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  • Albuquerque Darkwave Trio UNATONED Explore the Cost of Blind Devotion in Debut Single “Essence”

    Renounce your essence

    Mercy won’t come

    The hate is relentless

    Embrace what you’ve become

    Humanity has an impressive talent for inventing elaborate systems of belief and then allowing those same systems to devour whatever individuality made life worth living in the first place. Give a desperate man a promise of salvation, a handful of commandments, and somebody sufficiently charismatic to explain why his suffering is necessary, and he’ll practically volunteer for his own psychological execution. History is littered with people who surrendered their judgment in exchange for certainty, mistook obedience for virtue, and discovered far too late that the road to redemption sometimes leads straight into the mouth of the beast. Somewhere in this miserable transaction, devotion becomes dependency, guilt becomes a form of currency, and the soul gets sold for the dubious privilege of belonging to something greater than itself.

    Albuquerque, New Mexico’s UNATONED, a new darkwave, post-punk, and gothic rock project formed by Andres Diaz, Sidney San Gil, and Hissan Orozco, examines this particular human catastrophe with their debut single, Essence, an immediately infectious piece of gothic decadence concerned with the spiritual consequences of surrendering one’s identity to an all-consuming belief system.

    Musically, Essence is catchy as hell, drawing upon the sleek electronic seduction of Depeche Mode, the spectral romanticism of Altar De Fey, the gothic grandeur of Octavian Winters, and the muscular post-punk propulsion of The Bellwether Syndicate. The electronics establish an atmosphere of impending catastrophe, while melodic guitars wind through driving rhythms with the sort of theatrical urgency that makes personal damnation seem an almost enjoyable recreational activity. There is considerable sophistication in the arrangement, particularly in how its accessible hooks coexist with the music’s more sinister inclinations. The result is a splendidly infectious introduction to a band already displaying an ear for gothic melodrama.

    Lyrically, Essence confronts the dissolution of individuality through religious and ideological submission, following a tormented figure whose desperate pursuit of absolution becomes an exercise in self-annihilation. Guilt festers into hatred, forgiveness slips beyond reach, and the promise of transcendence culminates in spiritual bankruptcy. The song’s imagery of blood, martyrdom, and fallen angels gives this psychological deterioration a distinctly biblical character, suggesting that the road to damnation may occasionally be paved with the finest intentions.

    The accompanying music video, filmed and directed by Oscar Montez in Albuquerque, translates these anxieties into a nocturnal gothic nightmare. Wandering deserted streets, the central figure eventually finds himself pleading before a candlelit altar occupied by a cloaked skeleton, an image that brings the song’s preoccupation with corrupted faith and spiritual extinction into particularly delicious focus. Death, apparently, has opened a confessional, although the prospects for absolution look decidedly poor.

    Watch the video for Essence below:

    For their first outing, UNATONED have delivered an impressively assured declaration of intent, combining irresistible darkwave hooks with the existential horror of discovering that salvation might require the complete destruction of everything you once were.

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    The post Albuquerque Darkwave Trio UNATONED Explore the Cost of Blind Devotion in Debut Single “Essence” appeared first on Post-Punk.com.

  • The Saints Add Shows and Kuepper’s Rescheduled

    The celebration of The Saints’ debut continues with a further two shows added to the 2027 Australian run of The Saints 73 – 78.

    Shows in Adelaide and at Archies Creek have been included in the tour, tickets for which are available here.

    Ed Kuepper’s rescheduled solo tour also kicks off at the end of the month, with the first two shows in Avoca and Canberra already sold out. Full dates of both tours can be found below.

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  • Second Single from Vanishing Point’s Newie Out Now

    Vanishing Point’s long-awaited new album surfaces on November 20, and the second single has just been released.

    Sirens is a further reminder of the melodic power of the Melbourne quintet, whose seventh album Eremition is coming next month.

    Eremition is available for pre-order now from this link.

