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  • San Francisco’s Octavian Winters Gaze Upon the Beauty of Life in Expressionist Video for “By The Stars”

    All the world lay at your feet

    Does it mean anything

    Float a leaf upon the sea

    And set off drifting

    Octavian Winters turn their gaze upward on By the Stars, a swooning pop ballad that reveals the San Francisco band at its most lush and otherworldly. Released ahead of their appearance at Wave-Gotik-Treffen in Leipzig, and produced once again by William Faith, the single drifts away from the darker angles of Elements of Air into a slower, more spacious form of grandeur. The song moves as if carried by tide and starlight, with toms beating beneath luminous guitar lines and low, patient bass, each element arranged with the care of someone reading a map by candlelight.

    Ria Aursjoen’s voice gives the track its immense vertical reach. She seems to draw its horizon wider with each phrase, rising from intimacy into something almost celestial. Around her, Stephan Bryan Salit’s guitar glows in long, fine arcs, Jay Denton’s bass supplies a deep undertow, and Randy Gzebb’s drumming keeps the song moving with the quiet insistence of oars against black water. In its soft majesty, By the Stars brings to mind Strange Boutique, Cocteau Twins, Enya, and a little Mazzy Star, though Octavian Winters treat those references as distant constellations rather than fixed coordinates.

    “The song has the feel of a sea voyage,” says Ausjoen. “The images for me were always ones of the vastness of the sky and the sea, and the feeling of the magnificent beauty of the world. The call and answer vocals are like two people calling back and forth across a valley. It’s meant to encompass that feeling of transcendence when you take a meta view of life and of the natural world, and just fall into the beautiful patterns of it all.”

    The lyrics look past worldly power toward the vast indifference and mercy of nature. Gold, bones, leaves, sea, stars, and northern lights become images of surrender, as if the self, stripped of possession and certainty, might find release in drifting. The song carries grief without turning heavy, placing human fracture against a sky too immense to answer back.

    “The song is symmetrical in 3 parts that are about life stages,” Ausjoen explains. “In the first verse, it says “throw your gold into the sea and set off drifting”, in the middle it’s “float a leaf upon the sea and set off drifting’ and finally “throw your bones into the sea and set off drifting”. It’s about not being afraid, taking the next step, whether that’s when you are young and setting out on your path, or when you are older and shrug off other people’s opinions and follow your own way, or at the end of life when you drift away and let your spirit go.”

    “I remember playing an all-ages show in Northern California, looked up mid-song and saw these two young goth girls at the front of the stage with tears streaming down their faces,” recalls drummer Randy Gzebb. “That moment told me everything I needed to know about ‘By the Stars’. You know a song matters when it reaches people like that.”

    David Kruschke’s video extends that sense of transport into a strange, theatrical realm. Drawing from the expressionistic grammar of 1910s silent cinema, it begins in stark black and white, with a masked figure presiding over the frame like an antique omen. As the clip passes into full colour, the figure’s authority weakens, and the band appears suspended in another dimension, performing inside a vision where beauty outlasts fear.

    Watch the video for By The Stars below:

    Octavian Winters have built their reputation on tightly wrought songs that move from moonlit expanse to dark post-punk drive, matched by enveloping live performances. Their 2023 debut EP, The Line or Curve, now leads toward a William Faith-produced sophomore EP, following Wave-Gotik-Treffen and A Murder of Crows, with Absolution ahead.

    Listen to By The Stars below and order the single here.

    Follow Octavian Winters:

    The post San Francisco’s Octavian Winters Gaze Upon the Beauty of Life in Expressionist Video for “By The Stars” appeared first on Post-Punk.com.

  • Album Review | gracie – “Miss Misfortunately”

    General Information

    Personnel:
    gracie

    Producer: Austin Davis
    Release Date:
    June 26, 2026
    Label: Tooth & Nail Records

    Setting the Scene

    gracie is the kind of artist who turns the total wreckage of a brutal breakup into catchy, alternative pop rock therapy. Her full length debut LP, Miss Misfortunately, delivers exactly that. It offers an honest and slightly sarcastic look at the aftermath, armed with plenty of angst and a solid rock edge.

    First Impression

    Listening to this record feels like catching your breath after a really intense argument. It completely catches you off guard. One second you are sitting with these quiet acoustic moments, and the next you are throwing a rebellious pop punk tantrum. The entire album strikes this perfect balance between soft rock sadness and aggressive sing along anthems. It is deeply personal, but it completely drags you into the drama with it.

    Similar Sounds

    If you’re into any of these artists, this album should be on your radar.

