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Midnight .

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Ready .

The post Ready To Strike announce new bassist Ethan Greene first appeared on Sleaze Roxx.

Puerta Negra’s latest single Complejo de Victima (Victim Mentality), comes on as a scathing indictment delivered with immaculate control. It’s strict, stylish, and wired for confrontation. Here, the Portland duo of María Aguirre and Mark Arciaga treat body music as a blunt instrument with a brain attached to it, and this lead single from their Metafísica EP sharpens the blade without polishing away any vitriol. Sung entirely in Spanish, the track places Aguirre’s voice at the center of the damage, cool and cutting, while the beat lurches forward with the mechanical confidence of a machine trained on human spite.

Musically, Complejo de Victima works from a lean EBM chassis and lets the parts rattle. Industrial funk pressure runs through the track, but it never loosens into party decoration. The electronics have a mutant bite, closer to a feverish factory floor than a club fantasy, while the broken rhythms keep shoving the body forward at odd angles. Oráculo references Cabaret Voltaire, new-beat mutations, and the contemporary EBM revival, showcasing themselves as a band pushing their musical heritage through clenched teeth.

Directed by Zach Flanary, the official video keeps its world deliberately stripped down: black-and-white, high contrast, bodies under pressure, faces treated less as glamour objects than as evidence. Aguirre and Arciaga perform as if trapped inside the song’s own nervous system, caught between command and collapse.  The mirror shots give the video its mean little genius. They bend the performance into something fractured without dragging it into cheap psychodrama. A face splits, a figure doubles, the eye gets tricked into watching the watcher, and the victim complex named in the title starts to feel less like a diagnosis than a room full of bad faith. There is no need for plot when the premise is already poisoned: accusation, self-pity, control, and the private theater people build around their own wounds.

Watch the video for Complejo de Victima below:

Metafísica is billed as the third chapter in Puerta Negra’s vision, following 2022’s Costo Humano and 2023’s Playa Sola, and Complejo de Victima feels like a hard pivot toward austerity, attack, and psychic compression. Severity can be seductive when handled with nerve.

Listen to Complejo de Victima below and pre-order the vinyl (out June 12th from Oráculo Records) here.

Follow Puerta Negra:

• Instagram
• Bandcamp

The post Portland Duo Puerta Negra Share Video for Scathing EBM Track “Complejo de Victima” (Victim Mentality) appeared first on Post-Punk.com.

In Anthology, the debut EP by Glaswork, Joshua Elijah makes a departure from the sharper angles of his previous work with Inertia Her, entering a more severe, spacious register. The Paris-based artist, producer, mixing engineer, and photographer has carried over a certain discipline from his earlier work, but the gesture here is one of subtraction rather than expansion. Across five tracks, Glaswork strips song form down to pressure, pulse, and pallor, allowing ambient electronics, contemporary classical texture, and EBM-derived movement to meet in a place where precision becomes emotional.

The record has the feel of architecture abandoned before occupancy: corridors of tone, low mechanical thuds, rooms implied by resonance rather than filled with ornament. Elijah’s use of analogue and digital processes gives the music a tactile instability, as if each sound were being handled while still warm from the machine. There are traces of Tim Hecker’s engulfing grain and CoH’s sleek austerity, but Glaswork’s instincts are more private, less grandly apocalyptic. He works in measured gestures, allowing a bass figure or a softened industrial pulse to appear, recede, and leave behind a kind of charged absence.

“Anthology is the result of mixing analogue and digital processes and letting experimentation lead the way,” says Elijah. “…five tracks built from dark electronic textures, ambient space, and restrained rhythmic ideas, focused more on mood and atmosphere than structure.” The statement points to the EP’s central temperament. These pieces do not hurry toward resolution. They collect and disperse, gathering weight through proximity. A rhythm may suggest the body, but it rarely gives itself over to club logic; a synth line may gesture toward melody, then dissolve into a colder field of tone.

Elijah seems uninterested in spectacle, choosing instead to let small details carry the burden of feeling: the grain at the edge of a drone, the blunt knock of a beat, the way a suspended note can seem to alter the scale of the room around it. The EP’s emotional force lies in that refusal of excess. Glaswork begins here as a project of concentration, one concerned with the drama of reduction, where darkness is measured, space is active, and silence becomes another instrument in the arrangement.

Listen to Anthology below and pre-order the album here.

Follow Glaswork:

• Instagram
• Bandcamp

The post Glaswork Blends Ambient Electronics, EBM, and Contemporary Classical Elements on Debut Release “Anthology” appeared first on Post-Punk.com.

Re:Mission Entertainment has signed somemagicalshit, the bilingual synthpop and dark electronic project of Houston’s Courtnii Veronica Rose, with a debut full-length album set for release this fall. The announcement gives a proper label frame to a project already wired for bruised nerves, bad glamour, private panic, and the kind of synth damage that makes a bedroom feel like a pirate radio broadcast tower.

