Category: news

Warner Music Australia celebrates the 25th Anniversary 2LP Edition of Gerling‘s ARIA-nominated 2001 masterpiece When Young Terrorists Chase The Sun with a deluxe 2LP vinyl reissue, due for release Friday November 6. The album, originally released on Festival Mushroom in Australia, Sony in Japan, Flying Nun in New Zealand and Infectious in the UK, has […]

Strange to dream of you forever 
Even though I am wide awake

The internet has abolished one of heartbreak’s few mercies: absence. Distance once allowed an attachment to lose oxygen, but the person we cannot stop thinking about now remains permanently available behind glass: photographs to revisit, timestamps to decode, and small signs of life that can be mistaken for an invitation to reminisce. Longing begins to resemble shift work, maintained around the clock by a thumb moving across a screen while the body waits somewhere else.

That continuous state of checking and conjecture lies at the center of 24/7, the latest single and video from Pissoir des Dieux. The collaborative project brings together Larissa Iceglass of Lebanon Hanover, Vincenzo Wieczerzynski of Chaos International, and Owen Pratt of Uncanny Valley. Following their 2025 debut single, Hotel Grand Amour, the trio now announces their self-titled debut album, due September 28, 2026, through Fabrika Records.

24/7 begins with lightly strummed acoustic guitar and Iceglass’s breathy singing suspended in airy reverb. The arrangement is stripped down and emotionally exposed, carrying a bittersweet warmth without smoothing away its unease. Around the fifty-second mark, broad drums enter with a gentle crash as a thick, repeated bass figure gives the song a more regulated gait. Acoustic materials and machine-minded repetition begin working together, like an old mill keeping time at the edge of a forest.

Near the two-and-a-half-minute mark, the bass drops into a deeper, slower, and more melodic sequence, turning the song toward something private and difficult to recover. It feels like watching an old home movie whose people can still move but can no longer answer. Bright guitar notes rise and fall through the closing passage, tracing small points of light like fireflies moving between the trees.

Beneath that gentle surface, Iceglass describes attachment as a form of dependency. The absent person persists through photographs, clothing choices, questions about their safety, and even the condition of their keyboard; ordinary details accumulate until browsing becomes a self-administered dose. There is dry humour in the specificity, but it only makes the fixation feel more intimate. The phrase 24/7 becomes both a schedule and a diagnosis.

Iceglass extends that idea into the video she directed and edited. Presented as grainy 4:3 camcorder footage, it carries date stamps for July 23 and July 24, 2025. Scenes from a birthday gathering at a country house—friends in the garden, rabbits in an enclosure, a dartboard, and an outdoor meal—alternate with close shots of Iceglass singing alone in a dim interior. At times her face is fully visible; elsewhere it appears as a pale fragment caught within a narrow strip of light.

During the final passage, Iceglass leaves the house and enters the water beside a small dock, eventually lifting a glass above the surface. The footage possesses the factual appearance of a family tape, but its emotional status remains unresolved. It could be remembrance, fantasy, evidence, or the kind of saved material repeatedly replayed after direct contact has ended. The camera preserves a summer day with ruthless efficiency while the song considers what that preservation does to the person who cannot stop looking.

Watch the video for 24/7 below:

Pissoir des Dieux announce their eight-track self-titled debut album, arriving September 28, 2026 through Fabrika Records. Mixed by Owen Pratt and mastered by Schwebung Mastering, the record includes Hotel Grand Amour, 24/7, and six additional songs. Limited black, opaque, and pink vinyl editions are available, with each pressing limited to 500 copies.

Listen to 24/7 below and pre-order Pissoir des Dieux here.

Follow Pissoir des Dieux:

• Instagram
• Bandcamp
• YouTube
• Spotify
• Apple Music
• Fabrika Records

The post “In The Graveyard of My Heart” — Watch Pissoir Des Dieux’s Video for “24/7” From Their Forthcoming Self-titled Debut LP appeared first on Post-Punk.com.

Time .

The post Time Tripper unveil video for song “Heart of Fire” featuring ex-Yngwie Malmsteen vocalist Göran Edman first appeared on Sleaze Roxx.

