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  • Interview | “This is rock, and rock is very broad.” – Anna Dobon from Annacrusa

    Lizzie

    After three albums, and since Annacrusa was born in 2018, do you feel that with Perder la fe you have finally found your identity as a band?

    Anna Dobon

    It’s difficult to say that we have already found it, but what we are clear about is that we are a band that grows from album to album, gradually shaping our way of making music in relation to how we shape our learning as musicians. Annacrusa is not looking for a label that confines us to a niche. This is rock, and rock is very broad.

    Lizzie

    Although the album is called Perder la fe (Losing Faith), the message seems to be precisely the opposite: to keep going and not lose faith. Where did that contradiction come from?

    Anna Dobon

    If you look closely, we live surrounded by a population where most people are discouraged, disenchanted and afraid of what the future holds. The truth is that it’s sad to hear people every day saying that “this is shit” without being able to see the beautiful things that surround us in a simple way. We have taken this idea from ordinary people to ourselves as artists. We keep hearing many artists say that everything is dead. We want to bring light, offer a new perspective and make people feel that it is possible to keep going by holding on to what truly matters. Because that is one of the big problems. We give a lot of importance to things that don’t deserve it. Anyway, we must not lose faith.

    Lizzie

    The sea is very present as a symbol throughout the album. When did you realise that it could bring all these songs together and become part of their universe?

    Anna Dobon

    As we were composing, metaphors and feelings emerged that could refer to a difficult journey across a vast ocean full of emotions. It is the common thread that keeps the listener sitting at the helm of their own ship, taking in the time that has passed and preparing for what is yet to come.

    Lizzie

    You talk about a society saturated with information, radicalised and emotionally vulnerable. When you write songs about all this, are you trying to send a message, provoke reflection, or simply express what you yourselves are feeling?

    Anna Dobon

    Everything, and everything is super important. Writing about what we feel or suffer in a way that makes the listener identify with it, that they can make those lyrics their own and discover that they are not alone, is something we love. Who hasn’t identified with the message of “The Show Must Go On”? Lyrics are important in songs, as well as dangerous…

    Lizzie

    “A tus pies” talks about continuing to make music even when there is no material benefit. What is it about music that makes you keep believing in it even when the road isn’t easy?

    Anna Dobon

    Music gives you so many things, so many that you are able to overlook how hard it is to keep going. We have built a great team and that helps us stick together, understand why we do it and who we do it for. Maybe without it we would be dead, hehe! But you can’t deny that it is medicine for the soul.

    Lizzie

    Is there any song on Perder la fe that, after recording it and starting to play it live, has acquired a different meaning for you?

    Anna Dobon

    Well, not for the moment. They have remained faithful to the feeling they had when we left the studio. They are songs designed for live performances, and that may have closed the circle nicely. Some of them can come across as more emphatic live than they did on the recording, such as “Nunca jamás”, for example, but that is a source of emotion.

    Lizzie

    Annacrusa mixes very different influences, from your more metal-oriented foundation to pop elements, piano and synthesizers. How do you find the balance so that all of that sounds like Annacrusa?

    Anna Dobon

    It may come naturally. Each of the musicians here has a different way of approaching the part that corresponds to them. That makes it rich in nuances and varied. We are very clear that we all work for and towards the song, which means we don’t overdo solo sections and we leave space for instruments that can give it a different colour.

    Lizzie

    After Duelo, La Espina and now Perder la fe, what do you think you have learned as a band, and what mistakes would you not make again?

    Anna Dobon

    Good question. The truth is that we wouldn’t really call them mistakes, since each thing belongs to a particular moment and has its own reason. But if we want to get into the process of opening our range to a wider audience, we have learned to cut things down and convey the message more directly. That’s when it comes to composition. Then, in terms of sound, it was positive to make the first two albums in completely different ways, so we could see what we wanted to keep from each one and refine it. Making music is a constant process of learning, and it’s a beautiful thing.

    Lizzie

    You also take great care with the visual and audiovisual side of the project. Does the image come after the songs, or is it part of Annacrusa from the very moment you start creating the music?

    Anna Dobon

    The image and the artwork surrounding the album emerge in parallel with the composition and recording process. Ideas flow, and the closer we get to the end of the process, the clearer the concept of the song or the album itself becomes. We really like having everything nicely wrapped up. Photos, videos, etc… We are lucky to have Anna, who is an illustrator, and Sevi, who is a designer; that speeds up the process. But well, we all have cool ideas that eventually come together.

    Lizzie

    And finally: if someone discovers Perder la fe ten years from now, what would you like them to understand about Annacrusa and about the moment in which you made this album?

    Anna Dobon

    Wow! Well, that would be great. We imagine they would quickly realise that it was made at a delicate moment for society and at a time of transition for musicians. That it wasn’t something taken lightly and that the message is more serious than it might seem. Interesting question.