    Charlotte SandsLØLØAvril Lavigne

    Visual Vibes

    The cover art features gracie as a totally unimpressed prom queen rocking choppy blue hair and a sparkly tiara. This sassy portrait perfectly matches the messy breakup energy of the record, serving as a blunt warning for the sarcastic pop punk anthems waiting inside.

    Track on Repeat

    “Gunpowder”

    It starts off pretending to be a calm, vibrant little tune before the drums kick in and it completely explodes into the heaviest track on the album. The vocals absolutely soar carrying lyrics that feel way too relatable, and it wraps up the whole emotional mess with a gorgeous ballad style ending.

    In-depth Notes

    Musical Shape 🎸

    The instrumental structure of this record basically thrives on mood swings. It strikes a perfect balance between soothing acoustic soft rock and heavy pop punk explosions. The arrangements constantly pull a clever bait and switch, starting off with calm, atmospheric guitar riffs before the drums crash in to build the tempo into something much heavier. The guitar work is genuinely great throughout, driving the energy shifts and keeping the melodic beauty intact even when the tracks get louder and more aggressive.

    Vocal Performance 🎤

    gracie uses her voice like a total emotional weapon on this record. She knows exactly how to bend her delivery to match whatever mood swing the track is currently having. One second her vocals are soaring beautifully over a calm melody, and the next she is practically clenching her teeth through an aggressive pop punk chorus. She perfectly echoes the heavy feelings behind the music, making sure you feel every single ounce of the anger and heartbreak.

    Production Quality 🎧

    The production on this album completely nails the constant mood swings. It perfectly manages the jump from quiet acoustic moments to full blown rock energy without ever feeling messy or disjointed. Everything sounds incredibly crisp, and the mixing knows exactly when to crank up the guitars to match the emotional damage.

    Themes and Concepts 💭

    At its core, the album explores the messy and completely chaotic aftermath of a toxic breakup. It is all about navigating the raw emotions of heartbreak and the frustration of dealing with the fallout. This emotional rollercoaster is perfectly mirrored in the music itself. The sudden shifts from quiet acoustic melodies into heavy rock explosions feel exactly like the unpredictable mood swings of trying to get over someone.

    Final Verdict

    ★★★★★★★☆☆☆

    Miss Misfortunately is a genuinely catchy alternative pop survival guide for your next messy emotional breakdown.

    Mood Meter

    %

    Intensity

    %

    Melancholy

    %

    Darkness

    %

    Emotional

    %

    Serenity

    %

    Energy

    %

    Romance

    %

    Joyfulness

    Perfect For…

    Rethinking your life choices – while staring at the ceiling in your room
    Driving – windows closed, singing your heart out along
    Working – when a co-worker comes to your desk to show you photos of his kids, turn the VOLUME UP.
    Working on Arts – inspirational melodies

    The post Album Review | gracie – “Miss Misfortunately” first appeared on FemMetal – Goddesses of Metal.

  • Karen Dió Announces New EP ‘Fugaz’

    Karen Dió is back to conquer the world that little bit more with her new EP, the follow-up to 2024’s ‘My World’.

    Titled ‘Fugaz’, it is set for release on August 21 via Hopeless Records.

    The artwork looks like this:

    Whilst the tracklisting is more like this:

    1. Euphoria
    2. Free Yourself
    3. Choke
    4. Crawling
    5. Rat Race
    6. Fugaz

    You can also check out the first taste of it now in the form of ‘Free Yourself’, a blink-and-miss-it piece of pop-punk brilliance that slams you with bright and breezy positivity and wholehearted joy. It showcases not just Karen’s love for a spiky chorus but also for her music carrying a message that can be lived by. It’s a step up to the plate in a big way and will be lodged in your head almost instantly.

    She had this to say about the tune, explaining, “Funnily enough, Free Yourself is a song that I dreamed of. Most of the time I unfortunately forget the songs by the time I’m awake, but I’m glad I remembered this one. Later the same day, I decided to work on it and the melody of the chorus immediately came. When I showed the embryo of it to Matt (Bigland of Dinosaur Pile, Karen’s husband and writing-partner), he immediately was like, ‘That’s a hit!’ so we started to write the rest.

    During the whole process of writing Free Yourself we would remind ourselves to be completely free with our creativity and, to be honest, to try being ridiculous sometimes. One of my favourite parts of the song came from an improvisation where I said “Jeans are dangerous,” and Matt thought it was great, but he thought I said “Genes are dangerous.” We loved both quotes, but we decided to go with “Genes are dangerous” because it felt more provocative.”

