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  • Dirty Rock Scars release new EP ‘Dead Beats’

    Dirty .

    The post Dirty Rock Scars release new EP ‘Dead Beats’ first appeared on Sleaze Roxx.

  • Style-diverse New Zealand musician Stenn Francis-Deare’s ‘There’s A Lot To Give’

    New Zealand songwriter Stenn Francis-Deare grew up in rural Whatawhata surrounded by musicians and artists, with a range of styles…

  • Love In Chains’ new album ‘Good Lovin” now available

    Love .

    The post Love In Chains’ new album ‘Good Lovin” now available first appeared on Sleaze Roxx.

  • Dying Scene: Public Image Limited and Plague Vendor at 9:30 Club, Washington, DC (10/01/2026).

    On, 1 October, 2026 Post-Punk Pioneers Public Image Ltd. (PiL) brought their “This Is Not…The Last PiL Tour” roadshow to a packed house at the 9:30 Club in Washington, DC along with opener Plague Vendor.  My husband (…And We All Die) and I have seen PiL in Dublin and Montreal, so I was excited to see them again in DC, finally seeing them close to home.  It was our first time seeing Plague Vendor and they didn’t disappoint.

    The crowd began lining up some time before 2:00 pm eager to guarantee their locations along the railing. The age of the fans skewed towards Baby Boomers and Generation X, with many having seen PiL before. While the show wasn’t sold out, it was packed with folks who appeared to be real fans rather than curious spectators. I was happy that my husband showed up early and secured me a spot up front so I could see the bands, because I’m 5’1”, after I finished photographing the first three songs.

    Plague Vendor hit the stage at 8:00 pm and delivered a 30-minute set of no holds barred set of garage rock frenzy. The band is comprised of Brandon Blaine (vocals), Henri Cash (lead guitar), Jay Rogers (rhythm guitar), Michael Perez (bass), and Luke Perine (drums) and they characterize their music as “Graveyard Groove.” Whatever you wanna call it, you could feel their influences – the Stooges, the Cramps, the Gun Club – as they unleashed their frenetic angst upon the audience.

    Blaine repeatedly thrust himself at the audience, leaning, lunging, and launching onto the crowd – equal parts Iggy Pop, Nick Cave, and David Yow.

    Like a tornado, Cash flew around the stage as he and his guitar were one, and his movements were needed to deliver rowdy rock n’ roll into the patrons standing before him.

    If Plague Vendor are selling anything, it’s a much-needed return to rock that’s dark and dangerous and if that’s a plague, then let’s all get sick.

    • Plague Vendor setlist:
    • “Anchor to Ankles”
    • “Jezebel”
    • “Breakdance on Broken Glass”
    • “Black Sap Scriptures”
    • “New Comedown”
    • “Roses”
    • “Freight Train”
    • “Black Picket Fence”
    • “I Only Speak In Friction”
    • “Highway Love Letter”
    • “Deadened”
    • “Unc”

    PiL hit the stage at 09:00 pm and launched into a set that was as atmospheric as it was moving – equal parts mode and mood.  PiL’s current lineup includes John Lydon (vocals), Lu Edmonds (guitar), Scott Firth (bass), and Mark Roberts (drums). We’d seen all these fellas before except Roberts and were excited to experience his contributions to team PiL and what a surprise it was. Roberts seemed to singlehandedly breathe new life into the band’s live performance. Messrs. Edmonds and Firth were also in top form and appeared reinvigored by Roberts’ percussive magic.

    We all know that Mr. Lydon has high standards and his band has always been great, but they were incredible, and he appeared to bask in their glory.  Their delivery of “World Destruction” was both fresh and nostalgic, both dancy and rockin’. Mr. Lydon sang and he emoted and he bore himself before his fans. During one song, Lydon began to tear up and appeared to look each audience member in the eye during this short special moment. I was moved and felt the connection, not a parasocial one but something else, something real.

    As Lydon and company continued through their set, they did so with purpose. Lydon delivered his poetry, Edmonds his melody, Firth his groove, and Roberts his drive.  PiL ended their show with a combination of “Rise” and “Religion,” with the crowd singing as if there was no other choice.  After birthing punk into the world, Lydon walked away and gifted us post-punk.  And, just as punk has survived half a century, post-punk has also stood the test of time and evolved.  It’s done so because of architects such as Lydon and the craftsmen they enlist to bring their visions to life. If Lydon and PiL are anything, they are vital.

    • PiL setlist:
    • “Home”
    • “Know Now”
    • “World Destruction” (Time Zone cover)
    • “This Is Not a Love Song”
    • “Poptones”
    • “Death Disco”
    • “Warrior”
    • “Shoom”
    • “Open Up” (Leftfield cover)
    • Encore:
    • “Rise / Religion”

  • Martin Gore, His Daughter Johnnie Lee, and Cliff Damavandi Commune With the Departed on “Cross Whisper”

    A bird at the window can become a peculiar kind of correspondent after someone you love has died, its arrival gathering a meaning no sensible explanation can quite dispel. Grief attunes us to such visitations: a sound in the garden, a small creature returning to the same pane of glass, a persistent interruption in an otherwise ordinary afternoon. Suddenly, the world seems to brim with messages, all awaiting translation.

