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  • Review FLOTSAM AND JETSAM “Rats in the Temple”

    Flotsam and Jetsam are one of those bands that delivered an exceptional debut, raise the bar with their second album, and, despite a few ups and downs along the way, never really disappoint. Doomsday for the Deceiver was their milestone debut, and with No Place for Disgrace followed a second record that took the band’s… Continue Reading →
  • Review EXUMER “Death Mask Messiah”

    Exumer got off to a strong start in the mid-’80s with Possessed by Fire. The title track in particular has become a classic when it comes to thrash metal. With their second album, Rising from the Sea, Mem von Stein and his bandmates scored another hit before things went quiet for the band. Exumer called it quits… Continue Reading →
  • “A blur of Rhinestones sparkling in the spotlights”: Ghost offer a rare, stylish glimpse behind the curtain with concert film/documentary 2 Big To Rig

    Ghost magazine cover

    (Image credit: Future)

    Ghost are playing Rats. ‘They’re still coming at you / And there is nothing you can do’, goes the song. “But there is something I can do!” Tobias Forge/Papa V Perpetua shouts to a crowd of 20,000 devotees at Mexico’s Palacio de los Deportes. “Tear you a new asshole – each!”

    It’s very generous of him. Filmed across two nights of the Skeletour in September 2025 and directed by the tour’s creative director Amir Chamdin (who’s overseen seven of the band’s music videos), this is Ghost’s second concert movie, 2 Big To Rig. While 2024’s Rite Here Rite Now was shot on the Impera cycle and spliced live footage from a pair of gigs at the Los Angeles Kia Forum with skits furthering the Ghost lore, this document of the Skeletá era is more about romanticising their show. It features segments with crew members talking about how logistically complex the production is. “It’s too big to rig!” laughs one – adding that, still, they manage it every night.

    2 Big… opens with Peacefield, the first track on Skeletá, and is startling from the off. Shot on 16mm film, it looks like an 80s VHS tape, grainy and high contrast. The effect is jarring, but 100 percent Ghost, indirectly nodding to their mythology and evoking nostalgia for a past that never existed, as if they’re a historic band playing a seminal concert like Live Aid. Where Rite Here Rite Now crisply revealed every thread of embroidery on the band’s costumes, 2 Big… is a blur of Rhinestones sparkling in the spotlights.

    Watching it on an IMAX screen, you’re simultaneously immersed in a thrilling analogue world where Ghost are all that exist for the next 90 minutes, yet confused about why you can’t pick out the visual details at such scale. At one point, there’s a clip of a woman behind the scenes, touching up the silver bones painted on someone’s shoe. It’s exactly the kind of detail that Rite Here Rite Now revelled in showing during the live parts, but this film deliberately obscures. The format does allow for a brilliant moment, though, where the kaleidoscopic prism lens effect used on Papa’s face during Majesty – usually shown on the stage’s screens – is blown up to the size of three London buses, a montage of ghostly visages filling your field of vision.

    Of course, there are the songs. And what songs! It’s hard not to dance in your seat as the likes of Cirice, Satanized, Year Zero and the rest keep on coming. It’s louder than a gig – bring earplugs – and the camera work makes you feel like you’re onstage as part of the crew, getting up close with each person, seeing guitar solos from behind, and noticing other crew members crouching in the shadows. The crowd shots are genuinely beautiful, the camera looking out at a sea of ecstatic faces, some crying, some screaming, many painted in Papa makeup. There’s an emotional intimacy to this film that the glossy Rite Here Rite Now didn’t have.

    Yet, as the title suggests, 2 Big To Rig also throws a spotlight on the sheer scale of the Skeletour production, via black-and-white segments with the crew. Ghost have a team of at least 120 people, plus a local crew of a similar size on each stop. The enormously heavy Grucifix that hangs over the band while they play is shown on the venue floor during set-up, and a crew member needs a leg-up to get on it. Of another part of the production, a man says, “You might not want to film this – it’s not working,” highlighting how much effort goes into making the whole thing look seamless. This is as much a love letter to the often-overlooked people who bring Ghost to life, as it is to the bandmembers themselves.

