With the release of their second album, The Force of Nature, Epinikion enter a new chapter. Vocalist Kimberley Jongen, who joined the band in 2024, spoke with us about the album, her experience stepping into the band, and the musical inspirations that guide her.

Read our review for The Force of Nature here.

Reuel

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

Kimberley

I’m doing very well, thank you! 🙂

Reuel

Your new album, The Force of Nature, has recently been released! How are you feeling about the way it was received by your fans?

Kimberley

We are really happy with the response we are receiving from fans and press alike so far! The reactions are very positive, and sometimes it’s a little overwhelming in the best way!

Reuel

How would you describe the general theme and concept of the album to people hearing about it for the first time?

Kimberley

There is no concept for this album as with the previous one, but it has a general theme, and that is nature in all its forms, human nature, and how we deal with things in life, the good and the bad.

Reuel

Releasing an album is no doubt a huge milestone for any musician, but also challenging. What was your favorite and least favorite part of working with your bandmates on The Force of Nature?

Kimberley

This was my first ever album to work on, so it was all new to me, and I loved everything about it! There really wasn’t a negative experience. I found the songwriting process very interesting to be a part of and learned a lot about how to implement different singing styles from it. The studio sessions were also very cool, Erwin Hermsen from Toneshed really made it a very good and relaxed experience for me. I think that is very important, because as a singer, you’re really putting yourself out there and you have to tap into all these different emotions to sing, so it’s really great to have someone that puts you at ease on the other side of the studio wall.

Reuel

This is your first album as vocalist of Epinikion, but it’s their second. Did you feel any pressure to “fit in” with what already existed, or were you encouraged to put your touch on it?

Kimberley

None at all. Robert and Renate really put a lot of trust in me when they accepted me into the band, and really encouraged me to find my own way with the existing songs. The same went for the new album, and I love that I’m given the liberty to explore the vocal lines and make them my own.

Reuel

What musicians can you credit as the ones who inspired you, as a person and an artist?

Kimberley

Madonna is the one I have to credit as the one that made me discover I could sing as a child. When it comes to voices in metal, Simone Simons, Tarja, Liv Kristine, and Floor Jansen definitely influenced me.

Reuel

What are your feelings about the way women are represented in music today, and what do you think can be done to promote more inclusivity and support for female musicians?

Kimberley

For me, everything has been very positive! Everyone has been very kind and respectful. I do think it would have been different if I had entered the scene twenty years ago. Things were definitely different then, and there were a lot less bands that were fronted by a woman. Nowadays, there is plenty to choose from so I think we women really stepped out there, and each in their own way. I think it’s important we support each other and lift each other up most of all.

Reuel

Thank you for your time, Kimberley, and for this interview! Is there anything else you’d like to add?

Kimberley

Thank you for the interview! And to those reading this, please listen to our album “The Force of Nature” and let us know what you think of it! We love to hear from you!

The post Interview: “It was all new to me, and I loved everything about it” – Kimberley Jongen (Epinikion) on The Force of Nature first appeared on FemMetal – Goddesses of Metal.

There’s a certain electricity that runs through Ich Verbrenne Mich (I Burn Myself), the new single from Darmstadt duo LATEX. It feels immediate, like stepping into a room mid-conversation and realizing the stakes are already high. This track introduces Silk, their debut full-length due in March 2026, and stands alone as the album’s only song sung in their native German. That choice gives it weight: the syllables hit differently and cut closer to the bone.

LATEX (Robin Lexow and Johanna Amberg) formed in 2022, releasing early cassette tracks and the Defective EP with a clear affection for ’80s underground textures. Here, they sound sharpened and more focused. The Roland Jazz Chorus guitars gleam with cool precision, while the bass locks into a steady, determined stride. The drum machine keeps the pulse firm and unflinching. Nothing feels crowded. Each element has room to move.

