Category: news

Across multiple international outlets, a clear pattern is emerging: GAWD is being recognized as one of the most forward‑leaning artists of the moment. In recent months, publications in Italy, Brazil, Mexico, and Spain have independently highlighted the project as a defining force in contemporary music, often using language typically reserved for artists who signal a […]

OUT NOW Via Epitaph Records Words by Annette Geneva Fifteen years is a long time between records. Long enough for a band to get buried in punk culture references. Long enough for the world around them to change completely and in Mike Ness’ case, for life to intervene in ways considerably bigger than music. But Social Distortion never really belonged to a […]

ÅHM is a Swedish alternative rock duo blending grunge, heavy alternative rock and subtle stoner influences. Inspired by the raw intensity of Nirvana’s In Utero era, the darkness of Soundgarden and Alice in Chains, and the groove of Queens of the Stone Age, the band creates honest, dynamic songs built around tension rather than perfection. […]

Dave Kendall, the music journalist, producer and broadcaster who created MTV’s landmark alternative-music program 120 Minutes and became its defining early host, has died.

Former 120 Minutes host Matt Pinfield shared news of Kendall’s death on social media, remembering him as “one of the true believers” who championed alternative music before it crossed into the mainstream.

A native of England, Kendall began his career writing and editing for publications including Melody Maker, Spin and the New York Post. After relocating to New York, he was hired by MTV, where he conceived 120 Minutes and spent seven years working as a writer, producer, presenter and news reporter.

The show premiered March 10, 1986, offering two late-night hours of music that received little or no exposure during MTV’s regular rotation. Kendall initially worked behind the scenes and appeared in occasional segments before becoming a regular host, a role he held through 1992.

Long before “alternative” became a radio format and a major-label marketing category, 120 Minutes moved freely between post-punk, goth, industrial, college rock, shoegaze, electronic music and the emerging American underground. The Cure, Siouxsie and the Banshees, New Order, The Jesus and Mary Chain, Cocteau Twins, Depeche Mode and The Sisters of Mercy could share a broadcast with Pixies, Sonic Youth, Nitzer Ebb, KMFDM, Ministry, Nine Inch Nails, Ride, Lush, Slowdive and Nirvana.

Kendall’s presentation was notably low-key for MTV. He was dry, informed and sometimes visibly amused by the absurdity unfolding around him, but he rarely tried to compete with his guests. He interviewed musicians like a working music journalist rather than a television personality looking for a moment of his own.

The surviving footage now doubles as an extensive video history of alternative music just before — and during — its unlikely rise into the mainstream.

Peter Murphy joined Kendall to co-host the May 3, 1992, edition of 120 Minutes, timed to the release of his third solo album, Holy Smoke.

Murphy discussed the making of the record and introduced footage from a small promotional performance. The full episode also includes “The Sweetest Drop” and a live version of “Keep Me From Harm,” filmed at the Communion night at New York’s Limelight.

Kendall also asked Murphy about the possibility of working again with his former Bauhaus bandmates. Murphy was open to playing with them, but wary of doing so as Bauhaus — a position that became considerably more interesting after the band began its first reunion six years later.

One of Kendall’s most memorable interviews aired on Christmas Eve 1989, when a pre-superstardom Trent Reznor appeared on the show to help decorate its deliberately threadbare Christmas tree.

Reznor discussed Nine Inch Nails’ prospective next single, “Head Like a Hole,” while Kendall tried out a Nine Inch Nails Christmas-stocking joke. Joey Ramone appeared elsewhere in the same episode to present Kendall with gifts supposedly sent by Mikhail Gorbachev and the Ramones — the sort of collision that could only have occurred on late-’80s MTV.

Kendall checked in with Nine Inch Nails again during the inaugural Lollapalooza tour in 1991, interviewing Reznor and then-guitarist Richard Patrick, who later formed Filter. The segment captures the group after the underground success of Pretty Hate Machine but before Reznor became one of the defining artists of the decade.

