Good Day Noir Family,
Carel Brouwers opens “The Shape She Takes” with the delicate chime of a music box, and that choice sets a mysterious tone.

The Shape She Takes is Carel Brouwers’ Single Out Now

The ticking of a clock joins in, and suddenly the scene resembles a Tim Burton film suspended between fantasy and unease.

The atmosphere doesn’t rush; it lingers, inviting the listener into a dimly lit corridor where every detail matters.

Then the voice enters, carrying a theatrical and slightly nostalgic cadence. It moves with intention, almost like a character stepping onto a stage under a single spotlight. There’s a noir and spooky edge to the delivery; it feels as though London fog is curling around your shoulders while a strange story unfolds. The phrasing is deliberate, and the emotional tone remains controlled without losing intensity.

Brouwers demonstrates that he knows exactly what he wants to express. His musical identity comes through clearly, blending art-rock sensibility with a dramatic flair that recalls the creative spirit of Bowie. The song never turns into an imitation. It channels that adventurous mindset into something personal and distinctive. The composition evolves gradually, and each section adds another layer of intrigue.

At certain moments, the track could easily belong in a Broadway theatrical production. The pacing feels cinematic, yet it retains intimacy. The richness of the arrangements reveals uncommon compositional skill. Subtle brass accents appear sporadically, adding color without overwhelming the structure. Those details enhance the narrative dimension of the piece, strengthening its dark elegance.

The progression remains engaging throughout, and the interplay between instrumentation and vocal delivery sustains tension. Even when the melody softens, the underlying pulse keeps the story alive. As the song unfolds, it becomes clear that Brouwers is not chasing trends; he is building a world. That world feels cohesive, imaginative, and emotionally resonant.

“The Shape She Takes” stands as a refined and immersive single. Carel Brouwers proves himself an artist with vision, capable of stirring the imagination through careful arrangement and expressive performance. It’s a beautiful track that I wholeheartedly recommend.

The Shape She Takes is Carel Brouwers‘ Single Out Now!

Enigmatic!

Carel Brouwers is a Dutch singer-songwriter and composer blending art pop with cinematic textures and reflective storytelling. Inspired by classical masters like Bach and Mozart, alongside visionaries such as David Bowie and Ennio Morricone, he shapes music where structure meets atmosphere.

Working from North Holland, he builds layered arrangements that keep melody and narrative at the forefront. Whether intimate or expansive, his songs balance intellect and emotion, aiming for resonance over spectacle.

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Good Day Noir Family,
Omega Train’s You Were There doesn’t ease into motion; it charges forward with intent and grit.

You Were There is Omega Train’s Album Out Now

 “Ride or Die” opens like a locomotive barreling down the tracks, and once the rhythm kicks in, you’re hit by a surge of classic rock energy.

The sound is direct and powerful; it never feels careless. In particular, the drums grabbed my attention immediately, thanks to their intricate passages and dynamic shifts. They drive the song with precision while still leaving space for the guitars to roar.

Then “Hero (Save The Day)” shifts the mood. At first, the rhythm carries an almost tribal pulse; however, the arrival of the acoustic guitar changes the landscape, introducing a renegade spirit that feels rustic and rebellious. The vocal performance stands out here. The delivery is decisive and inspired, and the clear timbre cuts cleanly through the mix. The chorus lands with conviction rather than excess.

With “Endless Possibilities,” the band leans into freedom. This is the kind of track that makes you want to grab the car keys and disappear down endless American highways. The addition of a female vocal adds welcome contrast, expanding the tonal palette. The background vocals elevate the chorus and turn the track into a true anthem. It’s a folk-rock gem that balances heart and drive without overcomplicating the arrangement.

One of the album’s emotional high points arrives with “Hero, Too.” The interpretation is passionate, and the lyrics run deep, reaching straight into the listener. Notably, Omega Train never sounds like they are pretending. Their music feels honest and unfiltered. The layered harmonies amplify the message, and the reverb-soaked guitar solo stretches outward, giving the song a sense of open space and reflection.

The title track “You Were There” closes the album with grace. A beautiful arpeggio introduces the song, and then the Hammond organ steps in, adding a vintage glow. The ballad carries shades of Lynyrd Skynyrd, while the chorus hints at gospel influences. Those classic rock roots are emphasized by solid production and sincere, straightforward sonics.

In the end, You Were There stands as a timeless collection of songs rooted in authenticity and heart. I highly recommend it.

You Were There is Omega Train’s Album Out Now!

Real!

OMEGA TRAIN is an indie rock band from New Jersey delivering what they call Suburban Apocalypse Blues—raw, hook-driven anthems for the last generation of underdogs. Their sound feels like KISS colliding with Lynyrd Skynyrd at a backyard barbecue, blending southern grit with streetwise attitude.

