Album Review: Mork – Monolitt

Some bands like to play the long game, taking their time to assemble all the correct pieces of the puzzle. Mork is the living embodiment of this, with founder Thomas Eriksen taking almost ten years to release the band’s full length debut “Isebakke” almost a decade after the band’s inception. The Norwegian act with the crazy X logo occupying spots on festival posters (if you know, you know) has well and truly spread its wings, reaching to the Far East and Australia and everywhere else in between. Now, they prepare to unleash their latest studio effort “Monolitt” ahead of a European tour this autumn. How will this album compare to their previous release “Syv” ?

Honestly, “Monolitt” is like night and day compared to the rest of Mork’s back catalogue! Whereas older material felt somewhat primitive and rushed in terms of production, “Monolitt” immediately introduces you to a much cleaner and superior overall end product in the shape of ‘Under Vekten Av Verden’. The year 2026 has already seen ferocious black metal releases, whether it’s Mayhem, Darkthrone, Worm, or Stormkeep. However, Mork have found their place in this stacked market with their fresh yet classic sound. A sound that captures the raw fury and blazing infernal atmosphere of the genre’s early days, best illustrated with the blistering effort that is ‘Odelagt’. Though Eriksen and co have clearly invested time in the studio and embraced the best of modern technology, and the evidence is clear!

The dynamics and pace is constantly shifting in a chaotic and unpredictable environment. From the sludgy and mirky depths of ‘Torden’ to the chugging grooves of ‘Ferdament’, as well as the blistering pace of ‘Jutul’ that comes straight for the juggler, you’re a fool for even trying to guess what sorcery Mork will conjure up next! ‘Torden’ and ‘Skromt’ provide oddly uplifting and introspective melodies that form part of the package that constantly challenges the pre-conceived notions of what black metal can and should be. All of this gives the songs much welcome and necessary identity, preventing any from getting lost in the shuffle. If you only have time for one song, make it ‘Utryddelse’. From its cinematic opening, the song reaches staggering heights with an eerie and austere undertone that makes you contemplate your own fragile mortality!

Mork have produced something quite remarkable in “Monolitt”, their most ambitious and mature effort by quite some distance. “Monolitt” is an injection of fresh impetus in a genre that constantly runs the risk of becoming stale, and Mork have done this in an organic and believable manner.

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Sean Tweedley’s Ooola Hooora is a carefree, sun-soaked singalong that radiates warmth, positivity, and undeniable charm. Built around an infectious melody and an uplifting spirit, the track captures the essence of summer with its easygoing energy and feel-good atmosphere. Beneath its playful exterior lies a thoughtful reflection on the balance between our primal instincts and our capacity for tenderness, giving the song an emotional depth that complements its catchy appeal. Tweedley’s natural storytelling and approachable delivery make the journey feel genuine and relatable, while the memorable hooks invite repeated listens. Ooola Hooora is the kind of song that feels tailor-made for open roads, bright skies, and shared moments of joy.

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Canadian singer’s five-year absence was long enough for his bandmates to fail the challenge of reinventing themselves

The Cloverhearts are a Celtic punk rock band with Australian roots and an international flair. Sam Cooper founded the band, and they have a new album in the pipeline called “Germaniac!,” a surprising title. The band has been on the road a lot, with many shows taking place in Germany. After spending a lot of… Continue Reading →

I spend all day looking for a sign
I wait all week for something to find
And it takes so long just to take my time
There’s too much coming into my mind

Johnny Marr has announced his fifth solo studio album, The Age Of Everything, and unveiled its first single, “Spin.” The 10-track record is set for release on October 2 via BMG, marking Marr’s first collection of new original material since 2022’s Fever Dreams Pts. 1–4. The new single arrives with an official video conceptualized by Marr and filmed in Manchester.

The announcement lands exactly 40 years to the day after The Smiths’ The Queen Is Dead was released on June 16, 1986—a fitting bit of calendar symmetry for a musician whose guitar work helped define the language of Indie-Rock worldwide.

“This is the record that’s been the most cathartic,” Marr says of The Age Of Everything. “The title came to me early in the process and became an inescapable idea. It seemed to sum up the way I think a lot of people are feeling. It’s all encompassing, but it’s not necessarily a negative statement. There’s a sense of overwhelm in the culture brought about by technology, but looking at it with a different light, there could also be a sense of possibility.”

