Somewhere in the Windy City, a daring duo have apparently decided that the ideal soundtrack for eternal damnation should involve a drum machine, a considerable amount of sexual frustration, and the sort of theatrical excess that would make Dracula consider hiring a new stylist. X & Stacy, the body beat duo of Yasmine Esparza (X) and Jason Schmal (Stacy), have returned with their second single, Sangre Eterna, indulging their appetite for industrial electronics, Italo Disco, and European club music.

The proceedings begin with a funereal chime, that ancient announcement that somebody has either died or is about to make a spectacularly poor romantic decision. Eerie Spanish-language vocals drift into the arrangement, establishing an atmosphere of supernatural unease before a gloriously indecent backbeat barges into the funeral procession and starts rearranging the furniture. Suddenly, the cemetery has acquired a dance floor, and the mourners are behaving in ways that would get them excommunicated from most respectable religious institutions.

X & Stacy’s influences encompass the synthetic romanticism of Depeche Mode and Red Flag, the mechanical brutality of SPK, and the Latin pop sensibilities of Selena, an unlikely family gathering whose members would probably spend Christmas arguing over the thermostat. The song’s melodic sensibility also recalls the sleek synthpop of Cetu Javu, lending a seductive elegance to this peculiar congregation. Yet Sangre Eterna finds these ingredients getting along rather splendidly.

Minor-key synths conjure a mood of exquisite depravity as the rhythm section strides on with the resolve of a particularly horny undertaker. Through the electronics, a chamber-goth shimmer emerges: resonant, string-like tones that evoke hammered dulcimer or sitar. The passage summons the mystical grandeur of Dead Can Dance, lending the song an arcane, ritualistic air—as if the dance floor had been consecrated for a beautifully illicit ceremony.

The Spanish vocals are punctuated by gasps and moans that push the proceedings toward something deliciously absurd, suggesting an intimate encounter conducted in the basement of an abandoned nightclub. Then comes a screeching guitar passage that recalls the more unhinged experiments of Bauhaus, tearing across the electronic arrangement with the abrasive theatricality of Daniel Ash attacking a particularly troublesome piece of furniture. The collision of gothic rock and New Beat works beautifully, introducing a welcome dose of instrumental violence into an already wonderfully disordered affair.

One imagines this playing during a vampire film in which the bloodsuckers abandon their aristocratic obligations, raid a discount clothing store for leather trousers, and spend eternity getting thrown out of nightclubs. Frankly, immortality has seldom sounded quite so entertaining.

Listen to Sangre Eterna below and order the single here.

Sangre Eterna by X & Stacy

Having shared stages with Madeline Goldstein, Normal Bias, Choke Chain, and others, X & Stacy clearly know their way around the darker corners of contemporary club culture. Sangre Eterna suggests they’ve also developed a healthy appreciation for the pleasures of making drum machines behave badly.

Follow X & Stacy:

Spotify
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The post Chicago Duo X & Stacy Turn Vampiric Desire Into Body Beat Communion on “Sangre Eterna” appeared first on Post-Punk.com.

Source: Post-Punk.com

Bei der jährlichen Inventur fanden wir einen Review, der in keiner Tabelle auftauchte, aber sehr überzeugend auf seine Existenz bestand. „Shoulders & Giants“ erhält deshalb heute einen...

Source: MedienKonverter

Andere Singles sind nach drei Minuten schon vorbei, bei 'AMSGN' beginnt da aber gerade erstmal das Eis zu knacken. Am 13. November 2026 veröffentlicht Alexander Möll mit...

Source: MedienKonverter

Zwölf Jahre zwischen zwei Soloalben – da darf man beim Nachfolger schon mal die Kinder mit ins Studio bringen. Bei 'Morten Harket' steckt hinter diesem Familienbesuch allerdings...

Source: MedienKonverter

Jahrhunderthalle, Frankfurt, Germany13th October 2026Samu Haber - “XX Tour 2026” SAMU HABER is not only an outstanding musician but also probably one of the sweetest, warmest and most huggable artists I have ever encountered. There is something incredibly charming about his personality, his radiant smile and the positive energy he brings wherever he goes. He is the kind of musician who makes people want to run up to him and give him a big hug. And, believe it or not, some lucky fans actually got the chance to do exactly that during his Frankfurt show. But let’s start from the beginning.

Source: Reflections of Darkness

Die Blackened Sludge Metal-Band STRICKEN hat mit „Dust From The Grave“ den Opener ihres kommenden Albums „From Dark Dimensions An Unspeakable Presence Awakens“ veröffentlicht. Es ist nach „From a Well of Emptiness, a Stygian Serpent Born“ (2022) das zweite Album der US-Amerikaner aus Seattle und beschäftigt sich mit Themen wie dem dunklen Unterbewusstsein, Selbstzerstörung, unaussprechlichem Grauen, existenzieller Angst und Nihilismus.

„From Dark Dimensions An Unspeakable Presence Awakens“ wurde gemeinsam mit Nick Charlton aufgenommen, von Drummer Chris Wozniak (LAIR OF THE MINOTAUR, VANISHMENT, I KLATUS) gemixt und von James Plotkin gemastert. Das Cover-Artwork stammt von Tom Denney. Release-Termin ist der 6. November 2026 via Horror Pain Gore Death Productions. Vorab gibt es auch einen Video-Clip zu „Darkness Impenetrable„.

„In ‚Darkness Impenetrable‘ geht es darum, sich in der Gegenwart einer Dunkelheit zu befinden, die so vollkommen ist, dass sie völlig bedrückend und unbegreiflich wirkt – sei es nun ein Wesen oder ein Gefühl. Das Video wurde in Snohomish County, Washington, am Fuße der Cascade Mountains gedreht – einem Ort, der unserer Meinung nach die Essenz des Songs perfekt einfängt“, sagt Chris Wozniak.

STRICKEN Line-Up:
Rob Ropkins – Bass, Vocals
Chris Wozniak – Drums
Nick Charlton – Guitars

STRICKEN „From Dark Dimensions An Unspeakable Presence Awakens“ Tracklist
1. Dust From The Grave (Visualizer bei YouTube)
2. Darkness Impenetrable (Video bei YouTube)
3. Moonless
4. Touch Of Corruption
5. From Nothing To Nothing

Source: Vampster

Die Epic Doom Metal-Band SARLIC BLISS hat mit „Melodies Of A Dying Dawn“ ein neues Album angekündigt. Es ist nach „Brægn Hæft“ (2023) das zweite Album der Deutschen aus Baden-Württemberg und wird am 27. November 2026 via MDD Records erscheinen.

Source: Vampster

Die Folk-Metal-Band Sagenbringer hat mit „Klabautermann“ die erste Single ihrer kommenden EP „Seensucht“ veröffentlicht. Der Song erzählt von einem Kobold, der auf hoher See seine Streiche spielt. Das dazugehörige Musikvideo stammt vom Hamburger Comic-Künstler Jan Bauer, bekannt als Weltenbauer, und ist im Comic-Stil animiert. Alle Infos sowie der Clip bei uns!

Source: Sonic Seducer

„Nicke Andersson And Nobody Else“ ist der Titel des ersten Soloalbums von Nicke Andersson, der nahhezu 40 Jahren Musik macht und bei Bands wie NIHILIST, ENTOMBED, THE HELLACOPTERS, THE HYDROMATICS, THE SOLUTION, DEATH BREATH, IMPERIAL STATE ELECTRIC, LUCIFER aktiv war und ist.

„Nicke Andersson And Nobody Else“ ist das alleinige Werk des Schweden, er kümmerte sich um alles selbst, vom Artwork bis zur Produktion. Das Album erscheint via Sound Pollution, weitere Deteils wie der VÖ-Termin sind noch nicht bekannt.

IMPERIAL STATE ELECTRIC – Würzburg – 25.02.2017 – Bilder

Source: Vampster

Die Progressive Metal-Band APOTHEUS stellt ihr neues Album „The Complex Permutation“ mit einer neuen Single vor: nach „Boundaries“ mit einem Gastbeitrag von Sänger Björn Strid (SOILWORK) gibt es nun auch ein Video zu „Key Keeper„.

„The Complex Permutation“ erscheint am 20. November 2026.

