(written by Islander) The German black metal duo Vimbulnatt have been on a creative hot streak from the emergence of their first single in 2019. Since then they’ve released a continuing flood of singles and demos, plus four albums and an EP. Their most recent album (until now) was Der dunklen Tugenden. Der Urgrund, released […]
The post AN NCS PREMIERE: VIMBULNATT — “KERNUMWANDLUNG” appeared first on NO CLEAN SINGING.
The latest from last year’s “Kiss The Machine”.
The post Puddle Of Mudd Debut “Free” Music Video appeared first on Theprp.com.
Excessive desire
Will turn me into fire
Lingua Erotica have the good sense to understand that desire is rarely elegant. Usually, it shows up overdressed, half-drunk, breathing too close, and already reaching for the room key before the elevator doors shut. That is the great thrill of Gravity, a song that struts into the joint wearing patent leather and a wicked grin, then proceeds to turn the place into a fever-lit panic palace where lust, damage, and dance-floor delirium all check in under false names.
This Argentine-German duo call their style “Giallo-Pop,” which is smart, because it saves the rest of us from having to write a paragraph involving sleaze, glamour, danger, lipstick, dread, and the possibility of somebody getting slapped with a satin glove in a hallway at 3 a.m. Gravity has that gaudy, decadent charge of a Euro-trash thriller with better hooks and fewer dead pigeons in the courtyard. The beat lands hard, all boot heels and bent chrome, with enough industrial abuse and EBM throb to give the song muscle, yet the thing still swings with a pop instinct so sharp you could slice fruit with it.
The verses come at you with a mean little glint, Luna and Nero Erotica barking and beckoning like two beautiful villains arguing over whether seduction works better as a threat or an invitation. Then the chorus opens up, and suddenly the room gets bigger. The synth lines sweep in with real theatrical flair, the vocals rise, and the whole number takes on that lovely sense of excess pop is supposed to have but so often forgets while busy trying to be tasteful. Tasteful, by the way, is usually where the trouble starts.
One of the sharpest moves here is the language play. Spanish and German crash against each other before the duo join up in English, and that shift gives the song extra voltage. It feels intimate and theatrical at once, like overhearing an argument in the next room and realizing halfway through that they’re flirting with all of us.
The video, directed by Liam Schnell with creative direction from Sofia Mastrogiacomo, understands the assignment with wicked precision. Set in a seedy hotel and shot like a perfume ad that took a wrong turn near a peep show, it teases the viewer through an artful montage of glances, poses, and perilous charm. It looks expensive in spirit, which is better than actually being expensive.
Watch the video for “Gravity” below:
Gravity is sexy, nasty, a little camp, and smart enough to know that self-destruction has always loved a good mirror. Lingua Erotica serve it up with style and a switchblade smile.
Listen to Gravity below and order the single here.
Follow Lingua Erotica:
The post “Kiss the Flame” — The Beat Falls Hard in Giallo-pop Duo Lingua Erotica’s Video for “Gravity” appeared first on Post-Punk.com.
Their call was answered.
The post Senses Fail Land Their Third Gold Record In The United States appeared first on Theprp.com.
Around these parts, when we refer to an artist as “twigs,” we’re almost always referring to FKA twigs. On a slightly less recurring basis, we’re referring to the retro-pop rock band the Lemon Twigs. We’re almost never talking about the Twigs, the alt-pop duo of twin sisters Laura and Linda Good. Back in 2014, the Twigs (the band) filed a trademark claim against twigs (the singer), before dismissing the case “voluntarily” not long after.
The post FKA twigs Wants Indie Band Twigs To Stop Sending Her Cease-And-Desists appeared first on Stereogum.
What more can be said about Graham Parker? Apparently, plenty as Jay Nachman lets us know in his book Graham Parker’s Howlin’ Wind. A fan of Parker’s since his freshman year of college in 1977, Nachman presents a book here filled to the brim with everything that matters about the unique UK singer and songwriter.
From the juicy intro Nachman gives us about his love for the music of his late teens and early 20s (late 70s stuff especially) to the fantastically rich bio info (lots coming from Parker himself) to a break down of many a song’s lyrics and where they may have come, to Parker’s journeyman muso travels and, of course, the formation of The Rumor we get a great glimpse of the times Parker made his moves in.
The best music biographies for me are not merely a fan genuflecting over his or her heroes; God knows we have all seen too much of these books! Or a tome filled to the brim with facts and figures across an album-by-album analysis.
What books like Graham Parker’s Howlin’ Wind give us is true insight into the uniqueness of an artist, while grounding them in the here and now by relating their everyday moves and seeming amount of real-life struggles. And Graham Parker is nothing else if not unique. Without knowing much more about the man and any of the ‘rumors’ surrounding him, this is still an excellent read. I can only thank Jay Nachman, and, of course, Graham Parker and The Rumour for the insights this chunky little book gave me.
