Metallica and Rush are supporting earthquake relief efforts in Venezuela. Here’s what each band is doing.
The post Metallica, Rush Doing Their Part to Help With Venezuela Earthquake Relief appeared first on Audio Ink Radio.
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Review MOTÖRHEAD “Kiss of Death (20th Anniversary Edition)”
Twenty years ago, Motörhead released Kiss of Death, their 18th studio album—another landmark in the band’s legendary career. Packed with everything that made Motörhead one of the greatest rock ‘n’ roll bands of all time, the album kicks off with the blistering opener “Sucker” and features timeless classics such as “God Was Never on Your Side”… Continue Reading → -
R.I.P. Aaron Jackson
Members of the Melbourne prog band Branch Arterial have paid tribute to their former singer, Aaron “Nigel” Jackson, who recently died from cancer.
Jackson, who was known by the name Nigel, succumbed on June 12 after a year-long battle with his disease. He was originally diagnosed with a form of blood cancer in 2014 and Branch Arterial raised funds for medical research into treatment. The singer later made a full recovery from that diagnosis.
Branch Arterial broke up after their performance at the Leprous-headlined Progfest in Melbourne in January 2018. Their album Beyond the Border was released the previous year.
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Scenes From Taylor Swift’s NYC Wedding: Fans, Stars and More
The scene outside Taylor Swift’s wedding in Manhattan had the drama and emotion of one of her albums. -
Current ASIA To Issue Album With A Ghost Of John Wetton
One can rarely get excited when old ensembles, led by a sole member of a classic line-up, acquire new players and forge ahead – but it was not the case with ASIA, as this scribe discussed in a video. The … Continue reading
The post Current ASIA To Issue Album With A Ghost Of John Wetton appeared first on DMME.net.
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Memento Mori — Denver Darkwavers Devoratus Dance Into the Void With “Vacio” EP
Take my hand,
Let me show you how the night runs out
Denver’s Devoratus make darkwave with a clenched jaw and a dancer’s thrust, and Vacio, their EP whose title translates from Spanish as “Empty” or “Void,” turns that tension into a lean, bruised little machine. The current lineup—Tomas on vocals, Aero on synths, Renee on bass, and Cisco adding live guitar—works from familiar gothic materials, yet the record has a focused personality: dry humour at the edge of despair, Spanish-language ache beside English plainspokenness, and club velocity pressed against private collapse.
The production favors cold angles and thick low end. Synth parts hang in the air like metal under moonlight, while Renee’s bass gives each track a stalking physicality. Aero’s keys cut through with glassy discipline, sometimes framing the beat, sometimes needling it, while the guitar’s presence traces the shadows into a sharper human shape. Tomas sings as if addressing someone across a locked room, his voice grave, close, and melancholic, carrying the EP’s themes of isolation, desire, mortality, and change without turning them into costume drama or diary theater.
Abismo oscuro comes out of the gate with an icy guitar line, cold synths settling over it like a layer of winter frost. The drumming pushes forward with almost punk impatience, while the shadowy vocal line rides the rush with a sense of momentum, doom, and romantic wreckage that recalls Lowlife at their darkest. Lyrically, the song stares straight into death’s mirror: sin is abandoned, the cross is taken up, the end is declared present, and the body is returned to dust. Its devotional language and blunt mortality give the track a ritual severity, less like melodrama than an alarm bell ringing in a freezing room. The song moves fast without losing its shape, giving its gloom a sharp edge rather than letting it dissolve into decorative fog. It lands with urgency, not clutter.
Dance is the release’s most direct invitation to the floor, though its pleasure has a sickly grin. Echoed vocals stretch across atmospheric synths, and the rhythm keeps the body busy while the mind wanders toward less friendly rooms. The lyrics turn the dance floor into both seduction and survival: the Spanish lines suggest instruction, surrender, and a refusal to look back, while the English refrain reaches outward like a hand in the dark. It is not escapism exactly, but movement as a last practical response to ruin. Dance music can carry dread without collapsing into theatre; Devoratus understand that the best grooves can feel useful, almost medicinal, as if motion itself were the only thing keeping the void from closing in.
