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  • Iron Maiden cap off two-night New Jersey stand with epic performance (recap, photos)

    Alongside the great Megadeth and Anthrax

    Source

  • Watch ex-Arch Enemy singer Alissa White-Gluz’s Blue Medusa make live debut at surprise show also featuring Kreator and Heaven Shall Burn

    Ex-Arch Enemy singer Alissa White-Gluz’s new band Blue Medusa made their surprise live debut at a German club show on Friday (September 4).

    The five-piece, who emerged in March, played four songs at the Huxleys Neue Welt concert hall in Berlin: the originals Flying Monkey, Crocodile and Checkmate, plus a cover of White-Gluz and ex-Alice Cooper guitarist Nita Strauss’ 2023 collaborative single The Wolf You Feed.

    The gig, put on by local record label Corrupted Blood Records, also featured sets from Kreator and Heaven Shall Burn, with each performance being live-streamed on Twitch. Watch the Blue Medusa show below.

    Corrupted Blood made multiple announcements over the course of the concert, including their own festival for summer 2027, Corrupted Blood Open Air, with a 10,000-person capacity. They also revealed an exclusive merch drop in collaboration with Kreator. Items are available to buy now via the Corrupted Blood website.

    Blue Medusa – rounded out by guitarists Alyssa Day and Dani Sophia, drummer Delaney Jaster and bassist Alicia Vigil – are one of a number of projects to which White-Gluz has dedicated herself following her Arch Enemy exit. She ended her 11-year tenure in the international melodeath firebrands on November 23, later explaining that she couldn’t treat music “like just another day at the office”.

    On the same day, she released her debut solo single, The Room Where She Died. She launched Blue Medusa on International Women’s Day, March 8. Marketing materials said that fans “can expect the same signature ferocity, theatrical energy and vocal firepower that have defined White-Gluz’s career, now unleashed in a fresh, expansive and electrifying setting”. Checkmate, their first single, followed on March 20.

    Blue Medusa dropped their latest song, Crocodile, on September 4, the same day as the Corrupted Blood show. White-Gluz said the thrashy track “is about that feeling that you’re being watched… that instinctive dread when you know something dangerous is nearby, even though you can’t see it”.

    “It’s the feeling that something is lurking just beneath the surface of what appears to be safe or familiar,” she added. “That tension between what you perceive and what you sense; that is where the song lives.”

    As well as starting her solo career and forming Blue Medusa, White-Gluz announced in May that she’d joined UK power metal beloveds Dragonforce as co-lead singer, alongside continuing frontman Marc Hudson. She previously collaborated with the band on an alternative version of their 2024 single Burning Heart, from the album Warp Speed Warriors.

    Dragonforce have yet to release further music with White-Gluz but they’re gearing up for a tour celebrating 20 years of their breakthrough 2006 album Inhuman Rampage. See dates and get tickets via their website.

  • Gothic Electronic Duo Planeswalkers Unlock the Psyche on Debut EP “The Mind Room”

    The mind protects itself by hiding what it cannot yet bear to see. Trauma may become a locked room whose very door triggers fear. Denial, dissociation, and avoidance are not proof of hidden programming, but ways consciousness narrows around pain until, with safety, the forbidden room can be approached again.

    Planeswalkers begin their odyssey with an unusually literal name. The collaboration between gothic songstress Arden Leigh and electronic composer Andrew Means takes its title from the occult idea of moving consciousness between planes through dreams, trance, meditation, astral projection, or other altered states. Their debut EP, The Mind Room, turns that metaphysical vocabulary toward trauma, dissociation, memory, and recovery, imagining the psyche as a series of sealed chambers approached indirectly when direct confrontation feels overwhelming.

    The record’s premise draws on Leigh’s belief that extreme trauma can create psychological “tripwires,” while denial and avoidance may become forms of protection. Such language carries obvious clinical and spiritual complications, yet The Mind Room is most persuasive when it translates those ideas into texture and movement rather than explanation.

    Leigh describes the partnership in explicitly occult terms:

    “Andrew is a really skilled psychic, one of the best I’ve ever met, and he predicted that we’d have more success with it this way. I got a third-party divination just to be sure, and sure enough, it said he was right. We decided to name ourselves Planeswalkers after our shared occult hobbies…I’d say Andrew is a lot better at planeswalking than I am, but I get the job done when needed, or I compensate for it with other aspects of my practice. There were times when we’d finish working on music and then lie down on my floor and astral project together. It’s a really amazing gift to have met someone who shares my two main interests of music and magick like that, and I’m really looking forward to seeing how we continue to explore both of them as we keep working together.”

    Across four tracks, The Mind Room treats psychic exploration as both subject and compositional principle. The rooms keep changing shape, and the record’s deepest question remains simple: how does someone approach what the mind has placed behind a locked door?

