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Swedish melodic metal frontrunners METALITE celebrate the release of their brand-new studio album, Discovery, out today via PERCEPTION – Powered by Reigning Phoenix Music! Their critically acclaimed, futuristic sci-fi metal epic takes listeners on a fascinating journey, further expanding METALITE’s signature blend of soaring melodies, powerful riffs and modern electronic elements. Coinciding with the album’s […]

Matthew Steven Whitaker’s HOW IT USED TO BE blends a warm indie folk foundation with a bittersweet emotional pull. Airy vocals sit alongside fingerstyle and baritone guitars, upright bass and cello, while synth textures add a subtle sense of space before the drums gradually bring more weight into the arrangement. The contrast between the upbeat musical movement and the sadness at the heart of the song gives it a particularly human quality, never pushing the emotion too far. There is also a lo fi character to the production that keeps the performance intimate, while the layered instrumentation gives the track a wider cinematic feel. Matthew Steven Whitaker allows the arrangement to grow naturally, moving from its quieter opening into something fuller without losing its delicate character. HOW IT USED TO BE feels reflective, understated and deeply rooted in the tension between memory and what remains in the present.

Nostalgia sounds better when it still has somewhere to go.

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Mastodon has reached the point in its career where a setlist can cover more than two decades of music without feeling like a nostalgia tour. At The Anthem, the band balanced newer material with songs from across its catalog, keeping the focus on the music rather than spectacle.

Opening with “Barbarians Blood,” followed by “March of the Fire Ants” and “Crystal Skull,” the band established the direction quickly. Newer songs such as “In the Ruins,” “Your Ghost Again,” and “More Than I Could Chew” sat comfortably alongside older material like “Mother Puncher,” “Megalodon,” and “Black Tongue.”

The sequencing kept the nearly two-hour set moving without feeling like a simple greatest-hits collection. “Steambreather,” “Oblivion,” “The Czar,” and “Colony of Birchmen” represented different periods of Mastodon's career, while “Blood and Thunder” provided the natural closing point.

What stood out was how little the band seemed interested in separating its past from its present. The older songs still carried their weight, while the newer material didn't feel like filler between classics. At this stage of Mastodon's career, that balance may be more important than any elaborate production.

The Anthem was a fitting setting for it: a large room, a dedicated crowd, and a band with enough history to fill the set without having to rely entirely on it. Mastodon didn't need to recreate its past. It simply played it alongside where the band is now.

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The Future arrived Tuesday

No one knew, however

A girl packing her suitcase saying,

“Maybe now or never”

There is a bassline in Ganser’s Futuretripping that seems to know the economy is fake, the clocks are lying, and somebody somewhere is trying to sell you another subscription to tomorrow. Around it, Brian Cundiff’s guitars jab and veer while Alicia Gaines sings with the cool composure of someone watching the machinery malfunction exactly as expected. The result lands somewhere between Bikini Kill, The Breeders, and DEVO, all wired together by a song obsessed with time, delay, and the peculiar modern habit of waiting for permission to panic.

Futuretripping is a wiry, nervy post-punk offering built from elastic bass, restless guitar, and the kind of lyrical absurdity that makes modern life sound only slightly more ridiculous than it already is. Somewhere between The Breeders, Bikini Kill, and DEVO, the song turns anxiety about time, media, and collective hesitation into something sharp enough to dance to.

The track picks up the rhythmic intelligence that ran through Animal Hospital, the band’s third LP, while pushing the tension into a tighter frame. The bassline keeps the song in motion with a thick, spring-loaded bounce, while the guitar scratches and darts around it with nervous energy. Alicia Gaines sings with a dry, controlled delivery that gives the song’s stranger images room to land without forcing the joke.

The lyrics revolve around a world trapped in endless anticipation. Screens insist that everything is going according to plan, people wait for the next signal, and tomorrow becomes something they can apparently borrow from a shady acquaintance with the right connections. Ganser turns that uncertainty into deadpan comedy, presenting the future as another dubious commodity sold to people who have already spent too much of the present waiting around.

