Hamburg-based melodic thrash metal powerhouse Godsnake have officially released their new studio album "Inhale The Noise," out today via Massacre Records, and celebrate the occasion with the release of a brand new official video for the track "Scream For A Bullet." You can check it out below. "Scream For A Bullet" stands out as one of the album’… Read More/Discuss on Metal Underground.com

Ryder .

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Here I am, here I am, here I am missing you again

Longing rarely arrives alone. It drags its little entourage with it: memory, mischief, ritual, repetition, the strange compulsion to go out anyway and let the night hold what daylight cannot. Child of Night, the Columbus and New York City-based dark electronic duo of John and Niabi, understands that pull well on “Old Moons,” the second single from their forthcoming LP Conspiracy, due May 15, 2026. Out April 17, the track turns romantic desolation into something communal and faintly absurd, a song about absence and ache that still makes room for bright lights, red cups, sequins, and the half-delirious fellowship of karaoke.

Following their 2021 debut, The Walls At Dawn, Child of Night continue to refine their strain of post-punk, darkwave, and synthpop with a sharp instinct for atmosphere and a punkish sense of play. You can hear echoes of Automelodi, Lust for Youth, Boy Harsher, Nuovo Testamento, and Chris & Cosey in their palette, but “Old Moons” has its own after-hours chemistry. The song carries those sleek 1980s-tinted new wave and synthwave tones with a cool, heart-bruised poise, while the vocals ache with retro desire. The gaps between the synth lines, drum hits, and vocal phrases give the song a delicious sense of space, the kind that practically invites a microphone in hand and a little theatrical overcommitment. It has the mood of the cast of Drive wandering into a karaoke bar instead of confronting their troubles directly, trading stoic silence for neon confession.

Lyrically, “Old Moons” circles grief as a season without end. Time keeps moving, rain turns to snow, grasses yellow, new moons come and go, and still the missing person never returns. The refrain lands with blunt force: “Here I am…missing you again.” Yet the song never collapses under its own sadness. It keeps going, keeps showing up, keeps singing through the void. That friction between emotional heaviness and the will to carry on gives the track its pulse.

That same push and pull shapes the video, directed, filmed, edited, and photographed by Alice Teeple. “The concept was ‘What about a bunch of friends doing karaoke?’” John says. Niabi pushes it further: “But a little Lynchian, inching towards fun/absurd.” Speaking about the early conversations with Teeple, Niabi recalls: “When I was talking with Alice, who shot our music video, her initial thoughts on the concept were, I think, intrigued. She was like, ‘This is so fun and unusual and kind of goofy,’ and I was like, ‘Yeah, why zig when you can zag?’”

That instinct to zag gives the clip its charm. “And I think that’s what makes this music video different,” Niabi continues. “Here we were embracing quirk, fun, joy and grief, sharing with immediacy this moment in time. We are riding the line crossing over into that dark place where you don’t want to go but because you are emotionally so down, you do, and it’s really hard to explain how dark it is, but you are still trying to carry on.” That may be the most precise description of “Old Moons” possible: a song and video poised between emotional collapse and collective release, where silliness becomes survival and performance becomes a way of keeping despair from swallowing the room whole.

The clip opens with a striking title card set against the familiar postcard view of Chureito Pagoda and Mount Fuji, a dreamy false dawn that gives way to the very real geography of downtown Manhattan after dark. From there, the video slips into Chinatown and the surrounding streets, tracing stairwells, subway platforms, neon signs, crowded corners, and glowing side streets strung with warm lights. Teeple lingers on the neighborhood’s texture: the blue-and-red Welcome to Chinatown sign, weathered storefronts, old signage, and the blur of pedestrians and traffic moving through the night like pieces of a shared hallucination.

