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Their new album “Doomsayer” is set for a December release.

The post King Buffalo’s “Vagabond” Music Video Debuts appeared first on Theprp.com.

We speak of losing time as though we might find it again, tucked into a coat pocket or waiting beneath the furniture. The hours spent enduring something difficult are especially cruel: they can feel endless while consuming whole stretches of a life. Grief, fear, and exhaustion can leave us suspended between the need to keep going and the suspicion that we are standing still. Swedish-German duo EFFATA give that uneasy reckoning the weight of a prayer on Losing Time, which they describe as “a psalm-like lament in the face of adversity.” With heavy electronics bearing down around its aching melodies, the song gives voice to the effort of holding on when consolation feels remote and the clock continues its indifferent work.

Bringing together Ralf Blagau and Linn Cleve, EFFATA combine industrial density, darkwave melody, and the emotional intensity of post-hardcore. Originally released on July 7, Losing Time now receives a performance video that places the duo inside the full glare of their light show and lets the song’s mounting urgency guide the camera.

A dense, repeating electronic surge opens the track, with broad cinematic synth pads spreading above its hard mechanical movement. When the guitar enters, its sun-warmed tone lends the arrangement a beautiful ache, the melodic figure stretching across the relentless electronics beneath it. Blagau’s wistful vocal sits deep within that activity, swimming through the mix as though struggling to keep his head above a mechanized sea. The distance between the tenderness of the voice and the pressure surrounding it gives the song much of its emotional pull.

As Losing Time develops, the guitar phrases grow more expressive and the singing gathers force, moving from submerged yearning toward something closer to a cry of appeal. Guitar and voice gradually gain the upper hand over the industrial weight, giving the closing stretch its sense of release. There is a psalm-like quality to that escalation, a lament made stronger through the act of singing it. Listeners drawn to Author & Punisher’s crushing electronics, The Soft Moon’s agitation, and Drab Majesty’s expansive guitar melodies will find familiar points of reference in the duo’s combination of physical force and exposed feeling.

An ornate cross at the opening establishes the video’s devotional undertone before the camera moves between Blagau at the microphone and guitar and Cleve at her keyboards. Vertical light bars cut through the smoke, shifting between purple, amber, and stark white, while close views of hands, faces, and instruments give way to shots of the pair performing together. Cleve raises an arm above her keyboard as Blagau leans into the microphone; by the final stretch, his whole body seems caught up in the effort. Shot by Stefan Heyn and edited by EFFATA, the film gives that escalating performance room to fill the frame.

Watch the video for Losing Time below:

EFFATA began in 2020, initially taking shape as a dark-folk and post-rock trio before developing into the partnership of multi-instrumentalist and producer Blagau and Swedish synthesizer player Cleve. Our earlier coverage of Worldless explored their singles Tabernacle and Forgetful, already revealing an affinity for spacious guitar arrangements and emotionally direct performances. Blagau has also spent years on the road managing and working as a technician for Einstürzende Neubauten, Melvins, Ulver, and Eyehategod. The duo bring that extensive live experience to performances accompanied by a custom, audio-reactive light show.

Listen to Losing Time below, and order the single here.

Follow EFFATA:

• Website
• Instagram
• Facebook
• Spotify

The post Industrial Darkwave Duo EFFATA Share Video for Pslam-like Lament “Losing Time” appeared first on Post-Punk.com.

KK’s Priest, the band formed by former Judas Priest guitarist KK Downing, have released a cover of Judas Priest’s 1974 classic Never Satisfied with ex-Judas Priest singer Tim “Ripper” Owens, and the accompanying video is creating something of a stir.

The clip, which features an AI-assisted recreation of a youthful KK Downing, opens with some words from the young guitarist.

“Yes, this is my life now, and I will not be content until I find out what is missing from all of our lives,” says KK. “There is something very special out there that so many need, and until I find it, I will never be satisfied.”

The video goes on to show the young KK staring wistfully into a guitar shop window and stepping off a bus, guitar case in hand, before embarking on the road to success and stardom. However, the film has been criticised by fans for its reliance on what the press release accompanying the news calls “modern technology”.

The video was made by JPSR Studio, whose website acknowledges the use of artificial intelligence in their productions.

“AI film today is where online video was twenty-six years ago – dismissed by the same rooms that will depend on it within a decade,” they say. “We were part of pioneering the first wave. We intend to be part of pioneering this one. This isn’t just AI. It’s videography, special effects and sound engineering – a full production discipline – with an AI-native pipeline inside it.”

But many commenters have expressed dismay at the video.

“Love the tune, AI not needed,” says one fan. “Rock on.”

“Great version, but AI ruins it,” says another.

“Too much stupid Al in this video,” adds a third.

“I am sorry, KK, I love you,” says a fourth, “but bollocks to AI.”

“Love the song, but goddam I hate the AI slop,” comments a fifth. “Wish they had not added that.”

“That video could not have been made without today’s modern technology – bringing myself to life in such an accurate way is quite beyond belief,” says Downing. “It’s basically bringing to life something that’s absolutely impossible to create or film today without it.”

Downing has also remarked on the differences between Owens and longtime Priest frontman Rob Halford, who sang on the original version of Never Satisfied.

“Two great singers and performers,” says Downing. “I mean, you know, it’s going to be tough. I guess the main thing is that Rob would be associated with the archive legacy, the original going back when. But obviously, Ripper is sort of capable of doing the same thing, but with a slightly different delivery and tonality of the voice.”

KK’s Priest are currently on tour in North America with W.A.S.P. Full dates below.

