PERTH, WA — Friday June 12 will see the Rosemount Hotel transformed into a powerhouse celebration of hard rock and heavy metal as TITANS OF STEEL delivers an explosive night dedicated to four of the biggest names in rock history — Metallica, Iron Maiden, Whitesnake and AC/DC.
Featuring four of Perth’s premier tribute acts, TITANS OF STEEL promises wall-to-wall anthems, blistering musicianship and arena-sized energy in one unforgettable night of live music.
Leading the charge are SOME KIND OF TRIBUTE performing METALLICA, bringing together some of Perth’s most accomplished musicians to honour one of the greatest metal bands of all time. Covering everything from iconic fan favourites to deep cuts spanning Metallica’s legendary catalogue, the band delivers a performance built on passion, precision and respect for the music that shaped generations of metal fans.
COVIDale
Representing the New Wave of British Heavy Metal are POWERSLAVE performing IRON MAIDEN. Known as Perth’s ultimate Maiden tribute experience, POWERSLAVE recreates the soaring vocals, galloping rhythms and twin guitar attack that made Iron Maiden global icons. Fans can also expect a special appearance from Maiden’s infamous mascot ‘EDDIE’, adding another layer of theatrical spectacle to the night.
Bringing the glamour and swagger of classic 80s hard rock is COVIDale performing WHITESNAKE — an all-star tribute lineup featuring Dom Giorgi (Dark of the Day), Ama Quinsee (Legs Electric), Simon Hallett (Psychonaut), Leon Todd (Ragdoll) and Fremantle Dockers crowd favourite Troy Nababan. Performing massive hits including Here I Go Again and Still of the Night, COVIDale combines powerhouse vocals, huge riffs and pure rock ‘n’ roll energy for a full-scale arena rock experience.
Ballbreaker
Rounding out the line-up are Australia’s electrifying all-female AC/DC tribute act BALLBREAKER. Featuring Scottish-born vocalist Kathryn Lamb alongside guitarists Krissy Sanfead (Parabelum) and Bec Moroney, a brand new bassist (to be announced shortly) and drummer Lauren Reece, BALLBREAKER celebrates the raw energy and cheeky spirit of the Bon Scott era with classics including TNT, Jailbreak, Can I Sit Next To You Girl and She’s Got Balls. Loud, wild and unapologetically fun, BALLBREAKER delivers the ultimate AC/DC party atmosphere.
With four legendary tributes sharing one stage, TITANS OF STEEL is shaping up as one of Perth’s must-see live rock events of the year.
TITANS OF STEEL Friday June 12, 2026 Rosemount Hotel, Perth WA
Featuring tributes to: METALLICA • IRON MAIDEN • WHITESNAKE • AC/DC
Prepare for a night of heavy riffs, soaring vocals, thunderous drums and timeless rock anthems performed by some of WA’s finest live musicians.
UK progressive, alternative metal band HAKEN return with their first new music in 3 years, in the shape of ‘in a fever dream’. This new track sees the band working with a producer for the very first time, bringing George Lever (Loathe, Sleep Token) on board to help shape the next stage of the band, crafting some of the most emotionally direct material of the bands career so far. For this track, the band enlisted renowned bassist Bryan Beller (The Aristocrats, Dethklok, Joe Satriani) to contribute.
Watch the visualiser for ‘in a fever dream’ (created by Oli Kember) here:
Hailing from Detroit, Michigan, the Suicide Machines broke out onto the scene in 1991. Originally named Jack Kevorkian and the Suicide Machines, after the infamous “Doctor Death,” they had streamlined their title by the time their debut album dropped in 1996. After a few lineup changes and a short breakup in 2006, the band reunited in 2009. Throughout their career, they’ve released seven full-length albums along with a collection of singles, splits, and EPs. This year marks the 30th anniversary of their celebrated debut, Destruction by Definition.
Growing up in the Detroit suburbs during the mid-90s punk revival was a riot. Known as the birthplace of legends like Iggy Pop, the Stooges, and the MC5, Detroit has produced its fair share of local punk bands. In the 90s, the Suicide Machines were the most prominent, solidifying their status as the best to emerge from the city in years, and delivering their ska-punk sound to local kids, playing small shows at venues across the state. I remember frequently taking the tunnel bus to catch them live several times a weekend, early in their career.
When Destruction by Definition made its debut, it shot the Suicide Machines into the punk rock spotlight and placed them on a major label—Hollywood Records. Dubbed a quintessential ‘90s punk-ska album for a reason, it perfectly blends the best of both genres while capturing the sound of the era. With its melodic ska hooks and the raw energy of classic punk angst, this album is a flawless debut from beginning to end. Merging these musical elements laid the groundwork for what many refer to as “skacore”, but regardless of what you call it, Destruction by Definition nailed it. While the tracks lean heavily on punk, the ska influence runs strong throughout, with each song averaging just over two minutes – it’s a lot packed into a short runtime. Lyrically, the album remains relevant today, addressing substantial issues like hate, social conflict, and racism, alongside everyday struggles such as broken relationships and mental strain. A little something we can all relate to. Yay!
