Category: Post-punk

Top 25 concerts of 2025: #’s 10 – 6

So…many…concerts. They’re my favorite way to spend my paychecks, really. Which were among the top ten I saw last year? Read on, my friend.

#10: Frankie and The Witch Fingers – September 28, 2025 – Levitation Austin – Austin, TX 

FATW never disappoint live. This set at Levitation Austin felt like they were playing in a hurry in the best possible way. They wasted no time on the stage and had the whole place going bonkers the entire time.

#9: Kadavar – June 27, 2025 – Levitation France – Angers, France

I hadn’t seen Kadavar since they played at the first Austin Psych Fest I attended back in 2013. They even mentioned how they hadn’t played a Levitation festival since then. They sounded great and played a great showcase of their evolving sounds from doom metal to psych-rock.

#8: The Limiñanas – June 28, 2025 – Levitation France – Angers, France

Speaking of great shows in France, seeing The Limiñanas on their home turf was the top priority for me at Levitation France last year. It was a great set that even included a cover of The Cramps’ “TV Set.” I still don’t know why they didn’t close the night and the festival. That honor went to Boy Harsher, who did a fine job, but The Limiñanas were a tough act to follow.

#7: Castle Rat – September 26, 2025 – Levitation Austin – Austin, TX 

If you’re looking for a band to open your festival, you can’t do much better than Castle Rat because they set such a high bar on Day One of Levitation Austin that all the other bands that day were scrambling to catch up to them. The set included a swordfight with the Grim Reaper, a resurrection performed by a Plague Doctor (the bassist), and an eternal quest to keep a book of souls from an evil wizard. The line at their merch booth was at least twenty minutes long for several hours afterwards.

#6: Viagra Boys – September 17, 2025 – The Salt Shed – Chicago, IL

The last time I saw Viagra Boys at the Salt Shed, it was at a sold-out show inside the main building. This time it was a sold-out show on the exterior stage and it was just as bonkers. People in shrimp costumes, custom Shrimptech jackets, and wiener dog shirts were everywhere. They sounded wild and weird, which is exactly what you want from them.

Who’s in the top five? Two longtime favorites, a reunion tour I almost didn’t get to see, and two bands I wasn’t sure I’d ever get to see live. Come back tomorrow!

Keep your mind open.

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Review: Lowsunday – Low Sunday Ghost Machine – White EP

Coming back with their first new music since 1999, Lowsunday bring you a lot of heavy shoegaze riffs, post-punk bass, and psychedelic reverb on their Low Sunday Ghost Machine – White EP.

“Nevver” (Or is it “Newer?”) has lead vocalist Shane Sahene musing over how apathy has overcome him (“I used to care too much. Now I can’t care less.”) while Bobby Spell‘s near-disco bass line rumbles around him. “Call Silence” is a slick track of gothic shoegaze about missing a loved one after a breakup or a death when you realize they’re no longer going to answer your call.

On “Soft Capture,” Sahene realizes he’s the problem with lyrics like “I wish I believed you and I weren’t sick of me.” The Joy Division influence on the track is evident with its thick bass, spacey guitars, and distant vocals. “You Lost Yourself” reminds me a bit of early stuff from A Place to Bury Strangers, and has sharp lyrics about games played in relationships like “Some pretend to love while others love to pretend.” The bass and drums work especially well together on this track, too.

The EP closes with the sharp yet heavy “Love Language.” It could be a new darkwave smash. The wall of sound it creates is impressive and a bit intimidating, and Sahene’s hope that learning to love someone will at least slow down the pain inside him resonates with anyone who’s been lonely (AKA all of us).

It’s a good return for these chaps, and an EP that will help you drift into a different headspace for a little while.

Keep your mind open.

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[Thanks to Shauna at Shameless Promotion PR.]

Top 25 concerts of 2025: #’s 15 – 11

More great live shows for you from last year! Who’s in the top half of the list?

#15: Johnny Jewel – September 25, 2025 – Levitation Austin, Austin, TX

Mr. Jewel opened for his own band, Desire, and, for my money, put on the best show of the night at the first day of Levitation Austin last year. It was a showcase of his film scores and covers of other film music ranging from his score to Drive to a David Lynch tribute and giallo-horror tracks.