    Thank you very much for the interview. It’s a pleasure to answer questions that make you think. A hug from the whole band.


    Versión en Español

    Lizzie

    Después de tres discos y desde que nació Annacrusa en 2018, ¿sentís que con Perder la fe habéis encontrado definitivamente vuestra identidad como banda?

    Anna Dobon

    Es difícil decir que ya la hemos encontrado, pero si tenemos claro que somos una banda que crece de disco en disco, vamos perfilando nuestra forma de hacer música en relación a cómo vamos perfilando nuestro aprendizaje como músicos. Annacrusa no busca una etiqueta que le encasille en un nicho. Esto es rock, y el rock y es muy amplio.

    Lizzie

    Aunque el disco se llama Perder la fe, el mensaje parece ser precisamente el contrario: seguir adelante y no perderla. ¿De dónde nació esa contradicción?

    Anna Dobon

    Si te fijas bien vivimos rodeados de una población donde la mayoría está desanimada, desencantada y asustada por su porvenir. La verdad es que es triste escuchar diariamente a la gente decir que “esto es una mierda” sin la capacidad de ver las cosas bonitas que nos rodean de manera simple. Esto lo hemos llevado desde el ciudadano de a pie hasta nosotros mismos como artistas. No paramos de escuchar a muchos artistas decir que todo está muerto. Nosotros queremos dar luz, un nuevo enfoque y hacer sentir a la gente que se puede continuar agarrando a lo que verdaderamente importa. Porque ese es uno de los grande problemas. Le damos mucha importancia a cosas que no la tienen. En fin, no hay que perder la fe.

    Lizzie

    El mar está muy presente como símbolo a lo largo del disco. ¿En qué momento descubristeis que podía unir todas estas canciones y convertirse en parte de su universo?

    Anna Dobon

    A medida que íbamos componiendo surgían metáforas y sentimientos que podían referenciar a un duro viaje en un gran océano lleno de emociones. Es el hilo conductor que mantiene al oyente sentando frente al timón de su propio barco, asimilando el tiempo pasado y preparándose por el que está por venir.

    Lizzie

    Habláis de una sociedad saturada de información, radicalizada y emocionalmente precaria. Cuando escribís canciones sobre todo esto, ¿buscáis lanzar un mensaje, provocar una reflexión o simplemente expresar lo que vosotros mismos sentís?

    Anna Dobon

    Todo, y todo es súper importante. Escribir lo que sentimos o sufrimos de manera que el oyente se sienta identificado, que pueda hacer esa letra suya y que descubra que no está solo no encanta. Quien no se ha sentido identificado con el mensaje de “The Show Must Go On”. La letras son importantes en las canciones, además de peligrosas…

    Lizzie

    “A tus pies” habla de seguir haciendo música aunque no exista un beneficio material. ¿Qué tiene la música para que sigáis apostando por ella incluso cuando el camino no es fácil?

    Anna Dobon

    La música te da muchísimas cosas, tantas que eres capaz de pasar por alto lo duro que es continuar. Hemos formado un gran equipo y eso ayuda a hacer piña, a entender porque lo hacemos y para quien. Igual sin ella estaríamos muertos, jejej! Pero no negarás que es la medicina del alma.

    Lizzie

    ¿Hay alguna canción de Perder la fe que, después de grabarla y empezar a tocarla en directo, haya adquirido para vosotros un significado diferente?

    Anna Dobon

    Pues de momento no, siguen fiel a su sensación desde que salimos del estudio. Son canciones pensadas para el directo y eso puede que haya cerrado bien el círculo. Alguna puede transmitirse algo más efusiva en directo que como quedó en la grabación, como por ejemplo “Nunca jamás” pero es motivo de emoción.

    Lizzie

    Annacrusa mezcla influencias muy distintas, desde vuestra base más metalera hasta elementos pop, piano y sintetizadores. ¿Cómo encontráis el equilibrio para que todo eso suene a Annacrusa?

    Anna Dobon

    Puede que salga de manera natural, cada músico de los que estamos aquí tenemos una manera diferente de enfocar la parte que le corresponde. Eso hace que sea rico en matices y variado. Tenemos muy claro que todos trabajamos por y para la canción, eso hace que no abusemos de momentos de solos y tengamos huecos para instrumentos que den un tinte diferente.

    Lizzie

    Después de Duelo, La Espina y ahora Perder la fe, ¿qué creéis que habéis aprendido como banda y qué errores no volveríais a cometer?

    Anna Dobon

    Buena pregunta. La verdad es que errores como tal no los llamaríamos ya que cada cosa corresponde a un momento y a un porque. Pero si queremos entrar en la rueda de abrir nuestro abanico a más público sí que hemos aprendido a recortar y a transmitir de manera más directa el mensaje. Eso en cuestión de composición, luego a la hora de sonido ha sido positivo hacer los dos primeros discos de manera totalmente diferente para saber con qué cosa de cada uno nos quedamos y lo pulimos. Esto de hacer música es un no para de aprender, es muy bonito.

