The end is the beginning

With a different name

Laughter in sheets of metal

Cutting through a memory of stone 

Crush of Souls has always carried himself like a man who missed the last train, stole a delivery van, and decided the road ahead probably merged into a bassline. On Captive Youth, his third full-length album, mastermind Charles Rowell turns that perpetual displacement into nine tracks of industrial dance music built for warehouses, bruised romances, and people who have memorized every fire exit in Europe.

Rowell has spent years moving through Crocodiles, Flowers of Evil, Issue, and assorted corners of the international punk underground. Captive Youth treats that history as fuel for a hard reset. The guitars and dark folk traces that once framed the project have been pushed aside in favor of body music, synth-pop, and machine-driven club pressure. New Order’s Technique, Nitzer Ebb’s Belief, Psychic TV’s Towards Thee Infinite Beat, and Anne Clark’s Pressure Points hover nearby as useful coordinates, although Rowell keeps the material personal enough to avoid sounding like a man trapped beneath a collapsing record collection.

Crush Of Souls’ rhythms move with the blunt authority of warehouse machinery, while the drums crack with enough force to make your landlord inspect the ceiling. These rhythms give Rowell room to write about politics, sex, labor, family, and youth as a vanishing resource. His voice carries the exhaustion of somebody who has crossed too many borders and still has enough nerve to flirt at customs. Romance remains present, though it usually appears with a split lip and questionable identification. Across the record, desire keeps colliding with bureaucracy, mortality, and the sort of private ruin no nightclub stamp can excuse.

Dying To Stay Young cuts deep. Its family has been starved of affection, surrounded by violence, and taught to regard survival as another form of punishment. Blades, prisons, fire, graves, and fallen angels crowd the lyric, while youth becomes a condition everyone is desperate to preserve even as the body and the world conspire against it. The repeated appeal for the sun to open wide gives the song a strange grandeur, as though daylight itself might expose the damage or burn away whatever remains.

Joshua Hourigan’s video extends that unease through snowbound landscapes, fractured edits, spectral figures, and an old castle that looks overdue for either an exorcism or Enya and her army of cats. A spirit dancer appears behind windows, veiled and confined, their movements suggesting souls held inside a structure that has forgotten why it keeps them. Glitches interrupt the scenery, turning the surrounding wilderness into a damaged transmission from somewhere colder and less forgiving.

Watch the video for Dying to Stay Young below:

Captive Youth is lean, physical, and politically alert, carrying Rowell’s wandering-worker sensibility into a tougher electronic frame. The album understands that staying young can become another exhausting job, complete with bad hours, no benefits, and a manager named Death, who never approves leave.

Captive Youth is out now via Avant! Records. Order and stream the album here.

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The post Cutting Through a Memory of Stone — Crush Of Souls Explores the Ruins of an Old Castle in Video “Dying to Stay Young” appeared first on Post-Punk.com.

A Night In Texas have just announced the release of The Darkest Side Of Humanity.

Glenn Hughes has announced his retirement from live work. The 74-year-old former Deep Purple singer and bassist, who underwent surgery in 2013 to repair an enlarged aorta, has decided to stop performing on medical advice. The announcement comes just days after Hughes performed with all-star covers band Kings Of Chaos in California.

“This past year, I’ve had some health issues,” says Hughes. “The results from numerous MRIs, CT scans, and an echocardiogram have alerted my medical team that I need another open-heart surgery. I really have no option and no choice, as health is my number one priority. Grateful to have been chosen with a life full with the gift of music. Thank you for walking beside me.”

In 2014, Hughes revealed he was diagnosed with a heart murmur when he was a child, and claimed he was lucky not to have suffered heart problems earlier as a result of his high-profile battles with drink and drugs in the 1970s and 80s.

“I had a heart attack on Christmas Day in 1991,” Hughes told Classic Rock in 2016. “God obviously had a sense of humour: ‘Let’s see if he’s paying attention – kapow!’ He gave me the heart attack. Or something did – well, that would have been the drugs, wouldn’t it?

“I realised how close to death I was then. I knew I had to get in a car, and my girlfriend drove me to hospital. And I very distinctly said to them at the hospital: ‘I’ve OD’d.’ And then I blacked out.

“I woke up, and I’d been sober for twenty-four hours. Which was a great moment for me, because I’d been trying for years. I was an embarrassment to myself. I never really went out in public. I lived in Laurel Canyon [in California] for two years and never really left. I used to get my food from the Country Store down the hill. I was kind of a hermit. Pretty sad.”

Hughes finished his extensive Chosen Years tour last November in Argentina, but cancelled his touring plans for this year in January.

“I’m taking advice from my medical team, who I am working closely with,” he said at the time. “Hoping to see you, on the road of happy destiny.”

