The opening of “Madame E.V.A.” crafts an atmosphere that envelops the listener. The male voice emerges like a gentle nighttime fog, adding a layer of mystery. This introduction effectively sets the tone for the entire track. As the music progresses, a strong groove emerges, and the mood deepens into something intense.
Madame E.V.A. – Sound and Atmosphere
The relationship between machine and human in this piece is what makes it exceptional. While the song employs AI production methods, it retains nuances that allow it to breathe with genuine emotions. These elements create an engaging contrast. It is a blend of sounds that resonates profoundly, making each note feel significant.
The listener is drawn into a melodic universe that is enticing and dystopian. The richness of the sound is full and intense, creating an immersive experience. This complexity enhances the emotional depth of the track. Every harmonic layer enriches the listening experience, making it engaging on multiple levels.
Dynamics play a crucial role in this composition. Just after the two-minute mark, there is a pivotal moment. The song momentarily empties, creating a rare pause that hangs in the air. This moment allows listeners to focus on the melody, offering time for reflection. It is in this stillness where the music breathes, inviting the audience to be present.
Madame E.V.A. – Performance and Production
Soon after, sounds that reminded me of electric shocks gradually build. These jolting effects guide the listener towards an intense and climactic ending.
“Madame E.V.A.” narratively follows EVA01, who experiences thousands of simulated human lifetimes. This journey aims to uncover what makes humanity worth preserving. The song intertwines this concept, using its sonic elements to tell a deeper story. The emotional weight enhances the listening experience, making it relatable despite its technological underpinnings.
Musically, CMD.EXE demonstrates a keen sense of arrangement and structure. The rhythmic complexity complements the thematic depth, creating a harmonious blend of ideas and sounds.
“Madame E.V.A.” is a finely crafted exploration of human experience through the lens of technology. The atmospheric opening, combined with an intense groove and dynamic shifts, creates an engaging journey. CMD.EXE’s ability to marry AI production with genuine emotion ensures that this single resonates deeply. The themes of humanity and technological interaction remain relevant, making this track a significant contribution to modern electronic music.
To release one’s debut solo album on the brink of becoming octogenarian may see strange – but not for Lenny Kaye. Lenny Kaye has simply been busy for the It’s hard to believe that a legend like Lenny Kaye has … Continue reading →
La próxima edición de Murcia On sumará a su programación una de las bandas más reconocibles de la historia del rock: ZZ Top. El grupo estadounidense actuará el 23 de julio de 2026 en la Plaza de Toros de Murcia, en una cita que llevará a la ciudad décadas de clásicos y una trayectoria que sigue manteniéndose activa sobre los escenarios.
Convertidos en una referencia imprescindible dentro del blues rock y el hard rock norteamericano, ZZ Top ha construido una carrera marcada por un sonido propio y una imagen que ya forma parte de la cultura popular. Temas como La Grange, Sharp Dressed Man, Legs o Gimme All Your Lovin’ continúan siendo algunos de los más reconocidos de su repertorio.
Con más de cincuenta años de historia, la formación sigue adelante con Billy F. Gibbons y Frank Beard al frente, manteniendo vivo el legado del grupo y llevándolo a nuevas generaciones de público.
La fecha en Murcia se incorpora a una gira que volverá a acercar el directo de la banda al público español y que promete una noche centrada en sus grandes clásicos y en la energía que ha definido sus conciertos durante décadas.
Las entradas ya están disponibles a través de Vivaticket España
ZZ Top to Bring Their Iconic Rock Legacy to Murcia as Part of Murcia On
Murcia On will welcome one of rock’s most recognisable names to its upcoming programme as ZZ Top arrives in the city for a live performance on 23 July 2026 at the Plaza de Toros de Murcia.
Known for their unmistakable blend of blues rock, hard rock and Southern influences, ZZ Top has spent more than five decades building a career that has become part of rock history. Their catalogue includes timeless tracks such as La Grange, Sharp Dressed Man, Legs and Gimme All Your Lovin’, songs that continue to define generations of listeners.
Still carrying the spirit that made them a worldwide reference, the band remains led by Billy F. Gibbons and Frank Beard, continuing to bring their music to audiences around the world.
Their stop in Murcia will form part of their current touring schedule and will offer local fans the chance to experience a set expected to revisit some of the most celebrated moments of the band’s extensive catalogue.
Tickets are now available through Vivaticket Spain
Drum ‘n’ bass and hip hop might not seem like obvious fits for Download, but Pendulum are now Donington veterans – while Cypress Hill’s world class set was long overdue
gracie pairs unapologetic honesty with heavy alternative grit to deliver anthems that hold absolutely nothing back. Her debut full-length, Miss Misfortunately, drops June 26 via Tooth & Nail Records. Here, she breaks down finding her sound, writing through the heavy stuff, and taking those raw emotions straight to the stage.
