Blacken Open Air has declared its intent to return in May of 2027.
Australia’s most remote and unique boutique festival has called out to fans and supporters through Instagram for suggestions on the next event.
The call comes a little over the organisers’ announcement in late March that the future of the festival’s HQ, an entertainment venue, record label and youth safe space called The Black Wreath, is in doubt.
The Black Wreath’s statement, posted on socials, explained that the building has been listed for sale, with rewards-based crowd funding and a tax-deductible fundraiser being organised to save the operation. The post ended with the hope that victory would be celebrated at Blacken Open Air next year.
Blacken Open Air began in 2013 as a festival called Blacken the Earth at Alice Springs RSL, with King Parrot headlining a mostly-local line-up. In the years since, the festival has expanded to a three-day outdoor event featuring a carefully-curated collection of national, international and Territorian metal, punk and rock acts that have included Amyl and the Sniffers, Revocation, Frenzal Rhomb, Earthless, Psycroptic, Cosmic Psychos, Blood Duster and more. The Black Wreath has served as the event’s organiser as well as a label and distro service for Territorian artists such as Southeast Desert Metal, Snakes, Miazma and Jeremy Whiskey.
1977 seemed to be a strange year for NEKTAR, who had parted with one of the ensemble’s founders, singing guitarist Roye Albrighton, and had, for the first time ever, to deliver a record with a line-up different to the one … Continue reading →
Steady for your arms embrace But it’s Sunday gloomy Sunday
America likes to call itself civilized while selling the machinery of ruin with a glossy, toothy smile. We bless ourselves in daylight, then bomb strangers by night, and act wounded when the smoke blows back under our own door. We speak of freedom the way a womanizer (or televangelist) speaks of fidelity: loudly, tearfully, and with lipstick staining the collar. Our children learn that killing is wicked unless the flag is draped over it and the bookkeeping is tidy. That is the old swindle: grief exported, conscience contracted out, and every corpse abroad explained as an unfortunate necessity in the upkeep of our spotless self-regard.
Johnny Dynamite has a gift for slipping bad news into your bloodstream beneath something sweet enough to slow-dance to, and Sunday Gloomy Sunday does exactly that. Its soft-focus doo-wop lilt feels borrowed from a sock-hop in some cleaner, simpler America that likely never existed anywhere but in reruns of Hazel and jukebox mythology. Listen a little closer, though, and the song begins to split at the seams, letting dread and disgust bleed through. Yet, as with Pandora’s Box, one bruised scrap of hope remains: the possibility that people might still choose decency over barbarism.
The arrangement is a sly piece of business. Drum machines keep the heart ticking with cool precision while those 80s guitar lines cut across the song. The synths glow with a gauzy, retro radiance that might almost make you forget the heaviness the song is carrying, until that saxophone steps in and tears a ragged hole for us to stare straight at American hypocrisy. We’re weary of the mental gymnastics that make suffering acceptable so long as it comes stamped with official language, televised solemnity, and the proper flag in the background. Dynamite circles the psychic torment of living in an age where every fresh outrage reaches your pocket in seconds, where every citizen is drafted into a permanent parade of witness, and where helplessness can start to feel like the chief civic duty. Sunday Gloomy Sunday knows how rotten things are, but also keeps one eye on the possibility that people, against all evidence and habit, may still decide to be better than the systems built in their name.
The video for “Sunday Gloomy Sunday” follows Johnny Dynamite through a bruised cityscape of back alleys, viaducts, chain-link lots, stop signs, puddled curbs, and cold riverbanks, letting the song’s unease gather in plain sight. Shot in soft, slightly smeared daylight and bruised blue shadow, it finds him wandering beneath iron beams and past brick corridors as though moving through the afterimage of a country that has misplaced its soul. Those solitary street scenes are cut with nocturnal footage of a saxophonist, Claire Wardlaw, by the water, her figure half-swallowed by darkness as lights tremble across the surface behind her, giving the song’s ache a second body. Together, the images make a fitting counterpoint to the track’s bittersweet spell: part urban reverie, part moral hangover, and part lonely vigil for whatever shred of grace might still be left flickering at the edge of the wreckage.
Watch the video for “Sunday Gloomy Sunday” below:
Listen to Sunday Gloomy Sunday below and order the single here.
Something shifts beneath the surface—Ghost Fetish’s “Fate ” pulls you into a space where tension and emotion collide. “Fate” resonates with a sound that pulls from the rich tapestry of the ’80s. The influence of Depeche Mode lingers in the air, along with echoes of The Cure.
Dynamics in “Fate” flow like tides under a full moon. Intensity rises and falls, keeping listeners on edge. Each chorus crashes like waves against jagged rocks, while verses pull you under, mesmerizing and unsettling simultaneously. The arrangement fosters a tension that is both inviting and foreboding. It’s the kind of track that propels the body into motion, demanding attendance on the dance floor.