Written in London, developed live on the road across the East Coast of North America, and recorded in Manchester, The Age Of Everything finds Marr moving through tension, optimism, and the jagged machinery of modern life. The album’s ten songs consider the world as it is—fraught, fast, and flickering—while refusing to surrender the future to dread.

As its first single, “Spin” does not open The Age Of Everything with Marr’s usual gleaming rush so much as a taut, introspective mid-tempo churn: a rubbery rhythmic bounce, darkened riffs, and a bass-forward groove pulling his indie-rock/post-punk vocabulary toward a subtly gothic edge. It is still unmistakably Marr—precise, melodic, elegantly cut—but there is a cooler shadow across it, a feeling of circular pressure rather than outright release.

The video, conceptualized by Marr and filmed in Manchester, mirrors that spiral. Shot largely through warped, wide-angle lenses, it places Marr in a stark, almost clinical white modernist interior: seated, pacing, staring into the camera, or holding his guitar like an object of meditation. The brightness is deceptive. The room bends at the edges, the image blooms and smears, and flashes of red tint, blue shadow, and double exposure gradually turn the domestic space into something more anxious and dreamlike. Between the performance shots are fast inserts of a black convertible cutting through green roads, reflections ghosting over Marr’s face, city streets sliding past under overpasses, and high-rise buildings looming upward. At points, fragments of text wash across the walls—“pure seeking,” “transparent layer,” “all touched”—as if the song’s mental overload has become part of the architecture itself.

Watch the video for “Spin” below:

The Age Of Everything will be accompanied by some of Marr’s biggest solo headline shows to date, including a homecoming date at Manchester’s Castlefield Bowl on July 9 and a massive show at London’s Wembley Arena on October 24. Warm-up dates are also set for Leeds Stylus on July 6 and O2 Academy Liverpool on July 7.

Fans who pre-order The Age Of Everything through Marr’s official artist store receive access to an exclusive fan presale. The album will be available on CD, black vinyl, limited red vinyl, and an official-store exclusive three-colour splatter vinyl, along with merch bundles.

The Age Of Everything is out October 2 via BMG. Pre-order/pre-save the album here.

The Age Of Everything Tracklist

1. “Spin”
2. “Beyond The Rain”
3. “It’s Time”
4. “How Come”
5. “Ophelia”
6. “That Feeling”
7. “In And Out Of Love”
8. “Just Once More”
9. “Fire With Fire”
10. “All In A Life”

Johnny Marr Tour Dates:

• June 28 — Live is Live, Antwerp, Belgium
• July 4 — Down The Rabbit Hole, Ewijk, Netherlands
• July 6 — Stylus, Leeds, UK
• July 7 — O2 Academy, Liverpool, UK
• July 9 — Castlefield Bowl, Manchester, UK — Sold Out
• July 10 — Iveagh Gardens, Dublin, Ireland
• July 16 — Verona, Italy
• July 17 — Rome, Italy
• July 18 — Puglia, Italy
• July 20 — Udine, Italy
• July 21 — Sardinia, Italy
• July 23 — 1001 Músicas, Granada, Spain
• August 9 — OFF Festival, Katowice, Poland
• August 21 — Parkenfestivalen, Bodø, Norway
• October 24 — OVO Arena Wembley, London, UK

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The post Johnny Marr Announces “The Age Of Everything” — Watch Video for Album Opener “Spin” appeared first on Post-Punk.com.

Metallica has updated the profile and header images on their social media leading some fans to speculate the band is up to something. Continue reading…

Güner Künier’s Downtown has the cheeky grin of a person who has finally found the exit from the small town in her skull and decided to make the getaway in heels, eyeliner, and a stolen police siren. The Berlin-based Turkish-German post-punk artist releases the single as a blast of city fever, produced by Fabio Buemi with the kind of clipped, forward-motion insistence that makes a drumbeat feel less like rhythm than instruction. Keep moving. Keep looking. Keep inventing yourself before the sidewalks decide who you are.

The song runs on a Motorik new-wave chant, part Plastic Bertrand pogo, part B-52s day-glo absurdity, part Berlin after midnight with the streetlights buzzing in three languages. Künier sings as though “downtown” is less a destination than a private dare, a word loaded with glamour, escape, memory, and the slightly ridiculous courage required to believe another life is waiting two train stops away. The hook is fun in the way good pop is fun: immediate, a little bratty, and smart enough to leave fingerprints on the glass.

