Die Melodic / Metallic Hardcore-Band STINKY stellt ihre neue Single “Alignment” in Bild und Ton bei YouTube vor. Der Track ist nach “Down In The Dumps” ein weiterer Vorbote des kommenden Studioalbums “Solace”, das am 21. Februar 2025 erscheinen wird. Drummer Paul stellt ein abwechslungsreiches und melodisches Album in Aussicht:

“‘Down in the Dumps’ handelt von den Qualen des Burnouts und dem langen Kampf, sich davon zu erholen. Mit diesem neuen, mehr von Metal/Modern Hardcore geprägten Stück zeigen die Mitglieder von STINKY ihren Willen, neue Horizonte zu erkunden, und versprechen ein abwechslungsreiches und immer melodischeres Album.”

“Solace” ist die erste Platte mit runderneuertem Line-up: Zu Clair (Vocals) und Paul (Drums) stießen mit Max (Bass), Enzo (Gitarre) und Clément (Gitarre) gleich drei neue Mitglieder hinzu.

Einen weiteren Höreindruck der vierten Platte bietet zudem das Video “Moonbow” bei YouTube.

STINKY “Solace” Tracklist

Down in the Dumps (Video bei YouTube)
Grass Snakes
Mourning Flowers
Alignment (Video bei YouTube)
Under Care
Silent Birds
Moonbow (Video bei YouTube)
Natural Savior
Nothing Can Fix It
Soft Sand

Source: Vampster

Haltet eure Uniformen fest und schnürt die Stiefel enger, denn Thomas Rainer und sein Projekt Nachtmahr haben wieder zugeschlagen! Nachdem wir uns gerade erst vom rebellischen Beat...

Source: MedienKonverter

Die Death Metal-Band MAATKARE wird am 18. Oktober 2024 ihr neues Album “Rise To Power” veröffentlichen. Es ist das erste Album der internationalen Band aus Großbritannien und den Niederlangen.

Mit “War Before Peace“, “Black Death“, “May the Gods Bear Witness” und “Rise to Power” gibt es bereits eine Handvoll von Vorab-Tracks. Der Titeltrack sei eine Hommage an eine der beeindruckendsten Frauengestalten der Geschichte, die Pharaonin Hatschepsut (Maatkare), die nach dem Tod ihres Mannes Thutmose II. den Thron Ägyptens bestieg. Das Lied verkörpere die Stärke, die Unverwüstlichkeit und den Trotz einer Frau, die die patriarchalischen Normen ihrer Zeit herausforderte.

MAATKARE Line-Up:
Janneke de Rooy: Vocals
Georgia Bell: Guitar
Amie Chatterley: Bass
Kirsten Shaw: Drums

MAATKARE “Rise To Power” Tracklist
1. War Before Peace (Video bei YouTube)
2. Rise to Power (Video bei YouTube)
3. Long Live the Queen
4. May the Gods Bear Witness (Lyric-Video bei YouTube)
5. Maatkare
6. Judgement Day
7. Black Death (Video bei YouTube)
8. Realm of the Dead

Source: Vampster

Und das alles, obschon ich hier vollkommen falsch bin. Lob an den Koch!

Source: MedienKonverter

Like a phoenix rising from the ashes, you initially crumble to dust in the course of “Ending Things” – which will be released on October 4, 2024. Darkness envelops you and when your own death seems the only logical solution, a light appears. From a glimmer of hope, you finally regain your strength. Sanz accomplish […]

Source: Orkus

  Following the release of her Gold album earlier this year, Tusks has announced a companion EP that explores the wider range of her songwriting and production. The appropriately titled Gold For Synths and Strings EP features classical arrangements of four of the earlier album’s tracks [..]

Source: RE:GEN Mag

Counting all these tears I’ve cried
I’m calling out to you, now speak thy name
Just enough to paralyze
I’m calling out to you, I’ve found my way
Breaking free from a toxic relationship is like waking up from a beautiful dream that slowly devolved into a night terror. You realize, at last, that chasing shadows—the illusions of happiness and love that never quite materialized—no longer serves your deeper self. The emotional turmoil, the pain; they are not your true being, but a story you’ve clung to. Letting go of this madness isn’t simply an escape, it’s a return to your own path, a recognition that the suffering no longer defines you.

Hotter than a July heatwave under Georgia pines, Teardux storms forward, claiming their space in the shadows of dark synth-pop. With Valerie Andra’s voice cutting like a sharp blade through the gloom and Dylan Anderson’s synth beats driving like a midnight car chase, the duo radiates an electrifying energy. Andra’s haunting vocals guide you through the moody streets, while Anderson’s beats build the tension, each note striking with precision. Drawing whispers of influence from the Pet Shop Boys and Clan of Xymox, Teardux adds a raw, dance-driven edge that pulses with underground defiance.

“The Line is a song about the insanity of moving back and forth between oneself, trying to rise above one’s limiting fears and past experiences,” says the band.

Strength isn’t found in resistance, but in surrendering to your own truth, reclaiming your freedom. When you walk away, you’re not abandoning the other person, but the false image you held of yourself within that relationship. In doing so, you leave behind the secrets, the pain, and finally step into the clarity of your own light—stronger, wiser, and unchained. You’ve always had the strength; now, you see it.

And with your newfound wisdom, listen to The Line below and order here.

The Line by Teardux

Live Shows:

Oct 10 Star Bar Atlanta, GA
Oct 20 Boggs Social and Supply Atlanta, GA

Follow Teardux:

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Apple Music

The post Atlanta Duo Teardux Debut Their Latest Dark Synth Pop Anthem “The Line” appeared first on Post-Punk.com.

Source: Post-Punk.com

CONNY OCHS hat mit “Holy Motors” den Opener seines kommenden Albums “Troubadour” veröffentlicht. Die Scheibe folgt auf das 2023er-Album “Wahn Und Sinn” und wurde von Thommy Krawallo im Kabumm Studio gemixt und gemastert. Das Coverfoto stammt von Klaus Nauber.

“Ich hatte den starken Wunsch, ein Album mit dem gleichen minimalen Ansatz wie “Raw Love Songs” und “Black Happy” zu machen, aber mit Themen und Vibes, die meine aktuellen Erfahrungen reflektieren. Da Live-Auftritte immer mein Hauptaugenmerk waren, wollte ich Songs schreiben, die ich in verschiedenen Umgebungen wie Clubs, Festivals und auf Reisen mit minimalen Anforderungen spielen kann. Ich wollte eine bodenständige Platte machen, die es dem Hörer erlaubt, durchzuatmen, aufmerksam zu sein und die Details der Bilder zu erforschen, die sie erzeugt”, sagt der Solo-Künstler.

“Troubadour” wird am 25. Oktober 2024 via Exile On Mainstream Records erscheinen.

CONNY OCHS “Troubadour” Tracklist
1. Holy Motors (Audio bei Americana Highways)
2. Cool Black Stars
3. Trouble Me
4. Edge Of Love
5. Crazy Horse
6. The Boxer
7. Wasp Trap
8. Inside The Man
9. Crow Honey
10. Run With The Devil
11. Way Of The Future

Source: Vampster

Gang of Four erupted from Leeds in 1976, fusing punk’s aggression with funk’s driving rhythms and an intellectual edge. Led by guitarist Andy Gill and vocalist Jon King, their sharp, politically charged lyrics targeted consumerism and hypocrisy with surgical precision. Their debut album Entertainment! (1979) shook the post-punk scene, dissecting alienation and capitalism with tracks like Damaged Goods and At Home He’s a Tourist, which became anthems of discontent. Their sound, marked by tense rhythms and percussive, angular guitars, drew on Marxist theory and situationism, influencing countless bands from post-punk revivalists to modern indie rock.

Andy Gill, the band’s founding guitarist and driving force, passed away on February 1, 2020, at 64, due to complications from a respiratory illness. His innovative style shaped generations of artists. Despite lineup changes throughout the years, Gill remained the band’s backbone until his passing, which marked the end of an era for Gang of Four.

And now the clock is winding down, the curtains drawing shut on a 45-year saga. The surviving members of Gang of Four are gearing up for one last ride across North America, delivering Entertainment! front to back, before diving into a second set of fan-favourites.

In Spring 2025, they’ll say their farewells, with dates set for the USA, Canada, and Mexico soon to follow. Jon King’s growl, Hugo Burnham’s beat, and David Pajo’s sharp guitar strings will haunt the stage one final time.

“2025 will be the 45th anniversary of the release of Entertainment! in the US, and will be our final year as a band,” they say. “It’s been wonderful, but all things must end. We want to go out with a bang and celebrate with our fans and friends. So, on what will be our last US tour, we’ll play two sets at each show: Entertainment! from start to finish in the first, and the best of the rest in the second. Come and join in, it’ll be a blast!”

Earlier this month, Matador announced a reissue of the band’s third album, Songs of the Free. Out Friday, October 25th, the album has been remastered from the original tapes by Frank Arkwright at Abbey Road, with supervision by Jon King.

Pre-order a copy here.

Tickets will be on-sale starting 10am local venue times on Friday October 4th here.