Amberg’s vocal carries the center. She leans into the language with urgency and control, stretching certain words until they feel almost tactile. The song deals in closeness and collapse: the heat of intimacy, the aftershock of loss, the restless churn that follows. It holds its line.

You can hear the lineage of NDW acts like X-Mal Deutschland and Nichts in the skeletal drive and emotional directness. Ich Verbrenne Mich feels rooted in the present, however. The chorus opens wide without tipping into excess. The verses walk a tightrope between restraint and release. It’s a careful balance, and LATEX keep their footing.

Listen to Ich Verbrenne Mich below and order the single here.

If this track sets the tone for Silk, the album promises range. The title cut surges forward with brisk, tight rhythms and a clipped vocal delivery. Other moments drift toward death rock edges or lean into airy post-punk atmospheres, suggesting a band willing to stretch without losing cohesion.

Onstage, LATEX translates this tension into motion: guitar, bass, drum machine, synth, and a frontwoman who commands attention without theatrics. Sharing bills with Ghostwoman, Witch Club Satan, and Poison Ruin has clearly hardened their edges. There’s confidence and a cleearer sense of direction now.  Ich Verbrenne Mich feels like a turning point.

Watch the video on Instagram here.

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The post Darmstadt Post-Punk Duo LATEX Debut Fiery New Single “Ich Verbrenne Mich” appeared first on Post-Punk.com.

Good Day Noir Family,
Bedlam 1547 kicks the door open with “Summoning Mind,” and the impact is immediate. A sharp, energetic guitar riff tears through the silence and signals that this will be a relentless rock ride.

Summoning Mind is Bedlam 1547’s Single Out Now

The tone is bold and gritty, yet controlled enough to show clear intent. You sense right away that this track won’t offer a moment to breathe.

When the vocals enter, the character of the song sharpens. There’s a clear influence from ’80s hard rock. The voice cuts through the mix with a slightly eerie edge, almost theatrical, and that’s where the atmosphere turns darker. The timbre carries something cinematic. It’s not hard to picture a shadowy figure stepping out of a horror scene, with a hint of Freddy Krueger lurking in the background. That subtle spooky touch adds personality without turning the track into parody.

The rhythm section drives everything forward with urgency. The drums hit hard and stay tight, while the bass locks into a pulse that keeps the tension alive. The momentum rarely dips. The track feels urgent, yet never chaotic. Each instrument knows its place, and the arrangement moves with precision.

The guitar remains the true protagonist. Not only does it dominate through muscular riffs, but it also commands attention with sharp, expressive solos. When those lead lines rise above the mix, they don’t just decorate the song; they elevate it. The phrasing is bold, and the tone carries weight. You can tell this artist understands composition and structure because the solos arrive at the right moments and push the song to higher ground.

Furthermore, the production keeps the energy raw and direct. Nothing feels overworked. The slight roughness adds to the horror-tinged vibe and reinforces the hard rock roots. Even so, the clarity ensures that every detail lands with force.

“Summoning Mind” stands as a powerful statement from Bedlam 1547. It’s intense, guitar-driven, and unapologetically loud. Above all, it proves that strong songwriting and fearless performance still define great rock music.

Summoning Mind is Bedlam 1547’s Single Out Now!

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Ferocious!

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Summoning Mind is Bedlam 1547’s Single Out Now

Bedlam 1547 turn raw energy into something more than noise — it has weight, urgency, and an intensity that refuses to fade. Rooted in punk attitude, driven by hard rock power, and amplified by the scale of alternative metal, their sound feels restless and unrelenting. Rather than blending styles into a patchwork, Bedlam 1547 forge their own language, where sharp aggression and memorable hooks move side by side.

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The post Summoning Mind is Bedlam 1547’s Single Out Now appeared first on Edgar Allan Poets – Noir Rock Band.

Good Day Noir Family,
Charlie and the Moonshine step into the shadows with “El Diablo,” a track that smells of aged wood, cigarette smoke, and late-night confession.

