Beside your oldness

Beyond words and measure

I marvel at your strength

I marvel at your dignity

SNEERS. treat the body as a suspect instrument: a vessel for appetite, prayer, revulsion, and endurance. On Mothers & Others, from the duo’s latest record, (Don’t Quit Before) The Miracle—released on vinyl and in digital format via Manchester-based label God Unknown Records—that body grows old before our ears. M. Greta Blaankart sings as though the voice has become a brittle room, her performance taking on the wheezing death rattle of a dying matriarch. It carries the tremor of an elderly woman, the dry lift of someone summoning strength from a chair, a kitchen table, a bed, a doorway.

The song turns aging away from abstraction and toward domestic detail. Its subject is care, but care rendered without decorative softness. The lyrics gather around the ordinary miracles of answering the phone, remaining available, staying home, and offering love without judgment. These gestures, on paper, could seem plain. Blaankart gives them the gravity of survival. Her phrasing bends around each line as though time itself has made the throat uneven, and that unevenness becomes the point: affection here depends on bodies that falter, memories that blur, and days that must be repeated because repetition is how the living are kept alive.

Leon’s video extends that idea with severe tenderness. An aged maternal figure performs small tasks, again and again, until routine begins to resemble fate. The actions appear almost emptied of purpose, then gradually regain meaning through duration. A hand moves, a body rises, a chore continues. The clip finds sacrifice in the plain machinery of daily life, especially the kind undertaken by women whose labor is usually absorbed into walls, meals, washed fabric, and silence. The maternal presence becomes animal, sacred, exhausted, and persistent, closer to birth than biography.

Watch the video for Mothers & Others below:

SNEERS. is a woman-led music project spearheaded by Italian singer and guitarist M. Greta Blaankart with drummer Leonardo O. Stefenelli. Initially formed in Berlin and later moving to Rome, the duo crafts a sinister, hallucinatory expedition into human despair, driven by the raw emotional power of Blaankart’s lyrics.

Their work, characterized by blood-soaked poetry and luminous melancholia, pays tribute to spirituality and guilt. SNEERS.’s exploration of heaven and hell is documented in their 2018 studio album *Heaven Will Rescue Us, We’re the Scum, We’re in the Sun*, which features Kristof Hahn of Swans on lap-steel guitar. They also collaborated with Freddie Lee of Father Murphy on *Tales for Violent Days* in 2022. After four years of silence, SNEERS. returned with renewed intensity on (Don’t Quit Before) The Miracle, produced by Jamie Stewart of Xiu Xiu.

The album was preceded by To My Serpent, You, which was released on March 6, 2026. Its first single was a haunting, cinematic track that featured eerie vocals, sparse percussion, and built up to a powerful crescendo. Leon, who has managed the project’s visual style from the start, also created a minimalist video for it.

Speaking about the record, SNEERS. explains:

“(Don’t Quit Before) The Miracle presents itself, starting from its very title, as a metaphor for human existence, centered on the anticipation of an epic turning point capable of giving meaning to life. One becomes lost in a belief that gradually weakens, almost fading away, leaving room for resignation. Yet it is precisely at this moment that one must not retreat: it becomes necessary to rediscover the spirit of younger days, with a mother’s strength, to shed one’s skin like snakes, and to follow a current of hope. Even when the only hope left is that of a miracle.”

Listen to Mothers & Others below and order (Don’t Quit Before) The Miracle here.

Follow SNEERS.:

• Facebook
• Instagram
• Spotify
• YouTube
• Bandcamp

SNEERS. Photo courtesy of the artists.

The post Italian Southern Gothic Duo SNEERS. Honor the Sacred Maternal in Video for “Mothers & Others” appeared first on Post-Punk.com.

General Information

Personnel:
Alex MacDonald – vocals, guitar
Judah Bell – guitar
Jesse Shafer – bass
Jenna Terranova – drums

Producer:Alex MacDonald & David Westerhout
Release Date: June 12, 2026
Label: No Dad Records (digital) and Anxious and Angry (vinyl)

Setting the Scene

Los Angeles punk band Mermaid Island recently released their self-titled debut album. The group operates on a kinetic, unpolished sound that feels like a direct throwback to the loud, fast-paced days of the genre. With this new record, Mermaid Island deliver pure, high-voltage energy and formally introduce themselves to anyone who hasn’t been paying attention.