Kendall interviewed the Sisters of Mercy’s Andrew Eldritch in 1990 around the release of Vision Thing, the band’s third — and still most recent — studio album. The interview aired in segments surrounding the video for the album’s Jim Steinman-assisted epic “More.”

The following year, Kendall took 120 Minutes to England’s Reading Festival for what he introduced as the show’s first international edition.

The broadcast featured interviews with Eldritch, Sonic Youth, Nitzer Ebb and James, along with a wider assortment of festival acts. Eldritch, smoking and characteristically skeptical, discussed the Sisters’ difficulties touring the United States, tensions surrounding the band’s shows and the possibility of another album — a record fans are, of course, still waiting for.

The same broadcast included Douglas McCarthy and Bon Harris of Nitzer Ebb, then touring behind Ebbhead. Their appearance alongside the Sisters and Sonic Youth illustrated the breadth of Kendall’s programming: industrial electronics, gothic rock and American noise could coexist without being divided into separate demographic boxes.

In February 1992, Kendall filmed an entire episode in Tijuana with John Lydon, who was in Mexico shooting Public Image Ltd.’s video for “Covered.”

Kendall later called Lydon one of the most engaging and enraging people he encountered at MTV. His own website preserved the full episode alongside footage from other assignments, including the Reading Festival, lunch with Depeche Mode in London and an episode co-hosted by Iggy Pop.

The archive of Kendall-era appearances reads like a sprawling post-punk family tree.

A May 1990 episode found Kendall interviewing Joey Ramone, Debbie Harry and former Talking Heads members Tina Weymouth and Jerry Harrison ahead of that summer’s Escape From New York tour, whose bill featured the Ramones, Harry, Tom Tom Club and Harrison.

In 1991, Daniel Ash sat down with Kendall to discuss his first solo album, Coming Down, bringing the histories of Bauhaus, Tones on Tail and Love and Rockets into a single conversation.

Other Kendall interviews and co-hosting appearances included Iggy Pop, Sonic Youth, the Pixies, Depeche Mode, The Cure, Siouxsie Sioux, Nick Cave, Ian McCulloch, Courtney Love, Henry Rollins and members of KMFDM, Nitzer Ebb and Nine Inch Nails.

The most historically significant Kendall introduction aired Sept. 29, 1991, when 120 Minutes presented the world premiere of Nirvana’s “Smells Like Teen Spirit.”

Wearing sunglasses because of conjunctivitis, Kendall introduced the video with none of the retrospective fanfare now attached to it. Nirvana was simply another band the program believed viewers should know about — placed in the regular flow of a show that had already spent years making space for Pixies, Sonic Youth, Dinosaur Jr., Mudhoney and the wider independent-rock underground.

The video proved popular enough to move into MTV’s daytime rotation. Within months, the underground culture 120 Minutes had documented was being recast as the commercial center of the music industry.

Kendall’s career after leaving MTV in 1992 extended well beyond alternative-music nostalgia.

He hosted and co-produced the nationally syndicated interview program Music Scoupe, co-hosted the internationally broadcast Soccer Rocks the Globe concert and anchored the Woodstock ’94 pay-per-view. His radio work included Hot 97’s electronic-music program Planet Traxx and the syndicated alternative shows Left of the Dial and Cross Currents.

In the mid-’90s, Kendall shifted into online media, creating the early streaming-video music site Alterworld and later editing and hosting Columbia Records’ streaming music-news show The Daily Dish. He also developed digital projects for Raygun Publishing and served as director of content at Soundbreak.com, overseeing a staff of writers, producers, engineers and video editors.

He continued working as a club DJ, including a seven-year residency at New York’s Limelight, and released the continuous-mix album A Voyage Into Trance, Volume 2 through Cleopatra’s Hypnotic imprint in 2002. That year, he returned to television production, writing, producing and story-editing programs for TechTV/G4, Sky, Channel 4, the Travel Channel and Animal Planet.

Kendall relocated to Thailand in 2005. He later hosted programs on SiriusXM’s First Wave channel, beginning with Party 360 in 2008, and presented and produced the weekly travel program Destination Thailand.

