PROX Intake

Blog

  • DEAD SET Presents SHE’S ALL BRAT Night Of Live Entertainment

    Sydney’s raunchiest underground rock haunt, Dead Set, presents SHE’S ALL BRAT on September 27. A toxic collection of snotty punk, fuzzy grunge and full-throttle rock & roll, She’s All Brat brings together some of Sydney’s fiercest femme-fronted acts for one massive night below the streets of Darlinghurst. Private Wives, Second Idol, Ponzi Scheme, Meow Meow […]

  • LIVE RECAP: Jet Brings the Down the Moonlit Mile Revue to The Truman

    PAM WHISENHUNT | Go Venue Magazine

    It was a hot, stormy night in Kansas City when Jet brought their Down the Moonlit Mile Revue tour to The Truman, September 6, 2026.

    Jet is a band that’s been on a lot of classic rockers’ bucket lists for years. When the tour was announced, it caught my interest. When I heard The Glorious Sons were joining the bill, I bought tickets on the spot. I’d never seen Jet live, and it had been a few years since I’d seen The Glorious Sons, so it felt like the perfect chance to check off both. A few weeks before the show, though, I noticed The Glorious Sons were no longer listed. Needless to say, I was disappointed, but still curious what The Retrograde would bring to the night.

    The Retrograde turned out to be a surprise highlight. The Tallahassee, Florida band leans hard into a Southern rock revival sound, drawing comparisons to the Black Crowes, Kings of Leon, and Lynyrd Skynyrd, so my instinct that I was hearing shades of the Black Crowes wasn’t far off. That bluesy, classic rock vibe ran through the whole set.

    They brought serious energy to the stage, blazing guitar solos and lengthy jam sessions that stretched out and let the band show off. It was an impressive set, and I think a lot of people in that room found their new favorite up and coming band.

    Jet, out of Melbourne, Australia, gave the crowd a full 17 song set that kept everyone swaying all night. Frontman Nic Cester told the crowd, “You have a holiday tomorrow, don’t you? So, you have no reason not to cut loose tonight,” a nod to Labor Day landing the next day.

    Jet formed in 2001 and broke out with their debut album, Get Born, in 2003, an album that sold over five million copies worldwide and is nine times platinum in Australia. The band split in 2012, reunited briefly in 2016, and came back again in 2023, the same year they were inducted into the ARIA Hall of Fame. Alongside Cester on vocals, the current touring lineup includes Cameron Muncey on guitar, Mark Wilson on bass, Louis Macklin on keys, and Peter Marin on drums.

    The set leaned heavily on Get Born cuts, opening with “Last Chance” and running through “Put Your Money Where Your Mouth Is,” “She’s a Genius,” “Get What You Need,” “Walk,” “Seventeen,” “Move On,” “Bring It On Back,” and “Look What You’ve Done.” They slipped in a cover of AC/DC’s “It’s a Long Way to the Top (If You Wanna Rock ‘n’ Roll)” which was spot on before hitting the big ones, “Are You Gonna Be My Girl,” “Rollover D.J.,” “Get Me Outta Here,” and “Cold Hard Bitch.”

    The encore started with just Cester and an acoustic guitar for “Shine On” before the rest of the band came back out for the final two songs, “Come Around Again” and “Rip It Up.”

    Jet’s still very much in the fight, and if the energy in that room was any indication, this tour has plenty of gas left in the tank.

    Jet

    [See image gallery at www.govenuemagazine.com]

    The Retrograde

    [See image gallery at www.govenuemagazine.com] All images © Pam Whisenhunt

    Follow our socials, only take a second and is free by finding us on:
    Facebook | Twitter | Instagram | BlueSky

    The post LIVE RECAP: Jet Brings the Down the Moonlit Mile Revue to The Truman appeared first on Go Venue Magazine.

  • REVNOIR Return With New Single ‘Fracture’

    French modern metalcore force REVNOIR return with their powerful new single Fracture, a gripping anthem that channels fear, resistance and the determination to keep fighting when hope feels increasingly difficult to hold onto. The release also marks the beginning of the band’s highly anticipated debut album, Sometimes I feel you, sometimes I don’t, set for […]

  • Vulvodynia Premiere “Twin Tyrants”, Their First Track With Vocalist Maya Pobst

    Pobst officially joined the band this past July.

    The post Vulvodynia Premiere “Twin Tyrants”, Their First Track With Vocalist Maya Pobst appeared first on Theprp.com.

