Category: news

VENUS GRRLS are looking to make a huge stir with the release of a new EP, brimming with intrigue and intensity.

Titled ‘To Die As Lovers May’, it will be released on October 16 via Killabop.

The band had this to say about the release:

‘To Die as Lovers May’ is an exploration of death, love, and viscera. Drawing heavily on dark romanticism, it explores the beauty amongst the macabre and the vision that lives amidst the fog. Combining the melancholy of 90s grunge with haunting 80s goth, ‘To Die as Lovers May’ is an ode to the more peculiar and darker corners of the human experience, both in life and after death. With influences from 19th-century literature and twisting the tales of mythology, the story told is one of romance, decay, and acquiescence.”

The artwork looks like this:

Whilst the tracklisting is more like this:

1. Eve
2. Carmilla
3. Mother Knows
4. Evergreen
5. Wormfood

The EP will feature the already unleashed ‘Eve’, as well as the freshly unveiled ‘Mother Knows’.

An atmospheric, riff-heavy, seductive slice of enrapturing rock and roll, it is a track inspired by the legend that Frankenstein author Mary Shelley once had sex on top of her mother’s grave.

Vocalist GK had this to say about it, explaining, “There’s a lot of discourse and nuances to whether this truly happened, but the alleged event really struck me visually and immediately inspired me to narrate it lyrically. Toying with some imagery in her iconic novel, Frankenstein, I wanted there to be a double entendre within the lyricism. Her written character, Victor Frankenstein, brought flesh to life, and I liked the idea of passion and sex also metaphorically bringing flesh to life, too.”

Whilst guitarist Eliza Lee had this to say about the instrumental:

“I got to channel some of my inner 70s rock god by bowing the guitar on the bridge, “ she says of one of the more ethereal moments in the track. “I’ve always loved the haunting effect you can get with a violin bow that I don’t really think you can replicate with gadgetry, it felt like the right move for the graveyard ambience of the song.”

The band will also be heading out on a headline tour to see out the year in style. Here are the dates:

OCTOBER

28 – GLASGOW Audio
29 – NEWCASTLE Cluny 2
30 – STOCKTON Georgian Theatre 
31 – NOTTINGHAM Bodega

NOVEMBER

02 – BRISTOL Exchange
03 – CARDIFF Clwb Ifor Bach
04 – LONDON The Lower Third
06 – LIVERPOOL 02 Academy 2
07 – LEEDS Belgrave Music Hall

The post VENUS GRRRLS Announce New EP ‘To Die As Lovers May’ appeared first on Rock Sound.

Melodic Hard Rockers Crusader return with new single ‘Breaking Out‘, having left everyone speechless in 2025 with their EP ‘In For The Kill‘. Now there’s some news and updates from the British band: “To thank you for your support and to celebrate the imminent vinyl & merch release for ‘In For The Kill‘ we’re releasing […]

The post Crusader Release New Single ‘Breaking Out’ appeared first on ROCKPOSER DOT COM.

Interview by Ali Williams If you call yourself a true-blue supporter of the Australian heavy music landscape, then the name Segression shouldn’t just ring a bell—it should trigger absolute, unadulterated audio warfare in your eardrums. For three decades, these Wollongong legends have stood as one of the country’s most relentless and enduring metal forces, a […]

Frank Beard, the longtime drummer of ZZ Top and the foundation behind some of rock’s most recognisable songs, has died at the age of 77 at his ranch in Richmond, Texas. The cause of death has not been disclosed.

“Today, Elwood and I lost a great friend and collaborator,” Billy Gibbons said, “and the world lost one of the most naturally innovative drummers and a great and true son of Texas. His signature backbeat was key to keeping ZZ on top.”

Born Frank Lee Beard in Frankston, Texas, on 11 June 1949 and raised in Irving, Beard began playing drums as a teenager. Beard played with bassist Dusty Hill in groups including The Cellar Dwellers, The Warlocks and American Blues.

In late 1969, Beard joined Billy Gibbons and recommended Hill for the bass position, completing a lineup that would remain together for more than half a century.

A rhythmic chemistry can be heard throughout ZZ Top’s songs, from the raw blues rock of the band’s early records to the polished, technologically adventurous sound that made them global stars during the ’80s, when the band achieved international success with Eliminator in 1983.

Gimme All Your Lovin’, Sharp Dressed Man and Legs all became major hits, helped by a series of videos that made ZZ Top fixtures of the MTV era.

Frank Beard brought the disciplined beat that allowed a little old band from Texas to become one of rock’s most enduring institutions. He is survived by his wife Debbie Meredith and his three children.

Frank Beard – 11 June 1949 – 17 August 2026

The post Frank Beard, ZZ Top Drummer, Dies Aged 77 first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.