KK’s Priest: 2027 North American Tour

Oct 16: Milwaukee Pabst Theater, WI
Oct 17: Green Bay Epic Event Center, WI
Oct 19: Winnipeg Burton Cummings Theatre, MB
Oct 21: Edmonton Midway Music Hall, AB
Oct 22: Calgary The Palace Theatre, AB
Oct 23: Coquitlam Great Canadian Casino Vancouver, BC
Oct 25: Seattle Moore Theater, WA
Oct 27: San Jose Civic, CA
Oct 29: Rancho Mirage The Show at Agua Caliente, CA
Oct 30: Las Vegas House Of Blues, NV
Oct 31: Anaheim The Grove, CA

Find W.A.S.P. And KK’s Priest Tickets.

The prog-hop artist will be touring with Periphery and more this fall.

The post Ando San Debuts Drumline-Inspired New Track “March For Me” appeared first on Theprp.com.

Filmed this past August.

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Rock and heavy metal have always had a complicated relationship with authority. The music has challenged it, mocked it, and occasionally made a career out of telling it to fuck off. Yet a bizarre wave of selective amnesia seems to have taken over the old guard. When James Hetfield and Mötley Crüe’s Nikki Sixx complain about political ideas finding their way into concerts, they speak as though rock was built on keeping everyone comfortable. The people demanding that musicians shut up and play are happy to forget what some of those legendary anthems were actually about. Apparently, rebellion is fine as long as nobody in the audience takes it personally. Some musicians would rather hide behind the excuse that they are there to entertain. Hayley Williams has other ideas.

In October 2026, Hayley made headlines after speaking out against ICE and expressing support for Palestine during a solo concert in Chula Vista, California. While performing “Ice in My OJ,” a song from her solo album Ego Death at a Bachelorette Party, she shouted “Fuck ICE” and “Free motherfucking Palestine!” The Department of Homeland Security responded by reminding her that Americans were grateful to federal law enforcement officers and suggesting she thank them for their service instead of belittling their sacrifice. Hayley shared the statement on her Instagram Stories, adding a response of her own: “And may I suggest all Nazi bitches suck on my fat dick.” The exchange made one thing clear. Hayley had no intention of making her politics more palatable for anyone’s benefit.

This is hardly the first time Hayley has used a microphone to say something that might make people uncomfortable. Since her early days as Paramore’s frontwoman, she has treated the stage as a place where actions have consequences, including her own.

In May 2023, during the first of two nights at Madison Square Garden in New York City, Hayley stopped Paramore’s performance of “Figure 8” after spotting two fans fighting and shoving each other in the crowd. She pointed them out from the stage and shouted, “Holy shit! Fuck you! I will embarrass both of you,” before having them removed from the arena. Later, she admitted that she wasn’t proud of how she had handled the confrontation. It is an important part of the story. Speaking up does not guarantee that every reaction will be the right one, and admitting that you could have done something differently takes a kind of honesty that is less common than people might like to believe. Hayley could stand by her decision to intervene while still questioning how she had done it.

Her willingness to make people uncomfortable extends to politics. Later that same month, at the Adjacent Music Festival in Atlantic City, New Jersey, Hayley addressed the crowd with a message for fans who supported Florida Governor Ron DeSantis. “I’ll be happy to tell you I’m very fucking comfortable talking politics. If you vote for Ron DeSantis, you’re fucking dead to me,” she said. There was little room for misunderstanding, and no attempt to soften her position for the benefit of the people who disagreed with her. A concert audience does not leave its opinions at the door, and Hayley has never suggested that she should leave hers there either.

What makes her approach more interesting is that she is willing to direct the same scrutiny towards herself. In September 2018, during a hometown show in Nashville, Tennessee, Hayley announced that Paramore would stop performing “Misery Business” for a long time. The song was one of the band’s biggest hits, but she had written its anti-woman lyrics when she was seventeen. As she grew older, she began to recognise the misogyny she had internalised and repeated in the song. She could have dismissed the criticism and carried on performing a fan favourite. Instead, she acknowledged why the lyrics were a problem and made a decision about what she wanted to do with the song.

“Misery Business” eventually returned to Paramore’s live shows. Hayley first performed it again during a surprise appearance with Billie Eilish at Coachella in April 2022, before Paramore brought it back on their own tour that October in Bakersfield, California. The band began inviting fans onto the stage to sing along, giving the audience a part in the song’s return. Its history did not disappear, and neither did the criticism. But the way the song existed in the band’s live shows had changed. Hayley could acknowledge the problems with something she had written as a teenager without pretending that she was still the same person who wrote it. The song could mean something different to the people singing it now, even if its past remained part of the story.

Taking charge does not mean having the perfect response to every situation. It means being prepared to speak when something matters, accepting that other people may disagree, and looking honestly at your own decisions when the time comes. Women in music are still expected to be agreeable, to keep the peace, and to avoid making anyone too uncomfortable. Hayley has shown that she does not consider any of that her responsibility. She can challenge the people around her without claiming to be beyond criticism herself. Perhaps that is the part worth remembering. Having a voice means very little if you only use it when everyone is willing to listen.

Cover Image attribution: By Sven-Sebastian Sajak – Own work, CC BY-SA 3.0

The post She’s In Charge | Hayley Williams: Entertaining and Politically Educating Since 2004 first appeared on FemMetal – Goddesses of Metal.

Lovecraftian to see it.

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The album comes out on November 13

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You’ve undoubtedly heard the axiom, “if I didn’t laugh, I’d have to cry.” For rural Virginia native Colby T. Helms that seems to be one of the basic tenets on his debut full-length album, One For the Losers. Growing up in the heart of Appalachia he’s seen firsthand the combination of poverty, addiction, and despair […]

Bringing the confirmed roster up to 13 artists.

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