Category: news

One week prior the release of The Harvest album, progressive black metal ensemble Ashen Horde offer in listening the third advance single titled “Apparition”.
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Death metal operatives Insidious Disease, featuring Dimmu Borgir and Napalm Death members, have completed tracking their upcoming third full-length effort. More info in due time.
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Bruce Dickinson joined Maiden at a crucial point in their career. We all know what happened next

Review: Skillet – ‘The Revolution Tour’ The O2 Academy Brixton, April 21st, 2026 Reviewer / Photographer – Phil Honley Just when this country is in need of a revolution, Memphis rockers Skillet bring their ‘Revolution Tour‘ to London. Up first we were treated to French trio Storm Orchestra from the underground Paris alternative scene. Consisting of singer and guitarist Maxime Goudara, […]

The post Skillet Brings ‘The Revolution Tour’ To The O2 Academy Brixton appeared first on ROCKPOSER DOT COM.

As we gazed into August skies

Time stood still as we said goodbye

You were the sound that would guide me home

On rainy summer’s nights 

There is something about seeing light in the dark that makes memory misbehave. A passing streetlamp, a blur of headlights, the glow of a city seen through glass at night — suddenly love, loss, and all the years you thought you had outrun come rushing back with their collars up and their hands in their pockets. That is the emotional weather running through Days Go By, the new song from Liverpool duo So, Reverie, where time keeps moving, the past keeps pressing its face to the window, and every bright smear against the black seems to carry another old, yet tender bruise.

And that ache feels earned. Andy Power and Cain Garcia come with the kind of backstory that has scuffed shoes, bad luck, and brotherhood all over it, and Days Go By carries that history in its bones. The song began as a vocal melody and a title left sitting in Power’s phone since 2020, which is exactly where half the best songs live before they find their moment. Years later, during a spell of unemployment and uneasy nights spent demoing after daytime job-hunting, the piece snapped into place around an open-tuned chord progression. Suddenly, the old words had wheels.

Produced with Rob Whiteley at Whitewood Recording Studio, Days Go By moves like a night bus tearing through wet Liverpool streets while somebody in the back is pretending they are fine. The guitars come rushing in with that 2000s indie-rock appetite, the drums kick the track forward, and Power sings like memory has its hands around his collar. You can hear The Cure’s romantic ache, New Order’s forward drive, Slowdive’s blurred horizon, Interpol’s black-suited precision, and Bloc Party’s city-bred adrenaline in the bloodstream, while newer kin like Bleach Lab, NewDad, HighSchool, Sunken, and DIIV hover nearby in the same rain-slicked district of post-punk, dreampop, jangle-pop, indie pop, indie rock, and shoegaze.

The song’s lyrics circle love as tide, weather, wreckage, and seasonal ritual, where change comes slowly, then all at once. Waves alter their shape in their own time; deep seas carry someone away; August skies hold the last heat of a goodbye before the leaves begin to fall. Days Go By understands that romance has seasons too: the bloom, the burn, the long wet summer night, the autumn reckoning. Distance becomes vast and salt-stung, while dreams gather around a love that keeps returning after the door has shut. This is not clean heartbreak. It is the bittersweet afterlife of attachment, the part where the mind keeps holding séances with the past as time insists on moving forward.

“Days Go By is a tune we set out to create with a slightly different feel to our other tracks,” says Power. The difference shows. The gauzy pull of Close My Eyes and Runaway remains, but here it gets shoved into sharper motion, turning nostalgia into a dare with headlights on it.

Laurie Clapson’s Hi8 video knows exactly where this song lives: city lights sliding through blackness, blur, motion, faces, and feeling half-caught by tape hiss and time. Liverpool becomes less backdrop than bloodstream, a place where friendship, frustration, invention, and ambition move under sodium lamps, still looking for the next open road.

Watch the video for “Days Go By” below:

Since forming in 2023, So, Reverie have already found support through BBC Introducing North-West, shared stages with HighSchool, Bleach Lab, GIFT, and Heartworms, and sold out The Kazimier Stockroom. Days Go By, out 24 April 2026, suggests their forthcoming six-track debut EP may be where the duo turn private persistence into public velocity: two friends, six strings, drums, and a city’s worth of lights moving faster than regret.

Follow So, Reverie:

• Instagram
• Bandcamp
• TikTok
• Spotify
• Apple Music

The post “Time Stood Still as We Said Goodbye” — Liverpool’s So, Reverie Shares Video for Wistful Indie Rock Anthem “Days Go By” appeared first on Post-Punk.com.