Destruction by Definition kicks off with an intro that everyone recognizes, thanks to Tony Hawk’s Pro Skater. “New Girl” is the first track, aggressive vocals thrashed together against an upbeat tempo. Next up is “S.O.S,” – more pertinent now than ever. It’s a ‘call-to-action’ against hate and racism, backed by an energetic hardcore punk style. “Break the Glass” has always, in this girl’s opinion, epitomized the energy of their live performances. With a frantic rhythm and upbeat vocals, it stands out on the album and even landed a spot on the American Werewolf in Paris soundtrack.
Songs like “No Face” capture the quick-tempoed skate punk energy with rapid-fire lyrics. Gaining them airplay in the early 90s, and propelling the Suicide Machines onto centre stage. Then there’s “Hey,” which starts as a heavier track before diving into ska bliss, filled with upbeat, powerful horn arrangements—definitely giving off those free-mozzarella-stick vibes. Both of these songs are personal favourites of yours truly.
Whereas songs like “Our Time,” “Too Much,” and “Islands” tackle the intense pressures of social expectations and anxieties, all set to frenzied guitar riffs. Tracks like “The Real You,” “Face Value,” and “Punk Out” explore personal and peer relationships. These punk anthems, with their fast drumbeats and prominent bass lines, feature ska rhythms showcasing their signature energetic sound. While personal struggles come to the forefront in “Insecurities,” “Inside/Outside,” and “Zero”, diving into self-doubt, integrity, and seeking inner peace, all driven by high-energy instrumentals and angsty, melodic vocals.
No review of Destruction by Definition would be complete without acknowledging the “Vans Song.” In my opinion, it’s a classic that will always be a favourite. You can’t go wrong with a song about sneakers, especially ones as iconic as Vans. I’m sure it will go down in some sort of punk rock history. Since Destruction’s release, hearing the track “So Long” always signifies that it’s time to wrap it up. Although I’m sure there’s a deeper meaning, it’s been tied to the end of shows for decades, a bittersweet way to close out the night.
But before the record stops spinning, there’s one more track. The Suicide Machines grace us with a cover of Minor Threat’s “I Don’t Wanna Hear It.” Infusing it with their own skacore style, meshing it perfectly. Not to mention, it helped turn a generation of kids onto Minor Threat – if they weren’t hooked already.
Reflecting on the release of this album, it’s tough to find anyone who didn’t love this record when it first hit the shelves. Through the lens of an impressionable teenager, it had a lasting impact, both musically and culturally. A soundtrack reminiscent of late nights, skate parks and circle pits. Now, listening to this record as an adult, I find it still radiates that confidence, motivating listeners to stay authentic to themselves with an overall positive vibe and attitude.
In celebration of their anniversary, the Suicide Machines have rereleased several vinyl variants of Destruction by Definition. However, I suspect that most styles might already be sold out. They have also announced a North American tour with the Bouncing Souls, along with some headlining shows. Expect to hear Destruction by Definition performed in full at every stop on this tour. With over 30 dates scheduled so far, there’s a good chance they’ll be hitting a city near you soon. Make sure you don’t miss out!
It’s playoff season, baby! Where legends are made! I missed game one of the Western Conference Finals on Monday night because I was on a plane back from Utah, but apparently that was a classic. Last night’s game two was a good game, but it was definitely not a classic. It was a whole lot of Isaiah Hartenstein just grabbing and slapping at Victor Wembanyama, barely ever getting foul calls for it. As someone who loves to see freaky-tall people achieve greatness, I want bad things to happen to Hartenstein now. (Hartenstein is also freaky-tall by most estimations. I mean, he’s taller than me. But I do not want to see him achieve greatness. I want to see him achieve pianos falling on his head.)
Arizona’s Little King, the dynamic, melodic, progressive, heavy‑rock trio helmed by songwriter‑guitarist Ryan Rosoff, will hit the road this July for a string of West Coast U.S. dates in support of their latest album, ‘Lente Viviente‘, released in September 2025. This run marks the band’s second major tour cycle since completing the record, following their […]
NOFX have revealed the details of the soundtrack and score that is set to accompany their career-spanning documentary, which features plenty of special surprises.