In May, Hughes appeared with his former band the Dead Daisies at the Arcadia Club in St. Charles, IL. A second show, scheduled for October 2 at the Canyon Club in Agoura Hills, CA, has been cancelled.

Hughes’ final show was on Saturday with Kings Of Chaos at the Agua Caliente Casino in Rancho Mirage, CA. He was joined onstage by Richie Sambora, Jack Blades, Kevin Cronin, Matt Sorum, Steve Stevens, Phil X and more.

Kingdom Of Giants have just released a new track ahead of their Australian tour.

Sublime was formed in Long Beach, California, in 1988 by vocalist and guitarist Bradley Nowell, bassist Eric Wilson, and drummer Bud Gaugh. The trio created a distinctive sound by combining ska, reggae, punk rock, dub, hip-hop, and the relaxed atmosphere of Southern California beach culture. The band’s independent debut album, 40oz. to Freedom, appeared in 1992 and became an underground success through live performances, word of mouth, and regional radio play. Sublime followed it with the experimental and deliberately lo-fi Robbin’ the Hood in 1994. Bradley Nowell died from a heroin overdose on May 25, 1996, at the age of

The post Top 10 Sublime Songs appeared first on ClassicRockHistory.com.

On Old Mill, the penultimate track from Chalk Teeth’s self-titled debut, the Los Angeles trio turns repetition into an engine of dread. Chalk Teeth’s geographical history – Los Angeles by way of New York City and Oakland – feels audible in the song’s mixture of downtown abrasion, warehouse discipline, and West Coast scale. Karolina’s eerie Polish vocal rises through the mass with a cold clarity, delivering an apocalyptic dream of flaming galleons suspended in the sky.

The title began as Miller’s working name for the track, chosen before he understood Karolina’s lyrics. Its images of smoke, spinning metal blades and burning lumber happened to meet her vision midway. The song seems governed by accidental correspondences: disco electronics and noise rock, dream imagery and physical labour, ecstatic movement and looming catastrophe. Those elements collect without becoming cluttered, because the trio understands how to leave a severe melodic line exposed inside the distortion.

Her guitar, sharp and glacial, cuts across Wallace’s broader sheets of noise, producing a tension between precision and collapse. Each instrument appears to push against the others, yet the song remains locked to its central motion, advancing with the indifferent certainty of industrial machinery. A drum-machine pattern circles with the severe patience of early electronic body music, while Jason Miller’s bass and sequences establish a hard, metallic floor beneath Adam Wallace’s overdriven guitar. The opening suggests a malevolent cousin to Charanjit Singh’s 12 Ragas to the Disco Beat, rerouted through John Carpenter’s anxious minimalism, before the arrangement swells into a dense collision of fuzz, feedback and blunt rhythmic force. The hypnotic drone also calls to mind the sinister undertones of Lebanon Hanover and the catchiness of Pixies in the curious backbeat.

Wallace’s accompanying video extends that logic into a piece of expressionist street theatre. The band hauls a railroad tie through an industrial district, maneuvers black geometric fabric, and breaks into abrupt, awkward dances that recall silent cinema without settling into pastiche. Shot by cinematographer Benjamin Kasulke near the group’s North Hollywood studio, the clip benefits from the blunt texture of its surroundings: concrete, debris, vacant lots and the peculiar civic afterlife of discarded materials.

The railroad tie itself was found in the middle of the road after the band failed to source one, an intervention from North Hollywood’s vast informal archive of rubbish. Carried through the frame, it resembles a relic, a burden and a corpse. Chalk Teeth become pallbearers for obsolete American infrastructure, escorting it toward an unknown sentence while Old Mill churns behind them.

Watch the video for Old Mill below:

Chalk Teeth’s Old Mill is severe, strange, and physically persuasive: dance music for a factory condemned by fire, still operating after everyone has fled. Its violence is controlled, its imagery lucid, and its propulsion strong enough to make catastrophe feel briefly communal, even strangely celebratory, under immense pressure.

Chalk Teeth’s self-titled debut album is out now as of June 26th on DNTL Records.

Listen to Old Mill below and order the album here.

Catch Chalk Teeth live on the West Coast!

• 8/4 Los Angeles – Gold Diggers
• 9/4 San Francisco – TBA
• 9/5 Portland – The Six Below Midnight
• 9/6 Seattle – Barboza
• 9/12 Los Angeles – Bar Sinister

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The post Los Angeles Trio Chalk Teeth Strut Through Industrial Decay in Expressionist Video for “Old Mill” appeared first on Post-Punk.com.

The album of the same name is due out in early September.

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With shows across Mexico, Colombia, Brazil, Argentina, and Chile

Source

You can have your judgment day with it.

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