APOTHEUS „The Complex Permutation“ Tracklist
1. Boundaries (Video bei YouTube)
2. V.O.I.D.
3. Fracture
4. Key Keeper (Video bei YouTube)
5. 5th Dimension
6. Ascension
7. The Wait
8. The Complex Permutation
9. A New Beginning II
10. Epilogue

APOTHEUS Line-up 2026
Miguel Andrade – Vocals and Guitar
Tiago Santos – Guitar
Daniel Rocha – Bass Guitar
Albano von Hammer – Drums

Source: Vampster

Die Melodic Metal-Band GREY SKY BLEED hat mit „We Share The End“ – mit Cellistin Liisa Paakkunainen als Gast – eine neue Single veröffentlicht. Inspiriert von Cormac McCarthys Roman „The Road“ zeichnet der Song ein düsteres und doch menschliches Bild zweier Seelen, die sich gemeinsam dem Unvermeidlichen stellen, und beweist damit, dass auch am Ende von allem die Verbundenheit die größte Stärke der Menschheit bleibt.

Der Song ist Teil des neuen Albums „Only Dust You Are“, welches von Jukka Ruostila gemixt und von Jaakko Viitalähde gemastert wurde. Das Cover-Artwork stammt von Sami Romppainen. Release-Termin ist der 20. November 2026 via Art Gates Records.

GREY SKY BLEED Line-Up:
Jukka Ruostila – Vocals & Synths
Heikki Kokko – Guitars
Antti Heikkilä – Bass
Sami Romppainen – Drums

GREY SKY BLEED „Only Dust You Are“ Tracklist
1 The Serpent With The Crown
2 Dust Thou Art (feat. Dyecrest)
3 Godspeed
4 Burden Of Dreams
5 We Share The End (feat. Liisa Paakkunainen) (Audio bei YouTube)
6 Voices In The Dark
7 Plague Mind
8 Thoughts & Prayers (feat. Kärtsy Hatakka)
9 The Fortress
10 The Lie

Source: Vampster

Die Psychedelic / Space Rock-Band SKYJOGGERS hat nach  „Ancient Steel“ mit „Harbor (Liquid Copper)“ eine zweite Single samt Video ihres kommenden Albums „Frag Nicht Nach Sonnenschein“ veröffentlicht.

Es ist das sechste Album der Finnen und wurde von Anssi Vättö gemixt und von Janne Hakanen gemastert. Release-Termin ist der 13. November 2026 via Sound of Liberation Records.

SKYJOGGERS Line-Up:
Alexi Belle – Guitar
Gabo Sabor – Drums, Vocals
Juan Rico – Bass, Vocals, synths

SKYJOGGERS „Frag Nicht Nach Sonnenschein“ Tracklist
01 Harbor (Liquid Copper) (Visualizer bei YouTube)
02 Bonobo Space Station
03 IX. Epäilys
04 Ancient Steel (Audio bei Bandcamp) (Video bei YouTube)

Source: Vampster

Mit „Labyrinths Of Pain“ wird am 7. November 2026 via Talheim Records das neue Album der Black Metal-Band MOTHER AUGUSTA erscheinen. Es ist nach „Fragile“ (2019) und „Low Lights“ (2023) das dritte Album der Italiener und beleuchtet Reflexionen, Erinnerungen, Selbstbeobachtung und Leid aus einer reiferen und zynischeren Perspektive.

MOTHER AUGUSTA Line-Up:
Matteo Cordani – Guitars, Vocals
Tomaso Fontanin – Drums
Matteo Carretta – Guitars
Alessandro Coletta – Bass

MOTHER AUGUSTA „Labyrinths Of Pain“ Tracklist
1. Deep, Dark, Silent
2. Outsider
3. Wrong Choices
4. Other Worlds
5. Years Of Dust On A Broken Clock
6. Labyrinths Of Pain

Source: Vampster

Am 5. Februar 2027 erscheint ein neues Album von TERVEET KÄDET: „Subterra“ wird von Svart Records veröffentlicht. Zur ersten Single „Nylkijä“ gibt es ein Video:

Laut Gitarrist Ilari Kinnunen ging doe Band beim Songwriting für „Subterra“ neue Wege:

Dieses Albums entstand anders als die anderen Platten: Ich habe die Musik geschrieben, die Texte sind von Läjä, Lene (Bass) und mir. Im Vergleich zu früher haben wir wenig Zeit damit verbracht, die Songs auszuarbeiten. Nach wenigen Proben und im Studio fügte sich alles ganz von alleine zusammen.

TERVEET KÄDET „Subterra“ Cover & Tracklist

Nylkijä (Video bei YouTube)
Kun pimeys alkaa
Arkku
Aivokiima
Vanha Viisaus
Armoton
Turha luulo
Poissa
Tristitudo
Elämältä kuollut
Ötökkä
Kammio
Paluu perusasioihin
Kohtaa tuntematon
Onni on olla
Tyhjät kädet
Ikuinen herää eloon
Subterra

Source: Vampster

SILVERTOMB haben ein neues Album aufgenommen, „The Interpretation Of Nightmares“ erscheint am 13. November 2026. Mit einem Lyrics-Video stellen die New Yorker jetzt auch den Track „Brain Matter/No God“ vor:

Zur ersten Single „No Way To Live“ gibt’s seit Ende Juli ein Video:

 

Der Nachfolger des Debütalbum „Edge Of Existence“ entstand unter schwierigen Bedingungen:

„Als es seinerzeit mit SILVERTOMB richtig losgehen sollte, waren uns aufgrund der Pandemie und ihrer langanhaltenden Nachwehen über Jahre die Hände gebunden, außerdem musste ich dringend mein Alkoholproblem lösen“, blickt Kenny Hickey auf die Zeit von 2020 bis 2024 zurück.

Zur aktuellen Besetzung von SILVERTOMB gehören:

Sänger/Gitarrist Kenny Hickey (TYPE O NEGATIVE, SEVENTH VOID)
Drummer Johnny Kelly (TYPE O NEGATIVE, DANZIG, SEVENTH VOID)
Gitarrist Jos James (AGNOSTIC FRONT)
Bassist Hank Hell (SEVENTH VOID)
Keyboarder Aaron Joos (EMPYREON)

 

SILVERTOMB „The Interpretation Of Nightmares’ Tracklist & Cover
1. Brain Matter / No God (Lyrics-Video bei YouTube)
2. Ascension
3. Graves In The Sky
4. You Know
5. Prayer For The Paranoid
6. Distorted
7. No Way To Live (Video bei YouTube)
8. When Will You Learn?

 

Source: Vampster

AWAKE AGAIN haben ihr zweites Studioalbum angekündigt, die erste Single daraus ist „Middle Man“:

Im Frühjhar 2026 ist die Alternative Metal-Band zusammen mit MISTER MISERY auf Tour.

Das neue Album folgt auf das 2022 erschienene Debüt „No Matter How The World Turns“ sowie die EPs „A Promise of Better Days“ (2024) und „The Dream That Never Dies“ (2025). Albumtitel und VÖ-Termin sind noch bekannt.

AWAKE AGAIN, MISTER MISERY — Co-Headline Tour 2027

18 March — Betty, Hamburg
19 March — Turock, Essen
20 March — Paunchy Cats, Lichtenfels
21 March — Bastard Club, Osnabrück
22 March — Bandhaus, Leipzig

Source: Vampster

Mit „Sanctum“ veröffentlichen Pinhead eine weitere Single aus ihrem kommenden Album „Beauty In Pain“. Der Song zählt zu den ruhigeren Momenten der Platte und handelt von der Suche nach Schutz und Geborgenheit, verbunden mit der Erkenntnis, dass selbst vermeintlich sichere Orte nicht für immer bestehen. Alle Infos dazu sowie das Musikvideo hier!

Source: Sonic Seducer

MISTER MISERY und AWAKE AGAIN sind im Frühling 2027 auf Co-Headliner Tour, in Deutschland sind fünf Konzerte angekündigt.

AWAKE AGAIN, MISTER MISERY Co-Headline Tour 2027 

18 March — Betty, Hamburg
19 March — Turock, Essen
20 March — Paunchy Cats, Lichtenfels
21 March — Bastard Club, Osnabrück
22 March — Bandhaus, Leipzig

Source: Vampster

CHARLOTTE WESSELS hat ein neues Album angekündigt: „Mute Swan Empire“ ist das zweite Full-Length-Werk ihrer Solo-Band THE OBSESSION und erscheint am 5. Februar 2027 via Napalm Records auf CD, Vinyl sowie digital. Es handelt sich dabei um ein Konzeptalbum, das ursprünglich aber gar nicht als solches geplant war, wie die Sängerin erläutert:

„Ich hatte von Anfang an nicht vor, ein Konzeptalbum zu schreiben, aber irgendwann wurde mir klar, dass alle neuen Songs, die ich geschrieben hatte, miteinander verbunden waren. Jeder von ihnen schien eine andere Reaktion auf die Welt zu verkörpern, in der wir leben: Verleugnung, Komplizenschaft, Rückzug, blinder Gehorsam, selektives Mitgefühl, aber auch Hoffnung und Verbundenheit und so weiter. Ich begann, diese wiederkehrenden Themen und Archetypen zu erkennen, und mir wurde schließlich klar, dass sie alle Teil einer viel größeren Geschichte waren. Ich wollte diesem Faden so weit wie möglich folgen und das Konzept zunächst durch die Musik und schließlich auch durch das Artwork und die Bildsprache erkunden.

