Category: news

Walk in file, dance in line,
take another leap toward an early grave now.

Imagine waking and sensing that the strangest fact is not your troubles but that you are here at all. In his 1927 work Being and Time, Martin Heidegger turns our gaze to that plain astonishment. We arrive unbidden, born into histories and habits we did not choose, and yet must answer for how we live among them. Time is not the clock on the wall, but the stretch of memory behind us and possibility before us, narrowing toward death. Most days, we drift with the crowd’s murmur. Then a tremour of fear and loss clears the air, and we feel the brief, stern charge of choosing our own life.

Lachlan P. Rother, operating as Ohms, has taken a page from Heidegger and wired it straight into the dancefloor. Geworfenheit, that famously thorny term about being thrown headfirst into existence, becomes less a seminar topic and more a wiry, kinetic groove you can move your hips to while pondering cosmic injustice. Born into a world you didn’t choose, handed a script you didn’t write, and still expected to improvise: that’s the thesis. Rother makes it swing.

The man’s résumé reads like a roll call of Melbourne’s underground circuitry: U-Bahn, GLASNOST, High Control Group, and you can hear that lineage in the bones of this track. The arrangement jitters with odd time signatures and rhythmic guitar figures that feel like they’ve been diagrammed, dismantled, and reassembled with deliberate mischief. Dissected drum patterns skitter beneath it all, forming a nervous but danceable groove that nods toward Talking Heads’ twitchy intellect, Yacht’s playful precision, and The Contortions’ crooked funk. Then come the wacky breakbeats, tipping their hat to Regurgitator, Sparks, DEVO, and more, because sometimes existential dread needs a little hip-hop shimmy. We also love a vibraslap moment, and this one delivers the goods in spades.

Instead of shouting into the void, Rother offers a carefully measured diagnosis of the void itself, dissecting the economics of despair with an engineer’s clarity and a poet’s fatal shrug. Free will gets exorcised in real time, right there between the snappy snare hits and the elastic bass.

Rother wrote and performed the song himself, then teamed up with Andrew Robinson, Timothy Dunn, and Stuart Mackenzie of King Gizzard for recording, engineering, and mixing. The result balances clarity with just enough abrasion to keep things interesting.

Geworfenheit turns existential philosophy into something you can march and do a genuine David Byrne dance to, a reminder that being thrown into the world might be absurd, but it can also be hella fun.

Listen to “Geworfenheit” below and order here:

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The post “Another Leap Towards an Early Grave” — Melbourne’s Ohms Debuts Funky, Existential Lament “Geworfenheit’ appeared first on Post-Punk.com.

Intent To Harm from Brisbane, Australia, release their debut single, Drained Of Life, available everywhere now via Vicious Instinct Records. Featuring some familiar faces from the Australian underground, including members of Internal Devour, Splatterpuss and Body Prison, this new act is built on the foundations of proper old-school brutality: filthy riffs and knuckle-dragging grooves.

Not representative of the Small Faces’ style and released without their knowledge, Sunday Afternoon became a big hit – and “was the final nail in the coffin in finishing us off”

Following the release of their sixth studio album CONFLICT DLC last year, HEALTH are showing no signs of slowing down. Now, the band have released R-TYPE 1, the first in a series of remix EPs that compliment and expand the universe the band created on CONFLICT DLC. Listen/share here: https://i.hlth.band/healthr-type1. CONFLICT DLC resonated far and […]

“We’ll break it down, and start it all over again…”

Kansas City isn’t supposed to cough up cathedral gloom and dance-floor deliverance in the same breath, but REVISER never asked permission from the plains. They came up through the Kosmic City collective like a midnight transmission cutting across AM static, and by 2025, they’d staked their claim as a black beacon in a region better known for barbecue than baritone despair. Now they return with the haunting DOLOROSO, eight tracks pressed to vinyl and loosed into the ether, a record that feels like a street sermon delivered under a dying streetlamp.