’40 Years of Fuckin’ Up: Soundtrack + Score’ will be released on August 28 via Fat Wreck Chords, and feature two distinct parts: an 11-song original score and a 15-song soundtrack. The score was composed by Fat Mike himself and performed alongside a full orchestra, whilst the soundtrack is brimming with previously unheard goodies.
First up, there are two brand new songs, ’40 Years of Fuckin’ Up’ and ‘We Did It Our Way’. The former is out now, whilst the latter is pinned as being the final song that the band created together.
In addition to the new stuff, there are also six rare and unreleased recordings, including ‘Secret Society (demo)’, ‘On The Road (demo)’ and a cover of ‘La Bamba’, as well as live versions of classics ‘Linoleum’ and ‘NOFX’.
Fat Mike had this to say about the release, stating, “When NOFX started to put together this documentary, we decided to release it to the world in the same way we’ve done everything in our career. Our way. We want our fans to congregate in cool movie theaters that have bars and not a lot of rules. We want showings of this film to be a celebration. We want it to feel like you’re going to a NOFX show. We want our fans to have a really good time together like they did when they would see us play live!“
Whilst guitarist El Hefe added, “Look, we’ve never done anything the ‘right’ way and making this film was no different. We went in DIY, the same way we’ve done everything for 40-plus years. No suits, no committee, just us figuring it out. We put everything into it. Blood, sweat, tears, probably some other stuff we won’t mention.We wanted to make something for the diehards who’ve been with us since day one, but also for the people who maybe never got to experience what this whole thing was. A proper send-off. A final stamp. And honestly, the response has floored me. I had no idea how deep our music ran with people all over the world. Seeing all that love come back to us as we close this chapter, it’s been incredible. Really humbling. And I don’t say that lightly.”
Here is the full tracklist:
1. NOFX – 40 Years Of Fuckin’ Up 2. NOFX – Drugs Are Good 3. NOFX – Lazy 4. NOFX – On the Road (recorded in Omaha in 1986) 5. NOFX – We’re Bros 6. NOFX – Separation of Church and Skate 7. NOFX – La Bamba 8. NOFX – Linoleum (live) 9. NOFX – Suits and Ladders 10. NOFX – Secret Society (demo) 11. NOFX – We Called It America 12. Punk Rock Cliché (acoustic) 13. NOFX – Fermented and Flailing 14. NOFX – NOFX (live 10/4/24) 15. NOFX – We Did It Our Way (live 10/6/24) 16. Fat Mike – Type One American Errorist 17. Fat Mike – Medio-Core 18. Fat Mike – Wore Out The Soles Of My Party Boots 19. Fat Mike – Where’s My Slice redux 20. Fat Mike – The Desperation’s Gone 21. Fat Mike – Herojuana in F Major 22. Fat Mike – Fair Leather Friends 23. Fat Mike – Kids Of The K-Hole 24. Fat Mike – Generation Z in Z# Minor 25. Fat Mike – I’m A Rat 26. Fat Mike – And Now We’re Gone
And the artwork:
Here is ’40 Years Of Fuckin’ Up’, too, for your listening pleasure:
Rock Sound chatted to Fat Mike all about the documentary when it was premiered at SXSW earlier this year. Check out the chat below:
The 2026 edition of Wave-Gotik-Treffen is upon us, ready to transform Leipzig once again into the dark heart of Europe from May 22nd to May 25th. Across four days and nights, the city’s halls, churches, clubs, courtyards, and cavernous industrial spaces become a living archive of gothic culture: post-punk, darkwave, EBM, industrial, synth-pop, deathrock, coldwave, neofolk, experimental sound art, and the strange romantic electricity that binds them together. This year’s lineup is especially rich in artists who connect past and present, from canonical German innovators to contemporary darkwave voices reshaping the scene. Above all, 2026 belongs to Anja Huwe / XMal Deutschland, whose return makes Friday night at Agra the defining moment of the entire festival.
With 205 artists currently confirmed, the challenge is not finding something worthwhile, but choosing which essential experience to sacrifice for another. Our route through WGT 2026 places the strongest emphasis on Anja Huwe / XMal Deutschland, followed closely by Einstürzende Neubauten, Nuovo Testamento, Soft Vein, Ash Code, Molchat Doma, She Past Away, Ductape, Bragolin, Euroshima, and the late addition of UK Decay—all while leaving room for vital detours through deathrock, industrial, synth-pop, post-punk history, and newly highlighted sets from Nox Novacula, Casket Cassette, Astari Nite, Rosegarden Funeral Party, Male Tears, Octavian Winters, Altar De Fey, Frustration, Kompromat, Eddie Dark, The Underground Youth, and Cosey Mueller.