El Diablo is Charlie and the Moonshine’s Single Out Now

The rhythm moves with a noir cadence that transports you into a hidden bar where a small band plays on a narrow stage, while you sit nursing a glass of old whiskey and letting the night sink into your bones.

The atmosphere isn’t decorative; it feels lived-in and slightly dangerous.

The blues influence stands out right away. This isn’t a polite tribute to tradition. The groove rolls forward with a slow, deliberate swing that gets under your skin and stays there. Each beat lands with purpose, and as the drums and bass lock in, the song creates a pulse that feels intimate and restless. You don’t just hear it; you drift with it.

The guitar work adds depth without crowding the arrangement. The riffs glide in and out, leaving space for tension to build. When the solo finally erupts, it doesn’t feel forced. It arrives naturally, yet it still surprises you. The notes stretch and bend with raw emotion, and suddenly you surrender completely to the moment. The band shows they know how to control dynamics, allowing silence and restraint to play just as important a role as distortion and fire.

The vocal performance deserves special attention. It carries grit and sincerity, but it never slips into exaggeration. The singer delivers each line with conviction, as if telling a secret that burns on the tongue. There’s passion in the phrasing, which is interpreted as authentic rather than theatrical. The song gains emotional weight without becoming heavy-handed.

The production keeps everything grounded. Nothing feels over-polished. The raw edges remain intact, which strengthens the late-night mood and reinforces the blues backbone. Even so, the clarity allows every instrument to breathe.

“El Diablo” is sensual, intense, and confident. It proves that Charlie and the Moonshine are not just chasing a vibe; they understand it, inhabit it, and shape it into something personal. By the time the final notes fade, you’re still sitting at that imaginary bar, glass in hand, wishing the band would play one more song.

El Diablo is Charlie and the Moonshine‘s Single Out Now!

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Intense!

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El Diablo is Charlie and the Moonshine’s Single Out Now

Charlie and the Moonshine is a Mexico-based band blending southern rock grit with modern Americana storytelling. Formed in the mountains of Mexico, they channel the raw energy of live performance into a sound rooted in bluesy guitars, driving rhythms, and emotionally charged vocals.

Recording live in Avándaro, a legendary counterculture enclave, the band captures real room energy and organic interplay, creating music that feels timeless and human. With themes of love, desire, loss, and redemption, Charlie and the Moonshine are carving their own path between the Mexican highlands and the international Americana scene.

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The post El Diablo is Charlie and the Moonshine’s Single Out Now appeared first on Edgar Allan Poets – Noir Rock Band.

Good Day Noir Family,
A dark current runs through “Before and After Three,” and it signals that The Burton D’Agostini Procedure are not interested in safe territory.

Before and After Three is The Burton D’Agostini Procedure’s Single Out Now

 This visionary duo once again steps into shadowed terrain, shaping a track that is suspended between memory and prophecy.

The first impression carries clear echoes of Depeche Mode. The reference acts as a doorway into a broader aesthetic universe.

The production leans into an ’80s tonal palette. Synth textures pulse with a retro character, and the rhythmic structure carries that familiar electronic insistence. However, the song never sounds nostalgic in a lazy way. On the contrary, it seems to project forward. There’s something futuristic in its architecture, something slightly noir that instantly calls to mind Blade Runner and its rain-soaked dystopian skyline. Because of that blend, the track exists in two timelines at once.

The rhythm proves hypnotic. It doesn’t rush, yet it grips you with steady precision. Each beat lands with intention, while subtle variations keep the momentum alive. The bells in the background add a surreal shimmer. They don’t dominate the mix. Instead, they hover just above it, giving the song an almost ritualistic undertone. That detail alone transforms the mood from simply dark to strangely transcendent.

Vocally, the approach feels measured and deliberate. The melody holds a stable tonal center, merging with the instrumental layers. Rather than fighting for space, the voice becomes part of the atmosphere itself. At times, it carries the aura of an oracle speaking from somewhere beyond the visible world. That effect strengthens the track’s nocturnal identity and deepens its emotional weight.

