Heute ist die Neuauflage von Evanescences "Fallen" zum 20. Jubiläum erschienen - wir verlosen das Kultalbum drei mal auf limitiertem, farbigem Doppelvinyl!

Source: Sonic Seducer

Die Death Metal-Band PESTILENCE geht im April 2024 auf Europatour und spielt unter dem Motto “Black Death Over Europe” auch Konzerte in München, Trier, Berlin sowie Wien (A).

Begleitet wird die Formation von CARNATION und BODYFARM.

PESTILENCE, CARNATION, BODYFARM Tourdaten 2024

3 April: München, DE @ Backstage
4 April: Trier, DE @ Mergener Hof
5 April: Berlin, DE @ Orwo Haus
6 April: Krakow, PL @ Kamienna 12
7 April: Jaromer, CZ @ Narodak
8 April: Ostrava, CZ @ Barrak
9 April: Kosice, SK @ Collosseum
10 April: Wien, AT @ Viper Room
11 April: Budapest, HU @ A38
12 April: San Donà di Piave, IT @ Revolver
13 April: Milan, IT @ Legend
14 April: Marseille, FR @ Jas Rod
15 April: Barcelona, ES @ Sala Boveda
16 April: Madrid, ES @ Revi Live
17 April: Lisbon, PT @ RCA Club
18 April: Porto, PT @ Hard Club
19 April: Zaragoza, ES @ Sala Lo Intent
20 April: Limoges, FR @ C.C.J. Lennon
21 April: Antwerp, BE @ Zappa

Source: Vampster

Die Modern / Symphonic Metal-Band AMARANTHE veröffentlicht ihr neues Album “The Catalyst” am 23. Februar 2024 via Nuclear Blast auf CD, Vinyl sowie digital. Zum dritten Vorab-Track “Outer Dimensions” gibt es nun einen Videoclip bei YouTube.

Zuvor veröffentlichten die Schweden den Song “Insatiable” als Musikvideo bei YouTube.

Gitarrist Olof Mörck verrät zum Album:

“Endlich ist es also offiziell! Es hat lange gedauert, und es wurde mehr Arbeit in dieses Album gesteckt als in alle vorherigen AMARANTHE-Alben. Auf ‘Damnation Flame’ habt ihr bereits einen Vorgeschmack auf das bekommen, was euch erwartet, aber da es das bisher abwechslungsreichste und vielseitigste AMARANTHE-Album ist, erwartet das Unerwartete! Wir decken auf ‘The Catalyst’ eine Menge musikalisches Terrain ab, aber der Kern dessen, was uns kreativ ausmacht, ist völlig intakt. Es wird sofort klar sein, dass ihr AMARANTHE hört, genauso wie es sofort klar sein wird, dass dies sowohl ein Sprung nach vorne als auch ein Schritt nach oben ist. Ich kann es kaum erwarten, dass ihr alle hört, was wir ausgeheckt haben, und dass ihr uns SOFORT auf der Tour mit diesen erstklassigen neuen Songs seht!”

Außerdem stellte die Gruppe Ende Juni 2023 ihren neuen Sänger/Shouter Mikael Sehlin mit einem Musikvideo zum Track “Damnation Flame” bei YouTube vor.

Gitarrist Olof Mörck kommentiert die Entscheidung für das neue Bandmitglied:

“Nach einer praktisch weltweiten Suche und mehreren fantastischen Gast-Growlern, die uns bei Shows und Tourneen aushalfen, haben wir endlich die richtige Person für den Job gefunden, in unserer eigenen schwedischen Hauptstadt Stockholm! Mikael Sehlin hat ALLES, was es braucht, um dem AMARANTHE Line-Up beizutreten, und seine Vielseitigkeit und Musikalität vervollständigt und unterstreicht unsere Vision für unser neues Album und die allgemeine Zukunft von AMARANTHE perfekt. Von den tiefsten, gutturalen Grunts bis hin zu den höchsten Schreien ist Mikael die personifizierte Growling-Perfektion, also bitte heißt den neuen Stern am AMARANTHE-Firmament herzlich willkommen!”

Zuletzt veröffentlichten die Schweden das Album “Manifest” (2020).

Im Frühjahr 2024 gehen AMARANTHE gemeinsam mit DRAGONFORCE auf Co-Headline-Tournee:
DRAGONFORCE + AMARANTHE, INFECTED RAIN Tourdaten 2024 bei vampster.

AMARANTHE “The Catalyst” Tracklist
1. The Catalyst
2. Insatiable (Video bei YouTube)
3. Damnation Flame (Video bei YouTube)
4. Liberated
5. Re-Vision
6. Interference
7. Stay a Little While
8. Ecstasy
9. Breaking the Waves
10. Outer Dimensions (Video bei YouTube)
11. Resistance
12. Find Life

Source: Vampster

Mit "Lost My Mind" haben Eisfabrik eine neue Single vom kommenden, gleichnamigen Album ausgekoppelt. Mehr Infos und das Video hier!

Source: Sonic Seducer

„Swans gelten als eine der härtesten, besten und lautesten Live-Bands der Welt!“
Die fortdauernde Kreativität von Michael Gira und Swans über einen Zeitraum von vierzig Jahren hinweg kennt kaum Parallelen in den Annalen der Musik. Von einer stetig wachsenden Fangemeinde und wohlverdientem Kritikerlob erstreckt sich ihr Einfluss über unzählige Subgenres der modernen Rockmusik und für zahlreiche Bands wie Napalm Death, Melvins, Neurosis, Nirvana, Tool und My Dying Bride war diese Band Inspiration.
Von den härtesten New Yorker Clubs auf die Bühnen der Welt: Die einzigartige Musik der Swans erschuf momentweise eine so allumfassende Klangwelt, dass Publikum und Performer kurzzeitig außerhalb von Raum und Zeit standen und sich völlig vergessen konnten.
Bandkopf ist Michael Gira. Wuchs wohlbehütet auf, bis alles zerbrach. Arbeitete in seiner Jugend in Kupferminen und saß in Israel im Knast. Seine Kompromisslosigkeit und Ruppigkeit begleiten die Umstände, dass es bei Swans intern immer wieder krachte und sich das Besetzungskarussell endlos drehte. Wenn auch mit ihrer Inkarnation nach 2010 Kameradschaftsgeist und Brüderlichkeit betont werden.
„Swans machten Musik, die in die Zukunft wies und nie wie ein Aufguss ihrer Vergangenheit klang“
„Swans – Sacrifice and Transcendence“ ist eine Oral History, komponiert aus den Stimmen von rund 125 Einzelpersonen, 140 Interviews, 250 bis 300 Stunden Gesprächsmitschnitte und 500 bis 600 Stunden der Transkription. Eine Fülle an Blickwinkeln von Menschen, die in den letzten vier Jahrzehnten eine Rolle in der Musik spielten, die Michael Gira entweder unter dem Namen Swans oder dem einer seiner anderen Identitäten veröffentlicht hat.

Source: Prophecy

VERGÄNGLICHKEIT UND HOFFNUNGDas zweite Album der Leipziger Ausnahmeformation PAHL! trägt seinen Dualismus schon im Titel. Es heisst „II“, weil es sich aus zwei Teilen mit unterschiedlicher Thematik und Ästhetik zu einem Werk zusammenfügt. PAHL! verbindet in “II” einen ganz neuartigen Sound aus einer Melange von Elektronik, Songwriting und epischer Orchestrierung. Mit “II a” feiert PAHL! die Abgründe des Lebens während “II b” sich der Schönheit des Todes zuwendet.
PAHL! “II a” feiert am 17.11.2023 Premiere.

Source: Hell Zone

VERGÄNGLICHKEIT UND HOFFNUNGDas zweite Album der Leipziger Ausnahmeformation PAHL! trägt seinen Dualismus schon im Titel. Es heisst „II“, weil es sich aus zwei Teilen mit unterschiedlicher Thematik und Ästhetik zu einem Werk zusammenfügt. PAHL! verbindet in “II” einen ganz neuartigen Sound aus einer Melange von Elektronik, Songwriting und epischer Orchestrierung. Mit “II a” feiert PAHL! die Abgründe des Lebens während “II b” sich der Schönheit des Todes zuwendet.
PAHL! “II a” feiert am 17.11.2023 Premiere.

Source: Hell Zone

"Des Teufels Konquistadoren" zeichnet die Geschichte von Behemoth nach, einer der erfolgreichsten extremen Metal-Bands der Welt. Die Polen um Frontmann Adam "Nergal" Darski haben einen turbulenten Aufstieg hinter sich, von dem sie gemeinsam mit ihrem persönlichen Umfeld erzählen, und blicken zuversichtlich in die Zukunft. Darski, der seit Jahren nicht nur im medialen Rampenlicht seiner Heimat Polen steht, bestätigt seinen Ruf als Charakterkopf und berichtet ausführlich über seine bescheidenen Anfänge, Abstecher in hohe Prominentenkreise und nicht zuletzt seinen erfolgreichen Kampf gegen Leukämie, während Autor Dunaj, ein langjähriger Vertrauter des Künstlers, die Geschichte der Gruppe bis zur Zeit nach ihrem Klassiker-Album "The Satanist" Revue passieren lässt.

"Behemoth: Des Teufels Konquistadoren" erscheint als Hardcover-Buch auf 576 Seiten mit zahlreichen Photos.

Source: Prophecy

Die Metalcore-Band ANY GIVEN DAY hat mit “Limitless” den Titeltrack ihres neuen Albums als Musik-Clip veröffentlicht.

Zuvor gab es bereits den Track “Unbreakable” samt Musikvideo im Stream. Der Track folgt auf das Mitte Juni 2023 erschienene Stück “Get That Done“.

“Limitless” enthält elf neue Songs und erscheint am 26. Januar 2024 via Arising Empire auf CD, Vinyl sowie digital.

Im Februar 2024 kommt das Gespann außerdem auf Headliner-Tour durch Europa. Unter dem Album-Motto “Limitless” spielt die Formation dabei Shows in Berlin, Hamburg, Wiesbaden, Suttgart, München, Nürnberg, Münster sowie Hannover. In Österreich steht je ein Konzert in Wien sowie Salzburg auf dem Programm, die Schweiz wird dagegen mit Aarau bedacht.

