag.de

Die Symphonic Metal-Album LEAVES’ EYES hat mit “Myths Of Fate” ein neues Album angekündigt. Es ist das neunte Album der deutschen Band aus Baden-Württemberg und folgt dem 2020er-Album “The Last Viking” nach. Ein Video zur Single “Realm Of Dark Waves” gewährt nun einen weiteren Höreindruck.

“Myths Of Fate” wird am 22. März 2024 via AFM Records erscheinen. Einen ersten Vorgeschmack liefert die Single “Forged By Fire” über das legendäre Tyrfing-Schwert.

LEAVES’ EYES sind Sängerin Elina Siirala (ANGEL NATION), Sänger Alexander Krull (ATROCITY), die Gitarristen Micki Richter (ATROCITY) und Luc Gebhardt (ATROCITY) sowie Drummer Joris Nijenhuis (ATROCITY, Ex-BLOODRED).

Im März kommt die Band auf Tour:
LEAVES’ EYES, NORTHTALE, METALITE, CATALYST CRIME Tourdaten 2024 bei vampster.

LEAVES’ EYES “Myths Of Fate” Tracklist
01. Forged by Fire (Video bei YouTube)
02. Realm of Dark Waves (Video bei YouTube)
03. Who Wants to Live Forever
04. Hammer of the Gods
05. In Eternity
06. Fear the Serpent
07. Goddess of the Night
08. Sons of Triglav
09. Elder Spirit
10. Einherjar
11. Sail with the Dead

Source: Vampster

Die Post Hardcore-Band BEING AS AN OCEAN stellt ihr neues Album “Death Can Wait” mit einem weiteren Preview-Song vor und hat nun auch “The Fullness Of My Being” im Netz geteilt.

Es ist der vierte Vorab-Song, zuvor veröffentlichte die Band ein Visualizer-Clip “Flesh And Bone” bei YouTube.  Außerdem verfügbar ist ein Video-Clip zu “Swallowed By The Earth”. Der Track beschäftigt sich mit der Suche nach dem Sinn in den Prüfungen des Leben.

Zuvor ist ein Visualizer zum Titeltrack bei YouTube erschienen. Die Formation kommentiert:

“Bei ‘Death Can Wait’ geht es darum, im Moment zu leben, ohne Beurteilung oder Angst vor den Umständen. Jeden Tag so zu nehmen, wie er kommt, und sich nicht zu sehr auf die Zukunft zu versteifen, da niemand von uns weiß, wie viel Zeit wir in diesem Leben wirklich haben. Memento Mori. Es geht darum, sich des Geschenks bewusst zu sein, das das Leben ist, und es nicht mit frivolen oder übermäßigen Aufregungen, Ablenkungen und Zerstreuungen zu vergeuden; sich auf unsere Ziele, Bestrebungen, Leidenschaften und konstruktiven Obsessionen zu konzentrieren. Das Leben so zu leben, als ob dieser Tag unser letzter wäre, und gleichzeitig darauf vorbereitet zu sein, den Tod, wenn er kommt, als Freund und natürlichen Teil dieses schönen Lebens zu empfangen.”

“Death Can Wait” erscheint am 2. Februar 2024 via Out Of Line Music auf CD, Vinyl sowie digital.

BEING AS AN OCEAN “Death Can Wait” Tracklist
1. Beautiful Agony
2. Swallowed By The Earth (Video bei YouTube)
3. Purest Love
4. …Gave it a Voice So That My Heart Could Speak
5. Flesh And Bone (Visualizer bei YouTube)
6. Gloom
7. Paradise In My Mind
8. Snake
9. Death Can Wait (Visualizer bei YouTube)
10. The Fullness of My Being (Stream)

Source: Vampster

Die Hardcore / Funk-Band SLOPE hat Mitte 2023 einen Plattenvertrag mit Century Media Records abgeschlossen. Jetzt legt man mit dem Clip “Why Sad” einen neuen Track nach. Entnommen ist das Stück dem kommenden Album “Freak Dreams”, das am 2. Februar 2024 über das neue Label auf CD, Vinyl sowie digital erscheinen wird.

Reinhören kann amn außerdem in drei weitere Vorab-Tracks: “True Blue”, “It’s Tickin’” und “Freak Dreams” bei YouTube.

SLOPE kommentieren:

“Wir sind sehr stolz, die Zusammenarbeit mit Century Media Records bekannt zu geben!

Im Laufe der letzten sechs Monate, in denen wir mit dem Label gesprochen haben, wurde es glasklar, dass wir den perfekten Partner für unsere Zukunft gefunden haben.

Wenn wir zurückblicken, woher wir kamen, um einen Vertrag mit einer so großen Plattenfirma zu unterzeichnen, können wir sagen, dass wir einen, wenn nicht sogar den größten Meilenstein in der Geschichte dieser Band feiern!

