Mit “Extraordinary Journeys, pt.I” ist vor wenigen Tagen das neue Album der NWOBHM / Heavy Metal-Band THORIUM erscheinen. Es ist nach “Thorium” (2018) und “Empires in the Sun” (2021) das dritte Album der Belgier.

“Extraordinary Journeys, pt.I”, das von klassischer Abenteuerliteratur inspiriert ist, wurde von Simone Mularoni gemixt und gemastert. Das Cover-Artwork stammt von Velio Josto. Erschienen ist das Album am 16. November 2023 via Freya Records.

THORIUM sind Sänger David Marcelis (LORD VOLTURE, Ex-BLACK KNIGHT), die Gitarristen Tom “Tee” Tas (ENTERING POLARIS) und Dario Frodo (Ex-OSTROGOTH), Bassist Stripe (Ex-OSTROGOTH) sowie Drummer Kjell De Raes (WILDERNIS, Ex-CYGNUS ATRATUS).

THORIUM “Extraordinary Journeys, pt.I” Tracklist
Overture 1828 – Time and Generations
Age of Adventure
Across the Nations (Lyric-Video bei YouTube)
Nightfall
Bushido!
Thorium
Morituri te Salutant
Gladiator
To Sleep Neath Mountainous Waves
Echoes of Lost Souls

Source: Vampster

The Norwegian synthpop duo Piston Damp releases their new signle 'I’m Losing You (A New Tale)'

Source: Side Line

JUDAS PRIEST haben ein neues Studioalbum angekündigt: Das 19. Album der Heavy Metal-Band heißt ‘Invincible Shield’  und erscheint am 8. März 2024 über Columbia Records.

Mit einem Lyrics-Video zu “Trial By Fire” stellen JUDAS PRIEST nun den zweiten der neuen Songs vor. Als erste Single teilten die Briten im Oktober ein Lyrics-Video zu “Panic Attack”.

JUDAS PRIEST Konzerte in Deutschland 2024
Im kommenden Jahr sind JUDAS PRIEST auch wieder auf Tour, die Tour beginnt am 11. März 2024 in Glasgow und führt die Band im März und im Juli nach Deutschland. Karten sind bereits im Vorverkauf erhältlich.

24.03.2024 Frankfurt – Festhalle
25.03.2024 München – Olympiahalle
27.03.2024 Dortmund – Westfalenhalle

01.07.2024 Hamburg – Barclays Arena
02.07.2024 Berlin – Max-Schmeling-Halle
04.07.2024 Nürnberg – ARENA NÜRNBERGER Versicherung
08.07.2024 Mannheim – SAP Arena
10.07.2024 Dresden –  Messehalle

Source: Vampster

IHSAHN hat die Songs für sein nächstes Album “Ihsahn” doppelt aufgenommen: Zu jeden Track gibt es auch eine Orchester-Version.

Wie das klingt, erfährt man mit der ersten Single: ‘Pilgrimage To Oblivion’ kann man sichbereits jetzt in der regulären Version sowie in der Klassik-Version anhören.

“Ihsahn” wird am 16. Februar 2024 veröffentlicht.

Die Metal Version des Albums hat Jens Bogren abgemischt, die Orchester-Version Joel Dollié, beide Fassungen sind von Tony Lindgren gemastert.

Unterstützt wurde Ihsahn von den Schlagzeugern Tobias Ørnes Andersen und Tobias Solbakk, sein Sohn Angell Solberg Tveitan brachte zusätzliche Percussion-Elemente ein, Chris Baum einige Violinen-Parts.

IHSAHN “Ihsahn”  Tracklisting
1: Cervus Venator
2: The Promethean Spark
3: Pilgrimage To Oblivion (reguläre Version bei YouTube  –  Klassik-Version bei YouTube)
4: Twice Born
5: A Taste Of The Ambrosia
6: Anima Extraneae
7: Blood Trails To Love
8: Hubris And Blue Devils
9: The Distance Between Us
10: At The Heart Of All Things Broken
11: Sonata Profana

Source: Vampster

Newcomers <a href="https://www.instagram.com/_stareaway_/">Stare Away</a>, hailing from New Jersey, craft a distinctive sonic identity, skillfully blending classic punk with electronic undertones. Their sound, a refreshing synthesis of influences, draws significantly from the rich tapestry of the late 70s and 80s music scene. By channeling elements from pioneers like The Sound and The Cure, they pay homage to the brooding, emotive textures of post-punk. Meanwhile, the influence of John Maus and Current Joys injects a modern twist, infusing their music with a blend of lo-fi electronic and indie-rock sensibilities.

‘My Cathedral’ was written in a time of grief and confusion during the pandemic. “Isolation got pretty bad, not even leaving out my front door four straight days. I thought I was going insane at some points.”

The song delves into the labyrinthine corridors of self-blame and the Sisyphean struggle for happiness in the wake of love’s disillusionment. The song’s introspective narrative grapples with the burdens of their own decisions in matters of the heart. It’s a poignant reflection on the nature of love, not as a mere emotion, but as a complex, ever-evolving construct that shapes and reshapes our understanding of joy and contentment. The haunting melody underscores a theme of hopelessness, not in a nihilistic sense, but rather as a profound acknowledgment of the arduous journey towards emotional recuperation. The song fades in with an eerie buzz that brings you on set of The Blair Witch Project. Chased by a smashing snare and 80s dance kicks, a heavy driven bass opens a range of psychedelic synths drifting into anguished vocals.

While the themes are heavy, My Cathedral does not merely dwell in the shadowy realms of despair, however; it also embarks on a quest for peace amidst the uncertainty of love’s future. It’s a peace not found in the arms of another, but in the solitary acceptance of love as an ephemeral, yet transformative force that resonates with anyone who has navigated the turbulent seas of love and come out on the other side – not unscathed, but certainly wiser.

Watch the video for “My Cathedral” below:



Stare Away is currently in the studio, planning to release more music by the end of 2023 or early 2024.

Listen to “My Cathedral” below via <a href="https://stareawayband.bandcamp.com/album/my-cathedral?from=embed">Bandcamp</a>:

<a href="https://stareawayband.bandcamp.com/album/my-cathedral">My Cathedral by Stare Away</a>

Follow Stare Away:

<a href="https://www.instagram.com/_stareaway_/">Instagram</a>
<a href="https://www.youtube.com/channel/UCN8LJ186hiD8uTGrBLexgcA">YouTube</a>
<a href="https://www.tiktok.com/@stareawayband">TikTok</a>

The post <a href="https://post-punk.com/new-jersey-post-punk-project-stare-away-debuts-video-for-my-cathedral/">New Jersey Post-Punk Project Stare Away Debuts Video for “My Cathedral”</a> appeared first on <a href="https://post-punk.com">Post-Punk.com</a>.

Source: Post-Punk.com

Die Solo-Künstlerin LINNEA HJERTEN hat mit “Nio systrar” ein neues Album angekündigt. Es ist das erste Album der Schwedin, die schwedische Folklore mit rituellem Ambient zu verbinden versucht und dabei ein psychoakustisches Tor zu veränderten Bewusstseinszuständen öffnen möchte.

“Nio systrar” wurde von Tore Stjerna im Necromorbus Studio gemastert und wird am 12. Januar 2024 via Nordvis Produktion erscheinen. Vorab gibt es nach dem Track “Vägen ut” nun auch den Song “Noder” zu hören.

LINNEA HJERTEN “Nio systrar” Tracklist
01 Noder (Audio bei YouTube)
02 Vägen In
03 Nio Systrar
04 Uppsåt
05 Skuggan
06 Avgrund
07 Återfödelse
08 Vägen Ut (Audio bei YouTube)
09 Det Som Växer Ur Lera

Source: Vampster

Die Metalcore-Bands BORN OF OSIRIS und ATTILA kommen im März 2024 für eine gemeinsame Co-Headline-Tour nach Europa zurück. Als Support mit dabei sind AVIANA sowie CROWN MAGNETAR.

Konzerte gibt es in Saarbrücken, Oberhausen, Hamburg, Dresden, München, Wien (A), Frankfurt, Aarau (CH) sowie Oberndorf (EASTER CROSS FESTIVAL).

BORN OF OSIRIS + ATTILA, AVIANA CROWN MAGNETAR Tourdaten 2024

07.03.24 Germany Saarbrücken @ Garage
08.03.24 Germany Oberhausen @ Kulttempel
09.03.24 The Netherlands Eindhoven @ Dynamo
10.03.24 Germany Hamburg @ Bahnhof Pauli
11.03.24 Sweden Gothenburg @ Brewhouse
12.03.24 Norway Oslo @ John Dee
13.03.24 Sweden Stockholm @ Slaktkyrkan
14.03.24 Denmark Copenhagen @ Pumpehuset
15.03.24 Germany Dresden @ Blauer Salon
16.03.24 Poland Poznań @ 2Progi
17.03.24 Czech Republic Prague @ Rock Café
18.03.24 Germany München @ Backstage
19.03.24 Hungary Budapest @ Dürer Kert
20.03.24 Austria Wien @ Szene
21.03.24 Germany Frankfurt @ Das Bett
22.03.24 France Paris @ Backstage By The Mill
23.03.24 UK Birmingham @ Asylum
24.03.24 Ireland Dublin @ Opium
25.03.24 UK Manchester @ Club Academy
26.03.24 UK Glasgow @ Classic Grand
27.03.24 UK Nottingham @ Rescue Rooms
28.03.24 UK London @ O2 Academy Islington
29.03.24 Belgium Antwerp @ Trix Club
30.03.24 Switzerland Aarau @ KiFF
31.03.24 Germany Oberndorf am Neckar @ Easter Cross Festival

Source: Vampster

Die Post Hardcore-Band I SEE STARS hat einen Clip zum Song “D4MAGE DONE” bei YouTube veröffentlicht.

Der Track folgt auf das Musikvideo zum Song “Are We 3ven?” bei YouTube.

Zuvor veröffentlichte die Formation zwei weitere Songs. “Anomaly” und “Drift” gibt es u.a. via YouTube im Stream.

Alle Tracks sind Vorboten eines neuen, noch unbetitelten Studioalbums, das via Sumerian Records erscheinen soll. Zu “Drift” hat Sänger Devin Oliver Folgendes zu sagen:

“[Drift] ist eine Anspielung auf das Konzept unseres kommenden Albums. Dieser Song wurde so geschrieben, dass er von Natur aus bipolar ist und dir keine andere Wahl lässt, als dich dem Auf und Ab deiner Gedanken und Emotionen hinzugeben, die dich mal mehr und mal weniger scharf stellen. Dieser Song unterstreicht ein neu gefundenes Gefühl von Klarheit in dem Getriebe, dem wir uns alle unterwerfen. Es dreht sich weiter in und aus einem dunklen Trip, der provoziert, während er uns zwingt, die dunklen Tiefen unseres Verstandes und die unerforschten Gebiete unserer eigenen Psyche zu erkunden.”

Source: Vampster

“Art taps into the metaphysical and the archetypes of our existence,” states Ihsahn as the Norwegian musician announces the impending release of a new self-titled album. With the introductory single, “Pilgrimage to Oblivion,” the progressive and experimental metal artist presents “the overarching musical and conceptual aspects [..]