Friday, May 22nd, 2026:
Friday is the night around which the entire 2026 WGT should be built. At Agra, the evening becomes a concentrated genealogy of German dark music: Das Ich opens at 17:00, followed by Solar Fake at 18:25, Kim Wilde at 19:55, Einstürzende Neubauten at 21:20, and finally the festival’s most essential performance, Anja Huwe / XMal Deutschland at 23:20. France’s Kompromat then pushes the night into a late electronic aftershock at 01:00.
There is no stronger recommendation this year than being in front of Anja Huwe. Her appearance with the XMal Deutschland legacy is not merely a nostalgic booking; it is a rare confrontation with one of post-punk’s most magnetic voices, returning with both the authority of a cult icon and the renewed creative force of her solo work. In the 1980s, XMal Deutschland’s jagged German-language intensity helped shape gothic post-punk into one of its most distinctive forms. Now, with Codes and the renewed attention around the band’s 4AD-era history, Huwe’s WGT set feels like a homecoming, a reckoning, and a revelation at once.
Immediately before her, Einstürzende Neubauten provide the perfect architectural prelude. Their 21:20 slot at Agra is not simply a chance to witness an industrial institution; it is a chance to hear a band that turned metal, drills, sheet, silence, and ruin into a new musical language. Their history begins with Blixa Bargeld’s April 1st, 1980 Moon Club performance, while Kollaps remains one of the great ruptures in post-punk and industrial music: a record built from found objects, self-made instruments, concrete impact, and anti-rock invention. In 2026, this remains one of WGT’s great symbolic pairings: Neubauten’s material rupture followed by Huwe’s classic dark post-punk majesty.
Kompromat should not be treated as a disposable postscript to that sequence. Their 01:00 Agra slot turns Friday’s historical summit into a body-music aftershock, with Vitalic and Rebeka Warrior dragging EBM, cold wave, new wave, radical techno, and hard-edged French electronics into the early hours. After Neubauten’s material rupture and Huwe’s post-punk authority, Kompromat gives Friday a final jolt of machine pressure and ecstatic danger.
The difficult alternative path sits at Felsenkeller, where Friday offers one of the festival’s best darkwave runs: Turkey’s Ductape at 17:00, Belarusian coldwave act Dlina Volny at 18:10, Dutch post-punk noir project Bragolin at 19:30, Italian darkwave trio Ash Code at 21:00, and French electronic duo Scratch Massive at 22:30. If not for the once-in-a-lifetime force of Agra’s Neubauten/Huwe sequence, this would be the night’s obvious destination.
Ductape should not be treated as early-evening filler. The Istanbul duo have become one of the most vital Turkish darkwave exports of the last decade, sharpening coldwave unease, post-punk momentum, and raw emotional intensity into something both severe and immediate. Their 2024 album Echo Drama deepened that palette, while their 2025 single Finepoints toward the forthcoming Faded Flowers, a 2026 album built around collapse, surrender, and rebirth. They also carry a direct thread into Sunday’s Turkish darkwave summit through Ölüm Günüm, their haunting collaboration with She Past Away. For anyone trying to map WGT’s current darkwave pulse, Ductape are one of Friday’s essential arrivals.
Bragolin are another crucial early-evening pick for listeners drawn to baritone guitars, horror-cinema atmospheres, and fogged-out Dutch darkwave. Led by Edwin van der Velde, the project pulls from ’80s baritone guitar, synths, drum machines, ’60s and ’70s organs, shoegaze guitars, and post-apocalyptic horror imagery, turning those ingredients into something sleek, cinematic, and nocturnal. Stay for Ash Code immediately afterward: formed in Naples in 2014, the trio’s sound moves through darkwave, post-punk, synth-pop, and EBM, making them one of Friday’s most danceable contemporary acts.
For deathrock and classic goth energy, Täubchenthal offers a very strong Friday detour. Octavian Winters appear at 20:00, followed by Rosegarden Funeral Party at 21:20 and Skeletal Family at 22:40. Octavian Winters brings San Francisco’s newer post-punk, dark alternative, and ethereal-goth current into the room, while Rosegarden Funeral Party sharpens the Dallas goth-rock tradition into something romantic, defiant, and cathartic. It is a beautifully curated guitar-driven route, and for anyone splitting a crew or skipping the Agra monolith, Octavian Winters into Rosegarden Funeral Party into Skeletal Family is Friday’s cleanest goth-rock arc.
Saturday, May 23rd, 2026:
Saturday presents a sharp contrast between industrial force, modern synth-pop pleasure, and old-school gothic punk. The vast Agra hosts one of the weekend’s heaviest electronic routes, beginning with Patenbrigade:Wolff at 16:00 before moving through Cat Rapes Dog, Suicide Commando, Frontline Assembly, Covenant, and finally Perturbator at 01:15.