  • THE DAMNED Hit Australia For The Last Time Ever This Week

    Iconic British punk pioneers, The Damned, have arrived and kick off their Farewell/Anniversary tour tonight in Auckland.  Formed in 1976, the trailblazing group released the UK’s first ever punk single New Rose and its first album Damned Damned  Damned which ignited the global punk revolution. They are, indisputably one of the most enduring and influential bands in punk, goth and alternative rock. With their dark lyrics and Dave Vanian‘s rich baritone […]

  • K-Goth Trio Past Self Examines What Society Extracts From the Soul in Video for “제물 / Jemul”

    In an instant, your anxiety turned into fear.

    Every sacrifice needs an audience. In older ceremonies, the victim did more than die: one body was converted into communal relief, the crowd watched the exchange, and authority called the loss necessary. Modern systems rarely build stone altars, but the underlying bargain survives. Work, debt, status, and belonging keep asking for portions of the self until surrender becomes ordinary enough to pass for participation.

    Las Vegas K-Goth trio Past Self brings that bargain into view in their new video for 제물 / Jemul. Released during the band’s ongoing European tour, the clip was shot and directed by Kameren Isaguirre from a screenplay by vocalist and guitarist Sung Joo Kim. Isaguirre also edited the video and produced it alongside Past Self.

    The song’s premise treats contemporary life as a form of spiritual extortion: a social order that takes money, time, dignity, and private feeling in exchange for continued membership. Echo-heavy guitar figures hang above a steady rhythm section while Sung’s Korean and English vocals follow anxiety into fear, hallucination, betrayal, and ruined love. The music bears traces of The Cure and Lebanon Hanover, along with the broader dramatic scale of The Horrors and the saturated guitar mass of My Bloody Valentine, yet Past Self keeps each part legible beneath the distortion.

    When we first covered the single, the band explained its central metaphor:

    “제물 / Jemul translates to ‘an offering,’” says the band. “It refers to a society that constantly demands a piece of one’s soul as payment for being allowed to stay alive. The song aims to draw metaphorical ties between this concept and human sacrifices that a cult might make to appease their deities.”

    Isaguirre brings that concept to life in the song’s enigmatic and arcane visual. Sung appears among dry reeds and bare trees, his face painted white, his lips black, and his eyes sealed beneath a broad red blindfold. Dark stains spread across his loose white blouse as he carries a cloth-bound sword through the brush, raises it toward the sky, and performs with a red guitar. The blindfold makes him both marked victim and sightless officiant: he cannot see the spectators, though the camera is always watching him.

    A vast red disc glows behind a black field of branches. A single rose lies in disturbed soil, and the sword is planted beside it, turning the landscape into altar and grave at once. Elsewhere, a second blindfolded figure appears collapsed on a concrete slab before slowly rising beneath the final blue light of dusk. The images never settle into a literal execution. Instead, they suggest preparation, selection, and aftermath, leaving sacrifice as a role that can pass from one body to another.

    Night changes the video’s visual grammar. A severe blue-white lamp blows out faces and fabric as the trio plays in tall grass. Movement smears across the frame, bodies divide into doubles, and horizontal scan lines make the footage resemble a damaged transmission. By the final wide shot, a lone figure sits beside a small table among the weeds, reduced nearly to evidence. The altar described in the lyrics has become an anonymous stretch of land under surveillance.

    The red blindfold is the video’s most effective device: it blocks the subject’s vision while leaving him completely available to ours. In a song about society exacting payment from the soul, visibility becomes another fee. The victim may be unable to identify the crowd, but the crowd has no trouble identifying the victim.

    Watch the video for 제물 / Jemul below:

    Written by Sung Joo Kim and mixed and mastered by Spektor, 제물 / Jemul is available to order through Past Self’s Bandcamp.

    Past Self are currently completing their debut European tour before returning to North America for dates in October and November. See the remaining itinerary below:

    European Tour Dates:

    North American Dates:

    Follow Past Self:

    Past Self 제물 / Jemul single artwork

    The post K-Goth Trio Past Self Examines What Society Extracts From the Soul in Video for “제물 / Jemul” appeared first on Post-Punk.com.

