ORAEN’s Going Nowhere is a fast-paced burst of guitar-driven alt rock fueled by urgency and sharp social awareness. Crunching riffs and punchy rhythms push the track forward with relentless momentum, while the vocals deliver frustration with clarity and conviction. Beneath its energetic surface lies a pointed reflection on cycles of inaction and the feeling of watching the same problems repeat without progress. Yet the song never slips into resignation—instead, it carries a stubborn sense of resistance. Going Nowhere blends raw energy with big hooks, turning frustration into a powerful, anthemic release.
Polish Black Metal band VARMIA release the third single from their upcoming lauks album out later this month. The stirring and powerful song is available on all streaming/download platforms.
In Polish, the word “północ” means both “the north” and “midnight”, while “dzień” means “day,” explains singer/guitarist Lasota. “This is an anthem to our northern wilderness, to the land of wolf packs, ancient forests, and pure waters. This is the chant that resonates through every day spent here. The day of the North!”
Accompanied by a music video produced by VARMIA and featuring footage by Alan Krasuski and Lasota, it complements the song and the Polish black metal band’s aesthetic.
“dzień, pół nocy” follows previous single “der tot Adalbert” and “Zwykli Zmarli” which all preview the band’s anticipated new album ‘lauks’ out March 27th
“This album is the quintessence of our understanding of natural, raw intensity, teetering on the verge of chaos,” states Lasota. “As always, we recorded it live – this time among the ruins of one of the many castles still standing on our land. Within its empty, derelict halls, we discovered a new dimension of musical naturalism. The aura of the place is embedded into the sound, reverberating through the slower hits of the instruments. The title ‘lauks’ refers to the way our ancestors coexisted in groups of communes or settlements. In the context of this album, it signifies identity, territorial instinct, and the sharp line between us and them.“
‘lauks’ is a much more straight forward and intense VARMIA raging through a darkened journey of raw primal black metal that still clings to their Baltic roots abetted by adding in traditional instrumentation and percussion.
Available now for pre-order on limited-edition (300) “warm blood” colored vinyl (with insert and download code), jewelcase CD with 12-page booklet or digital.
VARMIA was formed in 2016 by composer Lasota with a mission of fusing black metal with musical influences that pay tribute to the ancient Baltic tribes of the historical Warmia region of northern Poland. Vocally, harsh growls shroud the band’s music and native Polish lyrics in a visceral aura, the only breaks occurring when using the traditional, ancient technique of “whitevoice” clean singing as utilized during ancient East-Central European rituals, rites of passage and festivals.
Meanwhile, the power of the band’s metal influences are enhanced by traditional ethnic instrumentation of the Baltic Rites via sounds of tagelharpa, goat horn, lyre (gęśle), tribal drums, wood tuba and krivula. The final result is a compelling mix of dark metallic sounds that channel the spirit of early Enslaved, Satyricon and Wolves in the Throne Room and folk elements that drive acts such as Wardruna and Heilung.
VARMIA have released four albums to date – 2017’s Z mar twych, 2018’s W ciele nie, 2021’s bal Lada, (their first collaborating with M-Theory Audio), and 2023’s Nie Nas Widze.
Marie Fjeldsted’s Like I Was Never Mine unfolds as a cinematic indie-pop reflection built on emotional subtlety and quiet strength. Warm guitars and spacious arrangements create an intimate atmosphere, allowing Fjeldsted’s expressive vocals to guide the song’s delicate narrative. The track explores the slow erosion of boundaries and identity, balancing personal vulnerability with a broader, almost symbolic perspective. Its gentle intensity grows gradually, drawing listeners into a contemplative emotional landscape. Like I Was Never Mine captures the power of fragility, transforming introspection into a beautifully resonant indie-pop moment.
Zahra Deljoui’s Medical Misogyny is a fierce, chant-driven alt-pop protest that confronts the systemic dismissal of women’s pain in healthcare. Built on dark electronic textures, distorted synths, and industrial tension, the track channels urgency and defiance from the first beat. Deljoui’s vocal delivery carries both vulnerability and strength, transforming personal experience into a wider call for awareness and change. The song’s stark production amplifies its message, creating an atmosphere that feels confrontational and unfiltered.
Medical Misogyny stands as a bold and uncompromising statement—both deeply personal and powerfully political.
Macadamian’s Rewired Mind dives into the restless world of intrusive thoughts and late-night mental spirals. Built around a tense indie-rock framework, the track captures the uneasy feeling of ideas that start small but slowly grow until they dominate the mind. Driving guitars and a steady rhythmic pulse mirror that sense of escalating obsession, while the vocals carry an urgent, introspective tone. The song balances melodic hooks with an undercurrent of anxiety, reflecting the push and pull between control and chaos. Rewired Mind offers a sharp, relatable look into the mental loops that refuse to switch off.
The launch of the Vinnie Vincent Invasion’s new album comes just months after the former Kiss man received flak for charging $225 for his Ride The Serpent single
Whether you’re out running, pushing the pace, or just need something to rattle the walls, this playlist hits like a power chord to the chest. Pure, uncut energy. No filler. No apologies.
This week’s “Dark Wave,” hosted by Matt Sebastian, featured music by The Jesus and Mary Chain, Bauhaus, Front 242, Einstürzende Neubauten, Echo & The Bunnymen and more.
Born Runner’s Live It Up is a super catchy indie rock burst packed with bright guitars, driving rhythms, and an irresistible sense of momentum. The track leans into classic indie energy, blending punchy riffs with anthemic hooks that instantly stick. There’s a carefree spirit running through the song, capturing the thrill of letting go and embracing the moment. The tight arrangement keeps things lively while the chorus lands with uplifting impact. Live It Up delivers exactly what its title promises—an energetic indie rock tune built for sing-alongs, open windows, and those nights that feel endless.
ZART’s Evil Father’s Hand unfolds as a dark, slow-burning piece that drifts between slowcore, shoegaze, and shadowy wave textures. The Swiss duo craft an atmosphere that feels bleak yet intimate, built on restrained instrumentation and a hypnotic sense of tension. Haunting vocals move between fragile vulnerability and quiet intensity, floating over minimal, brooding arrangements. Rather than chasing dramatic peaks, the track thrives on mood and repetition, allowing its emotional weight to slowly seep in. Evil Father’s Hand offers a haunting glimpse into the sonic world of ZART’s debut album, where unresolved feelings linger long after the music fades.