The post appeared first on INFRARED MAGAZINE.

Hardcore veterans from New York, Agnostic Front, will be heading out to Europe in the midst of the upcoming summer for to perform at several festivals as well as select club shows.
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Veteran NYC streetmetallers Spread Eagle have released their official music video for ‘Flat Earth Vultures’ from the new album ‘The Brutal Divine’. The album will be released on June 12th via Frontiers Music, with pre-orders available now. To support the release, Spread Eagle are embarking on ‘The Brutal Divine 2026 Tour’ throughout USA, EU and […]

The post Spread Eagle Releases ‘Flat Earth Vultures’ Video appeared first on ROCKPOSER DOT COM.

Nashville, Tennessee-based blackened deathcore quintet Ov Ruin premiere a new single and music video named "A Throne of Nothing", streaming via YouTube and Spotify for you now below. Read More/Discuss on Metal Underground.com

In dir valorn betten si Woid und Föd
ei in de Dunkelheit von deina Wöt

Night has a way of making the world feel newly enchanted and newly dangerous. The familiar road, the old woods, the edge of town, the last little smear of light over the horizon: all of it begins to shift once the first star appears. For Brånd, the Upper Austrian weird/post-black metal project from Linz, that hour becomes a threshold on “Da Erste Stern,” the second single from the forthcoming debut full-length Tåg & Nåcht.

Started in 2015 as the solo project of Vritra, also of Kringa and Weathered Crest, Brånd began as a way to escape perfection and prescribed boundaries. Over the last decade, the project has wandered from crude black metal to lo-fi ambient, from ferocious post-punk to psych downer rock, with split releases alongside underground acts such as Absolute Key, Calvary, and Rosa Nebel. Now joined by other musicians to push old and new ideas further, Brånd’s first full-length has grown out of 4-track demos collected over the years, expanding the project’s raw beginnings into something far more richly arranged.

“Da Erste Stern” opens with a fuzzy bass throb, glowing key sighs, and bell-like chimes, setting a tone that feels somber, romantic, and faintly ceremonial. It has the feeling of entering some candle-lit inner chamber, or stumbling into an elven forest where the moss gives off its own private light. There is also something of the wide-open rural night in it, the kind of night with little light pollution, where the Milky Way seems to breathe across the black veil above the fields.

The song takes its time before fully revealing itself. When the guitars arrive, they cascade rather than merely crash, carrying a shudder of old German punk and post-punk through the track’s more sacred, ritualistic mood. The vocals scrape and declaim, but their abrasion is softened by the song’s strange devotional pull, with layered harmonies pushing the piece toward something communal and spellbound. Somewhere in the mix, one can hear echoes of The Cure around the Faith era, a bit of Lowlife’s romantic gloom, the stern punk ache of EA80, old prog rock, krautrock, and a pagan folk-metal instinct that recalls Isengard.

That may sound like too many ingredients for one cauldron, but Brånd makes it feel weirdly natural.

The video for “Da Erste Stern,” filmed in a hazy blue wash, deepens the song’s nocturnal spell. It opens with a crescent moon glimpsed through bare branches, as if the camera has found a secret aperture into the night. From there, the imagery moves between blurred lights, wooded darkness, candlelit interiors, and spectral performance footage. The band appears kaleidoscopic through fog and soft focus, surrounded by amplifiers, candles, framed pictures, and an almost chapel-like haze. At times, the performers look less like a band playing in a room than figures caught in some private rite, their instruments and microphones half-swallowed by cobalt mist and small red points of light.

There are images of branches, reflections, stone steps, glowing walls, and what appears to be a miniature gothic landscape, with wrought-iron forms and a purple-blue sky looming behind them. The camera lingers on hands, strings, faces, and smoke until the border between outdoor night and indoor ritual begins to dissolve. Everything seems damp, blurred, and enchanted, like a memory of a show played in a forest shrine after midnight. It is a fitting visual companion to a song that treats darkness as both a landscape and a state of mind.

Watch the video for “Da Erste Stern” below:

Brånd’s Tåg & Nåcht is out May 29, 2026, via AVANT! Records, with Tour De Garde handling the US/CA split release.

Listen to  “Da Erste Stern” below and pre-order and pre-save Tåg & Nåcht here.

Follow Brånd:

• Official Website
• Bandcamp
• Spotify
• YouTube

The post Into the Darkness — Linz Austria’s Brånd Burns Like Starfire in Video for “Da Erste Stern” appeared first on Post-Punk.com.