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In the distance
I am cold
In the distance
We’re growing old

Casket Cassette’s Show Me a Sign is a song that illuminates the soul like a busted strip of Los Angeles nightlife, all neon nerves and cheap salvation. Constant Laval Williams has made a fine little art out of sounding stranded in public, which is harder than it sounds. Plenty of singers can do lonely. Fewer can do lonely while the beat is still carrying everybody’s boots across the dancefloor.

This is the third new song from REDUCER, out June 12. Show Me a Sign is all reduction: emotion boiled until it stains the pan, desire shaved down to the bare request, survival turned into something blunt enough to fit in one hand. There is no grand cathedral of misery here, no velvet cape dragged theatrically through dry ice. The song wants a signal, a room, a body, a way back from whatever distance has turned the song’s protagonist cold and old before his time.

Show Me a Sign channels the Medusa, Twist of Shadows, and Creatures era Clan of Xymox in its dusky romantic architecture, Cold Cave in its sleek black propulsion, and the frozen passion of The Danse Society and Pink Turns Blue, but Casket Cassette is smart enough to understand that influences should behave like a ghost at the bar, present but never picking up the tab. And the track moves with the clean, severe confidence of a dark priest descending inward into an icy sanctum, torchlit and severe, conjuring unspeakable visions as Williams’ voice cuts through the darkness.

Lyrically, the song circles distance, exhaustion, and the stubborn will to continue after comfort has abandoned the room. The plea for a sign feels less like romantic longing than a last candle held against the cold, a small act of devotion made under pressure. Casket Cassette turns that ache into body music for the damaged and devout, for people who have been through Hell and back again and lived to tell the tale.

Mixed by Matia Simovich at Infinite Power Studios and mastered by Stefan Brown at Abbey Road Studios, Show Me a Sign has a polished chill; every element has been placed with surgical precision: the beat advances, the synths flare and recede, and the vocal keeps its eyes open. The song’s desperation lands because it is sharpened rather than softened, with the production giving the plea force, shape, and urgency.

Listen to Show Me a Sign below and order the single here.

Casket Cassette will take The Reducer Tour across North America in summer 2026, with support from Stare Away and special guests. The run opens in Southern California before cutting through the Southwest and Texas, heading up the East Coast, crossing into Toronto, then moving through the Midwest, Mountain West, Pacific Northwest, and back down the West Coast, with a final date in California in November.

Tour Dates:

• July 25 — San Diego, CA
• July 26 — Phoenix, AZ
• July 29 — Houston, TX
• July 30 — San Antonio, TX
• July 31 — McAllen, TX
• August 1 — Dallas, TX
• August 3 — Atlanta, GA
• August 5 — Washington, DC
• August 6 — Philadelphia, PA
• August 7 — New York, NY
• August 11 — Toronto, ON
• August 12 — Chicago, IL
• August 13 — Minneapolis, MN
• August 15 — Denver, CO
• August 16 — Salt Lake City, UT
• August 18 — Seattle, WA
• August 19 — Portland, OR
• August 21 — San Francisco, CA
• August 22 — Fresno, CA
• November 14 — Huntington Beach, CA (Darker Waves Festival)

Follow Casket Cassette:

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The post “In the Distance, I am Cold” — Casket Cassette Shares Icy Darkwave Plea “Show Me a Sign” appeared first on Post-Punk.com.

Congresswoman Victoria Spartz pays tribute to the late Ozzy Osbourne and his family

We are asking the questions, we are lying to get by
We are lying on our backs, wondering about the sky
We are blind when it suits us, we still hear the noise  
Are these delusions of our making? Is this the illusion of choice? 

Every life eventually arrives at the same locked door: the one behind which the meaning of it all is supposed to be waiting. As the years burn, we gather love, pleasure, machines, money, memories, and little mementos of our existence, only to find the old questions still standing there, untouched, and unanswered. With “All We’ve Known of Heaven,” Soft Vein turns that existential ache into a sleek new wave confession, one lit by bright synths, bruised romance, and the uneasy knowledge that abundance does not always equal salvation.

The second single from his forthcoming album, Chekhov, continues Justin Chamberlain’s recent evolution into a more refined, sophisticated synthpop silhouette. Where earlier Soft Vein material often leaned heavily into darkwave gloom, “All We’ve Known of Heaven” moves with a more cinematic sense of yearning: a sighing, almost church-like introduction opening into a pulsing bass synth, rippling electronics, and a breathy vocal performance that feels suspended between confession and surrender.

Taken from Soft Vein’s forthcoming album Chekhov, the song follows the previously released title track in placing Chamberlain’s voice and writing at the center. The production, co-produced by Chamberlain with Andrea Mantione of Nuovo Testamento, has the sheen of expensive glass and the anxiety of someone staring straight through it. There is an unmistakable 1980s charge here: a nocturnal, Michael Mann-like glow; the elegant propulsion of new wave pop; and vocal harmonies that call to mind the grand emotional sweep of Simple Minds without slipping into too much of their new gold sheen.

Lyrically, “All We’ve Known of Heaven” circles the elegant catastrophes of modern life: desire, consumption, spiritual exhaustion, the little betrayals people commit simply to keep moving. The song asks what remains when everything has been acquired except meaning. Its central question — “Is this all we are?” — becomes less a cry of defeat than a flare sent into the cogs of our disconnected digital existence, in search of a sign of life beyond our modern appetites and illusions.