Source: RE:GEN Mag

Genre/Influences: Dark-Pop, Electronic, Industrial. Format: Digital, CD. Background/Info: This is the debut album of Polish...

Source: Side Line

(By our Norwegian correspondent Jan Ronald Stange / press release Indie Recordings. Photos by Bjørn Opsahl) November 15th the legendary Norwegian rock band Seigmen released their new single ‘Berlin’, and at the same time they announced that a new album, ‘Resonans’, is due for release April 2024.

The last time Seigmen released new music was 7 years ago, and “Berlin” is the first track from the band’s upcoming album, which was created during the times of the pandemic and lockdown. Those who follow Seigmen know that it has been some challenging years for the band, but it has also been an incredibly creative period.

Seigmen 2023 (Photo: Bjørn Opsahl)

We’ll get to hear the result when the album ‘Resonans’ is released on April 12, 2024, but already on November 15th, the first teaser, in the form of the single ‘Berlin’, was released through Indie Recordings.

Related newsStockholm based post-punk outfit A Projection lands all new album on Metropolis: 'In A Different Light'“When we last left the stage on December 21, 2019, we knew nothing about the long and challenging times ahead of us. That this show would be our last for four years. It feels good to put this behind us and at the same time be able to tell that those times were also creative and productive years. More than anything, we want to thank our loyal fans who have followed us through thick and thin, who have patiently waited for us to return. It gives us both strength and inspiration.

New music from Seigmen is not an everyday occurrence; our last release, ‘Enola’, came out eight years ago, and this was the first studio album since 1997. Hence, it is a joy to announce that we are now putting the finishing touches on a new album called ‘Resonans’, that will release April 12th 2024 (Indie Recordings).

The impatient can look forward to the first single, which is already being released on November 15th.
We are also looking forward to get back on stage again and can already announce that we will be playing at Tons of Rock 2024.

Related newsPro Patria put on hold, Peter V. starts new project under his own name with first new release 'Metropolis'Finally, we are also ready to do the show at Støperiet in Tønsberg, which has been postponed several times. This will be the first and only show of the year, and the date is December 16th.”

This show sold out within 12 hours, so a second show are being set up the following day, Sunday December 17th. Get your tickets here! 🙂

Listen to ‘Berlin‘ here:

ABOUT SEIGMEN:

Related newsUK's legendary post punk act Chameleons (UK) joins Metropolis RecordsIt was an unfinished band that took to the stage when Seigmen (formerly known as Klisne Seigmenn) played their very first show during Christmas of 1989. However, even then, they had something unique that set them apart from the others, and their sound was undeniably different from all those they shared stage with. Even the conservative paper Tønsbergs Blad reported the next day that “Klisne Seigmenn outperformed the others.”

Fast forward to 1994, the year they released the EP “Hjernen er alene” and their third studio album ‘Total’.

First success Seigmen

From there on, Seigmen and their heavy and grandiose, yet catchy melancholy, defined the 1990s.
‘Total was later recognized as one of Norway’s 100 best albums of all time, and their fourth album ‘Metropolis’ dominated the charts back in 1995 won a Spellemann award for Best Rock Album.
In 1997, ‘Radiowaves’ went straight to number one.

Seigmen 1994 (Photo: Bjørn Opsahl)

Related newsThe Birthday Massacre – Fascination (Album – Metropolis Records)Then it all came to an end, as out of nothing, the announcement came that the band was disbanding because guitarist Sverre was leaving. One for all and all for one. A few months before the previous millennium came to an end, Seigmen played their farewell show for a packed Rockefeller in Oslo, Norway.

Resurrection of Seigmen

But it wasn’t meant to end there; it’s almost unnatural to just let go of a good thing and old friendships forever. In 2005, the band reunited on stage for the first time in Dødens Dal in Trondheim, and in 2008, they were the first Norwegian band to be invited to play at the new opera house in Bjørvika.

However, the biggest event of the new millennium came in 2015 when Seigmen surprisingly released ‘Enola’, a full 18 years after ‘Radiowaves’. (Read more about ‘Enola’ and other events here!)

On April 12, 2024, almost exactly 30 years after their breakthrough with ‘Total’, a special event is set to occur when Seigmen releases ‘Resonans’, their first album in nine years. The choice of Velvet Recording as their studio is not a coincidence; it’s the same place ‘Total’ was recorded back in 1994.

For more information, interview requests, or media inquiries, please contact: Robbe@indierecordings.no

Source: EBM.gr

HERIOT haben mit ‘Soul Chasm‘ eine neue Single plus Video bei YouTube veröffentlicht.

Die Britische Noise/Metalcore-Band hat außerdem einen Plattenvertrag bei Century Media unterschrieben. HERIOT sind Sängerin und Gitarristin Debbie Gough sind Sänger und Bassist Jake Packer, Gitarrist Erhan Alman sowie Drummer Julian Gage.

Source: Vampster

Die deutsche Melodic Death Metal Formation HIRAES – bestehend aus ehemaligen Mitgliedern von DAWN OF DISEASE und CRITICAL MESS – wird das neue Jahr mit der Veröffentlichung ihres zweiten Studioalbums Dormant einläuten, das am 26. Januar 2024 über Napalm Records erscheinen wird. HIRAES haben soeben die erste Single aus „Dormant“ veröffentlicht – den Album-Opener „Through The Storm“.
Preorder: https://napalmrecords.com/hiraes

Die Band kommentiert den Track und das Video:
„In gewisser Weise ist das Video eine Fortsetzung unserer ersten Single, ‚Under Fire‘, vom letzten Album. Es ist einem Sturm und seiner unbezwingbaren Energie gewidmet. Erleben Sie diese Debütsingle und begleiten Sie uns, wenn wir ‚Through The Storm‘ gemeinsam durchschreiten!“

Source: Amboss-Mag.de

Nun ist es endlich da, das neue Album von The Underground Youth. Einige Stücke wurden schon auf der Bühne vorgestellt und ließen hoffen, dass sich wieder eine gute Zeit mit dem neuen Tonträger machen lässt. Und ja, das könnte klappen.„Émelie“, als Eröffnungsstück, gibt die Richtung des Albums klar vor. Es bleibt weiterhin bei einer eher akustischen Instrumentierung, die mehr die Elemente des Neofolk aufgreift als die von früheren Alben bekannte Schwankung zwischen psychedelisch angehauchten und rau lärmigen Klängen, die auch nicht zu verachten waren. Postpunk mit Shoegaze-Elementen (I Thought I Understood) sowie auch Charakterzüge von Surf-Musik (Another Country) dringen einem ans Ohr. Die Texte befassen sich weiterhin mit der Auseinandersetzung über die Tristesse des Daseins (Finite As it is) und der Suche nach Auswegen und sei es auch durch Fusel  (Omsk Lullaby). Oft passiert es ja, dass sich manche Sichtweisen ändern, wenn sich, wie im Falle von Olya und Craig Dyer, Nachwuchs eingestellt hat. Das darf in dem Falle aber verneint werden. Wie schon der Albumtitel verrät, nippt man nach wie vor weiterhin am Glase der Nostalgie und beschwört melancholisch die Geister der alten Zeit (The Allure of The Light) herauf. Craig Dyers Gesang ist durchweg angenehm anzuhören, meidet er doch exponierte Tonlagen (Was er in der Vergangenheit leider nicht immer tat). Dadurch werden die Lieder eingängig und wirken wie aus einem Guss. Gleichzeitig schafft es das Duo die Stücke mit leichten Nuancen bei der musikalischen Begleitung und vor allen durch Gastmusiker und auch zusätzliche weibliche Verstärkung beim Gesang zu individualisieren. Lediglich „Frame of Obsession“ und „Omsk Lullaby“ hätten mehr Impulse vertragen können, um sich Gehör zu verschaffen. Lucy Kruger vom ebenfalls sehr hörenswerten Projekt „Lucy Kruger and The Lost Boys“ leiht der Jugend des Untergrunds an einigen Stellen ihre Stimme. Sie hätte das ruhig etwas häufiger tun können aber meist wird ja etwas erst dadurch wertvoller, wenn es sich rarmacht.

Zusammengefasst sei gesagt: Das nunmehr 12. Studioalbum von The Underground Youth lohnt auf jeden Fall wieder den Kauf. Mir gefällt die Richtung, die sie seit dem letzten Album, „The Fallen“, eingeschlagen haben und ich begleite sie auf ihrem Weg in künftige Ausflüge in die Tristesse gerne noch ein wenig weiter. Um es mit den Worten von Craig und Olya zu sagen: „Es ist dreckig und hat Risse und es ist über all die Anhäufungen mit der Zeit undicht geworden. Also nehmt einen Schlag aus dem Glas der Nostalgie!“  (M.Wienecke)

Source: BLACK Onlinemagazin

„Deus ex Machina“, das Solodebut von LIV KRISTINE aus dem Jahr 1998, erscheint am 01.03.2024 erstmalig als Vinylversion und als Doppel-CD mit unveröffentlichten Bonus-Tracks bei Allegro Talent Music (ZYX). http://www.livkristine.net

Nach weltweit gefeierten Alben und ausverkauften Tourneen mit „Theatre Of Tragedy“ unterschrieb LIV 1997 einen Vertrag mit Massacre Records um ihr erstes Soloalbum „Deus ex Machina“ verwirklichen zu können. Zu dieser Zeit absolvierte sie ein Masterstudium der Anglistik und Germanistik und pendelte zwischen der Universität Stuttgart und den Aufnahmen im Illinois Studio. Nebenbei tourte sieweiterhin sehr erfolgreich mit „Theatre Of Tragedy“.

Der 27. Oktober 1997 sollte schließlich ein ganz besonderes Datum in der Karriere von LIV KRISTINE werden. An diesem Tag lernte sie Nick Holmes (Host, Paradise Lost) kennen. Die Chemie zwischen den beiden Ausnahmekünstlern stimmte auf Anhieb, und so entstand mit der gemeinsam komponierten, wunderschönen Gothic-Ballade „3 a. m.“ der erste Song für das 1998 veröffentlichte Soloalbum „Deus ex Machina“.Obwohl sowohl Nick als auch LIV über einen Metal-Hintergrund verfügen, entstand durch die Verschmelzung ihrer beider Stimmen etwas ganz Besonderes.

Aber auch die anderen Songs auf „Deus ex Machina“ entfalten viel Subtilität, Magie und die Kraft der persönlichen Ausstrahlung von LIV KRISTINE. Mit „Portrait: Ei tulle med øyne blå“, basierend auf einem Kinderlied aus dem Jahr 1905, befindet sich sogar ein Song in LIVs Muttersprache Norwegisch auf dem Album. Im Juni 2023 entstand gemeinsam mit Geir „Gerlioz“ Bratland (Dimmu Borgir, God Seed, The Kovenant, Satyricon) eine Neuinterpretation des Songs, welche nun auf der vorliegenden Neuveröffentlichung von „Deus ex Machina“ als LP Bonus-Track zu finden ist.

