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  • Seattle’s Ghosts In The Graveyard Shares Video for Goth Rock Cover of The Afghan Whigs’ “Debonair”

    Feel it now and don’t resistThis time the anger’s better than the kissI must admit when so inclinedI tend to lose it than confront my mind

    Some songs that become so closely associated with their original performers that covering them feels a little like borrowing somebody else’s leather jacket. You might fit into it, you might even look terrific, but everybody remembers who wore it first. The Afghan Whigs’ Debonair is one of those numbers, loaded with Greg Dulli’s particular combination of seduction, self-disgust, and barely concealed bad intentions. Seattle’s Ghosts in the Graveyard approach it with enough confidence to make the jacket theirs.

    There is also something pleasantly strange about hearing an Afghan Whigs song pulled toward deathrock. The original already had danger baked into its bones, so the transformation feels less like genre tourism than discovering that two people from different neighborhoods have been drinking at the same questionable bar for years.

    The band gives Debonair a harder goth-rock frame, pushing the guitars forward while electronic accents gather around the edges. Byron C. Miller sings with the dramatic authority the material requires, leaning into the song’s appetite for trouble without treating Dulli’s original performance as sacred text. Paul Morgan’s guitar work supplies much of the momentum, moving between muscular chords and sharper details while the arrangement maintains the nightclub immediacy that has become central to Ghosts in the Graveyard.

    That relationship becomes clearer in the accompanying video, directed and edited by Miller and shot by cinematographer Ryan Purcell. The band performs inside a small club surrounded by an enthusiastic audience, with the camera catching bodies pressed toward the stage and musicians feeding off the room. Rather than turning the performance into an elaborate visual concept, the clip concentrates on physical proximity and the chemistry between band and crowd. It gives Debonair the slightly dangerous communal charge that rock music tends to acquire when there are fewer than six feet between the singer and somebody holding a beer.

    Watch the video for Debonair below:

    The cover will close Ghosts in the Graveyard’s forthcoming Monsters for the Masses: Resurrected, due this October through Re:Mission Entertainment. The record revisits the band’s 2016 album for its tenth anniversary, rebuilding the material from the ground up following the expanded reach of 2025’s Absolute Death. With Miller joined by Morgan, keyboardist Kaylie Cortez, and vocalist Shelly Smith, the current lineup has developed into a formidable live unit, something the Debonair video makes immediately apparent.

    Choosing this song as the album’s final word makes sense. Debonair has always sounded like somebody smiling while making several decisions they will regret tomorrow morning. Ghosts in the Graveyard preserve the song’s wicked little grin, then surround it with bigger guitars, gothic drama, and the welcome possibility that someone in the front row may lose a shoe.

    Listen to Debonair below and order the single here.

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    The post Seattle’s Ghosts In The Graveyard Shares Video for Goth Rock Cover of The Afghan Whigs’ “Debonair” appeared first on Post-Punk.com.

  • San Diego Coldwave Act Mercury Girl Dives Deep in Cathartic Single “Low Altitude”

    Somewhere along the line, coldwave became frighteningly good at keeping its shirt tucked in. The drum machines behave, the bass sits precisely where expected, everyone owns an appropriate black coat, and occasionally you begin wondering whether an entire subculture has been sentenced to spend eternity posing beside the same concrete wall. Then along comes Mercury Girl with Low Altitude, sounding sufficiently nervous to remind you that this music once existed because somebody had something eating at them.

    Mercury Girl is the project of Filipino American San Diego musician Aaron Pena, whose debut album, A NuTone, arrives October 10. Low Altitude is its first single, and anxiety is practically another instrument in the arrangement. The drum machine keeps clipping forward at odd little angles while synth lines twitch overhead, creating the sensation of machinery functioning perfectly while its operator quietly considers pulling the emergency brake.

    Then there is that bassline, lofty and strangely buoyant beneath Pena’s dissonant vocal, which seems emotionally several rooms removed from the comparatively hopeful chords surrounding it. A guitar eventually climbs through the arrangement with considerably more grandeur, briefly opening the ceiling before everything settles again into the song’s peculiar state of suspended agitation.

    Black Marble, Harsh Symmetry, Molchat Doma, and Oppenheimer Analysis provide obvious relational coordinates, yet Pena understands the essential reason those records work: electronics can be emotionally merciless precisely because machines have no obligation to console anybody. Put a vulnerable voice beside a rigid drum pattern and suddenly every beat sounds like another second you have survived.

    “This song reflects on a breakthrough I had when coming to terms with my depression,” says Pena. “I wanted to write a song capturing the internal isolation I’ve felt within me for a long time while echoing the catharsis I had after fully acknowledging it.”

    Which could have produced a painfully earnest five-minute therapy session set to synthesizers, an occupational hazard of anybody writing openly about their own head. Pena has enough musical sense to leave the feelings inside the machinery, where they become stranger and more useful. Low Altitude carries its emotional trouble through repetition, distance, and those unexpectedly optimistic chords, suggesting the peculiar moment when understanding yourself provides relief without magically solving anything.

    Listen to Low Altitude below and order the single here.

    Recorded at home in San Diego, A NuTone will expand upon Pena’s experiences with depression, isolation, love, and the difficult business of accepting affection when your own brain occasionally argues against the proposition. Low Altitude makes an excellent introduction because beneath all those cold machines sits an old rock-and-roll problem with a very human soul, trying to figure out how to live inside himself.

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    The post San Diego Coldwave Act Mercury Girl Dives Deep in Cathartic Single “Low Altitude” appeared first on Post-Punk.com.