The Long Goodbye 2025 North American Tour

April 20th – Crystal Ballroom, Boston, MA
April 22nd – Fairmount, Montreal, QC
April 23rd – Axis Club, Toronto, ON
April 24th – Sony Hall, New York, NY
April 25th – 9:30 Club, Washington, DC
April 27th – Cat’s Cradle, Chapel Hill, NC
April 29th – Variety Playhouse, Atlanta, GA
May 1st – Granada Theater, Dallas, TX
May 2nd – Paper Tiger, San Antonio, TX
May 5th – Basement East, Nashville, TN
May 7th – Magic Bag, Detroit, MI
May 8th – Bottom Lounge, Chicago, IL
May 9th – Vivarium, Milwaukee, WI
May 10th – Fine Line, Minneapolis, MN
May 12th – WAVE, Wichita, KS
May 13th – Knuckleheads, Kansas City, MO
May 15th – Gothic Theatre, Denver, CO
May 16th – Mesa Theater, Grand Junction, MO
May 18th – Treefort Music Hall, Boise, ID
May 20th – Neptune Theatre, Seattle, WA
May 21st – Aladdin Theater, Portland, OR
May 23rd – Chapel, San Francisco, CA
May 26th – Pappy & Harriet’s, Pioneertown, CA
May 28th – Fonda Theatre, Los Angeles, CA
May 29th – Music Box, San Diego, CA

Follow Gang of Four:

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The post Gang of Four Announce Farewell North American Tour in Celebration of 45 Years of “Entertainment” appeared first on Post-Punk.com.

Source: Post-Punk.com

Mit “Musk of Death” wird am 25. Oktober 2024 die neue EP der Zombie Metal-Band RECENTLY VACATED GRAVES erscheinen. Es ist die fünfte EP nacheinander der US-Amerikaner, die zu Beginn ihrer vor über 20 Jahren gestarteten Karriere auch zwei full-length-Alben veröffentlichten.

“Musk of Death” erzählt die Geschichte eines Milliardärs, dessen gefährliche Experimente zur Ausgrabung uralter Gräber führen und eine Zombieplage auslösen, die nicht nur die Lebenden, sondern auch Maschinen und sogar ganze Planeten verschlingt. Die Infizierten überrennen die Erde und darüber hinaus, wobei Fleisch, Metall und Fäulnis in einem kosmischen Kampf ums Überleben aufeinandertreffen.

RECENTLY VACATED GRAVES Line-Up:
Tim Regan – Guitar, Vocals, Programming
J Alexander – Lead Guitar, Bass, Programming
Nick Schneider – Lead Vocals
Mike Wilson – Guitar
Clinton Ebadi – Vocals
Mark Williams – Violin

RECENTLY VACATED GRAVES “Musk of Death” Tracklist
Bored to Undeath
Self-Driving Corpse
Cyber Daemon (Zombie Process) (Audio bei Bandcamp)
Mission to Marz

Source: Vampster

Mit “Insect Politics” wird am 15. Oktober 2024 via Boris Records das neue Album der Crust / Death / Black Metal-Band MISANTHROPIC AGGRESSION erscheinen. Es ist das erste Album der US-Amerikaner aus Atlanta, die davor schon ein paar kleinformatigere Releases auf der Haben-Seite haben.

“Insect Politics” wurde von Damian Herring gemastert und mit einem Cover-Artwork von Jeremy Snevil ausgestattet. Vorab gibt es den Titeltrack zu hören.

MISANTHROPIC AGGRESSION Line-Up:
Jake Benedict — Lead Vocals, Drums
Chris T. Hammer — Guitar, Bass, Vocals

MISANTHROPIC AGGRESSION “Insect Politics” Tracklist
1. Social Ruin
2. Insect Politics (Audio bei Bandcamp)
3. Anger/Despair (Interlude)
4. A.S.S. III — The Borderland Wars
5. Bliss
6. La Canzone di Mary Woodhouse (Interlude)
7. The Gates of Hell
8. Boomer Death
9. Intentional Under Performance
10. Winner of the Franchise Wars
11. The Serpent and the Sickle
12. Eusocial Demesne

Source: Vampster

Die Heavy Metal-Band SIGN OF THE JACKAL hat nach den Eröffnungstracks “Eulogy of the Surivors / Breaking the Spell” mit “Buio Omega” einen dritten Song ihres kommenden Albums “Heavy Metal Survivors” veröffentlicht. Es ist nach “Mark of the Beast” (2013) und “Breaking the Spell” (2018) das dritte Album der Italiener und wird am 22. November 2024 via Dying Victims Productions erscheinen.

SIGN OF THE JACKAL Line-up:
Laura “Demons Queen”: Lead Vocals
Bob “Harlock666”: Lead and Rhythm Guitars
Dave L. “Dröz”: Rhythm and Lead Guitars
Frederick “Triple F”: Bass Guitar
Corra “Hellblazer”: Drums

SIGN OF THE JACKAL “Heavy Metal Survivors” Tracklist
1. Eulogy of the Survivors (Audio bei YouTube)
2. Breaking the Spell (Audio bei YouTube)
3. Buio Omega (Audio bei YouTube)
4. Pedal to the Metal
5. Phantasm
6. Slaves of Hell
7. Nightmare City
8. Watch Out
9. Shocker
10. (You Better) Run for Tomorrow

Source: Vampster

The Memory of Snow comes out of Caen, France, like a boreal wind with a chilling bite—Albin Wagener’s solo project after his stint with Overcast. For a decade, Wagener found himself stalled by a creative drought that left him in a long, slow mourning for music. Fortunately, he found his spark once again, stitching together strands of new wave, post-punk, dream pop, and a hint of soul-drenched blues; pulling from Depeche Mode’s gloom, Slowdive’s haze, and The Chameleons’ edge.

The name alone, The Memory of Snow, is imbued with icy melancholy: Wagener found his muse in the Arctic Circle of Finland, lost in snowdrifts and silent landscapes. There’s nostalgia in it too, a callback to his childhood winters, a time before the snow started disappearing, a victim of climate change.

Atlantic, the project’s latest offering, is an intimate exploration that marries themes of love, isolation, and resilience. Each track is meticulously crafted as a self-contained world, held together by an undercurrent of melancholy and resilience.

Albin Wagener spoke with Post-Punk.com about his creative process, the striking visuals they’ve created for the music, the effect global events has on his writing process, and recurring themes for the band.

The name “The Memory of Snow” is quite evocative and poetic. Can you share the story behind the band’s name and what it signifies for you personally?

For me, the name ‘The Memory Of Snow’ is connected to three things. First, a magical, serene, and very impactful moment I experienced in Finland in 2018, where I traveled up to the Arctic Circle, getting lost in the snowy landscapes. I felt a sense of fulfillment I had never experienced before. It’s also a memory from my childhood, when winters were still snowy, and I loved the sensations it brought: the silence, the calm… something that made it feel like being outside of time, in a way. And finally, it’s also a reference to the climate crisis, with the risk of losing this snow in many places. So it’s something very personal, and I think it also reflects the style of music I create.

Your sound blends classic post-punk elements with modern influences, creating something uniquely yours. How did your musical journey begin, and what kind of diverse influences have shaped the band’s sound over the years?

In fact, the ‘The Memory Of Snow’ project emerged after ten years of musical silence; I went through a very long creative block. When I was younger, I made music in bands (Dawn, Overcast) or under my own name, and suddenly, I could no longer write lyrics or compose music. It felt like a slow mourning process: I thought nothing would ever come out of me again. And then, all of a sudden, after moving to a new place, everything came back: I found everything I needed to compose and write lyrics again, and I feel like the songs I write now are more accomplished than ever. My influences are quite varied: of course, there’s new wave and post-punk, but there are also more pop or electronic influences. In other words, I could mention Depeche Mode, Manic Street Preachers, Eyeless In Gaza, Peter Murphy, Tears For Fears, George Michael, The Chameleons, or Slowdive. Music has always been a passion for me.

In your recent tracks “Atlantic,” “Grande Biesse,” and “Borealia,” there seems to be a range of emotional tones—from the enduring hope in “Atlantic” to the nostalgic intimacy of “Grande Biesse” and the introspective isolation of “Borealia.” Is there a common theme that ties these songs together, or do they represent different stages in your creative evolution?

My new album Atlantic is both intimate and conceptual. I aimed to convey various emotions, but I wanted something focused and cohesive, in nine tracks – and in the end, each track will have its own video. It’s really an album that I envision as a complete artistic project, and once again, I wanted to keep control over the entire process to fully produce what I envisioned artistically. But there’s always a touch of melancholy and nostalgia in the songs: while the title track Atlantic seems hopeful, it’s first and foremost in the face of adversity. Grande Biesse is clearly a love song, Borealia revisits that Nordic theme of necessary isolation. More broadly, from the opening track Bodies, which speaks of universal vulnerability, to the final track ‘Something Has Died Along The Way,’ which leans into dark folk and southern gothic, the whole album navigates through different intimate feelings. ‘Atlantic’ should really be listened to as a set of nine interconnected tracks, both lyrically and musically, to fully grasp its atmosphere.

“Atlantic” has a particularly uplifting atmosphere, while “Borealia” is more introspective and haunting. Can you walk us through the creative process behind these tracks? How do you balance these emotional contrasts in your songwriting?

Atlantic, along with All Cats Are Blue, is indeed one of the only tracks on the album that focuses on the possibility of hope in the face of life’s absurdities. It’s like a form of perseverance in this ongoing struggle against whatever negative things might come our way. I always try to connect the lyrics and the music, of course, but with Atlantic, I really put a lot of effort into crafting the atmosphere of each track. I wanted to create a little planet for each song, and these nine planets form a coherent galaxy. When I engage in songwriting, I often start with a melody in my head, which acts as the heartbeat of the song. From there, I build the rhythmic part, but I mostly focus on asking myself what atmosphere, what world the song should exist in. For Borealia, for instance, I wanted to capture that polar dryness, that coldness which is both bright and solitary. And with Atlantic, I needed something expansive, like an ocean opening up to the world, to the realm of possibilities. Then I work on it until the track feels right to me.