    Lizzie

    Cuidáis mucho también la parte visual y audiovisual del proyecto. ¿La imagen nace después de las canciones o forma parte de Annacrusa desde el mismo momento en que empezáis a crear la música?

    Anna Dobon

    La imagen y el arte que rodea al disco va surgiendo paralelamente al trabajo de composición y grabación. Las ideas van fluyendo y a medida que más nos acercamos al final del proceso más claro tenemos el concepto de la canción o del disco en sí. Nos gusta mucho que todo que bien envuelto. Fotos, videos, etc… Tenemos la suerte de contar con Anna que es ilustradora y Sevi que es diseñador, eso acelera el proceso. Pero bueno todos tenemos ideas chulas que al final se ponen de acuerdo.

    Lizzie

    Y para terminar: si dentro de diez años alguien descubre Perder la fe, ¿qué os gustaría que entendiera sobre Annacrusa y sobre el momento en el que hicisteis este disco?

    Anna Dobon

    Buah! Pues eso es genial. Imaginamos que detectará rápidamente que se realizó en un momento delicado para la sociedad y en un momento de transición para los músicos. Que no es algo tomado a broma y que el mensaje es más serio de lo que parece. Interesante pregunta.
    Muchas gracias por la entrevista, es un placer contestar cosas que te hacen pensar. Un abrazo de toda la banda.

    The post Interview | “This is rock, and rock is very broad.” – Anna Dobon from Annacrusa first appeared on FemMetal – Goddesses of Metal.

  • San Diego Comic-Con Málaga 2026: International Stars, Comic Creators, Anime Legends and Cosplay Icons Come to Málaga

    The major pop culture event will return to FYCMA Málaga for four days, welcoming international guests associated with franchises such as The Lord of the Rings, The Boys, Guardians of the Galaxy, Daredevil, One Piece, My Name Is Earl, Stargate SG-1, Star Wars, Dragon Ball, Cowboy Bebop and Silent Hill.

    Málaga will once again become one of the world’s major hubs for pop culture. The second edition of San Diego Comic-Con Málaga will take place from October 1 to 4, 2026, at FYCMA, bringing together leading stars from film, television, comics, animation, manga, video games, tabletop gaming, cosplay and the wider entertainment industry over four days. The 2026 edition will feature more than 60 international guests and more than 300 hours of content, with hundreds of activities covering virtually every corner of contemporary pop culture.

    The announced lineup features an impressive roster of international guests, led by such renowned names as Karl Urban, Elijah Wood, Sean Astin, Paul Bettany, Deborah Ann Woll, Richard Dean Anderson, Jason Lee and Michael Rooker, among many other actors and creators.

    One of the biggest attractions of this edition will be the appearance of Karl Urban, one of the most popular actors currently working in film and television. Urban is known worldwide for playing Billy Butcher in The Boys, as well as for his role as Éomer in The Lord of the Rings and Dr. Leonard McCoy in Star Trek. His career also includes titles such as Dredd. Urban will be joined by Aya Cash, known for playing Stormfront in The Boys. The pair will take part in a special panel about antiheroes on Thursday, October 1.

    The event will also feature two essential names for The Lord of the Rings fans: Elijah Wood and Sean Astin. Wood made cinematic history as Frodo Baggins, the protagonist of the celebrated trilogy based on the works of J. R. R. Tolkien. Joining him will be Sean Astin, unforgettable for his portrayal of Samwise Gamgee, one of the most beloved characters in Middle-earth. Astin’s career also includes iconic films such as The Goonies, as well as highly popular productions and television series such as Stranger Things. Wood and Astin will appear together on Sunday, October 4, for a special The Lord of the Rings conversation titled “From the Shire to Málaga”.

    The Marvel universe will also have a strong presence at San Diego Comic-Con Málaga thanks to Paul Bettany and Michael Rooker. Bettany is internationally known for playing Vision in the Marvel Cinematic Universe and will be part of the Disney programming on Saturday, October 3, including the presentation of VisionQuest. Michael Rooker left an indelible mark on fans of Marvel as Yondu Udonta in Guardians of the Galaxy. Rooker will also appear alongside Kevin Smith and Jason Lee in a special Mallrats reunion. They will be joined by Deborah Ann Woll, one of the actresses best known among Marvel fans for her role as Karen Page in Daredevil. Woll is also known for her performance as Jessica Hamby in the popular series True Blood, and she will additionally participate in a tabletop role-playing panel alongside Dungeons & Dragons designer Jeremy Crawford.

    Another major name on the lineup is Jason Lee, star of the hit series My Name Is Earl, in which he played the unforgettable Earl Hickey. His film career also includes titles such as Almost Famous and several collaborations with director and actor Kevin Smith, who will also attend the convention.