 

Source: Amboss-Mag.de

Just now beginning to reverberate through the ominous corridors of the international darkwave scene, newcomer <a href="https://www.instagram.com/itsblakeharley/">Blake Harley’s</a> unique compositions draw inspiration from the industrial echoes of Berlin’s subterranean underbelly and the iconic gothic sensibilities closely associated with London. Her music is a blend of darkwave and gothic genres, characterized by yearning and passion themes. The aura of defiance that resonates through her musical pieces creates an immersive experience, which is well-suited for the dimly-lit spaces of underground dance events.

Blake Harley’s debut double-single, Linger On/My Love Is Loud, beckons audiences into a world of her own making. The music serves as a gateway, inviting listeners into a realm characterized by a potent fusion of nostalgia, romance, and a hint of the macabre. Both songs feature haunting narratives, interweaving tales of love and passion that transcend conventional boundaries. We hear shades of Siouxsie tempered by Xeno & Oaklander and Void Vision in her sound, with just a hint of Tori Amos popping in.

Linger On encapsulates the enchanting tale of love intertwined with the spectral, where affection is reserved for a ghostly presence that emerges solely under the cover of night. It delves into the exquisite allure of yearning—a longing for an alternate realm, era, or reality, steeped in the realm of fantasy. Love is intrinsically linked to a profound sense of yearning, and within the unattainable lies a poignant beauty. The melody mirrors this fusion of love-struck, childlike ecstasy and the profound pangs of melancholy, incorporating xylophone, moody synths, and resounding percussion.

In stark contrast, My Love Is Loud takes on a more shadowy and resolute demeanour, exploring the refusal to dilute one’s essence. Sometimes we simply must embrace a take-it-or-leave-it stance.

This unwavering attitude permeates the music, where metallic sound elements converge with dynamic drum rhythms and distorted bass lines, forming a compelling auditory landscape that mirrors this uncompromising ethos.

Blake Harley is an artist with an undeniable allure. Her music and lyrics are captivating. Judging by her sound and vision, her upcoming live performances promise immersive encounters that will transport attendees into a phantasmal realm, where motions run deep, and the line between reality and fantasy becomes blurred. Harley’s music offers the possibility to delve into the depths of one’s emotional landscape, become ensnared in otherworldly melodies, and embrace the profound interplay of darkness and beauty that resides deep within the human spirit.

Blake Harley’s EP1 will be out in April 2024 via cassette. Her debut live show will take place on the 21st of Feb 2024 in London at Paper Dress Vintage.

Follow Blake Harley:

<a href="https://www.instagram.com/itsblakeharley/">Instagram</a>
<a href="https://www.tiktok.com/@itsblakeharley">TikTok</a>
<a href="https://www.facebook.com/itsblakeharley">Facebook</a>

The post <a href="https://post-punk.com/london-darkwave-artist-blake-harley-debuts-linger-on-and-my-love-is-loud/">London Darkwave Artist Blake Harley Debuts “Linger On” and “My Love is Loud”</a> appeared first on <a href="https://post-punk.com">Post-Punk.com</a>.

Source: Post-Punk.com

Norwegian rock band Seigmen releases their new single 'Berlin', and at the same time they announced that a new album, 'Resonans', is due for release April 2024.

Source: Side Line

Genre/Influences: Dark-Ambient, Cinematic. Format: Digital, CD. Background/Info: Two years after RGNMNN last album “The False...

Source: Side Line

Am 26. Januar 2024 veröffentlichen HIRAES ihr neues Album “Dormant”.  Mit einem Video zu “Through The Storm” stellt die Melodic Death Metal-Band um Sängerin Britta Görtz jetzt den ersten Song der neuen Platte vor.

“In gewisser Weise ist das Video eine Fortsetzung unserer ersten Single ‘Under Fire’ vom letzten Album “Solitary“. Es ist einem Sturm und seiner unbezwingbaren Energie gewidmet. Wir sind megastolz, euch unser zweites Album Dormant zu präsentieren! Das Album wird euch von der ersten Sekunde an mit seiner Intensität packen und nicht mehr loslassen. Wir haben eine Menge Energie, Hingabe und Leidenschaft investiert, um dieses monumentale und melancholische Stück Melodic Death Metal zu erschaffen. Wir haben in den letzten zwei Jahren unzählige Konzerte gegeben, ‘Dormant’ fängt die Energie unserer Live-Auftritte ein und platziert die Songs genau zwischen Herz und Bauch.

 HIRAES “Dormant” Tracklist
1. Through The Storm (Video bei YouTube)
2. We Owe No One
3. Undercurrent
4. Chance To Fail
5. About Lies
6. Come Alive
7. Ocean Child
8. Nightflight
9. Red Soil
10. Dormant

HIRAES Line-up:

Britta Görtz – Vocals
Lukas Kerk – Guitars
Oliver Kirchner – Guitars
Christian Wösten – Bass
Mathias Blässe – Drums

Source: Vampster

The Sam Rosenthal and vidnaObmana (aka Dirk Serries) collaboration album “Terrace of Memories”, kickstarted earlier this year, will be released in a remastered version on January 12 2024. The album will be re-issued, as a download, as a limited edition CD (500 copies) and on vinyl (limited to 250 copies per color, either dark green in crystal clear or grey in dark green).

The CD comes as a 6-panel digipak with additional images. Note that the Bandcamp digital release will have five bonus unreleased source tracks.

1992’s “Terrace of Memories” was recorded when Sam Rosenthal (Black Tape For A Blue Girl’s founder/synthesist, then based in Los Angeles) and Dirk Serries (then recording under the moniker vidnaObmana in Belgium) blended their electronics. The whole was based on a text written by Sam concerning a lost love. This was the duo’s only collaboration.

Related newsKickstarter campaign for physical formats remastered edition Sam Rosenthal / Vidna Obmana collaboration LP 'Terrace of Memories'The whole was remastered by Dirk Serries himself.

Sam Rosenthal and vidnaObmana release remastered version 1992 album ‘Terrace of Memories’

About this Sam Rosenthal and vidnaObmana album

Both Dirk and Sam talked about their recollections of this recording session.

Here’s Dirk’s recollection of the project: “Back in the days, pre-internet, we traded a lot of tapes by mail. Projects and collaborations took much longer to complete due to the longer waiting times, waiting for the postal system to do their work. When I started to correspond with Sam in the mid-80s, I was very into the albums by his Black Tape For A Blue Girl band. The eerie atmospheres and ambience surrounding the songs were really mesmerizing, and I could imagine a blend of Sam’s sound-structures with my ambience. I sent him sources on tape. But with every collaboration release back then, time moved by before something was completed, again due to the slower way of communicating. I appreciated Sam’s brilliant interaction and additional performances. ‘Terrace of Memories’ is a real Sam Rosenthal & vidnaObmana collaboration, and I truly wonder why we never did a follow-up. Enjoy.”

Related newsWhen a cat makes a recordSam Rosenthal from his side says this: “As far as I can recall, I began working on this collaboration with Vidna after the recording of ‘A Chaos of Desire’ in 1989. Dirk sent me cassette tapes of music, and I worked on my 8-track but got distracted by other projects. The project was pushed to the back-burner, and the album wasn’t finished and mixed until 1992. Quite honestly, I only have the vaguest memory of working on it in my The Lush Garden studio in Los Angeles. I remember that even a few weeks after I finished a piece, it was hard for me to tell which parts I played and which parts were Dirk’s. Aside from the low cello sound on my eMax, and the very slight vocals on the one track, who played what is a blur. That’s cool. It’s a great ambient blend.”

Source: EBM.gr

The Sam Rosenthal and vidnaObmana (aka Dirk Serries) collaboration album “Terrace of Memories”, kickstarted earlier...

Source: Side Line

Support: Abélard15.07.2023 – Berlin, Olympiastadion Rammstein spielten Samstagabend das erste von drei angesetzten Konzerten im Berliner Olympiastadion. Freudige Erwartung herrschte beim Opener „Royal Fireworks“ von Georg Friedrich Händel, der auf das verwies, was da folgen sollte. Dass es banal ausgedrückt ein „Konzert“ gewesen ist, wird der Sache nicht gerecht, denn es war wieder eine Show […]

Source: Orkus

Die finnische Blackgaze Metal Band EINVIGI hat ein Video zum Titelsong ihres nächsten Albums „Monokroma“ veröffentlicht. Das 3. Album der Finnen erscheint im Frühjahr 2024 bei Einheit Produktionen. Die Band wurde 2014 gegründet und singt in ihrer Landessprache über finnische Folklore und Natur.
https://linktr.ee/einvigiofficial
https://einvigiband.bandcamp.com/album/y-kulje-kanssani

Source: Amboss-Mag.de

Das warme Wetter lässt einen noch nicht richtig in Konzertstimmung kommen diesen Oktober. Zu sehr locken Spaziergänge, Restaurants mit Außenterrasse und Aussicht – Bands, die bereits auf Tour sind und die Festivalsaison hinter sich gelassen haben, haben das Nachsehen. So ist es keine Überraschung, dass an diesem Mittwochabend um 19 Uhr der Großteil der Gäste noch immer im lauschigen “Garten” des Gaswerks im Schwyzer Seewen weilt, gemütlich Bier trinkt und miteinander diskutiert und den Feierabend genießt. 

Das Gaswerk aus einer anderen Zeit
Sofort fällt auf: Hier in Schwyz ticken die Uhren anders als in Zürich. Man weist sein Ticket vor – und erhält keinen Stempel aufs Handgelenk. Keine Durchsuchung, keine bärbeißige Security, kein Depotsystem. Stattdessen Vertrauen, Gastfreundschaft, Freundlichkeit und Getränke in richtigen Gläsern (beziehungsweise Tee in großen gepunkteten Porzellantassen). Das Gaswerk in Seewen mag eine junge Kulturstätte sein und topmodern aussehen, aber Leute mit dem Bierhumpen in der Hand habe ich schon seit einer gefühlten Ewigkeit nicht mehr an einem Konzert gesehen. Dazu gesellen sich faire Getränkepreise und extrem saubere Klos – doch, dieser Club kommt definitiv auf die persönliche Liste für gute Locations. 

SKAPHOS

Doch eigentlich gibt es heute primär einen Geburtstag zu feiern – VADER zelebrieren ihr 40jähriges Jubiläum mit einer ausgedehnten Europatour. Den Abend einlärmen dürfen die Franzosen von SKAPHOS. Diese haben sich ganz dem gruseligen Seemannsgarn verschrieben. Die Bühne zieren (zum Glück geruchsfreie) Fischknochen, Fangnetze und Tiefseefisch-Banner, die Band selber sieht aus, als hätte sie sich von Davy Jones und seinem Kraken persönlich das Corpsepaint aufs Gesicht malen lassen. Statt Schwarzmetall gibts bei den Franzosen indes eher eine brachiale Black / Death Metal-Mischung, bei denen anfänglich vermutete Melodien in den Wogen der Brutalität untergehen. 

Lauer Abend gegen Meeresungeheuer
Selbst wenn SKAPHOS hier und da ähnlich unheimlich klingen wie AHAB, so regiert doch das Gebolze. Vom ersten Album “Bathyscaphe” holzen die Franzosen den Titeltrack und auch “US OH”. Die Ansagen des Quartetts beschränken sich auf ein Minimum und das Publikum lässt sich nur zaghaft durch die dissonanten Klänge vom lauen Abend draußen weglocken. SKAPHOS geben sich professionell und unbeirrt, mehr als einen soliden Eindruck hinterlassen die Franzosen an diesem Abend allerdings nicht.  