Production values shine with a polished yet raw aesthetic. David Kelly’s touch adds a vintage quality, reminiscent of iconic studios from the past. Synths sparkle while the bass thrums, holding firm in the underground ambience. The reverb on the snare echoes through the darkened alleyways of the mind, recreating that signature eighties feel. It’s a brilliant balancing act, avoiding excess while maximizing impact.
Fate by Ghost Fetish – Sound and Atmosphere
As you reach the final moments of “Fate,” the urgency never fades. Listeners find themselves drawn into a world of grit and glamour. The track leaves you craving more, eager to relive the experience. Images of industrial Berlin dance in the imagination, as shadows dip and sway in time with the music. Ghost Fetish crafts an anthem for the lost souls and lovers wandering through the rain-soaked streets.
Ghost Fetish’s “Fate” is an experience. It boldly takes you on a journey through time and emotion. This release finds its place beside legends while carving out its own identity. It’s a revelation, a siren call leading you to dark corners of the dance floor. This is a band that knows its vision, and it demands your attention.
Inherited Time released “Mount of Empty Hopes,” the second single from their upcoming debut album. The track follows a character’s struggle between life and death in a comatose dream, climbing a mountain toward a light of salvation. Musically, it pits aggressive riffs and extreme growls against operatic vocals and symphonic layers.
The Finnish outfit plays modern symphonic metal with a sci-fi atmosphere. Their sound blends traditional melodic metal with power metal elements, featuring majestic orchestral melodies and a vocal range that shifts between clean singing and intense growls. The band features Alesia Savolainen on vocals, Jani Härkönen on bass, Tero Rannila on drums, Olli Pölkki on keyboards, and Ville Pölkki on guitars.
Sweden’s leading recycling initiative Pantamera proudly announces Finnish hard rock legends LORDI as the official spokesband for its 2026 national recycling campaign. Launching on April 2, 2026, the campaign arrives alongside a brand-new LORDI single and video titled “Pantamera (PAN-TAH-MEH-RAH!)”.
Famous for their monster personas, theatrical stagecraft, and Eurovision-winning legacy, LORDI now turn their attention to sustainability, bringing their signature shock rock energy to one of Sweden’s most impactful environmental initiatives.
At the heart of the campaign is LORDI’s unique interpretation of the classic song “Guantanamera”, reimagined in their signature hard rock style. As with every Pantamera campaign, the chosen artist reshapes the familiar melody into their own sonic identity; this time transformed into a powerful, riff-driven anthem designed to resonate with rock audiences.
[Photo Credit: Sascha Beetz]
The band’s creative vision draws a striking parallel between horror and sustainability. As Mr. Lordi explains:
“The LORDI version of Pantamera is exploring the similarities between recycling and horror genre in general. For example, Frankenstein’s monster and Zombies are recycled flesh and bones.”
Beyond the stage, LORDI have long demonstrated a commitment to environmental and ethical causes. The band are supporters of PETA and have previously participated in a vegan fashion photoshoot for Vogue, promoting cruelty-free and sustainable materials. Their involvement in Pantamera reflects a natural extension of these values: respect for the planet and awareness of the challenges it faces.
Describing the band’s relentless creative output and packed schedule, one phrase fits perfectly: monsters never rest. Between new music, major live appearances, and now a nationwide environmental campaign, LORDI continue to prove that their momentum is unstoppable.
Alongside the Pantamera campaign, LORDI are gearing up for two special moments on stage:
Some 80s synthpop records do more than withstand their era; they remain a vital part of club culture long after their debut. Forty years after its release,Book of Love’s self-titled album is returning in a special anniversary edition. With the band’s songs still spun by DJs worldwide, and the album’s breakthrough single “Boy” finding fresh attention after its appearance in the 2025 film Companion, the timing feels especially apt.
Rhino Records will release the remastered 40th Anniversary edition of Book of Love’s self-titled debut on June 26 as a clear-vinyl pressing, marking the first official vinyl reissue of the album since its original release. The set will include refreshed artwork created with original art director Nick Egan, a four-page insert featuring outtakes from Michael Halsband’s original photo session, and new liner notes by music historian Kurt B. Reighley.
Originally issued on April 1, 1986, Book of Love introduced the New York synth-pop quartet’s mix of drum-machine propulsion, crystalline hooks, and emotionally charged songwriting with tracks including “Boy,” “I Touch Roses,” and “You Make Me Feel So Good.” The band’s trajectory changed after a demo reached DJ and producer Ivan Ivan, who passed it on to Sire Records founder Seymour Stein, leading to the group’s recording contract and placing Book of Love among the era’s emerging synthpop vanguard.
The group — Susan Ottaviano, Ted Ottaviano, Jade Lee, and Lauren Roselli — soon found itself in bigger rooms, opening for Depeche Mode in 1985 and again in 1986 during the Black Celebration era, a pairing that helped cement Book of Love’s place in the wider synth-pop conversation on both sides of the Atlantic.
The anniversary edition has been remastered by original engineer Ted Jensen. Rhino says the release also features updated packaging created in collaboration with Egan to mark the album’s 40th birthday, along with new reflections on the record’s making and legacy drawn from interviews with founding members Susan Ottaviano and Ted Ottaviano.