Yet our Saturday priority is split between two essential performances: Nuovo Testamento at Moritzbastei and UK Decay at Täubchenthal. Nuovo Testamento closes the Moritzbastei program at 23:10, following Hateful Chains, Krieg-B, and Adam Usi. Their late-night slot is ideal: after a full day of darker textures, their high-gloss Italo-disco and synth-pop romanticism should feel like a neon flare cutting through Leipzig’s black-clad streets.
Nuovo Testamento’s 2023 full-length Love Lines remains one of the most irresistible contemporary synth-pop records in the wider dark scene: crystalline hooks, romantic urgency, and dance-floor brightness without sacrificing underground credibility. Their recent EP Trouble, released July 25th, 2025 via Discoteca Italia, pushes that gleaming formula further, with Picture Perfect, Dream On, On The Edge, 2 Hearts, and Soldier for Love refining the trio’s blend of dark Italo-disco, freestyle, synth-pop, early ’90s dance-pop, and modern pop immediacy. For WGT, they are the perfect counterweight to the weekend’s heavier industrial and goth-rock intensity: pure movement, polish, and romantic voltage.
Before that late Moritzbastei release, Täubchenthal is the Saturday venue that should not be ignored. The run begins with Astari Nite at 16:30, followed by Nox Novacula at 17:50, Altar De Fey at 19:10, Frustration at 20:40, and the crucial UK Decay at 22:20. UK Decay’s return gives Saturday a direct line back to the first wave of British gothic punk.
That Täubchenthal sequence now reads like a compact history of gothic punk’s mutations. Astari Nite opens it with Miami dark glam, post-punk, and gothic-rock polish; Nox Novacula follows with Seattle deathrock heat and modern underground urgency; Altar De Fey brings first-wave San Francisco deathrock memory into the room; and Frustration adds Parisian post-punk pressure before UK Decay takes the stage. It is not just a run of good bookings, but a proper argument about where goth-punk came from and how it still moves.
UK Decay deserves the newly added priority. Their presence sharpens Saturday’s connection to the first wave of post-punk, gothic punk, and deathrock before those categories hardened into museum labels. Where Anja Huwe and Neubauten embody the German avant-garde/post-punk continuum, UK Decay represent the British punk mutation that helped gothic rock discover its teeth. Placed after Nox Novacula, Altar De Fey, and Frustration, their set should make Täubchenthal feel like a living Batcave memory rather than a retro exercise.
For synth devotees, Haus Leipzig provides an elegant alternative route: Karl Kave at 17:00, Cosey Mueller at 18:20, Ssleeping Desiress at 19:40, Bal Pare at 21:00, and Male Tears at 22:40. Cosey Mueller gives the room a Berlin minimal-synth, coldwave, and synthpunk jolt early in the evening, while Male Tears turn the late slot toward California synth-pop, goth-pop, death-disco sheen, and neon club melancholy. Still, the night’s most distinctive emotional arc is probably this: start at Täubchenthal for Astari Nite through UK Decay, then move to Moritzbastei for Nuovo Testamento if logistics allow.
Sunday, May 24th, 2026:
Sunday may be the most densely competitive day of WGT 2026. At Agra, the lineup reads like a gothic-rock summit: Auger at 16:00, Corpus Delicti at 17:15, Clan Of Xymox at 18:45, She Past Away at 20:10, London After Midnight at 21:50, and Lacrimosa at 23:30. Anyone seeking the grand, communal, classic WGT experience could simply plant themselves there and have an extraordinary night—but She Past Away should be treated as more than another name in that sequence. Their 20:10 slot is one of Sunday’s true centerpieces.
She Past Away brings WGT one of the most commanding contemporary darkwave performances of the weekend. Since forming in Turkey in the late 2000s, the duo have carried Turkish-language post-punk and coldwave onto international stages with a sound that is immediately recognizable: skeletal basslines, cavernous vocals, icy guitar figures, and drum-machine propulsion built for both smoke-filled clubs and festival-scale devotion. Their recent video for Mizantrop, the title track from their 2026 LP, leans decisively into classic post-punk and French coldwave lineage while sharpening the band’s refusal of imposed labels and external judgment. If Anja Huwe is Friday’s great historical charge, She Past Away are Sunday’s modern darkwave mass.
But for this year’s priority route, Sunday can begin earlier at Volkspalast Kantine with Euroshima at 16:35. Their appearance is an essential deep-cut moment: Argentine darkwave rarely receives the same canonical attention as its British, German, or French counterparts, yet Euroshima’s 1987 album Gala remains a cult landmark. Formed in Buenos Aires in 1986, Euroshima built Gala from spiky guitars, analog synth basslines, and wailing vocals, creating one of South America’s great coldwave/darkwave artifacts.