ANY GIVEN DAY “Limitless” Tracklist
01. Get That Done (Video bei YouTube)
02. Unbreakable (Video bei YouTube)
03. Limitless (Video bei YouTube)
04. Come Whatever May
05. Apocalypse (Video bei YouTube)
06. Shockwave
07. Best time
08. My Way
09. H.A.T.E.
10. Broken Guardian
11. Shadow Walker

ANY GIVEN DAY Tourdaten 2024

01.02.2024 – Berlin, Lido
02.02.2024 – Hamburg, Gruenspan
04.02.2024 – Arnhem, Willemeen (NL)
06.02.2024 – Antwerp, Kavka (B)
07.02.2024 – Wiesbaden, Schlachthof
08.02.2024 – Aarau, Kiff (CH)
09.02.2024 – Stuttgart, Im Wizemann
14.02.2024 – Wien, Simm City (A)
15.02.2024 – Salzburg, Rockhouse (A)
16.02.2024 – Prag, Storm (CZ)
17.02.2024 – München, Backstage
18.02.2024 – Nürnberg, Hirsch
20.02.2024 – Münster, Sputnikhalle
21.02.2024 – Hannover, Musikzentrum

Source: Vampster

Die Metalcore-Bands SETYØURSAILS und RISING INSANE haben für April und Mai 2024 eine gemeinsame Headliner-Tour angekündigt. Auf dem Programm stehen Shows in Leipzig, Oldenburg, Berlin, Rostock, Münster, Köln, Hamburg, Hannover, Wiesbaden, München, Karlsruhe und Nürnberg.

Im Vorprogramm werden VINTA auftreten.

SETYØURSAILS + RISING INSANE, VINTA Tourdaten 2024

12.04.24 Germany Leipzig @ Naumanns
13.04.24 Germany Oldenburg @ Amadeus
14.04.24 Germany Berlin @ Cassiopeia
19.04.24 Germany Rostock @ M.A.U. Club
20.04.24 Germany Münster @ Sputnik Cafe
21.04.24 Germany Köln @ Gebäude 9
10.05.24 Germany Hamburg @ Headcrash
11.05.24 Germany Hannover @ Béi Chéz Heinz
12.05.24 Germany Wiesbaden @ Schlachthof
17.05.24 Germany München @ Feierwerk
18.05.24 Germany Karlsruhe @ Die Stadtmitte
19.05.24 Germany Nürnberg @ Z-Bau

Fotogalerie: SETYØURSAILS – Summer Breeze 2023 – 17.08.2023

Source: Vampster

Tension Control Album Nummer vier greift die Industrielle Revolution und somit indirekt das ewige EBM-Thema der Arbeit auf. Allerdings geht es nicht vorrangig um körperliche Plackerei und Schweiß: Vielmehr leistet das Album die schlaglichtartige Beleuchtung der technischen Entwicklung mitsamt ihrer problematischen Auswirkungen auf Land und Leute. Und zwar von damals bis in die Gegenwart. Elektronisch-roh […]

The post Review: Tension Control – Industrielle Revolution first appeared on .

Source: KlangWelt

Die isntrumentale Progressive Metal-Band VIPASSI hat ihr zweites Full-Length-Album mit dem Titel “Lightless” angekündigt. Erscheinen wird die Platte am 26. Januar 2024 via Season Of Mist.

Die erste Single “Phainesthai” kann man sich als Musikvideo bei YouTube anschauen.

Hinter VIPASSI stecken Schlagzeuger Daniel Presland (NE OBLIVISCARIS), Gitarrist Ben Boyle (BLACK LAVA), Gitarrist Benjamin Baret (NE OBLIVISCARIS) sowie Bassist Arran McSporran (VIRVUM).

VIPASSI “Lightless” Tracklist

Lightless
Labyrinthine Hex
Morningstar
Shapshu
Phainesthai (Video bei YouTube)
Ruination Glow
Neon Rain
Promethea

Source: Vampster

(Photo by Eugene Richards) Vince Clarke unveils his first solo album today, titled “Songs of Silence”. This ambient album, spanning 10 tracks, is now available in vinyl, CD, and digital formats through Mute. Clarke celebrates this release with his debut solo show tonight at the LSESU in London, with Sunroof (comprising Daniel Miller and Gareth Jones) as the opening act. Additionally, a Q&A session featuring Daniel Miller is scheduled at Rough Trade East on Sunday, November 19th.

After writing numerous hits for prominent bands like Erasure, Yazoo, and Depeche Mode, Clarke has finally ventured into a solo project. The album, recorded in his New York home studio, showcases photography and artwork by renowned Magnum photojournalist Eugene Richards. Originating as a lockdown diversion, Clarke delved into the possibilities of Eurorack, a modular synthesizer known for its expansive and engaging configurations. “The process was incredibly enjoyable, and it was solely for my own pleasure initially. I never contemplated others hearing it. The learning and creative journey in my studio was the highlight,” Vince reflects. “It was a surprise when Mute decided to release it.”

Songs of Silence by Vince Clarke

As previously mentioned, Clarke adhered to two self-imposed guidelines for this album: exclusively using Eurorack for sound production and constructing each track around a single note, maintaining a consistent key. Vince humorously notes, “No one in my family, not even the cat, showed much interest in my studio work, especially after hours of drone sounds.”

Vince Clarke video singles

Related newsDid you know that Alan Wilder produced this single by R&B singer Dede in 2016? Check it now.Here are the two previously released videos from the album.

Source: EBM.gr

(Photo by Eugene Richards) Vince Clarke unveils his first solo album today, titled “Songs of...

Source: Side Line

Buy Or Die! Nur diese Woche bieten wir satte Rabatte auf unser gesamtes Sortiment! Bis zu 20% auf Magazine, Bücher, Vinyls und mehr - nicht verpassen, Black Week ist nur einmal im Jahr!

Source: Sonic Seducer

Manchester’s <a href="https://www.instagram.com/feathertrade/">Feather Trade</a> effortlessly transcends boundaries, embracing an unwavering commitment to unfiltered, impassioned authenticity. Their concise anthems serve as rallying cries for the disenfranchised, championing the politically and sexually marginalized, and those disheartened by the relentless commodification of society, particularly within the realm of art. Their music exudes a timeless quality, evoking the wide-eyed social commentary reminiscent of early U2, the Maccabees, The Chameleons, The Brilliance, and Pixies.

Their universal message, however, firmly occupies the present: tackling contemporary struggles and crafting profoundly personal elegies that resonate deeply with those navigating our current complexities and uncertainties. Their newest single, A Ready Defense, delves into the complexities of human nature and the perennial struggle to transcend the challenges of the winter season, both literal and metaphorical. It serves as a reminder of our shared humanity, our capacity for empathy, and the ongoing quest to find ways to realize these ideals even in the face of adversity.

“The song came to me in a fever dream when I was very ill while visiting family during a holiday season a few years ago,” says Chisolm Thompson. “I wouldn’t say this was ever meant to be a ‘Christmas’ song as such, but it’s a song about winter and how I believe it is, after all these centuries, still the hardest time of the year for humanity. Deep down I think it brings out our best nature to want to look for the greater good in everyone, but I think we’re often tortured by the inability to find ways to do it.”

Thompson’s introspective reflection provides a deep insight into the thematic depth of A Ready Defense. It reveals a desire for unity and the innate urge to strive for the betterment of all, but also acknowledges the painful struggle and personal anguish that often accompany this pursuit. This is punctuated by the anguished vocals accompanied by a persistent military-style drum beat, evoking the sound of a slow, steady march forward in the face of adversity.

“I’ve always struggled with guilt during the season of celebrating, knowing there’s so much loss out there during a time of excess, with so many with so little,” he says. “It’s always most tragic when we’ve lost good friends to crushing loneliness, substance abuse, the weight of the world. I often reflect on the power of acknowledgement of other people. I often dwell on the homeless and the lonely and wish there was a way to give something more to people. Sometimes it seems the mid-winter season is the time when everyone genuinely endeavors to acknowledge and celebrate the existence of one another; of the recognition of dignity in someone else’s humanity.”

Listen below or at your streaming service of choice <a href="https://kycker.ffm.to/areadydefense">here</a>.

After a triumphant 2019 UK tour, backing Spear of Destiny, the Athens, Georgia-based group ventured onto their inaugural full UK tour and unveiled their debut tour album, ‘The Sound Of Broken Worlds.’ Navigating pandemic-induced travel constraints, they showcased their inventive spirit by crafting a cross-continental concert experience. In this innovative performance, bandmates played live while projecting their virtual presence from diverse locations. This groundbreaking concert is now available in the recently released DVD ‘Live and Transatlantic’ or as an exclusive live-streamed event.

Feather Trade have shared stages with The Soft Moon, Deerhoof, Daniel Johnston, Florence and the Machine, and The Maccabees, as well as The Blinders and Peter Hook and The Light.  The band is currently recording their debut album with US producer Matt Yelton (Pixies, Frank Black and the Catholics),

Feather Trade now tour the UK this November 2023 support of  “A Ready Defense,” and have a series of dates lined up in late April/early May, as well as festival appearances in the summer and fall of 2024. UK fans, take note:

Sat 18 SALFORD The Eagle Inn
Wed 22 NOTTINGHAM The Chapel
Thu 23 YORK Fulford Arms
Tue 28 OXFORD The Bullingdon (with The Chameleons)

Follow Feather Trade:

<a href="https://www.instagram.com/feathertrade/">Instagram</a>
<a href="https://www.facebook.com/feathertrade">Facebook</a>
<a href="https://www.youtube.com/playlist?list=PLy0KdX0wW6nk5ckjAYENFobabLeLaTH85">YouTube</a>

The post <a href="https://post-punk.com/the-winter-of-loneliness-manchesters-feathertrade-debuts-emotional-new-single-a-ready-defense/">The Winter of Loneliness — Manchester’s Feather Trade Debuts Emotional New Single “A Ready Defense”</a> appeared first on <a href="https://post-punk.com">Post-Punk.com</a>.

Source: Post-Punk.com

Die Avantgarde Black Metal-Band CELESTE stellt ihre neue EP “Epilogue(s)” mit einem Video zu “Plisse Les Yeux Jusqu’au Sang” bei YouTube vor.

Auch den Clip zu “With Idle Hands” gibt es bei YouTube. Als Gast mit dabei ist GRIVO-Sänger Tim. Ein Musikvideo zu “Il se vide lentement” steht ebenfalls bei YouTube bereit.

“Epilogue(s)” enthält drei Bonus-Tracks der Aufnahmen zum aktuellen Album “Assassine(s)” (2022) und erschien am 17. November 2023 via Nuclear Blast auf Vinyl sowie digital.

CELESTE “Epilogue(s)” Tracklist
01. Il Se Vide Lentement (Video bei YouTube)
02. Plisse Les Yeux Jusqu’au Sang (Video bei YouTube)
03. With Idle Hands (Video bei YouTube)

Source: Vampster

Following up on their debut album “Sins Of The Future”, the US/Danish EBM outfit Emergency Sequence return with the “The People Are Broken (The Remixes)” EP. The EP is out via Re:Mission Entertainment and available for immediate download.

