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I love a good title. Not those rage-triggering, click-bait things you see on social media, but a well-conceived summary of what the article is about. Or the rare occasion when judging a book by its cover is justified. That’s just what you get from LA singer-songwriter David Serby’s latest album, Broken Heart in a Honky […]

Scar .

The post Scar Chamber featuring Babylon A.D. guitarist Ron Freschi drop video for debut single “Ugly On The Inside” first appeared on Sleaze Roxx.

The blokes you can trust have stepped into a breech to fill the sudden vacancy at this month’s Thrashville festival in the Hunter Valley.

With LA hardcore legends FEAR cancelling their tour at the last minute this week, the Cosmic Psychos answered the call to take their place alongside The Bennies, Disentomb, Private Wives and more.

Tickets are still available for the show.

Pont Du Hawk’s Higher Forces comes out of San Francisco like a club record beamed through a military transmitter orbiting some dead moon, ten instrumental tracks of dark electronic dance music with a hard eye on the body and a colder one on the cosmos. Rex Arcadia, working alone in Bitwig Studio, has built a debut that understands the old body-machine pact.

The concept – subjugation by extra-dimensional entities, malevolent psychic forces, a dystopian machine-future, control, deception, and redemption –  opens another sealed chamber between each song: chrome doors, sterile light, voices from the vents, a console flashing instructions in a language halfway between prayer and threat. The celestial bend gives the album its character. These are not merely songs about machines; they feel like machines trying to contact something above them.

A Severed Heads influence comes through in attitude: that willingness to let melody wobble, distort, and turn slightly grotesque while the machinery keeps smiling. The synth lines have hooks, but they also have burrs under the skin, little wrong-way bends and queasy phrases that make the tracks feel alive in a synthetic, lab-grown sense. You can hear the pleasure Arcadia takes in treating electronic pop as a misbehaving organism, something bright enough to lure you closer and strange enough to make you regret leaning in.

From Intermix and Front Line Assembly, Higher Forces borrows its sense of propulsion and pressure. The drums carry that industrial-dance discipline, clipped and forward, less rock muscle than programmed enforcement. Patterns lock into place with the patience of a factory arm, while the bass sequences move with blunt authority. Yet Arcadia avoids turning the album into a gray metal corridor. He keeps planting lead melodies above the impact, and that gives the record lift: a cold ascension, as if the dance floor were being raised toward a hostile sky. A Depeche Mode thread is evident in the dramatic chord shifts and the taste for sleek menace, especially when the tracks widen out and let the synths bloom around the beat. Arcadia also seems drawn to the way Depeche Mode could make technology feel devotional, erotic, and punitive all at once.

Cabaret Voltaire and Fad Gadget haunt the album’s more abrasive instincts. The sampled voices come chopped, processed, and spat back into the mix until speech loses its social function and becomes evidence: a command, a warning, a transmission from a bad room. At points, the voices feel regurgitated into musique concrète, robotic and mangled, creating a deliciously paranoid grain. It is dance music with fluorescent tubes buzzing over an interrogation chair.

Kraftwerk’s technopop ghost appears in the album’s faith in repetition, in the idea that a simple pattern can become uncanny through discipline. John Carpenter is present in the leaner passages, where a few notes can suggest pursuit, empty streets, institutional dread, or the moment in an 80s thriller when someone realizes the phone line has been cut. S U R V I V E comes through in the wider synth architecture, the sense of glowing dread stretched across the horizon. Buzz Kull, Rue Oberkampf, and Kontravoid can be felt in the club-facing attack, where dark electronics become physical without losing their stylish, alien poise.

Theatre In Berlin and Darkside in particular sit at the center of that tension. Both feel built for 80s psychological cinema: the arpeggios stalk rather than decorate. The drums push like machinery with a destination. The melodies carry a strange euphoria, the kind that makes a person dance harder because the emergency siren has already started and no one wants to be the first to admit it.

Self-produced and self-mastered, Higher Forces has the wired charm of obsession disciplined into form. It wants bodies moving, but it also wants the mind cornered, scanned, and tampered with. That tension gives the album its charge: dance music for people who suspect the stars are watching, and that the stars are taking notes.