Inside, the action settles into a richly patterned karaoke room dressed in red-and-gold wallpaper, tufted benches, marble tables, and plastic cups catching the low light. Child of Night performs in close-up beneath an amber glow, while elsewhere the singer appears before a red curtain in a silver sequined dress, all bruised cabaret glamour and downtown longing. Friends gather, pass microphones, applaud from their tables, laugh mid-song, drink, dance, and lean into the kind of warm, chaotic intimacy only the right room can produce. The vibe is playful, but never weightless; even at its most convivial, the video keeps one foot near the precipice.

Teeple gives equal attention to the night’s incidental magic. There is Niabi roaming the street with sparklers in hand like a one-woman procession; the melancholy geometry of subway corridors and station platforms; roller skaters slicing down a narrow hallway under red lights and framed posters; John in his sunglasses crooning into a microphone; a small dog tucked in someone’s arms; partygoers clapping along as if the room itself were willing everyone forward. The result feels like a love letter to urban nightlife in all its tenderness, tackiness, theatricality, and human heat, a pocket diary of people making meaning together beneath the old moons.

Watch the video for Old Moons below:

Listen to Old Moons and its remix by Kiss of the Whip below, and order here.

Child of Night have previously shared bills with Hallows, Kiss of the Whip, and Milliken Chamber, and will tour the U.S. in summer 2026 in support of Conspiracy.

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The post “Here I Am Missing You Again” — Child of Night Turn Synth-Pop Longing into Karaoke Catharsis in Video for “Old Moons” appeared first on Post-Punk.com.

UK blues-rock sensation Ashley Sherlock continues his rapid ascent with the announcement of a major endorsement deal with Fender Musical Instruments Corporation. The partnership sees Sherlock officially join the Fender artist roster, further cementing his reputation as one of the most exciting young guitarists in modern blues.

As part of the endorsement, Sherlock will be wielding two stunning instruments from the renowned Fender Custom Shop: a 1963 Stratocaster NOS in 3-Tone Sunburst and a 1960 Custom Telecaster in Fiesta Red. These iconic guitars perfectly complement Sherlock’s expressive playing style, blending vintage tone with contemporary firepower.

The announcement comes at a busy and pivotal time for the guitarist, who is preparing to hit the road across the UK in support of acclaimed blues artist Sari Schorr. The upcoming shows promise to introduce Sherlock’s electrifying live performance to new audiences, further building on his growing international profile, and of course will give Ashley the perfect opportunity to show off his new acquisitions.

In addition to touring, Sherlock has confirmed that work on a brand-new studio album is well underway. The forthcoming release will follow his critically praised debut release and is expected to showcase both his evolution as a songwriter and his deepening roots in blues and rock traditions.

Signed to Ruf Records & Raging Bear Artist Management, Sherlock continues to gain momentum within the global blues scene, with his Fender endorsement marking another significant milestone in what is shaping up to be a remarkable career.

With new music on the horizon and high-profile live appearances ahead, Ashley Sherlock is a name set to resonate even louder in 2026.

The post Rising Blues-Rock Guitarist ASHLEY SHERLOCK Secures Fender USA Endorsement and Announces UK Support Shows appeared first on The Rockpit.

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Dead Can Dance have returned with “Death Cults,” the latest entry from their newly launched run of monthly 2026 releases. The 8-minute, 53-second track is now available on the group’s Bandcamp page, where it is listed as a digital release, accompanied by a PDF with lyrics and original artwork by Brendan Perry.

The band’s official site says the current campaign will unfold as a series of songs released on a regular monthly basis throughout 2026, issued exclusively through Bandcamp on Dead Can Dance’s own Holy Tongue Records imprint. Each release is stated to be accompanied by a digital PDF containing song lyrics and original artwork. The first entry in the series, “Our Day Will Come,” was released on March 20 and is dedicated to the shared national aspirations of the Irish and Palestinian peoples, with its title drawing directly from the Irish republican slogan Tiocfaidh ár lá, or “our day will come.”