Diese Entdeckung wurde zur Grundlage für „Mute Swan Empire“. Was mich fasziniert, ist, wie leicht es ist, diese Reaktionen bei anderen zu erkennen, und wie viel schwieriger es sein kann, sie bei uns selbst zu erkennen. Ich wollte kein Album, das einfach mit dem Finger auf andere zeigt oder einfache Antworten liefert. Ich wollte die Widersprüche, die unangenehmen Grauzonen und die Möglichkeit, dass wir uns ändern können, erforschen.

Musikalisch hat dieselbe Freiheit, dorthin zu folgen, wohin ein Song führt, zu einem Album geführt, das zwischen einigen der härtesten Stücke, die wir je gemacht haben, und Momenten der Verletzlichkeit wechselt. Trotz der Vielfalt des Albums glaube ich, dass wir noch nie so sehr als Band zusammengeklungen haben. Jeder bringt etwas Einzigartiges in die Musik ein, und ich bin wirklich stolz darauf, was entsteht, wenn all diese Elemente zusammenkommen.“

Anschließend geht die Formation auf Headline-Tournee durch Europa. Die Sängerin hat zu dem Vorhaben Folgendes zu sagen:

„Nach der unvergesslichen ‚Arcane Dimensions‘-Tour mit Epica und Amaranthe fühlt es sich fast unwirklich an, unsere eigene Headliner-Tour durch Europa anzukündigen. Es ist ein so emotionales neues Kapitel. Die Energie, die wir in den letzten Monaten mit euch allen geteilt haben, war unglaublich, und wir können es kaum erwarten, das noch weiter auszubauen – mit längeren Sets, neuen Songs und noch intensiveren Momenten, die wir jeden Abend gemeinsam erleben. Die Tour in meiner Heimatstadt Utrecht im TivoliVredenburg – Ronda zu beenden, ist etwas, worauf ich besonders stolz bin und worauf ich mich sehr freue.“

Für das Vorprogramm konnte MELISSA BONNY gewonnen werden, die an allen Terminen mit Ausnahme der Show in Essen auftreten wird.

CHARLOTTE WESSELS‘ THE OBSESSION „Mute Swan Empire“ Tracklist

Incubus
In Leta Via
Tempest
After Us The Flood
Good Girl (If You’re Ready To Die)
The Hermit Song
Emergency Kit
One Day They Will Come For You
Weeping Madonna
This Is Not An Opinion
The Villain
Let The Music Decide
Incantations
Starling
Bells Of Lynn

CHARLOTTE WESSELS‘ THE OBSESSION „Mute Swan Empire“ Artwork

CHARLOTTE WESSELS‘ THE OBSESSION, MELISSA BONNY Tourdaten 2027

04.02.27 BE – Sint-Niklaas / Casino
05.02.27 UK – London / Islington Assembly Hall
06.02.27 UK – Glasgow / Slay
07.02.27 UK – Manchester / Club Academy
09.02.27 FR – Paris / La Machine Du Moulin Rouge
10.02.27 CH – Zürich / Komplex Klub
12.02.27 IT – Milan / Legend Club
13.02.27 DE – München / Backstage Halle
14.02.27 CZ – Zlín / Masters of Rock Cafe
15.02.27 AT – Wien / Szene Wien
17.02.27 HU – Budapest / Barba Negra
18.02.27 PL – Krakow / Hype Park
19.02.27 DE – Leipzig / Werk 2
20.02.27 DE – Hamburg / Gruenspan
21.02.27 DK – Copenhagen / Pumpehuset
23.02.27 DE – Berlin / Lido
25.02.27 DE – Aschaffenburg / Colos-Saal
26.02.27 DE – Essen / Weststadthalle
27.02.27 NL – Utrecht / TivoliVredenburg Ronda

Fotogalerie: CHARLOTTE WESSELS – Columbiahalle, Berlin – 8. März 2026

Source: Vampster

Am 20. November 2026 veröffentlichen DOMKRAFT ihr neues Album „Night Songs“. Auch zur dritten Single „Aurora“ gibt’s nun einen Clip:

Die vorherige Auskopplung „Eclipsed“ ist ebenfalls in Bild und Ton abrufbar:

Das Video zur ersten Single „Void Runner“ kann man seit Mitte August ansehen:

Sänger und Bassist Martin Wegeland, Sänger und Bassist der Psychedelic Doom Metal-Band, beschreibt den Vibe des Albums so:

 

„Kennst du das Gefühl, wenn man denkt, dass es nun nur noch besser werden kann? Die Vorstellung, dass man endlich den Tiefpunkt erreicht hat? Nun, die Lage der Welt widerlegt das immer wieder. Dieser Song sagt im Grunde: ‚Gebt alles, was ihr habt, ihr Arschlöcher!‘ Inzwischen sind wir auf fast alles vorbereitet. Wir haben es satt zu glauben und sind  in den ‚Mach dich bereit‘-Modus gewechselt. Dennoch geht es in diesem Song definitiv nicht um Resignation oder Aufgeben. Tatsächlich geht es vielmehr darum, genug Kraft zu sammeln, um damit fertig zu werden, ohne zu zerbrechen, und dabei vielleicht sogar noch zu tanzen.“

DOMKRAFT „Night Songs“ Tracklist & Cover
1. Unnamed
2. Lights On
3. Aurora (Video bei YouTube)
4. Void Runner (Video bei YouTube)
5. Eclipse (Outlast the Night) (Video bei YouTube)
6. Dead Rocket
7. Tunnels

 

 
 DOMKRAFT Line-up

Martin Wegeland – vocals, bass
Martin Widholm – guitars
Anders Dahlgren – drums

Source: Vampster

Am 22. Januar 2027 veröffentlichen WINONA FIGHTER ihr neues Album „Brutal & Extremely Underrated“ via Rise Records auf CD, Vinyl sowie digital. Die Platte enthält zwölf Stücke, eines davon gibt es mit „LEECH“ als Video.

WINONA FIGHTER „Brutal & Extremely Underrated“ Tracklist

TV On The Radio
BOMBS AWAY
LEECH (Video bei YouTube)
DEAD HORSE
You Don’t Have A Clue
SELF AFFIRMATIONS
HAWK FOOT
OUT! THERE!
Lily Cut Her Hair
PARA SIEMPRE
BULLY BUSTER
Title (REDACTED)

Source: Vampster

Rund um „Vergessene Pfade“ war im Archiv vorsorglich Absperrband angebracht. Darauf stand lediglich: „Erst nach 20 Jahren öffnen.“ Wir haben nachgerechnet – die Frist ist abgelaufen. Veit...

Source: MedienKonverter

Swedish synthpop project Flare Dimension releases its debut album "Sad Girl Sad Boy" on Radiation Street Records, out now on vinyl and digital formats.

Source: Side Line

Athens synthpop duo Ekospell released the single "Creatures Of The Night" on September 25, 2026, with an official video out via Ekospell Music.

Source: Side Line

Bicoastal duo Lex & Hood releases the satirical synth-pop single "Automate Automate" on Flipside Records, out October 15, 2026.

Source: Side Line

Erk Aicrag (Hocico, Rabia Sorda) talks to Side-Line about Pingo, MANIC, Chuntata Boys and leaving Mexico for Germany.

Source: Side Line

Wer online unterwegs ist, wird ziemlich schnell zur Zielgruppe, Kennzahl oder Kaufempfehlung mit Schuhgröße. 'Whole' stellen dazu eine unangenehm passende Frage: Wann wird aus einem Menschen eigentlich...

Source: MedienKonverter

Ganze fünf Jahre mussten Fans auf neues Studiomaterial von A SECRET REVEALED warten. Eine halbe Dekade. Bereits im Februar 2024 durften wir, damals gänzlich unvoreingenommen, da bislang komplett an uns vorbeigegeangen, das Fünfergespannt als Support von PRAISE THE PLAGUE live erleben. Seitdem warten auch wir auf neuen Stoff. Und das Dürsten hat sich gelohnt.

Als alter Wegbegleiter (denn schließlich verbindet beide eine langjährige Freundschaft) unterstützt Nikita Kamprad, seines Zeichens Kopf und Vocalist der Band DER WEG EINER FREIHEIT, gleich beim ersten Track „Disheartened“ mit seiner unverkennbaren Stimme. So wird direkt zu Beginn der Platte ein Zeichen gesetzt, auf dass die Erwartungen noch weiter in die Höhe schnellen.