Eddie Dark makes that same Volkspalast Kantine route even more tempting at 18:45, after Euroshima and before Digital Drvgs at 21:15. The Athens project of Nikolas Petsitis brings Greek underground synth-punk, old-school EBM, electro bite, and post-punk sarcasm into the schedule, giving Sunday a sharper electronic wild-card option before the night’s larger Agra/Stadtbad decisions.
A separate Sunday detour appears at Parkschloß – Baroque Hall, where The Underground Youth play at 17:30 before The Devil & The Universe at 20:00 and Klimt 1918 at 22:30. The Underground Youth’s psychedelic post-punk, shoegaze shadow, and Berlin guitar noir make that early Baroque Hall slot one of Sunday’s most atmospheric alternatives, especially for anyone who wants WGT to drift into fog, repetition, and slow-burning disillusion before the evening’s bigger darkwave choices.
From there, the decision becomes a true Sunday dilemma: head to Agra for She Past Away’s sweeping 20:10 set, or slip into Stadtbad for the smaller-room electronic route. Stadtbad’s doors open at 16:30, followed later by Soft Vein at 18:20, Noromakina at 19:40, Qual at 21:10, and Zanias at 22:40. This is the Sunday program for those who want WGT’s present and future rather than only its monuments. Soft Vein, in particular, is one of the weekend’s most important contemporary picks: California musician Justin Chamberlain’s project began in a colder industrial and darkwave register, but the recent single Chekhov signals a striking turn toward modern synth-pop, dream-pop, sophisti-pop, and new wave. Co-produced by Chamberlain and Andrea Mantione of Nuovo Testamento, the track trades some of Soft Vein’s earlier severity for polish, poise, and satin-lined unease.
The pull between Stadtbad and Agra will be painful. She Past Away at 20:10 and London After Midnight at 21:50 are both major Sunday anchors, and Clan Of Xymox at 18:45 remains a classic darkwave draw. But the Stadtbad sequence of Soft Vein, Qual, and Zanias offers a compelling modern route through WGT’s darker electronic present. Soft Vein’s current direction makes that early slot especially intriguing: still seductive, still uneasy, but now slipping into sleeker songwriting, dreamier textures, and a more sophisticated pop silhouette. If your WGT is built around discovery as much as darkwave devotion, this is the night to trust the smaller room—but anyone who has never seen She Past Away at festival scale should consider Agra non-negotiable.
Meanwhile, Volkspalast Kuppelhalle offers its own American post-punk/darkwave route with Casket Cassette at 15:30, My Manifesto at 17:40, Creux Lies at 19:50, and Mica Eternal at 22:30. Casket Cassette makes the early slot count with Los Angeles darkwave, doomed pop shimmer, cold drum-machine movement, and enough melodic melancholy to turn the afternoon into a danceable burn. Anyone following the North American darkwave resurgence could spend a rewarding evening here, but the expanded Sunday map now stretches across Casket Cassette, Euroshima, The Underground Youth, Eddie Dark, She Past Away, and Soft Vein—with London After Midnight or Zanias depending on stamina, venue logistics, and how much emotional devastation you want before midnight.
Monday, May 25th, 2026:
Monday’s closing day belongs to Molchat Doma. The final Agra run begins with Panzer AG at 17:00, followed by Unzucht at 18:30, Aesthetic Perfection at 19:55, Moonspell at 21:20, and Molchat Doma at 22:45. After a weekend of historic German industrial, gothic punk, post-punk revivals, and darkwave renewal, ending with Molchat Doma feels appropriate: few contemporary bands have carried post-punk’s cold architecture into global consciousness so dramatically.
Molchat Doma stand at the intersection of post-punk, new wave, and synth-pop—dark yet danceable, steeped in goth ethos, and still immediately recognizable as their own. They are not a heritage act, but they now carry the weight of one: their songs have become a gateway through which younger listeners discovered coldwave, Soviet-bloc melancholy, and the stark romanticism of drum machines and baritone vocals. A Monday closing slot at Agra gives them the scale their music has earned.
Those seeking a guitar-driven detour should consider Haus Leipzig, where The Essence play at 18:20, Ist Ist at 19:40, and German post-punk veterans Pink Turns Blue at 21:10. This is a strong alternative for anyone who wants the festival to end in melodic shadow rather than Agra-sized spectacle. Yet the most powerful closing route is probably to begin at Haus Leipzig for Ist Ist and Pink Turns Blue, then move to Agra if possible for Molchat Doma’s late set.
For experimental and industrial archaeology, Volkspalast Kuppelhalle is also essential on Monday: Hackedepicciotto at 17:30, Job Karma at 19:40, and The SPKtR/SPK at 21:50. This is the left-field route for listeners who want WGT to close not with anthem, but with texture, ritual, and abrasion.