That release was followed by Mnemosyne on April 10, though that item appears to function more as a digital lyric book/PDF release than as a conventional standalone song. That makes “Death Cults” the second clear new track in the current sequence. As of now, Dead Can Dance have not announced a new full-length album alongside the singles, and the official framing remains a month-by-month release series rather than a traditional LP rollout.

The new material also raises an obvious question: what is Lisa Gerrard’s role in this phase of Dead Can Dance, and what is her status in the band going forward? At the moment, there is no public clarification on that point. The Bandcamp page for “Death Cults” does not specify personnel beyond the note about Brendan Perry’s artwork and the recording location, and Dead Can Dance’s official site has not detailed Gerrard’s involvement in the new tracks. The group is still described on Bandcamp as the long-running collective founded by Brendan Perry and Lisa Gerrard, but beyond that, the current rollout is light on credits.

That uncertainty feels notable in light of the band’s last studio album, Dionysus, which arrived in November 2018 as Dead Can Dance’s first full-length in six years. Officially, the record was presented as a two-act, seven-movement work centered on the myth and cult of Dionysus. As Brendan Perry discussed in our interview around the release of the album, Dionysus was very much shaped by his own long-running fascination with the deity and the ritual traditions surrounding him. Given that history, it would not be surprising if Perry were again steering the initial phase of this new Dead Can Dance cycle, with Gerrard perhaps appearing later in the series. For now, however, that remains speculation, and the public-facing credits simply do not make her involvement clear.

The 2026 return comes after a long stretch in which Dead Can Dance’s post-Dionysus momentum was repeatedly interrupted on the live front. The group first announced its “A Celebration — Life & Works 1980–2020” North and South American tour in October 2019, with dates scheduled for April and May 2020. As the pandemic spread, those dates were pushed to April and May 2021, and then the North American leg was moved again in March 2021 to October 2021.

A separate North American return was then announced in June 2022, with 17 dates planned for March and April 2023. At the time, the run was billed as Dead Can Dance’s first North American tour in a decade. But in September 2022, those North American dates, along with the band’s upcoming European shows, were canceled for health reasons.

In the years since, both core members have remained active, though not always under the Dead Can Dance banner. Gerrard’s official site documents a steady run of work, including the 2021 collaborative album Burn with Jules Maxwell, the later album Exaudia with Marcello De Francisci, the 2023 live release One Night in Porto, and the 2024 compilation Come Tenderness, which included the new song “Whispers.” Her recent activity has also included soundtrack and touring work tied to Hans Zimmer Live and several film-related projects.

Perry’s official channels have been quieter, but they do show a few significant markers, including his 2020 solo release Songs of Disenchantment – Music from the Greek Underground. In 2023, he also issued an expanded reissue of Eye of the Hunter paired with Live at the I.C.A.

For now, “Death Cults,” a sprawling, incense-scented recording mixed at The Temenos in Epidavros, Greece, stands as the latest sign that Dead Can Dance are active again, even if the shape of that return remains deliberately opaque. It feels like a seamless addition to the group’s canon, carrying the atmosphere of another time and another world — something haunted, ceremonial, and palatial. What is clear is that Brendan Perry has chosen a direct-to-fans route, with new material arriving one release at a time on Bandcamp rather than through a conventional album campaign. Whether Lisa Gerrard will step into the series later — and whether these tracks will eventually point toward a larger body of work — remains to be seen.

Listen to Death Cults below:

Follow Dead Can Dance:

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The post Dead Can Dance Returns with “Death Cults,” Their Second New Song in Five Years appeared first on Post-Punk.com.

Queensrÿche vocalist Todd La Torre and guitarist Michael Wilton sat down with SiriusXM’s “Trunk Nation With Eddie Trunk” on April 16 to give fans a progress report on the band’s next studio album, the follow-up to 2022’s Digital Noise Alliance.