Furthermore, the arrangement avoids unnecessary clutter. Every element has room to breathe. The duo understands restraint, and that control keeps the song focused. The result is intense yet elegant, immersive yet never overwhelming.

“Before and After Three” feels designed for long city nights. It suits those moments when you wander alone under artificial light, lost in reflection while traffic hums in the distance. The Burton D’Agostini Procedure continue to refine their signature blend of noir electronics and introspective mood.

Before and After Three is The Burton D’Agostini Procedure‘s Single Out Now!

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Futuristic!

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Before and After Three is The Burton D’Agostini Procedure’s Single Out Now

The Burton D’Agostini Procedure, hailing from Grand Rapids, United States, is a musical duo formed by Jeff Burton and John D’Agostini who have a rich history in the music industry. Having supported renowned bands like Tonic, Sponge, and The Verve Pipe, their influences span from The Moody Blues to Tame Impala, resulting in a unique sound that blends the best of past and present. Their upcoming original single “Would You,” set for release on February 14th, promises to captivate listeners with its strong production and well-crafted melodies, creating an immersive experience for fans of headphone music.

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The post Before and After Three is The Burton D’Agostini Procedure’s Single Out Now appeared first on Edgar Allan Poets – Noir Rock Band.

The Swedish metal veterans parted ways with Alissa White-Gluz in late 2025. Continue reading…

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Jimmy Eat World, Taking Back Sunday, The Hu and The Black Keys lead this week's new tour announcements. Continue reading…

Godsticks have shared the first single from their long-awaited seventh studio album VOiD. The new track, titled “M.I.A.,” is the first glimpse into Godsticks’ darkest, heaviest, and most uncompromising album to date. With the single comes a new video produced by Martin Holmes.

Speaking about the new single, frontman and songwriter Darran Charles said: “Although I’ve no experience in the field of psychology, I’ve always been fascinated (and indeed tortured) by that voice in your head that goes under various guises such as ‘inner critic’ or ‘inner monologue’.

“Mine is a mouthy bastard that has an opinion on practically everything and never fails to offer it -incessantly. No amount of internal vitriol directed at it seems to quieten its destructively negative offerings. It never sleeps either – I could wake up at 4 am to use the bathroom and to my surprise and determent, it reminds me that it’s been up all night searching through the archives to remind me of some embarrassment I felt 25 years ago.”

“I always like to imagine this voice manifested in physical form, so when it tells me that it thinks I’m a terrible musician, or that I’m conceited, or that I’ve wasted my life away, or lists all the wrong decisions I’ve made over my life, then I could beat the living shit out of it. MIA is a song about that. And I think this same voice was responsible for writing the guitar and drum parts, because they were torturous too, and made us all question our ability as musicians at one point or another. We won in the end, though, so fuck you, me!”

Both lyrically and musically, VOiD reflects a disillusionment with a world increasingly defined by division, ideological rigidity, and the loss of nuance. The album documents a conscious withdrawal from the noise – a retreat into a personal void.

Drummer Tom Price and guitarist Gavin Bushell continue to play a vital role in the writing process, while the introduction of new bassist Francis George brings a subtle but important shift in the overall feel to the rhythm section.
 
“I cannot overstate the enormously positive impact Tom and Gavin have had on the writing process over the last few albums. Whilst the writing methods have rarely changed for me over the years, what has changed is that their contributions are indispensable and something I genuinely look forward to incorporating. I’ve lost count of the times on this album that they’ve provided or reinterpreted a part that has prevented the song from being binned because it wasn’t working. This is also the first time in 12 years that we’re working with a different bass player, too (Francis George), and that itself has offered a fresh perspective on arrangements and influenced the overall feel to the rhythm section. It’s a little different this time around.” – Darran Charles

The post Heavy Rock Proggers GODSTICKS Share Music Video For First Single From New Studio Album “Void” appeared first on Sonic Perspectives.