The visuals in your music videos are always carefully crafted and evocative. How do you go about selecting the visuals for your songs, and what kind of atmosphere are you hoping to convey, particularly with tracks like “Atlantic” and “Borealia”?

Since Atlantic is a highly conceptual and complete album, I also spent a lot of time working on the videos to ensure they reflect the overall atmosphere of the tracks. For Atlantic, you’ll find all these elements close to my heart, evoking that very particular coastal ambiance you find in the west of France or Great Britain. I really wanted to capture that sense of freshness, openness, and the field of possibilities. For Borealia, again, I was looking for that polar and solitary feel. For Bodies, the focus was on human bodies, in their diversity, to show the beauty of vulnerability and how universal that vulnerability is. For ‘World Cup’, it was about the absurd intersection between the horrors of history and our collective ability to transcend them. I really want the videos to reflect both the lyrics and the music, as that’s something important for this album. Atlantic demanded a lot of work, but I feel a deep artistic satisfaction from it. I’m ready to work on the third album now!

Your sound can be compared to bands like The Jesus and Mary Chain, The Church, and Joy Division. While these comparisons can be flattering, how do you strive to be different and carve out your own identity?

Thank you for those comparisons, they’re very flattering! Indeed, I’m trying to craft my own sonic identity. My first album, Home Is Where The Heart Aches, was a musical awakening after ten years of silence: I wanted to use that opportunity to pay homage to the music I loved listening to, plain and simple. So it was really a fresh start. For Atlantic, the approach was different. I wanted to bring all those influences together and synthesize them to create my own sound. It takes time, but I would say that what defines The Memory Of Snow’s sound are the atmospheres, the focus on melodies, and the quest for the right sounds to express all that. I spend a lot of time searching for the right sounds, and as musicians, that’s obviously a very exciting part. I’d say the musical identity of The Memory Of Snow lies somewhere between new wave, dream pop, southern gothic folk, and even something more pop or soul. I try, humbly, to synthesize Slowdive, Curve, Depeche Mode, and Manic Street Preachers. They’re probably the four cardinal points of my musical compass, in the end.

Can you describe your recording sessions? Were there any unexpected challenges or breakthroughs during the process, especially when developing more recent songs like “Borealia”?

I’ve worked on several tracks for Atlantic. In fact, all the EPs released before the album’s release date include B-sides or unreleased tracks produced during the recording sessions. I’m actually thinking about releasing a deluxe version by the end of the year to showcase all these tracks. When I compose, I isolate myself: I first work on the music for all the songs, which obviously takes several days. Only after that do I have dedicated vocal sessions, allowing me to really focus on the vocals at a specific time. I feel this approach makes me more efficient and helps me push further vocally. Once all my tracks are done, I move on to mixing and then mastering. But what’s the most exciting part for me is definitely the sound design: browsing sound libraries, tweaking synths, searching for the right atmosphere, the right pad, the right guitar sound… that’s often when I have moments where I think, ‘That’s it, that’s the sound, that’s the vibe I want for this track.’ And that’s really satisfying.

Mental health and emotional depth seem to be recurring themes in your lyrics. “Borealia,” for instance, explores themes of isolation and searching for meaning. What motivates you to explore these subjects in your music, and how do you channel those emotions into tracks like “Grande Biesse” or “Borealia”?

I’m generally a joyful person in everyday life: I laugh easily and I enjoy making others laugh. But like many people, there’s a lot going on behind the mask. I have, like many others I imagine, a deeply intense emotional life. While I also enjoy the happiness of social life, I believe that life is profoundly absurd, without any real meaning, and our only task as human beings is to try and find, or create, meaning in all of it. As a result, there are always darker themes in my music, and I try to use artistic creation as a catharsis, a way to release negative, dark, or desperate feelings. In fact, I need music to fully express myself, and I believe that sharing darker themes helps listeners feel like, ‘Okay, I’m not alone, others feel the same way I do.’ That’s what I feel when I listen to bands like Clan Of Xymox, Joy Division, or Type O Negative. I think, ‘Okay, I’m not crazy, I feel less alone.’ And in the end, that’s what helps keep us from sinking completely.

The international indie and post-punk scene has evolved considerably since you first entered it. How do you feel about the current state of the genre, and where do you see it heading in the next few years?

I don’t really know which direction my music will evolve in. Maybe in the end, I’ll make very minimalist stuff like Eyeless In Gaza, or more experimental like David Sylvian: I want to explore the whole range of possibilities, but still keep that sonic unity. I feel like there are some interesting revivals happening, around post-punk, dream pop, or shoegaze, for example. But in these genres, it’s hard not to just repeat what’s already been done well by others. It’s tough to make Cocteau Twins-style music when Cocteau Twins already did it, you know what I mean? What interests me is to keep experimenting, making music that I like, without worrying too much about genres. And I try to make those experiments accessible, which is why melodies are so important, I think. I’m still really impressed by the 90s, which I feel were incredibly creative in terms of genre creation and unique blends. I imagine we’ll go through a similar movement at some point, maybe when people get tired of hearing only hip-hop on the radio!

You’ve performed in various unconventional venues. What has been your most memorable live performance experience so far, and how do these unique spaces influence the energy of your shows?

For The Memory Of Snow, I haven’t done any concerts yet. It was such an intimate project initially, focused on awakening musically, that I really concentrated on the studio. So, in reality, I can mainly talk about concerts from my previous musical projects, which were a long time ago. I can particularly mention concerts I did in Germany, where I always found the audience very receptive to post-punk, new wave, and other similar music styles. More generally, I know that Northern and Eastern Europe are quite fond of these music styles; where I currently live in France, it’s a bit less easy. But I’ve always enjoyed playing in smaller venues: the direct contact with the audience is immediate, it really motivates me to give my best, which is really important. I was also fortunate to open for IAMX at Den Atelier (Luxembourg) with my previous project Overcast, and that was a really great experience!

In light of the current global events, how has your approach to creating and sharing music changed? Have recent world events influenced the tone or themes of your songs?

Global events definitely influence my songwriting. Climate crisis, of course, and with World Cup, the wars, particularly in Ukraine, have clearly pushed me to revisit our collective historical absurdities. I can’t help but refer to these things: I wouldn’t say that art has to be necessarily political or engaged, but there’s inevitably a moment when world events shock, hurt, or uplift us. We can’t be indifferent to what’s happening in the world, to injustices, and so on. We have to do something with it: musical creation can be a form of response or release. There’s a constant back-and-forth between the universal and the personal.

And for sharing music, I do what most artists do now: Bandcamp and streaming platforms – which, by the way, push us into a completely ridiculous statistical competition in terms of number of listens. It’s absurd; I don’t like it. Music is intimate, subjective, and about emotional sharing. It’s not about statistics or social listening. I really dislike all these coaches who contact you to say, ‘Go on TikTok, post your tracks at a specific time on Instagram.’ Honestly, I don’t make music to be a community manager. This is completely absurd.

Can you share any details about upcoming projects, and are there any new themes or musical directions you’re excited to explore?

I’ve already started working on a few tracks for my third album, which I’d like to release in 2025. The reason is quite simple: this album is, modestly, a sequel to David Bowie’s Outside released in 1995. In 2025, that album will be 30 years old, and I’ve always loved the experimentation and narrative universe of that record. To me, it’s simply Bowie’s best album. I thought I’d like to try something a bit more ambitious by composing songs for an album called ‘Inside,’ which will be a response to Bowie. A sort of echo, thirty years later.

Please note: I don’t pretend to consider myself a genius as immense as Bowie, certainly not! It’s simply a humble yet committed proposal to echo this great record. I don’t know yet where this will lead me, but I’m putting quite a bit of pressure on this project. I’ll probably lock myself in the studio this winter and spend a lot of time on it!



Listen to Atlantic below, and order here.

Atlantic by The Memory Of Snow

Follow The Memory of Snow:

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YouTube

The post Artic Melancholy — An Interview with French Post-Punk Project The Memory of Snow appeared first on Post-Punk.com.

Source: Post-Punk.com

Die Death Metal-Band SCYTHROW hat einen Labeldeal bei Awakening Records unterschrieben. Im Zuge dessen werden die Finnen ihr neues Album “Blameless Severed Extremities” veröffentlichen. Es ist nach “Paragon of Pain” (2021) und “Scorched Earth” (2023) das dritte Album der 2020 gegründeten Band aus Lappeenranta.

“Blameless Severed Extremities” wurde von Gitarrist Arttu Muukkonen produziert und wird am 27. November 2024 erscheinen.

SCYTHROW Line-Up:
Markus Erling – Guitar, Vocals
Arttu Muukkonen – Guitar, Backing Vocals, Synths
Nuutti Myllynen – Bass, Synths
Benjamin Niemelä – Drums

SCYTHROW “Blameless Severed Extremities” Tracklist
Reluctant Possession
Kinemortophobia
Nerve Rot
Necrotic High
Blameless Severed Extremities
The Remorse Declines
Bare Bones
The Fatal Point of Closure

Source: Vampster

Die Metalcore-Band NEKOMATA hat mit dem Video-Clip zu “In My Flesh” eine erste Single ihres kommenden Albums “Euphoria” veröffentlicht. Es ist nach “…And Then, The Abusement Park Left Town” (2022) das zweite Album der Italiener uns soll in den kommenden Monaten via Rockshots Records erscheinen.

