Tracklist:

Are You Satisfied? • Shampain • I Am Not a Robot • Girls • Mowgli's Road • Obsessions • Hollywood • The Outsider • Hermit the Frog • Oh No! • Rootless • Numb • Guilty

Spotify ♪ Youtube

I hate how fandom has become "if you haven't created anything in this very specific time frame after the release of the show/movie, everyone will have moved on"

And call me old fashioned, but that's just not me. I sometimes take ages to create and publish. And I will love a show or movie for such a long time (years, babes, years) that I just can't relate to the fast consumerism that's going on.

Because, let's be real, it can get really lonely in a fandom if most have simply moved on to the next shiny thing. Is what's created less worth, just because it was created outside the hype? Why is it such a taboo for this new fandom generation to love an old or "late" fic or art?

It's so tiring and I'm too old for the 30-seconds-hype-tiktok-shit. Just tired. So, so tired.

Flowers For Juno presents: "It's Not My Fault"

Flowers For Juno is a band with a strong focus on exploring the darker edge of the Gothic Rock music genre with a modern metal twist and some elements of post-punk. Hailing from the North East of England, the group successfully set out to create a compelling tone by blending dark introspection with gripping melodies. 

The group's music is characterized by a haunting and atmospheric sound that blends traditional alternative elements with heavier riffs, creating a unique and captivating listening experience that's not just about the notes and arrangements but also about the background textures and soundscapes. 

The band's lyrics are often introspective and thought-provoking, delving into themes of love, loss, and the human condition. With their emotive baritone vocals, intricate guitar work, and dynamic drumming, Flowers For Juno has gained a dedicated following within the Gothic Rock and metal communities.

The group has recently announced the release of their second studio single, a song titled "It's Not My Fault." 

The track follows the band's debut single, "Physical Culture," released in December of last year. Ironically labeled with a "This Won't Get On The Radio" edit tag, it runs for four minutes and ten seconds. 

The song's cavernous aesthetics are stark and cinematic, with powerful pounding drums and a huge wall of sound. It features lush ambient soundscapes and a big, gated snare with an 80s flair. The metronomic precision of the drums adds so much punch and depth to the mix, acting as a backbone for the song and enabling the other elements to unfold freely. The vocal tones are moody and introspective, with the singing drenched in echo effects. Still, the performance retains a high level of intelligibility when it comes to the lyrics and the emotional intensity of the vocals. 

If you do enjoy artists the likes of HIM, The Cure, Dead Rituals, Alice In Chains, Nine Inch Nails, or Joy Division, then you should definitely give this release a listen.

We've also featured that track on our "Dream Punk" playlist, alongside other favorites of ours in the post-punk, shoegaze, dream-pop, and new-wave realms! We understand the importance of supporting independent artists, which is why we encourage you to stream the playlist and show your support. So, head over to our playlist now and give it a listen!

Autogramm - Music That Humans Can Play

El nuevo trabajo de Autogramm es otro de esos discos que he estado escuchando asiduamente en las últimas semanas. Concretamente, desde que me llegó la nota de prensa del álbum y vi que en ella mencionaban a géneros como Indie, new wave, power pop y synthwave, y bandas como The Fixx, The Cure, Duran Duran, The Cars, The Go-Go’s, o Devo. Es decir, que estamos ante otra banda que tiene la década de…

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i fink i got on the wrong ship

L’innovazione e l’importanza globale del punk si era canalizzata nei disagi e nei lati più crepuscolari, violenti e corporei del post-punk. Raramente il mondo post-punk è uscito dal regno delle ombre fino al 1984, fino al New Romantic o fin quando la new-wave è diventata synth-pop. I Felt erano amanti di Lou Reed, di Peter Gabriel, dei T.Rex e degli – udite udite -  Yes (ispirazione che hanno sempre dovuto declinare perché era impensabile ascoltare ancora prog nei primissimi anni ’80) !!! Ma soprattutto Lawrence Hayward amava Tom Verlaine e i Television, sia per l’animo poetico del frontman e sia per i suoi soliloqui con la chitarra. E Hayward finirà per creare i suoi Felt: una creatura intima, calda e introspettiva; essi appartengono al mondo malinconico del post-punk ma emergono di più sul lato etereo e rilassante pescando dal cappello delle influenze i The Wake e i Cocteau Twins.

La voce tremolante e afona, i testi poetici con vocaboli ottocenteschi, le meravigliose e uniche chitarre… Lo strumento di Hayward è la vera voce principale; lo si sente nella meravigliosa, straziante, solitaria “Evergreen Dazed”: un’intro strumentale dove la chitarra solista canta letteralmente. Non ci sono overdrive, non ci sono iper-tecnicismi, anzi, spesso si sente quella registrazione casalinga dove una nota difficilmente suona come l’altra, passando da una vibrazione a un’incertezza. Ma Hayward è un chitarrista eccezionale, ha un passato classico da autodidatta che decide di rinunciare alla classica posizione-impostazione da chitarrista standard per diventare un cantore orfico privo di assoli ma non privo di bravura. Tutti i brani hanno una batteria appena accennata, la chitarra senza overdrive con eco e flanger che dipinge bianchi paesaggi nebbiosi di rugiada. In “Worship the Sun”, unico esempio abbastanza movimentato, si sentono i Velvet di Loaded; tutto il resto del disco è un ipotetico matrimonio fra “Marquee Moon” e “Sugar Hiccup”. Dopo quattro album sull’inglese Cherry Red Records arriveranno ad essere corteggiati e conquistati dalla Creation Records la quale non apporrà su di loro il suo classico trademark fumoso e fumogeno ma li lascerà andare un pochino più verso il folk-rock con delle vocalità appena più intonate, le chitarre sempre in primo piano ma, ahimè, con meno desolazione.