AETHERIAN

Die Griechen von AETHERIAN sind das komplette Kontrastprogramm zu SKAPHOS. Banner mit anmutigen Mythen-Illustrationen lassen vermuten, dass AETHERIAN nicht die kompromisslose Satanshuldigung à la alte ROTTING CHRIST durchgeben werden. Und tatsächlich – AETHERIAN überraschen mit sehr melodiösem Pagan Metal und sind stellenweise fast schon fröhlich. Sänger Panos Leakos (BLASTEROID) interagiert mit dem nun in größerer Zahl vorhandenen Publikum, reißt mit und wer sich an Bands wie SVAVELVINTER oder den älteren Zeiten EQUILIBRIUMs erfreut, dürfte an diesem griechischen Quartett wohl seine helle Freude haben. Das Publikum macht ordentlich mit, der Sound überzeugt genauso und AETHERIAN dürfen den heutigen Auftritt definitiv als Erfolg verbuchen. Pluspunkte gibts für die wirklich schön gestalteten T-Shirts und die anständigen Merch-Preise. 

Setliste AETHERIAN
1. Clouds Gathering

2. Seeds of Deception

3. Drops of Light

4. Dark Earth

5. Primordial Woods

6. Black Sails

7. At Storm`s Edge

8. The Rain

VOMITORY

VOMITORY waren just letzten Monat am MEH SUFF METALFESTIVAL im schweizerischen Hüttikon zu Gast. Während bei anderen Bands dies oft dazu führt, dass Publikum zu Hause bleibt, weil man die Band ja eben erst gesehen habe, so scheint dies bei den Death Metallern aus Värmland nicht der Fall zu sein – im Gegenteil. Viele denken sich, dass 12 Jahre Wartezeit auf das aktuelle VOMITORY-Album “All Heads are gonna roll” mehr als genug gewesen sind und man sich deswegen VOMITORY ruhig ein Mal pro Monat live geben darf. Obwohl an diesem Abend im Gaswerk VOMITORY mit einem geänderten Line Up antreten: Die Gitarristen Ubbe und Peter konnten aus beruflichen Gründen nicht die ganze Tour mitmachen, weswegen heute Abend Christian Fredriksson (INFERIOR) und Kalle Sundin (GEHENNAH) bei VOMITORY aushelfen. Christian hatte schon Leads auf “All Heads are gonna roll” beigesteuert, von dem her also die logische Wahl. 

VOMITORY sind trotz Session-Gitarristen eine Einheit
VOMITORY sind indes trotz Session-Gitarristen an diesem Abend eine Einheit. Drei Wochen auf Tour haben Spuren hinterlassen – die Schweden spielen tight wie ein Kamelhintern im Sandsturm. Und dies trotz der ausgewechselten Gitarrenfraktion. Das Publikum ist entsprechend begeistert und bei der Sache. Da müssen dann doch einige ihren Glashumpen auf die Bühne stellen, damit sie ungestört headbangen können. VOMITORY sind leidenschaftlich bei der Sache und es wird klar, dass das aktuelle Album “All Heads are gonna roll” bereits bekannt und beliebt ist beim Publikum. Beim Reisser “Raped, Strangled, Sodomized, Dead” gibts sogar “hey, hey, hey”-Chöre vom Publikum beim Refrain, was zwar arg ungewöhnlich anmutet an einem Death Metal-Konzert, gleichzeitig aber das “Hit-Potential” des Songs unterstreicht. Sehr geiler Gig von VOMITORY. 

Setliste VOMITORY am 11. Oktober 2023
1. All heads are gonna roll

2. Stray bullet kill

3. Terrorize brutalize sodomize

4. Piece by stinking piece

5. Revelation Nausea

6. Ode to the meat saw

7. Regorge in the gorge

8. Rebirth of the Grotesque

9. Redemption

10. Raped, Strangled, Sodomized, Dead

11. Chaos Fury

VADER

Mit flinken Fingern baut die routinierte VADER-Crew nach VOMITORY die Bühne um. Kurz darauf betreten VADER die Bühne und werden begeistert begrüsst. Das polnische Death Metal-Urgestein hat sich auch einiges vorgenommen für den heutigen Abend. Denn wenn das Jubiläum schon “40 Years of VADER” heisst, dann werden auch gefälligst alle Epochen der Bandgeschichte berücksichtigt. VADER nehmen die Aufgabe chronologisch in Angriff und zeigen trotz 40 Jahre Bühnenleben keinerlei Müdigkeit. 

Von “Decapitated Saints” bis “Carnal”
Die Setliste der Polen enthält dann auch alles an Brachialem, was es für den gepflegten Death Metal-Abend braucht. Von den ruppigen Anfängen im Sinne von “The Wrath” bis zu den persönlichen Highlights “Carnal” und “Wings”. Man kann im Publikum ziemlich genau sehen, bei welchem Song die jeweilige Person VADER für sich entdeckt hat. Altersbestimmung mittels VADER-Songmaterial! Es funktioniert. Fronter Peter ist sichtlich begeistert von seinem Publikum und seine Ansagen werden beklatscht und mit Johlen beantwortet. Technisch macht macht VADER ebenfalls nichts vor an diesem Abend, doch die Interaktion mit dem Publikum steht trotz aller Technik nicht hinten an. VADERs Set fällt so üppig aus, dass sich gegen Ende sogar die Reihen im Saal etwas lichten – die Arbeit am nächsten Tag ruft wohl den einen oder anderen genauso wie die letzte ÖV-Verbindung. Das tut der Stimmung allerdings keinen Abbruch und VADER beweisen, dass man auch nach 40 Jahren noch genauso passioniert Death Metal zelebrieren kann wie am ersten Tag. Ein gelungener Todesmetall-Konzertabend in einer Location wie aus einer anderen Zeit. Wunderbar. 

Setliste VADER am 11. Oktober 2023
1. Decapitated Saints

2. The Wrath

3. Chaos

4. Vicious Circle

5. Dark Age

6. Silent Empire

7. Sothis

8. Black to the Blind

9. Carnal

10. Wings

11. Cold Demons

12. Epitaph

13. Dark Transmission

14. This is the War

15. Helleluyah!!! (God is Dead)

16. Triumph of Death

Source: Vampster

BOKASSA haben mit einem Video zu “Let’S Storm The Capitol” eine weitere neue Single veröffentlicht – der Song stammt vom neuen Album “All Out Of Dreams”, das am 16. Februar 2024 via Indie Recordings veröffentlicht wird.

Die Band beschreibt ihre neue Platte so:

„All Out Of Dreams ist ein Album, auf dem das Gefühl der Resignation in mehreren Tracks präsent ist. Ob es nun um das eigene Versagen geht oder ob man das Gefühl hat, dass das System versagt hat – vielleicht aufgrund einer verfehlten Regierungspolitik – oder dass man einfach komplett aufgegeben hat. Der gemeinsame Nenner ist, dass alle, von denen man in den Texten hört, die Hoffnung verloren haben, worauf auch der Titel des Albums – All Out Of Dreams – anspielt. Der Name des Albums könnte allerdings auch als direkte Anspielung auf unsere eigene Karriere und den Traum von der eigenen Privatinsel im Pazifik gesehen werden. Leider müssen die Massen erst noch einen guten Musikgeschmack entwickeln – dieser Traum ist also derzeit wohl eher nicht existent.“

Im Oktober teilten BOKASSA die Single “All Out of Dreams”. Im Song geht es die Vorteile des Eremiten-Daseins:

Wenn fast alles mittelmäßig erscheit, und man bei Treffen nur leeren Smalltalk wiederkäut, kann man das Ganze auch einfach sein lassen und zu Hause bleiben. Dies ist ein Song über den Versuch, den Kontakt mit anderen Menschen zu vermeiden und sich in seine eigenen Gedanken und Hobbys zu flüchten. Zum Beispiel Computergames,  das deutet ja das Intro an.  Es ist eine Art Hymne für “freiwillige Einzelgänger”, ein Lied für alle, die sich fühlen wie Stan in der South Park-Folge “You’re Getting Old”!”

Schon im August teilten die Norweger mit einem Video zu “Garden Of Heathen” bei YouTube den ersten Track der kommenden Platte.  Für “Garden Of Heathen” hatten BOKASSA mit Lou Koller von SICK OF IT ALL zusammengearbeitet.

BOKASSA beschreiben den Track so:

“Garden of Heathen” ist ein schneller, riff-orientierter und melodischer Stonerpunk-Songs mit einem unserer besten Refrains. Ein Favorit der Band und der perfekte Album-Opener. Seine Explosivität macht ihn zu einem echten Knaller. Und dass Legende Lou Koller von SICK OF IT ALLbei diesem Song zu hören ist, ist einfach nur episch!”

Im November und Dezember sind BOKASSA mit THERAPY?  auf Tour.

BOKASSA supporting THERAPY? Deutschlandshows

09.11. Grünspan, Hamburg
10.11. Gebäude 9, Köln
11.11. Das Bett, Frankfurt
12.11. Backstage, München
16.11. SO36, Berlin

BOKASSA “All Out Of Dreams” Tracklist

The Ending Starts Today
Garden of Heathen (feat. Lou Koller) (Video bei YouTube)
Straight Edgelord
All Out Of Dreams (Video bei YouTube)
Bradford Death Squadron (feat. Aaron Beam)
Let’s Storm The Capitol (Video bei YouTube)
Everyone Fails In The End
Gung Ho
No More Good Days
Crush (All Heretics)

Source: Vampster

Der Rammstein-Keyboarder Christian „Flake“ Lorenz feiert heute seinen 57. Geburtstag. Alles Gute! Schon gewusst?• Flake misst stolze 1,93 Meter.• Als Kind stotterte er stark. Heute bezeichnet er sich als Hypochonder, der lange unter Flugangst litt.• Er machte eine Ausbildung zum Werkzeugmacher• Ansonsten ist er Kunstgalerist, Regisseur, verkaufte und kaufte Westautos, war als Oldtimeverleiher tätig und […]

Source: Orkus

Das gab es noch nie! Erstmalig in der Festivalgeschichte von Rock am Ring gaben die Veranstalter auf einen Schlag das gesamte Line-up der nächsten Edition bekannt. Fanservice as it’s best! Der viel diskutierte, moderne „Rap am Ring“ der letzten Jahre wurde auf ein Mindestmaß reduziert. Stattdessen besinnt man sich zurück auf erstklassige Rockmusik, punkig Einschläge […]

Source: Orkus

Achtung: Alle Neuabonnentinnen und Neuabonnenten können eine von vielen spannenden Aboprämien wählen. Aktuell haben wir teils limitierte und signierte CDs von u.a. Lord Of The Lost, Grausame Töchter, Eisfabrik, Absurd Minds, Versengold, Within Temptation, Lacrimosa, Mono Inc., Fiddler's Green, OMD, Lol Tolhurst x Budgie x Jacknife Lee, In Strict Confidence, Myrkur, Duran Duran, Eisbrecher, Oomph!, The Dark Tenor, 30 Seconds To Mars und Joachim Witt als Sonderprämien, außerdem viele weitere reguläre Prämien!