Kids of the 90s, Truckstop Divas draw on the raw energy and rebellious spirit of the era, blending alternative rock and punk with the hazy, atmospheric DNA of Seattle shoegaze and some unexpected fusion influences. Their songs move between explosive riffs, atmospheric textures and melodic moments, exploring growing older, life’s struggles and a healthy dose […]

HollywoodPkr-VAMPits is the neon-charged fusion of alternative rock, country rock, cinematic pop-rock, and modern hard rock — an artist built on explosive anthems, high-voltage guitars, and storytelling that hits like a movie scene. Blending 80s glam-rock attitude, country grit, and modern Top-40 fire, HollywoodPkr delivers a signature ReVampd sound: bold, emotional, electric, and instantly addictive. […]

Sammy Hagar has reacted to his former bandmate Alex Van Halen calling him “a complete idiot”.

The former Van Halen drummer made the comment during an interview with Brazilian music journalist Marcelo Vieira for Roadie Crew magazine.

Vieira, who translated Van Halen’s 2024 memoir Brothers memoir into Portuguese for sale in Brazil, asked the drummer for his opinions on the the autobiographies written by his former bandmates David Lee Roth and Hagar. While Van Halen praised Roth’s Crazy From The Heat memoir as “a very interesting perspective on that era”, he was less complimentary about Hagar.

“I don’t know what he wrote, and I don’t wanna know,” he said about Hagar’s book Red: My Uncensored Life In Rock, adding, “In my opinion, Sammy Hagar is a complete idiot.”

The comment was picked up by instagram account Rock Celebrities and posted online. Hagar subsequently responded to the post, writing, “This comment and post is so unnecessary at this time in our lives, but I guess the truth hurts sometimes. Peace already”.

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Last year, Hagar spoke about his famously difficult relationship with former Van Halen bandmate to Rolling Stone. When writer Andy Greene suggested that the reason for the fractious relationship is that Van Halen is an intensely private individual, while Hagar has always been happy to speak publicly about their relationship, Hagar responded, “I don’t think that’s it.”

“I’ve had this conversation with a few people, including [former VH manager] Irving Azoff,” he continued. “I’ve asked him, ‘What’s the problem?’

“And some people have said to me, ‘Oh, Cabo Wabo [the nightclub company founded by the members of Van Halen in 1980]. At one time, Van Halen, when you built it, you guys were all partners in that. And then they didn’t want it anymore when it was losing money, and they gave it to you [Hagar bought out his bandmates in 1990], and you turned it around and made hundreds of millions of dollars on it. And they’re angry. Alex is angry about that.’

“To that I said, ‘How the fuck could they be angry about that? They gave me the damn thing, they walked out on me, left me with it. And they made me indemnify them in case I got sued and lost everything. They made me sign off big time.’ And I’m going, ‘I hope it’s not that.'”

GURT played an awesome set on the SOPHIE stage at Bloodstock and Sean took the time to find out what made these madmen tick! If you desire more information, we also chatted to them in the runup to Bloodstock. GURT: facebook | instagram | spotify | bandcamp | youtube | bigcartel

The best thing about the underground music scene right now is that there’s so much great music out there. That can also be one of the greatest challenges of the underground music scene right now. How do you stay on top of all these bands and releases? Where do you find the time to even listen to everything? The answer, of course, is that you can’t listen to everything. And I certainly can’t write about everything. But if I hear something that knocks my socks off and leaves me utterly wowed, that’s going to be prioritized. A couple of my influential friends have pointed me in the direction of Weak Hands’ new album We Can’t!, and I could not be more grateful. Had this release evaded my detection, as so many great albums do, it would have been a tremendous shame. 