The four-track EP contains three club remixes from Leaether Strip, the dark electro/synth pop duo Am Tierpark, the minimal electro outfit Divider and an industrial rock / punk version from rockers Gusten.

Behind Emergency Sequence we find Bryon Wilson and John Mirland – respectively known for diverse projects like Divider, Mirland, Am Tierpark and many more. The duo joined forces in 2020 as the EBM duo Emergency Sequence (also known as ESEQ) debuting with the single “1938”.

The People Are Broken (The Remixes) by Emergency Sequence

Source: EBM.gr

Several years since their latest release, Philadelphia art-rock duo Tulipomania presents their fifth album “Dreaming...

Source: Side Line

In his transcendent realm, musician Per Martinsen as <a href="https://www.instagram.com/mentaloverdrive/">N∆EON TE∆RDROPS</a> reveals a celestial persona, weaving a captivating sonic narrative that resonates deeply with the innermost recesses of the human spirit. The beauty of music lies in its silent spaces, where raw emotions create a lasting impact. These still moments bring the notes to life, revealing the soul of the music. Each pause reflects, immersing us in the full range of emotions. A song truly comes alive in these spaces floating in time, spaces that transport us to another realm, the realm of N∆EON TE∆RDROPS

“Haunted”, another phantasmagorical single from N∆EON TE∆RDROPS’ debut album TESTIMONY, is out today.

Haunted navigates the delicate terrain of grappling with a profound dilemma: the heartfelt love and unwavering support one extends to a cherished individual, only to find that these well-intentioned efforts fall short in alleviating their profound struggles. It’s a poignant portrayal of the disheartening reality where the depths of one’s affection – while genuine and profound – prove insufficient to extricate a loved one from their tribulations. Despite an earnest desire to uplift and provide solace, there exists an inherent powerlessness in the face of their pain. The composition captures the profound empathy and compassionate helplessness experienced when acknowledging that the capacity for change resides beyond one’s control.

The music video for Haunted, unfolds within the labyrinthine confines of a psychiatric hospital, a setting that metaphorically mirrors the sensation of becoming adrift—a sentiment that likely resonates deeply with those who find themselves empathetically observing the turmoil unfolding in today’s world. Within these endless corridors, the visual narrative captures the profound sense of powerlessness that often accompanies bearing witness to the collective chaos and instability that characterizes our contemporary reality. It’s strangely serene gliding through the halls, given the location, but for many these places can also paradoxically bring a sense of peace and solace from the outside world.

Watch the video for “Haunted Below” below:

An unreleased alternative version of SHADOWSISTER is also included in the release.

In 1987, Per Martinsen left his wintry hometown of Tromsø, Norway, without a definite destination in mind – but serendipity was on his side when he ended up occupying a squat in Hackney, East London. During his stay in Hackney, he was introduced to the early sounds of Chicago house and Detroit techno. This experience catalyzed his extensive three-decade career as an electronic dance music producer. Martinsen has since produced many records and remixes under his <a href="https://mentaloverdrive.bandcamp.com/">MENTAL OVERDRIVE</a> alias and has also been involved in various projects and collaborations, such as ILLUMINATION/CHILLUMINATI and FROST.

Martinsen is the author of the intriguing <a href="https://pyramidsonthemoon.com/" target="_blank" rel="noreferrer noopener">Pyramids On The Moon,</a> a fictional “multi-dimensional autobiography” where he explores three alternative timelines and/or parallel universe versions of his own life, and where each of his three branching interdimensional personas create music under different artist aliases. The book was written as part of an artistic Ph.D. project over the past three years at the Arctic University of Norway.

Follow N∆EON TE∆RDROPS’ alter ego:

<a href="https://www.instagram.com/mentaloverdrive/">Instagram</a>
<a href="https://www.facebook.com/mentaloverdrive">Facebook</a>
<a href="https://mentaloverdrive.bandcamp.com/">Bandcamp</a>
<a href="https://open.spotify.com/artist/5bvxdp8wfKbBK7YAzMVYEW?si=1TL_W3q1Trika_KrT4H-Rg">Spotify</a>

The post <a href="https://post-punk.com/n%e2%88%86eon-te%e2%88%86rdrops-unveils-the-phantasmagorical-synthpop-of-haunted/">N∆EON TE∆RDROPS Unveils the Phantasmagorical Synthpop of “Haunted”</a> appeared first on <a href="https://post-punk.com">Post-Punk.com</a>.

Source: Post-Punk.com

Die Modern Metal-Band CONSPIRACY OF BLACKNESS hat mit dem Video zu “Oblivion / Rise” zwei Tracks, die auf der Tracklist ihres aktuellen Albums “Pain Therapy” nicht nebeneinander stehen, zu einem Song fusioniert.

Zuvor ist nach “Welcome Death” mit “Collapsed” ein weiterer Video-Clip vom Album erschienen.

“Der Song ist eine Anklage gegen die kontinuierliche und extreme Ausbeutung der Natur”, sagt die Band. “Der Track erzählt vom Selbstzerstörungsprozess des Menschen, von der Unhaltbarkeit der Konsum- und Produktionssysteme und von der Notwendigkeit, in einer gesunden Umwelt mit Respekt für jedes Lebewesen zu leben.”

“Pain Therapy” ist nach “Conspiracy of Blackness and Relative Aftermath” (2016) das zweite Album der italienischen Band und ist am 22. September 2023 via Wormholedeath erschienen.

CONSPIRACY OF BLACKNESS “Pain Therapy” Tracklist
1. Oblivion (Video bei YouTube)
2. Collapsed (Video bei YouTube)
3. Welcome Death (Video bei YouTube)
4. The Bride Of Ash 5. Bones
6. Afterlife (Lyric-Video bei YouTube)
7. The Moth
8. Rise (Video bei YouTube)
9. Last Man Standing
10. Con Il Nastro Rosa (Lucio Battisti Cover – Bonus Track)

Source: Vampster

Secret Rule ‘s ninth album once again opens the door to a sound full of character, whose concentrated energy is enough for more than one universe. “UNInVERSE” goes into depth, exploring touching facets of human experience. Find out more in our Winter issue. Watch the video clip for the title song:

Source: Orkus

Scott “Chopper” Franklin has had a storied career working with the likes of The Cramps, Spahn Ranch, The Mau Maus, and Wanda Jackson, along with cultivating the hellbilly style of bands like Heathen Apostles, Phantom of the Black Hills, and more under his Ratchet Blade Records imprint. Now, he has revealed the first single from his forthcoming album [..]

Source: RE:GEN Mag

In 2016, Oakland’s vibrant music landscape saw the emergence of <a href="https://www.instagram.com/silenceinthesnow__/">Silence In The Snow</a>, a band that weaves a blend of post-punk, alternative rock, and darkwave into a unique aural oeuvre. Their self-released album, “Break In The Skin,” captivated the grassroots music scene, earning widespread acclaim for its organic buzz. The band’s soul was in Cyn M’s ethereal vocals and haunting guitar melodies, creating an immersive, emotionally rich soundscape, while Trevor DeSchryver’s dynamic drumming, honed from stints with notable acts like Wolves In The Throne Room and Deafheaven, added a vital rhythmic foundation. This artistic synergy not only defined their sound but also marked them as a standout act in the alternative music world, showcasing the transformative power of genre fusion and passionate collaboration.

In 2019, Silence in the Snow returned with their sophomore album, “Levitation Chamber,” a daring testament to their evolving artistic journey. Embracing experimentation with open arms, the band pushed the limits of their sound, signaling their venture into uncharted territories of creative phantasmagoria. This album was a hint towards a spiraling path through a kaleidoscopic landscape of imagination and innovation that Silence in the Snow had bravely embarked upon.

Now, the band returns with their highly anticipated third album, Ghost Eyes. This release represents a pivotal moment in their artistic journey, a defining work that serves as the fertile ground from which Silence In The Snow will ascend to new emotional echelons.

Watch the video for the album’s title track, “Ghost Eyes” below:

Ghost Eyes exhibits a profound musical maturity and wisdom. Within its dreamy, immersive compositions, one can discern a well-defined artistic identity that occupies a unique stylistic space. This space deftly straddles the realms of dark wave, post-punk, and alternative rock, carving out a niche where Silence In The Snow’s sonic expressions flourish and resonate with their audience. We hear elements of Zola Jesus, Swans, and Drab Majesty in their sound, capturing a spiritual and temporal awakening that occurs as a result of challenges, obstacles, and trauma.

Post-Punk.com was interested in knowing more about their artistic process, influences, and insights into their songwriting process.

Silence in the Snow melds darkwave and post-punk with a clear emotional intelligence. How do you balance these genres and the themes you explore to create your distinct sound?

(Cyn) Thank you! It’s not a conscious effort to balance them, but more of a reflection of what we enjoy hearing in the sounds and songs we create, combined with the myriad of influences that seep into our musical vocabulary. This is a process that is constantly evolving for us as we also explore new ways of writing and recording music.

(Trevor) One of the key characteristics of our sound is the hybrid approach of organic and synthetic sounds. Most darkwave bands are more electronic, but our songwriting process starts with acoustic drums and guitar, bringing the post-punk liveliness. The synthesizers are incorporated after the songs have been written.

Relocating from Oakland to Arcata has seemingly influenced your sound on Ghost Eyes. Could you elaborate on how your environment has seeped into your music?

(Cyn) Our environment has absolutely impacted the music we create! Not only have we had more personal and physical space to work on music, but the natural beauty of this area, in stark contrast to the urban landscape of Oakland, has provided a means to feel more relaxed, focused, and motivated to create. There’s a spiritual feeling here, being amongst these amazing Redwoods and the wildlife directly in our midst! It provoked a lot of reframing in terms of daily existence, as well as the fragility of everything!

(Trevor) There really is something other-worldy about our surroundings now. The majestic beauty and surreal elements of living in the woods have seeped into the sonic landscapes of the new album, evoking a stillness and tranquility that has helped us reach deeper within ourselves in order to create.

How have your musical influences shaped your creative process?

(Cyn) As musicians, and fans of music, Trevor and I came from different musical orientations, as far as the styles of music we were creating before we met. Clearly we intersect on common interests  that brought us together, but we continue to influence each other as we explore our individual and shared interests. Personally, being an intense fan of music motivated me to want to learn to sing, play guitar, and write songs, and continues to be a big part of my life. These influences shaped my understanding of what sounds I enjoyed hearing, what emotions drew me into a song, and how I define what a song is and should be. They are the foundation I have been able to find my own way from.

