In recent years the UK duo Bassvictim have been turning heads for their disconcerting behavior and their extremely likable throwbacks to the electronic pop of the “indie sleaze” era, however you want to define that. Normally, they make extremely catchy, hard-hitting dance-pop tracks that remind me of Crystal Castles, the Go! Team, CSS, the Knife,…
The post Bassvictim’s New <em>?</em> EP Rules appeared first on Stereogum.
As Eero Sipilä told us later, “it was one of those ‘I was there to witness it’ moments” — and he wasn’t kidding.
The room wasn’t packed — Tuesday nights rarely are — but you wouldn’t have known it from the atmosphere. From the second the Finns hit the stage with “Straight to the Heart,” it was pure ignition. The chemistry between Marina and Eero was instant — playful, natural, and brimming with confidence. Whatever first-night nerves there might’ve been were buried beneath a tidal wave of soaring songs, riffs and pure adrenaline.
Dressed in sleek black with a gladiator-style skirt, Marina strode the stage with a commanding gaze that could melt steel, by the end of the night Marina owned that stage like she’d been born to front Battle Beast. Her voice soared through “Master of Illusion” and “No More Hollywood Endings” — equal parts power and precision — while Joona Björkroth’s solos sliced through the mix with his signature melodic punch. Behind them, Pyry Vikki drove the rhythm like a freight train, Janne Björkroth painted it all with rampant keytar, and Juuso Soinio locked it down with a grin that never faded. Every one of them looked like they’d been waiting years for this — their moment to finally connect with Aussie fans face to face.
By the time the set hit “Eye of the Storm” and “Blood of Heroes,” fists were in the air and voices were tearing through the choruses. The band looked visibly moved — it wasn’t just another stop on a tour; it was something personal.
Then came the knockout punch — the one-two of “Twilight Cabaret” into “Bastard Son of Odin.” Two sides of Battle Beast in perfect balance: theatrical flair meeting thunderous metal power. I couldn’t take my eyes off them. It was electrifying, bold, and utterly captivating.
From there, the night only climbed higher — “Angel of Midnight,” “Eden,” “King for a Day,” and that euphoric closer “Wings of Light.” Every song felt like a victory lap for a band reborn, every chorus a rallying cry to all who were here to witness it.
When the final notes faded and they took their bows, after a ‘half-shoey’ by Eero and Janne, it was clear we’d all just been part of something extraordinary. First show for Marina, first show in Australia — and somehow, incredibly, everything clicked. You could see it written across every smiling face in the room: this was perfect.
If the rest of Australia values their metal pedigree, they’d be foolhardy to miss what’s coming their way. Battle Beast didn’t just blow the roof off Magnet House — they ushered in a new chapter with fire, finesse, and a frontwoman who was made for this. Tonight was special. The dawn of a new era. And yes — we were there to witness it.
The post LIVE REVIEW: Battle Beast – Magnet House, Perth – March 10th, 2026 appeared first on The Rockpit.
Danalogue is Dan Leavers, the London-based synth player known for his time in the cosmic experimental jazz band The Comet Is Coming and as one half of the electronic psych jazz duo Soccer96. He’s just announced his debut solo album Teleportations, set for release at the end of May, and shared its lead single “Far…
The post The Comet Is Coming’s Danalogue Announces Debut Solo Album <em>Teleportations</em>: Hear “Far Beyond The Sun” appeared first on Stereogum.
Rich popular girl
Villain mode
Jazz in the background
Chillin’ after work
Kim Gordon has spent so many decades sounding cooler than the rest of us ever will that by now it feels less like a career and more like a permanent weather system. On her latest single, PLAY ME, she strolls in again with that dry-eyed stare, lights a cigarette somewhere in the listener’s imagination, and lets the room rearrange itself around the beat. The track rides in on heavy bass, 70s-style horn stabs, and an early 90s trip-hop drag that feels loose in the hips and sharp in the teeth.
The title track from the upcoming album understands something a lot of pop music has forgotten while busy polishing its manicure: rhythm can carry attitude better than a thousand guitar heroics. Gordon has always known how to lean into a line until it starts giving off heat, and here her signature sprechstimme glides over the groove with sly control. The lyrics set up a whole little cinema of suggestion and style, full of dim rooms, spring fever, roleplay cool, and the kind of girl who sounds like she’d break your heart, borrow your leather jacket, and leave you feeling strangely grateful for the experience.
That’s where the fun lives. PLAY ME has a pulse shaped for movement, but it also smirks at the whole business of desire, image, youth, and pose. There’s wit in the way it tosses around its references, from hippie ease to after-school daydreams to jazz-on-in-the-background nonchalance, like Gordon is thumbing through American-style debris and finding fresh lipstick marks on all of it. Even the title feels like a dare, a pickup line, and a mild threat.
Directed by Barney Clay, the video unfolds as a series of surveillance-style vignettes set inside a shopping mall, moving from Gordon playing her own version of Where’s Waldo to everyday shoppers drifting up and down escalators, dutifully carrying on with their routines.
Watch PLAY ME below:
The larger record sounds promising for the same reason this track lands so cleanly. Gordon says, “We wanted the songs to be short. We wanted to do it really fast. It’s more focused, and maybe more confident. I always kind of work off of rhythms, and I knew I wanted it to be even more beat-oriented than the last one. Justin really gets my voice and my lyrics and he understands how I work—that came forth even more on this record.” Good. That speed shows. So does the nerve.
If PLAY ME is about the billionaire death-rattle, algorithmic culture slop, and the slow public humiliation of modern civilization, Gordon has chosen the funniest possible way to deliver the news: with a beat you can move to while the empire fumbles for its car keys.
Listen to PLAY ME below. You can pre-order the album here.
Tour Dates:
Follow Kim Gordon:
The post Kim Gordon Is Surveilled in a Shopping Mall in Video for “PLAY ME” appeared first on Post-Punk.com.
With Forever War & Freeze Out at select shows.
The post Combust & Fools Game Reveal Spring U.S. Tour appeared first on Theprp.com.
Taking place around thrown’s run with In Flames, Distant & Upon Stone.
The post Thrown Reveal Spring U.S. Headlining Shows With Mugshot, Vomit Forth & Your Spirit Dies appeared first on Theprp.com.
Thrash legends thank fans for record-breaking demand for their Las Vegas Sphere run, but say no additional shows are planned – for now.
The post METALLICA Address Ticket Chaos After Life Burns Faster Sphere Residency Sells Out, Won't Rule Out More Shows appeared first on Metal Injection.