    Karen is set to hit up plenty of festivals in the coming months. Here is where you will be able to see her:

    JUNE


    27 – ABTSWIND Abgeht die Lutzi Festival

    JULY

    02 – WERCHTER Rock Werchter Festival
    08 – CHELTENHAM 2000trees Festival
    10 – MADRID Mad Cool Festival
    25 – PLOVDIV Hills of Rock Festival

    AUGUST

    01 – GRÄNICHEN Open Air Gränichen
    06 – GEISELWIND Hütte Rockt Festival
    07 – HAMBURG Amplifire Vol. 1 Festival
    08 – ESCHWEGE Open Flair Festival
    09 – ROTHAUSEN Taubertal Festival
    14 – BUDAPEST Sziget Festival
    27–29 – TORREMOLINOS Canela Party Festival

    SEPTEMBER

    04 – COPENHAGEN Omega Festival
    07 – GLASGOW King Tut’s Wah Wah Hut
    08 – MANCHESTER The Deaf Institute
    09 – LONDON 100 Club
    12 – BRIGHTON Green Door Store

    The post Karen Dió Announces New EP ‘Fugaz’ appeared first on Rock Sound.

  • Melrose Avenue Share Horror-Tinged New Track ‘Cemetery Friend’

    Melrose Avenue are back with another big track, extending their 2026 hot streak, and it finds them toying with the macabre.

    Titled ‘Cemetery Friend’, it finds them blending curiously dark tones with frantic pop-rock melodies and metalcore leaning intensity. It further showcases just how chameleon-like the band are, able to master whatever sound or style is put before them, whilst also managing to make it completely their own.

    The track also serves as a collaboration with The Funeral Portrait, of which vocalist Vlado Saric explains how they met:

    “We met The Funeral Portrait last year whilst out on tour with Ice Nine Kills and there was just an immediate connection that saw us all radiate towards each other. They have this awesome ability to make darkness feel theatrical and when we wrote Cemetery Friend we immediately knew that was what it needed, We essentially wanted this song to feel like a car crash between the 2 acts and we are pretty sure that’s what we’ve achieved here!”


    The tune follows on from the previously released ‘Bad Guy’, which sounds like this:

    The band are due to take over Europe at the start of 2027 with an extensive tour across the continent. Here are all the dates:

    JANUARY

    27 – DUBLIN Academy
    28 – BELFAST Limelight 2
    30 – GLASGOW The Garage
    31 – LEEDS The Key Club

    FEBRUARY

    01 – MANCHESTER Club Academy
    03 – BIRMINGHAM Institute2
    04 – LONDON Electric Ballroom
    06 – UTRECHT TivoliVredenburg Pandora
    07 – ANTWERP Kavka Zappa
    09 – PARIS Trabendo
    10 – COLOGNE Live Music Hall
    11 – HAMBURG Gruenspan
    12 – COPENHAGEN Hotel Cecil
    13 – OSLO John Dee
    14 – STOCKHOLM Kollektivet Livet
    16 – HELSINKI Tavastia
    17 – TAMPERE Olympia
    18 – TALLINN Paavli Kultuurivabrik
    19 – RIGA Palladium
    21 – WARSAW Proxima
    22 – BERLIN Columbia Theater
    24 – PRAGUE Rock Café
    25 – VIENNA Flex
    26 – BUDAPEST Analog Music Hall
    27 – BOLOGNA Locomotiv Club

    MARCH

    01 – ZURICH Dynamo
    02 – MUNICH Technikum
    03 – BARCELONA Razzmatazz 3
    05 – MADRID Revilive
    07 – LISBON República da Música

    The post Melrose Avenue Share Horror-Tinged New Track ‘Cemetery Friend’ appeared first on Rock Sound.

  • TODOMAL’s `Graveyards of Joy` Is a Trilogy-Closing Reckoning with Loss, Landscape, and the Stubborn Persistence of Hope – Album Review

    There is a painting on the cover of Graveyards of Joy — Ruïnes (1865) by Catalan artist Lluís Rigalt that tells you nearly everything you need to know before the first note sounds. Stone arches are consumed by vegetation. Desolation wears beauty like a second skin—something dead, something growing, the two indistinguishable from a distance. The Anglo-Spanish duo at the heart of TodoMal didn’t choose it by accident. They recorded this album in the same terrain: a crumbling stone house in the depopulated interior of Eastern Spain, near Teruel, where abandoned railway stations decay quietly in the sun, and the air carries what Chris Wildman has called the silence of “godforsaken areas.” That environment isn’t a backdrop — it is an argument. Graveyards of Joy insists that landscape and interior state are the same thing, and for forty-three minutes, it proves the case.