#14: The Black Angels – September 28, 2025 – Levitation Austin – Austin, TX

The Black Angels always play Levitation. It’s their festival, after all. They help curate it. It was another fine set from them that included many tracks they don’t play often – one of the advantages of not having to promote a new album.

#13: Yin-Yin – September 27, 2025 – Levitation Austin – Austin, TX

These Dutch funk-rockers played their first gig in the U.S. ever at Levitation Austin last year and had the entire place jumping by the end of it. This was easily the grooviest show of the entire weekend, and everyone was buzzing the rest of the day afterwards.

#12: DITZ – June 27, 2025 – Levitation France – Angers, FR

This was blistering post-punk in a heat wave that had gripped almost the entire county. You can see the dust being kicked up from the mosh pit in that photo due to the arid conditions of the park in Angers where Levitation France took place last year. The lead singer had run off-stage, into the nearby lake, and returned covered in seaweed by the end.

#11: A Place to Bury Strangers – September 28, 2025 – Levitation Austin – Austin, TX

The Palmer Event Center in downtown Austin, where Levitation Austin took place last year, is a big venue…and it still wasn’t big enough to keep the volume of APTBS from flattening you as soon as you entered the place. Lead singer and guitarist Oliver Ackermann used the high ceiling to his delight by tossing his now-famous “half-guitar” sky high multiple times. Two friends who’d never seen them until now were left stunned by the end. “That’s like an assault,” my friend Wes said, wide-eyed and not knowing how else to describe it.

Who’s in the top ten? Come back tomorrow!

Keep your mind open.

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Top 25 albums of 2025: #’s 15 – 11

We’re now halfway through my list of favorite albums from last year. Who’s here? Read on!

#15: Lammping – Never Never

Take a trip-hop duo (Lammping) and combine them with a Canadian rockabilly one-man-band who was described by John Waters as “Roy Orbison with a head injury” (Bloodshot Bill), and you get the neat Never Never EP. It sounds like something you’d find in a dusty record bin among “2000s Music – Misc.”, and is well-worth seeking out. It’s the first of four EPs from Lammping, so they’re off to a good start.

#14: King Gizzard and The Lizard Wizard – Phantom Island

Would it be a “best of” year list without a King Gizz album by now, since they release at least one album a year? Phantom Island combines the Aussie psych-rock / thrash metal / rave music giants with an orchestra because…why not? It’s a lush album with as much mystery as its cover.

#13: pôt-pot – Warsaw 480km

Here’s a post-punk band that emerged from seemingly nowhere to knock me back into my chair. “Damn, that’s good,” was my first thought after hearing it. I’m delighted that so many good post-punk bands are still appearing, and this is one of them.

#12: John Also Bennett – Ston Elaióna

This is a lovely ambient record mostly made of synths and field recordings John Also Bennett made around Greece. One song is inspired by the oldest known written song found on a stone pillar.

#11: Paddang – Lost in Lizardland

It’s a French psych-rock concept album about a future world dominated by evil lizard people and a lone heroine in the wasteland trying to defeat them. What more do you need to know?

Come back tomorrow to see who made the top ten!

Keep your mind open.

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Top 25 concerts of 2025: #’s 20 – 16

There were a lot of great shows for me in 2025, and we’re now into the top half of the ones I saw last year — and all of this batch were at the Levitation Music Festvial in Austin, Texas.

#20: The Sword – September 26, 2025 – Levitation Austin – Austin, TX 

Austin heroes The Sword are enjoying their return to touring and this set almost leveled the Palmer Event Center in Austin. The crowd was bonkers for this one and had been digesting a full menu of metal all day before they came out and provided another massive entrée.

#19: Pixel Grip – September 26, 2025 – Levitation Austin – Austin, TX 

Pixel Grip played one of the late night shows on the first day of the festival, and they did it a man down at that. No one minded, however, because they still sounded great and had a loving crowd packed into the Elysium nightclub who were all in the mood to dance and make out, and PG’s live sets are perfect for both.

#`18: Model / Actriz – September 27, 2025 – Levitation Austin – Austin, TX 

“Come on, Austin, we’re all hot!” was the opening call by Model / Actriz’s lead singer, Cole Haden at their Levitation set. They played a hot set of post-punk that had the crowd roaring by the end and made a lot of new fans.