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  • Rodrigo Y Gabriela on the new album, outrunning the law, and the pleasures/perils of busking

    Back in 2006, this writer took a little-known Mexican acoustic duo busking in Camden Town for a guitar magazine feature. Even without a licence, Rodrigo Sánchez and Gabriela Quintero couldn’t get arrested (although they did make a solid £58).

    It’s fair to say the pair have moved up in the world since then, with their six-album catalogue, Grammys, soundtrack work for Pirates Of The Caribbean, and even a private audience for a US President (not the current one, obviously).

    Now, as Rodrigo Y Gabriela release back-to-basics seventh album OurHome – its quicksilver lead lines and thundering guitar-body percussion hinting at their longtime thrash-metal fandom – Sánchez can’t help acknowledging that “it’s been quite a journey”.

    Lightning bolt page divider

    You’ve said this latest album came from a difficult creative period. What happened?

    Rodrigo Sánchez: We worked on this album for over two years, and it started out with a different set of tunes. We went to LA, worked with this amazing, very famous producer. But we did some demos, and it was like: “No, this is not it.” We took everything back, had to apologise to the producer and say: “These are not the songs, man.”

    What got you back on track?

    RS: When we came back to our studio, our beloved kitty, Pelusa, passed. Next day, I wrote something for her, just this simple melody on acoustic guitar. That song became the title track for OurHome. That started it all.

    Gabriela Quintero: The last album was all backing tracks and electric guitars. But when we lost Pelusa, and Rod came with that melody, for me it was like her saying: “Stop fucking around. Go back to your acoustic guitars, be real, and go for it.”

    How did you come to record in Japan?

    RS: Back in the day, we’d talk to musicians that had been to Japan, and they either loved it or hated it. We happened to love it. So I said to our label: “What if we record in Japan?”

    GQ: It was breaking our own rules, but also the industry-standard rule that you have to go to Los Angeles or New York. We said let’s do something entirely different. We love the sakura trees. We went to the sumo. We saw the thousand-year-old temples. When we go to Japan, we touch that place within us that I call the ‘nectar’.

    What’s the significance of the album title?

    GQ: As a species, we live in chaotic times, politically, ecologically, emotionally, morally. So that title is a way to say: “This is our fucking home,” y’know? I believe human beings are like robots sometimes. We repeat the same patterns of injustice. The song Somos Como Tu means ‘We are like you’. It’s a compassion, empathic thing. To me, the plants, trees and animals are screaming that too. We all need to behave with our planet and community. We all need to help people in trouble, to take a little action every day. The album cover is a photo we took in Melbourne. It’s a building where refugees live, from all over the world.

    You’re a well-travelled band.

    RS: The other day someone asked how many countries we’ve played, and I counted fifty.

    GQ: The weirdest gig was at this tiny church in the Welsh mountains. It was freezing. We were playing up at the altar [with our eyes closed], having a moment of peace. Then we realised the lady in charge of the church was stood in front of us with a tray of tea.

    What’s the most money you ever made in one day from busking?

    RS: Sometimes we’d play for forty minutes in Dublin and get a hundred pounds. Back then there were only ten buskers on Grafton Street and we were like a family. I remember one time there was a bunch of Irish kids who played trad music, and after their turn they threw all their money into our fucking case. How nice is that?

    GQ: But I remember one guy in a wheelchair. He was really fast, and as he went by he robbed us – scooped a bunch of coins out of our case.

    Police around the world can be assholes, y’know? The Irish police were cool with us. But when we were busking in Copenhagen, there was this Danish police chief. He was so strict. He didn’t want us to sell CDs or bring amplifiers. So we got this homeless guy to help us. He was always drunk, and he was like: “Fuck the police. You guys can play now, he’s not here.” Then he’d say: “Here he comes!” and we’d pack everything up.

    Was it a good move for the two of you to end your romantic relationship in 2012?

    RS: I think it was. Now, we’re very good friends.

    GQ: We’re more like brother and sister.

    Playing at the White House in 2010 must have been a thrill?