That tension gives the track its strange pull. Soft Vein writes about a world in which modern convenience has multiplied beyond imagination — machines for pleasure, endless means of contact, every appetite fed on command — yet we seem no closer to one another, and no nearer to knowing anything like heaven. The song understands excess as both seduction and trap: the comfort that dulls us, the desire that divides us, the little betrayals people commit while searching for warmth in the wrong rooms. By the time Rachel Mazer’s saxophone arrives near the finale, it feels like a final flare of feeling inside all that machinery: romantic, wounded, and gone almost as soon as it appears.

Mastered by Jason Corbett of ACTORS, “All We’ve Known of Heaven” suggests a Soft Vein expanding in real time, stepping further into an 80s pop architecture while keeping a darkwave pulse beating beneath the floorboards. There is a compelling parallel in Producer Phil Thornalley’s own arc, from the Gothic depths of The Cure’s Pornography era to the gleaming new wave heights of Johnny Hates Jazz. For Soft Vein, that kind of range does not feel like a contradiction or retreat, but the natural continuum of any good artist: a movement from severity to sophistication, from dread to desire, from the basement to the bright lights without losing the ache underneath.

Listen to “All We’ve Known of Heaven” below:

Follow SOFT VEIN:

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The post “Is This All We Are?” — Soft Vein Shares Existential New Wave Single “All We’ve Known of Heaven” appeared first on Post-Punk.com.

Back with his first new solo tracks in a couple years, Gene Champagne hits the mark with a new digital single (arriving in advance of a vinyl release) in his signature punky power pop style. This ace drummer (Brad Marino, Teenage Head, The Killjoys) is also a formidable singer and songwriter, and he’s really speaking my language on this crackling summertime two-fer. “Gimme Ammunition” is snappy power pop that will have you tapping your toes and humming along in no time flat. When that hook hits, it hits big! In just a few ticks over two minutes, the song is over and done and leaving you wanting more. That, my friends, is pop songwriting 101. On the virtual flip side, “She’s An Atom Bomb” is a little faster and punkier — yet every bit as sunny and catchy. This song is a total earworm, and the lyrics are hilarious! This is a perfect little punk-pop single for warm weather season, and it’s sure to go over well with just about anyone who regularly visits this site. You can always count on Canada to come through!

You know him as the founding member, key songwriter and bassist of Skid Row. On June 12 Rachel Bolan releases his debut solo album ‘Gargoyle Of The Garden State ‘. On Episode 19 of 50 Shades Of Slaids and we dive into all aspects of the record, talk collaborations and guest appearances as well as what inspired the songs. 

‘Gargolye’ stays true to Bolan’s influences while it also shows sides of him that we haven’t heard before. The eleven-track release is out via earMusic on June 12 and has to be heard to fully appreciate. Packed with great guest appearances from the likes of Corey Taylor, Danko Jones, Nuno Bettencourt, Steve Conte, Damon Johnston  and members of Skid Row there is so much to enjoy.

We also manage to surprise Bolan with a question we finally got answered that dates all the way back to 1991. What is that question? Well, you will just have to watch and find out.

So, sit back and enjoy The Rockpit’s chat with Rachel Bolan and of course check out ‘Gargolye Of The Garden State’.

Thanks go to Maric Media, earMusic and of course Rachel for making this possible.

The post INTERVIEW: RACHEL BOLAN of SKID ROW talks debut album ‘Gargoyle Of The Garden State’ appeared first on The Rockpit.

Independent underground label We Are Horror Records has officially announced an extensive series of late-summer UK tour and festival dates. Spearheading the campaign is legendary American heavy metal-infused horror punk veterans The Order of the Fly, who will be crossing the Atlantic to embark on their highly anticipated, first-ever UK run to celebrate their landmark … Continue reading We Are Horror Records announce independent summer tour (The Order of the Fly’s first UK shows!) and festival runs across the UK

Whatever Simon Phillips may do, listening to this drummer’s work is always a pleasure, especially when he’s not merely laying down imaginative grooves but also composes and arranges arresting tunes. And this is exactly what the veteran’s been doing for … Continue reading →

The post Simon Phillips Steers His PROTOCOL Towards Rock ‘n’ Roll appeared first on DMME.net.

Nashville-based atmospheric extreme metal project Conjurist have officially released their debut full-length studio album, I Am the Earth. The expansive new record showcases a unique sonic blueprint that aggressively fuses elements of melodic death metal, post-black metal, blackgaze, doom, and hardcore punk. Masterminded and recorded by multi-instrumentalist Blake Bailey, the project explores heavy themes rooted … Continue reading Conjurist release debut full-length album ‘I Am the Earth’

Punk rock veterans Guttermouth recently wrapped up their Florida run with a stop in Stuart, delivering a high-energy set packed with fan favorites in front of a wild crowd fueled by nonstop energy and plenty of alcohol. The night also featured performances by A New Violet and Billy Doom and the Band of Serpents, who warmed up the audience and set the tone before the headliners took the stage.

Check out the full gallery of the show!