NEKOMATA Line-Up:
Andrea Olivieri: Vocals
Andrea Cappellari: Guitars and programming
Filippo Zavattari: Bass guitar and backing vocals
Alberto Mezzanotte: Drums

NEKOMATA “Euphoria” Tracklist
01. Py
02. Shattered
03. Automata
04. In My Flesh (Video bei YouTube)
05. Feedback
06. Zero
07. De Priapi Dilemma
08. Road To Ruin
09. Super Omnia
10. Ataraxia – Still Abused

Source: Vampster

Die Desert / Retro Rock-Band STÖNER hat mit “Hittin’ The Bitchin’ Switch” ein neues Live-Album angekündigt. Es ist das erste Live-Album des kalifornischen Trios, das zuvor zwei Studioalben veröffentlicht hat.

“Hittin’ The Bitchin’ Switch” wurde im Altroquando in Treviso aufgenommen und wird am 11. Oktober 2024 via Heavy Psych Sounds erscheinen. Vorab gibt nach dem KYUSS-Cover “Green Machine” und dem Opener “A Million Beers” nun auch den Song “Evel Never Dies” zu hören.

STÖNER Line-Up:
Brant Bjork — Guitar & Vocals
Nick Oliveri — Bass & Vocals
Ryan Güt — Drums

STÖNER “Hittin’ The Bitchin’ Switch” Tracklist
1. A Million Beers (Audio bei YouTube)
2. Party March
3. The Older Kids
4. Rad Stays Rad
5. Evel Never Dies (Audio bei YouTube)
6. Night Tripper vs No Brainer
7. Stand Down
8. Own Yer Blues
9. It Ain’t Free
10. R.A.M.O.N.E.S.
11. Tribe – Fly Girl
12. Strawberry Creek
13. Nothin’
14. Gardenia (Kyuss cover)
15. Green Machine (Kyuss cover) (Audio bei YouTube)

Source: Vampster

Anticipating the forthcoming release of their 4th studio album, Darkness On Demand now reveals the...

Source: Side Line

Machen wir’s kurz: ja – und das ist erstaunlich, wundervoll und großartig. Warum? Na, weil mir ihr anderes Projekt – die ungleich länger aktiven AUTUMNBLAZE – schon seit langem nicht mehr viel gibt; die neueren Texte erscheinen mir viel zu plakativ, und die Musik berührt mich schlicht und einfach nicht mehr. Es war also alles andere als ausgemacht, dass die beiden mit LILJEVARS BRANN wieder einen Ausdruck finden, der in mir resoniert.

Es liegt an zweierlei, dass dem nun so ist: Die beiden Musiker trauen sich wieder, einfache, folkloristisch inspirierte Melodien zu verwenden, und sie tun das ausschweifend und in einem Klang, der in seiner Rohheit direkt in die frühen 90er entführt; sie bieten einem alten Nostalgiker mithin schonmal alles, was er zwischen Job und Alltagswahnsinn dringend mal benötigt (nur ein bisschen weniger schneidende Höhen hätte ich mir gewünscht…). Dazu verwenden sie eine skandinavisch anmutende Kunstsprache – ein Kunstgriff, der dafür sorgt, der es mir als Erwachsenem einfacher macht, die Musik so unmittelbar zu fühlen wie es jungen Menschen in die Wiege gelegt ist. Zwar hätte ich es schöner gefunden, Texte wie auf “Seraphine… Far Gone Gleam” zu hören, aber diese Zeit ist nun einmal vorbei, das hätte vermutlich nicht funktioniert.

LILJEVARS BRANN entführen uns in die Märchenwälder unserer Kindheit
Überhaupt müssen PARAGON OF BEAUTY mit “Seraphine” und insbesondere das darauf enthaltene 15-Minuten-Epos “To my unfading sorrow” sowie das Akustik-Stück “After Dark Vapours Have Oppressed Our Plains” hier genannt werden, denn LILJEVARS BRANN orientieren sich sehr daran, handelt es sich musikalisch doch um lupenreinen Früh-90er-Doom Metal (inklusive radikal repetitiven Songstrukturen, sehnsuchtsvollem Gitarrenfiepen und wunderbar schleppendem Schlagzeug), angereichert mit vielen akustischen Parts, die in ihrer Klarheit und Schönheit an “Kveldssanger” oder “Where at night the woodsgrouse plays” erinnern.

Das wirkt astrein hypnotisch, traum- und weltverloren, tief melancholisch, erdig, dicht bewaldet, und da über alledem sowohl kraftvolle Screams als auch der wohlbekannte wunderschöne Leadgesang von Markus Baltes schweben (teilweise wunderbar mehrstimmig produziert), ist LILJEVARS BRANN für mich ein echtes Highlight dieses Jahr; ein Album, das sich wie Nach-Hause-Kommen anfühlt, trotz oder gerade wegen seiner kleinen Macken und musikalischen Naivität. Wundervoll!

Spielzeit: 50:40 Min.

Veröffentlichungsdatum: 27.9.2024

Label: Octupus Rising/Argonaut

Bandcamp: https://liljevarsbrann.bandcamp.com/album/helja-kor

LILJEVARS BRANN “Helja Kor” Tracklist
1. Helja Kor
2. Dansa Mej Brodar I Fyre
3. Sjelvind
4. Kriglande
5. Brannstjerningen

Source: Vampster

New York’s avant-garde synth-pop sages Xeno & Oaklander—Liz Wendelbo and Sean McBride—return with O Vermillion, a fresh offering from their forthcoming album Via Negativa (in the doorway light). The album’s concept, drawn from the philosophy of negation—“the study of what not to do”—suggests that absence reveals essence. It’s a subtle dance between form and emptiness, between sound and silence, where each note balances upon the edge of nothingness.

In Via Negativa, their trademark analog synthesis unfolds with precision, yet thrums with primal energy, like the rhythm of breathing. Born from late 2023 sessions, it stands as both fragile and fierce—modular synths coursing like electric currents through a still forest.

With O Vermillion, a bilingual hymn in French and English to bloodstones, the duo once again embraces that axis of art and machine, where cables carry the whispers of forgotten myths.

The bloodstone is a symbol steeped in mystery, like life itself. It represents a reminder of the flow of energy; the pulse of the universe moving through all things. Its deep green, speckled with red, whispers of life’s paradox—beauty and brutality, vitality and decay, entwined. Bloodstone invites us to contemplate the dance of life and death, reminding us that one cannot exist without the other. In its ancient patterns, we glimpse the eternal cycle, the quiet rhythm of existence, urging us to embrace both the light and shadow of our being.

Their muse, burnished in shades of red and silver, remains aglow, pointing not to what is known, but to the mysteries—the unspoken, the unseen—that quietly shape our reality. This searing synthpop track in the realm of The Human League – anthemic, eerie, and ethereal, is a meditation; an exploration of the unseen.

Listen to “O Vermillion” below:

Crafted in the pair’s shadowy studio sanctum, these compositions started as embryonic piano lines and grew into elaborate, interconnected modular synth systems. McBride, ever the architect, adds what he calls “harmonic padding,” weaving together tuned percussion and a “spectral transfer device” to shape the album’s rhythmic architecture. The outcome is a deeply textured sonic landscape that captures Xeno & Oaklander’s fascination with the tension between raw spontaneity and measured exactitude.

While there’s a deliberate intricacy to the production, the emotional core remains sharp and vibrant. Via Negativa (in the doorway light) doesn’t just float on shimmering synths—it throbs with life, darting between frenetic choruses that evoke images of broken mirrors, fractured light, and ghostly visages suspended in static. These are no mere exercises in style; they are anthems for a cybernetic dawn.

Via Negativa (in the doorway light) will be released on November 15th via Dais and is available for pre-order here.

See Xeno & Oaklander on the road in North America this November and December. In February, the band will also be making an appearance at this year’s Grauzone Festival in The Netherlands.

Tour Dates:

Nov 17  Pawtucket, RI – Machines with Magnets
Nov 18 Montreal, QC – Bar Le Ritz PDB
Nov 19 Ottawa, ON – House of Targ
Nov 20 Toronto, ON – Ground Control
Nov 22 Cleveland, OH – No Class
Nov 23 Indianapolis, IN – Black Circle
Nov 24 St Louis, MO – The Sinkhole
Nov 26 Chicago, IL – Beat Kitchen
Nov 27 Milwaukee, WI – X-Ray Arcade
Nov 29 St. Paul, MN – Turf Club
Dec 1 Salt Lake City, UT – The International
Dec 3 Portland, OR – Dante’s
Dec 4 Seattle, WA – Substation
Dec 5 Vancouver, BC – The Cobalt
Dec 8 Los Angeles, CA – The Paramount
Dec 9  San Diego, CA – Soda Bar
Dec 10 Landers, CA – Retreat Center
Dec 12  Denver, CO – Hi-Dive
Dec 14 Kansas City, MO – MiniBar
Dec 16 Louisville, KY – Whirling Tiger
Dec 17 Chapel Hill, NC – Local 506
Dec 19 Baltimore, MD – Metro Gallery
Dec 20 Brooklyn, NY – TV Eye [Record Release Party]
Dec 21 Philadelphia, PA – Milk Boy
Feb 8 Den Haag NL, Grauzone Festival

Follow Xeno & Oaklander:

Website
Facebook
Instagram
Bandcamp
Spotify

 

The post Xeno & Oaklander Unveil their Ode to a Bloodstone, “O Vermillion” — Autumn North American Tour Dates Announced appeared first on Post-Punk.com.