#17: Boy Harsher – September 25, 2025 – Levitation Austin – Austin, TX  

Speaking of bands with roaring crowds, Boy Harsher packed people into the Stubb’s outdoor stage area on the opening night of the Levitation festival. It was a sexy, fun set that was a good one for the first night of headliners.

#16: Desire – September 25, 2025 – Levitation Austin – Austin, TX 

While we’re on the subject of sexy fun, Desire brought plenty of it at Elysium when they played a late-night set at Levitation. Black leather and latex, love songs, lust songs, and cat-like grace across the stage.

Who makes it into the top fifteen? Come back tomorrow!

Keep your mind open.

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Top 25 albums of 2025: #’s 20 – 16

It’s time for the top twenty of the 40+ albums I reviewed last year. Who’s in the top half?

#20: The Quality of Mercury – The Voyager

This one came out of nowhere and landed much like the alien craft on the cover. It’s a sharp mix of electro, prog-rock, and shoegaze…all done by one guy riffing on the idea of lonely spade travel.

#19: Fugue State – In the Lurch

Wild garage punk that will leave your stereo system feeling like the wreckage on the album cover. This is another band who came out of nowhere for me that I was glad to find.

#18: Dog Lips – Danger Forward

Loud, brash, and energetic post-punk here that stresses the punk more than the post. This was another band that came out of nowhere. Good stuff lies ahead for them, and for you if you snag this record.

#17: Birds of Nazca – Pangaea

Two Frenchmen making cosmic rock that sounds like it was made by at least a quartet because it’s so damn heavy and loud. It’s all instrumentals, too, which I love.

#16: Anika – Abyss

It’s always good to hear Anika, who returned in 2025 with another sultry and spooky record. Anika has a voice that can instantly hypnotize you, and her dark electro music is always alluring. I still need to catch her live one of these days.

Who’s in the top fifteen? You’ll have to come back tomorrow to learn that.

Keep your mind open.

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Mandy, Indiana sign to new label and announce new album.

Photo Credit: Charles Gall

Mandy, Indiana sign to Sacred Bones and announce their new album, URGH, out February 6th, with lead single “Magazine.” On URGH, Mandy, Indiana is a force of uncanny nature, grafting together a record that is as much a call to action as a parlay into oblivion and transcendence. Following their acclaimed 2023 debut, i’ve seen a way, URGH finds the band expanding their far-reaching sound with each member — vocalist Valentine Caulfield, guitarist and producer Scott Fair, synth player Simon Catling, and drummer Alex Macdougall — actively taking part in the songwriting process. Across ten tracks, Mandy, Indiana interpolate their own unconventional language into a mantra for self-determination and resilience, forging a template for a brighter future before it fades to black.

Co-produced and co-mixed by Fair and Daniel Fox of Gilla Band, much of URGH was written during an intense residency at an eerie studio house in the outskirts of Leeds and recorded across Berlin and Greater Manchester. The process was shaped by adversity with both Caulfield and Macdougall undergoing multiple rounds of surgeries in the same time frame as the album was being written and recorded. The harrowing experience and the exhaustion of their respective recoveries bleed into the surreality of Caufield’s writing, blurring the line between inner turmoil and external chaos.

URGH is deeply personal, yet also reflects the violent, fractured state of the wider world as Caulfield’s lyrics grapple with assault, systemic indifference, and the omnipresence of pain. While most of the lyrics are in her native French, the emotional clarity cuts through regardless of language. Caulfield still uses her voice as a distorted instrument and a weapon, oscillating between equal parts playful and eviscerating, showcased on today’s single, “Magazine.” The throbbing siren-sound of the song finds the band garnering drama from the juxtaposition of quiet moments and explosive commotion as Caufield sings in French: “Abandon / All hope / Because tonight / I’m coming for you.” The accompanying visualizer was directed by Stephen Agnew.

Commenting on the song, Caulfield explains: “‘Magazine’ is the expression of the frustration and deep-seated violence I felt while attempting to recover from being raped. Just like most victims of sexual assault, I will never get justice, and just like most perpetrators, my attacker will never be punished. My therapist encouraged me to channel my anger into something productive, so here it is: my primal, screaming call for retribution. It is the only way I will ever get to say to my rapist: you hurt me, so I’m going to hurt you.”
 