~ Ralph Greco, Jr.
Boundaries return with Skies cast amber black, their first new music since 2024’s Death Is Little More, and a track that channels the current cultural climate into a crushing, cinematic storm. “I have a deep desire in the pit of my making to surround and suffocate the growing plague of people’s self-interest,” vocalist Matthew McDougal […]
When I think about Miami, the first things that come to mind are excellent empanadas, terrible traffic, and Cynic. What doesn’t come to mind is thrash, although I’ve learned that the Magic City has some history in this regard (Solstice). Thrash quintet Acidosis currently resides in Los Angeles, but their own history dates back to a Miami high school in the mid-to-late 2000s, where frontperson Ben Katzman and guitarist Diego Edsel first formed the band. Arrival, Acidosis’s long-gestating debut album, re-records and reimagines songs Katzman, Edsel, and crew first concocted when they were teenagers. Acidosis may lie their heads in La La Land, but the flamingo-pink background and seafoam-green eyelid tentacles adorning that cover clearly aim to put Miami on the thrash map.1
Arrival is a survivor story, in more ways than one. After dissolving Acidosis, Katzman served stints in several other acts and even competed in season 46 of Survivor.2 In reforming the band, Katzman and Edsel enlist the talents of Harry Schwarz (drums), Jonathan Rusten (rhythm guitars), and Deo Budnevich (lead guitars) to create Arrival, a 9-song, 26-minute thrash incursion.3 Acidosis channels Municipal Waste in wasting no time with long songs, favoring crossovery bangers filled with riffs more rambunctious than a pitbull. “Arrival” opens things up with a sly devil, “They Live!” keeps the party going with punk energy, and “Hostile Negotiations” caps nifty pull-offs and speedy power chords with a delicious tag. Later on, Acidosis conjure the classics, with riffing reminiscent of the chromaticism of Megadeth (“Mankind”) and the stomp-age of Anthrax (“Deadly Fits”). I have no idea how much/little these songs have changed since Katzman and crew were in high school, but Arrival’s riffs have survived the test of time.
Ben Katzman ultimately supplies the fuel that powers this Miami Thrash Machine. As a vocalist, he sounds like a less shouty, more tuneful Tony Foresta (Municipal Waste). Katzman knows how to implant a titular line in the listener’s head (“Hostile Negotiations,” “Mankind”) and when to throw some anthemic ‘whoas’ into the mix (“They Live!”). As a bassist, he is equally integral to imbuing Acidosis with its unique charm. Whether (re)charing songs with a bass break (“They Live!,” “Where I Stand”) or shredding a low-end solo (“Hostile Negotiations”), Katzman kills it on the four strings, with a tone that is just the right amount of distorted and clangy. Arrival is clearly Katzman’s passion project, and his passion shines throughout.
Alas, no album with roots in Vice City was going to pass without sin. While I appreciate the spirit of succinct songwriting here, some tracks are definitely in need of more flesh. “Hostile Negotiations” is a banger that would benefit from bridge development, and album-closer “Where I Stand” opens with a country western lick that implies scope that isn’t realized. Switching from slothful songwriting to gluttonous album-craft: the interludes are completely unnecessary. Arrival isn’t even ten minutes old before “Interlude” breaks up the thrash action, and “Interlude 2” intervenes after only two more tracks that total less than nine minutes. These interludes, though short, disrupt the energetic pace, lengthening an album that’s chief virtue is its brevity. Arrival also suffers from inconsistent soloing. Edsel and Budnevich trade off on many of these tracks, revealing that one of these shredders is stronger than the other. Unfortunately, there are several moments where uncontrolled guitar wrath rears its ugly head, with solos sounding like they’re struggling (“Mankind,” “Deadly Fits”).
Having hypocritically cast my critical stones, I will say that none of these sins are deadly. The long-awaited Arrival of Acidosis is a fun time, certainly worth a 26-minute investment from thrashers and metalheads more broadly. Acidosis play a familiar style with no real innovation, but they stamp it with their own personality, much of which stems from Katzman’s presence as a frontman and essential bassist. Add Acidosis to the list of things I positively associate with Miami—I’ll scope out the line if and when they serve up their next platter of thrash turnovers.
Rating: 3.0/5.04
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Self-Released
Websites: Bandcamp | Facebook
Releases Worldwide: March 27th, 2026
The post Acidosis – Arrival Review appeared first on Angry Metal Guy.
The majority of shows will take place in the UK however.
The post AFI Announce European/UK Tour For August appeared first on Theprp.com.
Live Nation has today announced that genre-defying rock legends THE BLACK CROWES have added a second Sydney show at Enmore Theatre on Wednesday 8 April, due to overwhelming demand. This new date expands their national headline tour, bringing their electrifying, soulful, swagger-fueled rock & roll to audiences across Australia this April – the first country […]