The lineup comprises Krysztof Nemeth handling lead vocals and baritone guitar with the gravity of a man who’s seen the inside of his own skull and taken notes; Dedric Moore on guitar, slicing rhythmic lines with the instincts of someone who knows how to make bodies move; Dawn Don lifting the choruses heavenward with backing vocals that glide in at just the right moment. Together, they haul the classic spirit of ’80s post-punk, goth rock, and darkwave across state lines and refit it for modern times.

Across DOLOROSO, you hear a band that understands tension: internal battles, external pressure, the push and pull between romance and reckoning. The baritone guitar hums low and ominous, drum machines stomp with mechanical insistence, and icy synths hang in the air. Four of these songs stalked the world as singles in 2025, now remixed and re-produced, while four new cuts complete the picture.

Darksiders rattles like a boxcar rolling through borrowed decades, steel wheels sparking against old rails before veering off into unmapped territory. It pulls tones from another era and bends them until they gleam with fresh edges, carrying a whiff of psychedelia that recalls a darker Kula Shaker – less paisley daydream, more midnight mantra. The track eases in on a current of voltage and vapour, rhythm section hitting with the heft of history and the hint of battles still brewing. REVISER handles their inheritance with steady nerve, splicing past and present into a living charge that stalks the floor.

Celestine, an expansive hymn to mysticism and longing. Featuring haunting vocals from Breaka Dawn, the track drifts away from the band’s usual darkwave depths, tilting instead toward the crystalline heights of Ultravox, the grandeur of Simple Minds, the spectral shimmer of Pastel Ghost. Synths glisten like morning frost, guitars cut sharp and clean, and an aching nostalgia seeps through every note. Kansas City’s brooders trade gloom for something luminous: an incantation, a breath of light against the encroaching dark, a hymn to the unknown.

The newest single, The Flames, burns brightest. It’s billed as a clarion call in dark times, and it earns the phrase. Insistent bass and drum machines push forward with clenched purpose, guitars braid and unbraid over buzzing keys, and Nemeth’s voice rises from the chest like a warning siren. He throws the question straight at you: will you join the call to justice? The track carries the urgency of In Shreds by Chameleons and the stark fire of Dark Entries by Bauhaus, yet it moves with REVISER’s own heat, their own hard-earned hunger.

In a time when lines are being drawn everywhere you look, REVISER plants their flag in solidarity, standing against fascism, racism, xenophobia, homophobia, and transphobia, and turning the dance floor into common ground.

Listen to DOLOROSO below and order the album here.

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The post Kansas City Gothic Rockers REVISER Set the Shadows Alight With “DOLOROSO” LP appeared first on Post-Punk.com.

This August, Tasmania’s finest export, extreme metal pioneers, Psycroptic join like-minded-and-saxophone-wielding US progressive death wizards Rivers of Nihil for a co-headline tour that brings together two elite bands operating at the highest tier of modern death metal. For Psycroptic, the timing couldn’t be stronger. Off the back of relentless global touring alongside the likes of […]

Restrictions have been circling the same cold star since 2010, two brothers huddled in Minsk’s slab-sided sprawl, teaching their guitars to argue with each other like siblings who share a bedroom and a record collection. You can hear the years in that tension. Back when they were still hauling amps into Graffiti Club and baptizing themselves in cheap fog, the twin-guitar attack felt like rebar shoved through silk. By the time they hit Deathcave Festival in 2011, then the biggest old-school goth congregation in Eastern Europe, these brooding, Brutalist Belarusians were already sharpening their angles against drum machines, trading human swing for metallic insistence.

That history hums inside Our Own Lhasa, even as the project has retreated into the studio and swapped stage heat for careful construction. After 2015, the live chapter closed, and the brothers turned toward their day jobs, letting the band mutate into something more controlled, more deliberate. The friction of those early sets has been sanded into sleek lines of synth and drum programming, yet the pulse of post-punk still rattles the ribs.

