For all the high profile of his work with STONE TEMPLE PILOTS and VELVET REVOLVER, the late Scott Weiland‘s solo oeuvre – numbering a mere three studio albums; four, if we count a comp of covers the singer laid down … Continue reading
The post Scott Weiland’s Live Album Slated For Release appeared first on DMME.net.
Michael Shannon and Jason Narducy’s R.E.M. covers show returned to New York City’s Brooklyn Steel tonight and Michael Stipe joined them on two songs he hadn’t performed in 18 years: “These Days” (from 1986’s Lifes Rich Pageant) and “The Great Beyond” (from 1999’s Man On The Moon soundtrack).
The post Michael Stipe Sings R.E.M.’s “These Days” & “The Great Beyond” For The First Time In 18 Years appeared first on Stereogum.
AXE DRAGGER
AXE DRAGGER
Pre-Order ‘New Day’ HERE
‘New Day’ Track List:
1. New Day
2. That Memory
3. Faith, Hope And Love
4. When I Was Young
5. One More Shot
6. 1969
7. Laurel
8. Good To Be Back Here Again
9. Love That’ll Never Be
10. Cosi´ Bella
11. Your Own Worst Enemy
12. Everyday People
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The post ALBUM REVIEW: John Corabi – New Day appeared first on The Rockpit.
Milwaukee (WI) – A new Blackened Death Metal entity has formed. Featuring veterans of the Milwaukee metal scene, RELIC is set to release their debut EP, Crown of Flies, April 3rd, on CD and digital formats.
The EP’s first single, “Scavengers Daughter,” is streaming now at youtu.be/JHYByItCdFE, as well as on Bandcamp and Ampwall.
Delivering Death Metal’s dissonant punishing riffage with Black Metal’s relentless chaotic speed, RELIC builds a new monument on the foundation of those that came before. Comprised of seasoned Milwaukee metal scene veterans with a history of making tight and focused music.
Their debut EP, Crown Of Flies, is a blistering slab of Midwest 90s Blackend Death Metal worship. Delivered with malintent for its listeners. No frills, no scene drama, or gimmicks used by so many bands today. Pure underground Death Metal that is in your face and out for blood.
RELIC:
Kevin Forsythe (Jungle Rot, Emblazoned) – Guitar / Bass
Jeff Plewa (Micawber, Emblazoned) – Vocals
Alex “Pulverizer” Pulvermacher (Decrescent, Emblazoned) – Drums
Vinny Alvarez (A Night At The Chalet, Slam Pig) – Guitar
Credits:
Recorded at Belle City Sound in Racine WI, November 2025.
Produced by Chris Wisco.
Mixed and Mastered by Billy Diamond.
Album Cover: Sant V. Schreiber
Logo Design by Christophe Szpajde
FFO: Belphegor, Sanguisuabogg, 200 Stab Wounds, Diocletian, Behemoth, Angelcorpse, Devourment, Dead Congregation, Immolation
Source: ClawHammer PR
From Firehouse Facebook:
NEW MUSIC FROM FIREHOUSE!
We’re excited to announce that we have another new song exclusively available on our website! It’s called “Midnight Gasoline”. Check it out and let us know what you think. Thanks for supporting FireHouse!
https://www.firehousemusic.com/
Davies was fired from the band this past February in the wake of disturbing allegations.
The post Ex-Ingested Vocalist Josh Davies Issues Statement: “I Categorically Deny All Allegations That Have Been Circulated On Social Media” appeared first on Theprp.com.
In a world of twisted dreams
Nothing’s quite what it seems
For nearly a decade, Man + Machine has been stalking the edges of Hungary’s underground with a stack of cold machines, club instincts, and a taste for the beautiful mess where industrial abrasion, post-punk ache, and EBM discipline all meet in a locked room. Their latest EP, Birthmarks, feels like the point where that long evolution stops being merely stylistic and turns personal in a way that can’t be faked. This is a record shaped by fatherhood, by the bruising education of time, by the realization that some marks are not meant to be scrubbed clean because they have become part of the body, part of the story, part of the pulse under the skin.
Tangled Hearts opens the EP in a mood that pulls from the grave-lit grandeur of The Sisters of Mercy and the inward dusk of Clan of Xymox, with guitar and bass moving in tandem like twin weather systems rolling over the same ruined city. Man + Machine handles the vocals himself, and that matters because the song needs a voice that sounds implicated. There is yearning, but also fatigue: a sense of someone singing from inside the consequences of his own life. Lyrically, the track reaches for the faded thrill of youth and nocturnal romance, but it does so with the uneasy knowledge that those bright moments are already slipping into numbness. What lingers is the sense of a man still running after escape, still hoping another person or another night might help him outrun memory, even as he knows that certain losses and certain longings cannot be dissolved so easily. The track rises with real force, though it never shakes free of the weight dragging behind it, and that tension gives it shape.
Dream Machine widens the lens. Here, the EP slips into a cyberpunk fever, a place where people anesthetize themselves with synthetic desire and call the arrangement survival. The guest turn from Zsuzsi Radnóti gives the track an uncanny poise. Her delivery carries a cool, almost pop-adjacent clarity that makes the song’s dread hit harder, because everything sounds just polished enough to pass as pleasure. Underneath that surface, the lyrics circle a damaged world where illusion has become a form of refuge, and where surrendering to fantasy begins to feel like the last available mercy. The repeated plea is not simply to dream, but to be removed from pain, from disillusionment, from the ugliness of the waking state. Even the song’s questions about whether anyone can break free from this condition land with a kind of exhausted desperation, as though the fantasy is already swallowing the people who depend on it. It is an unusual combination, and a smart one.
Regrets comes stomping through the door in heavier boots, dragging in the steel-ribbed body language of Front Line Assembly, Nine Inch Nails, and Die Krupps. The percussion lands with blunt force, the bassline drives the track straight into your sternum, and the clanging industrial detail gives the whole thing the feeling of memory turned into machinery. Yet even here, amid the harder attack, Man + Machine keeps hold of the record’s emotional centre. This is not a tantrum set to sequencers. It is a reckoning, bitter and direct.
Hope starts blaring after the wreckage, and by then the EP has earned its tenderness. Turning toward wife and child, the song closes the circle without cheap uplift or borrowed grandeur. What comes through instead is a sober kind of devotion, the sound of a man recognizing that love is larger when it is tied to duty, fear, and the will to keep going anyway.
Listen to Birthmarks via Spotify, or below, and order here:
Co-produced again with Barnabás Horváth and expanded further by remixes from Sugar Rody and Munsinger, Birthmarks feels like the first crack in a larger wall. Out now on Crave Tapes, it catches Man + Machine in transition, still welded to the club, but looking at life with different eyes.
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The post “Plug Me In, Let Me Dream” — Hungarian Artist Man + Machine Forges EBM, Darkwave, and Post-Punk into “Birthmarks” EP appeared first on Post-Punk.com.