Source: Sonic Seducer

Die Whispering Sons haben ein neues Album für den Februar angekündigt! Mehr Infos und das Musikvideo zur neuen Single "Cold City" hier!

Source: Sonic Seducer

ENFORCED haben zu ihrem Song “Casket”ein Video veröffentlicht.  Ursprünglich war der Track Teil der Flexi-Serie von des Decibel-Magazines und wurde dort im Januar 2022 veröffentlicht. w

“Casket” handelt von Alkoholmissbrauch,  Frontmann Knox Colby erklärt dazu:

“Es geht um Alkoholmissbrauch. Ein Fass (Cask) enthält Alkohol. Ein Sarg (Casket) enthält Leichen – ich kenne Geschichte dieser Wörter nicht, aber der Tod durch Alkoholmissbrauch scheint auf einer rein etymologischen Ebene offensichtlich zu sein. Er spiegelt den Punkt wider, an dem eine Person nicht mehr zwischen richtig und falsch oder echt und falsch unterscheiden kann. In diesem Moment ist man tot.”

Source: Vampster

Bringing forth a macabre concoction of gothic, doom, and hard rock, The Sixth Chamber has at last unveiled the new album, Beyond the Night Veil. Written and produced over the course of several years, the album sees the L.A. based trio diving into occult themes and vampiric atmospheres [..]

Source: RE:GEN Mag

Die Liste an Gastmusikern des neuen ENTERPRISE EARTH Albums ist lang: Ben Duerr (SHADOW OF INTENT), Matt Heafy (TRIVIUM), Darius Tehrani (SPITE), Wes Hauch (ALLUVIAL) – sie alle haben in irgendeiner Form an “Death: An Anthology” mitgewirkt. Das Album wird am 2. Februar via MNRK Heavy veröffentlicht.

Nun haben ENTERPRISE EARTH auch ein Video zu “The Reaper’s Servant” veröffentlicht, an dem Track ist auch Darius Tehrani (SPITE) beteiligt.

Als erste Single hat sich die Metalcore-Band den Song mit Ben Duerr ausgesucht und Anfang Oktober ein Video zu “King of Ruination” veröffentlicht.

ENTERPRISE EARTH kommen ab Ende Januar 2024 zusammen mit SUFFOCATION, SANGUISUGABOGG und ORGANECTOMY auf Europatour.

“Hymns From The Apocrypha European Tour 2024” mit SUFFOCATION, ENTERPRISE EARTH, SANGUISUGABOGG, ORGANECTOMY
26.01.24 Dortmund @ Junkyard
02.02.24 Aarau @ KiFF
04.02.24 Salzburg @ Rockhouse
06.02.24 Vienna @ Viper Room
07.02.24 München @ Backstage
08.02.24 Karlsruhe @ Die Stadtmitte
09.02.24 Frankfurt @ Das Bett
11.02.24 Hannover @ Faust
13.02.24 Hamburg @ Logo
16.02.24 Chemnitz @ AJZ

Source: Vampster

Mit "Outer Dimensions" haben Amaranthe eine neue Single vom kommenden Album "The Catalyst" ausgekoppelt. Mehr Infos und das Musikvideo hier!

Source: Sonic Seducer

Die norwegischen Dark Metal Urväter AETERNUS bieten einen Vorab-Stream des neuen Studioalbums „Philosopher“, das am 17. November über Agonia Records erscheinen wird.
Pre-orders: https://aeternus-philosopher.com/

AETERNUS wurde 1993 von Ares in Bergen, Norwegen, gegründet und gilt als Pionier des Dark Metals, der Black Metal und Death Metal mit Elementen der klassischen Musik und der Volksmusik verbindet. Die Band kreiert ihren charakteristischen Sound durch die Kombination von herausragendem Gitarrenspiel und eindringlichen, melodischen Einlagen. Das aktuelle Line-up besteht aus Gitarrist/Sänger Ares, Gitarrist Gorm, Bassist Eld und Schlagzeuger Phobos (darunter aktuelle und ehemalige Mitglieder von Gorgoroth, Immortal (live) und Gaahls Wyrd).

„Philosopher“ wurde von der Band und Herbrand Larsen in den Conclave & Earshot Studios (Immortal, Enslaved) aufgenommen, produziert und gemischt und von Lawrence Mackrory im Rorysound Studio (Bloodbath, Vomitory) gemastert. Das Cover-Artwork, die Illustrationen und das Layout wurden von Mar.A. (Cultes Des Ghoules, Deus Mortem) gestaltet.

 

Source: Amboss-Mag.de

Genre/Influences: Noise, Experimental, Cinematic. Format: Digital, Vinyl. Background/Info: This is a split release featuring Italian...

Source: Side Line

ALESTORM haben für 22. März 2024 eine neue EP angekündigt: “Voyage Of The Dead Marauder” enthält fünf Tracks und wurde erneut von Lasse Lammert produziert.

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

Derzeit befinden sich ALESTORM im Vorprogramm von SALTATIO MORTIS auf Tour:SALTATIO MORTIS, ALESTORM Tourdaten 2023 bei vampster.

ALESTORM “Voyage Of The Dead Marauder” Artwork

ALESTORM “Voyage Of The Dead Marauder” Tracklist
1. Voyage of the Dead Marauder2. Uzbekistan    3. The Last Saskatchewan Pirate              4. Sea Shanty 25. Cock

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

Fotogalerie: ALESTORM – Backstage Werk, München – 06.01.2023

Source: Vampster

With the singles “Battle Lines” and “The Art of Lust”, Deep Reed are back twenty years after their last release. Then as now, the duo from Miami stands out with their darkwave sounds and haunting synth sounds. Martha and DC explain how they decided to revive the project and what the two new pieces are […]

Source: Orkus

Die Nu-Core-Band SUNFALL hat nach “Return To Sender” und “Nothing” mit “Reapers” eine weitere Single mitsamt Video-Clip veröffentlicht. Der Track ist eine Zusammenarbeit mit TEN56.

Zum vorherigen Stück “Nothing” erklärt Sänger Aidan Cooper:

“Dieser Song ist eine Notiz an mich selbst, um mich daran zu erinnern, das Leben in der Gegenwart zu genießen. Anstatt auf das zu schauen, was ich nicht habe und was nicht da ist, schaue ich auf alles, was ich habe und auf alles, was ich getan habe und worauf ich stolz sein kann.”

Es ist das erste Ergebnis der Zusammenarbeit der Briten mit ihrem neuen Label Out Of Line Music.

SUNFALL sind Sänger Aidan Cooper, Gitarrist Oliver Welzen-James, Bassist James Titcomb und Drummer Ryan Wood.

SUNFALL “Return To Sender” (Video bei YouTube)

SUNFALL “Nothing” (Video bei YouTube)

Source: Vampster

Insgesamt 17 Bands werden beim EASTER CROSS am 30. und 31. März 2024 in der Neckarhalle in Oberndorf spielen – die ersten Namen haben die Veranstalter jetzt bekannt gegeben:

BENEDICTION, ANNISOKAY, MANTAR, CALLEJON, IGNITE; DUST BOLT; AVIANA; CROWN MAGNETAR und AVRALIZE werden auf der Bühne stehen.

Noch bis 1.Dezember gibt es Karten für das EASTER CROSS 2024 zum Early Bird-Preis ab 49,90 für einen Tag und ab 79,90 für beide Tage. Danach werden die Preise erhöht.

Source: Vampster

Heute feiert Thomas Lindner seinen 47. Geburtstag. Wir wünschen dem Sänger von Schandmaul alles Gute sowie viel Kraft für seine Genesung! Falls Du es nicht mitbekommen hast: Bei ihm wurde ein Karzinom im Rachenraum festgestellt, das mittlerweile entfernt wurde. Schon gewusst?• Thomas singt, spielt Klavier sowie Akustikgitarre und Akkordeon.• Seine erste Band gründete er im […]

Source: Orkus

2023 may have seemed like a quiet year for GosT, but it has certainly not been the case with the announcement of a new album to arrive in the first quarter of 2024. With the title track available to preview, Prophecy presents a continuous showcase of the Michigan act’s horror synth sound [..]

Source: RE:GEN Mag

Musik spielt in Computerspielen zweifellos eine bedeutende Rolle, da sie eine unvergessliche Atmosphäre schafft und die Spieler in die Spielwelt eintauchen lässt. Dies gilt beispielsweise für Rockmusik, die durch ihre kraftvollen Gitarrenriffs, ihren Kultstatus und ihre große weltweite Fangemeinde eine herausragende Position einnimmt. Dieser Artikel beleuchtet legendäre Rock-Hits in den Soundtracks beliebter Spiele, die sich […]

The post Top 10 der Computer-Spiele, deren Soundtracks Rocksongs sind first appeared on .

Source: KlangWelt

Gitarrist Max (Foto) hat nach 13 Jahren seinen Ausstieg aus der Post Black Metal-Band HERETOIR bekannt gegeben, um sich künftigt stärker seinem Privatleben widmen zu können. Die Trennung erfolgt dabei im Guten, wie die Formation betont:

“[…] Diese Entscheidung ist natürlich ohne böses Blut getroffen worden.Wir werden ihn sehr vermissen, aber wir sind froh, dass wir so viele fantastische Erinnerungen an die letzten 13 gemeinsamen Jahre mit uns tragen. Max war ein extrem lustiger Mensch, mit dem man die Straße/diese Abenteuer teilen konnte – aber auch ein sehr vorsichtiger Mensch, der immer alles bedachte, was irgendwo schief gehen könnte, was uns mehr als einmal den Arsch gerettet hat! Max kümmerte sich in jeder Angelegenheit um unsere Vernunft und unser Gewissen und gab sich immer sehr viel Mühe, im Hintergrund an vielen verschiedenen Dingen zu arbeiten.

Aber vor allem war und wird er natürlich ein wunderbarer Freund bleiben.

Wir danken ihm für all die Arbeit, die er in die Band gesteckt hat und für seinen Anteil daran, wo Heretoir heute steht.

Danke Max – bis wir dich vor der Bühne wiedersehen!”

Gitarrist Max selbst äußert sich wie folgt:

“Nach reiflicher Überlegung verlasse ich Heretoir nach 13 Jahren, mit einem lachenden und einem weinenden Auge.

Ich bin glücklich, dass Heretoir größer und aktiver ist als je zuvor: Wir sind als Band, als Musiker, vielleicht auch als Menschen über die Jahre gewachsen. Wir haben dieses Jahr viele Shows gespielt und das Feedback war großartig.Aber sowohl mein Familien- als auch mein Berufsleben neben der Band haben sich in den letzten Jahren verändert und sind nicht mehr damit vereinbar, so viel unterwegs zu sein.

Daher habe ich mich entschieden, meinen Platz zu räumen, um die anderen nicht zu behindern oder meine körperliche und geistige Gesundheit zu riskieren.

Danke an alle, die zu unseren Konzerten gekommen sind, unsere Musik gekauft haben, uns einen Platz zum Schlafen gegeben haben, unser Merch verkauft haben, dafür gesorgt haben, dass wir gut klingen, uns gebucht, gefördert, unter Vertrag genommen oder uns anderweitig unterstützt haben. Ihr wisst, wer ihr seid.

