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L.A. .

The post L.A. Guns’ “The Ballad of Jayne” live video from the Guild Theatre in 2025 first appeared on Sleaze Roxx.

Masterplan was originally the brainchild of guitarist Roland Grapow and drummer Uli Kusch. What began as a side project alongside their work with Helloween soon became their main focus after the two musicians parted ways with the legendary German power metal band. The band’s debut album arrived in 2003, launching a successful career that produced… Continue Reading →

The mighty Psycroptic raise further anticipation for their new album and national tour with the release of the second single from The Pulse of Annihilation.

Due on July 17, the album will be the band’s first for Metal Blade and ninth overall. No Blade of Grass is the latest track to preview the release, following on from last month’s Gathering a Venomous Herd.

Pre-orders for the album on all formats (including cassette!) are available now.

Boy Harsher returns with “Jeans,” their first new original song under the Boy Harsher banner since the cinematic 2022 stretch that brought The Runner and “Burn It Down” from the Halloween Ends soundtrack into their dance-noir universe. Arriving after the announcement of The Heartbreak Tour, the new track feels less like a simple comeback than a bold re-entry: a stonewashed post-punk fever dream about escape, ambition, image, and the uneasy moment when the fantasy of freedom gets refitted into a commodity.

Musically, “Jeans” may be Boy Harsher’s most openly post-punk-sounding track yet. More guitar-forward than anything in their catalog, and with a bubbling synth beat, it finds Gus Muller riding a bouncy guitar riff that sounds as if it were pilfered from his foray into Safe Mind. It is a bold breath of fresh air for the duo, cutting through their usual synth-driven machinery with a wiry melodic lift. Threaded beneath it is a steel-slide guitar, giving the song the perfect western cowboy twang to match the line-dancing imagery in the video.

The juxtaposition works because Jae Matthews knows exactly how to occupy the space around it. Her vocal here is sultry, cool, and lightly scuffed at the edges, less an incantation from a dark room than a sideways glance from the passenger seat. Against the guitar’s buoyant post-punk snap, “Jeans” takes on an almost Pretenders-like shape: sleek, restless, and deceptively direct, with noir atmosphere refracted through something closer to a new wave song’s 80s pop pulse.

In a statement accompanying the release, Matthews says:

“‘Jeans’ came from two distinct experiences between Gus and I.

I was living in a ‘small town,’ trying to understand my life and attempting to find freedom from the pressure of being ‘anyone.’ Meanwhile, Gus was chasing his aspirations in the Big Apple. We were both seeking our dreams in polar ways … and in this cheeky way, ‘Jeans’ speaks on that quest through our commodification of a dream.”

The band also described the video’s concept on Instagram:

“We wanted to make our own Robert Palmer, “Addicted to Love.” We wanted to line dance in latex. Hot hands and cattle prods. We wanted to try to encapsulate that small-town feeling in an inaccessible apple.”

Directed by Boy Harsher and edited by Chris Campion, the video places a pink-haired woman in a large, mostly empty room with fluorescent lights, tall windows, and pale walls. A group of dancers in black latex enters and performs line-dance choreography around her. Matthews sings in the room while Muller plays guitar, and both appear on old television monitors throughout the clip.

The video cuts between close-ups of boots, gloves, latex, denim, faces, and the dancers’ formations. Some shots show the performers carrying cattle-prod-like props; others focus on the pink-haired woman as she watches the group, moves with them, and appears against a warm, western-colored backdrop. The clip keeps returning to the monitors, where close-ups of eyes and performance footage flicker inside the frame.

A small town can feel like a sealed room; ambition can feel like another kind of enclosure. Freedom looks different from far away, especially when someone has already figured out how to turn longing into a look. Whether “Jeans” is the first flare from a larger body of work or simply the opening signal of Boy Harsher’s next phase, it arrives with the uneasy precision of a transmission from somewhere familiar and slightly wrong.

Watch the video for “Jeans” below:

“Jeans” lands as Boy Harsher prepares for The Heartbreak Tour, their first extensive North American headlining run since the 2022 tour cycle around The Runner, when select dates paired the live show with screenings of the duo’s short horror film. They have continued to surface through select shows, festival appearances, remix work, soundtrack projects, and adjacent solo endeavors, but the center of gravity has shifted away from the usual album-tour pattern and toward film, scoring, and world-building.