Stilistisch mag man sich zwar wie auf den Vorgängeralben im Bereich des Post-Black-Metals bewegen, aber in dem Gesamtkonzept schwingt etwas anderes mit

Was von Beginn an auffällt, dass ist das brachial verdroschene Schlagzeug. Im Black Metal zumeist eher im Hintergrud dahinrauschend, messen A SECRET REVEALED den Drums auf ihrem neuen Longplayer deutlich mehr Bedeutung bei. Das ist so deutlich, dass man sich daran erstmal gewöhnen muss, ohne diesen Handgriff negativ kritisieren zu wollen. So schwimmt die Band zwar im Ozean des Post-Black-Metals, schlägt klanglich aber (mit etwas Fantasie) tatsächlich eine Brücke zum Subgenre des Core – kommt hierbei hingegen aber gänzlich ohne Klargesang aus. Interessant, wie zwei gundlegend unterschiedliche Musikrichtungen, je einem anderen Subgenre entspringend, eine solche Fusion erleben können. Ob gewollt oder ungewollt ist völlig wurscht. Was zählt, ist der Gesamteindruck – und dieser bleibt definitv im Gedächtnis.

Erdrückend schwer liegen die Drums auf der Brust, die tief gespielten Gitarren, ergänzt durch die beinahe blutig gebrüllte Stimme von Michael Heim, erschaffen so ein Gesamtkonstrukt, wie man es aus hunderten anderer Bands immer wieder heraushören würde. Unverkennbar! Und genau dieses Gewicht und diese Unverkennbarkeit durchziehen alle acht Songs des Albums.

Die Band aus Würzburg schafft eine Atmosphäre, die von purer Emotion und erdrückender Intensität nur so strotzt

Stets voran prescht das Quintett mit unbändiger Härte durch das Album. Und doch öffnen sich zuweilen kurze, aber sehr zerbrechling klingende Passagen, die den Zuhörer für einen Moment aufatmen lassen, nur um ihn anschließend wieder mit in die Tiefe zu reißen. So auch im Titel „Torn From The Quiet“, wo eine zart angespielte Gitarre einen melancholischen, beinahe traurigen Song ankündigt. Abgelöst vom Stimmengewirr einer Menschenmasse ergießt sich erneut eine Salve purer Kraft aus den Lautsprechern.

„The Ruin I Summoned Forth“ ist nach „Sacrifices“ (2019) und „When The Day Yearns For Light“ (2021) die dritte Veröffentlichung der Band bei LIFEFORCE RECORDS. Ihr Debütalbum „The Bleakness“ erschien, zusammen mit Nikita Kamprad produziert,  2015 bei Bastardized Records. Die Basis der einzelnen Werke ist immer gleich: A SECRET REVEALED sind stets bestrebt, einen massiven, kompromisslosen Sound zu liefern, der die Zuhörer von Beginn an fesselt und einen bleibenden Eindruck hinterlässt. Erneut präsentiert die Band ein in sich geschlossenes und doch komplexes Album, in dem sich einzelne, szenetypische Elemente zu einem umwerfend gelungenen Gesamtkunstwerk addieren.

VÖ: 16. Oktober 2026

Line-Up:RALF – GuitarTILMAN – DrumsMICHAEL – VocalsLUKAS – GuitarJULIAN – Bass

Label: Lifeforce Records

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A SECRET REVEALED „The Ruin I Summoned Forth“ Tracklist

01. Disheartened (feat. Nikita Kamprad, DER WEG EINER FREIHEIT) (Video bei YouTube)02. Collapsar (Video bei YouTube)03. Withered Eyes04. The Great Dying05. Torn From The Quiet06. Upheaval07. No Mercy For The Wicked08. The Farewell

A SECRET REVEALED – Tourdaten mit PRAISE THE PLAGUE 2026

30.10.2026 – Dresden / HD

02.11.2026 – München / Backstage (club)

03.11.2026 – Berlin / Neue Zukunft

04.11.2026 – Hamburg / Bambi Galore

05.11.2026 – Hannover / Chéz Heinz

06.11.2026 – Würzburg / Immerhin

07.11.2026 – Stuttgart / Juha West

Source: Vampster

Mit dem letzten Album „Birthing“ hatte ja Michael Gira schon angekündigt, die „Big Sound Ära“ der SWANS zu beenden. Natürlich geht das nicht ohne das dazugehörige Live-Album von statten, welches mit „Newly Sentient Being“ jetzt ein Jahr später auch vorliegt. In Ton und Bild mitgeschnitten wie aufgezeichnet wurde es am 28.11.2025 in Berlin und ist wieder ein, nicht nur vom Veröffentlichungsumfang her gesehen, wahres episches Monster geworden. Ganze 4 Vinyl-Platten und eine DVD oder wahlweise eine Doppel-CD+DVD im der typischen minimalistischen Artwork-Gestaltung umfasst das die 25jährige Phase abschließende Set im Festsaal Kreuzberg. Dabei kam sogar zum Teil bisher unveröffentlichtes Material zu Aufführung, welches sich auf gerade mal nur 5 Stücke (oder besser gesagt Blöcke) aufteilte und allein drei davon an der 40 Minuten Marke kratzen oder diese noch überschreiten! Allein diese Eckdaten dürften schon suggerieren, was einen auf „Newly Sentient Being“ erwartet und am Ende ist es auch wieder eine tonale Ausnahme-Erfahrung, was die SWANS hier bei ihrem letzten Konzert in großer Besetzung darbieten. Bei dieser sind, neben dem bewährt bekannten Personal um Norman Westberg, Larry Mullins und Kristof Hahn, auch Laura Carbone und Lucy Kruger als geisterhafter Sirenchor mit an Bord. Selbst wenn die schon bei den letzten beiden Alben stoisch schrubbenden Gitarrenriffs zu Gunsten von sirrenden Drones in den Hintergrund getreten sind, ist das Ergebnis am Ende gleich, nämlich völlige physische und psychische Erschöpfung, welche aber auch einer transzendenten Erleuchtung gleichkommen kann! Der Meister selbst schien angesichts der „letzten“ Show milde gestimmt und interagierte dabei ungewohnt (natürlich relativ gesehen) ausgiebig mit dem Publikum, was schon allein dieses Live-Dokument unter so vielen von den SWANS seine Berechtigung verleiht! Man darf nun gespannt sein, wie es mit den SWANS weiter geht und bis dahin hat man ja mit diesem Live-Album genug Material zu Überbrückung der Wartezeit. (Marco Fiebag)

Source: BLACK Onlinemagazin

Sleepwalk's Andy Lehmann discusses the Swiss dark electro band's new album "Dystopia," released 30 May 2026 on Electro Aggression Records.

Source: Side Line

Chloé Saint-Liphard, singer and co-founder of French darkwave band Collection d'Arnell-Andréa since 1986, has died, Obskure.com reported 17 October 2026.

Source: Side Line

Ich hatte bisher von der kanadischen Ambient/Klangkünstlerin SARAH DAVACHI noch nicht so viel gehört, aber wenn ich die aktuelle Veröffentlichung gerade so inhaliere, kann man den Klangkosmos der Interpretin und Komponistin durchaus als elektroakustische und minimalistische Soundwelte bezeichnen. Die insgesamt 13 Tracks incl. 2 Videos auf 2 CDs, die mir hier vorliegen, laufen alle ab 6 Minuten bis 23 Minuten und die Akkorde sind sehr Molllastig und ruhig meditativ angelegt, man könnte es auf jeden Fall auch als psychoakustische Meditation bezeichnen. Die minimalistischen Orgelkompositionen und harmonischen Strukturen, die neoklassisch in elektronischer Form, als auch mit Vintage-Instrumenten wie dem Mellotron analog erzeugt wurden, verströmen eine äußerst beruhigende Aura. Einige Tracks wurden in Kirchen oder dem Orgelpark Amsterdam aufgenommen und es wurden auch Cello, Tenor + Bassflöte, Posaune, Tuba, Trompete, Horn sowie Violine eingesetzt und sogar der CHAMBER CHOR IRLAND im Song „Songs Of The Smile`s Fig“, dem einzigsten Lied mit verhallenden, harmonischen Gesang.Die Musikerin sagt auch selber, das die Welt aus Schwingungen besteht, die auf uns positiv wie negativ einwirken und SARA DAVACHI beschäftigt sich in ihrer Kunst damit, was diese Töne in uns auslösen können. In den langanhaltenden Songs gibt es kaum Rhythmik, kaum Melodien, kaum Stimmen, die Kompositionen bestehen aus rein langgezogenen Klängen, die sanft vor sich hin schweben und nur unterschwellig ab und zu leicht pulsieren. Diese mal so ganz andere Art von „alternativen“ Ambient, der mit eventuell bewußtseinserweiternden Klangkombinationen angereichert wurde, setzt sich fast ausschließlich aus abgestimmten Vibrationen zusammen. Der Zuhörer kann sich hier ganz auf das räumliche Erlebniss der Tonhöhen und atmosphärischen Intonationen sowie ästhetischen Harmonien einlassen. DAVACHI studierte bis 2012 Psychologie an der University of Calgary, absolvierte 2012 mit einem Master Abschluss in elektronischer Musik und Aufnahmem die am Mills College in Oakland und promovierte an der University of California, Los Angeles in Musikwissenschaft mit einer Dissertation über Klangfarbe, Phänomenologie und kritische Organologie, das paßt auch alles soweit zu ihrer musikalischen Ausrichtung. Und irgendwie erinnern mich die weitläufigen, zeitlupenartigen Soundlandschaften an fallenden Schnee, den man mit staunenden Augen vom Fenster aus verfolgt und der mit Klängen und Tönen umgesetzt wurde, was ja zur leider bald beginnenden Winterzeit sogar genau passen würde.