Source: Post-Punk.com

CEMETERY SKYLINE
„Nordic Gothic“
(Melancholic Gothic Rock/Metal

Wertung: Empfehlung!

VÖ: 11.10.2024

Label: Century Media

Webseite: Facebook / lnk.to/NordicGothic-Bio

Es gibt eine neue Band im melancholisch düsteren Metal Sektor, die aber mit sehr bekannten Gesichtern und Namen aufwarten kann. Wenn ihr einen der bisher veröffentlichten Songs schon gehört habt, wisst ihr vielleicht schon wer hinter CEMETERY SKYLINE steckt:
Vocals: Mikael Stanne (Dark Tranquillity, The Halo Effect, Grand Cadaver)
Guitars: Markus Vanhala (Insomnium, Omnium Gatherum, I Am The Night)
Keyboards: Santeri Kallio (Amorphis)
Bass: Victor Brandt (Dimmu Borgir, Witchery, ex-Entombed/Entombed A.D.,…)
Drums: Vesa Ranta (Sentenced, The Abbey)

Klingt gut? Stimmt, und das nicht nur von den Namen her, auch die Musik ist richtig gut. Düster, melancholisch, hart, gefühlvoll und mit einer ganz eigenen Note. Ich habe schon viel Gothic Metal und drumherum gehört und dennoch gibt es wenig, womit man die Songs direkt vergleichen kann.

Die Band sagt zu ihrer Musik: „We all share a deep love for goth rock from the 80s and 90s – whether it’s more synth-driven or heavier guitar-dominated stuff. You know the deal with the best bands from The Sisters of Mercy to Type O Negative.“

Und diese Einflüsse findet man überall, sei es bei einer treibenden Nummer wie dem Opener „Torn away“ oder beim mächtigen „When silence speaks“. Gerade dieser Song fängt unscheinbar und ruhig an, um dann im Refrain förmlich zu explodieren. Ganz großes Kino, wird einer meiner Lieblingstracks dieses Jahr sein. Wie eigentlich das gesamte Album. CEMETERY SKYLINE haben mit den Stücken, die bisher erschienen sind, einen guten Vorgeschmack auf das Album geliefert. Fans der Songs und der Bands (wie Dark Tranquillity, Amorphis, Insomnium, Sentenced), aus denen die Mitglieder stammen, dürfen sich freuen. Mikael Stanne singt das ganze Album über clean, was man zum Teil ja von DT kenn, dazu bieten vor allem die Gitarrenarbeit und Keyboard starke Melodien und düstere Stimmungen. Volle Empfehlung meinerseits, ein Highlight für die düstere Jahreszeit. (eller)

Source: Amboss-Mag.de

Mit “Irrbloss” wird am 11. Oktober 2024 via Ground Media Group das neue Album des Post-Black Metal-Projekts ANA ARGAN LIST erscheinen. Es ist nach “Bläck & saltvatten” (2021) das zweite Album des schwedischen Solo-Künstlers Edvin Johansson (Ex-ÄNTERBILA). Mit “Vingar” – ein Lied über das Entkommen aus der Enge der eigenen Gedanken und die Befreiung von depressiven Gedanken und schlechten Gewohnheiten – gibt es nun die zweite Vorab-Single.

Vorab gibt es auch den Track “Vägen Sanningen Ljuset” zu hören.

“”Vägen Sanningen & Ljuset” ist ein Stück über meinen Freund, der sein Leben beendet hat. Es ist ein Stück über Kampf, Traurigkeit und die Leere, die daraus folgt. Es versteht sich von selbst, dass es für mich ein sehr spezielles und therapeutisches Lied ist. Es ist ein Weg, mit der Trauer umzugehen”, sagt Edvin Johansson.

ANA ARGAN LIST “Irrbloss” Tracklist
Att Vara Sann
Siluett
Bandet du bröt
Vingar (Audio bei YouTube)
Sorgens Riter
Vägen Sanningen Ljuset (Audio bei YouTube)
Flammam

Source: Vampster

Wer also schon immer mal hören wollte, wie Queens of the Stone Age wohl Blackened Doom Metal umsetzen würden oder wer sich als Panda auch mal in...

Source: MedienKonverter

Die Blackened Hardcore-Band GRIEF RITUAL hat mit “Collapse” ein neues Album angekündigt. Es ist das erste Album der Engländer, die 2022 mit der EP “Spiritual Disease” debütierten.

“Collapse” wurde von Jake Murray bei Just Noise Audio produziert und von Brad Boatright gemastert. Release-Termin ist der 31. Januar 2025 via Church Road Records. Vorab gibt es zu “Bile” einen Video-Clip.

GRIEF RITUAL Line-Up:
James Broady – Drums
Chris Ward – Guitar
Dave Marcovecchio – Bass
Jamie Waggett – Vocals

GRIEF RITUAL “Collapse” Tracklist
1. Spiral
2. Recursion
3. Gnaw
4. Bile (Video bei YouTube)
5. Consumed
6. Fault
7. Artifice
8. Calcify
9. Swine
10. Putrefy
11. Marrow

Source: Vampster

Die vom BEFORE THE DAWN-Frontmann Paavo Laapotti gegründete Melodic Death Meta Band DEFILED SERENITY wird am 21. Februar 2025 ihr Debütalbum „Within the Slumber of the Mind“ über Inverse Records veröffentlichen. Die erste Single „Your Worst Enemy“ ist bereits erschienen und das von Tuomas Saukkonen (Before The Dawn, Wolfheart, Dawn Of Solace) produzierte Musikvideo kann bei YouTube angesehen werden.
Listen: https://push.fm/fl/defiled-serenity-your-worst-enemy

 

Source: Amboss-Mag.de

Die Death / Thrash Metal-Band CORROSIVE ELEMENTS hat mit “Conquering the Divine” eine erste Single ihres kommenden Albums “Cut the Serpent’s Head” veröffentlicht. Es ist nach “Toxic Waste Blues” (2015) das zweite Album der Franzosen aus Paris und wird am 29. November 2024 via GreyveStorm Productions, Cryp of Dr. Gore und Chien Noir Production erscheinen.

Mit dem Album wirft die 2005 gegründete Band einen zynischen Blick auf das Schicksal der Menschheit und ihrem Wettlauf mit dem Unsinn. Es sei eine Warnung vor der Hegemonie organisierter Religionen, zwielichtiger Politik, zerfallender Gesellschaften und dem Aufkommen sozialer Ungerechtigkeit.

CORROSIVE ELEMENTS “Conquering the Divine” (Audio bei YouTube)

Source: Vampster

Achtung, Ohrenschützer aufsetzen! 'Destroy Me Again' legen mit ihrem neuen Album 'Cold By Design' los und lassen den Frost bei Infacted Records richtig knacken. Wer dachte, das...

Source: MedienKonverter

The dark electronic act Virgin Vampires have released their next single and video “The Silent...

Source: Side Line

Am 31. Oktober erscheint mit „At Death’s Gate“ das neue und sechste Album der niederländischen Epic Black/Death Metal Institution SLECHTVALK, die mit ihrem symphonischen, aber auch Folk,- Black,- und Viking lastigem Death Metal seit nunmehr 25 Jahren aktiv sind. Mit „Death“ wurde nun ein Videoclip der Band veröffentlicht, der eine weitere Kostprobe des neuen Materials darstellt. „At Death’s Gate“ erscheint als CD im Jewelcase und als limitierte Auflage als DigiPak, welches nur bei der Band, im MDD Shop und einigen ausgewählten Mailordern verfügbar ist.
Preorder: http://mdd-records.de/slechtvalk

 

Source: Amboss-Mag.de

  Mea Fisher and EN ESCH have unveiled the new single and music video from their collaborative project Me and My Nightmare. “Devil Inside” arrives in time for the Halloween season, with Fisher explaining that “It’s the one day of the year I get to be whatever I want [..]

Source: RE:GEN Mag

Die Alternative / Progressive Rock-Band PURE REASON REVOLUTION veröffentlichte am 6. September 2024 ihr neues Album “Coming Up To Consciousness” via InsideOut Music. Darauf verarbeitet Sänger Jon Courtney einen persönlichen Verlust, wie er erklärt:

“Nach dem Verlust meines Hundes folgte eine kreative Durststrecke, aber nach einem Treffen mit meinem Songwritingfreund Craig Walker (Archive/Power of Dreams) und dem Austausch über die letzten Monate drängte er mich, diese Erfahrung in Texten und Musik zu verarbeiten. Plötzlich flog das Album aus mir/uns heraus! Was den Aufnahmeprozess angeht, so war dieses Album wahrscheinlich das angenehmste, da die verschiedenen Kollaborationen die Kreativität befeuerten.”

Einen Einblick in das Werk gewährt jetzt der Studio-Playthrough-Clip “As We Disappear” bei YouTube. Die Auskopplung “Betrayal” und das Video zum Stück “Useless Animal” stehen ebenfalls bei YouTube bereit, so wie die erste Single “Dig Till You Die”.