Beginning in 2017, he worked at the Bangkok Post, writing and editing stories, producing multimedia projects, conducting interviews and anchoring programs. His later reporting covered politics, technology, travel, climate change and public affairs — a continuation of his career as a journalist rather than an extended attempt to relive his years at MTV.

Kendall returned to 120 Minutes for the original series’ final episode, broadcast on MTV2 on May 4, 2003. He appeared alongside host Jim Shearer and fellow former host Matt Pinfield to look back on the program’s 17-year run.

Kendall’s farewell block included R.E.M.’s “Driver 8,” Pixies’ “Here Comes Your Man” and the Sisters of Mercy’s “This Corrosion.” He described the latter as a “great bombastic video,” specifically recalling its images of the band riding stallions through the desert.

Asked for a favorite memory, Kendall instead remembered his first interview, with Fetchin’ Bones singer Hope Nicholls. He began asking a question, froze and could go no further. “And it was all downhill from there,” he joked.

It wasn’t.

The final video broadcast on the original 120 Minutes was another Kendall selection: Siouxsie and the Banshees’ “Kiss Them for Me.”

The post Dave Kendall, Creator and Host of MTV’s 120 Minutes, Has Passed Away appeared first on Post-Punk.com.

Also with Orthodox and Buried In Spring

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Alone in Central Park
When nothing seems to happen
All my thoughts invaded
Memories degraded 

From the “two hundred couches” invoked in their debut single “PDA,” Interpol have always understood New York from the inside out: dim rooms, temporary beds, private encounters, and the emotional residue left behind when the party—or the relationship—has run its course. Yet those rooms have never existed in isolation. Outside them, their city lives and breathes, stretching from the Village through the Lower East Side and across the river to Williamsburg and beyond—a nocturnal network of streets, apartments, clubs, and half-remembered faces from which Interpol emerged. Its magic has always depended on a measure of opacity: the freedom to vanish into a crowd, arrive unannounced, or leave no record beyond somebody else’s memory. “Iron City” asks what happens to that magic when a city like New York is placed under the gaze of AI-powered Flock license-plate cameras—when the traffic threading those streets becomes a searchable memory.

In the official visualizer for their new single “Iron City,” street-level glimpses and fragments of the skyline dissolve into close studies of circuit boards and exposed electronics, as though the city’s buildings have been opened to reveal the nervous system beneath. The sequence recasts the metropolis through the impersonal logic of an AI-powered Flock camera network: not merely watched, but indexed, with passing vehicles reduced to time, place, and description—signals that can be stored, sorted, and recalled. New York is no longer merely a setting or a reflection of the people inside it; it has become an organism in its own right—watching, processing, and perhaps preparing to outlive them.

Frontman Paul Banks has described “Iron City” as a conversation between a human narrator and a future artificial intelligence that may be running what remains, leaving open the question of whether this new technological guardian will prove benevolent or enraged.

Musically, “Iron City” unfolds with measured grandeur, its dusky piano and chiming accents opening a vast nocturnal space around the band. The guitars move in close formation over a steady forward pull, while Banks’ low, intimate delivery makes “I can feel your love, iron city” sound equally devotional and ominous.

Watch the visualizer for “Iron City” below:

Iron City is the third advance track from Interpol’s forthcoming eighth studio album, This Mirror Weighs a Ton, following the title track and “See Out Loud.” Produced by Andrew Wyatt and mixed by Dave Fridmann, the record broadens the band’s palette with strings, woodwinds, layered harmonies, acoustic guitar, and experimental sound design. Recorded at Wyatt’s studio on Manhattan’s Lower East Side, it marks Interpol’s first album sessions in their home city in more than a decade. This Mirror Weighs a Ton arrives August 28 via Partisan Records.