  • GERLING Celebrate 25 Years Of WHEN YOUNG TERRORISTS CHASE THE SUN With Special Re-Issue

    Warner Music Australia celebrates the 25th Anniversary 2LP Edition of Gerling‘s ARIA-nominated 2001 masterpiece When Young Terrorists Chase The Sun with a deluxe 2LP vinyl reissue, due for release Friday November 6. The album, originally released on Festival Mushroom in Australia, Sony in Japan, Flying Nun in New Zealand and Infectious in the UK, has […]

  • “In The Graveyard of My Heart” — Watch Pissoir Des Dieux’s Video for “24/7” From Their Forthcoming Self-titled Debut LP

    Strange to dream of you forever 
    Even though I am wide awake

    The internet has abolished one of heartbreak’s few mercies: absence. Distance once allowed an attachment to lose oxygen, but the person we cannot stop thinking about now remains permanently available behind glass: photographs to revisit, timestamps to decode, and small signs of life that can be mistaken for an invitation to reminisce. Longing begins to resemble shift work, maintained around the clock by a thumb moving across a screen while the body waits somewhere else.

    That continuous state of checking and conjecture lies at the center of 24/7, the latest single and video from Pissoir des Dieux. The collaborative project brings together Larissa Iceglass of Lebanon Hanover, Vincenzo Wieczerzynski of Chaos International, and Owen Pratt of Uncanny Valley. Following their 2025 debut single, Hotel Grand Amour, the trio now announces their self-titled debut album, due September 28, 2026, through Fabrika Records.

    24/7 begins with lightly strummed acoustic guitar and Iceglass’s breathy singing suspended in airy reverb. The arrangement is stripped down and emotionally exposed, carrying a bittersweet warmth without smoothing away its unease. Around the fifty-second mark, broad drums enter with a gentle crash as a thick, repeated bass figure gives the song a more regulated gait. Acoustic materials and machine-minded repetition begin working together, like an old mill keeping time at the edge of a forest.

    Near the two-and-a-half-minute mark, the bass drops into a deeper, slower, and more melodic sequence, turning the song toward something private and difficult to recover. It feels like watching an old home movie whose people can still move but can no longer answer. Bright guitar notes rise and fall through the closing passage, tracing small points of light like fireflies moving between the trees.

    Beneath that gentle surface, Iceglass describes attachment as a form of dependency. The absent person persists through photographs, clothing choices, questions about their safety, and even the condition of their keyboard; ordinary details accumulate until browsing becomes a self-administered dose. There is dry humour in the specificity, but it only makes the fixation feel more intimate. The phrase 24/7 becomes both a schedule and a diagnosis.

    Iceglass extends that idea into the video she directed and edited. Presented as grainy 4:3 camcorder footage, it carries date stamps for July 23 and July 24, 2025. Scenes from a birthday gathering at a country house—friends in the garden, rabbits in an enclosure, a dartboard, and an outdoor meal—alternate with close shots of Iceglass singing alone in a dim interior. At times her face is fully visible; elsewhere it appears as a pale fragment caught within a narrow strip of light.

    During the final passage, Iceglass leaves the house and enters the water beside a small dock, eventually lifting a glass above the surface. The footage possesses the factual appearance of a family tape, but its emotional status remains unresolved. It could be remembrance, fantasy, evidence, or the kind of saved material repeatedly replayed after direct contact has ended. The camera preserves a summer day with ruthless efficiency while the song considers what that preservation does to the person who cannot stop looking.

    Watch the video for 24/7 below:

    Pissoir des Dieux announce their eight-track self-titled debut album, arriving September 28, 2026 through Fabrika Records. Mixed by Owen Pratt and mastered by Schwebung Mastering, the record includes Hotel Grand Amour, 24/7, and six additional songs. Limited black, opaque, and pink vinyl editions are available, with each pressing limited to 500 copies.

    Listen to 24/7 below and pre-order Pissoir des Dieux here.

    Follow Pissoir des Dieux:

    Pissoir des Dieux self-titled debut album artwork

    The post “In The Graveyard of My Heart” — Watch Pissoir Des Dieux’s Video for “24/7” From Their Forthcoming Self-titled Debut LP appeared first on Post-Punk.com.

  • Time Tripper unveil video for song “Heart of Fire” featuring ex-Yngwie Malmsteen vocalist Göran Edman

    Time .

    The post Time Tripper unveil video for song “Heart of Fire” featuring ex-Yngwie Malmsteen vocalist Göran Edman first appeared on Sleaze Roxx.

  • TRUCKSTOP DIVAS Share New Song “Killer Skies”

    Kids of the 90s, Truckstop Divas draw on the raw energy and rebellious spirit of the era, blending alternative rock and punk with the hazy, atmospheric DNA of Seattle shoegaze and some unexpected fusion influences. Their songs move between explosive riffs, atmospheric textures and melodic moments, exploring growing older, life’s struggles and a healthy dose […]