A new remix of “Boy” by Grammy-winning producer Dave Audé is out now to coincide with the announcement. Written by Ted Ottaviano, “Boy” remains one of the album’s defining songs, centered on a bright, bell-like chime motif that gives the track its buoyant, almost weightless feel. Beneath that glow, however, the song sketches a quiet emotional imbalance: a narrator reaching toward someone who remains just out of grasp, romantically and emotionally out of step.
In later interviews, Ottaviano explained that “Boy” was inspired by Boy Bar, the exclusive gay club in Manhattan’s East Village, giving the single a specific New York cultural anchor beneath its broader ache of longing. That friction between brightness and hurt helped make the song an underground club touchstone, particularly among LGBTQ+ listeners, and remains central to the album’s lasting appeal four decades later. Its recent appearance in Companion has only added another layer to that afterlife, placing the song before a new generation of listeners.
Marking 40 years since the release of their self-titled debut, Book of Love said they were especially happy to see Rhino issue the newly remastered album on vinyl as well as digitally, adding that the record has never sounded better.
They added: “Working with Rhino on this anniversary vinyl edition has truly been a labor of love. This album has always had a life of its own, and it’s been incredibly meaningful to revisit it. We’ve been fortunate to reunite much of the original creative team for this special release. We’re so grateful for the love this record has received over the years and are excited to celebrate this milestone with all of you. Stay tuned, more to come!” – Susan, Ted, Jade, and Lauren
The 40th anniversary edition of Book of Love is due out June 26 via Rhino Records. Pre-orderhere.
Dave Audé’s remix of “Boy” is available now. Listen here.
Storming ahead into their next chapter, NEVERMORE has solidified their new line-up with their first live show in over fifteen years. The legendary act performed for a sold out IF Performance Hall Beşiktaş audience on April 1 in Istanbul, Turkey, the home country of their new vocalist Berzan Önen and birthplace of bassist Semir Özerkan.
An event eagerly awaited by fans was cemented as a night to remember. While honoring the band’s well-established history, NEVERMORE look to the future with a passionate vigor for the next evolution. Following the success of yesterday’s show, NEVERMORE will join JUDAS PRIEST this September for the final seven shows of their Faithkeepers Tour. Tickets available HERE!
Tour Dates: Sept 11 – Bern, Switzerland @ Festhalle Bern Sept 12 – Strasbourg, France @ Zenith Sept 14 – Lyon, France @ LDLC Arena Sept 15 – Bordeaux, France @ Arkea Arena Sept 17 – Paris, France @ Arena Zenith Sept 18 – Brussels, Belgium @ Forest National Sept 21 – London, UK @ Eventim Apollo
Over the summer months, ahead of their run with JUDAS PRIEST, NEVERMORE are set to appear at shows and festivals in Latin America and across Europe.
Apr 24th – Santiago, Chile – Teatro Cariola Apr 26th – São Paulo, Brazil – Bangers Open Air Apr 28th – São Paulo, Brazil – Carioca Club Pinheiros Jul 26th – Plovdiv, Bulgaria – Hills of Rock Jul 28th – Rasnov, Romania – Rockstadt Extreme Festival Jul 30th – Budapest, Hungary – BARBA NEGRA Blue Stage Aug 1st – Wacken, Germany – Wacken Aug 3rd – Pratteln, Switzerland – Z7 Open Air Aug 5th – Jaromer, Czechia – Brutal Assault Aug 8th – Derbyshire, United Kingdom – Bloodstock Open Air Aug 9th – Kortrijk, Belgium – Alcatraz Festival Aug 11th – Warsaw, Poland – Progresja [with SAVATAGE] Aug 12th – Leipzig, Germany – Parkbühne [with SAVATAGE] Aug 13th – Bonn, Germany – KUNST!RASEN [with SAVATAGE] Aug 15th – Carhaix Plouguer, France – Motocultor Festival
An esteemed powerhouse in heavy metal, NEVERMORE recently unveiled their signing to Reigning Phoenix Music and introduced new members Jack Cattoi on guitar, Semir Özerkan on bass, and vocalist Berzan Önen in a documentary directed and produced by Ola Englund. The film provided an enticing insight in the band’s rehearsals, and open discussion by guitarist Jeff Loomis and drummer Van Williams on their decision to bring NEVERMORE back. Watch here: https://www.youtube.com/watch?v=bhW3rdcyip4.
NEVERMORE enters 2026 with purpose, fire, and a clear sense of who they are. Forged in the aftermath of Sanctuary, the band carved out a sound defined by precision musicianship, fearless songwriting, and emotional intensity. From their self-titled debut in 1995 through landmark releases such as Dead Heart in a Dead World and This Godless Endeavor, NEVERMORE built a global following and a reputation as one of modern metal’s most distinctive voices.
After years apart, the spark that first ignited the band has returned with renewed focus. For Van Williams, the timing feels natural. “It’s been brewing for quite a while and has just started to manifest itself into the now. So what better time is there to kick things off than now?”
If you love dark music like this:
