Released: 2026 Label: Vesperian Rating: 3.5/5 Review by Demitri Levantis Stormkeep: the Colorado based force of contemporary fantasy black metal; the band who represent the […]
The post Stormkeep – The Nocturnes of Iswylm appeared first on Metal-Rules.com.
J’adore tes mains qui me serrent,
Vraiment, très fort.
J’adore tes mains qui me serrent,
Toujours, pas mort.
To be a true goth is to know that death is always in the room, so you might as well make the room worth entering. It means treating sorrow with ceremony, desire with drama, and decay with enough affection that the grave begins to look less like an ending and more like a place to meet. The clothes, the eyeliner, the cemetery romance, and the tragic poses are all part of the pleasure, but they are props, not proof. Once goth becomes a purity test, it usually shrinks, like a black T-shirt left too long in the dryer.
That tension between devotion and absurdity sits at the center of Une Vraie Gothique’s Nuée Ardente, which treats being goth as a private joke whispered in a chapel where stained glass and club lighting are usually one and the same. As Une Vraie Gothique, Ulrika and Ferdinand Legendre move between German and French, entering the frame like two people trying on the airs of doom and gloom, discovering that it suits them, and laughing at how well it fits.
Nuée Ardente comes from the duo’s album R.D.V au cimetière, a record that turns the cemetery rendezvous of its title into a meeting place for desire, theatre, and darkroom absurdity.
The song makes a natural entry point into the album because it understands the glamour of overstatement. Its EBM and dark electro references are clear enough to be clocked by anyone with boots, eyeliner, and a shelf of old club flyers, yet the video treats those markers as moving parts rather than scene credentials. Hands grip, mouths open, and a blood moon hovers in the lyrics like cheap theatre suddenly made serious. Bodies press against darkness until darkness becomes theatre itself, flirting with the ridiculous in order to reach a truer heat.
Anaïs Novembre directs the video for Nuée Ardente with a taste for pressure: close bodies, sharp cuts, faces caught between devotion and daftness, and a dance floor turned into a furnace for young self-invention. Her touch feels like Gaspar Noé, Clouzot, and Häxan run through a photocopier left too close to the strobes. The editing carries a woozy charge, but its frenzy feels affectionate, almost protective of the duo’s wish to become “true goth.” That phrase, with all its adolescent grandeur, is the key. In a scene so fond of costume, the search for authenticity can look absurd, and Une Vraie Gothique understands how fertile that absurdity can be. Their video leans into sex, witchiness, theatrical pain, and cemetery chic with a raised eyebrow that never cancels the thrill.
Watch the video for Nuée Ardente below:
Listen to Nuée Ardente below and order R.D.V au cimetière here.
Follow Une Vraie Gothique:
The post “Darkness, Take Me” — Une Vraie Gothique Dance Under a Blood Moon in Video for “Nuée Ardente” appeared first on Post-Punk.com.
The song takes you into the world of rock from the very beginning with a riff reminiscent of Ugly Kid Joe’s “Everything About You.” It has a nostalgic quality that transports listeners back to the 1990s. The song blends these retro vibes with a modern sound to create something fresh yet familiar.
The harmonic variations throughout the track are intriguing. The verse moves fluidly, building anticipation leading up to the chorus. When the chorus hits, listeners are greeted with a series of chords that stick in their minds. This familiarity, combined with the melody, creates an effective and interesting result.
The style of rock presented here holds a slightly psychedelic edge. It’s adventurous while still rooted in that classic rock feel. Listeners looking for a connection to their past while enjoying a contemporary twist will find satisfaction in this track.
Reetoxa pulls off a unique balance. The nostalgic references appeal to those who grew up during the ’90s. Simultaneously, the fresh production techniques attract newer audiences. The mix engages a wide range of listeners.
The instrumentation is polished yet retains an edge. Guitars scream with energy while the rhythm section remains tight and driving. The production allows each element to shine through without overshadowing others. This creates a cohesive listening experience. The mix of heavy and melodic elements contributes further to the overall appeal.
Songwriting in “Bottle” demonstrates Reetoxa’s capability to create memorable hooks. The melodic lines remain catchy without feeling forced. They contribute to the song’s enduring quality. Reetoxa successfully strikes a balance between their creative flair and the standards of the rock genre.
The vocal delivery pairs perfectly with the instrumental backdrop. There’s an authenticity to the performance that resonates throughout the track. The singer’s voice carries an emotional weight that enhances the overall narrative. Combining lyrical honesty with a fitting vocal style makes for a strong connection with listeners.
The modern influences are evident yet do not dominate. Instead, they coexist with the nostalgic components, creating a fresh yet lasting impression. It’s a reminder of how genre fusions can yield exciting results. This is a blend that appeals to rock purists while attracting a new generation of fans.
“Bottle” by Reetoxa is a refreshing take on a rock sound infused with the flavors of the past. It successfully marries elements of nostalgia with modernity, making it relevant and enjoyable. This single deserves attention and showcases Reetoxa’s skill and creativity.
Pure Rock
If you love this music: Discover MoreFor fans of:
Ugly Kid Joe
The post Reetoxa Bottle Review appeared first on Edgar Allan Poets – Noir Rock Band.
The Mustard has taken on the task of creating a new version for a classic song by Simple Minds. Their cover, while a reinterpretation, holds a sense of reverence for the original. The first aspect that stands out is the noticeably faster BPM in The Mustard’s rendition. This tempo change infuses the track with an energy that feels more rock-oriented, yet retains the unmistakable vibes of the 1980s. The result is a more open and invigorating expression of the song, steering it away from its darker roots.
While the original version possesses an air of mystery, this new interpretation significantly raises the adrenaline. The original’s vocals are deeper and almost oracle-like, wrapped in a slower arrangement that allows for ample breathing space. In contrast, The Mustard’s version is more dynamic. The voice emerges distinctly from the mix, thanks in part to Charles Harry Allen’s clearer vocal timbre. This freshness invigorates the material, offering a new perspective on a well-loved classic.
The guitars also take on a more aggressive stance in this rendition. The arrangements are far more elaborate, decorating the song with vibrant nuances that enrich its texture without compromising its essence. The band’s ability to expand on the original’s framework is commendable. They have succeeded in executing a revitalization that is respectful and innovative.
Listeners will appreciate how The Mustard has managed to preserve the spellbinding quality of the original while simultaneously injecting it with a sense of urgency. The methodical pacing of the original, which often attracted listeners with its hypnotic charm, has been replaced with an invigorating burst of energy that revitalizes every note.
The Mustard has reframed the song while honoring its roots. Such a thoughtful approach demonstrates their understanding of the material and their respect for its legacy.
The vocals, by Charles Harry Allen, shine brightly within the contemporary arrangement. This clarity not only showcases his range but also allows the emotional undertones of the lyrics to resonate more profoundly with listeners. His performance injects a new life into the song, inviting both long-time fans and newcomers to engage with its narrative from a fresh perspective.
Whereas the original’s arrangement unfolded slowly, the new version invites listeners to experience the song at an elevated pace. The energetic pulse brought forth by the fast tempo is exhilarating, transforming the song into an anthem of sorts. This change feels daring and necessary, showcasing The Mustard’s willingness to take creative risks.
The Mustard does not fall into the trap of overpowering the original’s essence. Instead, they artfully navigate a path that brings life to their interpretation while honoring the emotional subtext of the lyrics. This balancing act is a skill often overlooked but is crucial in cover performances.
Intense
If you love this music: Discover MoreThe post The Mustard Someone Review appeared first on Edgar Allan Poets – Noir Rock Band.
REVIEW BY CHLOE LECHTENBERG & PHOTOS BY DEAN BIRKHEIMER | Go Venue Magazine
On Sunday, June 28, Puddles Pity Party and Weird Al Yankovic performed for a nearly sold-out crowd at Omaha’s Baxter Arena for an evening that celebrated the wonderfully bizarre.
Opening with special guest Puddles Pity Party! This act was hilarious and emotional! Puddles was super charismatic and fun. His songs were both touching and funny. There was a couple of times when a backing track would play a song in which it asked if anyone would like to help the clown. The first time saw a young man simulate playing a guitar to the song “Crazy Train”. The second time an adult was brought on staged and forced to eat ding dongs while simultaneously trying to sing the song “Under Pressure”! After the show Puddles went to go greet his fans. I can tell he loved to interact with them. I loved that he did that. Overall his part was absolutely creative and a joy to behold. A big round of applause for Puddles!!
The crowd was now primed for a whirlwind of costume changes, razor-sharp musical parodies, and the kind of joyous absurdity that has made Weird Al one of entertainment’s most beloved live performers. What can I say, he was BRILLIANT!! He was very quirky and funny. He still sounds like he never aged. For Al’s first song “Tacky” he began backstage and made his way into the audience, he was super fan friendly! “Fat” was a parody of my favorite, Michael Jackson song “Bad”. That part was so priceless. The crowd loved it as he came out in a fat suit. It was like a life changing experience to see. The song “Stop Forwarding That Crap To Me” was inspired by famous singer and song writer and producer, Jim Steinman, who you may know as the man behind Meatloaf’s Bat Out Of Hell album, among several other famous LP’s. I loved that he did that because Jim Steinman is a legend. For “White and Nerdy he came out on a scooter, which was SO AWESOME. It definitely brought the energy. He also did a medley where he took a bunch of his songs and shortened them, that was such a great idea!! Best part of the show. Overall Weird Al was so good and hilarious! The crowd was super pumped up for him and He did a fantastic job! What a fun night, thank you Weird Al!!
PUDDLES PITY PARTY SETLIST
I’m Always Chasing Rainbows – Come Cry With Me – Crazy Train Message in a Bottle – America Today – Estoy sentado aquí – Come On Up to the House – In the End – Stairway to Gilligan’s Island – Under Pressure / Let It Go
WEIRD AL SETLIST
Fun Zone – Tacky – Mission Statement – Polkamania! – Drum Solo – Everything You Know Is Wrong – One More Minute – Another One Rides the Bus – Smells Like Nirvana – Dare to Be Stupid – Party in the CIA – It’s All About the Pentiums – Bedrock Anthem – My Bologna – Ricky – Ode to a Superhero – I Love Rocky Road – Eat It – Like a Surgeon – Word Crimes – Canadian Idiot – Fat – It’s My World – Captain Underpants – Now You Know – The Letter – Skipper Dan – Drum Solo (reprise) – Ebay – Stop Forwarding That Crap To Me – White and Nerdy – Amish Paradise
ENCORE
Toccata and Fugue in D Minor – We All Have Cell Phones – The Saga Begins – Yoda
[See image gallery at www.govenuemagazine.com] All images © Dean Birkheimer
Follow our socials, only take a second and is free by finding us on:
Facebook | Twitter | Instagram | BlueSky
The post Polkas, Pity, and Pandemonium: Weird Al and Puddles Turn Absurdity into Art appeared first on Go Venue Magazine.
KISS .
The post KISS hint at release of live album for Anaheim show back in 1976 first appeared on Sleaze Roxx.