    Science-fiction fans will have a special appointment with Richard Dean Anderson, internationally known for his leading role in MacGyver and for playing Colonel Jack O’Neill in the successful Stargate SG-1 television franchise. His presence makes the Málaga edition an exceptional opportunity for fans of some of the most iconic television series in international television history.

    The hugely popular One Piece will be represented by Iñaki Godoy, who plays Monkey D. Luffy in the Netflix series, and Taz Skylar, who portrays Sanji. Director Lukas Ettlin will also participate in the One Piece programming, and the trio will appear on Friday, October 2, for a panel looking at the series and its journey along the Grand Line.

    The convention will also welcome Natasha Liu Bordizzo, known for playing Sabine Wren in Ahsoka, as well as actors including Dan Fogler, Manu Bennett, Kristian Nairn, Kevin Sussman, Christopher Lambert, Mira Sorvino and Denise Gough. Science-fiction fans will have another major reunion with the cast of Starship Troopers. Casper Van Dien, Denise Richards, Dina Meyer, Michael Ironside and Jake Busey will appear together on Sunday, October 4, bringing together several of the stars of Paul Verhoeven’s cult 1997 science-fiction film.

    San Diego Comic-Con Málaga will also celebrate the legacy of one of Spain’s most popular television series with a major Los Serrano reunion. Antonio Resines, Fran Perea, Natalia Sánchez, Antonio Molero, Víctor Elías and Jorge Jurado will take part in the convention, bringing together several of the principal cast members of the series. The reunion will offer fans the opportunity to revisit one of the defining Spanish television phenomena of the 2000s.

    Voice acting will have a particularly strong presence at the 2026 convention. John DiMaggio, one of the most recognizable American voice actors, will attend the event and is internationally famous for voicing Bender in Futurama, Jake in Adventure Time and numerous other animated characters. The Spanish dubbing industry will be represented by major professionals including Miguel Ángel Jenner, Claudio Serrano and Mar Bordallo, among others, with the special Show Doblajil bringing together eight prominent voices from the Spanish dubbing world. Another particularly notable guest is Charles Martinet, the legendary voice associated with Mario in Nintendo’s Super Mario franchise. The animation program will also feature productions and professionals from the world of animated entertainment, including programming around Sony Animation’s Messi and the Giants.

    Comic-book fans will have an exceptionally strong lineup to explore throughout Artists’ Alley and the convention’s panels. Among the biggest names are legendary Marvel and DC creators such as John Romita Jr., Pepe Larraz, Jorge Jiménez, Rick Leonardi, Giuseppe Camuncoli, Stefano Caselli, David Messina, Iban Coello, Jorge Fornés, Carmen Carnero, Natacha Bustos, Álvaro Martínez Bueno and Dan Mora. Romita Jr., one of the most influential modern Marvel artists, will take part in the panel “Spider-Man, the Icon of Marvel” on Saturday, October 3, alongside Rick Leonardi, Giuseppe Camuncoli and Pepe Larraz, examining the evolution of the character across different generations of Marvel comics. Pepe Larraz, whose work includes major Marvel and Star Wars projects, will also join Kenny Ruiz for a special Star Wars drawing session titled “Drawing a Galaxy Far, Far Away…” on Friday, October 2. DC fans will have the opportunity to meet creators including Jorge Jiménez and Álvaro Martínez Bueno, while the wider comic program will feature a broad range of international and Spanish creators. Other internationally recognized names associated with the convention include Michael Golden, Glenn Fabry, Michael Walsh, Arthur Suydam, Rodney Ramos, Pat Mills, Chris Condon, Phillip Kennedy Johnson, El Torres, Jesús Merino and Salva Espín.

    Spanish and European comics will have a particularly prominent role at this year’s event. Juanjo Guarnido, creator of the internationally acclaimed Blacksad, will be among the featured artists and will be joined by Jordi Lafebre and Miguelanxo Prado for the panel “The Spanish Footprint in European Comics” on Saturday, October 3. The event will also feature Kenny Ruiz, Laia López and Judit Mallol, representing different generations and styles within contemporary Spanish illustration and comics. The romance and fantasy side of illustration will be represented by López and Mallol in a dedicated panel on Sunday, October 4. The convention’s latest announcements have also added artists such as Dani Sampere and Bruno Redondo, who will be present throughout the four-day event.

    Japanese manga and anime will be another major pillar of the 2026 edition. Yoichi Takahashi, creator of Captain Tsubasa—known in Spain through the Oliver y Benji phenomenon—will be one of the most recognizable manga guests and will hold a live drawing session on Friday, October 2. The convention will also welcome Shinichirō Watanabe, the legendary director behind Cowboy Bebop, who will participate in a special panel looking back at the history of the influential anime series. Yoshihiro Ueda, whose career includes major anime productions associated with franchises such as Dragon Ball and One Piece, will also appear at the convention. Additional Japanese creators will include Macchiro and Subaru, who will make their first European appearance to discuss BIBLIOMANIA on Sunday, October 4.

    John Romero, one of the most influential designers in the history of video games and a key figure behind DOOM, will attend the convention. He will be joined by Dave Jones, one of the creators behind the original Grand Theft Auto, who will appear on Sunday, October 4, as interest in the Grand Theft Auto franchise continues to reach new heights. Akira Yamaoka, the legendary composer associated with the Silent Hill series, will bring the world of video-game music to Málaga, appearing alongside Animo in dedicated musical programming on Thursday and Friday. The gaming program will also include Mikecrack, one of Spain’s most popular YouTube creators, who will discuss his career on Saturday, October 3.

    The convention will expand beyond video games to include tabletop gaming, role-playing and miniature painting. Jeremy Crawford, one of the best-known designers associated with Dungeons & Dragons, will join Deborah Ann Woll for a conversation about their shared passion for role-playing games. Miniature painting will be represented by Ángel Giráldez, José Davinci and Davidarroba, who will discuss how to bring miniature heroes to life with colour. The tabletop program will also feature Reiner Knizia, one of the world’s most prolific and respected board-game designers, alongside Pablo Clark.

    The BBVA Cosplay Contest will take place on Saturday, October 3, with Kamui Cosplay, Ayuru, Sabaku Cosplay and Like Linda serving as members of the international jury. The contest will showcase costume craftsmanship, character interpretation and live stage performance, further establishing cosplay as one of the central creative disciplines of the convention.

    The post San Diego Comic-Con Málaga 2026: International Stars, Comic Creators, Anime Legends and Cosplay Icons Come to Málaga first appeared on FemMetal – Goddesses of Metal.

  • “As Lonely as a Blue, Blue Star” — F You, Tammy! Celebrate 40 Years of David Lynch’s “Blue Velvet” With an Unsettling Noir Video

    Blue velvet
    But in my heart there’ll always be
    Shadows fall so blue
    as lonely as a blue, blue star 

    Forty years after David Lynch’s Blue Velvet entered American theatres and permanently changed the emotional temperature of a certain shade of blue, New York’s Fuck You, Tammy! have returned to the song at the center of David Lynch’s film and stripped it to piano, voice, and a small amount of psychological unease. The group, which calls itself “The Band From Another Place,” has spent nearly a decade interpreting music from Twin Peaks and the wider Lynch universe, yet Blue Velvet/Blue Star feels less like repertory than an invitation to sit uncomfortably close.

    Lead singer Devery Doleman and keyboardist Bill Ferullo leave enormous amounts of room around each other. Ferullo’s piano has the polished gravity of an empty hotel ballroom, while Doleman sings with the poise of someone maintaining composure under circumstances that may soon make composure impossible. The simplicity sharpens every hesitation and breath, giving Bobby Vinton’s old standard a private, almost ceremonial quality without burying its sweetness.

    “Our version of Blue Velvet/Blue Star is only piano and voice – we kept it intimate and haunting, to have you feel like you were in a room with only a grand piano, voice, and your own longing,” they say.

    Director ioiulex follows the song down its own peculiar rabbit hole, placing Doleman and Ferullo inside a black-and-white nightclub that seems caught between cabaret and footage recovered from a forgotten studio vault. The image drifts in and out of focus as exposures flare, figures double across the frame, and the performers gradually lose their apparent command of their own bodies. What begins with the formal elegance of an old MGM audition slowly takes on the logic of a troubling dream, with sound and image slipping out of alignment as hands begin to itch, gestures repeat at odd intervals, and bodies bend backward into poses that turn the song’s romantic reverie into something strange and faintly dangerous.

    “The video…is an example of an archetypically Lynchian switch, where an innocent, lyrical interpretation of a standard becomes dangerous and unsettling. For the video we landed Bill and Devery in a nightclub scene within Isabella Rossellini and Angelo Badalamenti’s shoes. We filmed them in a film noir black and white, sometimes in high contrast, sometimes with a scratched lost footage quality, doubling over, in and out of focus, under and over exposed.”

    Watch below:

    Fuck You, Tammy! began in 2017, when Doleman, bassist and vocalist Julie Rozansky, and drummer Nate Smith assembled musicians for a Halloween performance of Julee Cruise and Angelo Badalamenti material while Twin Peaks: The Return was airing. What began as an occasion became a working band, eventually adding Ferullo, guitarist and vocalist Blaise Dahl, and saxophonist and guitarist Anthony Cekay.

    Their description of themselves as something resembling “Grace Zabriskie fronting Roxy Music” remains wonderfully suggestive. Across dream-pop, post-punk, art rock, and Lynchian pop archaeology, these songs survive because beauty and menace can occupy the same room without resolving their differences. With an album of covers and originals planned for 2027, Blue Velvet/ Blue Star finds them standing confidently inside that uneasy room, listening closely as the walls begin to move.

    Listen to Blue Velvet/Blue Star below and order the track here.

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    The post “As Lonely as a Blue, Blue Star” — F You, Tammy! Celebrate 40 Years of David Lynch’s “Blue Velvet” With an Unsettling Noir Video appeared first on Post-Punk.com.

  • Free from Concern Gives Everyday Dread a Deathrock Edge in “Anxious Existence”

    Free from Concern come out of Hollywood carrying post-punk around like something they found behind a liquor store at three in the morning. Since forming in 2022 around vocalist Joshua Byler and guitarist Jorge Santacruz, the group have treated punk less as a family tree than a convenient place to start an argument. Anxious Existence, out today, finds that argument turning inward, where disgust with contemporary life begins making strange alliances with whatever gets a person through another day.

    The song’s bass and drums establish a bleak, repetitive momentum while the guitars scrape across the arrangement with enough deathrock abrasion to suggest somebody has been sharpening them against concrete. Byler sings with the detached hostility of a man who has already heard every comforting explanation available and found most of them ridiculous. His droning delivery hangs heavily over the track, giving the words the quality of thoughts repeated so often that they have become permanent fixtures in the skull.

    There are recognizable coordinates here: the severe economy of Institute, Ceremony’s willingness to strip punk down to raw nerve and repetition, and some of Protomartyr’s sour-eyed observation. Free from Concern have also spent enough time in actual rooms with aggressive bands to understand that posture alone will get you nowhere. Their recent bills have included Spiritual Cramp and NIIS, encounters that make sense when hearing how naturally this group balances post-punk restraint with the threat of hardcore violence.

    The subject of Anxious Existence is dependence, though Free from Concern approaches it from an angle far less tidy than the usual sermon about self-destruction.

    “It’s a romanticization of the relationships we develop with our coping mechanisms.,” says the band.

    That idea runs through the track like an infection. Coping mechanisms become companions, private religions, bad lovers, reliable enemies; eventually the distinction between relief and imprisonment gets difficult to locate. Byler sounds aware of the bargain and unwilling to pretend that awareness automatically provides an exit. The guitars keep grinding forward, the rhythm section maintains its cold discipline, and Byler sounds increasingly settled into his disgust.

    Listen to Anxious Existence below and order the single here.

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    The post Free from Concern Gives Everyday Dread a Deathrock Edge in “Anxious Existence” appeared first on Post-Punk.com.

  • CORROSION OF CONFORMITY Guitarist PEPPER KEENAN Says He’s “Pulling Out All The Stops” While Working On First-Ever Solo Album

    On the latest episode of We Wreck Records, the music podcast hosted by Christina Rowatt of New Noise magazine (transcribed by Blabbermouth), Pepper Keenan (Down, Corrosion of Conformity) confirmed that he is working on his first-ever solo album. “Oh, man, I’m pulling out all the stops on this sucker,” he said.

    Regarding how the idea came about, Keenan said: “I have a sh*tload of songs I’ve been saving. A lot of them I was keeping, and I was, like, ‘Well, I’ll just save this till I get older.’ ‘Cause they were very like stare-too-long type of songs. I don’t know if you know what that is. Those types of things. I was, like, ‘Ah, I’ll just save them till I get older.’ And I was, like, ‘F**k, I’m old.’

    “But it’s in the back of my brain. I’m starting to slowly organize stuff, so when I have some downtime, I can start saying, ‘I want this guy to play guitar on this one.’ ‘I need this drummer to help on this one.’”

    Keenan joined Corrosion of Conformity in 1990 and became the band’s lead singer with the recording of Deliverance (1994). He has since appeared on seven Corrosion of Conformity studio albums as well as three full-lengths and two EPs with Down. Corrosion of Conformity’s most recent double album, Good God / Baad Man, was released in April via Nuclear Blast, recorded with producer Warren Riker (Fugees, Down, Cathedral).

    Down — which also features vocalist Philip H. Anselmo (Pantera), guitarist Kirk Windstein (Crowbar), drummer Jimmy Bower (Eyehategod) and bassist Pat Bruders — will release a new studio album, Volume V, in November.

    The post CORROSION OF CONFORMITY Guitarist PEPPER KEENAN Says He’s “Pulling Out All The Stops” While Working On First-Ever Solo Album appeared first on Sonic Perspectives.

  • THOMAS MILLER’S LAZARUS EFFECT: Former Symphony X Bassist’s New Project Drops “Closer To The Sun” Single – Intense Debut Album Nears October 30th Release On Sensory Records

    photos by Danny Sanchez

    Stream THOMAS MILLER’S LAZARUS EFFECT’s “Closer To The Sun” HERE.

    As THOMAS MILLER’S LAZARUS EFFECT, the new venture from former founding Symphony X bassist Thomas Miller, prepares to release its eponymous debut through Sensory Records in October, the label presents the album’s second single, “Closer To The Sun.”

    Thomas Miller started his music career in central New Jersey and played in numerous cover and original bands influenced by progressive bands from the 1970s and 1980s. In 1986, he met Michael Romeo, a local progressive and classically influenced guitarist, with whom he then recorded and played in several bands. In 1994, they formed Symphony X and recruited the rest of the band members to complete the lineup and sign with Japanese record label, Zero Records.

    After international critical acclaim for their albums Symphony X, Damnation Game, The Divine Wings Of Tragedy, Twilight In Olympus, and A Prelude To The New Millenium, they did various tour dates in Japan, Europe, and NYC. Shortly afterwards, due to personal issues, Thomas stepped away from the band.

    Continually writing and recording on various projects and honing his writing skills, Miller collaborated on a recording project with vocalist Hollywood How Portney in 2017, and after interactions with fans over the years and realizing his chemistry with How, he decided to start writing for a new project, which would become THOMAS MILLER’S LAZARUS EFFECT.

    Two former Symphony X bandmates, guitarist Michael Romeo and keyboardist Michael Pinnella, would also lend their talents to the project, and Eric Rachel – producer of Symphony X’s first six albums as well as Black Sabbath, The Black Dahlia Murder and countless others, was enlisted to mix and master the album, which is completed with art and design by Rodrigo Gudiña.

    The result is an epic, forty-nine-minute progressive metal opus, inspired by majestic themes and various musical overtones. Fans of Symphony X, Dream Theater, Circus Maximus, Redemption, Kamelot, and other grand progressive metal acts should immediately check out THOMAS MILLER’S LAZARUS EFFECT.

    Miller delves, “‘Closer To The Sun’ takes a more progressive direction than the first single, ‘When Darkness Falls.’ This song represents the combination of mythological lyrics, middle eastern tonalities and aggressive guitar and bass rhythms. I also liked the idea of acoustic guitar and violin to add another layer to the musical atmosphere, setting the story line as a buildup to the main rhythmic themes.”

    THOMAS MILLER’S LAZARUS EFFECT’s “Closer To The Sun” is now playing on Bandcamp HERE and YouTube HERE.

    Sensory Records will release Thomas Miller’s Lazarus Effect on CD, LP, and digital platforms on October 30th. Preorders are live at the label webstore HERE and on Bandcamp, the standard audio HERE and the 24-bit hi-res HERE.

    Stand by a new video and more on the album to drop over the coming weeks.

    https://www.instagram.com/lazaruseffectofficial

    Source: EARSPLIT PR

  • “Feel All Your Frequencies” — Primitive Heart Revisits a Love That Unravels Time in Video for “Slingshot”

    Feel all your frequencies
    I want to crawl into you
    Take time with my fantasies
    I want to be there with you

    Memory is a curious ghost, because what it haunts is not merely the past, but the self we became in another person’s presence. We say we miss them, yet often we mourn the particular music they drew from us: the laughter, courage, tenderness, or strangeness that seemed effortless beside them. But memory, when clung to, begins to melt time itself. Like Dalí’s clocks, the hours lose their shape, and yesterday spills into today until remembrance becomes obsession, even madness. We mistake the echo for a living voice. Yet what we were with them was never theirs alone. It remains within us, waiting to be heard again.

    Primitive Heart’s Slingshot begins from a tender idea: the charge of another person who loosens the bolts on your personality and brings some reckless, ecstatic version of you to the surface. Dani Mari sings with a languid directness, her airy voice gliding across atmospheric synthesizers while the spacious arrangement leaves every phrase exposed. There is a dream-pop softness here alongside restrained synth-pop and darker, filmic textures that should feel familiar to listeners of Chromatics, Chrystabell, Still Corners, and Drab Majesty.

    Beneath that elegant surface, however, desire has the safety catch off: somebody crashes into your life, scrambles the furniture in your head, and suddenly touch, fantasy, danger, and devotion all share the same address. The song is about the bittersweet yearning for complete proximity, body and mind, surrendering to the kind of attraction that makes ordinary inhibitions seem briefly irrelevant and love begin to resemble a beautiful, temporary insanity.

    Beneath the heady romance sits an even darker question: what happens when the beloved one disappears, but the version of yourself they awakened remains lodged in memory?

    Director Alice Teeple takes that question into psychological territory. In the clip, Dani Mari moves through the picturesque Catskills and an abandoned former mental institution, while Matthew Deegan, who also styled the video, appears as an androgynous, mischievous presence beyond reach. Their connection is expressed through distance as much as movement. They wander, dance, cross paths, and seem to occupy different realities, as though memory has placed them inside the same room without granting them the same moment.

    The slow motion gives Slingshot the quality of a recollection stretched beyond its natural dimensions. A creek, a corridor, a broken window, a wall covered in graffiti: each location begins to feel less like a fixed place than part of a mind trying to preserve an experience after its emotional context has vanished. Dani’s composure gives the images an unnerving calm, while Deegan’s playful movements introduce instability around the edges.