    It’s also a love letter to the fans, without which there would be no tour. After Papa apologises for cancelling a show the night before because he was struck down by the “curse of Montezuma”, they squeal with joy. Whenever he speaks in Spanish, they squeal with joy. When he promises to tear them a new asshole (each!), they… well, you get the idea. It’s a lot of fun. In heartwarming footage from outside the venue, one Ghost fan proposes to another.

    Seeing as phones weren’t allowed on the Skeletour, Ghost get to decide how it’s immortalised, and 2 Big To Rig is just that: a rapturous spectacle captured in an undefined time. The graininess is a stylistic risk and can be frustrating at times, but you don’t come to Ghost looking for normal. You come to be welcomed into a world like no other.

    2 Big To Rig hits cinemas and IMAX screens worldwide today (Wednesday, August 26). Get your exclusive Ghost x Metal Hammer bundle, featuring a magazine cover and t-shirt unavailable in shops, via the Louder webstore.

  • JANN KLOSE – The Future Trap

    JANN KLOSE – The Future Trap

    Jann Klose 2026 Globetrotting storyteller embraces album conceptuality to escape temporal snares and come up trumps. Taking an audience on a trip has been one of Jann Klose’s strongest suits for three decades, yet whereas such records as 2008’s or … Continue reading

    The post JANN KLOSE – The Future Trap appeared first on DMME.net.

  • Desperate Journalist Mourns the Messiness of Youth in Video for “Terrible Years” — New Album “Gilding the Lily” Announced!

    You know it felt like a war, hungover on a parquet floor

    But now it’s like I hardly think about you anymore

    Adulthood is an exercise in presentation. We learn the correct expressions and develop plausible explanations for why the compromises we once feared are now signs of wisdom. On Desperate Journalist‘s Terrible Years, the lead single from the London quartet’s sixth album, Gilding the Lily, lead singer Jo Bevan turns that performance into a social comedy, complete with escape, panic, and the suspicion that maturity may simply be youth with better excuses.

    The song begins with Rob Hardy’s verse progression and expands into three minutes of crowded guitars, orchestral synths, and a rhythm section that keeps pressing forward as though hesitation might expose somebody. Simon Drowner’s bass and Caz Helbert’s drums give the track an eager gait, while Hardy’s guitar has the bright edge and density that made Desperate Journalist recognizable. After the sparse, industrial cast of No Hero, the arrangement feels luxuriant and busy, capped by a chiming middle eight whose sweetness sharpens the song’s mockery rather than softening it.

    “This is one of the last songs we wrote for the album,” Bevan explains. “Rob had a kernel of an idea for the verse chord progression and we all goaded him into basically writing all the rest of the music one day at rehearsal. Lyrically it’s from the perspective of a character who’s cashed in and moved to LA or somewhere exotic, and is mistakenly under the impression that they are now blissfully balanced (and definitely not in denial about how much they miss the chaos and excitement of their youth). It’s sort of sympathetic but also caustic, as they’re lording it over the people they used to know whilst still clearly being a bit of a mess and scared of how old they’ve become. A lot of this album is about the horror of becoming aware of your own mortality – but, you know, in a fun way.”

    Bevan sings from inside a personality built to advertise success, allowing vanity and fear to occupy the same immaculate room. The character has escaped, cashed in, moved somewhere sunny, and achieved the balance everyone else failed to find. Yet every boast carries the faint desperation of a holiday photograph posted for an audience of former friends.

    Jez Leather’s performance video, filmed with warm lights in a white room, gives the song an uncluttered frame. The band plays with a directness that suits its raucous construction, leaving Bevan’s words to supply the psychological mess.

