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Stiff as a board, light as a feather
You held me up forever
I should really let go
A chunk of my heart and soul

Portland post-punk band Darkswoon return with a high octane remix of “Thread,” the lead single from their fourth LP Antivenom. The remix hails from renowned  New York City DJ, producer, musician, and engineer Hi-Fi Hillary, aka Hillary Johnson, head of Kale Shelter Studios.

While the original version of “Thread” is a powerful, yet melancholic guitar-driven anthem on love and loss, the remix kicks the song into overdrive, replacing Darkswoon’s shoegaze-inspired guitars with bubbling synth pads and injecting the song’s steady beat with electronic sound and fury. Despite this, vocalist Jana Cushman’s deeply warm and honest vocals add intimacy and vulnerability to the track. As such, the remix is perfect for both the dance floor as well as a long, meditate sunset drive.

Darkswoon and Johnson first met during the pandemic as guests on Johnson’s Kale Shelter Twitch streaming series, spotlighting veganism the underground music scene. Johnson’s many credits over the years include recording/engineering work for bands such as Bootblacks, Liste Noire, Second Still, Angels of Light, Autodrone, My Favorite, and Bell Hollow, the latter which she also played live keyboards with. She has also recently remixed tracks by Astari Nite, Black Rose Burning, Frenchy and the Punk, IKON, and The Long Losts and has upcoming remixes scheduled with Negative Agent, and The Harrow. She will also be appearing as part of 2026’s Murder of Crows DJ Lineup.

Proceeds for this remix will be donated to Animal Aid PDX, a no-kill animal shelter where Cushman has been volunteering at for thirteen years. Be sure to check them out if you live in the area. Otherwise, listen to the track below and stay tuned for a new split 7” release from Darkswoon and Altar Girl to come later in 2026.

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The post Bask in the Electronic Fury of Darkswoon’s “Thread” (Hi-Fi Hillary Mix) appeared first on Post-Punk.com.

Our top 10 songs by The Veronicas present the music of an Australian duo best known for its vivacious pop influences. The pop duo consists of the Aussie identical twins Jessica and Lisa Origliasso. Lisa and Jessica’s musical journey started at a tender age, performing at sporting events and award shows under the moniker the Origliasso Twins. Later in their teenage years, the duo went ahead to release three teen pop records under the moniker Lisa and Jessica. Lisa and Jessica also teamed up with two friends to form a short-lived band going by the moniker Teal. Fast forward to

The post Top 10 Songs By The Veronicas appeared first on ClassicRockHistory.com.

Marking their first new single in four years

Source

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Melbourne indie rockers Radio Free Alice have a sound that recalls the prime blog-rock days of the early ’00s. It’s a tense and loud but ultimately accessible version of post-punk, with big hooks belted out in in a desperate nasal-drone voice. If you’re the right age, this stuff will instantly sweep you back through time, a powerfully pleasant sensation.

The post Radio Free Alice – “Kick In The Shins” appeared first on Stereogum.

Also with Orbit Culture and Frozen Soul

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A multi-generational crowd packed into Washington, D.C. to catch Midwest emo icons American Football. Celebrating the release of their fourth self-titled record, LP4, the night was a masterclass in musical evolution, proving the band is deeply invested in expanding their sonic vocabulary rather than merely coasting on late-'90s nostalgia.

When American Football took the stage, a captivated silence fell over the room. Bathed in deep purple hues, the band spent most of the night playing in near-darkness, allowing a massive backdrop of hypnotic projections to steer the visual narrative. They kicked off the set with LP4 opener “Man Overboard,” instantly establishing a lush, spacey soundscape dense with layered guitars, resonant bass lines, and chiming vibraphones. Frontman Mike Kinsella’s vocals sounded remarkably clear and resonant, carrying an emotional weight that felt raw yet perfectly controlled.

The band’s performance felt less like a traditional rock show and more like a high-level open rehearsal among masters of their craft. While the set heavily favored the explorative textures and polyrhythms of their newest material, they masterfully wove in highlights from across their history, including LP3’s “Uncomfortably Numb” and LP2’s “Home Is Where the Haunt Is.” A particular highlight of the night belonged to drummer Steve Lamos, who repeatedly stepped out from behind his kit to deliver gorgeous, melancholic trumpet leads on tracks like “Stay Home,” illuminated by a single, stark spotlight.

The visual production reached its peak when the screen faded to show the iconic, instantly recognizable facade of the 'American Football house' from their legendary 1999 debut album cover. The room exploded into cheers as the band launched into “Never Meant.” The crowd transformed into a massive choir, passionately shouting every word back to the stage in a collective moment of emotional catharsis.

After closing the night with the great track "Bad Moons", American Football left the stage, having successfully transformed a packed D.C. venue into a deeply intimate, unforgettable experience

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Garry Brents is one of the busiest people in heavy music, writing, recording and issuing a few dozen releases since the Covid pandemic began (and plenty more before that). Brents’ latest ripper comes from Sallow Moth, a progressive death metal duo from Dallas. Their new album, Hydrophilous Brood, is out later this week and it’s one that every progressive, technical and brutal death metal fan needs in their life. 

Coming just a year after Sallow Moth’s last album, Mossbane Lantern, the new album plays with a lot of the same musical and sci-fi ideas but with a more brutality-forward mentality. On Mossbane Lantern, Brents performed every instrument and was very open about his influences from bands like Ackercoke and maudlin of the Well. With Hydrophilous Brood, Sallow Moth zero in on the project’s more technical and heavy influences, citing bands like Wormed, Deeds of Flesh and Cephalic Carnage. 

The album’s most notable change is the addition of drummer Allen Gingerich, who matches Brents’ creative approach to guitar with his own performance. From the time the drums hit on opener “Nebulous Appendages of Vacillant Seafoam,” Gingerich elevates Sallow Mouth to a higher level.

Other album highlights come in the form of the spacy “Arcane Benthic Umbilicus,” the title track, which combines dizzying guitar leads and raging drums, and album closer “Serene Aqueous Leech,” which shows off Sallow Moth’s love for jazz-inspired death metal. 

“Hydrophilous Brood is a thematic sequel to Mossbane Lantern, but sonically extends the project’s signature of evolution (or mutation) into more brutal territory while not staying in a box,” Brents says about the album. “We are super proud of the end result and hope that it will resonate with the fans for a long time to come.”

Sallow Moth will release Hydrophilous Brood on Friday via Willowtip Records but they are streaming the album early tonight at 8:30pm EST via a Bandcamp listening party.

The post Sallow Moth’s New Album, <i> Hydrophilous Brood</i>, Is a Progressive Metal Rager appeared first on Decibel Magazine.

His recording for the theme song, written by Henry Mancini, included a solo improvised in the studio. He also backed Frank Sinatra and Barbra Streisand.

Bad news if you hope to pre-order it though.

The post Minus The Bear’s “Bands Like It When You Yell “Yar!” At Them” Set For Its First Vinyl Release appeared first on Theprp.com.