(Trevor) When I first joined Silence in the Snow, coming from a doom and black metal background, I had to take on a more minimalistic approach to drumming. In order to better serve the songs and reflect musical influences that inspired me to play this type of music (such as Kate Bush, Joy Division, or Dead Can Dance) the drums were stripped down and I began using mallets. This caused a dramatic shift in my set-up as well as my mindset about playing.

The interplay between Cyn M’s instrumentation and Trevor DeSchryver’s drumming is lauded as ‘pure musical magic.’ How do you two work together to create this synergy?

 (Cyn) I think our musical synergy is a product of the mysterious “chemistry” factor. You can get into a room with a very capable musician and find not much happens between you. We had a musical spark from the beginning that led to our collaboration. The bottom line is that when we are playing together, whether it be a show or in the practice room, that spark of our combined energy emerges and becomes a force that brings us joy.

(Trevor) The main force behind the synergy is of course the natural chemistry, compatibility, and the desire to explore deep underlying thoughts or feelings, to create truly cathartic music.

You have been described as capturing a spiritual and temporal awakening through your music. Can you discuss the thematic elements of “Ghost Eyes” that contribute to this narrative?

(Cyn) There’s a theme of blooming and withering, whether it be in life, in love, or in one’s spiritual connection to it all in the face of how fleeting it can be and ultimately is. We all struggle with this in our lives, the ebb and flow of creation and destruction, life and death, integration and disintegration. While our individual experiences with this are unique, we are all reflections of the cycle of nature on this plane. The creative process reveals this theme in the end, after the songs are written and the pattern emerges.

(Trevor) Embracing impermanence, recovering and learning from past failures, as well as pursuing positive changes within our lives in order to grow, have all been contributing factors to the themes on the album.

How has your approach to songwriting and arrangement evolved over the course of your three albums?

(Cyn) We have expanded the palette we work with, in terms of arrangement and instrumentation with each record. I started with a very minimal sound on the first album, intentionally, but after Trevor joined we wanted to expand on that. While our second album was a move in that direction, we really feel we were able to realize our ideas with the Ghost Eyes album. We have opened up our process as we learned more effective ways to record and demo our ideas, as opposed to just working on a live set and then trying to take that into the studio. As we move forward, we are both very open to new ideas and sounds; in the end it’s about serving the songs and working with like-minded collaborators.

(Trevor) The first album, Break In The Skin, consisted of only a drum machine, a vintage organ, a semi-hollowbody guitar, and Cyn’s vocals. After I heard the album, I wrote to the band and asked if they would be interested in incorporating live drums into the sound. Eventually we went on to make Levitation Chamber, which had longer songs with more improvisation. By the time of Ghost Eyes, we had refined our approach to songwriting, with a goal in mind of having more cohesive and concise song structures.

What new territories or themes are you looking to explore in your future work?

(Trevor) We have discussed the idea of diving deeper into the electronic side of the music, by using a synthesizer as the starting point to the songwriting, rather than adding it later. We have begun experimenting with this idea, but the demos are still in the very early stages.

(Trevor) We’ve also put together a home studio in order to handle the recording process of our future releases. Having this ability is liberating because it allows us to solidify our ideas and experiment without any pressure. “Let The Wild In” was the last song we made for Ghost Eyes, and was the first song we recorded on our own, before sending it to the producer, Alex DeGroot.

How has your vision for Silence in the Snow changed, if at all, from when you first started?

(Cyn) Initially, I wanted it to be a big wide-open sound with minimal instrumentation. I wanted to explore a dark emotional terrain. I was feeling inspired by artists like Nico and Julee Cruise (Twin Peaks). Once Trevor joined, playing live with a powerful drummer was very energizing and inspiring. It  took things to a different level of intensity that elevated the whole sound. This opened up all kinds of possibilities for where we could go with this band’s sound.

“Ghost Eyes” has been described as a product of overcoming challenges and trauma. Could you speak to how these personal struggles have fueled your creative output?

(Cyn) The creative process has always been a way for me to make sense of what I’m experiencing in my life. Picking up an instrument and singing is a relief from not only the mundane aspects of life, but also the painful ones. When I’m experiencing challenges, creativity is a means for me to escape that pain. I don’t consciously try to process what I’m going through, but in the end the sounds and words speak to it for me. It’s like doing a tarot reading or analyzing a dream you had, and making sense of what your subconscious is revealing to you.

<a href="https://silenceinthesnow.bandcamp.com/album/ghost-eyes">Ghost Eyes by Silence in the Snow</a>

Silence in the Snow’s full-length album “Ghost Eyes” is available now on white/black vinyl and CD.

<a href="https://silenceinthesnow.bandcamp.com/album/ghost-eyes?from=embed">Order Here</a>

Follow Silence In The Snow:

<a href="https://www.silenceinthesnow.com/">Website</a>
<a href="https://www.facebook.com/silenceinthesnow/">Facebook</a>
<a href="https://www.instagram.com/silenceinthesnow__/">Instagram</a>
<a href="https://silenceinthesnow.bandcamp.com/">Bandcamp</a>

The post <a href="https://post-punk.com/listen-to-the-melodic-post-punk-of-silence-in-snows-ghost-eyes-lp-plus-interview/">Listen to the Melodic Post-Punk of Silence in Snow’s “Ghost Eyes” — LP Plus Interview</a> appeared first on <a href="https://post-punk.com">Post-Punk.com</a>.

Source: Post-Punk.com

Unsere anfänglichen Hoffnungen blieben unerfüllt: Hinter dem Binärcode auf dem Frontcover steckt nicht etwa eine geheime Botschaft an die findige Anhängerschaft, sondern lediglich der Albumtitel. „Digital Dreams“ haben TORRENTIAL RAIN für die weniger informatik-begabten Musikliebhaber:innen auch in lateinischen Lettern auf die Front gepackt, zeigen uns durch dieses Detail allerdings trotzdem, dass die Reise mit der Progressive Metalcore-Band in jedem Fall nach vorne geht.

Wobei diese Schublade dem Quartett nur annähernd gerecht wird, denn über zwölf Songs und knapp 54 Minuten vermengen TORRENTIAL RAIN zeitgenössische Genre-Trademarks mit technischen Spielchen und einem gewissen Pop-Appeal, welcher sich im hellen und oft unwiderstehlichen Klargesang Christopher Danners niederschlägt. Besonders deutlich tritt diese Seite der Band in „Meant To Be“ zutage, wo sich Drumcomputer und dezent chaotische Arrangements im Stile ICE NINE KILLS‘ einer Gesangslinie gegenüberstellen, die einer Boygroup würdig wäre.

Die eigene Handschrift ist bei TORRENTIAL RAIN unverhandelbar
Das ist durchaus als Kompliment zu verstehen, schließlich führen TORRENTIAL RAIN diese vermeintlichen Gegensätze in so natürlicher Weise zusammen, dass wir die Legitimität einer solchen Symbiose nicht in einer Sekunde anzweifeln. Oder anders formuliert: Eingängigkeit und Power gehen hier Hand in Hand, zumal „Digital Dreams“ den unbändigen Drive des Modern Metalcore nie aus den Augen verliert. Das spiegelt sich im eröffnenden „Fountain Of Youth“, wo sich unter dem futuristischen Synth-Anstrich ein ziemlich treibender Grundansatz versteckt, während sich das progressive „Aporia“ ähnlicher Stilmittel bedient, wie es ERRA auf ihrem selbstbetitelten fünften Studioalbum tun.

Nichtsdestotrotz ist die eigene Handschrift bei TORRENTIAL RAIN unverhandelbar: So erinnert das lockere „Count On You“ phasenweise vielleicht an die verspielt-melodische Seite PERIPHERYs, lenkt dann aber mit dem lieblichen Refrain und der rotzigen Rock-Attitüde in der Bridge das Stück in eine unerwartete Richtung. Ähnliche Zitate finden wir an jeder Ecke des Albums: Nu-Metal-Vibes in „Wanderers“ oder (emo-)punkige Anleihen in „Faults Are Thick Where Love Is Thin“ halten das sonst recht homogen konzipierte „Digital Dreams“ kurzweilig und machen so den einzigen Kritikpunkt zumindest fast vergessen.

“Digital Dreams” katapultiert TORRENTIAL RAIN in die obere Liga
Obwohl sich die Band zu keinem Zeitpunkt die Blöße gibt, bringt nicht jedes Stück die gleiche Intensität mit sich, die etwa den massiven Titeltrack oder das erwähnte „Aporia“ auszeichnen. Gerade in der zweiten Hälfte macht sich das erprobte Rezept im risikoarmen „Second Chances“ dann doch zu deutlich bemerkbar, zumal das darauffolgende „Lighthouse“ seinerseits die emotionale Seite in den Vordergrund rückt.

Vielleicht hätte „Digital Dreams“ daher von einer kompakteren Laufzeit profitiert. Die Klasse und vor allem die Detailverliebtheit, mit welcher die Nürnberger zu Werke gehen, katapultieren TORRENTIAL RAIN dennoch direkt in die obere Liga. Wo man im Übrigen weiter nach vorne blickt und sich nicht mit Althergebrachtem aufhält: Das beginnt mit Binärcode auf dem Frontcover und endet mit per QR-Code ausgelagerten Lyrics im schön gestalteten Booklet, um dem Artwork mehr Raum zu geben. Fast hat es den Anschein, als wolle man auch damit ein Statement setzen: Vergiss die eingefahrenen Strukturen. Die Zukunft ist jetzt, alter Mann!

Veröffentlichungstermin: 17.11.2023

Spielzeit: 53:44

Line-Up
Christopher Danner – Vocals, Gitarre
Gordian Gouder – Gitarre
Dominik Grauvogel – Bass
Dario Trennert – Drums

Produziert von Christopher Danner, Sawdust Recordings (Mix) und GKG Mastering (Mastering)

Label: Eigenproduktion

Homepage: https://www.torrentialrain.de/
Facebook: https://www.facebook.com/TorrentialRainBand

TORRENTIAL RAIN “Digital Dreams” Tracklist
1. Fountain Of Youth (Video bei YouTube)
2. The Escapist
3. Count On You (Video bei YouTube)
4. Wanderers
5. Meant To Be
6. Faults Are Thick Where Love Is Thin
7. Aporia
8. Second Chances
9. Lighthouse
10. Eye To Eye
11. Digital Dreams (Video bei YouTube)
12. Monachopsis

Source: Vampster

In 2016, Oakland’s vibrant music landscape saw the emergence of <a href="https://www.instagram.com/silenceinthesnow__/">Silence In The Snow</a>, a band that weaves a blend of post-punk, alternative rock, and darkwave into a unique aural oeuvre. Their self-released album, “Break In The Skin,” captivated the grassroots music scene, earning widespread acclaim for its organic buzz. The band’s soul was in Cyn M’s ethereal vocals and haunting guitar melodies, creating an immersive, emotionally rich soundscape, while Trevor DeSchryver’s dynamic drumming, honed from stints with notable acts like Wolves In The Throne Room and Deafheaven, added a vital rhythmic foundation. This artistic synergy not only defined their sound but also marked them as a standout act in the alternative music world, showcasing the transformative power of genre fusion and passionate collaboration.