    Watch the video for Terrible Years below:

    Desperate Journalist are a London post-punk quartet comprising vocalist Jo Bevan, guitarist Rob Hardy, bassist Simon Drowner, and drummer Caz Helbert. Across five albums, the band have paired richly layered guitars and propulsive rhythms with Bevan’s incisive lyrics, gradually incorporating the electronic and industrial textures heard on 2024’s No Hero. Their forthcoming sixth album, Gilding the Lily, continues that evolution while preserving the melodic force and emotional candor at the heart of their work.

    As an introduction to Gilding the Lily, due out on November 20 through Fierce Panda Records, Terrible Years suggests Desperate Journalist are fascinated by the humiliations hidden inside self-possession: the older we become, the more elaborate our methods for pretending we have arrived.

    Listen to Terrible Years below and pre-save Gilding The Lily here. Order the album from Rough Trade here.

    Catch Desperate Journalist live throughout the UK this winter! Get tickets here.

    • November 7, 2026 — Brighton, UK — The Hope & Ruin
    • December 10, 2026 — Birmingham, UK — Hare & Hounds
    • December 11, 2026 — Manchester, UK — The Locker at New Century
    • December 12, 2026 — Nottingham, UK — Bodega
    • December 13, 2026 — Bristol, UK — Exchange
    • December 16, 2026 — London, UK — The Garage
    • January 15, 2027 — Cambridge, UK — Portland Arms
    • January 16, 2027 — Leeds, UK — Lending Room

    Follow Desperate Journalist:

    The post Desperate Journalist Mourns the Messiness of Youth in Video for “Terrible Years” — New Album “Gilding the Lily” Announced! appeared first on Post-Punk.com.

  • Eric Angelo Bessel Drifts Underwater in “Pathways” — New Album “Illusion of an Inland Ocean” Announced!

    There are places on Earth that seem to contain more world than geography should permit. A shoreline at dusk, an abandoned road, a drowned foundation beneath still water: each can suggest that reality possesses hidden rooms, inaccessible except through attention. On Illusion of an Inland Ocean, due October 30, Eric Angelo Bessel makes music for that suspicion, eighteen connected compositions in which ordinary terrain seems to open upon immensities.

    Based in Portland, Oregon, Bessel works at the intersection of memory, landscape, and technology, subjects united by their peculiar relationship with time. His music, photography, and design all share an interest in the traces people and places leave behind: evidence that something existed, changed, disappeared, or continues beyond immediate perception. Across his various disciplines, he seems less interested in documenting the world as it appears than in examining how perception alters it, and how memory can transform a place into something larger, stranger, and almost limitless.

    The first single, Pathways, released on August 25, offers an ideal entry point. Its patient, ambient movement recalls The Caretaker, William Basinski, Loscil, Stars of the Lid, and Faten Kanaan, yet Bessel approaches that lineage with a distinct sense of terrestrial mystery. The music feels cinematic and powerful because it enlarges perception. A familiar landscape begins to seem ancient; a road becomes a coordinate; water becomes an archive. Tiny details acquire the gravity of astronomical objects viewed from a distance.

    Mellotrons, guitars, and layers of analogue processing become instruments of gradual revelation, with tones accumulating, dissolving, and returning in altered forms. Melody seems to come into focus by degrees, as though perceived across a great distance, while small shifts in texture can change the apparent dimensions of the entire piece. The music encourages sustained attention rather than movement toward some final point, rewarding repeated listening with connections that may have remained invisible before.

    Its accompanying visualizer deepens that sensation by placing us underwater, where life passes through channels of static and unstable transmission. The images suggest cameras lowered into a region beyond human access, recording organisms, currents, and possible thresholds that our senses were never designed to comprehend. The ocean has always possessed this cosmic quality. We know its presence intimately, yet portions of it remain unseen, populated by forms of life so remote from daily experience that they can seem almost extraterrestrial.