Harte Arbeit und Hingabe zahlen sich aus und wir könnten nicht aufgeregter sein über die Dinge und Erfahrungen, die auf uns zukommen werden!”

Im Februar 2024 spielen SLOPE zudem einige Konzerte, um das neue Material live vorzustellen.

SLOPE “Freak Dreams” Tracklist
1. TALK BIG
2. IT’S TICKIN’ (Video bei YouTube)
3. CHASING HIGHS
4. NOSEDIVE
5. HECTIC LIFE
6. TRUE BLUE (Video bei YouTube)
7. NBQ
8. WHY SAD (Video bei YouTube)
9. AIN’T EASY
10. FREAK DREAMS (Video bei YouTube)
11. OUT OF THE BLUE INTO THE BLACK

SLOPE Tourdaten 2024

01.02.2024 – Berlin, DE, Cassiopeia
02.02.2024 – Hamburg, DE, Headcrash
03.02.2024 – Köln, DE, Helios 37
09.02.2024 – Frankfurt, DE, Elferclub
10.02.2024 – Erfurt, DE, Veb
16.02.2024 – Tilburg, NL, Little Devil
17.02.2024 – Nijmegen, NL, Merleyn
18.02.2024 – Hengelo, NL, Innocent

News aus dem Archiv:
2023 spielte die Formation zudem einige Konzerte.

SLOPE Tourdaten 2023

21.06.2023 – Aschaffenburg, DE, Colos-Saal*
22.06.2023 – Neukirchen, DE, Neue Geblasehalle*
23.06.2023 – Ysselsteyn, NL, Jera On Air
24.06.2023 – Ferropolis, DE, Full Force
28.06.2023 – Viveiro, ES, Resurrection Fest
13.07.2023 – Vizovice, CZ, Masters Of Rock
28.07.2023 – Landunvez, FR, Festival De La Mer
29.07.2023 – Le Garric, FR, Xtreme Fest
17.-19.08.2023 – Sulingen, DE, Reload Festival
23.09.2023 – Mönchengladbach, DE, Sound Of Suburbia

*w/ Lionheart/Stray From The Path/End

Source: Vampster

Das Dark Ambient / Industrial-Projekt LUSTMORD von Brian Williams hat mit “Much Unseen Is Also Here” ein neues Album angekündigt. Das neue Album des Musikers wird am 15. März 2024 via Pelagic Records erscheinen.

“Ich habe mich dafür entschieden, den Klang für mich sprechen zu lassen”, sagt Brian. “Meine Musik soll nicht erklärt werden – sie soll nur gehört werden, um die schiere Bedeutungslosigkeit unserer primitiven Gedanken und Handlungen innerhalb der riesigen Dimension des Kosmos aufzuzeigen – eine Dimension, die wir als Spezies nicht zu begreifen vermögen.”

LUSTMORD “Much Unseen Is Also Here” Tracklist
1. Behold A Voice As Thunder
2. Entrails of the God Machine
3. An Angel Dissected
4. A Shadow Cast Upon The Deep
5. Inovocation of the Nameless One
6. Their Souls Asunder
7. Hence Shall They Be Devoured All Of Them
8. Other Woes Are Yet To Come

Source: Vampster

Die Stoner Rock-Band DISASTROID hat nach “Stucco Nowhere” nun auch den Titeltrack ihres kommenden Albums “Garden Creatures” veröffentlicht. Es ist das vierte Album des US-amerikanischen Trios aus San Francisco, das aus Gitarrist und Sänger Enver Koneya, Bassist Travis Williams sowie Drummer Braden McGaw besteht.

“Garden Creatures”, das von Billy Anderson in den Sharkbite Studios produziert worden ist, sei ein Album über die Dunkelheit in den verborgenen Ecken der Vorstadt und wird am 23. Februar 2024 via Heavy Psych Sounds erscheinen.

DISASTROID “Garden Creatures” Tracklist
1. Garden Creatures (Audio bei New Noise Magazine)
2. Stucco Nowhere (Audio bei YouTube)
3. Figurative Object
4. Backwards Sleeping
5. 24
6. Hold Me Wrong
7. Light ‘Em Up
8. Jack Londonin’

Source: Vampster

IGNITE haben mit “Done Digging the Grave” eine neue Single veröffentlicht, ein Video zu “Done Digging The Grave” gibt’s bei YouTube.  Bei dem Song ist  Andrew Neufeld (COMEBACK KID) als Gastmusiker zu hören.

IGNITE -Bassist Brett Rasmussen  sagt über die Zusammenarbeit mit Andrew Neufeld:

“Dieser Song wurde mit dem Gedanken an einen Gastsänger geschrieben. Als wir Andreas Gesangsspuren hörten, waren wir völlig überwältigt und begeiterts davon, wie seine Schreie neben Elis Stimme in den Track passen. Dies ist das erste Mal, dass IGNITE mit einem Gastsänger zusammenarbeiten.”

 

 

Source: Vampster