Category: news

Showing Teeth recently released her debut EP, A Fate Worse Than Loneliness, and left listeners wanting more. We spoke with her about the story behind the record, her views on the music industry, survival, and her creative process.

Reuel

Hello! I’m very happy to chat with you. How are you doing?

Showing Teeth

I’m good! I’m very happy to be on tour and see so many friends!

Reuel

Amazing! You’ve recently released your debut EP, A Fate Worse Than Loneliness. What inspired the title, and how do the songs’ themes relate to it?

Showing Teeth

I started writing music for myself (and what would become Showing Teeth) after a very dark chapter in my life that I am grateful for. I left family and relationships completely behind to free myself of a very negative hold they all had on me. Being raised in a sheltered, christian-conservative environment, I had an extremely warped view of what I was supposed to be as a woman, and it drove me to developing severe mental illness and trauma with the entire world around me. I was scared of everything and so angry. A Fate Worse Than Loneliness was my initial attempt at just dumping all of those emotions into something. Each song goes into a different emotion; or even a different stage of grief. The EP title comes from the lyrics in Shallow Grave: “I sacrifice my loneliness for something much worse, I beg a God for changes but I can’t be heard.” Basically for me, I felt far more lonely being in an environment that was harming me than I do now on my own. I love being alone so much.

Reuel

You’ve released three tracks from the EP as singles. Should listeners expect more of that same vibe from the rest of the record, or do the unreleased tracks carry some surprises?

Showing Teeth

Showing Teeth is a singer/songwriter project so it’s not a traditional metal band and I wanted that to be clear in the EP. So no, all the songs are pretty different. I’m very inspired by many genres of music and I like to let my lyrics and storylines guide me to the instrumentals no matter what genre it turns out to be.

Reuel

Releasing your debut is no doubt a huge milestone for any musician, but it’s also challenging. What was your favorite and least favorite part of working with your bandmates on A Fate Worse Than Loneliness?

Showing Teeth

I don’t have bandmates, but I do have people I love to collaborate with! I like to collaborate on instrumentation because I am a genuine music fan and at the end of the day, someone who plays guitar all the time will probably play guitar better than me! My favorite part of collaboration is the trust people put in me and my writing. I get nervous sometimes when I’m telling someone else how to play their instrument, but everyone I work with really trusts my vision and it’s so rewarding after years in the music scene not feeling heard. And the best part about working with other musicians is everyone has their own “voice” on their instrument, and I love really making that clear. I want everything to sound truly human and unique and give those people their flowers. My least favorite thing if I had to pick something is, because it is just me at the end of the day, if I start to hate a demo, there’s no saving it. Even if my producer hears an idea I had and loves it, I just can’t accept any serious alterations from someone else. It feels like it’s not my emotion anymore and I lose the connection with it. So I can get stuck on a lot of demos.

Reuel

If all the tracks on A Fate Worse Than Loneliness came to life and became real people, which one of these songs would be your best friend?

Showing Teeth

Probably Paradigm. That song is about accepting loss but still believing in change. I think that song is a lot like me, so we would be friends.

Reuel

You’re kicking off a tour with President right around the EP’s release date. Which track from your EP are you most excited to play live for a larger audience and see their reaction to it?

Showing Teeth

I’ve been playing some unreleased songs that have been resonating with me and that’s been the most fun. I’m actively feeling all of those emotions on stage and I can tell that speaks to a lot of people. I love having that experience with others. I think everyone just wants to feel something.

Reuel

What musicians can you credit as the ones who inspired you, personally, in your life or career as a musician?

Showing Teeth

As a person, I am super inspired by Matt Halpern. Periphery was a band I worshiped growing up, and honestly still is THAT band for me. Matt’s willingness to meet with me as just a fan of his, and to then listen to my demos and offer to play drums on them was a life changing experience for me. Getting to know him more, we are very similar people emotionally and I think that’s why we connected so fast musically. I really credit him in helping me develop my confidence as a writer, he is always cheering me on.
As a performer and writer, I am incredibly inspired by George Clarke from Deafheaven and Ethel Cain. Very different artists, but live shows that changed me as an artist and a music fan. You can really feel everything they are feeling on stage.