Matthews and Muller, who met in Savannah while studying film, first released Lesser Man as a small-run cassette before the EP became an underground hit. They followed with Yr Body Is Nothing in 2016 and Careful in 2019, sharpening their cold, body-moving electronics into something increasingly cinematic. That impulse became explicit with The Runner, the duo’s 2022 short horror film and accompanying soundtrack, written, produced, and directed by Matthews and Muller. The project blurred album, score, and visual world-building, pairing the duo’s darker instrumentals with guest turns from Mariana Saldaña of BOAN on “Machina” and Cooper B. Handy, aka Lucy, on “Autonomy.”

The Machina thread continued in 2024 with the Machina EP, which expanded the track with alternate versions and remixes. Boy Harsher also kept a steady presence through remix work, including their 2024 rework of Pet Shop Boys’ “New London Boy,” a pairing that made sense: two duos fascinated by desire, distance, pop architecture, and the strange glamour of the city after dark.

Matthews, meanwhile, has been building a parallel life in film and solo-adjacent work. She wrote My Animal, the Jacqueline Castel-directed horror romance starring Bobbi Salvör Menuez and Amandla Stenberg, which premiered at the 2023 Sundance Film Festival. This year, she stepped out under her own name with a cover of Buzz Kull’s “Man On The Beat,” released digitally March 20 and issued as a limited 12-inch through Heartworm Press on April 17. The physical edition, released as Heartworm #140 in an edition of 500, pairs Matthews’ version with a Spike Hellis remix on the B-side.

Muller has continued to deepen his own work as a composer and producer. His score for My Animal, released by Sacred Bones, marked his debut feature film score and was written and recorded at his home studio in Northampton using hardware and analog synthesizers. He has also pursued Safe Mind, his collaborative project with Cooper B. Handy. The duo’s debut album, Cutting the Stone, arrived in 2025 through Nude Club, extending the chemistry first heard when Handy appeared on Boy Harsher’s The Runner soundtrack.

The biggest new chapter, however, is The Lonely Woman, Boy Harsher’s first feature film as directors. Written and directed by Matthews and Muller, the rural New England horror-thriller stars Chloë Sevigny, FKA twigs, Sturgill Simpson, Will Oldham, and Jake Weary, with Boy Harsher also providing the score.

The Heartbreak Tour began with a June 26 appearance at 1015 Folsom in San Francisco before properly kicking into gear Sept. 25 at Basilica Hudson in Hudson, New York. From there, Boy Harsher will move through Boston, Montreal, Toronto, Detroit, Chicago, Minneapolis, Denver, Portland, Seattle, Vancouver, Oakland, Los Angeles, Del Mar, Las Vegas, Phoenix, Fort Worth, New Orleans, Atlanta, Asheville, Washington, D.C., Philadelphia, and Queens, where the tour wraps Nov. 5 at Knockdown Center.

The routing includes two-night stands at Chicago’s Metro, Portland’s Revolution Hall, and Seattle’s The Showbox, along with an Oct. 24 appearance at Sick New World – DFW in Fort Worth. Support on select dates includes Choir Boy, Evanora Unlimited, True Blue, and Kassie Krut.

The centerpiece of the fall trek lands on Halloween night, when Boy Harsher headline Making Time Pure Halloween at Franklin Music Hall in Philadelphia. The Oct. 31 All Hallows’ Eve event also features Model/Actriz live, Conducta, Marie Davidson on DJ duty, Kassie Krut live, and Dave P., plus a futuristic visual experience from Klip Collective.

Follow Boy Harsher:

• Official Website
• Bandcamp
• Instagram
• Facebook
• YouTube

Boy Harsher — The Heartbreak Tour Dates

• 06/26 — San Francisco, CA — 1015 Folsom
• 09/25 — Hudson, NY — Basilica Hudson
• 09/27 — Boston, MA — Royale
• 09/29 — Montreal, QC — MTELUS
• 09/30 — Toronto, ON — Danforth Music Hall
• 10/01 — Detroit, MI — Majestic Theatre
• 10/02 — Chicago, IL — Metro
• 10/03 — Chicago, IL — Metro
• 10/04 — Minneapolis, MN — Varsity Theater
• 10/06 — Denver, CO — Summit
• 10/09 — Portland, OR — Revolution Hall
• 10/10 — Portland, OR — Revolution Hall
• 10/11 — Seattle, WA — The Showbox
• 10/12 — Seattle, WA — The Showbox
• 10/13 — Vancouver, BC — The Pearl
• 10/15 — Oakland, CA — Fox Theater
• 10/16 — Los Angeles, CA — Hollywood Palladium
• 10/17 — Del Mar, CA — The Sound
• 10/20 — Las Vegas, NV — House of Blues
• 10/21 — Phoenix, AZ — The Van Buren
• 10/24 — Fort Worth, TX — Sick New World – DFW
• 10/26 — New Orleans, LA — Republic NOLA
• 10/27 — Atlanta, GA — Variety Playhouse
• 10/28 — Asheville, NC — The Orange Peel
• 10/30 — Washington, DC — The Howard Theatre
• 10/31 — Philadelphia, PA — Franklin Music Hall
• 11/05 — Queens, NY — Knockdown Center

The post Boy Harsher Returns in Video for Latex Line-Dancing New-Wave Fever Dream “Jeans” appeared first on Post-Punk.com.