Lucy
Putting out a debut full-length album is such a massive turning point! It’s essentially your introduction to the world. When you look at the big picture of this record, what side of your musical identity did you feel you absolutely had to capture for this first major statement?
gracie
To me, the most important introduction I could have to the world is an outspoken and honest one. I think my sound will grow and evolve over time- although rock and pop influences are extraordinarily foundational for me. But definitely, my lyrical integrity and honesty is the most important thing to me. I hope that people will be able to see themselves in my lyrics, and feel like their own story is being told. I hope to make people feel safe, and seen, and understood. All of that will always be paired with aggressive high notes to drive a point home, and musicality that helps tell an important story.
Lucy
Your background spans a pretty wild spectrum; from huge powerhouse vocalists to the grit of pop-punk and alternative rock. When you were figuring out your own sound, how did you navigate blending those massive, clean vocal influences with a heavier, more aggressive rock vibe?
gracie
I love this question! I think I’ve always had a cleaner pop voice. When I was younger, I hated it- I wanted rasp and gravel so bad. As I got older, I learned to love what I was given, and wanted to steward it well. I think I just try to create whatever comes out of me naturally. That usually ends up being clean, pure toned vocals with heavier guitars. I think the way we structure songs is pretty pop inspired, as well- my producer knows how to write a chorus everybody wants to sing, whereas I’m more lyric heavy, story-telling in the verses. I think good pop music is all centered around a killer chorus- and when you pair that with rock/pop-punk sounds, you get a culmination of everything I love. It’s all a growing work in progress- building a new, unique sound- but it’s all so fun, and so worth it.
Lucy
Your writing is incredibly honest and unfiltered, which I really admire. When a song starts out as a deeply personal thought or memory, what is the process like taking those raw feelings and turning them into a high-energy track for the world to hear?
gracie
I think I’ve always been a pretty honest and raw person.. whether that’s just in conversation, or on social media, it definitely translates to my songwriting- I want to write songs that feel real. It takes the right collaborators to be able to open up in a writing session. If I’m not writing a vulnerable song with my producer, who’s a good and safe friend, I’m writing it by myself. Not because I’m afraid or unwilling to share a true story, but because not everyone is willing to go there with you, or talk about something that might get ridiculed publicly. My producer is one of the few people who’s willing to take risks with me, and I’m extremely grateful. But sometimes, if it’s gonna end with me crying, I’m gonna write it alone- or at least start the idea alone. I hate crying in front of people haha.
Lucy
Do you ever hesitate before putting that much of yourself out there on tape?
gracie
Honestly, it’s less scary to put my life story on tape than it is to post about it online. Music, I think, is an easier vessel for heavy topics or big emotions, because it dances its way into your ears and your heart, rather than just putting it bluntly on a screen.. I think you can understand someone’s heart better from hearing their story in a song, rather than just typing it out or reading the words. Of course, conversation with a friend is a happy middle ground. But even then…I’d rather say it through song. I broke up with a boy when I was 14 by playing him two songs I had written, so I think I’ve always been that way haha.
Lucy
LMAO.
It takes time to land on a sound that feels totally like you. Looking back at your early days of writing, was there a specific moment where it all clicked and you knew this was the exact style you wanted to go for?
gracie
Honestly, the first real song I had written kind of sounds like what we’re making today. I was nine. I tried to write a country song, because I was a big Swiftie, but it wasn’t working. Instead, I wrote a pop/rock love song about a boy who lived in my neighborhood. It included an electric guitar solo, and a big ole high note in the bridge. It was called ‘Be Mine.’ He didn’t like me back.
Lucy
His loss. With the album done, it’s time to take these songs live! How do you approach translating the contrast of heavy emotional lyrics and high-energy rock to the stage?
gracie
Singing these songs live is an unreal experience. I’ve gotten to do it a few times so far in some small spaces with a few fans, and watching people connect with the lyrics is my favorite thing. I see their eyes light up, or their jaw drop, or they laugh at something witty I put in the lyrics, and I feel like we all just connected on something major. Music is powerful in that way. Screaming high notes over crazy rock music is how I’ve always processed heavy emotion- whether it be to MCR, Paramore, or Demi Lovato, I’ve always felt relieved after a solo concert in my car. I expect every live show to be cathartic for all of us involved.
Lucy
Truly cathartic. To wrap things up, if you could perform a dream duet or go on tour with any artist from the early 2000s alternative scene that shaped your sound, who would be at the top of your list and why?
gracie
Oh boy. Vocally, I would love to have a screaming match with Kellin Quinn. Let me harmonize with a high note PLEASE. If we’re talking tour, touring with Paramore would’ve been the ultimate dream come true, solely for the sake of watching their set after mine. Throwing in an extra answer for you, In present days, I’d kill for a duet with Yungblud. I think he’s magic, and I have a special adoration for classic rock influences.
Noise is not merely an effect in SEASURFER’s world. It is weather, shelter, surf, static, memory. Across their new EP Angels, out now via Recordjet, the Hamburg project once again refuses to sit still inside one genre box. Post-punk, darkwave, shoegaze, dreampop, and electronic grit all drift through the four-track digital release, but the constant remains the same: an enveloping wall of texture and sound.