For You keeps the tempo high but aims closer to the chest. It plays as a fast ballad for someone already gone or maybe still too near, with echo, ache, and forward drive braided into a clean blow. The narrator wakes disoriented, caught in the repetition of not knowing where they are, unable to stop living inside the self. When the song turns toward Spanish, that private confusion becomes a plea for an ending and a way out, not simply for escape, but for another person. That shift gives the track its emotional weight. It is wounded without becoming helpless, romantic without becoming soft. The restraint gives the record leverage: Devoratus leave enough space around the parts, so every bass note, drum hit, guitar slash, and vocal bend lands with intention.
Vacio is compact, stylish, and severe, yet it breathes. Its emptiness is not blankness, but pressure: the absence one dances through, prays against, wakes inside, and tries to outrun. Fans of Forever Grey, Lebanon Hanover, She Past Away, and other cold-hearted romantics will recognize the alleyways it traverses, but Devoratus walk them with their own private map. This is gothic dance music with bite, brains, and bleak charge for rooms already leaning toward the dark.
Listen to the Vacio EP below:
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The post Memento Mori — Denver Darkwavers Devoratus Dance Into the Void With “Vacio” EP appeared first on Post-Punk.com.
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Brooklyn Synthpop Duo Observation Room Share New Single “Running Lights” — Debut Album “Superstructure” Announced!
Brooklyn synth duo Observation Room have spent the last few years finding the heart beating inside the machine. On Superstructure, their debut full-length for à La Carte Records, Marina F and Chloe Olson expand the hypnotic precision of their self-titled EP into something stranger, warmer, and more textural: synth-pop with its circuitry exposed and the windows cracked open.
The record keeps the duo’s precise electronic chill intact, but fattens it with breath, doubt, humour, and a bright ache that makes you suspect the machines have been listening while you talk in your sleep. Observation Room have made synth-pop with blood pressure: bright surfaces, nervous systems, and a brain full of alarms. Superstructure is smart, strange, physical, and wide awake, grinning hard under the emergency lights.
The first single, Running Lights, works as both invitation and warning flare. It locks into a headlight-after-headlight momentum, steady enough for the dance floor but too keyed-up to dissolve into lifestyle wallpaper. The pulse is sleek, but not passive; every repetition seems to tighten the room by a few degrees. When the chorus finally opens, it feels earned, like a locked stairwell suddenly giving onto sky.
Running Lights draws its charge from the duo’s devotion to process, pressure, and disciplined play. The reference points are clear enough: Depeche Mode’s severe romance, Book of Love’s gloss, OMD’s machine-pop manners, plus older electronic cousins from krautrock, Tangerine Dream, and early Human League. But Observation Room are not simply arranging their influences into a tasteful mood board. They keep their hands on the method. They build small systems, repeat them, compress them, and wait for strange colours to leak out.
Listen to Running Lights below. Superstructure arrives September 11. Pre-order here.
The album’s title, Superstructure, carries a clean, glassy double charge. On one side is architecture: the frame, the scaffold, the built environment. On the other is ideology: the unseen system that tells the body where to move, what to fear, and how to behave. Across the LP, private panic keeps finding its public wiring. Surveillance begins as a twitch behind the eyes, then expands into policy, screens, money, cops, bosses, feeds, and all the little invisible rails that teach people where to stand. Marina F and Olson, sharpened by political organizing and dread, treat anxiety not as a personal defect but as something manufactured, maintained, and, in certain flashes, danced through.
The production, handled and mixed by Marina F in Brooklyn, gives the record depth, pressure, and enough space for its uglier textures to breathe. Mechanical bloops, field recordings, dissonant corners, and thick low-end touches from 90s house press against vocal harmonies shaped by rooms full of bodies. The result is both intimate and civic, club-lit and fluorescent, as if the songs were built for headphones, basement speakers, and the nervous walk home afterward. Sharon Aiza Engel’s mastering gives the album firm edges without draining its glow.
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Photo: Tim O’Connell The post Brooklyn Synthpop Duo Observation Room Share New Single “Running Lights” — Debut Album “Superstructure” Announced! appeared first on Post-Punk.com.