Dark Synthwave/Metal Musicians and visionary artists Patriarchy have dropped their jaw-dropping, genre-hopping new album today, Asking For It via the Dero Arcade label. Made up of duo Actually (aka Actually Huizenga) – LA-Based multidisciplinary artist – and Andrew Means (3Teeth multi-instrumentalist), the pair creates heavy, politically charged, and Gothy tracks that are equal parts KMFDM, Lords of Acid, but also danceable like PVRIS. It’s the perfect album for pre-gaming in your house for a night out with friends, while plotting to overthrow the establishment. Ghost Cult brings you their full album stream right now to enjoy. Continue reading
Ghost Cult caught up with Death Valley High mastermind Reyka Osburn recently to discuss their brand new covers/remixes EP Duel, out now via minusHEAD Records. We chatted with Reyka about the new EP, how the group chooses covers from bands such as Metallica, Faith No More, Eurythmics, collaborating with peers and friends on remixes, the mix between Goth rock and dance music, working with a mentor and friend like Chino Moreno of Deftones/Crosses, and the timeline for a new full-length DVH album. Continue reading
Continuing to be a prominent figure for the past decade in British hard rock, Frank Carter has remained one heck of a frontman throughout different projects. Since 2015, he’s put his efforts tantalizing the scene with the Rattlesnakes. Alongside slaying guitarist, Dean Richardson continues to succeed finding their softer side with End of Suffering (International Death Cult).
What a truly intriguing mix of styles this appears on paper! A duo comprised of Punk underground overlord and current Dead Cross member Justin Pearson and hip-hop producer Luke Henshaw, Planet B are bringing so much to the table of their self-titled album (Ipecac Recordings) and are doing do with politically charged lyrics which are looking to rail against “the lack of humanity in the world…….” Continue reading
“We all die. The goal isn’t to live forever but to create something that will…” begins the fifth Amaranthe album, all proudly released by Spinefarm. And while this particular release may not be quite in and of itself destined to live indefinitely in our hearts and minds, as a collective, the band really must be given credit for carving a sound and style that is wholly and completely their own. Ten years deep into a healthy and prolific career, Helix not only shows no sign of letting up but feels like a second wind to launch the band into a second decade. Continue reading
What became of real pop stars? This is a question I have asked myself over and over the last few years. As we’ve lost Prince, George Michael, and David Bowie, and there is no new Madonna, Bjork, Sinead, Tori, or nary even an Alanis in sight, I wondered when the next generation of legends would come, if ever. A few years back I got turned on to PVRIS when I still lived in their home state of Massachusetts, and I heard White Noise right when it came out. Then I saw them live, and whoa, I was blown away by them. However, one of the hardest things to pull off in music is the second album. Sure you have your entire first act to create a sound and cultivate your style. People are fickle and expect a lot as fans. Much tougher to grow from that and keep it going, but PVRIS has pulled it off impressively. Continue reading
Normally, when a press release boasts that no samples were used on an album, we can infer two things about the band in question: firstly that they’re trapped in a time-loop that extends no later than 1994 and secondly that they play some kind of raw, sloppy Punk/Metal that no-one would imagine for a second used samples. For the first time in the history of music, however, there is actually a point to declaring that – if you go in to Igorrr’s kitchen-sink onslaught of Metal, dance, Balkan music, 8-bit synths and whatever else solo permanent member Gautier Selle feels like chucking in, you could be forgiven for thinking that samples play a heavy role. They certainly used to, but in the decade-plus since the first Igorrr demo was released, Selle has gradually built up both his own musical ability and his circle of connections and collaborators, until every sound on Savage Sinusoid (Metal Blade) was created specifically for the album. Continue reading