Fronted by Cobra on vocals and powered by the Outlaw on lead guitar, the band fuses hard folk, southern rock gospel, walking bass lines, and punchy percussion into a high-voltage, genre-bending ride. Emotional yet rebellious, ironic yet heartfelt, OMEGA TRAIN heads straight for the listener’s core.

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Posted on March 2nd 2026, 1:03p.m.

Good Day Noir Family,
DOPAMINE FIX hit hard with “REAL,” locking into an industrial groove that hooks you right away.

REAL is DOPAMINE FIX’s Single Out Now

 The bass stands firm and self-assured, anchoring the track with a thick, confident pulse. At the same time, sharp rhythmic textures slice through the mix, giving the song a metallic edge.

The result is immediate immersion, yet it never feels chaotic.

There is a clear 90s undercurrent running through the track. Hints of The Cure surface in the darker tonal shades and moody atmosphere. However, the electronic backbone and structured tension recall Depeche Mode’s colder aesthetic. These influences hover in the background, but DOPAMINE FIX reshape them with modern production clarity. The song feels nostalgic and current in equal measure.

The groove operates almost like a hypnotic loop. Even though the beat remains steady, subtle variations in texture keep the momentum alive. The track carries an infectious quality. The rhythm encourages movement, while the layered synth elements deepen the nocturnal tone. There is something dystopian in its atmosphere, a sense of urban isolation that contrasts with the physical pull of the beat.

Vocally, the delivery adds another dimension. There is a slightly oracular quality in the tone, as if the lyrics are delivered from a distant yet observant presence. The voice does not dominate the instrumentation; instead, it rides the groove with measured intensity. Because of this balance, the emotional core of the track stays intact without overwhelming the industrial framework.

When the kick drum intensifies and the low frequencies fully engage, the track shifts into a more cathartic register. The physical impact becomes undeniable. Each sonic element occupies its space with clarity, and nothing feels excessive. The production highlights the careful attention to detail in the layering of synths and percussion.

“REAL” thrives on tension and restraint. It embraces dark, nocturnal energy while maintaining rhythmic accessibility. DOPAMINE FIX demonstrate control over mood and structure, blending industrial drive with alternative sensibility.

REAL is DOPAMINE FIX’s Single Out Now!

Nocturnal!

DOPAMINE FIX are Aidan Macnamara (Voice, Guitars) Eoin Devereux (Synths). In the words of the their manifesto “With a nod to the Dadaists, we create Post Punk, Experimental and Electronica which aims to unnerve, to disturb and to question.”

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On Saturday night, February 21, 2026, Primarius Brewery in Heinzelova street hosted the third volume of war metal brutality. The underground metal gig brought together three local acts — Attitudes to Human Extinction, Proklet, and Zlobnik — each delivering a distinct interpretation of extreme metal.

The crowd packed in early, and from the start the atmosphere was promising.

Attitudes to Human Extinction — Controlled Chaos Done Right

Attitudes to Human Extinction opened the show with an explosion of energy. From the start, it was obvious the band came prepared — tight, technically skilled, and fully committed. Their set felt massive and intense, almost bombastic at times, and watching them perform was an experience in itself.

The band’s technical ability really stood out. Complex riffs, fast transitions, and demanding arrangements were executed with confidence, creating a powerful wall of sound. Their new bassist and drummer especially caught attention, both showing serious skill and adding fresh energy to the band’s dynamic. Meanwhile, Ivan Osrečak continued to prove why he’s such a strong frontman, holding the audience’s focus with confident stage presence throughout the set.

That said, their ambition occasionally worked against them. While impressive, some moments felt slightly overcrowded musically — so many ideas happening at once that the impact got a bit lost. Still, as an opening act, they absolutely delivered and set the tone for the night.

Proklet — Simplicity That Hits Hardest

If Attitudes impressed through complexity, Proklet won the crowd through simplicity — and easily became the highlight of the evening.

Their sound was raw, direct, and honest. Unlike the layered technicality of the previous band, Proklet leaned into minimalism, and it worked perfectly. Every riff felt purposeful, every transition natural. There was a sense of musical instinct and authenticity that connected immediately with the audience.

Frontman Andrej dominated the stage with a huge presence, effortlessly commanding attention without needing excessive theatrics. The band carried a feeling of pure musical spirit.

Guitarist and bassist Zimorog both delivered phenomenal performances. With only one guitarist in the lineup, their playing had extra responsibility, and they handled it brilliantly. The absence of a second guitar actually made their musicianship stand out more, allowing riffs and bass lines to breathe and fully hit the audience.

Proklet didn’t rely on complexity to impress — they relied on feeling, and that made all the difference.

Zlobnik — Strong Musicians, Missing Spark

Closing the night, Zlobnik stepped on stage with the promise of blending black and death metal elements, seemingly aiming to combine the technical strength of Attitudes with the raw aggression of Proklet.