Amsterdam 5-piece, The Klittens, are releasing their long-awaited debut album, Have a Heart, combining their love of pop music with a dark sensibility

Woe is me, woe is you
Woe consumes both us two

Heartbreak has a cruel invertibility: the person who opens the wound can remain the person we most want to close it. After love breaks, desire divides against itself. One half wishes for a return, for the old tenderness to be restored and the damage somehow withdrawn; the other wants the absent lover to wake inside the same pain, because understanding can feel incomplete until it is physical. Reconciliation and retribution begin to share a border. “Come back” and “suffer as I have” become rival versions of the same plea: see what happened to me.

That double wish supplies the emotional engine of DECEITS’ latest single, One Day You’ll Hurt As Much As Me. Released on March 25th, the song is the Los Angeles duo’s first official release with Get Better Records. It now receives a brilliantly shot video directed by Raquel Rojas, who gives its divided feelings a physical route through memory, childhood, and the disappearing view from a train window.

A thick, melodic bass figure takes the first step, with Francisco Saenz’s drums answering in a cymbal splash before a dance-minded hi-hat locks the song into motion. Above them, a sustained guitar riff trembles around its melody. Kevin Moreno sings with a Robert Smith-like romantic ache, drawing out the opening supplications before compressing the repeated phrase about silent suffering into a quick, addictive cadence. The Cure resemblance lives in the emotional pitch, while DECEITS propel the song with the rapid, bass-led momentum of faster Cure songs such as “Primary,” allowing grief to pass through the body rather than remain fixed as a confessional dirge. Among the duo’s recordings to date, it ranks as one of their strongest: romantic post-punk with real velocity and a chorus made for a crowded room.

Moreno’s lyrics keep the song’s lover in incompatible roles: desired comforter, departing betrayer, and imagined fellow sufferer. He asks for closeness and a cure, then for abandonment and emotional erasure, as though every available exit must be tested. “Woe is me, woe is you” is the song’s plainest and most revealing line, making misery reciprocal before the title turns that symmetry into a future verdict. The wish carries spite, but also a bruised faith in recognition: someday, perhaps, the other person will feel enough to understand.

The video’s director Raquel Rojas gives that emotional bargain a coastal route. Moreno and Saenz ride an Amtrak car visited—or perhaps accompanied—by Gustavo Alexander Moreno and Logan Martínez as their childhood counterparts. Present-day close-ups dissolve into grainy footage of the children on station platforms and at the beach, building in the sand and racing beside the water as the train follows the Pacific. The carriage becomes a place where youth and adulthood can share seats without quite seeing one another.

Performance scenes place the duo inside a chain-link pedestrian overpass and beside the tracks, with the bright coast visible beyond the enclosure. Past and present seem briefly reversible, yet the edits never grant them a clean reunion; each age slips over the other like damaged film. Travel supplies movement without escape. By the closing views from the window, the landscape is retreating too quickly to hold, leaving the video’s central question unresolved: were those earlier days genuinely easier, or has distance made them kinder than they were?

Watch the video for “One Day You’ll Hurt As Much As Me” below:

Since forming in 2021, longtime friends Moreno (vocals and instruments) and Saenz (drums and percussion) have built DECEITS from the ground up. The duo self-released its catalog, accumulated millions of streams, sold out tours, and produced vinyl pressings that disappeared almost as soon as they became available. The partnership with Get Better Records marks a significant turn in that history while preserving the fiercely independent spirit that brought them this far.

DECEITS draw upon the color, rhythm, and emotional directness of the Spanish-language music they grew up with, shaping a warmer and more kinetic form of post-punk. Their all-analog live setup and punk beginnings lend each set a degree of instability: arrangements breathe, tempos flex, and no two performances land exactly the same way. That combination of romantic intensity and physical force has earned the band an international following throughout the dark alternative underground.

The duo has appeared on bills with She Past Away, She Wants Revenge, New Order, and Anka Huwe of Xmal Deutschland. On November 14th, DECEITS will perform at Darker Waves Festival in Huntington Beach alongside Morrissey, The Smashing Pumpkins, Simple Minds, Gary Numan, The Psychedelic Furs, The Damned, and more.

Listen to “One Day You’ll Hurt As Much As Me” below and order the single through here.

Follow DECEITS:

• Website
• Instagram
• Facebook
• YouTube
• Spotify
• Bandcamp
• TikTok

The post “We Suffer Oh So Silently” — Los Angeles Romantic Post-Punk Duo Deceits Share Video for “One Day You’ll Hurt As Much As Me” appeared first on Post-Punk.com.

After saying To Hell With You and taking off down Satan’s Highway, Melbourne metal vocalist Kat Wilder returns with her third solo single, Running Wild. Delivering another slab full of downpicking fury, twisting riffs and soaring vocals, Running Wild is pure unadulterated heavy metal. Kat says she has “never fit in with mainstream society and […]

In 2018 Bev Bevan – former ELO and Black Sabbath member, and self-proclaimed second-loudest drummer in Birmingham – looked back on his life and times with Prog. That included his analysis of The Move, who seemed to have everything in their favour in the mid to late 60s. He identified three things that worked against them: a missed tour opportunity, a lawsuit and a line-up change.