Maverick .

The post Maverick drop video for new single “We Can Rise” first appeared on Sleaze Roxx.

Massachusetts metal and hardcore powerhouse FUMING MOUTH have released their new single and music video, Cheat Death, the latest offering from their highly anticipated new album, The Ringing Bell, due out July 17 via Triple B Records. Following the album’s first single, A Blaze of Nihilism, Cheat Death arrives as another crushing preview of the […]

Ice Nine Kills enter the fog today with Play Dead, a brand-new single and accompanying music video created in collaboration with Dead by Daylight, the world’s leading multiplayer horror game. Written for Dead by Daylight’s 10th Anniversary celebrations and announced on their anniversary live stream, Play Dead brings Ice Nine Kills into one of horror […]

A Powerful Blend Of Reflection, Emotion And The Timeless Spirit Of Hard Rock

Stream/Watch “Leave It All Behind” HERE! https://sinner.rpm.link/behindPR

Pre-Order The Album HERE! https://sinner.rpm.link/boomPR

With “Leave It All Behind“, SINNER present the next single from their upcoming and final studio album, Boom Bang Goodbye, set for release on July 31, 2026, via RPM. The track begins with the atmosphere of a classic power ballad and gradually builds in intensity before culminating in a soaring, anthemic refrain. Combining ’80s-inspired melodies with a powerful modern sound, the song brings the kind of emotional dynamics that hard rock fans have always cherished.

Mat Sinner comments:
“As a child of the 80s, this song fits perfectly into the soundscape I envisioned. 80s vibes and an ultra-fat, modern sound. Groovy, driving. It was a blast to make this song. My friend Ronnie Romero really outdid himself. What an incredible vocal performance, hats off to him!” 

The accompanying video perfectly complements “Leave It All Behind”. Alongside Ronnie Romero and Mat Sinner, it features Alex Scholpp, Jim Müller, Leonie Jakobi, Sascha Krebs, as well as Thalia Bellazecca and André Hilgers (PRIMAL FEAR). Together, the performance footage captures exactly what “Leave It All Behind” is all about – emotion, energy and the visible joy of making music together.

Lyrically, “Leave It All Behind” looks back on times gone by while dealing with memories, transience and the act of letting go. Lines such as “Do you remember our wild days?” and “I leave it all behind” give the song a reflective touch without losing sight of what lies ahead.

With Ronnie Romero on vocals, “Leave It All Behind” delivers a fierce impact. His passionate performance carries the emotive tension between the calmer moments of the verses and the energetic peaks of the song, adding a fiery quality to the sound.

Once again, the album’s core musicians, Ronnie Romero (lead & backing vocals), Mat Sinner (bass & vocals), Alex Scholpp (guitars & lead guitars), Lisa Müller (keyboards) and Moritz Müller (drums), leave their unmistakable mark.

Following “Wait”, featuring Michael Bormann on vocals, “Leave It All Behind” is another taste of Boom Bang Goodbye; the final chapter of an extraordinary career. After more than four decades, 19 studio albums and countless international tours, Mat Sinner and his longtime companions are preparing one final musical statement.

Boom Bang Goodbye will be released on July 31, 2026, and can be pre-ordered here: https://sinner.rpm.link/boomPR
 
The new single “Leave It All Behind” is now available on all streaming platforms: https://sinner.rpm.link/behindPR

More on RPM:

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Source: C Squared Music

Crown the Empire releases haunting new single, ‘Raw’ with Rise Records was originally published on HM Magazine by Nao Glover.

Today, the Los Angeles-based two-piece Crown the Empire released their new haunting single “raw” with Rise Records.Directed by B.K. Barone, the music video for the track finds Andy Leoand and Brandon Hoover delivering a moody, atmospheric performance in the back of a freezer truck leaning into the raw, visceral tension the song demands. This new track marks another step forward into the band’s ever-evolving […]

Crown the Empire releases haunting new single, ‘Raw’ with Rise Records was originally published on HM Magazine by Nao Glover.