Technically speaking, they were solid. The band played well, the instrumentation was tight, and the lead vocalist delivered powerful harsh vocals. One unexpected clean vocal section appeared midway through the set and actually worked as a refreshing moment, briefly changing the atmosphere and showing another side of the band.

However, compared to the previous performances, something felt missing. Despite their skill, much of the set sounded musically uninspired, lacking memorable moments that could truly grab the crowd. The biggest issue was stage presence — noticeably static and somewhat dull, which made the closing performance feel less impactful than expected.

They were good musicians, but the performance never fully came alive.

One of the night’s biggest positive surprises was the sound quality. The sound engineer did an excellent job, and it was clear that the live sound at Primarius has improved significantly. Even during the heaviest and fastest sections, instruments stayed clear and balanced — something not always guaranteed at smaller venues.

The overall vibe was great: friendly crowd, strong turnout, and excellent beer keeping everyone in good spirits. If there was one odd choice, it was the lighting. Green stage lights dominated much of the evening, which felt slightly out of place for black and death metal aesthetics — darker or colder tones might have suited the atmosphere better.

With strong performances, improved sound, and a packed venue, this gig at Primarius Brewery felt like a small but important reminder — Zagreb’s underground metal scene is loud, passionate, and far from slowing down.

Death Knocks isn’t the most extreme album out there, but it straddles the metal boundary more than enough to earn a spot here. While I hadn’t heard of Hoaxed before, their new release caught my eye through its album art and its impressive lead single, “Where the Seas Fall Silent.” This three-piece from Portland plays metal-edged occult rock that aims for an eerie atmosphere as much as for melodic gems. Simple and concise, Death Knocks isn’t revolutionary, but it’s a worthwhile half-hour coven excursion.

Hoaxed plays a familiar brand of bass-heavy, mid-paced doomy rock. In contrast with much of the genre, Hoaxed’s guitars might be the most understated part of their sound. Alternating between more aggressive riffs that recall Sumerlands and sparser melodies, Kat Keo’s guitar work is simple but tinged with evil. New bassist April Dimmick (Soul Grinder) brings her thrash experience to bear with aggressive thumping bass lines that often steal the show. Keo also handles lead clean vocals, while Dimmick alternates between clean harmonizing and harsh growls. These vocal melodies serve as a backbone, offering straightforward but engaging hooks to hold songs together. Rounded out by occasional synth backing, Death Knocks’ style of Gothic rock reminds me of Avatarium or a slowed-down Unto Others. It’s not an unheard-of style, but it’s one that works.

Death Knocks revels in its simplicity. Keo and Dimmick’s vocal work shines through its power rather than any technical gymnastics. The catchy melodies grab my attention throughout, even when other pieces falter; for instance, the rising and falling vocals of “Kill Switch” single-handedly redeem a track that struggles otherwise. Keo’s serene vocal approach sometimes reminds me of Myrkur’s folkier work (“The Fallen”). Similarly, Dimmick’s vocal harmonies aren’t earth-shattering, but they add a layer of depth throughout the album. Meanwhile, her bass riffs don’t hesitate to take center stage, adding oomph and variety (“Wretched”). But the real star of this show might be the drums. Kim Coffel’s tom-heavy and hi-hat-heavy kit attack displays a mastery of groove and creativity without feigning a technical clinic. The drums evolve constantly both within verses and between them, adding fluidity even in melodically simple moments (“Dead Ringer”). Coupled with a rich sound, Death Knocks’ drums are the most memorable part of the album, which I rarely ever say.

Straightforward songs are Hoaxed’s strength, but they can get old. Death Knocks’ song structures are cookie-cutter, with verses and choruses interspersed with instrumental interludes. While this poppy approach can work fine, it quickly loses me when the underlying melodies aren’t bulletproof (“Promised to Me”). Similarly, Hoaxed struggles to have creative outros even on their stronger tracks (“The Fallen”), making it seem like they came up with great ideas but weren’t sure how to stitch them together. Keo’s guitar melodies stand out on the opener “Where the Seas Fall Silent” and the fantastic “The Family,” but in the middle of the album, they tend to lose my interest through repetition. Death Knocks is consistently competent, but would benefit from more variety in its songwriting.

It’d be tough to argue that Death Knocks rewrites the book on anything. But with catchy vocal harmonies, engaging guitar and bass lines, and a stand-out drum performance, it’s a worthy addition to your collection. Death Knocks is also a triumph of conciseness; if this album had been 50 minutes long rather than 31, the bloat would have made it more of a chore to get through. As it stands, while Hoaxed has room to grow in their musical diversity, Death Knocks is a perfectly entertaining and ghoulish listen.

Rating: 3.0/5.0
DR: N/A | Format Reviewed: Stream
Label: Relapse Records
Websites: hoaxed.bandcamp.com | hoaxedband.com | facebook.com/hoaxedband
Releases Worldwide: February 13th, 2026

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Posted on March 2nd 2026, 12:05p.m.