“Coming Up To Consciousness” erschien auf CD, Vinyl sowie digital. Die Platte enthält zudem Gastbeiträge von Lewin Krumpschmid (SOULSPLITTER), Guy Pratt (NICK MASON’S SAUCERFUL OF SECRETS), Bruce Soord (THE PINEAPPLE THIEF) sowie Jony Sykes (THE PINEAPPLE THIEF).

PURE REASON REVOLUTION “Coming Up To Consciousness” Tracklist

Prelude: Coming up to Consciousness
Dig Till You Die (Video bei YouTube)
Interlude 1
Betrayal (Video bei YouTube)
The Gallows
Interlude 2
Useless Animal (Video bei YouTube)
Interlude 3
Worship
Interlude 4
Bend the Earth
Lifeless Creature
Interlude 5
As We Disappear (Playthrough bei YouTube)

PURE REASON REVOLUTION Line-up 2024
Jon Courtney – vocals, guitar, keys, piano, programming
Ravi Kesavaram – Drums
Greg Jong – vocals, guitar, keys, harmonica
Annicke Shireen – vocals

Source: Vampster

Zwar lässt der Titel düstere Aussichten vermuten, doch bleibt sich EVERGREY-Mastermind Tom S. Englund in einer Sache auch auf „Theories Of Emptiness“ treu: Die Leere füllt der Schwede mit einem vollen, breit gefächerten Klangkosmos. Irgendwo zwischen Prog, Dark und Melodic Metal sind die persönlichen, zuweilen niederschmetternden Texte nicht ausschließlich von Selbstmitleid erfüllt.

Im Gegenteil, scheint sich bereits der aufrüttelnde Opener „Falling From The Sun“ der eigenen Ohnmacht entgegenzustemmen. Die Hoffnung im Angesicht dunkler Wolken nicht aufzugeben, scheint der Ratschlag, welchen uns EVERGREY mit rockigen Gitarren, unverkrampften Keyboards und einem herrlich eingängigen Refrain nahelegen. In Gestalt kraftvoller Impulser zeigt sich „Misfortune“ im Anschluss kämpferisch, bevor Englunds gefühlvolle Stimme die Ballade „Ghost Of My Hero“ im Handumdrehen an sich reißt und selbst uns ein wenig wehmütig werden lässt.

EVERGREY wissen natürlich um ihre Stärken
Das gesunde Pathos füttert das Quintett hier mit Streichern und Piano, wohingegen „Cold Dreams“ einen unerwartet anderen Weg geht: Getragen und mit unbehaglichem Unterton bricht in der zweiten Strophe eine Aggression durch, die wir allein schon angesichts der Gastbeiträge nicht erwartet hätten. Donnernde Growls wie hier haben wir von KATATONIA-Frontmann Jonas Renkse wohl seit deren Anfangsjahren nicht mehr gehört. Die hellen wie sanften Backing-Vocals von Englunds Tochter Salina bilden schließlich das adäquate Gegengewicht.

Auf vergleichbarem Niveau spielt sich auch der Rest von „Theories Of Emptiness“ ab. Kraftvolle und melodische Riffs in „Say“ und „We Are The North“ zählen ohnehin den Stärken EVERGREYs, insbesondere wenn die Skandinavier jene mit wundervoll einprägsamen Gesangslinien verbinden.

Auf “Theories Of Emptiness” decken EVERGREY ein breites Spektrum ab
Davon hat es auf dem 13. Studioalbum eine ganze Menge, die noch dazu ein unerwartet breites Spektrum abdecken. Nicht nur Trübsal, auch Hoffnung und Zuversicht haben ihren Platz auf „Theories Of Emptiness“, weshalb die elf emotionalen wie aufrichtigen Stücke der Schweden unerwarteterweise selbst die grauen Tage des Jahres mit ein wenig Farbe füllen können.

Veröffentlichungstermin: 07.06.2024

Spielzeit: 46:08 / 51:16 (digital)

Line-Up
Tom S. Englund – vocals, guitars
Henrik Danhage – guitars
Rikard Zander – keys
Johan Niemann – bass
Jonas Ekdahl – drums

Produziert von Tom S. Englund und Jonas Ekdahl; Adam „Nolly“ Getgood (Mix) und Thomas „Plec“ Johansson (Mastering)

Label: Napalm Records

Homepage: https://evergrey.net/
Facebook: https://www.facebook.com/Evergrey
Instagram: https://www.instagram.com/evergreyofficial/
Bandcamp: https://evergrey.bandcamp.com

EVERGREY “Theories Of Emptiness” Tracklist
1. Falling From the Sun (Video bei YouTube)
2. Misfortune
3. To Become Someone Else
4. Say (Video bei YouTube)
5. Ghost of My Hero
6. We Are the North
7. One Heart (nur digital)
8. The Night Within
9. Cold Dreams (Video bei YouTube)
10. Our Way Through Silence
11. A Theory of Emptiness

Source: Vampster

Leipzig’s experimental duo AUA returns with “Allies,” a track that deftly navigates the chaotic terrain of political alliances and the thirst for validation. As the third offering from their forthcoming album Painkiller No. 1, set for release on November 8th via Crazysane Records, “Allies” stands as a testament to AUA’s evolving sound—melding post-punk urgency with krautrock’s relentless rhythms.

“‘Allies’ is one of my favorite tracks on the new record,” shares AUA’s Fabian Bremer. “I’m impressed by how Henrik pulled off such a stunning video in no time—and on a tight budget of just 15 euros (the cost of three rain capes). The song explores how the desire to be right by gathering a following can lead to a loss of control. It’s a reflection on the complexities of power and influence, where seeking validation can result in unintended consequences. In the video, you’ll spot our live bass player, Steffen Smirny, but the original bass track was laid down by the incredible Sally Brown. Working with Sally was a fun experience, and we’re super grateful for her contribution! Huge thanks to the team at Schlachthof Wiesbaden for letting us film at the venue, and a special shoutout to Steffen and Dennis for making it happen!”

“Allies” unfurls as a succinct atmospheric piece, humming and buzzing with an experimental fervor. It evokes a parallel universe where John Lennon and Yoko Ono plunged into post-punk experimentation with Bowie’s during his Neu! influenced post-Berlin transformation in New York City—a genuine new-wave avant-garde anomaly. The percussion is nimble, the rhythm section taut, propelling the track with an insistent groove. Keys shimmer with a vintage allure, nodding to the idiosyncrasies of The Residents and the mechanical allure of Gary Numan, all while weaving in threads of prog-rock and krautrock ethos.

The accompanying visual is a study in minimalism. Cloaked in translucent raincoats, the band performs within the stark confines of a black studio, intermittently bathed in flashes of color. The song’s ominous title intermittently asserts itself on the screen’s periphery, enhancing the disquiet. The imagery is layered, mirrored, occasionally offering top-down perspectives—a timeless artistic statement that resonates with the track’s tense and surreal ambiance.

Watch the video for “ALLIES” below:



With Painkiller No. 1, AUA concludes a compelling trilogy that charts the evolution of their sonic landscape and artistic vision. Following the introspective depths of The Damaged Organ (2022) and the kinetic exuberance of their debut I Don’t Want It Darker (2020), this latest opus by multi-instrumentalists Fabian Bremer and Henrik Eichmann stands as a testament to their dynamic creativity and the resilient bond of their collaboration.

Crafted between the intimate spaces of their home studios and the seclusion of a remote cabin, Painkiller No. 1 emerges as an intricate mosaic of sonic diversity and sophisticated songwriting. It reflects the duo’s relentless pursuit of movement and transformation. Motorik beats and arpeggiated synths remain the backbone of their compositions, evident in tracks like “Disconnected Bliss” and the eponymous “Painkiller No. 1.” Yet, there’s an expanded sonic breadth here—the vocals take on a more prominent role, lending a human touch to the mechanized soundscape in songs like “Scenes of Quiet Life” and “White Sharks.”

Building upon their signature blend of ethereal vocals, crisp percussion, vintage synthesizers, and lo-fi guitar textures, AUA ventures into new territories. They draw inspiration from the psychedelic eruptions of Portishead and The Beatles, and the moody, intricate arrangements of Autolux and Broadcast. The result is an album that pushes the boundaries of their established aesthetic while maintaining the warbling grit that defines their sound. Each track is a meticulously crafted journey, revealing the duo’s maturation as both musicians and narrators of abstract sonic tales.

Following their collaboration with Annika Henderson on “Islands Song” in 2022, Painkiller No. 1 features contributions from esteemed artists. Sally Brown (Plattenbau, Anika) infuses “Allies” with her distinctive, gritty bass tones, perfectly complementing the song’s krautrock-inflected post-punk energy. Jobst M. Feit (Radare, Death By Gong) enhances the psychedelic pop allure of “Terminal” with a lush, grooving low-end. Longtime collaborator Dominik Fink delivers some of the album’s most memorable bass lines on tracks like “Walking Mystery,” “Glowing One Pt. 3,” and the expansive “No One Calls,” which closes the album with almost six minutes of weightless melancholy.

The partnership with mixing and mastering engineer Magnus Wichmann brings a newfound clarity to their production, balancing polish with the inherent grittiness of their sound. Visually, the collaboration between Fabian Bremer and Serbian artist Mihailo Kalabic continues, with Kalabic’s surreal digital sculptures providing a striking counterpart to the album’s nuanced themes.

Set for release on November 8th, 2024, via Berlin’s independent label Crazysane Records, Painkiller No. 1 will be available on LP, CD, and digital formats. To commemorate the trilogy’s completion, a limited 3×LP box set featuring all three of the band’s albums will accompany the release.