Reuel

We have readers from all around the world, including women who still face barriers, and even persecution, in the music industry. What message would you like to share with those who dream of pursuing a music career?

Showing Teeth

Write everything down and record every idea; never stop documenting your art and your passion. And never lose your love for music and being a fan! Reach out to artists and ask questions. Some may not see it, but you never know who will answer. People crave authenticity, so truly just be yourself and make the music you want to make. Your music family will find you. And most importantly, there’s no specified way you’re “supposed” to be as a woman and an artist, but you should allow your experiences as a woman to inspire your art. We all desperately need more of that in the world right now.

Reuel

This is brilliant advice. Thank you for your time!

The post Interview | Showing Teeth: “There’s No Specified Way You’re ‘Supposed’ To Be As a Woman” first appeared on FemMetal – Goddesses of Metal.

CATASTROFE CLUB have reached the point where the extinction of humanity begins to sound suspiciously like good news. On Un Dia Mejor, Josep M. Herrera and David Molina survey civilization’s wreckage with the composure of two men who have already accepted that we’ve been hurtling toward disaster since about WW1.

The Granollers duo’s fourth single previews UN FUTURO TRANQUILO, their fourth album, due this October through Periphylla Records. Following the trilogy that defined their earlier work, the record opens another chapter for a project whose interests have always stretched far beyond any useful genre designation. Post-punk, darkwave, electronics, post-rock and pop all pass through the machinery, with Herrera’s rough spoken delivery sitting somewhere between public announcement, philosophical complaint and the guy at the end of the bar who has finally assembled enough evidence to prove civilization was a clerical error.

Un Dia Mejor begins amid catastrophe. Lights die, people run through darkness, civilization appears to reach its conclusion, and somehow the central idea remains stubbornly hopeful. The song imagines collapse as an opening rather than merely an endpoint, asking why humanity remains frightened of change, love and the possibility of an existence radically different from the one it has built for itself.

CATASTROFE CLUB can stare directly at environmental ruin, social collapse and human stupidity while maintaining an odd serenity, as though extinction might finally allow every other creature on Earth a decent night’s sleep. Musically, the group pushes further into post-rock scale and cinematic space while keeping their electronic foundation intact. Layers accumulate gradually around bass, keyboards, guitars and programming, giving the track a broad horizon without losing the dry, severe personality that has followed Herrera and Molina throughout their catalogue. Their stated influences include Sigur Rós, Idles, Fontaines D.C., Astrud and Los Punsetes, though those reference points function more like distant road signs than destinations.

The accompanying video extends the song’s worldview through a montage of retrofuturist imagery, historical disorder, and footage of the duo performing. Visions of technological progress collide with reminders of twentieth-century chaos, creating the uncomfortable sensation of watching humanity repeatedly advertise tomorrow while wrecking today.

Watch the video for Un dia mejor below:

Tension sits at the center of UN FUTURO TRANQUILO. CATASTROFE CLUB imagines a peaceful future precisely because humanity may no longer occupy it. There is cruelty in the joke, certainly, but also a strange tenderness toward whatever survives us.

For these two chroniclers of decline, a better day may still be coming.

We simply might not be invited.

Follow CATASTROFE CLUB:

• Instagram
• Facebook
• Spotify
• YouTube
• Bandcamp

The post Spanish Duo CATASTROFE CLUB Imagine a Brighter Tomorrow Without Us in Their Video for “Un Dia Mejor” appeared first on Post-Punk.com.