    That uncertainty finds its electronic form on Cross Whisper, a new collaboration between Depeche Mode’s Martin Gore and artist and lyricist Cliff Damavandi, with additional vocals from Gore’s daughter Johnnie Lee. Released on October 20 through Mute as MG x CD + JL =, the single gives an intimate encounter with loss a shared musical language.

    The piece began during a conversation among friends about unexplained phenomena. Gore remarked that “he wouldn’t be surprised by anything” before recounting a series of encounters with birds around moments of bereavement. One particularly persistent visitor tapped ferociously at his studio window; two days later, he learned that a close friend had died. The experience left him considering the symbolism long attached to birds, and whether these visitors might be harbingers or messengers. Gore recalls:

    “I was out with some friends and we started talking about death so I shared that whenever someone close to me has died, birds start appearing, sometimes arriving every day for a year outside my window. When my mother died, a bird came, and again when my dog passed. When my cat died, a bird came into the house and flew downstairs into the room where it slept!”

    Damavandi was so moved by the account that he wrote lyrics, which Gore then set to music. Their exchange gives the song a deeply personal foundation: Gore offers a memory, and Damavandi finds language for the feeling it leaves behind. As Damavandi explains:

    “When Martin was sharing his story, he was so alive, and I could feel the story as well as hear it. There was an otherness that compelled me to write the words.”

    Whispered voices introduce the track before gradually giving way to Gore’s synthesizers. The murmurs return in waves between melodic passages, accompanied by an insistent hammering that mirrors the bird at his studio window. Read against its origins, that repeated knock becomes an unsettling gesture, an everyday sound carrying the weight of an unanswered question. The arrangement gives physical form to the uncertainty in Gore’s story, allowing a remembered disturbance to keep interrupting the present.

    The accompanying visualiser was filmed in Japan and England by Luca Bailey. Watch Cross Whisper below:

    The release also brings together five remixers: Brazilian techno DJ and producer ANNA; techno artist, DJ, and label head Regis; Dutch techno artist Vera Grace; boothnavy; and British electronic musician Martin Jenkins, working as Pye Corner Audio. Their versions extend the collaboration across a six-track vinyl edition, with a further Regis remix included in the full digital release.

    Cross Whisper is available digitally now. A limited transparent green 12-inch, housed in an embossed sleeve, follows through Mute on December 4, 2026. The full digital edition arrives on January 15, 2027, adding Regis’ Cellular Drift Remix to the six tracks featured on the vinyl.

    Listen and pre-order here.

    Follow Martin Gore:

    MG x CD + JL = — Cross Whisper artwork

    The post Martin Gore, His Daughter Johnnie Lee, and Cliff Damavandi Commune With the Departed on “Cross Whisper” appeared first on Post-Punk.com.

  • Nirvana’s Nevermind passes AC/DC’s Back in Black to become the sixth best-selling album of all time

    Nirvana‘s era-defining 1991 album Nevermind has overtaken AC/DC‘s classic Back In Black to become the sixth best-selling album of all time – and it’s also outperformed Pink Floyd‘s epochal The Dark Side Of The Moon.

    The new numbers come from data analysis company Chartmasters, who combine physical sales, digital downloads and streaming to calculate an “Equivalent Album Sales” (EAS) total, which also includes sales of singles and songs from those albums that have also appeared on compilations and greatest hits packages.

    Chartmaster’s listing shows that while Back In Black has sold more physical vinyl copies (37m as opposed to 30m), the other calculations (tracks included on other albums, physical singles, digital singles and streams) are enough to push Nevermind above Angus Young & Co. in the all-time chart.

    Nevermind has an EAS of 66,832,000, while Back In Black‘s total isn’t far behind at 66,831,000. Meanwhile, Pink Floyd‘s The Dark Side Of The Moon, released 18 years before Nevermind, has an EAS of 63,623,000. Only two rock albums (Eagles‘ Hotel California and Fleetwood Mac‘s Rumours) appear higher in the overall chart than Nevermind. The full Top 10 is below.

    Nirvana frontman Kurt Cobain once claimed he’d taken guitar lessons for two days in eighth grade, so he could learn to play Back In Black‘s title track, although band manager Danny Goldberg later claimed that while Cobain liked AC/DC’s music, he was never comfortable with their lyrics.

    Meanwhile, in 1992, Classic Rock‘s Mark Blake asked late AC/DC leader Malcolm Young what he thought of Nirvana.

    “Singer’s a blond feller,” responded Young. “Bit of a poser.”