The Move’s records are so exciting because one can feel that things were changing quickly and lots of ideas were coming through. How did it feel to you at the time?

The Move were always a great band to play in as you always had total freedom to play exactly what you wanted. No one said, “Hey, keep it simple.” I could do whatever I liked. The album I like most is Shazam [1969]. It’s an eclectic mix alright, and by the time you get to Message From The Country [1970], you’ve even got some country and western in there.

You had some pretty heavyweight management in Tony Secunda and Don Arden. What did they add to the group?

Don Arden never really managed The Move. He was involved but he was more of an agent. Tony Secunda was a good manager, but he made mistakes; the biggest was not sending us to America in 1967–1968. I think we would have done well. We only did one tour there in 1969.

The other one was issuing that libellous postcard [a cartoon of PM Harold Wilson in bed with his secretary Marcia Williams] with Flowers In The Rain, which gave us front page coverage but lost us the royalties, including Roy’s songwriting royalties [Wilson was awarded them in the libel case], which he’s still fighting to this day to get back. So Tony did make mistakes, but he was a great ideas man.

We’d turned up in London looking like The Who, really, with mod gear, and he turned that round completely, and put us in gangster suits and really cool-looking clothes, and hired a great photographer called Bobby Davidson. He gave us an image. And smashing TVs onstage was another idea of Tony’s – destroying the one-eyed monster in the living room.

The Move played on the famous 1967 package tour with Jimi Hendrix, Pink Floyd, Amen Corner, The Nice and Eire Apparent. Do you have any particular memories of that?

It was two shows a night in theatres. The opening act were Pink Floyd and they got to play two songs – their two hits, See Emily Play and Arnold Layne. Pink Floyd were difficult; they kept themselves to themselves. Nick Mason was fine, but drummers always speak to each other. I remember Syd Barrett being a bit weird. He seemed out of it most of the time. I don’t think he was speaking to the others much.

But everyone else was really friendly. Amen Corner asked Roy Wood to write them a song, which he did – Hello Susie – and it became a big hit. Hendrix, Noel Redding and Mitch Mitchell were great guys and we got on very well. The Move closed the first half – we played about half an hour – and Hendrix closed the second half. There was no way you would want to follow Hendrix onstage.

What was it like seeing Roy Wood become one of the best UK songwriters of the 60s?

We were playing the Marquee to sell-out crowds every Thursday night and it was a great show; they were queuing around the block to see it, but it was all covers. We had record companies wanting to sign us, but Tony said, “If we get a record deal, you guys have got to write some original songs.”

None of us were songwriters, including Roy, but he was the closest thing we’d got to one, so Tony said, “Here’s a reel-to-reel tape recorder and a mic – get writing.” And he would come up with these extraordinary songs.

EMI were saying, ‘We’ve got this hit band and you want to do this thing called Electric Light Orchestra?’ They weren’t very keen

He couldn’t churn them out, but he could write a good song in a couple of weeks. When he came up with a new song, everyone wanted to sing it, including Roy. Trevor and Ace would also say they’d like to sing it and Carl said, “I’m the lead singer – I should sing it.”

So that’s why when you listen to I Can Hear The Grass Grow, you can hear three different lead singers. Someone would sing the verse, someone would sing the chorus, someone else would sing the middle eight. I did bass vocals on a lot of the records as well.

Electric Light Orchestra formed while The Move were still going. Was it always the plan to run the two groups simultaneously?

The Move were signed to EMI Harvest when we did what turned out to be the last ever single, California Man [1972], which was a massive hit. So EMI were saying, “We’ve got this hit band and you want to do this thing called Electric Light Orchestra?” They weren’t very keen on the idea. The recording costs were involved in the first ELO album were made from an advance we got for The Move. So they did coexist for a little while.

Is it true that ELO were thought of as a conceptual group in which you would expand on the arrangement ideas of Beatles songs like I Am The Walrus?

Jeff, myself and Roy were huge Beatles fans and we loved Strawberry Fields and I Am The Walrus. We were attempting to do something like that, but on stage. The first album, The Electric Light Orchestra, took forever to record; Roy played all the cello parts and it was just overdubbing and overdubbing!

We did one British tour with ELO and then went to Italy, and it was a bit of a mess as we were trying to amplify violins and cellos and we didn’t really know how to do it. Then we came back; and for a couple of weeks neither Jeff nor myself had heard from Roy.

Don Arden, who was managing us by then, said, “He’s left and taken some of the guys with him. He’s formed this band called Wizzard. Do you want to carry on with this Electric Light Orchestra idea or go back to being The Move?” Jeff said, “We’ll carry on as ELO.” We got a couple of proper cellists in, so that made a hell of a difference.

Seattle punk rockers The Drowns have shared “Have A Heart” from their upcoming full length album Harsh Reality, which releases September

Black metal groups, Mannveira and Gleichmacher, are pleased to announce that they will team up for a set of co-headlining shows in Europe next month.
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