In 2019, Silence in the Snow returned with their sophomore album, “Levitation Chamber,” a daring testament to their evolving artistic journey. Embracing experimentation with open arms, the band pushed the limits of their sound, signaling their venture into uncharted territories of creative phantasmagoria. This album was a hint towards a spiraling path through a kaleidoscopic landscape of imagination and innovation that Silence in the Snow had bravely embarked upon.

Now, the band returns with their highly anticipated third album, Ghost Eyes. This release represents a pivotal moment in their artistic journey, a defining work that serves as the fertile ground from which Silence In The Snow will ascend to new emotional echelons.

Watch the video for the album’s title track, “Ghost Eyes” below:

Ghost Eyes exhibits a profound musical maturity and wisdom. Within its dreamy, immersive compositions, one can discern a well-defined artistic identity that occupies a unique stylistic space. This space deftly straddles the realms of dark wave, post-punk, and alternative rock, carving out a niche where Silence In The Snow’s sonic expressions flourish and resonate with their audience. We hear elements of Zola Jesus, Swans, and Drab Majesty in their sound, capturing a spiritual and temporal awakening that occurs as a result of challenges, obstacles, and trauma.

Post-Punk.com was interested in knowing more about their artistic process, influences, and insights into their songwriting process.

Silence in the Snow melds darkwave and post-punk with a clear emotional intelligence. How do you balance these genres and the themes you explore to create your distinct sound?

(Cyn) Thank you! It’s not a conscious effort to balance them, but more of a reflection of what we enjoy hearing in the sounds and songs we create, combined with the myriad of influences that seep into our musical vocabulary. This is a process that is constantly evolving for us as we also explore new ways of writing and recording music.

(Trevor) One of the key characteristics of our sound is the hybrid approach of organic and synthetic sounds. Most darkwave bands are more electronic, but our songwriting process starts with acoustic drums and guitar, bringing the post-punk liveliness. The synthesizers are incorporated after the songs have been written.

Relocating from Oakland to Arcata has seemingly influenced your sound on Ghost Eyes. Could you elaborate on how your environment has seeped into your music?

(Cyn) Our environment has absolutely impacted the music we create! Not only have we had more personal and physical space to work on music, but the natural beauty of this area, in stark contrast to the urban landscape of Oakland, has provided a means to feel more relaxed, focused, and motivated to create. There’s a spiritual feeling here, being amongst these amazing Redwoods and the wildlife directly in our midst! It provoked a lot of reframing in terms of daily existence, as well as the fragility of everything!

(Trevor) There really is something other-worldy about our surroundings now. The majestic beauty and surreal elements of living in the woods have seeped into the sonic landscapes of the new album, evoking a stillness and tranquility that has helped us reach deeper within ourselves in order to create.

How have your musical influences shaped your creative process?

(Cyn) As musicians, and fans of music, Trevor and I came from different musical orientations, as far as the styles of music we were creating before we met. Clearly we intersect on common interests  that brought us together, but we continue to influence each other as we explore our individual and shared interests. Personally, being an intense fan of music motivated me to want to learn to sing, play guitar, and write songs, and continues to be a big part of my life. These influences shaped my understanding of what sounds I enjoyed hearing, what emotions drew me into a song, and how I define what a song is and should be. They are the foundation I have been able to find my own way from.

(Trevor) When I first joined Silence in the Snow, coming from a doom and black metal background, I had to take on a more minimalistic approach to drumming. In order to better serve the songs and reflect musical influences that inspired me to play this type of music (such as Kate Bush, Joy Division, or Dead Can Dance) the drums were stripped down and I began using mallets. This caused a dramatic shift in my set-up as well as my mindset about playing.

The interplay between Cyn M’s instrumentation and Trevor DeSchryver’s drumming is lauded as ‘pure musical magic.’ How do you two work together to create this synergy?

 (Cyn) I think our musical synergy is a product of the mysterious “chemistry” factor. You can get into a room with a very capable musician and find not much happens between you. We had a musical spark from the beginning that led to our collaboration. The bottom line is that when we are playing together, whether it be a show or in the practice room, that spark of our combined energy emerges and becomes a force that brings us joy.

(Trevor) The main force behind the synergy is of course the natural chemistry, compatibility, and the desire to explore deep underlying thoughts or feelings, to create truly cathartic music.

You have been described as capturing a spiritual and temporal awakening through your music. Can you discuss the thematic elements of “Ghost Eyes” that contribute to this narrative?

(Cyn) There’s a theme of blooming and withering, whether it be in life, in love, or in one’s spiritual connection to it all in the face of how fleeting it can be and ultimately is. We all struggle with this in our lives, the ebb and flow of creation and destruction, life and death, integration and disintegration. While our individual experiences with this are unique, we are all reflections of the cycle of nature on this plane. The creative process reveals this theme in the end, after the songs are written and the pattern emerges.

(Trevor) Embracing impermanence, recovering and learning from past failures, as well as pursuing positive changes within our lives in order to grow, have all been contributing factors to the themes on the album.

How has your approach to songwriting and arrangement evolved over the course of your three albums?

(Cyn) We have expanded the palette we work with, in terms of arrangement and instrumentation with each record. I started with a very minimal sound on the first album, intentionally, but after Trevor joined we wanted to expand on that. While our second album was a move in that direction, we really feel we were able to realize our ideas with the Ghost Eyes album. We have opened up our process as we learned more effective ways to record and demo our ideas, as opposed to just working on a live set and then trying to take that into the studio. As we move forward, we are both very open to new ideas and sounds; in the end it’s about serving the songs and working with like-minded collaborators.

(Trevor) The first album, Break In The Skin, consisted of only a drum machine, a vintage organ, a semi-hollowbody guitar, and Cyn’s vocals. After I heard the album, I wrote to the band and asked if they would be interested in incorporating live drums into the sound. Eventually we went on to make Levitation Chamber, which had longer songs with more improvisation. By the time of Ghost Eyes, we had refined our approach to songwriting, with a goal in mind of having more cohesive and concise song structures.

What new territories or themes are you looking to explore in your future work?

(Trevor) We have discussed the idea of diving deeper into the electronic side of the music, by using a synthesizer as the starting point to the songwriting, rather than adding it later. We have begun experimenting with this idea, but the demos are still in the very early stages.

(Trevor) We’ve also put together a home studio in order to handle the recording process of our future releases. Having this ability is liberating because it allows us to solidify our ideas and experiment without any pressure. “Let The Wild In” was the last song we made for Ghost Eyes, and was the first song we recorded on our own, before sending it to the producer, Alex DeGroot.

How has your vision for Silence in the Snow changed, if at all, from when you first started?

(Cyn) Initially, I wanted it to be a big wide-open sound with minimal instrumentation. I wanted to explore a dark emotional terrain. I was feeling inspired by artists like Nico and Julee Cruise (Twin Peaks). Once Trevor joined, playing live with a powerful drummer was very energizing and inspiring. It  took things to a different level of intensity that elevated the whole sound. This opened up all kinds of possibilities for where we could go with this band’s sound.

“Ghost Eyes” has been described as a product of overcoming challenges and trauma. Could you speak to how these personal struggles have fueled your creative output?

(Cyn) The creative process has always been a way for me to make sense of what I’m experiencing in my life. Picking up an instrument and singing is a relief from not only the mundane aspects of life, but also the painful ones. When I’m experiencing challenges, creativity is a means for me to escape that pain. I don’t consciously try to process what I’m going through, but in the end the sounds and words speak to it for me. It’s like doing a tarot reading or analyzing a dream you had, and making sense of what your subconscious is revealing to you.

<a href="https://silenceinthesnow.bandcamp.com/album/ghost-eyes">Ghost Eyes by Silence in the Snow</a>

Silence in the Snow’s full-length album “Ghost Eyes” is available now on white/black vinyl and CD.

<a href="https://silenceinthesnow.bandcamp.com/album/ghost-eyes?from=embed">Order Here</a>

Follow Silence In The Snow:

<a href="https://www.silenceinthesnow.com/">Website</a>
<a href="https://www.facebook.com/silenceinthesnow/">Facebook</a>
<a href="https://www.instagram.com/silenceinthesnow__/">Instagram</a>
<a href="https://silenceinthesnow.bandcamp.com/">Bandcamp</a>

The post <a href="https://post-punk.com/listen-to-the-melodic-post-punk-of-silence-in-the-snows-ghost-eyes-lp-plus-interview/">Listen to the Melodic Post-Punk of Silence in the Snow’s “Ghost Eyes” LP — Plus Interview</a> appeared first on <a href="https://post-punk.com">Post-Punk.com</a>.

Source: Post-Punk.com

Die Post-Harcore-Band THE DISTANCE hat einen Labeldeal bei Sliptrick Records unterschrieben. Im Zuge dessen werden die Spanier von Mallorca ihr neues Album “The Wound” veröffentlichen, welches am 30. Januar 2024 zu erwarten sein wird. Mit dem Video-Clip zu “Flowers” gibt es nun die erste Vorab-Single.

THE DISTANCE, die 2022 ihr Debütalbum “Prologue” veröffentlichten, sind Sänger und Gitarrist Yamil Ghazi, Bassist Óscar D. Martí, Gitarrist Julián Gil sowie Drummer Alberto Abad.

THE DISTANCE “Flowers” (Video bei YouTube)

Source: Vampster

Alles andere als ein Liebeslied ist die Single “Not Another Lovesong (Requiem)“ von Hell Boulevard, die am 17.11.2023 erscheint. Der Song ist die erste Single aus dem...

Source: MedienKonverter

Die texanische Deathcore-Band THE DIALECTIC hat nach “Murder Machine” mit “Harvest The Young” einen weiteren Video-Clip ihrer neuen EP “Crawl To The Throne” veröffentlicht. Die Scheibe folgt auf die EP “A Falsehood Defined” nach und ist heute, am 17. November 2023 via Seek and Strike Records erschienen.

THE DIALECTIC “Crawl To The Throne” Tracklist
1 Obey
2 Murder Machine (Video bei YouTube)
3 Harvest The Young (Video bei YouTube)
4 Crawl To The Throne
5 My Kindred

Source: Vampster

Hailing from the picturesque city of Nice in 1992, French post-punk ensemble <a href="https://www.instagram.com/corpusdelictimusic/">Corpus Delicti</a> was born, comprising Sébastien on vocals, Franck wielding the guitar, Chrys handling the bass, and Roma pounding the drums. Their inaugural offering, Twilight, unveiled in 1993, showcased a dark rock style uncommon in France. Melding post-punk elements with a vivacious blend of creativity and mood-laden melody, they garnered international acclaim, embarking on a US tour and captivating European audiences. Following two subsequent albums, the group disbanded in 1997.