Ich bin sehr dankbar für diese ganze Erfahrung. Es war ein verrückter Ritt. Ich danke euch. Und wer weiß, vielleicht sehe ich mich ja hier oder da mal aushelfen 🙂 .

PS: Ich freue mich darauf, Heretoir zum ersten Mal vom Publikum aus zu sehen.”

Zuletzt veröffentlichten HERETOIR das Album “Nightsphere” (2023).

Fotogalerie: HERETOIR – War Against War 2023 – 11.11.2023

Source: Vampster

The ambitious Danish synthpop duo SoftWave has just released their second album “Things We’ve Done” (Elektro-Shock Records). Jerry Olsen and Catrine Christensen describes their melodic 10-track album as “a musical journey that encompasses the challenges living in a world full of dualities”. After releasing their debut album “Game on” in 2019, SoftWave has supported OMD on […]

Source: Release Music Magazine

In the midst of the pandemic’s somber days, a delightful beacon of nostalgia and camaraderie shone through in the form of the <a href="https://curiouscreaturespodcast.com/">“Curious Creatures”</a> podcast. This aural treasure, hosted by none other than <a href="https://www.instagram.com/lol.tolhurst/">Lol Tolhurst</a> and <a href="https://www.instagram.com/budgie646/?hl=en">Budgie</a>, the legendary drummers from <a href="https://www.instagram.com/thecure/?hl=en">The Cure</a> and <a href="https://www.instagram.com/siouxsieandthebanshees/">Siouxsie and the Banshees</a>, became a gateway to intimate and informal conversations with fellow musicians and artists. The ambiance of the podcast is so vivid and inviting, that it’s as if you’ve snagged a prime seat at a bustling Los Angeles diner, coffee in hand, immersed in a Tarentino-esque scene while ensnared the yarns spun by these post-punk icons, pivotal figures who “drew the map” of the goth and post-punk scene during its formative years.

And Tolhurst extends his storytelling prowess beyond the podcast. Following his 2016 memoir <a href="https://loltolhurst.com/cured/">“Cured,“</a> he recently unveiled <a href="https://loltolhurst.com/gothic/">“Goth: A History.”</a> This book, a subjective yet insightful exploration of the goth subculture, is narrated by Tolhurst himself in the <a href="https://www.audible.com/pd/Goth-Audiobook/B0BZJRN2H5">audiobook version</a>, featuring a foreword by Budgie. It’s a journey that revisits the hallmarks of goth music, including Joy Division, Bauhaus, The Banshees, and The Cure, alongside a nod to the criminally underrated And Also The Trees. The narrative is poignant and personal, resonating deeply with anyone who found solace in the shadowy embrace of goth culture during their youth.

Tolhurst’s reflection on The Cure song he penned coinciding with his mother’s passing, <a href="https://www.thecure.com/lyrics/all-cats-are-grey/">“All Cats Are Grey,”</a> is particularly moving, especially as it also echoes the sentiments of loss and grief prevalent during the pandemic, drawing parallels to the song’s origins in his mother’s experiences during World War II’s air raids. The song, in this context, transcends into a sublime expression of universal mourning.

The book also uncovers the profound impact of Sylvia Plath’s writings on Tolhurst and The Cure, revealing a fascinating layer of influence that fans and readers alike will find quite illuminating.

Meanwhile, the vibrant musical scene of 1983, the year that “Goth” as a subculture was arguably born, was a tapestry of collaboration and innovation. One of these collaborative bands was <a href="https://post-punk.com/artwork-of-the-gloves-jeanette-landray-plus-interview/">The Glove</a>, a project uniting Robert Smith of The Cure and Steven Severin of the Banshees. And featuring Andy Anderson, Porl Thompson, and Jeanette Landray, Budgie’s ex-girlfriend and a former <a href="https://www.youtube.com/watch?v=Nkyb3UbgryQ">Top of the Pops dancer</a>, as their frontwoman. Their album “Blue Sunshine” was a psychedelic gothic masterpiece, diverging from their main bands’ typical sounds. Concurrently, Siouxsie Sioux and Budgie’s venture, The Creatures, experimented with exotica in their album “Feast,” showcasing a refreshing deviation from punk.

The era also witnessed The Venomettes joining The Cure for a <a href="https://www.youtube.com/watch?v=fb-BBCj-Ehk">haunting rendition of “Siamese Twins” on BBC2’s Riverside program</a>, a striking mix of classical and post-punk elements. This performance was the only time that Steven Severin played bass with The Cure, and was one of the last times Lol Tolhurst was behind the kit. Marc and the Mambas, another influential group of this time, led by Marc Almond and featuring Matt Johnson of The The, future Banshee Martin McCarrick, The Venomettes, and more, blended vaudeville and goth in “Torment and Toreros,” with Smith and Severin contributing to writing the single <a href="https://www.youtube.com/watch?v=kU8t84PkV20">“Torment.”</a>

The epicenter of this cultural ferment was the Batcave, a crucial hub for these musicians. It was a gothic enclave where Annie Hogan of the Mambas DJ’d, encapsulating the era’s dark, diverse, and adventurous spirit.

Flash forward to 2023, and we witness a remarkable collaboration between Tolhurst, Budgie, and renowned producer Jacknife Lee in the album “Los Angeles.” This full-length album, released in November, marks a dynamic moment in indie, goth, and post-punk music, blending iconic drumming with modern and stylish alternative rock soundscapes. With its lead single, “Los Angeles” featuring James Murphy, a lovingly honest tribute is paid to the city’s vibrant energy. Tracks like “Uh Oh,” featuring Arrow De Wilde (Starcrawel) and Mark Bowen (Idles), and “Ghosted at Home” with Bobby Gillespie, showcase the album’s dynamic range. The single “We Got to Move,” featuring Isaac Brock (Modest Mouse,) delves into existential themes, adding to the album’s lush narrative threads and avant-garde rhythms and beats.



Speaking to Lol in Los Angeles and Budgie on Holiday in southern France, their experiences during the pandemic’s onset reveal a story of divergence and resilience. Their accounts, much like their music, are a testament to the enduring spirit of creativity and collaboration in the face of change, an experience paralleled in my own life’s narrative, as I left Berlin for Los Angeles, crisscrossing paths with Budgie via LAX.

I moved here at the beginning of the pandemic. Actually, I moved here on March 12th. Came from Berlin to Los Angeles.

Budgie:
You’re kidding.

I’m not kidding.

Budgie:
I was- I was going the other way! I was leaving. But. LAX. When you got to LAX, it was empty.

Oh yeah, it was very empty. It was eerie, in like it was the quickest drive from LAX to where I had to go. Like, ever.

Budgie:
Did you spend time in Berlin?

Ten years.

Budgie:
You were ten years in Berlin!

We met there, actually. You were doing a gig with Knox Chandler over in a place that looked like an abandoned living room.

Budgie:
Was it an abandoned living room? Was it? They call that place. It was called a really little bar in Kreuzberg.

Something like that.

Budgie:
Knippel (?) People named it after apparently the little dachshund dog of the owners. Lovely couple. And Knox and I put this thing together with Mark Plati. Mark was the bass player, and a musical director with David Bowie for about ten years. And wonderful, wonderful man. And a kind of a, you know, if there’s some stories to be told, he has them.

So what, you left…you’ve been there since the pandemic started.

Yeah.

Budgie:
And I left at that time. That’s 2020. And this year, 2023, I think we’ve I’ve been living now my family, two children, a bonus. I’ve been in Berlin since 2009.

So I’m a very humbled old geezer because I have never been more I’ve never been busier, I’ve never been clearer. I’ve never been so, gosh, you know, I can still have mood swings and temper tantrums and “why, why, what about MY feelings?”

And yet they don’t last very long. You know, that they get shorter and shorter, those episodes. And, you know, we have a good old rant as a family, but we all jump in a pool and we’ll cool off, literally, and life as I feel we’re in a new phase. And I don’t know if it has to do with what happened when the lockdown came. Is it to do with ten years prior to that moving to L.A., I mean to Berlin…and…wanting to go to Berlin?

Lol:
A Freudian slip right there!

Budgie:
…Wanting to BE in LA, and not that happening when meeting with Lol IN LA, and just happening to be on tour with John Grant. And John took me to a lot of places where I met a lot of people I hadn’t met in a long time. And we were – we had conversations for the first time ever, you know, with Bobby Gillespie and James Murphy and YOU Lol! We met in the diner in downtown L.A.

We hadn’t seen each other for ages. And it was lovely to see you. You know, we talked on Skype.

Lol:
Forever! But there are no mistakes. I mean, it’s funny you should say about the whole thing with LAX, because I dropped Budgie off at the airport on March the 12th. Right. So he was again, as you’re coming out and, you know, in the parking lot, if your ticket gets [smudged] because everybody is using hand sanitizer, right? So, hand sanitizer on everything. So my parking ticket wouldn’t get read by the machine because all the ink had gone. So I then press that little button where they say somebody will come. And so your problem is now you’re trying to get out of the parking lot. And I knew it was bad because the two guys came in.

Normally, they sort of lean straight inside your car and go, “What’s the problem?” These guys wouldn’t get within ten feet of my car. They’re like, how about the ticket? And so, because everybody was so scared of it, I thought, that’s it for a while. And it was, wasn’t it really?

Budgie:
Yeah, I left. You had a whole bunch of tapes and mixes, and then we thought, Is that it? We got there, and ‘is that the album? And it was, it was been, we’ve been talking just previously, and I’ve been talking I’m writing up a memoir as well. You know, I look over Lol’s shoulder when he’s writing and, oh that, I’ve seen you do this thing.

I wanted to say that I think it’s great that this is a collaborative album. And it is really good and not what I expected it to be.

Lol:
That’s good to hear! I like that. That was that’s my favorite thing because people, you know, back in the old days from the Eighties, you know, you make a record, and then you have to wait six months for it to get pressed where it comes out. Nowadays, everybody makes a record, and tomorrow it’s on Spotify. But we haven’t had that experience. The old experience where we finished it really a year ago properly and have had to wait for this time for it to be out. And you forget that we’ve got so used to how it sounds and what it is. And I forget people’s reaction is going to, yeah, it’s going to be completely different, which is great!

Jacknife Lee, Lol Tolhurst, and Budgie.Photo by Pat Martin
First, I wanted to ask about how both The Cure and The Banshees did a lot of collaborative stuff back around 1983. It seems like everybody was getting together and doing things from different bands at that particular point.

Budgie:
I was talking about that this afternoon with my chap who’s helping me to put my memory together because we were focused on the period where, let’s see, Siouxsie and I had gone off to Hawaii to do our first Creatures record, totally unplanned in terms of what we were going to do, but we had a couple of weeks earmarked and on Oahu at the studio, and we came back with a finished album and photographs and yeah, all mixed. So we wrote, recorded, and mixed AND did the photographs AND had a pretty good time out there as well. Meanwhile, Steven Severin and Robert Smith had formed a little outfit called The Glove. So I imagine this is a hiatus for the Cure, right Lol?

Lol:
Well, yeah, and no, because I was just as we were talking about it, I realized that at that point when from The Glove and then on to the next Banshees thing off of that…

Budgie:
Hyaena..