Interview by Ali Williams THE CRIBS are bringing ninth album Selling A Vibe to Australia this October, and Ryan Jarman is considerably happier about the shows than the long-haul flight. It will be their first national tour since 2018; the pandemic prevented an Australian visit for 2020’s Night Network. Ahead of the return, the guitarist […]

I gave myself the power of keeping you away

Wrapped up in the sounds of the bastion’s coldest waves

I still see you watching me move towards the within 

Frankie Diez seems to have reached the useful stage in an artist’s life where embarrassment stops being a factor. Casual Confrontation began on indie-pop ground, but after five albums since 2020, Diez has clearly decided there are worse things than making the music you actually wanted to hear when you were younger, hanging around punk and goth scenes, absorbing whatever seeped in through the walls.

“I’ve always been inspired and involved within the punk, goth, and alternative subcultures, and it’s about time my music began reflecting that,” says Diez.

You can hear that decision all over SCARED OF SILENCE, the second single from Casual Confrontation’s forthcoming album BASTION. Moving deeper into darkwave and coldwave, Diez has hit upon a combination that feels absurdly overdue: reggaeton and those colder electronic forms sound like tenants who have spent years banging on opposite sides of the same wall, only to discover they were keeping time together. The guitars come in with that severe Twin Tribes economy, the bass carries some of Boy Harsher’s nightclub menace, and beneath it sits a rhythm that keeps trying to pull the song somewhere warmer, dirtier, and more physical. Reggaeton reveals repetition as pressure; a dembow rhythm can keep working on you until thought becomes secondary. EBM has spent decades using similar repetition for control, tension, intimidation, and release. Put them together and suddenly the distance between Bad Bunny and Ultra Sunn starts looking much shorter than anyone bothered to admit.

By the second half, the resemblance to Karol G and Tokischa becomes harder to miss. The track loosens at the waist while retaining its colder frame, and that friction gives it personality. Ministry once made metallic percussion feel like a municipal requirement; Diez borrows some of that hard impact and drops it into a song that would rather dance than march.

He has a name for the approach, too: “Reggaeton Gótico,” which sounds at first like the sort of phrase somebody invents at closing time and then regrets by breakfast. Except the music holds up the joke.

Diez explains why with a much simpler answer: “I always listened to reggaeton growing up in both Puerto Rico and in Miami, and the genre fusion always felt natural, since much of reggaeton can easily have somewhat of a dark-clubbing atmosphere already.”

Lyrically, SCARED OF SILENCE continues the story begun in the previous single, ARREBATO, carrying the sense of an unsafe outside world into a more private confrontation. Here, safety means shutting out the person who made the world feel threatening and looking inward for somewhere to stand. Meditative yet fierce, the song casts silence as a way to reclaim power from a toxic dynamic, finding a strange pleasure in no longer owing someone access.

When an argument reaches a point where even explaining becomes exhausting, Silence becomes the final boundary, and the anger behind it settles into deliberate withdrawal. There is control in choosing when the conversation ends, especially when every earlier exchange has left someone else setting the terms. Diez gives that decision room to breathe, treating solitude as a place where the self can begin to take shape again.

One lyric extends that idea across BASTION as a whole: “When the outside space no longer feels safe, I’ll leave here to see what my heart creates.” The line supplies the forthcoming album BASTION’s central premise, with retreat becoming an opportunity to make something from whatever remains beyond another person’s reach.

By the end, the recurring question about silence has changed shape. It sounds almost taunting now, as if Diez already knows the answer and has finally stopped caring whether the other person admits it.

Listen to SCARED OF SILENCE below:

Listen to SCARED OF SILENCE via Spotify or Apple Music and order the single below.

Follow Casual Confrontation:

• Instagram
• YouTube
• Bandcamp

The post “Tiene Miedo al Silencio” — Casual Confrontation Takes Power Back From a Toxic Dynamic With “SCARED OF SILENCE” appeared first on Post-Punk.com.