    Watch the video for Pathways below:

    Written, recorded, mixed, and produced entirely by Bessel, Illusion of an Inland Ocean is expansive without becoming crowded. Tones gather slowly, suspended in spaces, while distant textures seem to recede beyond the edge of hearing. There is a frequency of peace running through the record, though serenity here is never simple. Silence becomes evidence, a faint indication that something vast continues beyond the narrow bandwidth of human awareness. Beneath it lies the awareness that the universe, and even our planet, remains filled with regions we cannot completely know.

    Composed in the pale hours of early morning and refined deep into the night, the album occupies that uncertain territory where dreams, memory, and observation begin to lose their boundaries. Bessel has long been drawn to these transitional states, when the mind has loosened its allegiance to ordinary time and the familiar world can suddenly appear immense, remote, or newly discovered.  Bessel treats mystery as a condition of existence rather than a puzzle awaiting solution. The album asks for stillness, the kind that precedes sleep, when the architecture of the waking world loosens and distances become difficult to measure.

    Listening then can feel like drifting beyond the mapped edge of experience, not toward fantasy so much as toward a heightened awareness of how little we perceive. In that sense, Bessel has made an album about scale: the immense concealed inside the commonplace, the unknown beneath our feet, and the quiet possibility that every familiar place contains a portal to somewhere we have never been.

    Listen to Pathways below and pre-order Illusion of an Inland Ocean here.

    Follow Eric Angelo Bessel:

    The post Eric Angelo Bessel Drifts Underwater in “Pathways” — New Album “Illusion of an Inland Ocean” Announced! appeared first on Post-Punk.com.

  • Lowsunday Evoke the Beauty of Isolation in “Someone To Talk To”

    You want someone to talk to 
    Somewhere to run to
    In the dead of night
    No answers 
    Lonely visions

    Pittsburgh-based post-punk/shoegaze band Lowsunday (also known in some circles as Low Sunday Ghost Machine) released two stellar albums in the late 1990s, combining the blistering fury of post-punk and the wistful melancholy of shoegaze, with a dash of powerful arena rock and carefully considered electronics thrown in for good measure. For their sophomore LP, 1999’s Elesgiem, the band partnered with legendary label Projekt Records, which helped bring them to prominence just moments before the post-punk revival scene came to fruition. A series of digital reissues and remixes over the last few years sparked a surprise reunion, which found the band eager to reclaim their throne amongst a new crop of followers.

    Stripped down to core members Shane Sahene and Bobby Spell, Lowsunday have since been hard at work in their studio, rekindling the flame which burned so brightly in the past. 2025 saw the release of The White EP, one of our absolute favorite releases of the year. In May of this year, the duo unleashed The Black EP, a shadowy sister release that continues the story on Projekt and sees the band picking right back up where they left off at the turn of the century. The five-track EP has been in constant rotation since it was released, with each track as potent as the last, a rare feat these days even for a short form release. The duo have already released a perfect pair of videos to accompany the EP, including “This is Not Heaven” and “You’re So Wired.” We’re honored to premiere a third, this time for “Someone to Talk To,” the EP’s searing centerpiece.

    The track, no surprise here, is another barn-burner, through and through. Loud, eerie, and unforgiving, the track kicks off with a processed, pitch-bent guitar line that, along with a thunderous, steady rhythm, serves as the song’s anchor. The unsettling melody quickly blends in with an interlocking bass groove and Sahene’s cavernous, yet deeply emotive vocals. The song’s chilly, catchy exterior ties into the song’s underlying themes of aloneness and disconnection. The video, directed by long term collaborator Jer Herring, reflects the song’s energy with scenes of dimly lit commuter tunnels, winding staircases, statues of solitary eyes, and drawings of hearts on abandoned walls. Blink and you may miss it, but quick flashes of two strangers (or lovers, or perhaps even ghosts) at the foot of an apartment staircase subtly drive home the track’s inherent solitude.