Rose started somemagicalshit in 2022 as a solo operation: computer, synths, sequencers, and a skull full of voltage. By 2023, the project had grown into a full live band, which makes sense, because this is the kind of music that wants bodies dancing in front of it. It has Le Tigre’s art-damaged bite, TR/ST’s bruised electronic glamour, ADULT.’s stern machine-body snap, Pussy Riot’s bilingual agit-pop provocation, and the frostbitten drama of Kælan Mikla, all dragged through Rose’s own Houston heat and private hell. She writes, records, mixes, and directs the entire affair herself, building songs that feel glossy, unstable, wounded, and ready to throw a drink at the mirror.

Я ненавижу себя moves between Russian and English as Rose calls herself ugly, rejects advice, declares therapy useless, reaches for alcohol as medicine, and circles the same brutal thought until it becomes a chorus: “Ya Nenavizyu Sebya.” The title translates to “I Hate Myself,” and the track treats that phrase with the blunt force of a diary entry written hard enough to tear the page. There’s face paint, jealousy, body disgust, and the desperate wish to love herself again, all carried by stacked synthesizers and vocals that cut through the arrangement with theatrical ache.

The Russian lyrics give somemagicalshit a serrated emotional edge, bending the song’s pain into something harsher, stranger, and more intimate than plain English confession could manage alone. Rose’s voice moves from sneer to exposed nerve without getting coy about the damage, while the music keeps enough pop instinct to make the misery stick in your teeth.

“The goal from the beginning was to create something atmospheric and emotionally intense while incorporating the beauty and emotion of the Russian language into alternative electronic music,” says Rose. “That mission hasn’t changed. It’s only getting louder.”

The video for Я ненавижу себя, directed by Jorge Delgado, turns self-loathing into a public spectacle with a weird grin taped to its face. Rose performs with live-wire force while an audience watches from behind paper bag masks, reflecting the song’s shame. The clip has the charge of a basement show, a breakdown, and a prank pulled on the bad voice in your head all at once.

“This is a song about suffering with self-hatred, making this video was a dream come true for me and I hope that you all enjoy it! It is slightly humorous as well as serious,” says Rose.

Watch below:

Houston’s alternative scene has already been getting the message, with short tours, out-of-town dates, and new material pushing the project beyond its original bedroom-bunker beginnings. With Re:Mission now behind it, somemagicalshit’s forthcoming full-length looks set to deliver a very stylish nervous breakdown with teeth.

Catch somemagicalshit on the road in the America South this summer!

• June 5, 2026 The Crypt, New Orleans, LA  w/ Blood Lovely, Phoenix Phantasma
• July 10, 2026 The Mix, San Antonio, TX w/ Shelly Webster + more TBA
• August 28, 2026 Crow Bar (Raven Room), Houston, TX w/ In The Shadows, Andrako, DJ Whisperwish

Discover more from Re:Mission Entertainment here, and check out their official Bandcamp page here.

Follow somemagicalshit:

• Facebook
• Instagram
• Spotify
• YouTube
• Bandcamp

The post Re:Mission Entertainment Signs Synthpop Project somemagicalshit — Watch Video for “Я ненавижу себя” (I Hate Myself) appeared first on Post-Punk.com.

He’s also indicated he is out.

The post Balmora Bassist Danny Cuneo Says The Band Is “Nuked” In Wake Of Allegations Against Guitarist Jay Torblaa appeared first on Theprp.com.

Perfect Crime has long been considered the Holy Grail of unreleased Guns N’ Roses footage

Uno se vuelve viejo sin notarlo.
No por los años,
sino por la cantidad de veces
que ha debido tragarse el grito.

Santiago Nicolás makes machine music with its teeth filed sharp to a clinical point, and his new single Ensayo Continuo de Precisión sounds like a pressure system encased within chrome. The Chilean producer, composer, and artist Santiago Nicolás González Lihn comes carrying a decade-plus of electronic damage and discipline, from The Deadly Affair, Access Device, and Ángel de la Guarda to his 2019 live work with Föllakzoid. That résumé could read like a passport stamped at every border between noise, techno, industrial music, and contemporary song, but the new track burns the paperwork and moves straight for the nervous system.

With Kimin Kim of the Korean band PCR at his side, Nicolás builds a piece of club music that feels freshly machined, cruelly clean, and wound tight enough to make your molars ache. The beat is all clipped muscle and blackened geometry, percussion striking with the dry authority of metal against bone, while the synths slide in with a polished menace that never begs for old-school approval.

The Spanish and Korean vocals give the track its blood pressure, moving through the mix like messages intercepted from opposite ends of the same damaged metropolis, voices carrying fatigue, precision, and a kind of civic panic. The languages pass each other in a charged space of repetition and restraint, each syllable pressed against the rhythm until speech begins to feel like a survival mechanism. The effect is intimate without getting soft, severe without becoming stiff.

Lyrically, Ensayo Continuo de Precisión circles strength, aging, swallowed cries, unnamed wounds, and the brutal little adjustments people make to keep walking when justice has stopped answering the door. Pain is treated as a force that alters posture, breath, and thought. Some people collapse inward; others keep planting seeds in ruined soil, as though creation itself were a stubborn reflex. The body, in this world, learns to think under pressure. The low end is compact and physical, the percussion severe, the sequencing hypnotic in the old sense of the word: it fixes your attention and starts working on your pulse. Yet beneath all that high-definition control sits a raw idea about living with the tremor, looking forward because looking away has already cost too much.