    GQ: That was insane. We’d just done a big tour, and we were destroyed, because we’d played seventy shows, no days off. Then our management got the call. Originally we thought we’d just be background music. But we were frisked by the Men In Black and brought into this room full of photographers. And there were Barack and Michelle Obama saying: “Oh, Rodrigo and Gabriela!” and hugging us. It felt like some cheesy dream.

    What’s your advice on getting from the street to stadiums?

    RS: It’s a different world for musicians now. It’s difficult to see so many people playing music on your phone and not compare yourself. So don’t do that. I know it’s hard for young people to turn their phones off, not to look at screens and to really focus on your craft, but that’s my true advice. Just do what you really feel and don’t look at anybody else. Don’t even listen. Stop listening to other people’s music. Just do what you have in your heart.

    Did England deserve to beat Mexico in the World Cup?

    RS: Yeah, we don’t care too much.

    GQ: You’re forgiven. Sports isn’t on my radar at all.

    OurHome is out now via ATO Records.

  • Blone Noble and Dakota Blue Give Vanity a Sinister New Wardrobe on “Designer”

    Fashion is among humanity’s more peculiar inventions, an elabourate system of symbols through which we communicate wealth, desire, beauty, and belonging. Somewhere along the evolutionary path, our species developed the astonishing conviction that a particular arrangement of fabric might reveal something essential about the soul. Within this strange little universe, beauty becomes currency, identity becomes performance, and the pursuit of perfection acquires an almost religious intensity. Behind the exquisite surfaces, however, one occasionally suspects the existence of something considerably less benevolent.

    Los Angeles art-rock auteur Blone Noble ventures into this curious territory with Designer, a collaboration co-written and produced by Dakota Blue. Drawing upon the sophisticated eccentricities of Japan, early Simple Minds, and Dalis Car, alongside the sly funk of David Bowie’s Fame, the electronic sensuality of Depeche Mode, and the decadent elegance of Roxy Music, the composition inhabits a peculiar intersection of seduction and psychological unease. Within this richly appointed musical universe, Designer examines the vanities of human desire, tracing the uneasy relationship between beauty, status, and belonging, and the ease with which our longing for admiration can give way to the fear of exclusion.

    At its heart, the song contemplates the curious entanglement of art and commerce, where creativity becomes a commodity and desire supplies the currency. Questions of craving, dependence, and transcendence emerge from this strange economy of human longing, as the objects we create, covet, and consume gradually assume an authority over our sense of identity and fulfillment. Through these fleeting observations, Designer considers the seductive power of appearances and the unsettling possibility that, in our endless pursuit of beauty and meaning, we become increasingly beholden to the very things we worship.

    The song follows the eerie Subterranean World, another collaboration with Blue, whose bizarre vision of romance led listeners into an underworld of unsettling encounters. A fascination with the stranger workings of human desire connects the two, although the subterranean grotesqueries have now given way to the immaculate absurdities of high fashion. One begins to suspect that civilization’s most sophisticated pleasures are separated from our primitive impulses by an exceedingly thin layer of good taste.

    A wandering fretless bass navigates synthesizer passages whose unexpected harmonic changes suggest a reality gradually losing its familiar dimensions. Beneath the music, drum machines establish a primal, almost ceremonial momentum, while the incessant chatter of an unseen gathering evokes an exclusive reception where everyone appears to understand the rules except the listener. Noble’s distant, crooning vocals gradually descend into menacing whispers, introducing a distinctly Kafkaesque anxiety, as though some unfortunate individual has gained admission to a mysterious society whose beautiful inhabitants harbor rather unpleasant intentions.

    An atmosphere of eroticism, absurdity, and faint menace takes hold. One imagines immaculate figures exchanging enigmatic glances beneath expensive lighting, conducting conversations governed by elaborate and unspoken systems of judgement. The longing for acceptance becomes entangled with the fear of scrutiny, until even the smallest social gesture seems fraught with consequence. Somewhere amid these exquisite arrangements of human vanity, the music entertains a disturbing possibility: that our elaborate pursuit of beauty may have furnished cruelty with a most elegant disguise.