Despite their hiatus, Corpus Delicti’s popularity burgeoned steadily, ultimately leading to a momentous reunion two decades later. They joined forces with Cleopatra, poised to reintroduce their oeuvre to the world. (Regrettably, Roma’s health constraints rendered her unable to participate, prompting the inclusion of Laurent Tamagno from M83 to assume the drumming duties.)

Nearly three decades after the release of their last album, Corpus Delicti are back with a vengeance, unleashing an intense new single, Chaos.

The song’s poignant lyrics bemoan a life devoid of purpose and connection. The absence of vision, friends, and genuine emotions leaves them smiling on the surface – but internally in mourning. The future, with its tantalizing possibilities, is juxtaposed with a haunting past. The struggle to confront chaos and deceit is underscored, emphasizing the futility of concealing one’s true self.

The video, directed by Stéphane Lionardo, showcases the band juxtaposed with nightmarish visions in a curious liminal dimension – representing the demons of humanity? Our own shortcomings and fears? Our secret shame? Take your pick.

Watch the video for “Chaos” below:



Produced in the United States under the stewardship of William Faith (Faith And The Muse, March Violets), and meticulously mastered by Grazz at The Exchange in London, this quartet demonstrates unwavering vigour in their latest track. Their dynamic blend of rock and melodic finesse remains unscathed, setting the stage for an impending global tour.

As the calendar turns to 2024, promising prospects loom large. An eagerly awaited UK tour, featuring a captivating performance at the Manchester Cathedral, beckons. Meanwhile, their return to American shores is eagerly anticipated, followed by a captivating autumn journey through Latin America, culminating in a headline performance at a festival in Mexico City.

Follow Corpus Delicti:

<a href="https://www.instagram.com/corpusdelictimusic/">Instagram</a>
<a href="http://www.corpusdelecti.com">Website</a>
<a href="https://www.facebook.com/cdelicti/">Facebook</a>
<a href="https://www.youtube.com/cdelicti">YouTube</a>

The post <a href="https://post-punk.com/french-post-punk-legends-corpus-delicti-return-in-their-video-for-chaos/">French Post-Punk Legends Corpus Delicti Return in Their Video for “Chaos”</a> appeared first on <a href="https://post-punk.com">Post-Punk.com</a>.

Source: Post-Punk.com

Mel Gordon: Sündiges Paris
Mel Gordons gefeierte Sexualgeschichte des Berlins der Weimarer Republik, Sündiges Berlin, erhält mit Sündiges Paris nun einen Begleitband über die erotischen Unterwelten der französischen Hauptstadt vor, während und nach dem Zweiten Weltkrieg. Reich illustriert mit zum Teil unveröffentlichtem Bildmaterial bietet dieses Buch spektakuläre Einblicke in französische Vorstellungen von Sex und Horror und zeigt unter anderem auf, wie das Pariser Nachtleben während der Besetzung durch die Nazis überraschenderweise noch zügelloser als zuvor wurde. Gordon führt die Leser durch die extravagantesten Nachtclubs und Bordelle der französischen Hauptstadt und geht auch auf die Welle der Prüderie nach dem Zweiten Weltkrieg ein

Inklusive CD mit 21 Titeln von unter anderem Joséphine Baker, Les Frères Peguri, Maurice Chevalier, Gus Viseur, Charles Trenet sowie Mistinguett

Mel Gordon (1947–2018) war Professor für Theaterwissenschaften und veröffentlichte zu Lebzeiten ein Dutzend Bücher, u.a. "Sündiges Berlin" über die deutsche Hauptstadt zur Zeit der Weimarer Republik sowie das Théâtre du Grand Guignol in Paris.

Hardcover, 232 Seiten, Farbe
Format: 22cm x 28,5cm x 2cm
1140g

CD:
01 Les Frères Peguri - Enivrante
02. Aristide Bruant - A Saint-Lazare
03. Maurice Chevalier - All I Want Is Just One Girl
04. Gus Viseur Et Son Orchestre - Flambée Montalbanaise
05. Charles Trenet - Boum !
06. Guerino Et Son Orchestre Musette De La Boîte À Matelots - Brise Napolitaine
07. Joséphine Baker - C’est Si Facile De Vous Aimer
08. Mistinguett - Ca C’est Paris
09. Jean Sablon - Cette Chanson Est Pour Vous
10. Orchestre Musette Swing Royal - Cœur Vagabond
11. Tino Rossi - Écris-Moi
12. Édith Piaf - Elle Fréquentait La Rue Pigalle
13. Médard Ferrero - El Ferrero
14. Fernandel - Ignace
15. Damia - La Guinguette A Fermé Ses Volets
16. Émile Carrara - Le Charmeur De Serpents
17. Fréhel - Où Sont Mes Amants ?
18. Tony Murena Et Son Ensemble Swing - Pepee
19. Jean Gabin - Quand On Se Promène Au Bord De L’Eau
20. Joséphine Baker, Pills Et Tabet - Ram-Pam-Pam
21. Émile Vacher - Sporting Java

Source: Prophecy

Die Metalcore- / Post Hardcore-Band AVALANCHE EFFECT präsentiert ihre Single “Elysium” mit einem Clip bei YouTube. Entnommen ist der Track der EP “Of Wired Hearts & Artificial Prophecies”, die am 17. November 2023 via Easthaven Records erschienen ist.

Auch zu den Songs “Hold It Together” und  “Afterlife” gibt es Musikvideos bei YouTube. Der Track “Undergrowth” steht ebenfalls als Lyric-Video bei YouTube bereit.

Zuvor hatte die Gruppe im Frühjahr 2023 einen Plattenvertrag mit Easthaven Records abgeschlossen und ihre erste Single unter dem neuen Label veröffentlicht: “Manipulating Sky” steht via YouTube in Bild und Ton bereit. Produziert wurde das Stück von OUR MIRAGE-Frontmann Timo Bonner.

Gewidmet ist der Song dem verstorbenen Original-Schlagzeuger Jannick Pohlmann, der Ende März 2023 den Kampf gegeben den Krebs verloren hat.

AVALANCHE EFFECT “Of Wired Hearts & Artificial Prophecies” Tracklist
1 Manipulating Sky (03:15) (Video bei YouTube)
2 Undergrowth (04:28) (Lyric-Video bei YouTube)
3 Afterlife (03:36) (Video bei YouTube)
4 Hold It Together (03:13) (Video bei YouTube)
5 Elysium (03:51) (Video bei YouTube)

AVALANCHE EFFECT Line-up 2023
Benedikt Weißkopf – Clean Vocals
Nils Hildebrandt – Guttural Vocals
Oliver Viert – Guitar, Backing Vocals
Florian Franzen – Guitar
Tom Englert – Bass
Daniel Heuken – Drums

Source: Vampster

05.11.2023 Club Naumanns - Leipzig
Leeiiiipzig 💥 ! Was war das für ein Auftakt?!! In intimer Clubatmosphäre fand an einem eigentlich beschaulichen Sonntag-Abend das WarmUp-Konzert von Aesthetic Perfection statt.Ein Megaschlange Wartender zeigte sich uns, als wir an vor der Location eintreffen. Wollen die wirklich alle in den kleinen Club hinein? - Nein es sind in dem Fall die Fans von Edwin Rosen, der heute im großen Saal des angrenzenden Felsenkeller ein Konzert gibt. Doch im Obergeschoss, dem Naumans angekommen, finden wir uns inmitten "Schwarzgewandeter" wieder. - Viele mit Fan-Shirts. - Hier sind wir richtig.

Source: Hell Zone

Die Metal-Combo Skarlett Riot hat heute ihre neue Single "Hold Tight" veröffentlicht. Mehr Infos und den Videoclip gibt es hier!

Source: Sonic Seducer

Mit „Monument“ hatten ja die beiden Autoren Dennis Burmeister & Sascha Lange eigentlich schon die ultimative Bibel für DEPECHE MODE-Fans vorgelegt, die inzwischen in mehreren Sprachen übersetzt und durch eine Extended-Ausgabe aktualisiert wurde. Dem nicht genug, legte man mit „Behind The Wall“ im etwas kleineren Format nach und widmete sich explizit der Fankultur um DEPECHE MODE im ehemaligen Ostblock. Mit „DEPECHE MODE Live“ macht man jetzt die Trilogie voll und greift dabei wieder auf das „Monument“-Format des 2,5 kg-Bildbandes zurück. Dieses schwergewichtige und etwas unhandliche Format ist auch notwendig, denn das Buch ist letztendlich wirklich ein regelrecht „monumentaler“ Foto-Band. Die gut über 400 Seiten sind voll mit zum größten Teil bisher nie gesehenen Live-Aufnahmen der bekanntesten Synth Pop-Band der Welt, die sich durch alle ihrer Dekaden bis heute ziehen. Flankiert werden diese von einem Sammelsurium an Artefakten, wie Eintrittskarten, Pins, Tour-Poster und -Pässen etc. – ein Traum bzw. wahre Schatz- und Fundgrube für Fans. Die chronologisch angeordneten Textkapitel widmen sich kurz der jeweiligen Album-Phase der Band, ohne dabei natürlich große neue Erkenntnisse zu offenbaren, denn da gibt es kaum noch was, was nicht bekannt ist. Interessanter wird es dafür bei den einzeln dokumentierten Tourabschnitten und noch mehr in den exklusiven Interviews. Für diese wurden ausführliche Gespräche mit den Konzertveranstaltern Karsten Jahnke, Gaby Meyer, Don Silber, Laszlo Hegedus und Peddy Sadighi geführt, die einiges an bemerkenswerter Interna um DEPECHE MODE zu Tage bringen. Die Interviews mit Peter Illmann (Formel 1) und Markus Kavka (MTV, Viva) sind auch ganz nett, jedoch persönlich für mich interessanter dann doch das lange Gespräch mit NITZER EBB über ihre Zeit im DM-Kosmos. Großes Lob auch an das Layout des Bandes, denn es wurden zum Beispiel kaum Fotos über beide Seiten gestreckt. Diese Unsitte bei ähnlichen Formaten mag ja am Rechner noch gut aussehen, in der Praxis dann jedoch meist Kacke. Diesen Fehler macht also „DEPECHE MODE Live“ nicht und auch so ist das Buch eine faszinierende Reise durch über 40 Jahre Live-Geschichte einer Band, deren Musik ein ganzes Jahrzehnt geprägt hat und die selbst heute noch relevant ist! Und das sagt hier einer, der trotz einem Meter DM-Vinyl im Schrank kein Devoteen ist und dem Massen-Phänomen DEPECHE MODE gegenüber mehr als kritisch eingestellt ist. Die dafür aufgerufenen 60 Euro sind es auf jeden Fall wert und selbst wenn auch nur als Weihnachtsgeschenk, macht das Buch definitiv Freude! (Marco Fiebag)