As the first preview of his upcoming 2026 EP, Ensayo Continuo de Precisión plants Santiago Nicolás in a sharp international lane of contemporary electronic music, where techno, post-punk tension, industrial discipline, and club violence are fused into a cold new grammar. It is elegant, anxious, and one hell of a club stomper.

Listen to Ensayo Continuo de Precisión below and order the single here.

Follow Santiago Nicolás:

• Bandcamp
• Instagram

The post Santiago Nicolás Teams up with PCR’s Kimin Kim on Techno EBM Stomper “Ensayo Continuo de Precisión” appeared first on Post-Punk.com.

He’ll need full-time care in the first stages of his recovery.

The post Sonny Mayo (Ex-Snot/Sevendust) Recovering From Emergency Triple Bypass Heart Surgery, Crowdfunding Underway appeared first on Theprp.com.

We had the wonderful opportunity to chat with Senem Semiz, vocalist for the Gothic Doom Metal band The Choir of Agony and Metal Charm, and ask her about The Choir of Agony’s sound, their recent singles, and her approach to songwriting, among other things.

Reuel

Hello Senem! I’m happy to chat with you. How have you been?

Senem Semiz

Hello! Thank you so much, I’m doing great, especially because our album is coming out on June 26th! I hope you are all doing well too.

Reuel

This is great news! I’m doing great as well. How would you describe The Choir Of Agony’s sound to our readers who haven’t had a chance to listen to your music yet?

Senem Semiz

I would describe our sound as “modern melancholy.” Listeners will find themselves losing their way within the vast, atmospheric echoes of that melancholy.

Reuel

You have recently released The Forever People II with a music video and several other singles. Will these singles be part of an album or any upcoming big release?

Senem Semiz

We actually really wanted to release them as a full album from the very beginning. However, we played a lot of concerts in our local city, and the feedback we got from our listeners was a strong desire to hear our songs as soon as possible. On top of that, each track we crafted required an immense amount of effort and time. To bring these pieces to our audience without delay, we initially released them as singles. But on June 26th, our album will finally drop under the title “The Burden of Buried Tales,” gathering these tracks together along with one final, brand-new song. The Forever People II will remain as a standalone single.

Reuel

What themes and topics do you inspire from or write about when writing songs in The Choir Of Agony?

Senem Semiz

When writing songs, I usually start with either the guitars or the piano. My inspiration often stems from a specific scent, the weather, or a sensory experience; in other words, different impressions trigger distinct sounds in my mind. I am very open emotionally and intuitively, and I love composing by reflecting this directly into my music. Doing it this way usually allows me to write the lyrics and the music simultaneously.

Reuel

In a universe where you can taste music, just like food, what food would you imagine The Choir Of Agony would taste like?

Senem Semiz

That’s a very interesting question! I thought about it, and I decided it would taste like oven-baked salmon with orange and white wine. It’s one of the dishes I cook best and absolutely love to eat. For me, creating something for The Choir of Agony holds the exact same value. Flavor-wise, I think it’s a beautifully melancholic dish.

Reuel

Reading about this made me hungry! You are also part of the melodic death metal band Metal Charm. Personally, what do you enjoy most about each band?

Senem Semiz

The thing I enjoy most about both bands is a shared element: the members. Even though we enjoy what we do and achieve successful results, we are a group of friends who move forward without ever looking down on one another. This reflects incredibly well on our creative process. What matters most to us is how we can take things one step further, without ever letting arrogance get in the way.

Reuel

Türkiye has an amazing metal scene that is growing exponentially! As the scene expands globally, do you feel Turkish extreme metal is developing its own distinct identity?

Senem Semiz

As you mentioned, the metal scene in Türkiye is heading in a great direction. I believe very prominent Turkish bands have already begun capturing a unique style that will represent Türkiye beautifully on a global scale.

Reuel

Which musicians and bands were your biggest inspirations growing up?

Senem Semiz

My biggest inspirations have always been Chopin and Thurisaz. For some reason, the common ground between these two has always made me feel safe and right at home, and they have permanently been my main sources of inspiration.

Reuel

What are your thoughts on how women are represented in music today, and what do you think can be done to promote more inclusivity and support for female musicians?

Senem Semiz

In today’s music industry, I deeply admire and always support all my fellow women who stand out through their sheer talent rather than hiding behind a persona. As a woman myself, I will continue to support them unconditionally. To boost this support, I think solidarity and mutual aid on social media, like sharing and promoting each other’s work, can definitely be increased.

Reuel

Thank you for your time, Senem! Is there anything else you’d like to add?

Senem Semiz

Thank you! As female musicians, we are individual lights within the darkness of metal, may our light never fade! To all the metalheads out there: stay metal!

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• The Choir of Agony
• Metal Charm
• The Choir of Agony
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The post Interview | Senem Semiz from The Choir of Agony: “Different impressions trigger distinct sounds in my mind” first appeared on FemMetal – Goddesses of Metal.