Blog

The internet is finally proving to be worthwhile

Claire Hamill 2026 Shedding the silence she used to wear like a shield, Hastings’ most mellifluous inhabitant hunts for fresh tunes en plein air. When she started out, at seventeen, Claire Hamill was a little precious thing; today, as a … Continue reading →

The post CLAIRE HAMILL BAND – A House Among The Trees appeared first on DMME.net.

Smoking .

The post Smoking Snakes share video for new track “Trick or Treat” first appeared on Sleaze Roxx.

The organisers of Froth and Fury have made the decision to withdraw from Perth in 2027.

In a statement, the promoters praise the success of this year’s event but note that increasing costs will prohibit them attempting it next year.

“While the Perth event itself was amazing and everyone there had an incredible day, we simply did not reach the turnout numbers required to make the event viable for us moving forward,” reads the statement in part.

Happily, Froth and Fury is planned to go ahead in Adelaide once again, with January 30 announced as the date. Artist submissions will likely begin in October. Keep up to date via the festival website.

Michigan metalcore powerhouse I Prevail is about to tear across the country for their Violent Nature Australian Tour, marking the largest headline arena run of their career Down Under. Teaming up with progressive metalcore heavyweights Imminence and Invent Animate, the June 2026 trek commands major stages across Perth, Adelaide, Melbourne, Brisbane, and Sydney. This tour […]

I love a good title. Not those rage-triggering, click-bait things you see on social media, but a well-conceived summary of what the article is about. Or the rare occasion when judging a book by its cover is justified. That’s just what you get from LA singer-songwriter David Serby’s latest album, Broken Heart in a Honky […]

Scar .

The post Scar Chamber featuring Babylon A.D. guitarist Ron Freschi drop video for debut single “Ugly On The Inside” first appeared on Sleaze Roxx.

The blokes you can trust have stepped into a breech to fill the sudden vacancy at this month’s Thrashville festival in the Hunter Valley.

With LA hardcore legends FEAR cancelling their tour at the last minute this week, the Cosmic Psychos answered the call to take their place alongside The Bennies, Disentomb, Private Wives and more.

Tickets are still available for the show.

Pont Du Hawk’s Higher Forces comes out of San Francisco like a club record beamed through a military transmitter orbiting some dead moon, ten instrumental tracks of dark electronic dance music with a hard eye on the body and a colder one on the cosmos. Rex Arcadia, working alone in Bitwig Studio, has built a debut that understands the old body-machine pact.

The concept – subjugation by extra-dimensional entities, malevolent psychic forces, a dystopian machine-future, control, deception, and redemption –  opens another sealed chamber between each song: chrome doors, sterile light, voices from the vents, a console flashing instructions in a language halfway between prayer and threat. The celestial bend gives the album its character. These are not merely songs about machines; they feel like machines trying to contact something above them.

A Severed Heads influence comes through in attitude: that willingness to let melody wobble, distort, and turn slightly grotesque while the machinery keeps smiling. The synth lines have hooks, but they also have burrs under the skin, little wrong-way bends and queasy phrases that make the tracks feel alive in a synthetic, lab-grown sense. You can hear the pleasure Arcadia takes in treating electronic pop as a misbehaving organism, something bright enough to lure you closer and strange enough to make you regret leaning in.

From Intermix and Front Line Assembly, Higher Forces borrows its sense of propulsion and pressure. The drums carry that industrial-dance discipline, clipped and forward, less rock muscle than programmed enforcement. Patterns lock into place with the patience of a factory arm, while the bass sequences move with blunt authority. Yet Arcadia avoids turning the album into a gray metal corridor. He keeps planting lead melodies above the impact, and that gives the record lift: a cold ascension, as if the dance floor were being raised toward a hostile sky. A Depeche Mode thread is evident in the dramatic chord shifts and the taste for sleek menace, especially when the tracks widen out and let the synths bloom around the beat. Arcadia also seems drawn to the way Depeche Mode could make technology feel devotional, erotic, and punitive all at once.

Cabaret Voltaire and Fad Gadget haunt the album’s more abrasive instincts. The sampled voices come chopped, processed, and spat back into the mix until speech loses its social function and becomes evidence: a command, a warning, a transmission from a bad room. At points, the voices feel regurgitated into musique concrète, robotic and mangled, creating a deliciously paranoid grain. It is dance music with fluorescent tubes buzzing over an interrogation chair.

Kraftwerk’s technopop ghost appears in the album’s faith in repetition, in the idea that a simple pattern can become uncanny through discipline. John Carpenter is present in the leaner passages, where a few notes can suggest pursuit, empty streets, institutional dread, or the moment in an 80s thriller when someone realizes the phone line has been cut. S U R V I V E comes through in the wider synth architecture, the sense of glowing dread stretched across the horizon. Buzz Kull, Rue Oberkampf, and Kontravoid can be felt in the club-facing attack, where dark electronics become physical without losing their stylish, alien poise.

Theatre In Berlin and Darkside in particular sit at the center of that tension. Both feel built for 80s psychological cinema: the arpeggios stalk rather than decorate. The drums push like machinery with a destination. The melodies carry a strange euphoria, the kind that makes a person dance harder because the emergency siren has already started and no one wants to be the first to admit it.

Self-produced and self-mastered, Higher Forces has the wired charm of obsession disciplined into form. It wants bodies moving, but it also wants the mind cornered, scanned, and tampered with. That tension gives the album its charge: dance music for people who suspect the stars are watching, and that the stars are taking notes.

Listen to Higher Forces below and order the album here.

Follow Pont Du Hawk:

• Instagram
• Facebook
• YouTube
• Spotify
• Bandcamp

The post San Francisco’s Pont Du Hawk Channels Instrumental Synth and EBM Into Cosmic Machine Dread on “Higher Forces” appeared first on Post-Punk.com.

Slayyyter became one of 2026’s breakout pop stars with the release of her third album, “Worst Girl in America,” and her viral Coachella set.