After Parties:
For late-night dancing, the 2026 party program again offers a strong reason to end up at Felsenkeller. On Friday, When We Were Young begins at 23:50 in the big hall, billed as the official Oldschool Gothrock and Postpunk club night of WGT, with Rickbats, Knüpfi, and MadLyn. On Saturday, the same party returns at 23:50 with Adrienne Scissorhands, Fil Noir, and Slow Pulse Boy. For Monday farewell energy, the official program lists Agra Hall 4.2 from 23:00 to 05:00, Darkflower’s “WGT Farewell Party: Witching Hour,” Moritzbastei’s farewell rooms, and the Volkspalast Kantine farewell dance night.
For the full running order, venue details, and possible changes, visit the official Wave-Gotik-Treffen website.
Band Information:
Anja Huwe / XMal Deutschland is the central figure of WGT 2026. As the unmistakable voice of XMal Deutschland, Huwe helped carve one of gothic post-punk’s most singular identities: German-language, severe, theatrical, icy, and feral. Her solo album Codes reactivated that presence with darker electronic force, and her WGT appearance promises to unite new material with the spectral pull of XMal Deutschland’s legacy. This is our number one pick of the entire festival.
Einstürzende Neubauten remain one of Germany’s defining experimental groups, turning found metal, custom instruments, silence, impact, and industrial debris into a new language of sound. Live, they are less a band than a system of tension: ritual, architecture, rupture, precision, and collapse.
Nuovo Testamento brings romance, gloss, and movement to the dark scene. The Los Angeles trio’s synth-pop and Italo-disco sensibility glows with hooks, body heat, and emotional immediacy, while their recent EP Trouble sharpens that dance-floor devotion into some of their most polished and exploratory material yet.
Soft Vein is the solo project of California musician Justin Chamberlain. Once rooted more firmly in industrial, darkwave, and electronic tension, Soft Vein’s recent single Chekhov marks a noticeable shift toward modern synth-pop, dream-pop, sophisti-pop, and new wave, bringing a smoother surface to Chamberlain’s songs of self-deception, desire, and emotional corrosion.
Ash Code formed in Naples in 2014 and fuse darkwave, post-punk, synth-pop, and EBM into a sound that is sleek, mournful, and club-ready. Their Friday Felsenkeller set is one of the best contemporary darkwave options of the weekend.
She Past Away are one of contemporary darkwave’s most important global acts, bringing Turkish-language post-punk to a massive international audience without sanding down its austerity or bite. From Belirdi Gece and Narin Yalnızlık to Disko Anksiyete and the new Mizantrop era, Volkan Caner and Doruk Öztürkcan have turned cold basslines, spectral guitar, and severe electronic pulse into a language of distance, desire, and refusal.
Ductape are one of the most compelling Turkish darkwave acts of the moment. Çağla and Furkan fuse coldwave, post-punk, and dark electronic force with emotional catharsis, turning anguish into rhythm and collapse into motion. After Echo Drama, their single Fine points toward the forthcoming Faded Flowers, making their Friday Felsenkeller set one of the weekend’s most important contemporary darkwave performances.
Molchat Doma stands at the intersection of post-punk, new wave, synth-pop, and cold Eastern European melancholy. Dark yet danceable, minimal yet massive in reach, they are the obvious emotional closing act for Monday night.
Bragolin is a Dutch post-punk/darkwave project led by Edwin van der Velde, drawing on baritone guitar, synths, drum machines, organs, shoegaze textures, and horror-inspired lyricism. Their music is cinematic, nocturnal, and perfectly suited to Felsenkeller’s Friday atmosphere.
Euroshima bring a crucial Argentine darkwave perspective to the festival. Their cult 1987 album Gala is built from spiky guitars, analog synth basslines, and haunting vocals, making their Sunday appearance one of WGT’s most rewarding deep cuts.
UK Decay embodies the volatile bridge between punk, post-punk, deathrock, and gothic rock before those borders fully settled. Their Saturday Täubchenthal slot gives WGT 2026 a vital dose of old-school British gothic punk authority.
Nox Novacula are one of the strongest contemporary deathrock bands in the American underground. Formed in Seattle in 2017, they carry the bite of classic gothic punk into a modern language of feverish bass, serrated guitar, ritual atmosphere, and political/personal dread. Their 2024 album Feed The Fire expanded that sound with darker electronic shadows while keeping the deathrock urgency intact, making their Saturday Täubchenthal set a must for anyone following the genre’s living pulse.