    Listen to Designer below:

    Recorded in Pasadena, the collaboration extends Noble’s fascination with the stranger corners of Los Angeles, where artistic ambition and social mythology frequently become indistinguishable. Blue’s fretless bass, drum programming, synthesizers, and production complement Noble’s theatrical sensibility, suggesting further possibilities for their developing partnership.

    “Dakota Blue and I been working in the shadows for some time now, developing a new musical language,” he reveals.

    Following 2023’s Leaders Of The World EP and 2025’s Life’s New Adventure, Noble continues to construct an artistic universe encompassing music, literature, and performance.

    Blone Noble performs at Substance in Los Angeles on October 24, 2026.

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    The post Blone Noble and Dakota Blue Give Vanity a Sinister New Wardrobe on “Designer” appeared first on Post-Punk.com.

  • “All Your Sorrows Fade Away” — Rue Oberkampf Finds Sanctuary in the Forest in Video for “Darkness”

    As the wind is turning

    All your sorrows fade away

    You can let it go

    We are safe now

    Our modern relationship with the natural world is profoundly strange. For hundreds of thousands of years, human beings learned to understand existence through the movement of stars, the changing seasons, the murmur of rivers, and the enormous silence of forests. Today, we spend much of our existence staring into illuminated rectangles, receiving an endless procession of information while remaining curiously estranged from the planet that gave us consciousness. Somewhere beneath our accumulated technologies, however, the ancient appetite for mystery survives, reminding us that the universe remains infinitely more extraordinary than anything we have managed to manufacture.

    Munich-based darkwave duo Rue Oberkampf, comprising Julia de Jouy and Oliver Maier, explore this estrangement on their new album, Wehmut, released October 15th via Young and Cold Records. Across six compositions, the pair venture beyond the harder electronic arrangements that established their international reputation, introducing elements of dark folk, post-metal, and acoustic instrumentation into music increasingly concerned with the relationship between human vulnerability and the immensity of nature.

    The album’s origins are themselves suggestive of an expedition into unfamiliar territory. Long walks through the Bavarian Forest and a solitary voyage aboard a container ship traversing turbulent seas helped inspire its creation. Both experiences offer opportunities to encounter the world on a scale that diminishes our everyday preoccupations, where mountains measure existence in geological epochs and oceans carry within them the accumulated history of life itself.

    “Wehmut does not exist in the English language,” says the band. “It describes a feeling suspended between melancholy and nostalgia. A longing for something lost or remembered. A yearning for a beautiful place you once knew, or one you have never been to, yet somehow miss all the same.”

    Its accompanying single, Darkness, makes this fascination wonderfully tangible. Acoustic guitar, performed by Josip Tijan of THYMIAN, enters Rue Oberkampf’s musical vocabulary for the first time, its earthy resonance finding companionship among spacious synthesizers and recordings gathered in the Bavarian woodland. Julia de Jouy’s voice possesses an almost celestial quality, carrying the words with extraordinary tenderness as the arrangement unfolds with the patience of a landscape slowly revealing itself at dawn.

    At the center of the composition is a simple expression of solidarity: “Let the woods protect you / We will be fine / I’m here with you.” These words suggest an understanding of companionship that stretches beyond ordinary consolation, imagining the forest as a sanctuary where wounded individuals might discover the strength to endure another day.

    The accompanying video, directed by Jojo and Daniel Kilgus, was filmed beside Lake Arbersee in the Bavarian Forest, with production beginning at four in the morning to capture sunlight penetrating the mist. De Jouy and Maier move through the woodland with an almost ceremonial stillness, their figures appearing and disappearing among trees and drifting fog. The lake’s dark surface, the immense surrounding forest, and the gradual arrival of daylight establish a visual meditation on our fragile place within the living world.

    Watch the video for Darkness below:

    Throughout Wehmut, there is a growing awareness that humanity’s oldest questions remain unanswered. What might we recover by withdrawing occasionally from our technological inventions? What forms of understanding become possible when we surrender ourselves to silence? Rue Oberkampf approach these mysteries with curiosity, allowing their electronic foundations to coexist with the physical textures of an environment immeasurably older than music itself.