The Vampire Aesthetic

Ok so Danny knows two billionaires personally and they really couldn’t be more different. Yet they had one thing in common. A vampire aesthetic. Sam is fully into goth. Spiderwebs, bats, the color black. She enjoys fangs and fake blood and the darkness of her soul. Meanwhile, Vlad is Vlad. If his name wasn’t enough, the dark clothing, pale skin, and flying around with a cape and fangs with coffins in his mansion really sells it.

Danny doesn’t know many rich people so he thinks this might be some kind of trend. (If Paulina is rich, her family likes the chupacabra) So he just thinks that all rich people have some kind of vampire thing going on.

Cue Danny somehow ending in the Wayne household. Maybe he was brought over as a friend of one of the bats, maybe rescued from a field trip/vacation gone wrong, maybe some other situation. But he is there in civilian form with civilian Waynes and Danny just takes a good long look around the inside of the mansion.

“So where’s the vampire aesthetic?

Everyone freezes.

Danny just starts looking around, checking behind paintings and feeling the walls for secret levers. Used to secret passages with Vlad and possibly Sam. The Fentons definitely had them when they were temporarily rich.

“Come on, I know you guys are hiding it.”

Cue the entire batfamily thinking that this is another Tim and that he is fully aware that these people are the batfamily. Danny hangs around the mansion more and the bats just start dropping their disguises and not even bothering to hide stuff around Danny because they assume he already knows. (Possibly even trying to recruit him to be a new bat) Meanwhile, Danny, who does not know these people are batman and his birds, just does not pick up on any of it.

He grew up in a health violation with a giant ballon observatory lab above his head and a portal to the afterlife in his basement. He is a half dead teenager who has tea with the god of time and his godfather is the other parent to his clone child. He’s used to death lazers being scattered across his home and mysterious stains on clothing.

People are weird! He doesn’t judge!

Talking Heads // Once in a Lifetime

will never forgive what corporations have done to feminism and how they have brainwashed countless young girls into thinking this new wave of feminism is how it should be. that they are rebelling by not being basic yet still being as pretty as humanly possible at all times. that the best place a girl can be is a ceo. that womanhood is sacred and divine and specific and cant be dirty or ugly or annoying or come in different shapes and sizes. we are slowly turning back to being pure and beautiful as possible through some warped ass tiktok “spirituality”

Chrissie Hynde (The Pretenders), Pauline Black (Selecter), Debbie Harry (Blondie), Poly Styrene (X-Ray Spex), Viv Albertine (The Slits), and Siouxsie Sioux (Siouxsie & the Banshees), London, 1980

The McKenzie FIX presents: Time Tunnel

The McKenzie FIX is an indie-pop band with a focus on creating music that combines the flair of modern indie with the huge sound of new-wave. As a result, the music has an 80s-inspired touch while maintaining a modern sound that fits the vibe of the band’s aesthetic.

The group’s most recent single, “Time Tunnel,” stands out as a perfect example. The song happens to be the follow-up release to The McKenzie FIX’s excellent previous work, “The Beginning Of The End.” It shows the band’s willingness to keep expanding its creative horizons and try new ideas with its music. The groove of the bass and the swing of the beat have a retro charm, which might remind the audience of classic tracks such as “The Killing Moon” by Echo & The Bunnymen.

Even the title of the song, “Time Tunnel”, is reminiscent of the plot of Donnie Darko, the iconic and otherworldly movie that made the aforementioned song popular with a new generation of listeners. I’m not going to spoil anything if you haven’t seen this flick, but if you have, you probably will understand what I’m talking about! This isn't the first time the band nodded at amazing movies in their music, and this “Easter egg” is amazing, but The Mckenzie FIX isn’t just about nostalgia.

This song offers a punchy, bright approach that brings a breath of fresh air to the 80s influences, updating the sound for 2023 while staying true to its roots. The sprawling synth landscapes match the punchy electronic beat and the melodic vocals, which soar through the instrumental mix without ever overpowering the balance.

Find out more about The McKenzie FIX, and check out the band’s music on Spotify: “Time Tunnel” will be available soon!

Find this band, and more amazing music, on our playlist!

The Salt Collective - Life

Salt es una especio de colectivo musical que se formó en Francia allá por 2015. En un principio era un proyecto creado por Ken Stringfellow y Stéphane Schück, pero poco a poco se fueron uniendo otros miembros como Anton Barbeau, Fred Quentin, o Benoit Lautridou. Llegaron a publicar un álbum de debut llamado ‘The Loneliness of Clouds’, el cual pasó bastante desapercibido, y nunca más se supo de…

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Cocteau Twins – Treasure (1984)

11 Essential Synthwave Albums

Kavinsky | OutRun

Starcadian | Midnight Signals

The Midnight | Endless Summer

FM-84 | Atlas

Night Runner | Starfighter

FM Attack | Stellar

Lazerhawk | Redline

Trevor Something | Synthetic Love

Miami Nights 1984 | Turbulence

NINA | Sleepwalking

Timecop1983 | Night Drive

And I mean the music has to actually be considered goth, you can't be like "Taylor Swift is goth to me (*＾＾*)//" on here

If you vote please rb so I get a larger sample