Although this Toronto-based band has been existence since 2017, this is its debut record. And it’s extraordinary. Seriously: I’m living for this album! Broadly, I could call this a pop-punk record. But I could just as easily describe it as indie rock. It manages to co-inhabit those two worlds with complete success. Both literally and figuratively, singer/songwriter Nat Manzocco has a powerful and unique voice. From the instant she sings the album’s opening line “I count one two three four twenty-one floors,” she commands your attention. The way she manages to dissect a painful breakup and how its connects to her sense of self and her growth as a human is simultaneously deeply personal and highly relatable. I wish I could have been this wise and self-aware in my 30s. I’m not even sure I’m there yet at 55! Musically, this record is both unassuming and epic. The songs are thoughtful and reflective yet don’t shy away from bright melodies and big, soaring choruses. As devastating as some of these lyrics would be if you just read them on paper, they hit significantly harder due to the anthemic quality of the music. Back when “emo” still meant what it used to, that term would have nailed the essence of this record. Music doesn’t get any more visceral than than this. If “I Miss the Dress That I Wore the First Time You Took Me Dancing” doesn’t tear your heart out, you might not be human. Ditto for “Summer Sometimes.” 

And so the great albums of 2026 continue to pile up, and that can be nothing but a good thing. My top 20 list of albums from this year is already 40 titles deep (ha ha), but We Can’t! is a lock for one of those spots. And the shorter length (only 8 songs) works in its favor. Nat Manzocco didn’t allow anything resembling a sub-par track to make the final cut. She lived these songs, and with the help of her bandmates, forged them into something remarkable. Her ability to tell her story in a way that makes us feel like it could also be our story shows what a formidable songwriting talent she is. This is an album I’ll listen to many times and experience like it were a favorite movie or book. What an assured & masterful debut!

A collection of Oasis recordings worth over one million pounds will be auctioned off next month, and Noel and Liam Gallagher are said to be ‘unhappy’ at the prospect.

The set of collection of 63 concert recordings, over 100 hours of rehearsals tapes, soundcheck recordings, and “unfiltered” conversation between band members is owned by the Manchester band’s former sound engineer Huw Richards, who worked as the front-of-house sound engineer for Oasis from 1995 to 2001. It includes 209 DAT tapes, 73 analogue cassettes and three MiniDiscs, and is being sold by Richards’ son, Owain.

Littleton Auctions believes that the previously unheard archive will cost a potential buyer between £1.2m and £1.6m when it goes under the hammer on October 3. The collection includes internal tour itineraries, original setlists, a band-played Epiphone guitar and an original Kangol Oasis Tour parka.

The auction house’s managing director admitted that the Gallagher brothers had “expressed concerns” over the upcoming auction.

Ben Homer from Littleton Auctions said in a statement: “The Oasis camp is aware of the auction and has expressed concerns, which is entirely understandable given the scale and significance of the material.

“We’re handling everything with full transparency and proper legal process.

“Our focus is simply on presenting these items responsibly, with verified provenance, and allowing collectors and institutions to engage with an important part of British music history.”

Homer addeed, “Oasis remains one of the most beloved and closely followed bands in British music history, and the level of interest we’re already seeing reflects that. Alongside the memorabilia and recordings of other legendary artists in the collection, this is a once-in-a-generation opportunity for fans and collectors alike.”

“Dad labelled everything, recorded everything and backed it all up to cassette, over and over,” says Owain Richards. “I grew up listening to these recordings. Oasis were part of the family as much as they were part of the culture. I was in a band myself back then, and this music meant something to me before I ever understood what it represented. These tapes have been in my care for the last twenty years. It feels like the right time to pass them on to people who’ll understand exactly what they are.”

Richards also suggest to The Times newspaper that the Gallagher brothers “don’t want” the collection sold and that they want the tapes “back in their possession.”

Whoever purchases the collection would not be able to commercialise the archive without co-operation and permission from the band.

Given that Oasis ‘2025 reunion tour grossed $405,428,435 according to Pollstar, the Gallagher brothers are not short of funds to purchase the collection.

Kōya are a post-hardcore band from Denmark and this is their debut album. Pendula consists of 38 minutes of material that is impressively wrought, especially for a first record. Kōya bring a few different influences together well, and the result is an album as devastating as it is well-rendered. Kōya’s style blends together elements of … Continue reading “Kōya – Pendula (Review)”