Pre-Order Here

Painkiller No. 1 by AUA

Follow AUA:

Bandcamp
Facebook
Instagram

Follow Crazysane Records:

Website
Facebook
Instagram

The post Experimental Duo AUA Deftly Blends Krautrock and Post-Punk in their Minimalist Video for “Allies” appeared first on Post-Punk.com.

Source: Post-Punk.com

  Dark ambient and black metal share common traits of bleak, often horrific subjects and atmospheres; as such, Jakub Lisicki – lyricist for Voidfire and Erebos – has turned his attentions to the grimly dark ambient sounds of The Haunting. With “The Arrival of the Evil Spirit” serving as the first offering, the eponymous debut album weaves a cinematic tale [..]

Source: RE:GEN Mag

Die Thrash Metal-Band INVERTED CROSS hat mit “Eternal Flames of Hell” ein neues Album angekündigt. Es ist das erste Album der Katalanen aus Barcelona rund um eine Handvoll von REDSHARK-Musikern, die davor zwei EPs und Splits veröffentlicht hatten.

“Eternal Flames of Hell” wurde von Gonzalo Vivero bei In The Red Audio gemixt und gemastert und mit einem Cover-Artwork von Velio Josto ausgestattet. Release-Termin ist der 29. November 2024 via Helldprod Records. Vorab gibt es den Track “Attack With Hellfire” zu hören.

INVERTED CROSS Line-Up:
Guille Hungover – Bass & Vocals
Philip Graves – Guitars & Vocals
Alis Demonized – Guitars
Chris Carrest – Drums

INVERTED CROSS “Eternal Flames of Hell” Tracklist
01. March Of The Fallen
02. Attack With Hellfire (Audio bei YouTube)
03. Under An Evil Presence
04. Invoke The Goat
05. Into The Crypt Of The Necromancer
06. Suffer To Live
07. Black Leather Hordes
08. Trapped Underground
09. Eternal Flames Of Hell

Source: Vampster

French artist Pierre Laplace returns with the sixth installment of his Beyond The Ghost-project. Following...

Source: Side Line

Die Melodic Black / Death Metal-Band SLAUGHTER THE GIANT hat nach dem Video-Clip zu “Alien abduction” mit “The Chainsaw Killer” einen zweiten Track ihres kommenden Albums “Abomination” veröffentlicht. Es ist nach “Depravity” (2022) das zweite Album der Belgier und wird am 1. November 2024 via At Dawn Records erscheinen. Gemixt und gemastert wurde das Album von Erwin Hermsen im Toneshed Recording Studio.

SLAUGHTER THE GIANT Line-Up
Benny Ubachs: Vocals
Daan Vangoidsenhoven: Bass
Timi Devos: Guitar
Jeroen Broos: Guitar
Joren Baert: Drums

SLAUGHTER THE GIANT “Abomination” Tracklist
Nothingness
Abomination
The Chainsaw Killer (Audio bei YouTube)
Alien Abduction (Video bei YouTube)
Omens Of Evil
A World Engulfed In Flames

Source: Vampster

September 22, 2024, Hamburg Barclays Arena What has happened so far … When Linkin Park released their debut album “Hybrid Theory” in 2000, nobody would have thought it possible that it would become the most successful band of the new millennium, and even one of the most successful bands of all time with 167 million […]

Source: Orkus

Ursprünglich als SLAYER-Coverband gegründet, bringen SLOWER nun ein Album mit eigenen Songs raus. “Rage and Ruin” erscheint am 1. November 2024 und beinhaltet neben vier SLOWER-Kompositionen auch zwei SLAYER-Coversongs. Nun gibt es den Titeltrack zu hören.

Auch das knapp sechs Minuten lange Stück “Hellfire” bei YouTube kann man sich schon jetzt anhören. Zur aktuellen Besetzung der Band gehören Gitarrist Bob Balch (FU MANCHU), Sängerin Amy Barrysmith (YEAR OF THE COBRA) und Drummer Esben Willems (MONOLORD). Peder Bergstrand (LOWRIDER), Laura Pleasants (KYLESA) sowie Scott Reeder (KYUSS) sind nicht mehr dabei.

Über das neue Album sagt Bob Balch:

„Eigentlich wollten wir Slayers EP ‚Haunting The Chapel‘ covern. Wir begannen mit „Chemical Warfare“ und gingen dann zu „Haunting The Chapel“ über, aber als wir bei „Captor Of Sin“ ankamen, merkten wir, dass dieses Stück überhaupt nicht verlangsamt werden wollte. Also haben wir angefangen, unsere eigenen Songs zu schreiben, und ich bin froh, dass wir das getan haben. Das Ergebnis ist „Rage And Ruin“. Zwei Seiten mit Slayer-Songs in der Mitte, ergänzt durch Slower-Originale. Wir sind super stolz auf diese Platte und können es kaum erwarten, dass ihr sie hört!“.

Amy Tung Barrysmith fügt hinzu:

“Als wir anfingen, eigene Songs zu schreiben, wollte ich gleichen Themen wie Slayer behandeln.Es geht oft um Krieg, und als ich das Riff von Hellfire hörte,kam mir ein Bild eines leuchtend roten Feuern, das vom Himmel regnete, in den Sinn. Bei all den Unruhen in der heutigen Welt schien das ein passendes Thema zu sein. Das Besondere an diesem Song ist jedoch, dass mir der Titel „Hellfire“ erst durch dieses Bild in meinem Kopf eingefallen ist. Danach war es einfach, den Text zu schreiben.“

SLOWER “Rage and Ruin” Tracklist
1. Hellfire (Stream bei YouTube)
2. Chemical Warfare (SLAYER cover)
3. Gates Of Hell
4. Sins Of The Dead
5. Haunting The Chapel (SLAYER cover)
6. Rage And Ruin (Audio bei YouTube)

Source: Vampster

Die Noise Rock / Sludge-Band CHAT PILE hat nach dem Video-Clip zu “I Am Dog Now” und dem Video zu “Masc” mit dem Video zu “Funny Man” eine dritte Single ihres kommenden Albums “Cool World” veröffentlicht. Es ist nach “God’s Country” (2022) das zweite Album der US-Amerikaner aus Oklahoma City.

“Cool World” wurde von Ben Greenberg gemixt und wird am 11. Oktober 2024 via The Flenser erscheinen.

CHAT PILE “Cool World” Tracklist
I Am Dog Now (Video bei YouTube)
Shame
Frownland
Funny Man (Video bei YouTube)
Camcorder
Tape
The New World
Masc (Video bei YouTube)
Milk of Human Kindness
No Way Out

Source: Vampster

Liebe Leser, habt ihr euch jemals gefragt, was passiert, wenn ein polnischer Künstler japanischen Horror mit dunklem Ambient mixt? Nein? Wir auch nicht! Aber zum Glück hat...

Source: MedienKonverter

  Dave Barbarossa has long been heralded as an influential figure in modern music for his innovative and expansive drumming style. Third House marks his new collaboration with Umair “Spider” Chaudhry, with the project taking a turn toward a more post-punk and darkwave flavor [..]

Source: RE:GEN Mag

Liebe Musikliebhaber und Post-Punk-Enthusiasten, haltet eure Ohren fest und eure Thermometer bereit, denn die norwegische Band Permafrost schmilzt das Eis mit ihrem brandneuen Album "The Light Coming...

Source: MedienKonverter

ELDER feiern das zehnjährige Jubiläum ihres Drittwerks “Lore” (2015) mit einer speziellen Tournee: Zu hören geben wird es die Platte in voller Länge, wie die Psychedelic Rock-Band erläutert:

„Lore wird 10 Jahre alt. Dieses Album markierte für Elder den Ausgangspunkt eines Weges, den die Band auch heute noch beschreitet. Für uns ist es das Album, mit dem die Band zu ihrer eigenen Stimme im Heavy-Rock-Underground wurde. Da wir uns unserem zweiten Jahrzehnt als Band nähern, halten wir es für angemessen, auf diesen Meilenstein zurückzublicken und ihn gebührend zu würdigen. Deshalb werden wir eine Tournee machen, auf der wir das gesamte Album zusammen mit einigen anderen Tracks aus unserem früheren Katalog spielen werden; wir werden diese Ära der Band gebührend feiern, bevor wir uns wieder der Zukunft und dem nächsten Album zuwenden, das gerade geschrieben wird. […]”

Live erleben kann man “Lore” im Mai 2025.

ELDER Tourdaten 2025

08.05.2025 Hamburg (DE), Bahnhof Pauli
09.05.2025 Copenhagen (DK), Colossal Festival
10.05.2025 Oslo (NO), Desertfest Oslo
11.05.2025 Stockholm (SE), Hus 7
13.05.2025 Esch-Alzette (LU), Kulturfabrik
14.05.2025 Tourcoing (FR), Le Grand Mix
15.05.2025 to be announced soon
16.05.2025 London (UK), Desertfest London
17.05.2025 Nijmegen (NL), Sonic Whip
20.05.2025 Wiesbaden (DE), Schlachthof Kesselhaus
21.05.2025 Lyon (FR), L’Epicerie Moderne
22.05.2025 Lucerne (CH), Sedel
23.05.2025 München (DE), Feierwerk
25.05.2025 Berlin (DE), Desertfest Berlin

Source: Vampster

Die dänische Hard Rock-Band SILVER PHANTOM hat mit “Kiss Of The Phantom” eine neue Single mitsamt Video-Clip veröffentlicht. Der Song, der eine Geschichte über eine verlorene Liebe vor der Kulisse eines mysteriösen alten Herrenhauses erzählt, folgt auf das 2022er-Debütalbum “Crimson Cabaret” und wurde von Søren Andersen in den Medley Studios gemixt.

SILVER PHANTOM Line-Up:
Martin Helgren: Vocals and Bass
Signe Kirstine Laier: Vocals
Morten Madsen: Guitar
Mads Møller: Guitar
Kim Kvist: Drums

SILVER PHANTOM “Kiss Of The Phantom” (Video bei YouTube)

Source: Vampster

Can’t find myself in this tangled mess
Everything’s changing. I stay the same
Berlin’s industrial-wave mavericks Gewalt return with a seething new offering, Schwarz Schwarz, their third single ahead of the impending release of Doppeldenk. Released on the 2nd of September 2024, this track is anything but a passive indulgence—it’s a full-bodied confrontation. Forget the sterilized dancefloors of contemporary club culture; Schwarz Schwarz drags us back to the pre-commercialized basements of East Berlin, where the walls sweat and the beats hit with the force of a sledgehammer.

Gewalt’s ethos has always been rooted in the irreverence of punk and bold experimentation of 80s post-punk, and this time, they’ve taken it a step further into the abyss. Machine beats hammer away, flirting with brutality, while synth lines writhe and crawl beneath the surface, their sonic violence ever-present. There’s a faint echo of Einstürzende Neubauten here—perhaps no surprise, given the band’s affinity for Berlin’s rich legacy of underground artistry. But what Gewalt truly excels at is blending the harshness of industrial noise with a kind of perverse pop sensibility. You hear it in Schwarz Schwarz as the synths are as catchy as those in Liaisons Dangereuses’ electro-punk classic Los Niños del Parque while echoing The Prodigy and Public Image Ltd, while also channeling the spirit of Front 242 and DAF, and Chicago Wax Trax!

Vocally, Patrick Wagner is a force of nature. Once called “the German John Lydon” by Tricky, Wagner howls his lyrics with raw fury: “Ich kann mich nicht finden, im Wimmelbild”—”I can’t find myself in this tangled mess.” There’s an undercurrent of existential dread in the lyricism, a desperate search for meaning in a world that feels irreparably fractured. If there’s a better sonic representation of societal decay, it’s hard to imagine.

The video accompanying Schwarz Schwarz is equally visceral. Shot in what feels like a cavernous, industrial fortress in Berlin—think Tresor or Kraftwerk—the visual aesthetic matches the nihilistic pulse of the track. Every frame pulsates with the kind of primal energy you’d expect from a debauched underground Berlin rave. The stark, minimal imagery of concrete and shadows serves to emphasize the relentless forward march of the track, its frenetic urgency mirrored in the visuals.

Watch the video for Schwarz Schwarz below:



At the heart of Gewalt’s appeal is their ability to fold decades of underground electronic music into a sound that feels both anachronistic and forward-thinking. They are as indebted to the anarchic spirit of Liaisons Dangereuses as they are to the frenetic energy of Nine Inch Nails, PI, and The Prodigy. Yet, in Schwarz Schwarz, they manage to capture something uniquely theirs—an alchemy of noise, industrial, and EBM that feels both punishing and oddly euphoric.

Gewalt’s forthcoming album, Doppeldenk, promises to deliver more of this razor-sharp intensity. If Schwarz Schwarz is anything to go by, we’re in for a brutal, exhilarating ride.

Doppeldenk drops on October 4, 2024. Pre-order it here.

Presented by Musikexpress, ByteFM, Diffus, Laute.de, Diffus & Kaputmagazin, Gewalt is set to embark on a tour in support of the album, taking their blistering live show through cities like Cologne, Hamburg, and Berlin, where fans can immerse themselves in a double dose the same raw intensity that fuels Doppeldenk.

Find tickets here

Gewalt “Doppeldenktour ’24” dates:

27.11. Köln – Artheater
28.11. Hamburg – MS Stubnitz
29.11. Utrecht (NL) – dB’s Studios
30.11. Leipzig – Neues Schauspiel
03.12. Wiesbaden – Kreativfabrik
04.12. München – Strom
05.12. Wien – Arena
06.12. Stuttgart – Goldmark’s
12.12. Berlin – Neue Zukunft

Follow Gewalt:

YouTube
Instagram
Facebook
Bandcamp
Spotify
Website
TikTok

The post Industrial-Wave Trio Gewalt Performs at a Bizarre Berlin Bash in Their Video for “Schwarz Schwarz” appeared first on Post-Punk.com.

Source: Post-Punk.com

SCALPTURE haben für Anfang 2025 ein neues Album angekündigt. Die neue Platte wird via Testimony Records erscheinen, die Death Metal-Band aus Bielefeld hat vor kurzem einen Plattenvertrag bei dem Label unterschrieben.

SCALPTURE veröffentlichten 20216 ihr Debütalbum “Panzerdoktrin”, es folgten die Alben “Eisenzeit” im Jahr 2020 und zwei Jahre später “Feldwärts”.

SCALPTURE Line-up
Thorsten Pieper – vocals
Tobias Aselmann – guitar
Felix Marbach – guitar
Niklas Neuwöhner – bass
Moritz Nixdorf – drums

Source: Vampster

BEHEMOTH veröffentlichen ihr 2021 ausgestrahltes Streaming-Konzert “XXX Years Ov Blasphemy” nun auf BluRay, CD un Vinyl. Das zum 30-jährigen Jubiläum produzierte Event hat eine Laufzeit von rund 90 Minuten und wurde an drei verschiedenen Orten aufgezeichnet. Nach dem Mitschnitt von “Cursed Angel of Doom”  haben die Polen nun auch die Liveversion von “The Thousand Plagues I Witness “ im Netz geteilt.

Frontmann Nergal erläutert:

„Dieses Projekt verkörpert das Behemoth-Mantra – die Verbindung der alten mit der modernen Ära durch den Bau einer Brücke durch jedes Jahrzehnt. Schließt euch uns an bei dieser Feier des Black Metal und der unheiligen Anbetung, während wir weiterhin Jesus Christus selbst überdauern! Wir freuen uns, das Spotlight auf ‘Cursed Angel of Doom’ zu richten, den Track, mit dem alles begann. Er symbolisiert den Beginn einer unglaublich inspirierenden künstlerischen Reise, die unser Leben für immer verändert hat.

Legionen – wir hoffen, es gefällt euch“

“XXX Years Ov Blasphemy” erscheint am 25. Oktober 2024 via Nuclear Blast auf 3CD+BluRay, 3LP sowie digital.

BEHEMOTH “XXX Years Ov Blasphemy” Artwork

BEHEMOTH “XXX Years Ov Blasphemy” Tracklist
AKT 1
1 Chant of the Eastern Lands
2 Lasy Pomorza
3 Summoning (Of the Ancient Ones)
4 Blackvisions of the Almighty
5 Cursed Angel of Doom (Mitschnitt bei YouTube)
6 Pure Evil and Hate
AKT 2
1 The Thousand Plagues I Witness (Video & Stream)
2 Decade Ov Therion
3 Christians to the Lions
4 44 (The Youth Manifesto)
5 Heru Ra Ha: Let There Be Might
6 Chant for Ezkaton 2000
AKT 3
1 Demigod
2 At The Left Hand Ov God
3 Alas, Lord Is Upon Me
4 Ora Pro Nobis Lucifer
5 Rom 5:8
6 O Father O Satan O Sun!

Source: Vampster

Am 20. September 2024 hat KAT VON D ihr brandneues Album My Side of the Mountain veröffentlicht. Inspiriert vom gleichnamigen Buchklassiker erkundet Kat auf...

Source: monkeypress.de

Report from September 24, 2024, Cologne, Gebäude 9Photos from September 20, 2024, Hamburg, Reeperbahn-Festival, Knust Late summer was now suddenly over. Having recently been able to recharge your inner sun batteries in pleasant temperatures in order to be ready for the fall, an uncomfortable drizzle was now setting in. It was also unthinkable to go […]

Source: Orkus

Die Progressive Metal / Rock-Band MANTRA hat mit “Premonition” einen Video-Clip ihrer neuen EP “Celestial: Fall” veröffentlicht. Es ist der erste Teil eines vierteiligen Albums (“Celestial”), das schrittweise im Laufe eines Jahres, beginnend mit der Herbsttagundnachtgleiche am 22. September 2024 via Vlad Productions bis Juni 2025 veröffentlicht werden wird.

“Celestial”, das von Bassist Arthur Lauth bei Brown Bear Recording aufgenommen und gemixt wurde, sei eine philosophische Erkundung der Einsamkeit der Menschheit angesichts des Zusammenbruchs der Zivilisation.

“Diese erste Staffel stellt den Ausgangspunkt der Geschichte dar: die Entdeckung eines mysteriösen Objekts, das vom Himmel gefallen ist und einen unausweichlichen Zusammenbruch ankündigt”, erklärt Sänger Pierre Junod.

MANTRA Line-Up
Pierre Junod – Vocals
Simon Saint-Georges – Guitar
Arthur Lauth – Bass
Gabriel Junod – Drums

MANTRA “Celestial: Fall” Tracklist
Fall I – Messenger
Fall II – Illumination
Fall III – Premonition (Video bei YouTube)

Source: Vampster