(S.Erichsen)

 

Source: BLACK Onlinemagazin

Tanzwut machten am 16. Oktober 2026 im Frankfurter Club Das Bett Station. Mit ihrer „Herz aus Stein“-Tour verbindet die Band um Frontmann Teufel die Tradition der Spielleute mit kraftvollen Rockmelodien, einer guten Portion Humor und energiegeladenen Songs. Als Special Guest war Sagenbringer mit dabei. Hier kommt unsere Foto-Galerie vom Abend.

Source: Sonic Seducer

Tarja hat mit „Tango“ eine weitere Single aus ihrem aktuellen Album "Frisson Noir" ausgekoppelt. Für den Song hat sich die ehemalige Nightwish-Sängerin mit den finnischen Symphonic-Metallern Apocalyptica zusammengetan. Alle Infos dazu sowie das Musikvideo bei uns!

Source: Sonic Seducer

The Sisters Of Mercy machten am 15. Oktober 2026 im Hamburger Docks Station und brachten ihren unverwechselbaren Mix aus Gothic Rock, Post-Punk und düsteren Klangwelten auf die Bühne. Den Support übernahmen Soft Palms. Hier kommt unsere Foto-Galerie vom Abend.

Source: Sonic Seducer

Die färöische Sängerin Eivør feiert die Veröffentlichung ihres neuen Albums "Tungl" mit einem Musikvideo zur Single „Og Mánin Græt / And The Moon Cried“. Alle Infos sowie der Clip bei uns!

Source: Sonic Seducer

Silvertomb, die Band des früheren Type-O-Negative-Gitarristen Kenny Hickey, meldet sich mit neuer Musik zurück und veröffentlicht ein Lyric-Video zu „Brain Matter / No God“. Der Song ist Teil des kommenden Studioalbum "The Interpretation Of Nightmares". Alle Infos dazu sowie das Video bei uns!

Source: Sonic Seducer

Mit ihrer neuen Single „Shelter“ zeigen sich Mono Inc. von ihrer besonders emotionalen Seite. Der Song ist die zweite Single-Auskopplung aus dem kommenden Jubiläumswerk „20 Years of Darkness“ und widmet sich der Bedeutung von Halt, Geborgenheit und gegenseitigem Vertrauen in schwierigen Zeiten. Alle Infos sowie das Lyric-Video bei uns!

Source: Sonic Seducer

We speak of losing time as though we might find it again, tucked into a coat pocket or waiting beneath the furniture. The hours spent enduring something difficult are especially cruel: they can feel endless while consuming whole stretches of a life. Grief, fear, and exhaustion can leave us suspended between the need to keep going and the suspicion that we are standing still. Swedish-German duo EFFATA give that uneasy reckoning the weight of a prayer on Losing Time, which they describe as “a psalm-like lament in the face of adversity.” With heavy electronics bearing down around its aching melodies, the song gives voice to the effort of holding on when consolation feels remote and the clock continues its indifferent work.

Bringing together Ralf Blagau and Linn Cleve, EFFATA combine industrial density, darkwave melody, and the emotional intensity of post-hardcore. Originally released on July 7, Losing Time now receives a performance video that places the duo inside the full glare of their light show and lets the song’s mounting urgency guide the camera.

A dense, repeating electronic surge opens the track, with broad cinematic synth pads spreading above its hard mechanical movement. When the guitar enters, its sun-warmed tone lends the arrangement a beautiful ache, the melodic figure stretching across the relentless electronics beneath it. Blagau’s wistful vocal sits deep within that activity, swimming through the mix as though struggling to keep his head above a mechanized sea. The distance between the tenderness of the voice and the pressure surrounding it gives the song much of its emotional pull.

As Losing Time develops, the guitar phrases grow more expressive and the singing gathers force, moving from submerged yearning toward something closer to a cry of appeal. Guitar and voice gradually gain the upper hand over the industrial weight, giving the closing stretch its sense of release. There is a psalm-like quality to that escalation, a lament made stronger through the act of singing it. Listeners drawn to Author & Punisher’s crushing electronics, The Soft Moon’s agitation, and Drab Majesty’s expansive guitar melodies will find familiar points of reference in the duo’s combination of physical force and exposed feeling.

An ornate cross at the opening establishes the video’s devotional undertone before the camera moves between Blagau at the microphone and guitar and Cleve at her keyboards. Vertical light bars cut through the smoke, shifting between purple, amber, and stark white, while close views of hands, faces, and instruments give way to shots of the pair performing together. Cleve raises an arm above her keyboard as Blagau leans into the microphone; by the final stretch, his whole body seems caught up in the effort. Shot by Stefan Heyn and edited by EFFATA, the film gives that escalating performance room to fill the frame.

Watch the video for Losing Time below:

EFFATA began in 2020, initially taking shape as a dark-folk and post-rock trio before developing into the partnership of multi-instrumentalist and producer Blagau and Swedish synthesizer player Cleve. Our earlier coverage of Worldless explored their singles Tabernacle and Forgetful, already revealing an affinity for spacious guitar arrangements and emotionally direct performances. Blagau has also spent years on the road managing and working as a technician for Einstürzende Neubauten, Melvins, Ulver, and Eyehategod. The duo bring that extensive live experience to performances accompanied by a custom, audio-reactive light show.

Listen to Losing Time below, and order the single here.

Losing Time by EFFATA

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The post Industrial Darkwave Duo EFFATA Share Video for Pslam-like Lament “Losing Time” appeared first on Post-Punk.com.

Source: Post-Punk.com

Immortality sounds glamorous until someone mentions the upkeep. Centuries pass, the plaster gives way, and the ancestral home becomes a structural hazard with an unusually possessive occupant. Gothic fiction has often treated houses as extensions of their inhabitants, allowing the walls to display the damage their owners conceal. In the case of Lady Rust, that relationship has become uncomfortably literal: the manor is falling apart, its resident is deteriorating alongside it, and visitors would be wise to make alternative plans.

London gothic rock quartet Mouth Ulcers conjure a theme song for this vampiric hostess with “Lady Rust,” out October 15. Featuring Rosie Garland of The March Violets, the track heralds the band’s debut album, You’re Not In Heaven, arriving April 23, 2027, via LAB Records.

The song opens with eerie tones, howling sounds, and guitar distortion that brings Bauhaus’ Dark Entries to mind, establishing a sense of danger before the rhythm takes hold. A supple bass groove and firmly struck drums draw everything into motion, while a dark guitar figure acquires a more threatening counterpart as the arrangement develops. There is an appealing physicality to the interplay, with the bass carrying the tune forward as the guitars make the surroundings increasingly inhospitable. Zak Watson delivers his vocal with a sly, dryly spoken detachment, maintaining an almost conversational composure amid the disturbance. His cold delivery gives the song’s supernatural subject an unnervingly casual presence.

Watson explains:

“Lady Rust tells the story about an ancient vampire that guards the land of a former Manor House. The house is slowly deteriorating, walls are falling apart and collapsing like the skin on her bones. Lady Rust continues to live on as a legend of the land with many trying to visit the house but few managing to escape.”

Directed and shot by Watson, the song’s video casts the band amid peeling walls and shattered windows, blue light slicing through the haze that envelops their performance. In an oval mirror, Garland’s close-ups lend the horror a vivid, expressive face: bared teeth, violet lips, hands poised beside her cheeks. Her reflection becomes a miniature theatre of menace. Severe clothing and blood-red Gothic lettering complete the mood of a macabre film unearthed on an old videotape. Garland’s presence also makes the lineage of British goth tangible: a familiar face from The March Violets stepping into a world imagined by its newcomers.