The album’s cover artwork gives that anxiety a physical form. It features Addie Wagenknecht’s 2013 sculpture Asymmetric Love Number 2, a chandelier assembled from steel, CCTV cameras, and DSL internet cables and held in the Whitney Museum of American Art’s permanent collection. Suspended in a pristine white chamber, an object associated with warmth and illumination becomes an apparatus of scrutiny—a fitting image for a record circling questions of perception, memory, and technological control.

Pre-order and pre-save This Mirror Weighs a Ton here.

Interpol will spend the remainder of 2026 moving through European festivals, an extensive North American run, a Mexican festival appearance, and an 18-date UK and European co-headline tour with Bloc Party.

For tickets and additional information, visit Interpol’s official tour page.

Interpol 2026 Tour Dates

July

• July 15 — Florence, Italy — Visarno Arena — supporting My Chemical Romance
• July 16 — Bologna, Italy — Sequoie Music Park at Parco delle Caserme Rosse
• July 18 — Carhaix, France — Les Vieilles Charrues Festival
• July 19 — Dour, Belgium — Dour Festival
• July 31 — Denver, CO — Mission Ballroom — with Youth Lagoon

August

• August 2 — Jackson Hole, WY — Snow King Mountain — with Youth Lagoon
• August 3 — Boise, ID — Revolution Concert House — with Youth Lagoon
• August 4 — Salt Lake City, UT — Red Butte Garden — with Youth Lagoon
• August 6 — Portland, OR — McMenamins Edgefield — with Loathe
• August 8 — Tacoma, WA — Dune Peninsula — with Loathe
• August 11 — San Francisco, CA — The Warfield — with julie
• August 12 — San Francisco, CA — The Warfield — with julie
• August 14 — Santa Barbara, CA — Santa Barbara Bowl — with julie
• August 15 — San Diego, CA — The Rady Shell at Jacobs Park — with julie
• August 16 — Las Vegas, NV — The Theater at Virgin Hotels Las Vegas — with julie
• August 23 — London, UK — Outbreak Fest at All Points East, Victoria Park
• August 28 — Lisbon, Portugal — Kalorama Festival, Parque da Bela Vista
• August 30 — Saint-Cloud, France — Rock en Seine, Domaine National de Saint-Cloud

September

• September 26 — Brooklyn, NY — CBGB Festival, Under the K Bridge
• September 29 — Vancouver, BC — Rogers Arena — supporting sombr

October

• October 2 — Toronto, ON — The Bowl at Sobeys Stadium — with DIIV
• October 3 — Montreal, QC — L’Olympia — with DIIV
• October 4 — Boston, MA — Roadrunner — with DIIV
• October 6 — Pittsburgh, PA — Stage AE — with DIIV
• October 7 — Cleveland, OH — Agora Theatre — with DIIV
• October 9 — Detroit, MI — Masonic Jack White Theatre — with DIIV
• October 10 — Columbus, OH — KEMBA Live! Outdoors — with DIIV
• October 11 — Chicago, IL — The Salt Shed Fairgrounds — with DIIV
• October 13 — St. Louis, MO — The Factory — with DIIV
• October 15 — Atlanta, GA — The Eastern — with DIIV
• October 16 — Atlanta, GA — The Eastern — with DIIV
• October 17 — Nashville, TN — The Pinnacle — with DIIV and French Police
• October 24 — Tijuana, Mexico — Tecate Península, Estadio Caliente

November

All dates co-headlined with Bloc Party.

• November 10 — Copenhagen, Denmark — Royal Arena
• November 11 — Berlin, Germany — Uber Arena
• November 12 — Hamburg, Germany — Barclays Arena
• November 14 — Düsseldorf, Germany — PSD Bank Dome
• November 16 — Paris, France — Le Zénith
• November 17 — Amsterdam, Netherlands — AFAS Live
• November 18 — Brussels, Belgium — Forest National
• November 20 — Birmingham, UK — Utilita Arena
• November 21 — Cardiff, UK — Utilita Arena
• November 23 — Manchester, UK — Aviva Studios
• November 24 — Manchester, UK — Aviva Studios
• November 26 — Brighton, UK — Brighton Centre
• November 27 — Brighton, UK — Brighton Centre
• November 28 — Sheffield, UK — Utilita Arena
• November 30 — Dublin, Ireland — 3Arena

December

All dates co-headlined with Bloc Party.

• December 2 — Glasgow, UK — OVO Hydro
• December 4 — London, UK — Olympia
• December 5 — London, UK — Olympia

Follow Interpol:

• Website
• Facebook
• Instagram
• Spotify

The post “Who Left a Crumbling Heart?” — Interpol Surveil the Grid in Video for “Iron City” appeared first on Post-Punk.com.

The new record releases on September 25 via Prosthetic Records

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ROADRUNNER RECORDS JULY 17 https://motionlessinwhite.lnk.to/Decades Motionless In White (MIW) are one of those bands for me that I have always known and heard about, but until now, never actually took the next step of sitting down to listen to their music. It’s not lost on me that these guys are massive and I probably should […]

Rock icons Nickelback today announced their highly anticipated new studio album, Everything Under The Sun, will arrive on October 30, 2026, via Virgin Music Group, while simultaneously unveiling the blistering lead single, Rattle The Cage (feat. John 5). Available everywhere today, the track marks the first taste of the band’s powerful new era. Marking the […]

Another day passes by in shades of Grey.

I’m a zombie. I’m ugly. I’ve got no love left in me.

Detroit has always had room for machines that sound as though they’ve been fed bad electricity and worse ideas, and Credit Card steps into that tradition with Harsh Times, the first single from Devil’s Night / Dead Internet, carrying a cheap blade, a busted synthesizer, and a head full of terminal invoices. Shaun Hunter handles vocals, synth, and noise; Max Dameron works programming, synth, and guitar. Together they make music for the hour when the club floor has become sticky, the strobe has erased everyone’s face, and some stranger in a leather jacket is arguing with a subwoofer.

Harsh Times moves with the cruel economy of a factory alarm. The beat lands hard enough to rearrange your ribs, while the electronics grind, squeal, and spit sparks around Hunter’s voice. Nine Inch Nails, The Soft Moon, Machine Girl, Die Krupps, and Suicide provide useful coordinates, though Credit Card sounds most alive when those references collapse into Detroit basement pressure: cramped, loud, funny in a doomed way, and close enough to violence that everybody suddenly remembers where the exits are. Call it synth punk, industrial rock, or post-punk after too much caffeine; genre tags are useful until the bass starts hammering the room. Credit Card’s real subject is overstimulation as a survival strategy, dancing because standing still leaves too much time to think.

The song circles self-disgust, boredom, isolation, addiction, capitalism, and death without turning any of them into tasteful décor. Its speaker drifts through grey repetition, recoils from affection, begs for distraction, then offers body, mind, pain, and life to whatever force might end the dull ache. By the closing image, wounded maturity has curdled into a weird god complex, and grandeur shares a filthy mattress with emptiness. That collision gives the track its charge. Despair becomes physical, almost absurd, because after enough psychic damage, even annihilation starts to sound like an appointment you forgot to cancel.

There is humour in Credit Card’s presentation, thank God, because solemn industrial music can become a convention of men staring at ventilation ducts. Their own description promises strobe lights, mosh pits, and subwoofer abuse for punks in leather jackets, then shrugs: “Or something like that. They definitely have a strobe light and a subwoofer.” That joke tells you plenty. The band understands theater, but they also know the equipment is half the theology.

Listen to Harsh Times below and order the single here.

Credit Card is readying their debut “mixtape” for a Summer 2026 release, and local crowds in Detroit already sound eager to be flattened by it. Harsh Times makes a persuasive opening statement: two musicians turning private rot and public ruin into a nasty dance-floor transmission, with enough hooks to keep the damage moving.

Follow Credit Card:

• Instagram
• Bandcamp

The post Detroit Industrial-Punk Duo Credit Card Shares Corrosive Debut Single “Harsh Times” appeared first on Post-Punk.com.