The guitars arrive first, jangling with that familiar 1980s ache, nodding toward The Sisters of Mercy, Joy Division and The Cure without turning into cosplay. A thin, high line traces the melody while a lower figure keeps tugging at the hem of the song. The synths hover in wide arcs, lending the track a sense of altitude that contrasts with the emotional weight at its centre. There’s space in the track, but it isn’t empty; it feels like the echo in a room where someone has just moved out and left the outline of their furniture in dust.

The band says, “Our Own Lhasa symbolizes a shared dream we once had — one that is now out of reach.” That’s the thesis and the wound. The lyrics circle emotional disconnection and the slow recognition that some visions calcify into relics. You can hear the awakening in the vocal delivery, a steady climb toward acceptance that never tips into melodrama. The drum machine ticks forward with patient resolve, giving the song a spine that keeps it upright even when the chords sag with loss.

Restrictions have aged into their influences without being swallowed by them. Our Own Lhasa stands as a clear-eyed dispatch from two musicians who’ve traded youthful abrasion for focus, who understand that sometimes the most brutal realization is simply admitting the mountain you meant to climb has receded into myth.

Listen to Our Own Lhasa below and order the single here.

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The post A Dream Out of Reach — Belarusian Post-Punk Outfit Restrictions Share “Our Own Lhasa” appeared first on Post-Punk.com.

Sister .

The post Sister Sin drop lyric video for new single “Drive” first appeared on Sleaze Roxx.

A couple months ago, Sabrina Carpenter rebuked the White House for using her song “Juno” in a video promoting ICE. Now, Kesha is doing the same after the White House posted a military TikTok set to her 2010 hit “Blow” last month.

The post Kesha Slams White House For Using Her Song In Military TikTok appeared first on Stereogum.

FOR IMMEDIATE RELEASE
HETSHEADS NAMED BAND OF THE MONTH AFTER SHATTERING RECORD WITH 322,430 VOTES
Stockholm, Sweden — Swedish death metal legends HETSHEADS have been crowned Band of the Month for March 2026, amassing an astonishing 322,430 votes in a historic showing of fan support. Their only release, “…We Hail the Possessed,” has cemented its status as a cornerstone of early ’90s Swedish Death Metal and continues to captivate metal enthusiasts worldwide.
Originally emerging in 1991, HETSHEADS quickly distinguished themselves in the burgeoning Swedish death metal scene, standing shoulder-to-shoulder with cult acts such as GOD MACABRE, NIRVANA 2002, and UTUMNO. Though the band never recorded a full-length album and eventually shifted into more mainstream projects under the name BLACKSHINE, their 1991 demo and unreleased double EP, now compiled on “…We Hail the Possessed,” remain an essential document of the era.
The album’s journey has been as legendary as its music. Initially released by Repulse Records in 1994 and later licensed in Malaysia on cassette in 1995, the recordings have endured chaotic reissues, poor presentations, and long periods of scarcity. Today, under official license from Cherry Red, Xtreem Music has delivered the definitive edition — fully remastered on CD and 12” LP with original artwork, inserts, and silver printing, alongside strictly limited cassette and T-shirt editions.
“…We Hail the Possessed” showcases pure Swedish Death Metal at its finest, combining crushing riffs, feral vocals, and relentless aggression. Fans of ENTOMBED, DISMEMBER, GOD MACABRE, NIRVANA 2002, and WOMBBATH will find a rare gem that captures the raw intensity of the genre’s early ’90s peak. Notably, HETSHEADS’ vocalist went on to record the first album by NECROPHOBIC, further cementing the band’s influence in extreme metal history.
This recognition as Band of the Month highlights the enduring power of HETSHEADS’ music and the passionate community that continues to celebrate it decades later. With over 322,000 votes, fans have propelled this cult classic back into the spotlight, ensuring its place in the annals of Swedish death metal legend.
HETSHEADS is:
Vocalist – Former NECROPHOBIC member
Additional members – (original line-up details preserved in reissue booklet)
“…We Hail the Possessed” is available now on CD, vinyl, cassette, and limited T-shirt editions.
Support and explore HETSHEADS here: http://xtreemmusic.bandcamp.com