Watch our premiere of Lady Rust below:

Formed in 2025, Mouth Ulcers bring together Zak Watson on vocals and guitar, Josephine Rose on guitar and vocals, Jamie-Lee Culver on bass, and David Zbirka on drums. Their debut EP, Silent Pictures, introduced a group working with the melodic basslines and emotional reserve of post-punk, alongside the theatrical possibilities of gothic rock. The initial 1,000-copy vinyl run has sold out, while support from BBC 6 Music, BBC Radio 1, and KEXP has helped carry their music beyond the capital.

Listen to Lady Rust below, and pre-order You’re Not In Heaven on limited edition vinyl and CD here.

Lady Rust by Mouth Ulcers

Mouth Ulcers have a run of UK and European appearances ahead, including festival sets in Cardiff, Manchester, Paris, Amsterdam, and Porto. They also join The Mission at London’s Kentish Town Forum on November 6, before further club dates and an appearance at Rockaway Beach Festival in January.

Upcoming Live Dates

October 16 — Cardiff, UK — SWN Festival
October 17 — Manchester, UK — Neighbourhood Festival
October 23 — Brighton, UK — Mutations Festival
October 24 — London, UK — Dark Scene @ Rae’s
October 29 — Paris, France — They’re Gonna Be Big Festival
October 30 — Venlo, Netherlands — Grenswerk
October 31 — Amsterdam, Netherlands — London Calling Festival
November 6 — London, UK — Kentish Town Forum, with The Mission
November 7 — Leeds, UK — The Warehouse
November 18 — Brighton, UK — The Hope And Ruin
November 28 — Porto, Portugal — Post Punk Strikes Back Festival
January 8–11, 2027 — Bognor Regis, UK — Rockaway Beach Festival

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Lady Rust — artwork credit: Dayan Visser

The post London Goth Rockers Mouth Ulcers Tell a Tale of an Ancient Vampire in Their Video for “Lady Rust,” Starring The March Violets’ Rosie Garland appeared first on Post-Punk.com.

Source: Post-Punk.com

A name is often the first thing we learn to answer to. Much of life follows the same script: someone calls, we respond, and, over time, the response takes on the shape of a personality. Family, work, lovers, and paperwork each add their own directions, until the name begins to read like a job description. There’s a peculiar freedom in slipping free of a word burdened with everyone else’s expectations. Who would remain once the introductions fell silent?

German darkwave artist fremder and Greek producer coldblood pursue that question on namenlos, their new collaborative single and the title track of fremder’s forthcoming album. Written and produced together in Thessaloniki, Greece, the song considers the distance between the person we are and the person everybody has agreed we ought to be, setting that discomfort against an exceptionally catchy arrangement of synthesizers, drum machines, and forceful German vocals.

Buzzy synth figures bounce back and forth through generous reverb, answering each other in short, insistent exchanges. A metallic knocking interrupts the conversation before a sharp vocal grunt sets off the full synthpunk attack. The drumbeat lands thick and heavy beneath a voice that oozes dark theatricality, the German lyrics delivered with an almost percussive force. Warbling electronics keep the atmosphere uneasy even as the rhythm makes an excellent case for surrendering to the dancefloor.

There is a pagan charge to the beat’s repetition and the voice’s near-incantatory delivery, a suggestion of bodies gathering around something considerably older than a synthesizer. The hooks come quickly, while the vocal makes its existential agitation impossible to mistake for idle contemplation. You can dance to the prospect of disappearing here, though the question at the song’s center keeps pulling you back into yourself:

“Wie werde ich meinen Namen los?”
“How do I lose my name?”

The song’s stark black-and-white video by Fogg sets fremder’s restless performance against monumental concrete cylinders, hard-edged walls, and the repeating balconies of modernist buildings. In a dark coat and black lipstick, he gestures toward the camera, flings his head back, then moves in until his face floods the frame. A blur of motion keeps unsettling his features, while the brutalist architecture remains rigid and severe. The contrast gives the song’s anxiety a striking form: a person trying to slip beyond recognition in a world made of straight lines and repeating shapes.

At one point, a concrete aperture becomes a frame within the frame, reducing the performer to a face glimpsed through its geometry. Elsewhere, grass and trees soften the hard surfaces, opening up space around his movements. His performance brings all the agitation these otherwise impassive places require.

Watch the video for namenlos below:

A producer, songwriter, videographer, and tattoo artist, fremder directs the musical and visual aspects of his project under the description black romanticism. His emphasis on existential lyrics and freedom from external expectations carries through a practice spanning coldwave, post-punk, and darkwave. coldblood, whose recent debut is titled So Lonely in My Tower, brings his own experimental post-punk and darkwave approach to their collaboration.

Listen to namenlos via streaming here. Vinyl, merchandise, and album pre-orders are available through the official fremder shop.

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The post fremder and coldblood Seek Freedom From Identity in Video for Darkwave Collaboration “namenlos” appeared first on Post-Punk.com.

Source: Post-Punk.com

Кожа расшедшая швами,
Мир угасает во тьме.
Звёзды, зависшие в небе,
Много расскажут тебе

The world always seems to ask for one more thing just as the body begins to give out: another crisis to absorb, another responsibility to shoulder, another future to fret over before the present has loosened its grip. In time, exhaustion alters the scale of everything. A room grows airless; a day becomes an ordeal; even the simple act of carrying on weighs more than you can bear.

Turin-based coldwave and post-punk project Obychno Odyn confronts that struggle on Мир угасает во тьме (“The World Fades into Darkness”). Written by Vadym Protsenko, the single opens the forthcoming album Адинамия, tracing human fragility under the weight of a world closing in.

Knocking snare percussion and strange, watery vibrations set the song on uneasy ground, the latter conjuring a loose sheet of metal or plastic shivering against the beat. Funereal keyboards drift in, hovering between organ and piano, as an eerie analog synth slices through the arrangement. Protsenko hurls the Russian lyrics in forceful cries, held tight in reverb; each phrase surges through the music with sharp, macabre urgency.

These cramped electronics carry something of Bunker Strasse at their bleakest, while the Gothic theatricality of Das Kabinette emerges through a rougher recording surface. Dusty and decayed, the sound feels like a coldwave cassette unearthed from the mid-1980s. It conjures candlelight flickering against damp stone, footsteps echoing through an Eastern European castle, and corridors that vanish into darkness beyond the flame.

The lyrics give exhaustion a body: skin splitting at the seams, yellow leaves drifting into a pool of blood, tired eyes tallying the days. A weight settles on the shoulders, while tomorrow claims time scarcely lived. Even the world’s silence brings no solace. In the closing lines, the body is urged to rise and run even as breath fails—turning the demand to keep moving into something almost unbearably cruel.

Filmed by Tout Debord, the accompanying video places the musicians beneath a sickly green light, interrupting the performance with black-and-white passages, tracking interference, and coarse bursts of green and magenta. The framing moves between Protsenko at the microphone, his guitar, and Marcello Aloisio on bass, bringing hands and faces close before distortion partially swallows them. The distressed picture gives the performance an unstable intimacy, as though the recording itself were struggling to hold itself together.

Watch the video for Мир угасает во тьме below:

Musician Vadym Protsenko founded Obychno Odyn in Bucharest in 2025, responding to global instability and events in his home country through songs concerned with war, existence, and emotional isolation. Writing and performing in Russian and English, he draws on the French coldwave of the 1980s, particularly Trop Tard and Bunker Strasse, seeking neglected sounds that can speak to present circumstances. The eight-song debut album, Излияние (“Outpouring”), followed in 2026.

The same year brought the project’s first live performances in Bucharest, with DJ sets by Corina Sucarov. Although Obychno Odyn remains Protsenko’s solo recording project, Aloisio joined in 2026 to support its live performances on bass, alongside Protsenko’s vocals and guitar. Their deliberately reserved stage presence leaves room for the music’s combination of distance and closeness, a quality preserved in this new video.

Listen to Мир угасает во тьме below, and order the single here.

Мир угасает во тьме by Obychno Odyn

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The post Obychno Odyn Bears the Weight of the World in Video for Eerie Coldwave Single “Мир угасает во тьме” appeared first on Post-Punk.com.

Source: Post-Punk.com

The very first time I touched your skinI thought of a story and rushed to reach the end too soon

Primary school offers children the comforting notion that a handful of basic colors can account for the innocent world on display via refrigerator magnets. Adulthood, of course, unsettles the lesson. The Cure’s Primary holds a pleasing double meaning: the classroom and the paintbox, childhood’s first revelations and the elemental palette from which everything else emerges. Against the grief and spiritual disquiet of 1981’s Faith, the album’s sole single gives those associations a darker edge. Its bass and drums press restlessly ahead as Robert Smith weighs the cost of growing older.

