London’s Windmill scene needs to slow down. It feels like every damn day we learn about another exciting new band that comes out of this one club. Nobody can keep up! The latest band in that post-punk wave is Cusk, a gothy-grungy young duo who played their first show a few years ago. Naturally, that…
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The Heat Inc True Romance Single DL/Tri-Tone Records / Republic of Music Out 30 April London’s The Heat Inc storm back with blistering new single True Romance, and it’s a huge, solid powerhouse of a track. The band have previously been compared to the Doors and The Clash, but this track takes them on to […]
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The post ENDSEEKER: German Death Metal Hellraisers To Release Farewell EP, Coffin Born, On June 19th Via Metal Blade Records; New Video/Single Now Playing + Preorders Available appeared first on INFRARED MAGAZINE.
More is more when it comes to the shadows. Dive into the layered world of dark design.
If minimalism is the absence of noise, Gothic Maximalism Aesthetic is the orchestration of it. This style is not just about cluttering a space or a wardrobe; it is about intentional layering—combining textures, historical references, and high-contrast elements to build a narrative. Just as a Gothic architectural structure relies on intricate detail to command presence, your visual identity can be strengthened by embracing complexity.
The core of the Gothic Maximalism Aesthetic lies in the fusion of the antique and the avant-garde. It’s the marriage of Victorian-era romanticism with modern, noir sensibilities. When you are curating your aesthetic, look for items that tell a story: tarnished silver, deep velvet, layers of sheer lace, and ornate patterns. By pushing the boundaries of traditional gothic style, you create a visual language that feels both timeless and aggressively current.
Adopting a Gothic Maximalism Aesthetic requires a disciplined eye. The trick is to establish a dominant color palette—primarily blacks, charcoals, and deep purples—and then vary the textures within that spectrum. Leather against lace, matte metal against polished stone, heavy wool against silk. These contrasts prevent the look from becoming overwhelming and keep it grounded in that “noir” feel you cultivate across your projects.
Your visual identity is an ongoing project. By embracing the principles of Gothic Maximalism, you allow yourself the freedom to evolve, collect, and display the parts of your personality that thrive in the dark. It is not about the quantity of objects, but the quality of the atmosphere they create.
The post Gothic Maximalism Aesthetic: Curating Your Dark Visual Identity appeared first on Edgar Allan Poets – Noir Rock Band.
Denver low-end duo Burning Sister present their latest single, “Sunspots,” their first new track following their 2025 album Ghosts.
The seven-minute epic is psychedelic stoner groove at its finest.
“To me, ‘Sunpots’ is the sound of summer,” says bassist, vocalist, and synth player Steve Miller. “Immediately after coming up with the initial riff, I was instantly transported back in time to my youth and lazy days of hanging out with friends and getting our heads right. I leaned into that feeling, and the rest of the song almost immediately fell into place. It’s a throwback to the days of not having a care in the world, hanging out under the sun, and voraciously consuming music, art, and shared experiences with good friends.”
We chatted with the band further about the new track,
What inspired you to flash back on your youth and carefree days for this song? Why is that so needed in this day and age?
Initially we didn’t sit down and decide, “Hey! Let’s write a tune about the good ol’ days,” or anything like that. That came a little later as we were hammering the song into shape. Overall, “Sunspots” is a bit more “upbeat” or even “prettier” than most of the tunes that we’ve written in the past, but when we started jamming on it a bit more we started to let things fall apart in the middle of the song as some sort of bridge section and I’d loop some bits and just really try to destroy things for a little while.
Alison picked up on it right away and she’d really deconstruct her drums until it sounds like her patterns are disintegrating but still maintaining some sort of forward momentum. We’d let things get pretty dissonant and uncomfortable before reeling the bass and drums back in and having them coalesce again. It kind of reminded me of some (every) Sonic Youth tunes like “Total Trash” or “Catholic Block” where the songs devolve into a sonic mess before coming back to together. For me, anyway, it sort of just brought me back to my youth and exploring the world and discovering new music with friends and just devouring the noise rock and shoegaze bands that we were all getting heady with at the time. There was a park outside of Detroit where we used to gather after school and on weekends and the song brought me right back there and then the rest of the song kind of solidified around that.
It’s great to get out of your head for a while. Going back to those early days I was fortunate to not have to worry about things too much, whereas today it’s a totally different thing. The world is a heavier place than it needs to be right now and I’m raising a little guy and we have to worry about wars, justice, rising costs of living, inequality, AI, and whatever else is around the corner. All these things were probably on our parents’ minds—and ours too to a certain degree, but it just wasn’t a pressing, immediate concern of ours. Music has always been an escape for me as a fan, and even more so that I’m making music. It’s a great escape.
Do you have other songs in the works or plans for an EP or album soon?