Lol:
Right. Well, they went on to Hyaena. Robert was coming to the studio out in Reading, Martin Rushent studio, with me to do The Top. So was just me and him out there and Andy Anderson, and then [Robert] would go back and do some stuff on Hyaena, and that’s the point where…

Budgie:
I never knew that…I never knew that. Now I know why he was the way he was. Because. Exactly. <a href="https://www.youtube.com/watch?v=_bhrAwavO9E">He was exhausted</a>…Yeah, because he couldn’t. You came in, Mary. Mary was at the studio, and that young lady was chiseling away his Fender Jaguar and putting, like, wooden trophies on it and hanging bits of chain off it. And it was totally unplayable by the time she finished with it. And Robert would come in and sit down on the back of the control room floor…

Budgie:
And he decided he didn’t want to play guitar. He said, ”I would like to play piano mostly on this album,” and so there was some writing that went on, like <a href="https://www.youtube.com/watch?v=HBAOdL0KyWg">“Swimming Horses”</a> or “Take Me Back.”…Where we’re just Robert and myself jamming an idea. Nobody, nobody else was around. And that was kind of really a sweet memory.

And sometimes I’d have a guitar riff, and Robert would kind of flesh it out, and that became Dazzle, which was based on a little tune that Siouxsie had written on a baby piano. And it was called “Baby Piano,”but we had no idea. I certainly had no idea. Severin might have had an idea that you had already because we looked at the release dates today…

And, what was interesting was when we started on Hyaena, it seemed The Glove had taken such a long time to finish. Siouxsie and I came back from Hawaii, not with a single in the track that they thought we might come back with – a finished album! And they still hadn’t finished! So we went off to Wessex and recorded <a href="https://www.youtube.com/watch?v=8pQBEa4zRMw&t=42s">“Right Now” by Mel Tormé</a> and had a hit single! Totally like a one-off! You know, we recorded it, we mixed it, we packaged it all up. It was the most expensive sleeve we’d ever done, and it was higher than “Happy House” in the charts.

Budgie:
And, Steve and Robert were still unfinished. And we’re thinking, what do we do now? You know? So when we go into the studio, I think the studio was booked before we were even ready, and it just was kind of like a feeling of burnout. And so the first track that went down, I think, was “We Hunger.” It was like a Creatures track. This is way off the subject, but it’s an interesting cross-pollination of ideas.

We even both changed typeface. The Cure’s typeface slipped.

And the Banshees’ Hyaena was, like, almost illegible. Everything went kind of strangely weird around that time.

Lol:
For me, it was strange because I had been in to visit some of The Glove sessions. And you know, what I saw going on wasn’t really recording because…

Budgie:
Did you have a few sweet sherries down there?

Lol:
It was something like that kind of…yeah. So, you know, and then that finished it. We’re like, “Okay, are we just going to do another album?” and “Well, it’s just me and you,” because we were doing the singles. It was just the two of us. And then we thought, “Okay, we’ll get Andy in because we like Andy.” And so he came along, and we lived in this pub at the end of the street where the studio was, which was a bit of a mistake, but I still have the key to that place.

Budgie:
We shall visit one day, Lol!

Lol:
Yeah

Budgie:
We shall go back.

Lol:
That’d be great. But he – Robert would come back. It’s sort of like early evening, and he’d been with, you know, the Banshees most of the day, and it was kind of hectic. But I remember he said, “I’ve got, I’ve got a doctor’s note, so I don’t have to do it anymore.”

Budgie:
I don’t think Siouxsie was too pleased about the doctor’s note. No, no, no, no. Nonplussed, I would say.

I’ll describe the incident in my book, I think.

You know, what was occurring to me is as we were sort of reminiscing, and it sounds like, you know, ‘Oh, I remember that.’ But the funny thing is, we were just… Jacknife has been joining us on quite a few of these early, early interviews, and we’re all remembering what went on in Topanga and Yosemite and around in that two-week period before I left, and you, Alex came in…because we worked so fast. Jacknife’s going, ‘Who started that track? How did that…? I have no idea how it came about, but it was the process, and likening it to some of our most, if you like, off-the-wall memories of recording sessions. Creatures, Banshees, Cure. Because it seems when it’s really working is when you kind of don’t even know what’s going on. You’re actually not in the way of the process at all. It’s like just you feel your conduit, and you’re in full flow, and you’re not questioning, and you just allowing it to take you. And we achieved that really quickly, and it could be down.

You know, hats off to Jacknife for creating the space that felt safe. And that allowed us just to feel comfortable and not question. And go…

Lol, you tell the story so nice about driving home down back down the Canyon and get to yours. And we’d play to Cindy, your lovely wife, what we’d done that day, and she’d be just like:

“Wow, it sounds great.”

“Does it?”

“Yeah, it does, really!” “Wow. What does it sound like?”

“No idea.”

Lol:
Oh, she’s my barometer for that ‘cause she’s the real music fan in our house. I mean, that sounds funny, doesn’t it? But it’s, like, you know, she goes to all the concerts, she goes to all that stuff, and I don’t because, you know, that that to me is like, well, what do they call it in England? A busman’s holiday! You know, I’m looking at things and watching people and thinking, how do they do that instead of enjoying the concert? Yeah. So I trust her take on things. I knew we were on the right track.

Budgie:
We were so thrilled hearing this stuff because we already tried another with Kevin Haskins from Bauhaus. You know, we’d already tried it as three drummers and somebody else and another person and writing songs and lyrics being stretched and cut and move around, and there’s all singing, backing vocals and things.

And it was like we were sitting down, listening to these 6 minutes of music just in instrumental developments, thinking, This is amazing, this is great. And we had no idea at that point that a vocalist would ever enter the picture again. But that was really, I suppose, a symptom of why we both crossed paths at LAX around the 12th of March 2020

Lol:
Yep. Certainly was.

I feel like the record is a confluence of sounds. Some of it feels like Bowie’s Low. Some of it feels like there are classic Krautrock influences: Can, Kraftwerk, Neu… and I think Bobby just brings this whole Madchester feel to the three that he’s on. Those are amazing. And the closing track on the album, “Skins,” with James Murphy, is…wonderful too. It’s…ah, that wasn’t a question!

Budgie:
You know, Jacknife just encapsulated it really nicely. There was a kind of free flow of trying to find what it was that we had in common. I like that. That’s the way he put it. That’s the way we felt because we were finding out about each other. Lol and I just knew we had something deeper than us both being drummers and bands that just happened to be in and out of each of the studios all the time. We both…our lives would have unfolded in very…

Lol:
Similar ways.

Budgie:
.. In their paths. Yeah, and Jacknife, we didn’t know…certainly didn’t know in that way. But what I felt was he, he, his, his control of his ego was totally intact. It wasn’t there in the way at all. It was just like a clear space. There was no kind of ‘I don’t record those things in that way. “I never use that microphone.” “You can’t do that, it’s not 4:00 yet.” You know, there’s sort of those usual ticks of studios and producers, and it totally suited us because we’d already made a decision to really because of that, if you like, the disappointment of the first little thing or should I say the, the revelation of the first thing that said, no, not this way, we need to try another way. We said, let’s take a step back and just let things take their course.

Jacknife Lee, Budgie, and Lol Tolhurst. Photo by Pat Martin
Lol:
I mean, that was what was really good with Jacknife, because he was totally into that. And, I had met him before- Budgie met him, and I met sort of socially in different ways. I mean, I knew what he did, I knew that he was this hot-shot producer and stuff on that. But that’s really totally different from his real personality, you know?

I went to this hippie festival in Topanga, Topanga Days. And John Densmore was there introducing Willie Nelson’s son’s band or something. And I had never seen them. I didn’t even know who they were, you know. And I was sitting there with Jacknife saying, wow, this is pretty good. I mean, I don’t like country music, but this sounded like punk country to me. So that was great. It was a sort of opening of my mind to different things. And we just talked for a couple of hours about what all this was going on.

And then after our first foray into it with Kevin [Haskins], who is a great guy, we still love him and everything, but he had to go off to play with Bauhaus, and it wasn’t going to work, you know?

And I said [to Jacknife], Well, can I bring you [this] big hard drive with a whole bunch of stuff on to listen to? So he said, “Yeah!” So I went up there to his Topanga place, and we listened to it for 3 hours, and he went backwards and forwards [and said], “Why don’t we just rip up and start again?” And I’m like, “Yeah, okay.” And I came out, I called Budgie and said, ‘You know, we’ve got our man! Here’s our guy right here.

Budgie:
And it – and I never went, “What’s does he mean? What does he mean? Like all that hard work is gone now….”

We already knew that’s kind of what we should do. We just needed to have somebody understand that that was where we were at, and how do we move on from that space. So we went to Yosemite, and we communed…

Lol:
We backed some drums out in Yosemite as well. That first drum at the beginning of “Ghosted.” It’s a big sort of bong that’s like – with a friend has the house that that she grew up there, and she gave us this huge great indigenous drum. We just took it out with us into the springs and banged it a lot, then recorded it and took it back. And that’s what starts the track. So, you know, it’s very, very mystical, we’ve become, really.

Did you have any conversations with some of the contributors before? Were any of the artist’s fans of yours coming into this project?

Lol:
Some, I think.

Budgie:
James from LCD – they covered “Slowdive.” I didn’t know that. I’d only met James briefly backstage at T in the Park up in Scotland. And two other members of LCD Soundsystem because they also lived in Berlin.

And Bobby had met many, many times in many, many places and never had a conversation! Not that either of us would remember! Except when I was on tour with John Grant, and I bumped into him backstage, and it was all smiles and hugs, and we talked, and I told him, we just start this project and he was interested. He actually gave me a number of Sky Ferreira, and said, ‘You should get Sky on,’ she’s great. And I spoke to Sky, and she was great to talk to, but we never got into the next part of the conversation because Bobby came back straightaway with not just one but three stabs at everything we sent him. It kind of turned into something different, and the process began where we realized we could have something much different than we planned.

And we asked a lot of other people, and we got yeses and then nothing.

Lol:
I just remembered yesterday that we’d been up in Yosemite, and we texted…we standing in the middle of Mirror Lake.

Budgie:
I forgot that completely!

Lol:
And you said: “Say, you got James Murphy’s number?”

I said, “Yeah,”

“Okay. Text him. Tell him we want him to sing on this thing.”

Okay. We’re standing in this lake, [and he texts back]: “Yeah, sure, I’d love to,” but it took us 18 months to drag that out of it because I think part of him…He likes The Cure and the Banshees’ music so much that he froze. He’ll deny this, but maybe he was a little scared of putting it out there. Or not scared, but he wanted to do it right! Completely right! And it wasn’t until a few…well, his son plays drums, and he had a name for me. Your name was Elegant or something? I think. He had names for us. One-word names. And he wanted to play some Cure songs. So I said, okay, I’ll film myself on the iPhone, how to play these songs, and you send them to your son, and then you have to finish it. He goes, “Yeah, right. Okay.” And then it wasn’t happening. I’m like, “I know you got a studio in Brooklyn. I’m coming out. I can sit there next to you while you do it.”

And suddenly, miraculously, it turned out about three days later, you know. So I was like, Yeah, I don’t think he wanted me to be sitting there while he’s doing something. He likes to do it by himself. So it was great that it turned out great. We’re really happy with it.