First Impression

This album feels like a friend who refuses to knock and simply kicks your front door down instead, but you do not mind because you love them. It is a sudden blast of fast garage punk that skips the introductions and gets right to the music. The record balances aggressive energy with sharp melodies, keeping things fun and highly engaging without overcomplicating the experience.

Similar Sounds

If you’re into any of these artists, this album should be on your radar.

The DistillersGreen Day (Dookie-era)Amyl and the Sniffers

Visual Vibes

Set against a bold red background, the jagged cutout letters and raw aesthetic of the cover scream classic punk. The central artwork features a massive faceless silhouette with four trapped figures in place of a head. This perfectly mirrors the record’s themes of alienation and loss of control, giving you a striking preview of the chaos inside.

Track on Repeat

“Horse Shit”

“Horse Shit” is a fast, ridiculously catchy blast of pure punk energy that practically forces you to hit replay the second it ends.

In-depth Notes

Musical Shape 🎸

It is incredibly easy for punk bands to use the short song format as an excuse to churn out lazy, repetitive tracks, but Mermaid Island completely avoids that trap. The guitars carry a lot of the weight on this record, delivering riffs that are genuinely catchy and rich rather than just looping a basic progression until the clock runs out. From the fast-paced attack of the opener, “Freaks”, to the infectious guitar drive on “Horse Shit,” and the slow acoustic buildup that suddenly explodes into heavy, anthemic chords on “Panic Button”, the band packs their tracks with unexpected hooks, shifting beats, and cool little surprises that keep you completely engaged.

Vocal Performance 🎤

Alex MacDonald commands attention on every single track with a powerful and passionate voice that sings the lyrics directly to the mind rather than just the ear. You can feel the true meaning of the songs entirely through her delivery. Whether she is screaming, whispering, or hitting high and low notes, she directs the lyrics like a general guiding troops exactly where they need to go.

Production Quality 🎧

The production does exactly what it needs to do: it captures the band’s natural energy without over-polishing the sound. It keeps the instruments clear and punchy, allowing the fast-paced nature of the tracks to hit with full force without sounding overly engineered.

Themes and Concepts 💭

The lyrics explore the heavy toll of isolation and the dark reality of losing personal control. The chaotic and aggressive instrumentation perfectly mirrors that frustration, while sharp and sarcastic moments like the relatable microwave story on the seventh track keep the entire experience completely grounded.

Final Verdict

★★★★★★★★☆☆

It’s punk music how it’s supposed to be: raw, heavy, relentless, and brutally honest.

Mood Meter

%

Intensity

%

Melancholy

%

Darkness

%

Emotional

%

Serenity

%

Energy

%

Romance

%

Joyfulness

Perfect For…

Emotional Struggles – a great escape
Driving – windows closed, singing your heart out along
Working – when a co-worker comes to your desk to show you photos of his kids, turn the VOLUME UP.
Working out – has energy for days

Get the Album

Digital (Bandcamp)

Vinyl

• Follow

The post Album Review | Mermaid Island Self-Titled LP first appeared on FemMetal – Goddesses of Metal.

Remember the era when Phoebe Bridgers was on this website seemingly every day? It’s back! Bridgers has been slowly, dramatically building up to the announcement of Lost Weekend, her first new solo album since 2020’s Punisher. After a stealthy series of phone-free pop-up shows culminating in a big gig at Madison Square Garden, the boygenius member announced a transcontinental arena tour three weeks back. Wednesday, she revealed the title and Aug. 14 release date for her long-awaited LP. Now we finally get to hear some music from this thing.

The post Phoebe Bridgers – “Lost Boys” appeared first on Stereogum.

“I would start taking Vicodin and get through some days. I kept going and going and going.”

The post Jason Newsted Speaks On Overcoming His Lengthy Painkiller Addiction That Led Him To Exit Metallica appeared first on Theprp.com.

Pulling out my sutures

Pulling out

Let the blood let

For the last time get out now 

Sleep Of Mirrors’ Not My Skin comes slithering out of the Chicago cable-laced gutter with its teeth filed down and its nerves exposed, a bass-driven slab of dark electronic body panic featuring Ronnie Canizaro (Born of Osiris) in a role that may surprise anyone expecting the usual metalworld detonation. Here he sounds less like a frontman trying to split the ceiling and more like a man transmitting from inside the walls, whispering through drywall, steel, dodgy wiring, and whatever awful private chamber keeps producing the self you wake up inside.

The track, from Sleep Of Mirrors’ debut album Crown, out now via Negative Gain Productions, plants Canizaro in a colder habitat: darkwave, electro, dark techno, industrial pressure, and the bruised mechanical glide one might file somewhere between Nine Inch Nails, Front Line Assembly, later Gary Numan, and Ministry at their most bad-tempered. The bassline does the stalking. The electronics scrape and tighten around it. Every element seems greased with hospital antiseptic and club-floor dread, the kind of music that understands the body as equipment, accident, prison, disguise, and evidence.

Not My Skin is about identity as an emergency. The lyrics keep returning to secrecy, blood, sutures, alien flesh, and sightless guilt, as if confession has become a surgical procedure performed without anesthesia. “Don’t tell” becomes less a warning than a reflex, the old instruction of someone trained to bury pain until the burial site starts breathing. When the refrain circles back to “Not my skin” and “Eyeless sin,” the song enters that grim zone where the self feels assigned, assembled, and possibly counterfeit. The ending it imagines is no clean liberation. It feels closer to rupture, panic, and a last exit from a world whose rules have suddenly become unbearable.

Directed and produced by Christopher Lee, with cinematography by Cornelius Kite and Tom Birch, the video pairs band footage filmed at Bourbon on Division with visions of a humanoid body under construction. A synthetic form is pieced together, animated, and left to confront the hideous metaphysical joke of receiving a body before receiving any clear consent to inhabit it. Christopher Lee’s video wall visuals, editing, and post effects push the performance footage into a slickly diseased theater of wires, limbs, screens, and staged resurrection.

Watch the video for Not My Skin below:

Not My Skin lands hard in the sick overlap between the nightclub, the lab, the operating room, and the mirror. Sleep Of Mirrors takes the familiar industrial question of man versus machine and drags it inward, toward the private horror of man versus flesh. By the end, the song feels less performed than extracted.

Listen to Not My Skin below and order the single, out now through Negative Gain Productions, here.

Sleep Of Mirrors spoke with Post-Punk.com about the new single and gave us a little insight into its creation:

Ronnie is known for Born of Osiris. How did he end up on a Sleep Of Mirrors track?

Chris: The answer is that we’re just really good friends.

Danny: Yea, the real story is that we’re homies and it’s organic.

Ronnie: We do music Thursdays. We write music together and we have fun. We’re not trying to be someone we’re not. We like doing what we’re doing.

So this was not a traditional “feature” situation?

Jay: On the surface it might look like we just got Ronnie as a feature, but no, that would be misleading.

Danny: Nothing was planned. It just sort of happened.

Chris. Yea, Ronnie was over, because he’s with us all the time when we’re making songs in the studio.

Ronnie: Yea, I was there and I said, “Let me try a vocal on it.”

What was the first spark for “Not My Skin”?

Danny: It came out as a bass riff first, then I added synthesizers and drums and brought it to Chris.

Chris: Right, similar to most of our songs, Danny comes up with some cool beats, synthesizers, and guitars as the bones, and then we bring them into the studio and rework them into songs that we all want to listen to.

Ronnie, what pulled you into this darker electronic world?

Ronnie: I wouldn’t even know about darkwave without Danny. The more I’m around Danny, Jay, and Chris, the more I have become a fan. Everything Danny shows me, I’m like, “Oh, this is cool. Let’s do something like that.”

People who know your voice from Born of Osiris may expect something more aggressive. What do you want them to know?

Chris: I think if people stumble across it and they know Ron and his music, it’s a completely different side of him. It’s less aggressive and more singing. The lyrical content is still intense, but the vocals are definitely not screaming.

Ronnie: It’s whispery and vibey.

Chris: For the vocal style, we were kinda trying to pull inspiration from Billie Eilish a bit. You can kinda hear that in the verses. Then Ron did a really cool chorus, so we just ran with it.

Jay, what does “Not My Skin” mean lyrically?

Jay: I had written a note about abjection, the ambiguity between a subject and an object. Where does the border of a person end? Is my skin the border of who I am, or is it something that I do in the world? That was the original theme, and then Ronnie took some of the lyric lines and created that punch in the chorus.

Ronnie: I was thinking about not feeling like you’re in or have control of your own body as if you’re being manipulated by the chaos around the world. I feel like I’m surrounded by sin and I’m not in my body. That’s how I was interpreting it.

How did that idea become the video concept?

Chris: Based on the lyrics, we kicked around a handful of concepts. Then there was this idea of, what if Not My Skin is actually a bot that is being built? We originally tried to make a build-a-Ron where he’s the bot at the end. But the AI kept giving him boobs, so we scrapped that and just did a more solid concept. It evolved into this idea of something synthetic coming to life and realizing that this is its skin and it doesn’t know how to feel.

Jay: When Chris was creating the music video, the idea of the bot being synthetic and coming to life just seemed to match organically with the song. From beginning to end, all of it felt like it was in the same world.

Ronnie: I think it’s sick.§

Follow Sleep of Mirrors: 

• Website
• Bandcamp
• Instagram

The post Chicago Dark Electronic Act Sleep of Mirrors Animate the Body in Video for “Not My Skin” — Featuring Ronnie Canizaro (Born of Osiris) appeared first on Post-Punk.com.

The Jardani Crow Band The August and the Glorious Review

The track opens with a very intense introduction that blends drums, strings, and piano, creating a traditional, epic atmosphere. This instrumental combination draws the listener into a world filled with mystery. As Michael Wheat’s voice begins to present the melody, the style evokes the essence of the 1990s, with hints reminiscent of Chris Cornell. The musicality here is deeply rooted in American tradition, infused with an Appalachian breeze that settles behind the track, yet is excitingly mixed with an alternative rock vibe.

The song possesses an intensity that speaks of overcoming hardship, functioning as an anthem for moving beyond pain and healing. Significantly, it was completed and mixed after the devastation of Hurricane Helene struck Asheville. This context adds depth to the song, highlighting the determination to rebuild and recover after such a profound event. The desire to start anew after an unspecified yet impactful incident resonates throughout the composition.

The arrangements are excellent, particularly due to Rip Kurtain’s contributions, which complement the duo’s vision. They engaged various musicians from other locations to enhance this beautiful piece, resulting in a refined and powerful track. The transitions involving strings after the four-minute mark are extraordinary, creating a suspended atmosphere conducive to reflection and introspection.

The August and the Glorious – Sound and Atmosphere

Furthermore, the intensity of the song is emphasized by lovely backing vocals and sophisticated arrangements that contribute to its emotional weight. The overall aesthetic is completed with a psychedelic and dreamlike video that enriches the listening experience. This multi-faceted approach showcases the band’s ability to marry traditional influences with modern alternative rock sensibilities.

The Jardani Crow Band successfully captures the complexities of healing through their music. Each element, from instrumentation to lyricism, contributes to an overarching theme of resilience. The reflections on overcoming challenges resonate universally, making it accessible to a diverse audience.

As the instrumental sections unfold, listeners are taken on a journey through varying emotions. The blending of genres highlights the band’s versatility while remaining true to the core of their influences. They manage to strike a balance between nostalgia and innovation.

The August and the Glorious – Performance and Production

The attention to detail in the arrangement and production elevates the experience further. Each layer adds complexity, ensuring that the listener remains engaged throughout. From the stirring instrumental intro to the moving vocal delivery, it is a journey worth taking.

“The August and the Glorious” is an intensely emotional work that pushes boundaries while honoring its roots. The Jardani Crow Band delivers a powerful statement about resilience and rebirth, enveloping it in rich textures and stirring melodies. This single is a commendable addition to the contemporary music landscape.

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Find The Jardani Crow Band here:
Spotify | Facebook

For fans of:

Michael Wheat • Rip Kurtain

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The post The Jardani Crow Band The August and the Glorious Review appeared first on Edgar Allan Poets – Noir Rock Band.

King .

The post King Zebra unveil video for new single “A Love I’ve Never Known” first appeared on Sleaze Roxx.