    There are traces of David Lynch and Maya Deren in the way identity and space become unreliable, along with touches of The Twilight Zone and Kafka. The chorus, I wanna get crazy with you, becomes a plea directed toward memory itself. She misses another person, but she also seems to miss the freer, stranger self that existed in their company.

    “The abandoned asylum immediately came to mind as the right setting, placing her alone in this desolate world, cut off from that energy, yet still possessed of an unnerving sense of peace,” says Teeple. “Matthew was the perfect choice to introduce this kind of playful androgynous chaos, and this presence plays beautifully against Dani’s stoicism.”

    Deegan was brought in for their experience as a costume designer working across ballet, opera, theatre, and music. Their approach blends the ornate with the unsettling, drawing from Victorian and Edwardian silhouettes, Japanese fashion, and the codes of queer fetish culture. That sensibility becomes essential to the video’s visual language. Their clothing gives the Puckish figure the appearance of someone who might belong to another century, another fantasy, or another version of Dani’s own consciousness. The styling on both characters never settles neatly into a single period, which makes Deegan feel less like an ordinary companion than a memory being reconstructed according to emotion.

    By the closing moments, Slingshot feels suspended between desire and fixation, with Dani moving through spaces where love, recollection, and madness have begun to share the same architecture.

    Watch Slingshot, out now via GrindEthos, below:

    Primitive Heart’s sophomore album, Colours, was co-produced by Rosana Cabán (Psychic Twin), with remixes by Jorja Chalmers and Chasms. Across the record, Dani Mari places her airy voice against restrained electronics and emotionally precise songwriting.

    Pre-save Slingshot on your choice of streaming service here.

    Follow Primitive Heart:

     

    Photo: Alice Teeple
    Photo: Alice Teeple
    Photo: Alice Teeple

    The post “Feel All Your Frequencies” — Primitive Heart Revisits a Love That Unravels Time in Video for “Slingshot” appeared first on Post-Punk.com.

  • Danish Post-Punk Artist In Atlas Gives the Devil on Her Shoulder a Say in “Tears, Poison, Desire”

    There’s a kind of idiotic joy in doing the thing you know might end with blood on your shirt, a phone call at 3 a.m., or somebody asking what in God’s name you were thinking. Maybe that’s the point. Responsibility has its virtues, sure, but it has lousy rhythm. Danger gives stupidity a backbeat. You leap, you laugh, you watch the floor come up fast, and afterward you stand there amid the wreckage with a shrug that says maybe it was worth it, maybe it wasn’t, and maybe asking the question ruins half the fun anyway. Consequences are tomorrow’s problem.

    Bad decisions have always needed better music.

    Nobody ever ruined their life because the bassline was too sensible, and Copenhagen-born artist In Atlas seems to understand that civilization periodically requires somebody to hand the evening over to the little red bastard sitting on your shoulder. Tears, Poison, Desire, the first single from her forthcoming Hyperreal LP, out November 5 through Detriti Records, concerns that exquisite stretch of time when every warning sign has become decorative.

    You can hear Lizzy Mercier Descloux in its crooked dance-floor instincts, Lene Lovich and Suburban Lawns in its elastic theatricality, and a buzzing chaos reminiscent of Tuxedomoon, DAF, and Frustration, lurking around the song’s machinery. The beat keeps things moving while the voice plays around its edges, cool one second, knowingly absurd the next. Dark disco becomes less a genre designation than an excuse to behave badly under flattering dancefloor lights.

    And why shouldn’t it? Half the supposed wisdom of adulthood consists of learning exactly which pleasures you’re expected to decline, usually because somebody older already enjoyed them first and left you the cleanup bill.

    “Let’s say its about coming apart in the desire for some sort of liberation, or maybe its about having fun, or maybe about having a kind of fun you don’t really want to have, being spurred on by that little red guy on your shoulder,” says the artist. “Playing with fire, then playing with the embers, then playing with gasoline.”

    Now that is a philosophy worth dancing to.

    The important word may be “gasoline,” because fire is charming enough when it belongs to candles and cigarettes; eventually somebody discovers what happens when you pour something stupid onto it. Desire works similarly. So does freedom. Push either far enough and you may find yourself staring at the remains the next morning, unable to decide whether you have learned anything or merely acquired a better story.

    Listen to Tears, Poison, Desire below, or via streaming here.

    That ambivalence runs through the upcoming Hyperreal, an album concerned with escapism and private worlds meeting an uncooperative reality. In Atlas, also one half of Greek/Danish duo V.V.I.A. alongside Venus Volcanism, seems drawn to the ecstatic and ridiculous point where pleasure starts growing teeth.

    Perhaps consequences deserve respect. They are very punctual. But while Tears, Poison, Desire is blaring, tomorrow can stand outside and knock.

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    The post Danish Post-Punk Artist In Atlas Gives the Devil on Her Shoulder a Say in “Tears, Poison, Desire” appeared first on Post-Punk.com.