Initially reluctant to perform, Aimee Mann didn’t respond to Geddy Lee’s invitation to Rush’s reunion shows for a month

Check out their punk-fueled take on “Heading Out to the Highway”

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Marking their fifth new song of 2026

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Philips 1979 / 3VƐ 2026 Locating deceptive neutrality in vivid reveries, five Luzerners embark on a progressive voyage out of this world – and back again. “The more we free ourselves from external constraints, the greater the challenge of dealing … Continue reading →

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Canadian deathcore titans Brand of Sacrifice have returned with a devastating double single, Seeing Red and This Place Wasn’t Meant For Us, marking the band’s first new music since late 2023 and the opening strike of a major new chapter. Arriving with the scale, precision, and emotional force that have made Brand Of Sacrifice one […]

2x GRAMMY-nominated singer, songwriter, and subversive performance artist, Poppy, has shared the music video for her song Dying To Forget. It was directed by Orie McGuiness, who also collaborated with Poppy on her videos for Guardian, Bruised Sky, and Time Will Tell from her latest album, Empty Hands, which debuted No.7 on the ARIA Albums […]

Emerging from Los Angeles’s thriving darkwave and post-punk underground, DECEITS are set to make their long-awaited Australian debut this December with two exclusive headline performances — Friday, December 4 in Sydney and Saturday, December 5 in Melbourne. Blending melancholic atmosphere with soaring hooks and explosive live energy, DECEITS have rapidly become one of the most […]

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“Everything you love will probably be lost, but in the end, love will return in another way.”

The line is attributed to Franz Kafka through the oft-retold story of “Kafka and the Doll,” an anecdote passed down from the writer’s final months in Berlin. As the story goes, Kafka encountered a child grieving the loss of her doll and, rather than tell her the beloved object was gone forever, began writing letters in the doll’s voice. The doll had not disappeared, he imagined; she had gone traveling. When a replacement doll eventually appeared, the explanation was simple and devastating: the journey had changed her.

Whether taken as a literary legend, a tender invention, or an apocryphal gospel, the story survives because it understands grief as transformation rather than repair. The lost thing does not come back as it was. Love returns altered, carrying the damage of distance, absence, betrayal, and time. That idea sits at the center of Undertheskin’s “Exit | Wounds,” a song that treats love not as rescue, but as something dragged through fire, burial, and broken glass before it can take another form.

On “Exit | Wounds,” the Warsaw coldwave project led by Mariusz Łuniewski turns Kafka’s cruel mercy into a darkwave reckoning. The song brings to mind something between Clan of Xymox and Depeche Mode, but Łuniewski bends that lineage into his own private wreckage. The bass moves with a stern undertow, the beat keeps its boots clean while stepping over emotional debris, and the synths stretch around the vocal like black satin pulled across broken furniture. His voice carries the calm of someone already past the worst part, which makes the damage land harder.

Lyrically, “Exit | Wounds” begins like a death notice submerged inside deception, then turns emotional aftermath into physical terrain with the image of “walking through broken glass.” The song moves from rupture to ritual: the past is set alight, memory is reduced to ash, and betrayal becomes a shared grave rather than a clean accusation. By the time the narrator has buried and been buried in return, the song has become a portrait of mutual damage, two people trapped inside the wreckage they made together.

The song’s central refrain returns to Kafka’s idea through the phrase “Love will return,” but it does not arrive as comfort in the usual sense. It sounds more like a law of nature, cruel because it is true. Later, the repeated nights of loneliness, wrongness, crying, and collapse turn grief into recurrence, the kind that hollows out time until the distinction between one night and the next disappears. The song understands that loss is not only an event. It is a room you keep waking up inside, waiting for love to reappear in a form you may not recognize.

The video, directed and filmed by Rytis Titas and starring Mariusz Łuniewski and Jovita Łuniewska, turns the song into a black-and-white fever photograph. It is gorgeously shot, all performance and fracture, with bodies superimposed across shards of glass as though the image itself has been dropped, stepped on, and asked to sing anyway. The cosmic, liminal quality keeps everything slightly beyond reach: faces suspended in a strange in-between zone, gestures slowed into emotional evidence, grief refracted until it becomes architecture.

The clip refuses to over-explain the pain. The glass does the talking, the monochrome gives everything a funereal charge, and the performers hold the frame with a bruised elegance. Song and video meet at the same torn seam: ruin as proof of contact, and love as the thing that returns in another form after the original body has vanished.

Watch below:

Founded in 2015, Undertheskin began as a solitary operation, with Mariusz Łuniewski handling every aspect himself: writing, producing, performing, and calibrating each element. After releasing two albums, U N D E R T H E S K I N and N E G A T I V E, along with the internationally acclaimed End This Summer EP, he established himself within the modern coldwave scene.

The project has since expanded into a duo, with longtime collaborator Tom Tylor joining Łuniewski and contributing guitar, synths, and programming, including additional synths and programming on “Exit | Wounds.” Undertheskin has also performed across various stages, sharing bills with acts such as The Soft Moon, She Past Away, Clan of Xymox, Drab Majesty, and Lebanon Hanover. That history matters because this track feels earned, not assembled from borrowed gloom and drum-machine eyeliner.

“Exit | Wounds” is a track from Undertheskin’s latest album, N E V E R | R E T U R N. Read our review of the album here, and order it on CD and Vinyl here.

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The post “Love Will Return in Another Way” — Polish Darkwavers Undertheskin Channel Kafka’s Doll in Video for “Exit | Wounds” appeared first on Post-Punk.com.

Longstanding Florida death metal inventors Massacre intend to release a compilation of their demos entitled Tyrants of Death this year which features some of the music that contributed to the makeup of classic death metal.

The album will have the following tracks:

1. Aggressive Tyrant
2. Death in Hell
3. Mutilated
4. Chamber of Ages
5. Clangor of War
6. From Beyond
7. Symbolic Immortality
8. Cryptic Realms
9. Infestation of Death (live)
10. Clangor of War (live)
11. Aggressive Tyrant (live)
12. Cryptic Realm (live)
13. Perpetual Domination (live)
14. The Traitor (live)
15. Corpsegrinder (live)
16. (Hidden bonus track)*

Remastered at Satanic Audio in Poland in 2026, the compilation will be available in CD, MC, and LP. The band offered the following statement from Kam Lee:

I feel that by embracing the past, we can unlock the full potential of the future. These early demos serve as a testament to the band’s innovative spirit. They play a significant role in shaping the distinctive sound and style that would go on to define death metal, as well as Massacre’s blueprint. They’re essential & they’re part of what I think is history.