The song was birthed from the old ache of growing up away from the center, staring at the city as a promise machine, imagining every bar, alley, window, and glowing sign as proof that freedom had an address. Künier turns that hunger into something physical. The guitars snap and shove, the synths smear black lipstick across the chorus, and the bass keeps everything on rails, racing forward with the clean impatience of someone already late for her own reinvention.

The video pushes the joke and the threat into one cracked mirror. It is a frantic selfie-collage of guises and interruptions: Künier as sniper in a shower, masked fiend, underwater apparition, street dancer, prankster, target, and operator. The images come fast, too close, gloriously undignified, as though the camera has been dared to keep up with every version of her at once. There is danger in it, but also camp saving the song from posing. Downtown knows the city can chew up a dreamer, yet it also knows the dreamer may show up dressed as the monster.

Watch Downtown below:

Listen to Downtown below and order the single here.

Güner Künier is set to embark on a tour across Europe and the UK this summer and autumn, starting with a Berlin appearance at Fête de la Musique before moving through festival fields, record shops, outdoor stages, and club rooms in Germany, Switzerland, and France. After summer stops at Fusion Festival, Bongo Joe Records, Berlin Global, Waldstock, Metropolink, Subrosa, and Platzhirsch Festival, Künier joins Pisse for an October run through Arnhem, Brussels, London, Bristol, Paris, Lyon, Saarbrücken, Basel, and Frankfurt am Main,

Güner Künier tour dates:

• June 21 — Berlin, DE — Fête de la Musique at Rough Trade Outdoor Stage
• June 24 — Lärz, DE — Fusion Festival
• June 27 — Geneva, CH — Bongo Joe Records
• July 3 — Biel, CH — Summer Fest at Terrain Gurzelen
• July 4 — Berlin, DE — Berlin Global at Schlüterhof
• July 10 — Lüneburg, DE — AStA Sommer Openair at Leuphana Universität
• July 11 — Pegnitz, DE — Waldstock Festival
• July 18 — Attendorn, DE — Gauklerfest
• August 7 — Heidelberg, DE — Metropolink Festival
• August 21 — Montesquiou, FR — Montesquiou on the Rock’s Festival
• September 10 — Dortmund, DE — Subrosa
• September 18 — Duisburg, DE — Platzhirsch Festival
• October 1 — Arnhem, NLD — Willemeen (supporting Pisse)
• October 2 — Brussels, BEL — Magasin 4 (supporting Pisse)
• October 3 — London, UK — Shacklewell Arms (supporting Pisse)
• October 5 — Bristol, UK — Louisiana (supporting Pisse)
• October 7 — Paris, FR — Supersonic (supporting Pisse)
• October 8 — Lyon, FR — Le Sonic (supporting Pisse)
• October 9 — Saarbrücken, DE — Karate Klub Meier (supporting Pisse)
• October 12 — Basel, CH — Sudhaus Basel (supporting Pisse)
• October 13 — Frankfurt am Main, DE — Mousonturm (supporting Pisse)

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Hotels, hangouts, crash pads, recording studios, sweaty gigs, swanky nightclubs… and where it all ended in tragedy: Jimi Hendrix was here

Grammy-nominated blues artist Kenny Neal is recovering after suffering what his family described as a major heart attack.

The news was shared on Neal’s social media channels in the following statement:

“Kenny Neal’s immediate family would like to inform everyone that Kenny survived a major heart attack this past Saturday in Louisiana. After an intense effort to save his life, he is now stable and recovering in the ICU. We would like to thank the incredible medical staff who have been providing exceptional care to Kenny.

Our family is requesting privacy at this time, as he is not yet out of the woods. Please keep Kenny in your thoughts and prayers, and we will provide an update in due time.”

One of the most respected figures in modern blues, Neal earned a Grammy Award nomination in 2017 for “Best Contemporary Blues Album” for Bloodline. The acclaimed release also earned two honors at the Blues Music Awards and further cemented Neal’s reputation as one of the genre’s leading artists.

Neal was inducted into the Blues Hall of Fame in May.

Born into a musical family, Neal has spent decades carrying forward the swamp blues tradition while blending elements of soul, funk, and contemporary blues. Throughout his career, he has released numerous acclaimed albums and become a fixture on blues festival stages.

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