  • Fer De Lance – Two New Songs Online

    Epic heavy metal bangers Fer De Lance have shared a new special release in honor of Bandcamp Friday. The two-song package includes a cover of Savatage‘s classic “Hall Of The Mountain King”, from their 1987 album of the same name. This cover and the first track, “The Throne Room Of The Dovre-King”, are both taken from the sessions for last year’s Fires On The Mountainside. Proceeds from the release will fund the band’s upcoming “Ravens at Midnight” tour, which will take them and Midnight Force across Germany for six shows in September.
    Read more…

  • “Recognizing Signs” — YZBL Descends Into the Dungeon for Video “Patterns”

    Chasing patterns
    Warnings and the like
    Recognizing signs
    You can see them too 

    Some records are best understood by the room they create around you. Hermaphrodite, the new album from Phoenix industrial artist YZBL, turns that room into a place where the walls feel close, the floor seems unstable, and every beat lands with the private force of a thought you would rather keep buried. YZBL, pronounced “Jezebel,” has carried some of this physicality since her time in industrial goth trio Tassel, yet the music here feels newly concentrated, as though every spare element has been pulled toward one central question: who gets to decide what a body means?

    The album’s third single, “Patterns,” brings dub and trip-hop deeper into YZBL’s industrial vocabulary. The beat moves with a narcotic drag, leaving enough empty space for the low end to feel enormous, while the heavier passages suggest Godflesh filtered through the nocturnal unease of Tricky. There is also a funereal beauty in the surrounding textures that brings This Mortal Coil to mind, especially in the way density and delicacy can occupy the same few seconds without smoothing each other out.

    Where others might find only pain in dysphoria, YZBL finds a kind of power. Androgyny and hermaphroditism are words the artist reclaims deliberately. Her interest is not in a body that is read by others, but about a life built apart from those readings entirely

    Across Hermaphrodite, dysphoria runs alongside a hard-won sense of power. YZBL treats androgyny and hermaphroditism as reclaimed language, terms used to clear space away from the gaze of people eager to classify the body. Her writing approaches identity with the bodily directness of Kathy Acker: intimate, confrontational, occasionally ugly by design, and alert to the violence hidden inside ordinary categories. The record’s minimal rhythms give those ideas room to breathe, while drones and thick guitar weight make the questions feel physical rather than academic.

    The album’s core ultimately challenges the binary, not only externally imposed but also internalized by the artist. “I am most transphobic towards myself,” they controversially say, describing a lifelong war fought against the idea that “difference” is wrong.

    That physical unease reaches its sharpest visual form in the black-and-white video for Patterns,” made by YZBL and Ash Barrett. The camera finds her in a dark, abandoned, dungeon-like space, lit by a single bulb as she scratches marks into the surface around her. The imagery carries the raw panic of The Blair Witch Project, but its performance-art severity belongs to YZBL’s own world: part confinement, part self-documentation, part evidence left behind.

    Watch the video for Patterns below:

    Hermaphrodite‘s force comes from the solidarity underneath all that weight. YZBL writes from a place where no assigned category, chosen identity, or outside reading can fully contain a person. By turning that uncertainty into rhythm, pressure, and language, she makes ambiguity feel less like a void than a territory worth defending. Existing on your own terms becomes a form of possession: of the body, of the room, and finally of the name you choose to answer to.

    Out now through Lana Del Rabies’ Feral Crone Recordings, the album makes its title part of the argument. The word is intentionally loaded, reclaimed, and held up as a declaration of life beyond somebody else’s categories.

    Listen to Patterns below, and order Hermaphrodite here

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    The post “Recognizing Signs” — YZBL Descends Into the Dungeon for Video “Patterns” appeared first on Post-Punk.com.

  • Judicator – Releasing 3-Song EP In September

    To celebrate the return of founding guitarist Alicia Cordisco, US power metal battalion Judicator will release a new three-song EP, The Elector. The EP will be released on 4 September 2026 and will be the first Judicator release to feature Cordisco since 2020’s Let There Be Nothing. In addition to the new song “The Elector”, the EP features a re-recording of “Gloria” from Let There Be Nothing and a cover of ABBA‘s “Dancing Queen”. The artwork can be viewed below.
    Read more…

  • Readers’ Pick: GA-20 with Charlie Musselwhite – BLUES NOW

    You picked GA-20 with Charlie Musselwhite – BLUES NOW as your favorite new release for the week of July 31, 2026.

  • HEAVY AUSTRALIAN CONTENT DIGIMAG #277

    VIEW HEAVY AUSTRALIAN CONTENT DIGIMAG #277 HERE VIEW HEAVY AUSTRALIAN CONTENT DIGIMAG #277 HERE

  • YOB, Anaal Nathrakh, Benighted, Exumer, Etc. Added To 2027 ‘Maryland Deathfest’

    Yet another wave of bands have been announced.

    The post YOB, Anaal Nathrakh, Benighted, Exumer, Etc. Added To 2027 ‘Maryland Deathfest’ appeared first on Theprp.com.

  • Small Name, Big Noise With JESSE ATTARD From RUNT

    Brisbane has a fiercely proud history of producing world-class rock performers, with the production line rolling out yet another slab of excellence to continue the momentum. The newest addition is Runt, a powerhouse four-piece alternative rock and grunge outfit that refuses to play by the rules. Describing their massive sound as having an “underdog chip […]

  • Mercyful Fate, Electric Callboy, Motionless In White, Acid Bath, Etc. Booked For 2027 ‘Bloodstock Open Air’

    Plus Green Lung, Children Of Bodom, Imminence and more.

    The post Mercyful Fate, Electric Callboy, Motionless In White, Acid Bath, Etc. Booked For 2027 ‘Bloodstock Open Air’ appeared first on Theprp.com.