    Horizons opens amid static, distant electronics, and gentle cymbals. Leigh’s voice floats high above the arrangement with an Enya-like purity, making the track resemble a guided meditation intercepted by an unstable transmission. Its spacious trip-hop architecture recalls Massive Attack, though ruptures of noise repeatedly disturb the calm. Clockwork gives the EP firmer physical dimensions. Leigh’s commanding register suggests Zola Jesus, while Means bends electronic tones into an uncanny interior where corridors seem to extend past their logical endpoints. Repetition becomes claustrophobic, and the title begins to feel mechanical in the psychological sense: a mind caught inside patterns that continue moving after conscious control has weakened.

    Body makes the sharpest turn. Trip-hop drums support a leering chant, voices push toward shouting, and the earlier inward drift acquires force. The lyric about “walking the planes” supplies the duo with their name, but the song remains intensely corporeal, concerned with breath, rhythm, threat, and will.

    The closing Alive returns to open space and echo, with Leigh’s voice receding and reappearing as though consciousness were adjusting to gravity after an excursion elsewhere.

    Order The Mind Room here and listen below:

    “For resources on plurality, including traumagenic DID, or to make a donation, we recommend supporting The Plural Association here,” suggest the band.

    Follow Planeswalkers:

    The post Gothic Electronic Duo Planeswalkers Unlock the Psyche on Debut EP “The Mind Room” appeared first on Post-Punk.com.

  • TSIM Announce National NO MISTAKES TOUR

    Having previously promised radically different setlists, only to attempt to backtrack by suggesting it was only the font used on the printed setlists that would be different, TSIM have finally relented, and divulged more of what fans can expect. Without revealing which show is on which date, or what the shows are, the band have […]

  • DEAD SET Presents SHE’S ALL BRAT Night Of Live Entertainment

    Sydney’s raunchiest underground rock haunt, Dead Set, presents SHE’S ALL BRAT on September 27. A toxic collection of snotty punk, fuzzy grunge and full-throttle rock & roll, She’s All Brat brings together some of Sydney’s fiercest femme-fronted acts for one massive night below the streets of Darlinghurst. Private Wives, Second Idol, Ponzi Scheme, Meow Meow […]

  • LIVE RECAP: Jet Brings the Down the Moonlit Mile Revue to The Truman

    PAM WHISENHUNT | Go Venue Magazine

    It was a hot, stormy night in Kansas City when Jet brought their Down the Moonlit Mile Revue tour to The Truman, September 6, 2026.

    Jet is a band that’s been on a lot of classic rockers’ bucket lists for years. When the tour was announced, it caught my interest. When I heard The Glorious Sons were joining the bill, I bought tickets on the spot. I’d never seen Jet live, and it had been a few years since I’d seen The Glorious Sons, so it felt like the perfect chance to check off both. A few weeks before the show, though, I noticed The Glorious Sons were no longer listed. Needless to say, I was disappointed, but still curious what The Retrograde would bring to the night.

    The Retrograde turned out to be a surprise highlight. The Tallahassee, Florida band leans hard into a Southern rock revival sound, drawing comparisons to the Black Crowes, Kings of Leon, and Lynyrd Skynyrd, so my instinct that I was hearing shades of the Black Crowes wasn’t far off. That bluesy, classic rock vibe ran through the whole set.

    They brought serious energy to the stage, blazing guitar solos and lengthy jam sessions that stretched out and let the band show off. It was an impressive set, and I think a lot of people in that room found their new favorite up and coming band.

    Jet, out of Melbourne, Australia, gave the crowd a full 17 song set that kept everyone swaying all night. Frontman Nic Cester told the crowd, “You have a holiday tomorrow, don’t you? So, you have no reason not to cut loose tonight,” a nod to Labor Day landing the next day.

    Jet formed in 2001 and broke out with their debut album, Get Born, in 2003, an album that sold over five million copies worldwide and is nine times platinum in Australia. The band split in 2012, reunited briefly in 2016, and came back again in 2023, the same year they were inducted into the ARIA Hall of Fame. Alongside Cester on vocals, the current touring lineup includes Cameron Muncey on guitar, Mark Wilson on bass, Louis Macklin on keys, and Peter Marin on drums.

    The set leaned heavily on Get Born cuts, opening with “Last Chance” and running through “Put Your Money Where Your Mouth Is,” “She’s a Genius,” “Get What You Need,” “Walk,” “Seventeen,” “Move On,” “Bring It On Back,” and “Look What You’ve Done.” They slipped in a cover of AC/DC’s “It’s a Long Way to the Top (If You Wanna Rock ‘n’ Roll)” which was spot on before hitting the big ones, “Are You Gonna Be My Girl,” “Rollover D.J.,” “Get Me Outta Here,” and “Cold Hard Bitch.”

    The encore started with just Cester and an acoustic guitar for “Shine On” before the rest of the band came back out for the final two songs, “Come Around Again” and “Rip It Up.”

    Jet’s still very much in the fight, and if the energy in that room was any indication, this tour has plenty of gas left in the tank.