    The Top 10 Best Selling Albums Of All Time (according to Chartmastrs)

    1. Michael Jackson – Thriller (EAS 131,253,000)
    2. Eagles – Hotel California (74,695,000)
    3. Bee Gees & Various Artists – Saturday Night Fever OST (73,267,000)
    4. Fleetwood Mac – Rumours (73,108,000)
    5. Michael Jackson- Bad (70,196,000)
    6. Nirvana – Nevermind (66,832,000)
    7. AC/DC – Back in Black (66,831,000)
    8. Pink Floyd – The Dark Side of the Moon (63,623,000)
    9. The Beatles – Abbey Road (61,075,000)
    10. Led Zeppelin – Led Zeppelin IV (60,696,000)

    See the Top 100.

  • NYC Post-Punk Outfit London Plane Skewer the Cult of Obedience in Video for “NATION NATION”

    The regency is strong 
    Black boots match my skeleton mask
    And my instincts are all gone
    Now I’m something to fear

    The most dangerous idiot in any political movement is the one who has surrendered his ability to think and discovered, with tremendous satisfaction, that obedience provides a wonderful substitute for having a personality. Give him a uniform, a charismatic lunatic to worship, and a few convenient enemies, and suddenly the poor bastard believes himself an instrument of history. Fascism has always depended upon this peculiar species of enthusiastic mediocrity, the ordinary creep who mistakes submission for strength and cruelty for patriotic duty. With NATION NATION, New York City’s six-piece London Plane plunge into the diseased psychology of the true believer, serving up nearly three minutes of manic post-punk absurdity with enough political venom to make a demagogue choke on his own campaign slogans.

    Produced by Carlos Dengler, formerly of Interpol, the track hurtles forward on frantic guitars, a muscular rhythmic charge, and feverish vocals that suggest somebody enjoying a spectacular psychological collapse. The hooks are infectious, the momentum almost indecently cheerful, and the whole grotesque enterprise resembles a fascist pep rally conducted by people who have consumed considerably more pharmaceuticals than their doctors would recommend.

    “NATION NATION is sung from the perspective of the sycophant, the idiot-turned-weapon,” says frontman David Mosey. “We allowed ourselves to be a bit absurd on this song, and Dengler encouraged and embraced the eccentric, even demented side of the band. The bright, frenetic, blitzkrieg guitars and vocals suggest that our subject is probably high and quite ready to sacrifice himself on behalf of his dear leader. It is a somewhat uncomfortable place to be, but we put ourselves in his jackboots for nearly three minutes every time we perform the song.”

    The accompanying video, directed by Zane Rizvi-Riemer and Max Burbey, takes this horrifying little proposition to its logical conclusion. Two ordinary-looking men knock on doors with the bland determination of political canvassers or religious missionaries, their apparent harmlessness gradually giving way to something considerably more sinister. Through Soviet-style expressionist imagery, exaggerated close-ups of leering faces, darting eyes, and hands dispensing pills, the film reveals an authoritarian recruitment operation unfolding beneath the reassuring appearance of everyday civic life. The pharmaceutical imagery recalls the Nazis’ documented use of methamphetamine.

    In addition to the nonstop horrors on everyday doomscrolls in the modern era, the video draws upon the dystopian horrors of Aldous Huxley’s Brave New World and George Orwell’s Nineteen Eighty-Four, combining the chemical pacification and willing surrender of individual thought envisioned by Huxley with Orwell’s machinery of surveillance, ideological conformity, and manufactured enemies, through which ordinary citizens become enthusiastic accomplices in their own subjugation. Between the two dystopias lies the terrifying possibility that fascism requires remarkably little encouragement to spread, particularly when its foot soldiers have been convinced that obedience is a virtue and persecution a public service. Evil, apparently, has learned to smile politely before introducing itself.

    Watch below:

    NATION NATION appears on London Plane’s forthcoming third album, Villains Heroes Ghosts, expected in early 2027 via Declared Goods. Dengler’s first production work for another artist suggests an intriguing creative partnership, particularly for a band whose international membership has already brought considerable character to New York Howl (2018) and Bright Black (2022).

    And in an era when political fanaticism increasingly resembles mass entertainment, London Plane have produced a savage reminder of how easily the jackboot finds another willing foot.

    Listen to NATION NATION below:

    Follow London Plane:

    Photo: Alice Teeple

     

    The post NYC Post-Punk Outfit London Plane Skewer the Cult of Obedience in Video for “NATION NATION” appeared first on Post-Punk.com.

  • SOMN – Στη δημοσιότητα το “Swarming Mass” από το “Consecration”

    https://www.metalourgio.com/wp-content/uploads/2026/10/SOMN-–-Russian-Post-Black-Metal-Band-768×512.png

  • The 50 Most-Streamed Rock + Metal Artists of All Time on Spotify

    These are the rock and metal artists that have the most streams on Spotify of all time, ranked from the least the most-streamed (as of October 2026). Continue reading…

  • Boardwalk Rock Fest 2027 Features Iron Maiden, Korn + Bad Omens

    It's an amazing lineup featuring Korn, Bad Omens and a final day that includes headliners Iron Maiden and Judas Priest on the same bill. Continue reading…