Source: BLACK Onlinemagazin

„Der letzte Schrei“ von HERBST IN PEKING aus dem letzten Jahr hallt noch immer nach, da schieben die Jungs aus der Stalinallee schon wieder ein neues Mini-Album hinterher! Dieses zeigt HERBST IN PEKING einmal mehr von der narkotischen Seite und ihr „Nachtflug“ lässt „Blade Runner“-Atmosphäre mit Endzeit-Poesie von Kai Pohl, Marshall McLuhan und Rex Joswig sich wie Tränen im Regen vermischen. Unterlegt von klaustrophobischen Sandpapier-Loops, Cut-Up-Fragmenten, rückkoppelnden Space Gitarren, manisch-unruhigen SUICIDE-Sequenzen und melancholischen Dub-Rhythmen, hallt die ach so herrlich sonore Stimme der lebenden Repetiermaschine Rex Joswig einem verlässlich leitenden Echolot gleich durch die Nacht. Dazu schauen dann noch der Lizard King und Blind Willie Johnson mahnend aus dem Jenseits vorbei und COLUMN ONE dekonstruieren zum Ende Richard Wagner in nicht mal einer Minuten. Und mag man auf den ersten Blick beim recht simpel wirkende Coverartwork von Kai Pohl an den ostdeutschen Naturschutz (Kretschmann-Eule) oder vielleicht Batman denken – da ist wesentlich mehr und das hat einen doppelten Boden, wie das ganze Mini-Album sowieso. Ein intergalaktischer Nachtflug mit reichlich Turbulenzen hin zum absoluten Grenzpunkt Null! (Marco Fiebag)

Source: BLACK Onlinemagazin

Das Klangerlebnis, welches Morlocks mit dem neuen Album „Praise the Iconoclast“ bescheren, kann nur als absolut phänomenal beschrieben werden. Beabsichtigten Morlocks von Beginn an, solch ein cineastisches Album zu produzieren? Das klären wir mit der Formation in unserer Winter-Ausgabe. Lass Dich vom Clip „Dicks in Tanks“ fesseln: Das Album „Praise the Iconoclast“ kannst Du auf […]

Source: Orkus

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Source: RE:GEN Mag

Blindzeile klingen wie The XX in Deutsch und mit Männergesang. Das ist nicht verkehrt.

Source: MedienKonverter

From the colorful streets of L.A. to the chiaroscuro backdrop of Berlin, today marks the release of Fates Explained, the latest album from Night Nail. Now available in digital, CD, and vinyl formats, the album sees Brandon Robert exploring themese of virtual addictions [..]

Source: RE:GEN Mag

Die Progressive Doom Metal / Heavy Rock-Band THE ABBEY unterschrieb 2022 einen Labeldeal bei Season of Mist. Dieser Deal sah unter anderem den Release des Debütalbums “Word of Sin” vor, welches am 17. Februar 2023 erschienen ist. Daraus hat die Gruppe nun einen weiteren Song ausgekoppelt: Der Visualizer-Clip “Old Ones” ist via YouTube verfügbar.

Ein weiterer Vorgeschmack steht in Form des Musikvideos zu “Starless” auf Abruf bereit.

“Es ist der düsterste Song des Albums, sowohl musikalisch als auch textlich”, erklärt die Band. “Starless”, komponiert von Gitarrist Janne Markus, zeigt die härtere Seite der Band. Der Text von Sängerin Natalie Koskinen beschäftigt sich mit der inneren Leere und dem Verlust des Lebenswillens.”

Zuvor sind schon die Video-Clips zu “Widow’s Will” und “A Thousand Dead Witches” – eine Ode gegen Unterdrückung und Tyrannei – erschienen.

“Word of Sin” wurde von Kyösti Rautio (u.a. für NATIONAL NAPALM SYNDICATE tätig) gemixt und mit einem Cover-Artwork Alexander Reisfar (u.a. für ARCH ENEMY tätig) ausgestattet.

“Das Album wurde aus rein selbstdarstellerischen Gründen gemacht”, erzählt Bandleader Jesse Heikkinen. “Meine Musik ist der Kanal, in dem ich so wahr und authentisch wie möglich sein kann. Sie ist auch ein einigermaßen sicherer Weg, die dunkle Seite von mir selbst und dem kollektiven Bewusstsein zu erforschen und auszudrücken.”

THE ABBEY sind Sängerin Natalie Koskinen (SHAPE OF DESPAIR, JONNE, COLLAPSE OF LIGHT, PAARA), Gitarrist, Keyboarder und Sänger Jesse Heikkinen (BENIGHTED IN SODOM, PHALLOSOPHER, Ex-ITERUM NATA), Drummer Vesa Ranta (Ex-SENTENCED, Ex-THE MAN-EATING TREE), Gitarrist Janne Markus (THE MAN-EATING TREE, Ex-POISONBLACK) sowie Bassist Henri Arvola.

THE ABBEY “Word Of Sin” Tracklist

Rat King
A Thousand Dead Witches (Video bei YouTube)
Crystallion
Starless (Video bei YouTube)
Desert Temple
Widow’s Will (Video bei YouTube)
Queen of Pain
Old Ones: Prequel
Old Ones (Visualizer bei YouTube)

Source: Vampster

Several years since their latest release, Philadelphia art-rock duo Tulipomania presents their fifth album “Dreaming of Sleep”, released via Sursumcorda Records.

With cover artwork by Michael Speed, senior designer at Beggars Group London, this record involves executive producer Howard Thompson (Elektra, Island, Almo Sounds), having discovered and/or worked with Adam and the Ants, Billy Bragg, MC5, Mötorhead, PiL, Psychedelic Furs, Robyn Hitchcock, The Sugarcubes, Suicide, among others.

As of November 17, the “Dream of Sleep” album is available digitally from fine music platforms, including Spotify, Apple Music and Bandcamp, where it can also be obtained on CD and vinyl.

Dreaming of Sleep by Tulipomania

Related newsPhiladelphia-based post-punk act Tulipomania presents new single 'You Had To Be There' with animated video“Musically, the album feels like an interpretive dance to me. A reaction to overwhelming anxiety and frustration – while also mirroring and grappling with this ridiculous anxious age we are living in. Lyrically, consciously, and subconsciously, the themes of loss, frustration and fear are I think clearly on display – with anger, disbelief and a realization of a total lack of control or even influence beyond what we could exert on the instrumentation, the songs and the animations themselves,” says Tom Murray.

“We tried to use only the first takes of any performances or musical ideas as much as possible. Vocals were recorded in one or two takes in almost every case. We wanted to make everything about the groove and the song. We wanted to not be tempted to use instrumentation we are already comfortable with. I think this lack of control and slight on-edge process pairs well with the music and lyrics. I hope the results speak for themselves.”

In the lead-up to the album, Tulipomania released the lead track “You Had to Be There” and a remix created by UK music legend Martyn Ware (Heaven 17, The Human League) and Charles Stooke, which was featured on WIRE Magazine’s cover-mounted Wiretapper CD compilation for October.

Below are the two videos.

The latest animated video for “Then and Only Then” features lip sync, original and vintage footage shot frame by frame, collaged on sheets of black paper – is an official selection at the CutOut Fest International festival of animation and digital art this November in Mexico. “The music and the animations that support it explore outrage, powerlessness – and the knowing kind of sorrow that emerges from those states of mind – often in bursts of absurdity. Being aware of the ridiculous often feels like salvation,” says Cheryl Gelover, who first met Tom Murray, the other half of Tulipomania, through experimental film and animation classes.

Tulipomania’s animated music videos have been featured in film festivals worldwide, with several already showcasing their latest few videos as an official selection, including the Leeds International Film Festival (UK), StopTrik (Croatia, Poland), AniFilm (Czech Republic), Malatesta (Italy) and CutOut animation festival (Mexico).

Source: EBM.gr

French label Bitume Productions has today unveiled a new compilation, titled Planète Magnifiée, paying tribute to American alternative post-grunge and art rock act Failure. Available now as a name-your-price item on Bandcamp, the collection features 19 artists across a broad range of styles [..]

Source: RE:GEN Mag

Hailing from the vibrant city of Athens, Georgia, <a href="https://www.instagram.com/tearsforthedyingband/">Tears for the Dying</a> has emerged as a powerful and enchanting post-punk/goth band. Drawing inspiration from both contemporary and legacy acts such as Bauhaus, 45 Grave, Drab Majesty, and Rosegarden Funeral Party, the band has crafted a unique and bewitching soundscape that has entranced fans and acolytes alike.

Their music is a journey into the darker side of guitar-based music – a haunting and mesmerizing tapestry of sound that weaves together intricate melodies and ethereal rhythms. Their live performances are a dynamic and multifaceted encounter that offers a visceral, angst-infused deathrock experience, leaving audiences spellbound and wanting more.

Guiding the group with her distinct songwriting and lyrical prowess, Adria’s creative voice bears the indelible marks of her tumultuous upbringing in a modest Southeastern town. Her formative years were marred by the haunting spectres of religious trauma and relentless bullying, experiences that would later shape her artistic perspective. In the face of these trials, Adria sought refuge in the more enigmatic and unconventional realms of both art and society, forging a unique path through life’s challenging terrain.

We Are The Darkness, drawing from a classic goth and deathrock sound palette, delves into a captivating narrative: introducing an alien species thrust into the earthly realm. These extraterrestrial beings possess a remarkable and unsettling gift—the ability to detect the undercurrents of hatred coursing through the veins of higher life forms. More intriguingly, they exhibit an insatiable appetite for this malevolent energy, feeding upon it voraciously. This intriguing premise invites listeners to ponder the consequences of such an encounter and the depths of human emotion it unveils.

“It draws from our love of cosmic and otherworldly horror in book and film…even the campier examples,” she says. 

Blake Pipes directed a monochromatic performance video for We Are The Darkness, capturing the high energy and chaos Tears For The Dying gives to each show.

 

Adria Stembridge stands as the creative force behind the compositions and voice. On the rhythmic front, Mick Payne skillfully mans the drums, providing the heartbeat of the sound. In the studio, mixing engineer Jason NeSmith lent his expertise, with mastering by Chase Park Transduction in Athens, GA.

