Mayday Parade are kicking off their 20th anniversary celebrations with a new track that is as quintessential as it comes.
Titled ‘Blame It On The Youth’, it is an ode to those still finding their way in the world but still get lumped with the expectations of those much older and, supposedly, wiser than them. As much a look back over the years of Mayday’s own journey, of the loving, living, losing and learning that have defined the last two decades, as it is an anthem for the kids making their way through the ranks now, it’s powerful, punky and potent in all the right ways. A stellar way to hark back to your roots whilst also looking forward with a glint in your eye.
And released on May Day as well, to top it off. Very clever.
Guitarist Brooks Betts had this to say about where it came from:
“Jake came in with this amazing song that we were all drawn to. We knew instantly it was important to get the track right but we really just had a solid chorus and loose verse melodies so the band quickly got to work constructing multiple versions of lyrics to finish the track. We worked together in a way that was truly collaborative and with the process feel we created something we are all super proud of.”
The song serves as a follow-up to their album ‘Sad’, the second part of their ongoing trilogy, which arrived in late 2025. Here is ‘Under My Sweater’ from that very release:
“The song just spilled out of me in an afternoon; it’s for the ethers now.” So says Hannah Cohen regarding “Golden Chain,” her first new song since last year’s Earthstar Mountain. It’s a minimal, almost spectral song that blurs together folk and retro pop in a way that reminds me of Faye Webster or Lana…
Today, German blackened death-doom band GREH release a new single titled “Summoning Aversion“. With ‘Summoning Aversion,’ we give you a first glimpse into our upcoming album, ‘The Tyranny of Expectations’ (Release: Early 2027), on which we are currently working. This time we’ve moved away from the doom influences, replacing them with black metal and atmospheric […]
The Birth of Deathrock: Christian Death Band History and Legacy
Exploring the Christian Death band history reveals the dark heart of the 1980s Los Angeles underground. Founded in 1979 by the visionary Rozz Williams, this group transformed punk rock into a haunting visual and sonic language that defined deathrock for generations.
When looking back at Christian Death band history, it is clear that the early years were defined by a relentlessly confrontational stance against conventional morality. By blending post-punk energy with macabre imagery, they carved out a niche that continues to influence the gothic aesthetic in 2026.
The Sonic Architecture of Christian Death Band History
The most influential chapter of Christian Death band history began when Rozz Williams was joined by Rikk Agnew, James McGearty, and George Belanger. This lineup produced the 1982 debut Only Theatre of Pain. Consequently, this album became the cornerstone of the American gothic scene, influencing bands like 45 Grave and Kommunity FK.
To understand the wider movement, one must look at the origins of deathrock. This genre flourished because artists like Williams were willing to experiment with religious symbolism. Furthermore, their presence on stage at legendary venues like the Hong Kong Cafe was more akin to performance art than a standard rock concert.
The Shift and Controversy
As Christian Death band history progressed, the lineup faced significant turmoil. Following the release of Ashes in 1985, Rozz Williams departed the group. Control shifted to Valor Kand, leading to a permanent divide in the fanbase. Despite these changes, the band achieved commercial success on the UK Independent Charts with singles like “Sick of Love” and “Church of No Return.”
Preserving the Legacy
Documenting the Christian Death band history is vital for the noir community. We are proud to support this history through the documentary Romeo’s Distress. You can read our detailed recap of the L.A. event here: Rozz Williams: Romeo’s Distress Documentary Recap.
Before the film’s release, there was immense anticipation within the scene. Catch up on the initial buzz in our documentary premiere announcement.
Modern Echoes: Edgar Allan Poets
The shadows cast by Christian Death band history continue to inspire new artists. If you appreciate the intersection of Hitchcockian suspense and Poe-inspired darkness, check out our music. We strive to carry that same torch of individuality and atmospheric depth.
Explore More
Style is temporary. Identity remains.
Explore the Noir Archive
Step deeper into the shadows. Discover more about our visual identity and gothic inspiration.
If you’re unfamiliar with Philly’s newest temple to metal and spirits—or even if you’re quite familiar—this weekend is the perfect time for a visit as we’re proud to be partnering with Doom bar as the official home base of Metal & Beer Fest 2026!
“Yes,” you say, “Yes! I need to be there! I’ve seen the giant letters of DOOM outside the building, and they have called me to this most metal of temples! But when should I go there?” An excellent question. Our personal recommendations are for the official pre-party on Friday, May 1 beginning at 7 pm; dinner before or after the fest on Saturday and Sunday (their kitchen is open until 1 am); and for the official after party Sunday evening.