    “This video perfectly captures the delicate coldness, detachment and loneliness of this song,” offers Spell. “A theme frequently visited by us involves a feeling of isolation which seems to be increasingly common in modern life. The visuals in the video demonstrate this feeling in a variety of scenarios where separation, miscommunication or distance is implied throughout. Our creative partner Jer Herring has once again created a perfect visual counterpart for a Lowsunday song and we’re very proud of it.”

    Check out the video and pick up a copy of The Black EP below:

    Follow Lowsunday: 

    Header photo by Christina Sahene. 

    The post Lowsunday Evoke the Beauty of Isolation in “Someone To Talk To” appeared first on Post-Punk.com.

  • Bernie Marsden: STAGE Review

    The fifth and final album in Bernie Marsden’s Inspirations Series, STAGE was released on 21st August 2026 via the award-winning independent label, Conquest Music. The 15-track record is available in a limited edition 2LP and 2CD Deluxe Digipack. The album represents the arena where perhaps Bernie shone the brightest… on STAGE. Each side of vinyl is dedicated to respective live performances that span across over two decades.

    The first quarter of the album is a gentle acoustic presentation, accompanied by a strings ensemble. Recorded live at The Radcliffe Centre, Buckingham in 2008. Starting off with a folky acoustic guitar, “Til the Day I Die” slowly brings in the violin and a tambourine to keep the time. “The Time is Right for Love” continues in a similar fashion, with Bernie’s vocals ranging from warm and smooth to a tad more aggressive as the dynamics shift. Adding a touch of psychedelia with his guitar work, Bernie nods to Rory Gallagher with the rendition of a folk classic, “Out On The Western Plains”, before playing a laidback version of a fan-favourite “Ain’t No Love in the Heart of the City” highlighted by an incredible vocal performance.

    On the flipside, Bernie switches styles with “Boss of the Blues”, a classic blues shuffle recorded in 2019 as part of his performance at Keeping the Blues Alive at Sea. The electric band sounds amazing, with a brass section adding further spice to the texture. As Steve Lukather aptly described Marsden: “Tone and touch and taste. That was Bernie.” – he truly lives up to those words in this performance. “Reconsider Baby” is a bit slower, but not any less swingy. Driving bass line leads the way into “Watch Out”, featuring killer guitar chops throughout, before sailing smoothly into a lazy-paced jazzy number that is “Worried Life Blues”.

    Side C brings more heat in the shape of Marsden’s 1996 Nottoden Blues Festival performance that starts with a dirty version of “Down Home Blues” – is it the groove, the mean guitar tone, or Bernie’s gritty vocals? Probably the mix of it all. A truly fiery and memorable performance. Adding fuel to that fire is the upbeat Freddie King classic “I’m Tore Down”, before the band decides to bring it all the way down with a slow blues number “Love That Burns” that features stellar guitar work with feel that only Bernie could deliver. The band goes right back to the upbeat and dirty lane with a cool-as-you-like take on “Oh Well”.

    The final section of the double album is a recording from 2020 at Under the Bridge, London, featuring a special guest, none other than Joe Bonamassa. Bernie kicks things off with a Whitesnake classic, “Walking in the Shadow of the Blues”, before moving on to Albert King’s “I’ll Play the Blues for You”. To wrap this amazing record up, Bernie plays a tune popularised by Gary Moore, “Walking By Myself” – this version however, features a jaw-dropping guitar duel between Marsden and Bonamassa that’s not to be missed!

    This selection of songs recorded live across four different concerts spans different eras, different styles, different bands; it is made up of so many contrasts, but one thing stays the same throughout – the heart and soul that Bernie Marsden has put into his music and into his live performances. STAGE is not an album for casual listening – it requires the listener’s full attention and willingness to immerse themselves into the journey through time, across land and sea.

    The Review: 8.5/10

    Can’t Miss Tracks

    – Ain’t No Love in the Heart of the City
    – Boss of the Blues
    – Down Home Blues
    – Walking By Myself

    The Big Hit

    – Down Home Blues

    The post Bernie Marsden: STAGE Review appeared first on Blues Rock Review.