Post-Punk.com spoke with Adria Stembridge about the band’s inspirations, songwriting process, how growing up trans and neurodivergent affects her artistic expression, and thoughts on the world today.

Your new single, ‘We Are the Darkness’, is said to draw from cosmic and otherworldly horror in books and films. Can you share more about the specific inspirations behind this song?

Horror literature and film has been a constant in my life going back to when I was a fifth grader and reading my first horror novel, The Blob. I was an avid reader and also loved science and sci-fi. It was a matter of time before the two interests crossed paths, and that happened with John Carpenter’s remake of The Thing in 1982. The eighties were a phenomenal time for sci-fi horror, with the popularity of Alien followed by the even more gruesome and frightening sequel, Aliens. Cosmic/space horror has been a lifelong love interest of mine, and this love found its way into our song We Are the Darkness.

With a strong emphasis on atmosphere and ambience in your music, how do you balance these elements with the raw, deathrock energy in your songwriting process? Also, could you delve into the thematic content of ‘We Are the Darkness’ and its significance to the band?

An unfair criticism of post-punk and goth music today is that it all sounds the same. It only takes a few minutes of listening to random releases over the past year to realize that people arguing that do not really listen to very much of the genre. This is especially true of our upcoming release, In the Shadow of the Midnight Sun. We Are the Darkness has more of a traditional guitar, bass, drum arrangement. Other tracks on the record pull us in new directions, hybrids of deathrock and darkwave, and there are tracks that provide calm to the raging inner storm heard earlier on the record. All of it is introspective and very Tears for the Dying.

The first side of In the Shadow of the Midnight Sun initially delves into the unwell state of someone experiencing a sustained and acute existential crisis. To many, waking up every day with severe mental health illness can feel like waking from one nightmare only to experience another in the waking world. We Are the Darkness was chosen as the opener to set the stage for side A of the album as it carries a certain urgency and anger. Time is running out, there is something terribly wrong in the world and we collectively feel like Alex at the end of A Clockwork Orange. Eyes fixated on a string of nightmarish scenes that we cannot escape from.

As an individual with autism, I think more in pictures and scenes. As someone with lifelong depression, it’s easier for me to speak introspectively by conjuring imagery from horror films I’ve seen and love.

Everyone knows Palestinians deserve a home, and yet every day the onslaught continues both in Gaza and in our feeds on the other side of the world. We Are the Darkness is rebellion against what feels like a growing movement of hatred based in racism, homophobia and transphobia. Social media allows us to know about George Floyd, and Gaza moments later, yet our voices are not being heard. Just a month ago Leonard Cure was shot dead by a sheriff for “resisting arrest” for a routine traffic stop when he literally just got out of wrongful imprisonment for 16 years. I’d have resisted arrest too. Children continue to die every day in Gaza. Trans teens are being denied medical care because some aging white politician’s bible tells them so. It is madness, yet I still have my voice and pen.

My grandfather fought against fascism in WWII, so it pains me to see this same spectre grow in popularity 70 odd years later, right in our own country. Why are people so beholden to the flag, not able to see what it is they are becoming? Life is give and take, we can’t impose our religions and wills on others. Nobody likes the feel of a heavy boot on their neck.

“Tears for the Dying has a distinctive style that resonates with fans of bands like Bauhaus and 45 Grave. How has the band’s sound evolved over time while maintaining its core identity, and how do these influences manifest in your current work?”

We’ve simply gotten better at songwriting over the years. Go Die was written in 2003 (though widely released in 2020). We still love playing it, and the urgency and anger it carries continues to resonate. With our 2018 Charon and 2020 Memories releases, we were basically catching up the back catalogue with many of songs having been written in the early 00’s. For newer tracks on those releases, we were trying to find our footing. And we found solid footing in many of those tracks.

As our lineup changed we’ve settled into a new working situation with Mick Payne on live drums. This brought a new level of intensity to our sound. Last year we had an opportunity to try IEMs (In-ear monitors) for the first time, and we loved the setup. With IEMs, we were afforded the ability of playing to click track – and using synthbass and backtracks with acoustic drums in live situations.

So, this new ability opened new doors for us musically. We aren’t moving away from our deathrock/punk roots – much of the new record is still the traditional arrangement of drums, guitar and bass – but we are expanding on and redefining how we approach our core genre while exploring adjacent sounds and feels. We’re not talking Ween levels of eclectic genre hopping, but there is some movement on the new record, while keeping the songs still very much Tears. Evolution doesn’t mean divorcing and/or denying your past, and becoming something new and foreign. We are still who we are, even as grow and change across time.

Adria’s experiences growing up trans and autistic in a small town appear to have been a profound influence on the band’s music. How do these personal narratives and struggles against societal challenges shape the lyrical content and overall message of your songs?

When I was in my late teens and early 20s, I leaned heavily into punk for dealing with lifes challenges. It was good to scream and slam into other punks at shows. I still love the high energy and intensity, however over time that outward anger I used to have began pointing inward. I was officially diagnosed with Autism Spectrum Disorder and ADHD almost 15 years ago, though I was very much undiagnosed as a child. I suspect my father was as well. A common hallmark of neurodivergent individuals are challenges with social situations. We struggle with understanding social cues that most people take for granted.

The social awkwardness autistic people experience often leads us to be victims of bullying – especially in primary school, but bullying changes and takes on new forms later in life. For many of us, it never really goes away. This combined with general lacking of basic social skills means we have a harder time making and keeping friends in our lives. Add to that being trans, and this lead to a lifelong history of depression and anxiety.

In the Shadow of the Midnight Sun is not exactly a concept album, but close. The first five songs focus, somewhat abstractly, on the existential horror that sometimes goes with severe mental health illness…The next two tracks change tone, and offer the hope that things can and will get better. We just have to put the work in, it doesn’t happen automatically. The mental health nightmares can stop. We want to leave listeners with that hope.

How has this new composition of the band influenced the direction of your music, particularly in terms of collaboration and bringing fresh perspectives to your sound and performances?”

Mick brings an intensity and aggression to our music that was never fully realized in the past. He’s a phenomenal guitarist and songwriter on his own, and he’s been a joy to have around when technical questions of theory come up. Mick and I both love a lot of the same bands, and our shared interest in New Order probably surfaced on a couple tracks from the new record.

Our previous guitarist, Joshua Broughton, plays on many tracks on the new record. Since joining Tears in 2021, he made an 1.5 hour drive one way twice a week for practice, and ultimately that became the death of a thousand paper cuts. We parted ways amicably and are still good friends today.

Robyn is the newest member of our group. She and I knew each other going back to 2017 or so on socials. She joined the band six months ago and has worked very hard in learning many technically challenging songs from our new record and back catalogue. She makes an appearance on the new record, and will be with us when we hit the road on our next tour. Tears would not be what we are without these fine people, and I’m honored to perform and create with them.

Follow Tears For The Dying:

<a href="https://www.instagram.com/tearsforthedyingband/">Instagram</a>
<a href="https://open.spotify.com/artist/0OBdtDABr8MVcGot3doYRn">Spotify</a>
<a href="https://tearsforthedying.bandcamp.com/">Bandcamp</a>
<a href="https://www.youtube.com/c/TearsfortheDying/">YouTube</a>
<a href="https://tearsforthedying.com">Website</a>

The post <a href="https://post-punk.com/athens-georgia-deathrock-ensemble-tears-for-the-dying-debuts-video-for-we-are-the-darkness/">Athens Georgia Deathrock Ensemble Tears for the Dying Debuts Video for “We Are the Darkness”</a> appeared first on <a href="https://post-punk.com">Post-Punk.com</a>.

Source: Post-Punk.com

(By our Norwegian correspondent Jan Ronald Stange / Piston Damp press release) Out today is the brand new single from Piston Damp, a synthpop duo from Norway consisting of Jonas Groth (known as keyboarder in Apoptygma Berzerk and as being Stephan Groth’s little brother) and his friend since childhood, Truls Sønsterud.

Since their debut album, ‘Making The World Great Again’ in 2021, they have released a string of singles, with ‘Sacrifice’ and ‘All The Edges I Can Fall’, leading up to ‘I’m Losing You (A New Tale)’ released November 17th 2023.

The single contains three tracks; a single version and an Extended Remix of the song, and ‘The Day Of Departure (Black Sky Version)’ as a bonus track.

Related newsMassive Norwegian 80’s electro wave single compilation being crowdfundedIt is still catchy synthpop, this time more up-beat and chorus driven, and with a sound and a beat that is sure to be a winner in their booked and upcoming live gigs in Sweden and Germany, of which there are many!

Live dates Piston Damp

November 17, 2023: Helsingborg, Sweden

March 16, 2024: E-Only Festival, Germany

April 27, 2024: Jönköping, Sweden

May 4, 2024: Sarpsborg, Norway

July 19, 2024: Chemnitz, Germany

Listen to the tracks right here!

Source: EBM.gr

Die Modern Metalcore-Band IMMINENCE hat ihren neuen Song “Death By A Thousand Cuts” nun auch als Musikvideo bei YouTube gepostet. Zuvor veröffentlichten die Schweden den Song bereits bei allen gängigen Streaming-Portalen als Audio-Stream.

Außerdem kann man sich den Track “Heaven Shall Burn” als Clip bei YouTube ansehen.

Die Single “Desolation” steht ebenfalls  in Bild und Ton bei YouTube bereit. Auch die Single “Come Hell Or High Water” gibt es als Musikvideo bei YouTube.

Produziert wurde das Stück von Henrik Udd, Eddie Berg und Harald Barrett. Mix und Mastering übernahm Henrik Udd.

Alle vier Singles folgen auf das Album “Heaven In Hiding” (2021).

Fotogalerie: IMMINENCE – Summer Breeze 2023 – 18.08.2023

Source: Vampster

Genre/Influences: Minimal-Electro, Experimental. Format: Digital, Vinyl. Background/Info: Dan Serbanescu is a busy bee who has...

Source: Side Line

Haben Eisfabrik (nun endgültig) den Verstand verloren? Das zumindest deuten sie mit ihrer neuen Single „Lost My Mind“ an, die dann eben genau heute erscheint! Beim genauen...

Source: MedienKonverter

Fiddler’s Green oil “The Green Machine” with good humor, diversity and a lot of joy in playing. In our Winter issue, we talk to Rainer Schulz about compulsion, quick tongues and farewells. Watch the clip for “The Bog” here: Experience Fiddler’s Green live:November 17, 2023 DE-Jena, F-HausNovember 18, 223 DE-Affalter, Linde Eisheilige Nacht with Subway […]

Source: Orkus

The third explosive album from Belgium's leader of the Euro desert rock scene!

Source: Prophecy