SEASURFER have long made music that feels less like a straight line than a collision of currents. Slowdive’s oceanic drift, My Bloody Valentine’s overdriven blur, The Cure’s shadowy melancholy, and Cocteau Twins’ celestial shimmer all hover at the edges, but Angels is no exercise in nostalgia. It is wired directly into the present: overloaded, exhausted, sensual, anxious, and still reaching toward transcendence.
Formed by guitarist, songwriter, and producer Dirk Knight, SEASURFER began as a project where ethereal dream pop could be pushed into rougher, louder, more chaotic territory. Knight’s history with Dark Orange still flickers in the background, but SEASURFER’s own language has always been more feral: “dreampunk” in the truest sense, where gauze and distortion, romance and menace, dance rhythms and guitar weather are all allowed to crash into each other. On Angels, the band’s three-person constellation brings that sound into sharper focus: Knight’s guitars, electronics, and production form the stormfront; Apolonia’s voice gives the EP its cold fire—dreamy, detached, seductive, and spectral; and drummer Samuel adds a physical pulse beneath the haze, giving the songs a harder, more kinetic drive.
The EP was recorded and mixed by Dirk Knight, with lyrics and vocals by Apolonia and drums by Samuel. It was mastered by Cord Vorhauer at White Closet Studio in Hamburg, with cover artwork by Emma Ritter and Dirk Knight.
Angels opens with Crazy, a post-punk pressure system built from crunchy percussion, windswept guitars, and sighing synths that move like cold air through a broken window. The riff is immediate and addictive, but the mood is claustrophobic: a song for bodies numbed by the endless digital info storm, wandering through modern life like the half-awake undead.
Apolonia’s vocals arrive cool and dreamy, edged with whispered echoes, giving the song its strange contradiction: it is catchy, but it feels cornered. The track turns information overload into a physical sensation. Notifications, noise, panic, and exhaustion all become rhythm. “Crazy” is the EP’s most direct post-punk entry point, but SEASURFER never let it become too clean; the guitars keep smearing the edges, the drums keep snapping forward, and the synths keep sighing like smoke.
The title track leans deeper into shoegaze, opening up into a more oceanic space. Angels is all synth haze, guitar sighs, drone, and rhythmic pulse, with the melody moving in slow waves rather than sharp angles. Where “Crazy” feels trapped inside the machine, “Angels” feels suspended above it, glowing in strange heat while the outside world remains cold.
Apolonia delivers the vocal almost matter-of-factly, crisp and close, yet there is a seductive charge beneath the restraint. The song is built on contrast: warmth against chill, desire against distance, body against atmosphere. It is shoegaze as a fever dream, with the drums keeping the track grounded while the guitars and synths pull it toward the ceiling.
City Burns is the EP’s brilliant dreampop centerpiece, a track that turns ruin into radiance. Hazy synth knells ring through the mix, while a danceable beat moves beneath them with patient momentum. The vocal shifts beautifully between poetic spoken delivery and a more quivering, somber melodic presence, as if the narrator is walking through ash and still looking for something living under the rubble.
The lyrics circle war, ghosts, collapse, and renewal, but the song never gives in completely to despair. Melodic guitar and bass sit deep beneath the surface, almost buried at first, then gradually rising as the track progresses. That slow emergence is what gives “City Burns” its power: beauty does not arrive untouched. It comes through cracks, echoes, falling glass, and the stubborn possibility that something can still grow after everything has been scorched.
Be OK closes the EP with its most storm-struck atmosphere. The intro builds slowly, led by an even more danceable beat, brooding synths, and a crunchy snare rhythm that feels almost ominous. Then an atmospheric, distorted synth melody appears, cutting through the track like lightning through rain.
The vocals take on a haunting, almost gothic-rock-tinged quality here, floating over an anxious rhythmic pattern that keeps the song restless even at its most melodic. “Be OK” does not offer simple comfort. It sounds like reassurance spoken in the middle of collapse, a mantra carried by wind and weather. The song feels like rainfall crashing down during a storm, with a voice still trying to be heard through it.
As a closing statement, it is fitting: Angels is an EP about overload, heat, destruction, and endurance. SEASURFER do not resolve those tensions neatly. Instead, they let them swell until they become sound itself.
SEASURFER currently have late-summer 2026 live dates listed in Germany, including an appearance at Northern Echoes Festival in Hamburg and a second show in Holzminden with the same bill. As always, check the band’s official channels for the latest updates, ticket links, and any additional dates.
Live Dates
Friday, August 28, 2026 — SEASURFER live at Northern Echoes Festival, Hebebühne, Hamburg, Germany, with Healees and Driven By Clockwork. Tickets
Saturday, August 29, 2026 — SEASURFER / Healees / Driven By Clockwork live auf dem Horstberg, Horstberg 76, Holzminden, Germany.
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