An early version, known to collectors as Cold Colours, placed red, yellow, and blue more distinctly at the song’s heart. Those colours remained in the final lyrics, set alongside sleeping children, intimacy slowly eroding, and the yearning for someone to stay unchanged. “Oh, remember / Oh, please don’t change” is a modest plea shadowed by an impossible condition. Seen in this light, Primary becomes a song about learning that innocence cannot be preserved simply by holding on more tightly.

German outfit LORNING revisit that uneasy bargain with a new cover of Primary, premiering here and released October 16 through Danse Macabre Records. Their version takes the song’s familiar bass melody into a fuller arrangement of darkwave and gothic rock, giving its nervous energy a heavier beat and a considerably larger stage.

Eerie synthesizers introduce a thick bassline that catches the original’s immediately identifiable movement. The snare splashes across the rhythm, giving the track an infectious dance beat, while surges of feedback clear a path for a slick, assertive guitar riff. That guitar brings a pronounced rock attack, pressing into the spaces around the bass figure. Icy synth pads expand the arrangement, suggesting the scale of Disintegration-era Cure more than the lean construction of the 1981 recording. There is a cinematic sweep to the production, with each new layer increasing the sense of momentum.

Christopher Heinze’s vocal is central to the transformation. Dry and cool, his voice recalls Peter Murphy’s brighter upper register, pairing a lean, level delivery with a distinctive, cutting resonance. His measured phrasing gives Smith’s anxious words a cool authority while the instruments race around him. It is difficult to imagine adding more propulsion to Primary, yet LORNING give it an extra burst of energy without losing the tune’s peculiar ache. For a song so worried about change, it responds rather well to a little interference.

Listen to LORNING’s cover of Primary below, and stream the single here.

Led by Heinze, LORNING draws on a musical background that includes his work as a drummer with Die Art, Beringsee, Goldeck, and The Russian Doctors. A graduate in German language and literature, he brings an interest in postwar writing, particularly the work of Wolfgang Borchert, to songs concerned with isolation, inner conflict, resignation, and hope. The project’s album Other Void / Other Rooms appeared through Danse Macabre Records in June 2025.

Alongside Heinze on vocals, LORNING features Thomas Gumprecht on guitar, Rajko Gohlke on bass, Tobias Herrmann on synthesizer, and Konrad Ruda on samples and effects. Across their work, darkwave and post-punk meet NDW, electro-punk, EBM, and industrial influences.

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The post German Darkwave Outfit LORNING Repaint The Cure’s “Primary” in Gothic Colours appeared first on Post-Punk.com.

Source: Post-Punk.com

As the wind is turning

All your sorrows fade away

You can let it go

We are safe now

Our modern relationship with the natural world is profoundly strange. For hundreds of thousands of years, human beings learned to understand existence through the movement of stars, the changing seasons, the murmur of rivers, and the enormous silence of forests. Today, we spend much of our existence staring into illuminated rectangles, receiving an endless procession of information while remaining curiously estranged from the planet that gave us consciousness. Somewhere beneath our accumulated technologies, however, the ancient appetite for mystery survives, reminding us that the universe remains infinitely more extraordinary than anything we have managed to manufacture.

Munich-based darkwave duo Rue Oberkampf, comprising Julia de Jouy and Oliver Maier, explore this estrangement on their new album, Wehmut, released October 15th via Young and Cold Records. Across six compositions, the pair venture beyond the harder electronic arrangements that established their international reputation, introducing elements of dark folk, post-metal, and acoustic instrumentation into music increasingly concerned with the relationship between human vulnerability and the immensity of nature.

The album’s origins are themselves suggestive of an expedition into unfamiliar territory. Long walks through the Bavarian Forest and a solitary voyage aboard a container ship traversing turbulent seas helped inspire its creation. Both experiences offer opportunities to encounter the world on a scale that diminishes our everyday preoccupations, where mountains measure existence in geological epochs and oceans carry within them the accumulated history of life itself.

“Wehmut does not exist in the English language,” says the band. “It describes a feeling suspended between melancholy and nostalgia. A longing for something lost or remembered. A yearning for a beautiful place you once knew, or one you have never been to, yet somehow miss all the same.”

Its accompanying single, Darkness, makes this fascination wonderfully tangible. Acoustic guitar, performed by Josip Tijan of THYMIAN, enters Rue Oberkampf’s musical vocabulary for the first time, its earthy resonance finding companionship among spacious synthesizers and recordings gathered in the Bavarian woodland. Julia de Jouy’s voice possesses an almost celestial quality, carrying the words with extraordinary tenderness as the arrangement unfolds with the patience of a landscape slowly revealing itself at dawn.

At the center of the composition is a simple expression of solidarity: “Let the woods protect you / We will be fine / I’m here with you.” These words suggest an understanding of companionship that stretches beyond ordinary consolation, imagining the forest as a sanctuary where wounded individuals might discover the strength to endure another day.

The accompanying video, directed by Jojo and Daniel Kilgus, was filmed beside Lake Arbersee in the Bavarian Forest, with production beginning at four in the morning to capture sunlight penetrating the mist. De Jouy and Maier move through the woodland with an almost ceremonial stillness, their figures appearing and disappearing among trees and drifting fog. The lake’s dark surface, the immense surrounding forest, and the gradual arrival of daylight establish a visual meditation on our fragile place within the living world.

Watch the video for Darkness below:

Throughout Wehmut, there is a growing awareness that humanity’s oldest questions remain unanswered. What might we recover by withdrawing occasionally from our technological inventions? What forms of understanding become possible when we surrender ourselves to silence? Rue Oberkampf approach these mysteries with curiosity, allowing their electronic foundations to coexist with the physical textures of an environment immeasurably older than music itself.

Perhaps the most extraordinary revelation is how readily the natural world accommodates our private grief, offering its indifferent beauty to anyone willing to venture into its depths. Under ancient trees, beside dark waters, within the vast and patient machinery of the Earth, even our smallest acts of tenderness acquire something approaching cosmic significance.

Listen to Darkness below, and order Wehmut on Vinyl and CD here.

Wehmut by Rue Oberkampf

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The post “All Your Sorrows Fade Away” — Rue Oberkampf Finds Sanctuary in the Forest in Video for “Darkness” appeared first on Post-Punk.com.

Source: Post-Punk.com

Fashion is among humanity’s more peculiar inventions, an elabourate system of symbols through which we communicate wealth, desire, beauty, and belonging. Somewhere along the evolutionary path, our species developed the astonishing conviction that a particular arrangement of fabric might reveal something essential about the soul. Within this strange little universe, beauty becomes currency, identity becomes performance, and the pursuit of perfection acquires an almost religious intensity. Behind the exquisite surfaces, however, one occasionally suspects the existence of something considerably less benevolent.

Los Angeles art-rock auteur Blone Noble ventures into this curious territory with Designer, a collaboration co-written and produced by Dakota Blue. Drawing upon the sophisticated eccentricities of Japan, early Simple Minds, and Dalis Car, alongside the sly funk of David Bowie’s Fame, the electronic sensuality of Depeche Mode, and the decadent elegance of Roxy Music, the composition inhabits a peculiar intersection of seduction and psychological unease. Within this richly appointed musical universe, Designer examines the vanities of human desire, tracing the uneasy relationship between beauty, status, and belonging, and the ease with which our longing for admiration can give way to the fear of exclusion.

At its heart, the song contemplates the curious entanglement of art and commerce, where creativity becomes a commodity and desire supplies the currency. Questions of craving, dependence, and transcendence emerge from this strange economy of human longing, as the objects we create, covet, and consume gradually assume an authority over our sense of identity and fulfillment. Through these fleeting observations, Designer considers the seductive power of appearances and the unsettling possibility that, in our endless pursuit of beauty and meaning, we become increasingly beholden to the very things we worship.

The song follows the eerie Subterranean World, another collaboration with Blue, whose bizarre vision of romance led listeners into an underworld of unsettling encounters. A fascination with the stranger workings of human desire connects the two, although the subterranean grotesqueries have now given way to the immaculate absurdities of high fashion. One begins to suspect that civilization’s most sophisticated pleasures are separated from our primitive impulses by an exceedingly thin layer of good taste.