La Torre laid out where things stand (transcribed by Blabbermouth): “There’s a ton of songs that I have to write lyrics and melodies for, which I’ve been doing some of that at home, tracking ideas, showing the guys some stuff. So we’ve got songs in demo form. Really good stuff, really exciting stuff that I’m looking forward to digging in when we get home. But, yeah, [we’re] just working on a new record.”

He went on to address the challenge of writing while keeping a full touring schedule: “You know how it goes — [we’re doing lots of] fly dates [in between working on new music]. The days when you could take a year off and just focus on an album, those don’t exist anymore. So you’re trying to write in these little pockets of time and then have a home life and decompress your ears and chill out for a little bit. I can’t believe we’re already this far into the year. But, yeah, [we’re] just working on a new record. [We have] lots of fly dates [scheduled for later this year] and a European tour.”

Wilton backed that up, pointing to the relentless live calendar as the main obstacle: “We are so busy. And Todd said it right. It’s, like, every week you’ve got a show, you’ve got a show. You don’t have the time off — especially for Todd. In the ’80s and early ’90s and stuff, you had breaks of time where the vocalists could rest his voice. And it’s hard because hard rock bands, metal bands, whatever, these days, and the situation with the media and everything, you have to tour to stay alive… And so that being said, you’re always touring. We’re trying to write a record.”

“Plus, you have to coordinate with who’s recording the record, because [the producer is] busy, because all the other bands are in the same situation as we are. They’re touring and taking a week, 10 days off, and recording and then going back out on the road. So it’s a bit challenging. But this year we’re not doing any major USA ground tours. So we’re really concentrating on the record and then going to Europe.”

The band is once again working with producer Chris “Zeuss” Harris, who handled Condition Hüman (2015), The Verdict (2019), and Digital Noise Alliance. Wilton confirmed this back in January in a conversation with Mark Strigl.

On the musical direction of the new material, Wilton had this to say: “Well, we’re pushing the envelope. We don’t get a lot of standard radio play, so we’re just going for it. We’re keeping the progressive element, the melodic element, the heavy metal element. So it’s gonna be a killer album. But we’re trying to make it a little bit different than the previous one. So, fingers crossed.”

As for where they are in the process, Wilton said the band is somewhere between pre-production and actual recording: “Well, it’s a bit of both. We’re at a point where we know our sounds, so if it’s kept in the arrangement of the song, then you’re halfway there. But yeah, Queensrÿche likes to come up with, in the writing process at least, 15 to 20 songs. So that’s kind of where we are right now. We’re probably on the 13th idea right now. So we’re kicking ass.”

Wilton also spoke about the collaborative dynamic with fellow guitarist Mike Stone: “We’re both in the room with Zeuss, our producer. And if I have a song, I play my idea. We document it, get it recorded, and then I go, ‘Mike, it needs another part on top,’ and he comes up with something, and it complements, and then we just work together and just build the song. It’s great because you can bounce ideas off each other, and it’s not just one person saying, ‘It’s my way or the highway.’ It’s about getting the vibe and getting the right flavors of the music, and I’ll tell you what: Mike Stone does a great job. He can understand what I’m playing, and he knows that what we call Rÿche-ian sound.”

The post QUEENSRŸCHE’s MICHAEL WILTON & TODD LATORRE Talk Progress & Musical Direction Of New Album: “We’re Pushing The Envelope, Keeping The Melodic, Progressive & Heavy Metal Elements” appeared first on Sonic Perspectives.

Interview by Kris Peters After triumphantly casting off the shackles of claustrophobic dissonance on 2020’s lauded Stare Into Death and Be Still, New Zealand unorthodox death metal legends ULCERATE up the ante even further with mind-bending 7th album Cutting the Throat of God. An acknowledgement that the band’s most powerful and affecting material leans to […]

Interview by Kris Peters Wacken Open Air is one of the most recognisable names in heavy music anywhere on the planet. Now in its 35th year, the legendary German festival has become a global meeting point for metal fans, bands and industry alike. A place where the underground and the established stand shoulder to shoulder. […]

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