I can’t hear that he’s calling my name
The sound is drowned out in the rain
Shots ring out in the night

Some moments refuse to remain in the past. They return in fragments: a face suspended in memory, a sound drowned out by rain, a story replayed frame by frame until the mind begins mistaking its repetition for control. Grief carries its own damaged signal, breaking apart and reassembling itself in flashes. The more one tries to recover the moment that cannot be undone, the more distorted it becomes.

Washington, D.C. dark synthpop duo 2DCAT step into that unresolved space with the video for “Frames (Blue Rose Edit).” The track reworks “Frames,” a fan favourite the band loved but, by Johan Hauck’s own assessment, could never quite survive in a live set. The Blue Rose Remix of the track answers that problem by turning restraint into force.

“Frames was a song our fans loved and we could never play live,” says Hauck. “The Blue Rose remix is me solving that problem with a sledgehammer. Literally.”

That is not a metaphor. The primary snare line driving the remix was recorded at a county landfill, where Hauck took his self-built, LMD-649-inspired sampler and captured the sound of metal components being smashed and machinery being thrown into other machinery. Recorded through a 12-bit, 50 kHz capture chain, those impacts became the track’s percussive spine: not programmed violence, but found wreckage converted into rhythm.

The result carries the same grief-stricken lyrics as the original—helplessness, loss, and the sickening recognition of a moment that cannot be reversed—but the body around them has changed. The remix is harder, faster, and more physically insistent, pushing the song toward the dance floor without sanding away its sorrow. Its pulse feels forged rather than sequenced, closer in spirit to Einstürzende Neubauten treating industrial debris as an instrument than to a track built entirely inside a digital workstation.

Hauck’s machinery is central to the sound. Every synthesizer on “Frames” was built from his own designs, using 16nm Xilinx FPGAs as their backbone. His sampler, constructed from scratch, takes inspiration from the LMD-649, the Toshiba-EMI digital sampler developed by engineer Kenji Murata in the 1970s. Hauck reconstructed his own version from limited circuit specifications and historically plausible components, creating a machine that now follows 2DCAT onto the stage.

Around that hardware-driven violence, HAEZL remains the emotional centre of the song. An acclaimed opera singer, she brings precision and weight without overstatement: the diction is sharp, the range controlled, and the delivery heavy with the kind of grief that does not need to announce itself theatrically to be devastating. In the repeated admission “I couldn’t save you,” the song finds its wound and refuses to close it.

The Blue Rose designation points directly toward David Lynch. In Lynch’s world, a blue rose marks the kind of case that cannot be explained by ordinary means, something resistant to resolution. That logic fits “Frames”: a song about loss that does not settle into understanding, but instead remains suspended in the in-between, where memory becomes evidence and evidence becomes haunted.

The accompanying video extends that idea through stark black-and-white imagery and deliberate analog damage. It opens with blown-out machinery, glare, and a flickering title card before giving way to HAEZL’s face, partially obscured by horizontal smears, scratches, and ghosted signal breaks. Her image appears close enough to touch, then slips behind interference.

Performance footage places the duo inside a severe, high-contrast space framed by radiant light bars and deep pools of shadow. Hauck stands at the machinery while HAEZL moves through the foreground like a figure caught between transmission and apparition. The frame repeatedly tears, blooms, and bends; light flares swallow the image; faces double and dissolve; and the screen itself seems to become unstable under the pressure of the song.

Those distortions are not decorative glitches. The video draws on the signal-processing and video-art legacy of Steina and Woody Vasulka, whose work treated electronic degradation as a compositional material rather than a flaw to be corrected. Feedback ghosts, tear bends, and other analog artifacts become part of the visual language here, mirroring the way the remix turns landfill percussion and damaged signal into melody, texture, and momentum.

At times, the video feels like a broadcast from a machine that has learned to mourn. The images do not simply illustrate the song’s grief; they behave like grief itself—looping, fragmenting, overexposing, and returning to the same impossible frame. By the end, “Frames (Blue Rose Edit)” has transformed loss into motion without pretending that motion is the same as escape.

Watch the video for “Frames (Blue Rose Edit)” below:

Based in Washington, D.C., 2DCAT are a dark synthpop and darkwave duo inspired by the late ’70s and early ’80s European synth music scene. Their live sets have brought them to sold-out club nights and festival stages across the United States and Europe, drawing from darkwave, synthpop, and gothic audiences.

“Frames (Blue Rose Edit)” is out now. Listen to the song below, and order it here.

Follow 2DCAT:

• Website
• Spotify
• Bandcamp
• Instagram
• Facebook
• YouTube

The post DC Dark Synthpop Duo 2DCAT Take a Sledgehammer to Grief in Video for Lynchian Blue Rose Edit of “Frames” appeared first on Post-Punk.com.