Photos by Paul Miles Melbourne’s premier symphonic metal powerhouse ANA have returned home from tearing the United States a brand-new one. In what can only be described as a monumental, career-defining milestone, our homegrown champions landed the coveted support slot for the legendary, unmistakable icon of the dark arts himself: Danzig for a run of […]

A video for “James 1:17” has just debuted.

The post Kid Rock Announces His New Christian Album “Halfway 2 Jesus”, Eminem Guests appeared first on Theprp.com.

With their new single Saints & Sinners, THE NEW ROSES open a new chapter. The song is a powerful rock anthem about true connection, made for both major stages and rock radio. Combining their signature blend of huge hooks, distinctive guitars and high-energy rock, THE NEW ROSES prove that their musical journey continues to move […]

Vesperian is very happy to announce the signing of Hamburg-based power duo THE HEBRIDEAN SHEEP. The band first made a name for themselves with their wild clips on TikTok, Instagram and YouTube. They built a strong following without releasing a single full track, only song snippets, and that was enough to catch the attention of […]

Lord Of The Lost frontman Chris Harms is following up his solo debut with Aporia, due January 22, 2027, through Napalm Records. That date happens to be his birthday, which says plenty about how personal the record is.

His first solo outing, 1980, arrived in February 2025 and landed in the Top 10 of the official German album chart. The Hamburg-based musician, producer and songwriter used it to make good on a long-held ambition to record an album entirely with 1980s equipment. Aporia builds on that groundwork, shifting toward modern electronics, eclectic soundscapes and synth-driven territory that sits outside the sound of his main band.

Harms has also released “Find What You Love And Let It Kill You,” a moody, dark track about passion exacting a toll, a blaze that may end up swallowing you whole. It is available on all streaming services.

Aporia will come in several physical formats, including a limited box set that adds a special bonus CD in a digisleeve.

It is also the first album Harms produced at his new base, Boogie Park Studios in Hamburg, after leaving Chameleon Studios in spring 2026 following several years there. The title comes from an Ancient Greek word for facing a problem with no solution. In philosophy and rhetoric, it marks the point where reasoning smacks into a wall, a purposeful kind of uncertainty. The cover art by VDPictures shows a Penrose Triangle, an optical illusion that breaks the rules of geometry, which suits an album built around paradox and ambiguity.

On Aporia, Harms opens himself up more than ever, and that exposure is what turns the album into a sonic diary and one of the more important entries in his catalog.

For Harms, the record is a chance to look back, confront himself honestly and connect with the present. The material tackles questions that would be far more comfortable to dodge. He instead faces his past mistakes, their consequences and the people who may have been hurt along the way. The outcome is a sincere record that needs little explanation and speaks for itself when given room.

Musically, Aporia follows Harms‘ habit of doing whatever feels right instead of following anyone. The 1980s flavor of his debut gives way to something darker and more reserved, or perhaps something that digs deeper because of that. Opener “U† I†” (You Die, I Die) sets the mood with a pulsing industrial beat beneath grim lyrics. The direct “Skipped A Beat” features Erk Aicrag of Hocico and Rabia Sorda, the first of three guests. Ryan Shuck of U.S. synth-rock outfit Julien-K, the successor to the legendary Orgy, appears on “You Are Not What You See.” Fellow Hamburg artist Swiss of Swiss + Die Andern joins for “Hallo Depression,” the only song sung in German. “On A Dreamless Night” summons inner demons, and closer “Dear Time” plays like an honest letter, looking back on mistakes and begging for a chance to rewrite them.

Aporia is available to pre-order here.

The post LORD OF THE LOST Frontman CHRIS HARMS Shares “Find What You Love and Let It Kill You” From Upcoming Album “Aporia” appeared first on Sonic Perspectives.

Melbourne vocalist Karly Jewell’s has released Check Out, the final single from her second full length album, There’s A Jewell In Town, which on release debuted on the ARIA Australian Artists Chart at Number 3! Born from the deepest corners of grief, Check Out is an anthem for anyone who has ever felt like giving […]