With a menu that boasts some excellent renditions of bar favorites, as well as vegan options and a sauce for the spice enthusiasts (appropriately titled simply “Doom”), it’s the go-to for food before or after the show. While they feature a certifiably excellent beer list year round, for this particular weekend Doom has picked up exclusive beers and collabs with the heaviest of heavy hitters in the industry like 3 Floyds (including the Municipal Waste Pre-Party Pils collab!) as well as some extremely extreme newcomers like Requiem Bier. Have we mentioned their meticulously curated music, as well as their altar to spirits? Give the malort a try!
Located just over a mile from Fillmore, just outside of Center City, the location is perfect for your pre-party, dinner and after party needs, especially with the kitchen open until 1 am. Be there and be Doomed!
(written by Islander) Initially formed in 2012 as a studio-only black metal band, Arrogant Destruktor from Birmingham (UK) eventually expanded into a full line-up and have released three albums and a few shorter releases in the ensuing years. Since the release of their 2023 album Written in Blood from the Blade, they’ve enlisted a new […]
Hollywood Undead are back with a new track that sees them joining forces with none other than Jeris Johnson.
Titled ‘All My Friends’, it finds the collective diving even deeper into their roots with a savage, tongue-in-cheek and punishing piece of crossover destruction. From the throwbacks to their megahit ‘Everywhere I Go’ to Jeris pulling out the big melodies on the chorus, it’s a song that showcases everything that has made the band so unique and undeniable over the last two decades.
As much about fighting off the pressures of life as it is conquering everything that is in your path, it’s the sort of tune that gets the blood pumping.
It follows on from the release of the Slayer-sampling ‘1×1’, which arrived back in March:
The band will return to the UK this Summer, playing Download Festival. They join Limp Bizkit, Guns N’ Roses, Linkin Park, Halestorm, Architects, A Day To Remember, Feeder, The All-American Rejects, Scooter, Cavalera, Blood Incantation, Static-X and many MANY more.
It will be taking place between June 12-14 at the world-famous Donington Park. Tickets are available right now from right here.
Photos by Ossobuko Studio Asturias, Spain-based power trio GREEN DESERT WATER is back with a new album, Eerie Meadows, set for release on June 19th via small Stone Recordings. The record features eight immersive and […]
Toronto, ON — Martin Springett has released a deeply personal digital-only album, Friendship – Remembering Wayne Kozak, a heartfelt tribute to his late friend and collaborator Wayne Kozak. The album brings together a rich collection of material that reflects both their creative partnership and a sense of emotional remembrance, with one of Kozak’s own paintings serving as the visual backdrop—perfectly reinforcing the themes of memory, friendship, and artistic legacy.
Described by Springett as a “legacy album,” the project honors not only Kozak’s musical contributions but also the wider community of artists who helped bring the recordings to life. Contributors include Kevin Laliberte and Norm Macpherson, who provided production across the album, while Thomas Kinzel adds piano to “Sliver Of Silver” and “Rain On The Rooftops,” and Morry Stearns contributes electric piano on “Strange Kingdom.” The album also features bassists Drew Birston, Peter Dowse, and Sean Drabitt, along with vocal performances by Denise Withnell on “For A Moment” and Howie Vickberg on “The Only Son.”
Further deepening its reflective tone, the late Robbie King appears through an arrangement of a poem by Rudyard Kipling. Springett has expressed both pride and gratitude for the project, noting that an alternate subtitle—The Art of the Solo—captures the album’s intimate and contemplative nature, as well as its role in preserving Kozak’s enduring artistic spirit. A wide range of contributors appear across the album’s tracks, including Kevin Laliberte and Norm Macpherson, who provided production work throughout the project. Thomas Kinzel delivers piano on “Sliver Of Silver” and On The Rooftops,” while Morry Stearns adds shimmering electric piano on “Strange Kingdom.”
The album also features three bassists, Drew Birston, Peter Dowse, and Sean Drabitt, alongside vocalist Denise Withnell on “For A Moment” and Howie Vickberg on “The Only Son.” The late Robbie King is also featured for his arrangement of Springett’s setting of a Rudyard Kipling poem.
Track-list 1. The Only Son 09:37 2. Warm Blood 03:18 3. Caves and Cathedrails 03:18 4. Thieves And Poets 02:39 5. Tears at the Matinee 04:37 6. For a Moment 04:52 7. I Dream U 05:33 8. Moon of Madness 06:30 9. Sliver of Silver 04:57 10. Rain on the Rooftops 02:16 11. Tricksters 06:34 12. Strange Kingdom 04:49 13. Friendship (For Wayne) 04:32
About Martin Springett Martin is a Canadian musician and graphic artist best known as the creative force behind the progressive art rock project The Gardening Club. Renowned for his intricate guitar work and richly layered compositions, Springett blends elements of progressive rock, classical, and ambient music into a distinctive and atmospheric sound. Alongside his musical career, he has built a reputation as a talented illustrator and designer, contributing striking visual artwork that complements his recordings. His dual talents have made him a respected figure in both the music and visual arts