Yeah, we recently went into the studio and banged out four new songs that we had started working on almost immediately after releasing our last album, Ghosts. Our guitarist moved across the country, and we were left with a bunch of tunes that we were working on. I started splitting my bass signal into an octave up channel and into three different amps, and we found that with a little tweaking, most of the material could work as a drum and bass two-piece. The new songs are just us becoming more comfortable with the gear and exploring the possibilities of sound. So yeah, we have a few new songs, and we have a tune in the archives that we think would work well with the batch that we just recorded. We just have to dust it off and get back in the studio, and we should be releasing a new album in the near future.
What direction can we expect from the new stuff, and what has been inspiring you lately?
We’ve been following the gear really and exploring what we can do with a couple of ABY boxes, octave up bass, and a few amps. The struggle has been getting the octave up bass to sound “natural.” With distortion and fuzz it’s usually a bit easier, but I’ve finally found a way to coax some killer “clean” and overdriven sound out of the amps. So, we actually have some tunes that are a bit more mellow like some latter-day Dead Meadow. But overall, there’s more of a shoegaze or even slowcore influence on this particular batch of tunes.
When Nathan, our guitarist, moved away I decided to pick up the guitar and decided that the band would continue even if we just released home recordings. Progress on guitar is slow—I don’t think we’ll be releasing a “guitar” album any time soon, but it is inspiring and has really help with composing. I’ll play something and be like, “How can I translate this to bass?” or “Can I get the same or similar sounds out of that octave up channel?”
During any waking hours in our, house music is always on. We’re still listening to a lot of slowcore stuff like Low or Codeine, and I was a little resistant to some of the newer shoegaze bands, but TAGABOW has been in constant rotation. The new Neurosis album came out of nowhere, and I’ve been diggin’ that as well. Also Big/Brave’s take on heavy music is refreshing and inspiring.
Do you have anything else you want to announce or promote, like upcoming shows, etc.?
We have a few upcoming shows that we are super stoked for—We’ll be playing with Seattle’s Witch Ripper on June 2 at The Crypt in Denver with another killer bass and drum band called Probes. On June 30, we’ll be at Bar 404 with Bong Wizard and our buds in Hashtronaut. We’ll also be making a trip to Rapid City on July 18 to play a show curated by Left of the Dial Radio at Lost Cabin Brewing. . It’ll be our second consecutive year heading to Rapid City, and they really turn it up and know how to have a good time.
The post Track Premiere: Burning Sister – “Sunspots” appeared first on Decibel Magazine.
Posted on April 30th 2026, 5:00p.m.
Both individually and as a box set.
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Guitarist Jake Kiszka of Greta Van Fleet and Mirador welcomed fans for a special in-store Q&A at Gibson Garage in Nashville that felt both personal and memorable. Fans lined up hours before the event, and the room quickly filled with eager attendees ready to hear him play, ask questions, and celebrate a milestone day with him. Since it was also his 30th birthday, the gathering carried an extra sense of warmth and connection.
Jake opened the event in the best way possible by stepping onto the stage, waving to the crowd, and immediately picking up his guitar. Even though Gibson Garage was at full capacity, the atmosphere still felt intimate as the audience focused on every note he played. Before a single question was asked, he let the music speak first, moving through riffs and phrases that reflected the style fans have come to recognize from both of his bands. The performance set the tone for an afternoon built around music, stories, and conversation.
After the opening performance, the event shifted into a Q&A session with Mat Koehler, Vice President of Product at Gibson. Jake settled in with an easy, relaxed attitude. He smiled often, joked with the crowd, and celebrated his birthday with a few drinks and plenty of “cheers” shared with the audience. His gratitude for the fans in attendance was clear, and he seemed genuinely happy to spend part of the day sharing stories with them.
A major focus of the discussion was his limited-edition signature 1961 Gibson SG Model. Jake spoke in detail about the guitar and explained some of the redesigned features that made it feel personal to him. He discussed the shape, feel, and details that connected it to his own playing style, giving fans a better understanding of why this model meant so much to him. Features such as the slim taper neck, medium jumbo frets, updated electronics, and the sideways Vibrola cover all helped make the instrument a unique reflection of Jake’s vision.
He also laughed about the so-called pirates in the crowd, a reference that brought plenty of smiles from those attending. That conversation naturally led into the story behind his doubloon, which has become a fun symbol now tied to his image. Jake explained how it came about, and the crowd clearly enjoyed hearing the story directly from him rather than relying on fan theories.
Fans asked thoughtful questions throughout the afternoon, including what inspires his playing. Jake spoke about emotion, movement, and the search for something honest in every note. When asked what he would be doing if he were not a musician, he answered with humor but also reflected on how deeply music has shaped his life from an early age. His response suggested he may have found himself in the field of medicine if music had not taken over.
Questions also turned toward the future of Greta Van Fleet and Mirador, with fans wanting to know what comes next for both projects. Jake shared just enough to keep excitement high while still keeping some plans close to the chest. He also talked about how his playing changes when it comes to songwriting, explaining that each project calls for a different voice and approach depending on the music being created.
Thank you to Gibson Garage for hosting this incredible event.
The post Jake Kiszka Q&A at Gibson Garage in Nashville appeared first on Mayhem Music Magazine.
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