    Perhaps the most extraordinary revelation is how readily the natural world accommodates our private grief, offering its indifferent beauty to anyone willing to venture into its depths. Under ancient trees, beside dark waters, within the vast and patient machinery of the Earth, even our smallest acts of tenderness acquire something approaching cosmic significance.

    Listen to Darkness below, and order Wehmut on Vinyl and CD here.

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    The post “All Your Sorrows Fade Away” — Rue Oberkampf Finds Sanctuary in the Forest in Video for “Darkness” appeared first on Post-Punk.com.

  • The Astral Prophets Release New Single “Power of the Rift” From Upcoming Album “Invasion”

    Calgary sci-fi groove metal band The Astral Prophets have released their new single, “Power of the Rift”, taken from their upcoming debut full length album, Invasion, scheduled for release on October 30.

    The track combines heavy riffs, cinematic synth layers, and melodic hooks to showcase the band’s self-described “Power Groove” sound. Lyrically, vocalist Staci Allen contrasts the overarching intergalactic themes of the record with personal reflections on joy, connection, and the sensation of loving at the speed of light.

    Formed in 2019 following the dissolution of progressive folk metal band Scythia, the current lineup features Allen alongside guitarists AJ Bergin and Harley D’Orazio, bassist Terry Savage, and drummer Kyle Summers. The eight-track concept album expands upon their 2023 EP, Anywhere But Here, incorporating heavier roots, symphonic elements, and dynamic arrangements centered around a sprawling science fiction universe of alien invasions and dystopian futures.

    The post The Astral Prophets Release New Single “Power of the Rift” From Upcoming Album “Invasion” first appeared on FemMetal – Goddesses of Metal.

  • Nova Spei Announce Quebec Tour Dates and Release “Enterré Vivant” Music Video

    Francophone modern metal band Nova Spei have announced a four-date album release tour across Quebec in support of their upcoming album, Trinitas, scheduled for release on November 6 via Bam&Co-Heavy. The run begins in Trois-Rivières and includes stops in La Baie, Quebec City, and Montreal, with Unless We Fight providing support on all dates.

    Alongside the tour announcement, the band has released a music video for their latest single, “Enterré Vivant”. The heavy, djent-driven track introduces a renewed lineup for the band, prominently featuring the arrival of new lead vocalist Emmanuelle Desbiens-Dubois.

    Lyrically, “Enterré Vivant” explores the narrative of being trapped in an inescapable situation, serving as an emotional metaphor inspired by watching someone struggle with illness. The upcoming album, Trinitas, was produced by Francis Perron and mastered by Maor Appelbaum, capturing a more organic and raw approach to the band’s established sound.

    Francophone modern metal band Nova Spei have announced a four-date album release tour across Quebec in support of their upcoming album, Trinitas, scheduled for release on November 6 via Bam&Co-Heavy. The run begins in Trois-Rivières and includes stops in La Baie, Quebec City, and Montreal, with Unless We Fight providing support on all dates.

    Alongside the tour announcement, the band has released a music video for their latest single, “Enterré Vivant”. The heavy, djent-driven track introduces a renewed lineup for the band, prominently featuring the arrival of new lead vocalist Emmanuelle Desbiens-Dubois.

    Lyrically, “Enterré Vivant” explores the narrative of being trapped in an inescapable situation, serving as an emotional metaphor inspired by watching someone struggle with illness. The upcoming album, Trinitas, was produced by Francis Perron and mastered by Maor Appelbaum, capturing a more organic and raw approach to the band’s established sound.

    The post Nova Spei Announce Quebec Tour Dates and Release “Enterré Vivant” Music Video first appeared on FemMetal – Goddesses of Metal.

  • Why Slipknot’s 2027 Tour Includes a B Stage in Some Cities

    Slipknot's back with stadium shows in 2027, and the stage setup hints at something bigger than a typical tour. Continue reading…