Casket Cassette brings Los Angeles darkwave with a doomed pop heart: cold drum-machine movement, shimmering synths, post-punk melancholy, and vocals that turn collapse into something danceable. Their own motto, “music to dance to as the world burns,” fits the project perfectly, and the 2026 Reducer era should make their Sunday Volkspalast Kuppelhalle set a key stop for anyone tracking North American darkwave’s current surge.
Astari Nite crosses gothic rock, post-punk, darkwave, glam, and alternative rock with a theatrical Miami polish. Their 2026 release Medications In Bloom leans into alternative dark glam rock, with Mychael Ghost, Illia Tulloch, Howard Melnick, and Danny Ae turning dread, romance, validation, and nocturnal style into a vivid Saturday-opening invitation.
Rosegarden Funeral Party are a Dallas-based post-punk band founded and fronted by singer, songwriter, and guitarist Leah Lane. Their music carries the grandeur of classic goth-rock but refuses to settle into revivalism: ringing guitars, storm-lit vocals, romantic defiance, and a sense of ceremony built for rooms that want catharsis as much as melody.
Male Tears offer California synth-pop with a club-kid pulse and a death-disco stare. The project’s “100% authentic synth-pop” tagline is apt, but the appeal reaches into darkwave, goth-pop, EBM, futurepop, and dark rave: shiny surfaces masking heartbreak, hedonism, and collapse. Their Saturday Haus Leipzig slot is a sharp option for anyone wanting the night to end in neon rather than rubble.
Octavian Winters emerged from San Francisco in 2022 with a sound that braids post-punk, dark alternative, and ethereal goth into something both visceral and spectral. Ria Aursjoen’s commanding voice gives the songs a dramatic center, while Stephan Salit, Jay Denton, and Randy Gzebb build around her with shadowed guitars, pulsing bass, and ritual drive. Their Friday Täubchenthal set is one of the weekend’s strongest newer-goth arrivals.
Altar De Fey carries deathrock history rather than merely quoting it. Originating in San Francisco in the early 1980s, they belong to the first wave of the form’s West Coast development, where punk’s abrasion turned colder, stranger, and more theatrical. Their Saturday placement before UK Decay makes Täubchenthal feel like a corridor between American deathrock and British gothic punk history.
Frustration are a Paris post-punk institution with a brutal, stripped-down charge. Their universe sits somewhere between Warsaw, Wire, The Fall, Crisis, and Killing Joke: taut bass, shouted urgency, cold synth edges, and the feeling of a system coming apart in real time. On Saturday, they should provide the exact jolt of French punk pressure needed before UK Decay take the room back to the old school.
Kompromat is the French duo of Vitalic and Rebeka Warrior, a collision of EBM, cold wave, new wave, and radical techno. Their 2019 Traum und Existenz laid out a hard, Germanic electronic universe, while 2025’s PLДYING / PRДYING pushed the project into a more expansive, ecstatic, and dangerous form. After Anja Huwe’s Friday headline moment, Kompromat should send Agra into a late-night body-music aftershock.
Eddie Dark is the Athens project of multimedia artist Nikolas Petsitis, a vampiric alter ego built from Greek underground synth-punk, old-school EBM, electro, post-punk sarcasm, and club-night menace. The 2026 LP TOUCH MY ELEKTRONIKS, released by Inner Ear, pushes that energy toward harsher electronics and massive after-hours pressure, making Eddie Dark one of WGT’s sharper electronic wild cards.
The Underground Youth are led by Blackpool-born musician and author Craig Dyer and now operate from Berlin, carrying a long-running body of psychedelic post-punk, shoegaze shadow, and romantic guitar noir. Recent work such as Décollage and the single O’ Evangeline keeps the project restless, dreamy, and cinematic rather than simply nostalgic. They are a strong pick for listeners who want WGT to open into fog, repetition, and slow-burning disillusion.
Cosey Mueller is a Berlin-based musician and artist whose solo work turns minimal synth, coldwave, synthpunk, and post-punk into wiry, deadpan, danceable pressure. After Interior Escapes, Irrational Habits, and Softcore, her 2026 album Embodiment of Denial arrives with sharp hooks, political friction, and machine-driven bite. Her Saturday Haus Leipzig appearance should appeal to anyone drawn to the rawer, more tactile side of minimal electronics.
Gorillaz turned the idea of a rock band inside out by making the characters fictional, the music wide open, and the whole operation feel like a living comic book wired into a recording studio. Formed in London, England, in 1998 by musician Damon Albarn and artist Jamie Hewlett, the band was built around four animated members: 2-D on vocals, keyboards, and melodica; Murdoc Niccals on bass guitar; Noodle on guitar, keyboards, and backing vocals; and Russel Hobbs on drums. Albarn became the only permanent musical contributor, while Hewlett shaped the band’s visual world through animation, artwork, videos, interviews, comic strips,