Budgie:
Everything lifted our spirits a little higher each time because we realized how, when David de Rossi introduced the strings to the basic beats, and Jordan started working up the brass parts. All sounds very close to my heart, but how they came about was not to do with helping a song along. It was just helping a track to develop when James and Bobby certainly started, you know, Bobby started the ball rolling. I really started thinking not that we have to now make songs, but they’ve already started to create themselves. And, and the one part of me was thinking, “But I really like the instrumental and then the eight-minute version.

Yeah, I can’t get over the fact that we’ve got something that involves a lot, a lot more depth somehow, and a lot more. And, strangely, as living with it for a while, it takes me a long time usually to get into the lyric, and I don’t look for a meaning, but it hit me square between the eyes when I realized that Ghosted at Home was telling my story.

And it just kind of floored me. It wasn’t just a little bit. It was like everything about it was almost like sitting next to somebody who shared the same experience. I don’t know if it’s his first-hand experience of something, you know, but that’s not really the important part. That is, it conveyed itself well. The emotion in the way he sings it. It just hit me so hard. And I thought, wow, if it does that to me, there’s a good chance it could help somebody else.



Lol:
You defined correctly the bits in the music. When you said Low, and you said the Krautrock bands. I did a thing for some other publication with my 13 favorite albums, and Low is in there! I still play that once a week, all these years later, just because it speaks to me.

But Budgie’s right. The lyrics. It’s funny because when we contacted people and said, “Okay, come and sing on it,”…a lot of people said to us..actually, Bobby said, “Would you care to send me some lyrics?”

And I said, “No, we want you to. Here’s what we think about the album. Here’s how we think about it. We want you to do your thing, you know?”

And that was trust, you know, because they could have come back with something that we’d have to. We only had to turn one person down, and we didn’t do it. Jacknife did it. So it was, it was fine. We let him do the coup de grace and go in there. But everybody else, every time we got them back, we were like, “My God, this is perfect. This is exactly what it should be about.”

Let’s see. And the whole thing started to coalesce in this big thing about this city and about where we were at that time and how it was. Okay. So, you know, I hate the idea of a concept album, but it kind of ended up turning out like that without us even thinking about it. You know, it was meant to be that way. So it’s kinda fascinating.



Do you think Los Angeles could be one of the weirdest places on planet Earth? I’m starting to think so, living here.

Lol:
Yes and no. Yes and no.

Budgie:
Are you from L.A?

No, I’m from the east coast.

Lol:
Yeah. I can tell.

Budgie:
Even I can tell.

Lol:
Yeah, it’s the weirdest place, but it’s also not weird, you know? It’s like people come here, and they’re thinking, okay, well, “I’m going to be discovered in Hollywood!”

It’s going to [happen], or you end up getting destroyed, or both things happen, and that’s true.

But I was lucky because I moved here, and I was at the lowest point in my life, my adult life. And, you know, the band had gone, marriage had gone, there was this huge court case, I owed $1,000,000. It was not pleasant, you know, And I arrived here, and gradually, the city took me into its arms and loved me, you know, really. And it became home. And then, you know, my wife grew up here, right? So, you know, I had an instant connection with lots of people because she knows everybody in West L.A. Absolutely. So, then I found the real heart and soul of the place, and there’s a lot of artistic stuff here. There’s a lot of love. But yeah, there’s a lotta nutcases too.

People in London would always go to me, “Yeah. Aren’t you scared of living there with all them guns and stuff?” I say it’s no more scarier than London.

I may have seen the gun drawn twice since I’ve lived here. And both times, it’s been the police.

I think it’s like most things. My mind was open to a new experience, and I had wanted to be a stranger in a strange land. And so I live here. I live here as an American. I’m an American. I’ve got an American passport since 2006. So, I brought the stuff of me, that’s me. And I decided, “Okay, I’m going to try a different life and live a different way.” And it works. It doesn’t always work for people. I know that. So, I tend to enjoy the strange things now and disregard the really insane things that can happen from time to time.

Do you think that Los Angeles has a sense of community? Also, have you felt that you have gained a new sense of community for creative types and musicians through doing the Curious Creatures podcast? How has that possibly changed since you started the podcast?

Budgie:
The view of L.A., or do you mean as much as the podcast has changed?

There are…quite a few of the guests are from the L.A. area of California or from somewhere else living there. Talking about L.A. and Los Angeles, I know I love the Marlboro Man, but he’s gone now. I love the farmers’ market. I love the names. La Cienega.

And La Brea. And I loved a little bit, not so much the Viper Room but the Milky Bar across the street. Somewhat. I liked that you could get pizza at two in the morning and coffee when I was not drinking.

When I came back, everything had changed for me. When I’d lost my house, it felt like the marriage had gone. The band had stopped, and the same thing [happened as Lol] I came out to L.A. because I had friends there. But previously, I’d stayed at the Mondrian or the Beverly Hills or the Tropicana, but it was always a hotel. This time, I was just staying on people’s couches and things, and it just it was just so welcoming again and quite spiritual. I loved the way that, really if you, if you gave a smile, you got one in return. And certainly that doesn’t happen in Berlin very often, does it, Alex?

True.

Budgie:
So it’s really uncanny that we have an album called Los Angeles when it means so much in many ways and is very different to all three of us. And it told us that that’s what it should be. And, in fact, James Murphy probably told us that’s what the album should be called. So that decision wasn’t ours either. And it was just we just agreed with it being the correct route.

So, the podcast has changed us as well because we…Lol, you have a good way of putting how the podcast…

Lol:
Well, with the podcast, we’ve done 70 episodes now, so we’re pretty seasoned podcasters, if you like, which is something I never thought I would be. But we kind of know how to conduct interviews that don’t feel like interviews with most people because mostly deal with musicians.

Not everybody, but we’ve dealt with chefs, skateboarders, and things, but most people react favourably to this. And this is no slight on your profession, but they don’t think that we’re going to ask them…They’re not guarded with us. They’re not guarded at all. And after we start talking for a few minutes, it’s like we’re backstage somewhere at some gig, and we’re just recounting war stories. And that’s what they do. And then, at the end of an hour, they go, “My God, I’ve told them everything. Can you edit that out?”

And no, nobody said…actually, one person said that, do you remember?

Budgie:
It was said before about meeting people backstage and having conversations for the first time. So, like, I hung out with Mickey from Lush many, many times in back in London and Wayne Hussey from The Mission, and we’d worked with Wayne recently on a project he’d done that was done for raising money for the workers, and on the front line of COVID.

But it was really, it’s really having these conversations with people who have contributed to our, or should I say, either from the same time [as us], or they’ve been influenced by something that we might have done, and we’re just able to share it in a broader way with everybody else. And that’s really it.

Maybe, there is a kind of sort of a link between the effect that Los Angeles had on us, the, if you like, the supportive nature of it, you could fall, and that it might pick you up, you know.

Lol:
We had a motto when we started this album, which was twofold. Partly from Waiting for Godot: “Nothing to be done and everything will be done,” because that tells us, “Hey! Get out of your way because it’s coming.”

Budgie:
Maybe L.A. is about stories.

Lol:
Yeah. L.A. Story. They’ve got the title of my next book — right there.



Lol Tolhurst, Budgie, and Jacknife Lee’s Los Angeles LP is out now.

Stany tuned, there are plans underway to bring the record from the studio to the stage for live performances that will showcase this new collaborative project worldwide.

Meanwhile, the album can be ordered on CD and vinyl via <a href="https://lolxbudgiexjacknife.ochre.store/?ffm=FFM_f09acb45118247d809739f86047c90f3">the band’s webstore.</a>

Follow Lol Tolhurst x Budgie x Jacknife Lee:

<a href="https://prescriptionpr.createsend1.com/t/j-i-ekutrht-l-k/">Instagram</a>
<a href="https://prescriptionpr.createsend1.com/t/j-i-ekutrht-l-u/">Facebook</a>
<a href="https://twitter.com/lolbudgiejcknf?fbclid=IwAR2sFfIpVEBs-FwWUoSeKAIs1kTrsYhAni80sz6domQ_IRq2y8lZGMOecJg">Twitter</a>

The post <a href="https://post-punk.com/l-a-story-or-a-tale-of-two-drummers-an-interview-with-lol-and-budgie/">L.A. Story, or A Tale of Two Drummers — An Interview with Lol Tolhurst and Budgie</a> appeared first on <a href="https://post-punk.com">Post-Punk.com</a>.

Source: Post-Punk.com

Über 4 Stunden Musik von Versengold, Within Temptation, Mono Inc., OMD, Lol Tolhurst x Budgie x Jacknife Lee, The Sisters Of Mercy, Visions Of Atlantis, Lacrimosa, Vince Clarke und mehr!

Source: Sonic Seducer

Haus Auensee, Leipzig, Germany 10th November 2023Saltatio Mortis - “Taugenichts Tour 2023” - Support: Alestorm No matter whether you experience SALTATIO MORTIS open air or at an indoor concert, you can always rely on the fact that you will never be disappointed. It’s simply a very good live band that can always inspire their fans at their concerts. And I don’t feel any different, even after seeing the band live so many times now. https://www.saltatio-mortis.com

Source: Reflections of Darkness

Gemeinsam mit Paul Roessler (45Grave) hat Gitane Demone (Christian Death) ein neues Album angekündigt. "The New Young Kings Of Midnight" ist Rozz Williams und Darby Crash (The Germs) gewidmet - mehr Infos hier!

Source: Sonic Seducer

Alice Cooper stellt sein aktuelles Album „Road“ im kommenden Jahr auch in Europa vor – in Deutschland wird er sechs Konzerte geben.

Begleitet wird er von seinen langjährigen Bandkollegen: Ryan Roxie [Gitarre], Chuck Garric [Bass], Tommy Henriksen [Gitarre], Glen Sobel [Schlagzeug] und Nita Strauss [Gitarre].

ALICE COOPER – Too Close For Comfort Tour 2024
12.06.2024 Hamburg, Stadtpark
22.06.2024 Northeim, Waldbühne
01.07.2024 Nürnberg, Stadionpark
02.07.2024 Dresden. Junge Garde
04.07.2024 Butzbach, Schlosshof
06.07.2024 Breisach, Pinot And Rock

Der Vorverkauf für die Deutschlandkonzerte (mit Ausnahme des Pinot And Rock Festivals in Breisach, das bereits im Verkauf ist) startet am Mittwoch, 15. November, um 12 Uhr exklusiv über reservix.de, der offizielle Vorverkauf folgt am Freitag, dem 17. November über weitere Plattformen und Vorverkaufsstellen.

Source: Vampster

Mitsubishi-Electric-Halle, Düsseldorf, Germany 11th November 2023Queens Of The Stone Age - “The End is Nero Tour" - Support: Deep Tan, The Chats Three bands in one evening awaited the audience in the sold-out Mitsubishi Electric Hall in Düsseldorf. Naturally, it was the QUEENS OF THE STONE AGE who drew the fans into the arena. The supergroup had just released their latest studio album ‘In Times New Roman...’ in mid-June 2023. With the eighth album in their bags, the accompanying tour in Europe kicked off at the beginning of November 2023. Josh Homme and his band will be on the road until the beginning of March 2024. We were part of the action in Düsseldorf.

Source: Reflections of Darkness