    Jet

    [See image gallery at www.govenuemagazine.com]

    The Retrograde

    [See image gallery at www.govenuemagazine.com] All images © Pam Whisenhunt

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    The post LIVE RECAP: Jet Brings the Down the Moonlit Mile Revue to The Truman appeared first on Go Venue Magazine.

  • REVNOIR Return With New Single ‘Fracture’

    French modern metalcore force REVNOIR return with their powerful new single Fracture, a gripping anthem that channels fear, resistance and the determination to keep fighting when hope feels increasingly difficult to hold onto. The release also marks the beginning of the band’s highly anticipated debut album, Sometimes I feel you, sometimes I don’t, set for […]

  • Vulvodynia Premiere “Twin Tyrants”, Their First Track With Vocalist Maya Pobst

    Pobst officially joined the band this past July.

    The post Vulvodynia Premiere “Twin Tyrants”, Their First Track With Vocalist Maya Pobst appeared first on Theprp.com.

  • THE DAMNED Hit Australia For The Last Time Ever This Week

    Iconic British punk pioneers, The Damned, have arrived and kick off their Farewell/Anniversary tour tonight in Auckland.  Formed in 1976, the trailblazing group released the UK’s first ever punk single New Rose and its first album Damned Damned  Damned which ignited the global punk revolution. They are, indisputably one of the most enduring and influential bands in punk, goth and alternative rock. With their dark lyrics and Dave Vanian‘s rich baritone […]

  • K-Goth Trio Past Self Examines What Society Extracts From the Soul in Video for “제물 / Jemul”

    In an instant, your anxiety turned into fear.

    Every sacrifice needs an audience. In older ceremonies, the victim did more than die: one body was converted into communal relief, the crowd watched the exchange, and authority called the loss necessary. Modern systems rarely build stone altars, but the underlying bargain survives. Work, debt, status, and belonging keep asking for portions of the self until surrender becomes ordinary enough to pass for participation.

    Las Vegas K-Goth trio Past Self brings that bargain into view in their new video for 제물 / Jemul. Released during the band’s ongoing European tour, the clip was shot and directed by Kameren Isaguirre from a screenplay by vocalist and guitarist Sung Joo Kim. Isaguirre also edited the video and produced it alongside Past Self.

    The song’s premise treats contemporary life as a form of spiritual extortion: a social order that takes money, time, dignity, and private feeling in exchange for continued membership. Echo-heavy guitar figures hang above a steady rhythm section while Sung’s Korean and English vocals follow anxiety into fear, hallucination, betrayal, and ruined love. The music bears traces of The Cure and Lebanon Hanover, along with the broader dramatic scale of The Horrors and the saturated guitar mass of My Bloody Valentine, yet Past Self keeps each part legible beneath the distortion.

    When we first covered the single, the band explained its central metaphor:

    “제물 / Jemul translates to ‘an offering,’” says the band. “It refers to a society that constantly demands a piece of one’s soul as payment for being allowed to stay alive. The song aims to draw metaphorical ties between this concept and human sacrifices that a cult might make to appease their deities.”

    Isaguirre brings that concept to life in the song’s enigmatic and arcane visual. Sung appears among dry reeds and bare trees, his face painted white, his lips black, and his eyes sealed beneath a broad red blindfold. Dark stains spread across his loose white blouse as he carries a cloth-bound sword through the brush, raises it toward the sky, and performs with a red guitar. The blindfold makes him both marked victim and sightless officiant: he cannot see the spectators, though the camera is always watching him.

    A vast red disc glows behind a black field of branches. A single rose lies in disturbed soil, and the sword is planted beside it, turning the landscape into altar and grave at once. Elsewhere, a second blindfolded figure appears collapsed on a concrete slab before slowly rising beneath the final blue light of dusk. The images never settle into a literal execution. Instead, they suggest preparation, selection, and aftermath, leaving sacrifice as a role that can pass from one body to another.

    Night changes the video’s visual grammar. A severe blue-white lamp blows out faces and fabric as the trio plays in tall grass. Movement smears across the frame, bodies divide into doubles, and horizontal scan lines make the footage resemble a damaged transmission. By the final wide shot, a lone figure sits beside a small table among the weeds, reduced nearly to evidence. The altar described in the lyrics has become an anonymous stretch of land under surveillance.

    The red blindfold is the video’s most effective device: it blocks the subject’s vision while leaving him completely available to ours. In a song about society exacting payment from the soul, visibility becomes another fee. The victim may be unable to identify the crowd, but the crowd has no trouble identifying the victim.

    Watch the video for 제물 / Jemul below:

    Written by Sung Joo Kim and mixed and mastered by Spektor, 제물 / Jemul is available to order through Past Self’s Bandcamp.

    Past Self are currently completing their debut European tour before returning to North America for dates in October and November. See the remaining itinerary below:

    European Tour Dates:

    North American Dates:

    Follow Past Self:

    Past Self 제물 / Jemul single artwork

    The post K-Goth Trio Past Self Examines What Society Extracts From the Soul in Video for “제물 / Jemul” appeared first on Post-Punk.com.