    TodoMal

    TodoMal emerged in 2020 from the partnership of Wildman and Javier Fernández Milla, two veterans of the Spanish underground with careers spanning projects from thrash to ambient. Their 2021 debut, Ultracrepidarian, evoked the moorlands of northern Alcarria with the deliberate patience of a band with nothing to prove. A Greater Good (2023) deepened the palette — denser, less classifiable, landing on multiple year-end lists and selling through its first pressing. The band that made those records is gone, not through dissolution but through expansion: a live five-piece now includes guitarist Javier Félez (Teitanblood, Graveyard), drummer Javier “Bud” Martínez, and vocalist and keyboardist Cecilia Tallo, whose contributions prove decisive on this record. Graveyards of Joy closes what both band and audience have recognized as a trilogy, and it does so with the weight that implies — a final statement rather than a next step, a reckoning rather than an evolution.

    The concept is autobiographical and unsparing. Wildman has said outright that across the span of these three albums, the duo lost three next of kin. The grief is not metaphorical. What’s remarkable about Graveyards of Joy is what it does with that grief — it transmutes rather than wallows, channels rather than displays. The philosophical underpinning is quietly Epicurean: don’t fear death; find peace in community and shared presence. That structure shapes the entire record. “Graveyards of joy,” Wildman explains, are places where joy doesn’t disappear — it gets buried. It becomes archaeological. The album is the dig.

    That framing pays off across nine tracks that move from emergence to rupture to exhaustion to acceptance. Opener “Mare Ignis” rises slowly from darkness — layered keyboards, dual vocals interweaving above a rhythm section content to hold the piece in suspension while the atmosphere expands. Tallo’s choral contributions in the finale give the track its emotional weight and establish the dual-vocal dynamic that structures much of what follows. “Lucid Nightmare” introduces heavier territory: a load-bearing bass line, time signature shifts, and a choral texture that builds toward one of Wildman’s more commanding vocal performances. The descent continues through “Point of Coalescence,” the album’s heaviest moment — interlocking guitar and bass riffs, a vocal that cuts through the density — evoking precisely the kind of silence that sits over an abandoned village when the wind stops.

    The record’s philosophical and compositional core arrives at track six. “Deliverance” is seven and a half minutes of melancholic acoustic arpeggios giving way to heavy electric passages, building into orchestral terrain that briefly touches the edges of prog without losing its identity. The lyric maps grief onto geography: the Isle of Juno (mythological), Anthemoessa (the island of the Sirens), Oenoanda (a real ancient city in Turkey, where an Epicurean inscription was carved into a public wall — a detail that is almost certainly not coincidental). “I thought I heard your voice in the isle of Juno / But I was wrong, they just led me on.” The dead don’t disappear in this song — they become places to travel toward. “Blood is thick as stone.” It is TodoMal‘s finest track to date.

    “For Mercy” offers a moment of stark contrast: acoustic guitar, synth, a 70s psych-folk sensibility that feels almost out of time. Eight lines, lyrical repetition turned incantatory. Exhaustion given exact form. It lands between the album’s two heaviest sections like a necessary breath.

    The title track closes the record and the trilogy simultaneously. Atmospheric doom at full extension — winds cutting through ruins, wells gone dry, children drifting through spaces the living have left behind. “We’re fortunate,” Wildman sings, buried in the middle of the desolation, and the Epicurean move is complete: gratitude located inside ruin, not despite it. The song zooms out to near-apocalyptic scale and lands, finally, on “I want you by my side” — the smallest possible statement made enormous by everything that precedes it.

    Self-produced by Wildman and Fernández Milla, with guitar engineering handled by Félez at Moontower Studios and mastering by Jaime López Arellano at Arda Recorders in Portugal, the album is dense and cinematic without sacrificing the organic core that has defined TodoMal from the beginning. Electronic elements appear, integrated rather than imposed. The Hammond-driven passages carry genuine weight. Strings — courtesy of Manu Clavijo — open space rather than fill it. The cover art was chosen first, and the music developed in its shadow; you can hear that logic in every arrangement decision.

    Graveyards of Joy is not a record for the impatient, and it doesn’t apologize for that. It asks for something — time, attention, willingness to sit with discomfort — and it returns considerably more than the investment. TodoMal have built something in these three albums that few atmospheric doom acts achieve: a body of work with genuine emotional continuity and a philosophical argument that sharpens from one release to the next. This is the argument’s conclusion, and it holds.

    TodoMal
    © TodoMal

    The post TODOMAL’s `Graveyards of Joy` Is a Trilogy-Closing Reckoning with Loss, Landscape, and the Stubborn Persistence of Hope – Album Review appeared first on Antihero Magazine.

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