A wandering fretless bass navigates synthesizer passages whose unexpected harmonic changes suggest a reality gradually losing its familiar dimensions. Beneath the music, drum machines establish a primal, almost ceremonial momentum, while the incessant chatter of an unseen gathering evokes an exclusive reception where everyone appears to understand the rules except the listener. Noble’s distant, crooning vocals gradually descend into menacing whispers, introducing a distinctly Kafkaesque anxiety, as though some unfortunate individual has gained admission to a mysterious society whose beautiful inhabitants harbor rather unpleasant intentions.

An atmosphere of eroticism, absurdity, and faint menace takes hold. One imagines immaculate figures exchanging enigmatic glances beneath expensive lighting, conducting conversations governed by elaborate and unspoken systems of judgement. The longing for acceptance becomes entangled with the fear of scrutiny, until even the smallest social gesture seems fraught with consequence. Somewhere amid these exquisite arrangements of human vanity, the music entertains a disturbing possibility: that our elaborate pursuit of beauty may have furnished cruelty with a most elegant disguise.

Listen to Designer below:

Recorded in Pasadena, the collaboration extends Noble’s fascination with the stranger corners of Los Angeles, where artistic ambition and social mythology frequently become indistinguishable. Blue’s fretless bass, drum programming, synthesizers, and production complement Noble’s theatrical sensibility, suggesting further possibilities for their developing partnership.

“Dakota Blue and I been working in the shadows for some time now, developing a new musical language,” he reveals.

Following 2023’s Leaders Of The World EP and 2025’s Life’s New Adventure, Noble continues to construct an artistic universe encompassing music, literature, and performance.

Blone Noble performs at Substance in Los Angeles on October 24, 2026.

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The post Blone Noble and Dakota Blue Give Vanity a Sinister New Wardrobe on “Designer” appeared first on Post-Punk.com.

Source: Post-Punk.com

Renounce your essence

Mercy won’t come

The hate is relentless

Embrace what you’ve become

Humanity has an impressive talent for inventing elaborate systems of belief and then allowing those same systems to devour whatever individuality made life worth living in the first place. Give a desperate man a promise of salvation, a handful of commandments, and somebody sufficiently charismatic to explain why his suffering is necessary, and he’ll practically volunteer for his own psychological execution. History is littered with people who surrendered their judgment in exchange for certainty, mistook obedience for virtue, and discovered far too late that the road to redemption sometimes leads straight into the mouth of the beast. Somewhere in this miserable transaction, devotion becomes dependency, guilt becomes a form of currency, and the soul gets sold for the dubious privilege of belonging to something greater than itself.

Albuquerque, New Mexico’s UNATONED, a new darkwave, post-punk, and gothic rock project formed by Andres Diaz, Sidney San Gil, and Hissan Orozco, examines this particular human catastrophe with their debut single, Essence, an immediately infectious piece of gothic decadence concerned with the spiritual consequences of surrendering one’s identity to an all-consuming belief system.

Musically, Essence is catchy as hell, drawing upon the sleek electronic seduction of Depeche Mode, the spectral romanticism of Altar De Fey, the gothic grandeur of Octavian Winters, and the muscular post-punk propulsion of The Bellwether Syndicate. The electronics establish an atmosphere of impending catastrophe, while melodic guitars wind through driving rhythms with the sort of theatrical urgency that makes personal damnation seem an almost enjoyable recreational activity. There is considerable sophistication in the arrangement, particularly in how its accessible hooks coexist with the music’s more sinister inclinations. The result is a splendidly infectious introduction to a band already displaying an ear for gothic melodrama.

Lyrically, Essence confronts the dissolution of individuality through religious and ideological submission, following a tormented figure whose desperate pursuit of absolution becomes an exercise in self-annihilation. Guilt festers into hatred, forgiveness slips beyond reach, and the promise of transcendence culminates in spiritual bankruptcy. The song’s imagery of blood, martyrdom, and fallen angels gives this psychological deterioration a distinctly biblical character, suggesting that the road to damnation may occasionally be paved with the finest intentions.

The accompanying music video, filmed and directed by Oscar Montez in Albuquerque, translates these anxieties into a nocturnal gothic nightmare. Wandering deserted streets, the central figure eventually finds himself pleading before a candlelit altar occupied by a cloaked skeleton, an image that brings the song’s preoccupation with corrupted faith and spiritual extinction into particularly delicious focus. Death, apparently, has opened a confessional, although the prospects for absolution look decidedly poor.

Watch the video for Essence below:

For their first outing, UNATONED have delivered an impressively assured declaration of intent, combining irresistible darkwave hooks with the existential horror of discovering that salvation might require the complete destruction of everything you once were.

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The post Albuquerque Darkwave Trio UNATONED Explore the Cost of Blind Devotion in Debut Single “Essence” appeared first on Post-Punk.com.

Source: Post-Punk.com

Candy is a song that has always carried one of rock music’s crueler realizations: sometimes you do not discover the size of a love until the relationship has already become an archaeological site. By 1990, Iggy Pop had spent enough years writing about appetite, danger, boredom, sex, survival, and self-destruction to know that regret could be every bit as physical as desire. His duet with Kate Pierson turned that knowledge into one of the strangest hits of his career, a breakup song where memory keeps rewriting the emotional ledger after everybody has gone home.

Jenny Bates and Andrea Sicco step into that old argument with an advantage: their voices already seem built for opposing sides of the same conversation.

Sicco comes from the noirish New York underworld of Twin Guns, The Disappearing Act, and The Art Gray Noizz Quintet, bringing a low, smoky vocal tone with a measured, lived-in gravity. Bates, meanwhile, draws from Bunny X, Diamond Field, and her years in musical theatre, singing with clarity, warmth, and enough force to meet Sicco on equal footing. Their voices occupy different registers, but neither dominates; the appeal comes from hearing two distinct personalities carry the same regret from opposite ends.

Candy is about realizing too late that somebody mattered more than you knew at the time. The relationship is gone, but the feeling has become clearer in retrospect, which is one of life’s meaner tricks. Iggy sings from inside that recognition, looking back at a love he failed to understand while he had it, while Kate Pierson’s voice gives the memory another dimension, as if the past itself has answered him. The song is less about reunion than irreversibility: the knowledge that love can remain vivid long after the chance to do anything about it has disappeared.

Together, Bates and Sicco make Candy feel less like a museum-piece cover and more like two adults reopening a letter they probably should have burned years ago. The emotional machinery remains brutally simple. Somebody mattered. The realization came late, but time kept moving anyway.  They lean into that ache without smothering it:  Sicco gives the verses a weathered intimacy, while Bates brings an open, commanding presence that gives the exchange its lift. When their voices meet, the contrast feels conversational, with each singer carrying a different shade of the same recognition. The guitar brings a slight western menace, while the synth elements widen the space around the vocals without turning the arrangement into period cosplay.

Recording the track at Sear Sound adds another layer of accidental poetry. Iggy Pop recorded there, and Bates and Sicco now enter the same building to reinterpret one of his best-known songs, surrounded by hallway notes, drawings, and decades of New York musical history. These hallowed, yellowed rooms have also hosted the likes of David Bowie, Talking Heads, Peter Gabriel, Tina Turner, and U2, giving the session the peculiar feeling of taking place inside a working archive rather than some embalmed monument to rock history. (In fact, the personnel there agree: it is still very much a place of action and not a museum!) The accompanying video, filmed by Alice Teeple and Jenny Bates, keeps the camera close to that atmosphere, catching the pair at work inside a studio whose walls have absorbed more than their share of famous voices.

Watch the video below:

Some songs survive because everybody remembers the chorus. Candy survives because everybody eventually becomes the person who wishes they had known then what they know now.

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Photo: Alice Teeple
The post Jenny Bates and Andrea Sicco Share Video for Cover Iggy Pop’s and Kate Pierson’s Bittersweet Duet “Candy” appeared first on Post-Punk.com.

Source: Post-Punk.com

Ihr wollt Sonic Seducer bequem nach Hause geliefert bekommen, aber nicht gleich ein Abo abschließen? Wie wäre es mit dem Sonic Seducer Probe-Abo? Zum Vorzugspreis von 14,99 Euro erhaltet Ihr zwei Ausgaben und Prämien zu Depeche Mode, Subway To Sally und Placebo!

Source: Sonic Seducer

Die finnische Symphonic-Metal-Band Nightwish und Sängerin Floor Jansen gehen künftig getrennte Wege. Beide Seiten bestätigten die Trennung jeweils in Statements in den sozialen Medien. Die Entscheidung sei nach sorgfältiger Überlegung und im gegenseitigen Einvernehmen gefallen.

Source: Sonic Seducer

Die Sängerin von Faith And The Muse und Strange Boutique, Monica Richards, veröffentlicht mit „Hiraeth“ ihr erstes Soloalbum seit 14 Jahren. Alle Infos dazu bei uns!

Source: Sonic Seducer