Listen to Higher Forces below and order the album here.

Follow Pont Du Hawk:

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The post San Francisco’s Pont Du Hawk Channels Instrumental Synth and EBM Into Cosmic Machine Dread on “Higher Forces” appeared first on Post-Punk.com.

Slayyyter became one of 2026’s breakout pop stars with the release of her third album, “Worst Girl in America,” and her viral Coachella set.

The band’s last new music arrived back in 2017.

The post New Material From The Faceless Is Due “In The Near Future” appeared first on Theprp.com.

Their second new track since undergoing a significant lineup shift.

The post Haken Premiere New Song “Bleeding Sky”, Periphery’s Adam “Nolly” Getgood Guests On Bass appeared first on Theprp.com.

Prepare for an extraordinary sonic experience with the CD release of Voivod’s The End of Dormancy EP (Turquois color cover), presented by Brutal Planet Records […]

The post Brutal Planet Records Introduces: VoiVod – The End of Dormancy EP appeared first on Metal-Rules.com.

A co-headlining tour is always an interesting prospect. Fans get to experience plenty from either headliner they wanted to see, and if they're a fan of both, then that's even better. Sometimes, the pairings are obvious, such as when Alice Cooper toured with Rob Zombie in this fashion, other times, they're less so. The combination of Quebecois progr… Read More/Discuss on Metal Underground.com

Epileptic fits of bottled anger, inclined.

Snort up your medication

Prophylactic efforts, penetrate your mind, fair well. 

At night the city teaches the body its blunt arithmetic: one nerve numbed for every lamp lit, one mercy spent for every corner turned. Anger walks beside you, not loud now, but warm in the pocket, a small illegal sun. Temptation leans from glass and gutter, promising relief with the tender voice of harm. You keep moving because motion can pass for will, because the pavement, receiving your weight, asks no questions. Yet self-destruction is patient. It does not lunge. It follows, matching your steps, until the whole street seems to breathe with your tiredness, and forgive nothing at all.

With Neon Violence, Ohms turns the city after dark into a theatre of appetite, punishment, and artificial grace. The solo project of Melbourne multi-instrumentalist Lachlan P. Rother, previously of U-Bahn and currently active with GLASNOST and High Control Group, approaches genre as a set of loose electrical wires: synth pop, art rock, damaged funk, and post-punk all hum against one another, sparking in strange little bursts.

The track moves with a deceptively pleasurable gait. Its mechanical drums cut a firm path through cloudy synthesizers, while the production lets each texture warp at the edges, as though the song were being heard through tinted glass at four in the morning. One hears, in its tilted architecture, affinities with Talking Heads, Ultravox, and Cocteau Twins, though the jazz-funk detours bring in a more sly, sideways intelligence, closer to The The’s taste for pop music as urban psychology. The result is sleek and unstable, tuneful enough to invite the body forward and odd enough to leave the mind slightly bruised.

Rother’s lyrics treat nightlife less as escape than as an apparatus. The city glows, beckons, numbs, and instructs; anger becomes another stimulant, temptation another civic advertisement, self-destruction another form of motion. Casino images, medication, violence, and fluorescent glare are folded into a portrait of a person being slowly altered by overload. The repeated refrains suggest a will eroded by exposure, as though the lights themselves have learned to think on behalf of the body.

Neon Violence is great fun in the way certain dangerous evenings are great fun: bright, absurd, a little humiliating, and alive with poor decisions. Written and performed by Rother, recorded, engineered, and mixed with Andrew Robinson, Timothy Dunn, and Stuart Mackenzie of King Gizzard, and mastered by Mikey Young of Total Control and Eddy Current Suppression Ring, the track carries the pleasure of excess without smoothing away its bruises. It dances at the mouth of the problem, smiling with all its teeth.

Listen to Neon Violence below and order the single here.

Follow Ohms:

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• Facebook
• Spotify

The post “Late Night, Slip and Pull Me Under” — Melbourne’s Ohms Shares Restless New Wave Single “Neon Violence” appeared first on Post-Punk.com.