The image of someone selling umbrellas beneath a clear sky gets at the song’s humor perfectly. It is ridiculous, vaguely ominous, and just believable enough.

“Ahead of going on the road with Bikini Kill, I was interested in the concept of cheating time, where one could go for just a little more of it,” says Gaines. “After coming back from Europe earlier this year, we found our personal senses of time were distorted as we were dropped back into life in Chicago, mixing the mundane with the fantastical. Reaching into tomorrow for a little more of today became an inside joke, now Futuretripping.”

Cundiff frames that temporal confusion as something closer to collective agitation. “Everybody’s waiting for the sign to change,” he says. “People tend to wait around to be fed what they should react to these days, what to do, and I suppose there’s a bit of that restlessness in the music and lyrics as well. It’s an agitation that it’s not tomorrow while also wanting more time today, right now.”

Gaines also directs the accompanying video, which leans into a loose ’90s montage aesthetic, cutting random footage against the band performing beneath a bright blue sky. The editing has the same sideways humor as the song, constantly shifting between ordinary images and mildly surreal interruptions. Ganser leave us with a world where everybody is waiting for the sign to change while the sign itself appears to have wandered off.

Watch the video for Futuretripping below:

Chicago’s Ganser have spent the years since their 2018 debut Odd Talk developing an increasingly restless conversation between post-punk, noise rock, and art-school absurdity. Just Look At That Sky followed in 2020, while the 2022 EP Nothing You Do Matters brought Liars’ Angus Andrew into the producer’s chair. Bassist and vocalist Alicia Gaines and drummer Brian Cundiff remain central to the band’s writing, balancing physical rhythms with dry humor and an eye for the contradictions of everyday life.

Their third album, Animal Hospital, was released through Felte on August 29, 2025, with production shared by Ganser and Andrew. A deluxe edition followed on April 22, 2026, adding five alternate versions of songs from the record. Touring with IDLES, Mclusky, and Ted Leo has helped sharpen their live attack; this September, Ganser joined Bikini Kill for shows in Milwaukee, Chicago, Royal Oak, and Cleveland. Futuretripping, released September 10, extends that momentum with a new song written and arranged by Gaines and Cundiff.

For future live announcements and ticket links, visit Ganser’s official shows page.

Listen to Ganser’s Future Tripping below, and order the single here.

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The post Chicago Post-Punk Outfit Ganser Borrow From Tomorrow in Video for “Futuretripping” appeared first on Post-Punk.com.

Goat Coffin are a Melbourne-based two-piece formed by Mortifex (vocals/guitar) and Tilegrinder (drums/vocals). Possessed by the evil spirits of the unholy Goat, this two-piece are eternal outcasts forging ritualistic, devil’s music from the margins of hell. Sacrifice the Rich Kids of North Fitzroy is the band’s debut single. Inspired by the sound of a $14 […]

Today, epic punk collective Fake Names share a new video for their single If You Could See Me Today ahead of their upcoming album Punk Ruins, out October 23. The track finds jangle pop emerging from the band’s D.C. post-hardcore roots; crackling guitars meet gritty bass line and effortlessly magnetic vocals, as the band reflects […]

UK music’s biggest underdogs, indie rock juggernauts The Reytons, welcome British indie artist Casey Lowery to their upcoming Australian and New Zealand tour this November and December. Tickets are on sale now via Destroy All Lines. Renowned for their raucous live shows, and touted by many as the best live act of their generation, The […]

Cheersquad Records & Tapes are proud to introduce a new band from some old dogs, THE DELIVERABLES. The band will release their debut EP HOP ON IT on Thursday October 29, and have released the first track from it, Making Hay, today. THE DELIVERABLES will launch HOP ON IT on its release day, Thursday October […]

Thundermother .

The post Thundermother share video for lead single “Bimbo Boost” from upcoming album ‘Mothers of Thunder’ first appeared on Sleaze Roxx.