Category: news

  • Review MENTAL CRUELTY “Echoes of a Forlorn Land”

    Mental Cruelty take an interesting step forward with their new album. The band broadens its musical scope without abandoning its deathcore roots. Three years after the release of Zwielicht, the Southern German extreme metal outfit introduces new elements into both its lyrics and its sound. Echoes of a Forlorn Land still delivers breakneck extreme metal,… Continue Reading →
  • Nicko McBrain opens up about using heroin – and how he kicked it

    Nicko McBrain has revealed that he dabbled with heroin in the late 1970s.

    The former Iron Maiden drummer, who has just released his autobiography, Hello Boys And Girls!, tells Classic Rock that he used the drug, but that he was “lucky” to never become addicted.

    “This was a period where I was introduced to the higher echelons of people in the music industry and in other walks of life, shall we say,” he says. “I never put it in my arm, I just chased the dragon, as we used to call it – put it on silver paper and fire it up, then puff it up through a straw.”

    While Nicko doesn’t specify a time period when he used the drug, he confirms that he had kicked heroin by the time he joined Iron Maiden in late 1982.

    “Here’s the thing: God blessed me with this gene where I could just turn that tap off,” he tells Classic Rock. “Same with smoking, same with drinking. Anyone who’s struggling with substance issues, go get help – there’s people out there to help you. It’s not admitting defeat.

    “But I was lucky enough to have this gene, so when I stopped, I didn’t go cold turkey – I got a bit antsy, and I got the cold sweats and the shivers, but I was very fortunate not to get really deep into the rabbit hole. I’d already knocked that on the head prior to getting the offer to come on board with Maiden in 1982.”

    McBrain replaced former Maiden drummer Clive Burr, who was fired following the tour for 1982’s The Number Of The Beast album. In Hello Boys And Girls!, Nicko reveals that he was initially approached by Maiden’s co-manager Rod Smallwood while Burr was still in the band and put on retainer as “back-up” – something the latter was furious about when he found out.

    “About a week had gone by when I got a phone call from Clive,” recalls McBrain. “‘You fucking arsehole!’ he screamed. ‘You motherfucking cunt! You’ve had my gig!”

    Nicko pacified Burr and suggested he clean up his act in order to remain in the band, which he temporarily did. But by the end of 1982, Burr was out of the band for good.

    While McBrain praises his predecessor – who died in 2013 – as an “amazing drummer” and acknowledges his part in Maiden’s success, he recalls a tense moment during a drum clinic in the mid-80s, attended by Burr

    “After doing a solo, which I thought was pretty good, I got up and asked if anyone had any questions, and someone shouted, ‘How big’s your willy?’” he writes. “I thought, ‘What kind of question is that?’, and although I didn’t see who asked it, I swear blind it was Clive. It was definitely his voice, and it wasn’t said in a light-hearted way; it had a hint of aggression about it, as if the person was pissed off at me.”

    McBrain adds: “When I asked Clive if it was him many years later, he changed the subject.”

    Nicko’s autobiography, Hello Boys And Girls!, is out now. Read the full interview with him in an upcoming issue of Classic Rock.

  • Gordon Giltrap Box Up His Favorite Platters

    Gordon Giltrap Box Up His Favorite Platters

    Stunning listeners with his virtuoso playing and arresting melodies for almost six decades, Gordon Giltrap defies expectations, which apparently makes anthologizing the British musician’s oeuvre quite a challenge. There have been a couple of collections issued over the years, including … Continue reading →

    The post Gordon Giltrap Box Up His Favorite Platters appeared first on DMME.net.

  • Best 2026 Indie Debuts – ‘Gnawing at the Cord’ by Nashville’s Ovven

    ovvenSongwriter Owen Burton records as Ovven. His debut album, Gnawing at the Cord, brings a love of guitar music and…
  • Mareux Takes Darkwave Romance to the Grave on “Cadillac Casket”

    A classic Cadillac knows how to make an entrance, with extravagant tailfins, acres of chrome, and enough presence to make its driver feel famous before anyone has learned their name. Elvis Presley understood the appeal, and the car’s place in rock-and-roll mythology hardly needs a sales pitch. Cadillac ambulance and hearse conversions put that same grand style to work at life’s more urgent appointments, with the 1959 Miller-Meteor that became Ecto-1 in Ghostbusters extending the service into the afterlife. For a romance careening toward ruin, the possibilities are admirably comprehensive: a seduction, a medical emergency, and a funeral, all replete with fine upholstery.

    Los Angeles musician and producer Aryan Ashtiani, better known as Mareux, gives that unhappy arrangement a thoroughly danceable form on his latest track Cadillac Casket. Initially composed by Ashtiani on piano before being developed with producer Elliott Kozel (Rosalía, Eartheater, Provoker), the single offers the first preview of his next full-length album, currently in the works.

    A repeating bass synth sets the song in motion beneath eerie, icy keyboards, while melodic metallic shudders disturb the space around Ashtiani’s ghostly vocals. His singing carries an insistent hook through the arrangement, its cool delivery giving the words an almost unnerving composure as the beat presses toward the dancefloor. Piano figures move through the mix like apparitions from a deserted ballroom, preserving the elegance of the original composition amid the electronics. Post-punk’s romantic severity meets French electro’s mechanical precision, with a touch of glam in the song’s appetite for theatrical excess.

    The result has the suspense of a pursuit, with a love song unfolding in the passenger seat as the city passes in fragments outside. That combination reflects the neo-noir and science-fiction ideas Ashtiani has been exploring during his recent studio sessions. The new material returns to the darker, smokier character of his earlier work while carrying forward some of the range he opened up on Nonstop Romance.

    Lyrically, Ashtiani describes someone pulling roses apart as though they were pieces of his heart. He offers himself up to be bound, claiming that a man already dead has little reason to care about a lost romance. Yet he remains a fragile figure, made of wax, waiting for an answered prayer while daring the other person to burn him. It is a rather reckless challenge from someone who has already admitted how easily he could be destroyed.

    In the second verse, he expects news of this person to reach him because the city evidently cannot keep a secret. He asks whether they can behave as though God were watching, or whether they will blame their conduct on their bloodline. The old man upstairs has apparently been called upon because ordinary consideration failed to do the job. Beneath his resignation, he still wants accountability from the person who hurt him, and inherited bad habits hardly seem an adequate excuse.

    Listen to Cadillac Casket below:

    The release follows the recent double-platinum certification of “The Perfect Girl,” which became a viral sensation in 2021 and has also earned gold certification in France. Ashtiani’s catalogue now encompasses two full-length albums, Lovers From the Past (2023) and Nonstop Romance (2025), alongside collaborations with Artemas, The Drums, Riki, and King Woman.

    “Cadillac Casket” is available across digital platforms via Revolution / Warner Records. Stream the single here.

    Mareux heads to London, Paris/Montreuil, Athens, Istanbul, and Tbilisi this autumn before a December run through Chicago, Brooklyn, Washington, D.C., and Miami. A second night has been added at Saint Vitus following the sellout of the December 7 show, while the Miami performance will take place at a location still to be announced.

    Tickets and further information are available here.

    Mareux Live Dates 2026:

    • October 30 — London, UK — Hootananny Brixton
    • October 31 — Paris/Montreuil, France — Bal Chavaux
    • November 3 — Athens, Greece — Floyd
    • November 5 — Istanbul, Turkey — IF Performance Hall
    • November 7 — Tbilisi, Georgia — Academy
    • December 3 — Chicago, IL — Metro
    • December 7 — Brooklyn, NY — Saint Vitus (SOLD OUT)
    • December 8 — Brooklyn, NY — Saint Vitus
    • December 10 — Washington, DC — Black Cat
    • December 12 — Miami, FL — TBA

    Follow Mareux:

    Mareux Cadillac Casket single artwork

    The post Mareux Takes Darkwave Romance to the Grave on “Cadillac Casket” appeared first on Post-Punk.com.

  • King Parrot Kick off Aussie Tour Next Month

    Melbourne’s favourite thrash/grind legends King Parrot are back on Aussie stages next month with an eight-date east coast jaunt.

    Taking in the Northern Horizons Fest in Sydney on November 28 at the Crowbar, the lads will also tear up Canberra, Wollongong, Hobart and regional centres in Victoria and Tassie. Get tickets here.

    In tandem with Groglords, King Parrot has also released a special edition beer called Pisser, and if you buy two, you get a free enamel pin! Hit the link for that and more from Groglords’ killer cellars.

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  • Dikajee Releases New Single “Travel Through Time” Ahead of Upcoming Album “The Frame”

    Progressive folk-rock artist Dikajee has released her new single, “Travel Through Time,” accompanied by an official lyric video. The song is taken from her upcoming sophomore album, The Frame, scheduled for November 6, 2026. Blending progressive rock, folk, classical music, and metal influences, the record follows her 2021 debut, Forget~Me~Nots.

    “Travel Through Time” explores death, grief, and the memories left behind after losing someone. Serving as the album’s closing track, it revisits musical passages from the opening song and ends with a choir of Dikajee’s friends and listeners singing the lines that inspired the album’s title. Funded through a successful Kickstarter campaign, The Frame also features guest musicians including Jonathan Noyce (Jethro Tull), Varijashree Venugopal (Snarky Puppy), and Vikram Shankar (Pain of Salvation, Charlotte Wessels).

    The post Dikajee Releases New Single “Travel Through Time” Ahead of Upcoming Album “The Frame” first appeared on FemMetal – Goddesses of Metal.

  • Boneyard Release Sophomore Album “Black Static”

    Canadian hard rock and melodic metal band Boneyard have released their sophomore album, Black Static, on October 23, 2026. The record follows their debut, Oathbreaker, which received an international re-release through WormHoleDeath Records in 2022. Featuring bassist Lezzy and lead guitarist Garhardt on their first full-length release with the band, Black Static combines traditional ’80s hard rock and heavy metal with influences from ’90s punk and rock, expanding on the sound established by their debut.

    The album addresses personal struggles and social issues, including toxic relationships, addiction, homelessness, mental health, war, and corruption. Among its tracks, “Left Me To Drown” draws from Lezzy’s experiences with abusive relationships, while “Not This Way (Joel’s Song)” tells the story of a man struggling with schizophrenia, addiction, and homelessness from his grieving mother’s perspective. The previously released single “Before the Fall” tackles inequality and exploitation, with its music video drawing attention to human trafficking and missing and murdered Indigenous persons.

    Other singles include “Hanging Tree,” a Western-inspired metal track filled with outlaw themes, and “Compass Points to War,” which draws on maritime warfare with melodic riffs and gang vocals. Despite its darker subject matter, Black Static also explores resilience and hope. The album is available digitally and on CD, with a vinyl edition expected at a later date.

    The post Boneyard Release Sophomore Album “Black Static” first appeared on FemMetal – Goddesses of Metal.

  • German Post-Punk Project HEILSTATT Opens the Window Between Life and Death on “Hinaus” — Debut Album “Korridor” Out Now!

    Humanity has spent thousands of years attempting to comprehend its own extinction. We have constructed elaborate religions, raised monuments to the dead, consulted the stars, and invented increasingly sophisticated technologies, all while remaining subject to the same elementary biological certainty. Every civilization eventually confronts the limits of its existence, although ours has developed the extraordinary ability to contemplate its own destruction in real time, illuminated by screens that record the gradual deterioration of the world we have made.

    For Martin Falkenstein, whose work with Thuringian black metal project MOSAIC, Sun of the Sleepless, and Empyrium has explored humanity’s ancient relationship with myth and mortality, this predicament provides the intellectual foundation for HEILSTATT. His debut album, Korridor, examines a civilization increasingly estranged from the principles that once made collective existence possible.

    “With the debut album, I wanted to capture the spirit of our time: a world moving ever closer to the edge, turning against itself in the digital realm, surrendering its privacy, its individuality and, ultimately, its humanity,” says Falkenstein. “A world that is driving itself towards its own destruction…Nothing about this world seems rational anymore. It has become a vast stage populated by people consumed by their own importance and their pursuit of absolute power. That is what the music represents: the end of the world. Cold, stripped back and uncompromising — repetitive and grinding, much like everyday life itself.”

    The closing track, HINAUS, carries this meditation beyond the boundaries of civilization into the oldest uncertainty of our species. An ancient funerary custom held that opening a window following a death permitted the departing soul to escape its earthly dwelling. Falkenstein transforms this modest domestic gesture into a universal image of transition, connecting the final breath of an individual with the immense, unknowable continuation of existence.

    The skeletal architecture of early post-punk encounters brittle trip-hop percussion, gothic austerity, and the bruised temperament of depressive punk. Mechanical rhythms advance with the indifference of geological processes, while fragile melodic figures suggest consciousness struggling against an increasingly impersonal environment. The arrangements have an almost mathematical severity, letting repetition measure time’s relentless passage. Beneath their forbidding surfaces resides an extraordinary sensitivity to the precariousness of being alive.

    Listen to Hinaus below and order Korridor here.

    Consider the billions of human lives that have already concluded, each containing an entire universe of sensations, relationships, memories, and unrealized possibilities. Every consciousness disappears from our immediate experience, leaving behind traces in the lives of others. Within that enormous procession, Korridor finds its deepest emotional resonance. Somewhere between the grinding machinery of modern existence and the quiet opening of a window, Falkenstein considers the astonishing brevity of our allotted time, and the terrible beauty of knowing that it, too, must end.

    Follow HEILSTATT:

    The post German Post-Punk Project HEILSTATT Opens the Window Between Life and Death on “Hinaus” — Debut Album “Korridor” Out Now! appeared first on Post-Punk.com.