Watch the Visualizer for Mandy, Indiana’s “Magazine”

Although there are still undeniable “bangers” across the album, from the bristling techno of “Cursive” to the frazzled rap of “Sicko!” featuring billy woods, URGH feels hewn with precise cinema. Fair and Macdougall explain that “a lot of the record is a remix of itself,” a cohesion of the band’s aptitude for collaging sounds and ideas that could operate as a film score or an industrial club night. Where i’ve seen a way drew from escapism, URGH (even from the reactive nature of the title alone) belongs in the physical world, and the artwork by the artist Carnovsky, featuring an anatomical illustration of Andreas Vesalius, underscores the record’s visceral confrontation with the body and its limits.

For Mandy, Indiana, the truth is the only way through. In 2025, the ability to make art that is seen and heard is its own form of protest, and directly addressing these issues is its own reclamation of power and strength in solidarity. URGH is a cathartic first step toward healing and a refusal to let the conversation die.

Mandy, Indiana will tour across Europe next year with shows in London, Paris, Berlin and more. All dates are listed below.

Stream “Magazine”

Pre-Order URGH

Mandy, Indiana Tour Dates
Wed. March 25 –  London, UK @ Heaven
Fri. March 27 – Leeds, UK @ Brudenell Social Club
Sat. March 28  – Glasgow, UK @ Room 2
Wed. April 8 – Dunkirk, FR @ Les 4 Ecluses
Thu. April 9 – Paris, FR @ Petit Bain
Sun. April 12 – Cologne, DE @ Bumann & Sohn
Tue. April 14 – Copenhagen, DK @ Huset
Wed. April 15 – Berlin, DE @ Urban Spree
Thu. April 16 – Hamburg, DE @ MS Stubnitz
Fri. April 17 – Tilburg, NL @ Roadburn
Sat. April 18 – Rotterdam, NL @ Motel Mozaique

Keep your mind open.

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[Thanks to Ahmad at Pitch Perfect PR.]

Review: Beta Voids – Scrape It Off

Congratulations. You just found one of your new favorite punk bands.

Hailing from Astoria, Oregon, Beta Voids have unleashed (a far better description than “released”) their debut EP, Scrape It Off, and given us a much-needed adrenaline shot and kick in the ass.

The first thing you notice about them on the opening track, “Nothing to Me,” is the great interplay between the two lead vocalists – Carrie Beveridge and Mandy Grant. They sing / yell / chant about stuff that you can care about, but they really don’t give a damn. Next you notice Alpha Rasmussen‘s wild, frenetic saxophone running around the studio and your speakers.

On “Meat Head Look” (a song, I think, about guys trying and failing to impress women), you notice Mike Vasquez‘s thudding bass that somehow is able to lock in all this chaos happening across the whole EP and give it free reign at the same time. “Palpitations” roars like Bleach-era Nirvana (thanks much to Dan McClure‘s buzzsaw guitar) if Nirvana dove further down the post-punk rabbit hole instead of the metal one in their early days.

“Alan” is a twenty-three-second tribute to famous people with that name. That’s it. That’s all you need to know, really. “Brain Malfunction” is as bonkers as its title. “Baby’s in Detox” is even crazier and seems to be about being sad about being sober.

The closer, “M-O-T-H-E-R,” is a solid rock track, reminding me of The Stooges and grounded by Seth Howard‘s straight-up garage rock beats. Ms. Beveridge and Ms. Grant either pay tribute to or complain about their moms. I’m not sure. It works either way.

The whole thing works. Beta Voids are here to stomp down doors and on faces. Get in the pit or get out of the way.

Keep your mind open.

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[Thanks to Chad at No Rules PR!]

Rewind Review: The Psychedelic Furs – Here Came the Psychedelic Furs: B-side & Lost Grooves (1994)

I scored Here Came the Psychedelic Furs: B-sides & Lost Grooves at a wrecka stow in Arizona last month. I had no idea this collection existed until I stumbled across it for a mere seven dollars in a used CD bin. The Furs have become one of my favorite bands in the last decade, although I have been enjoying them since I practically wore out their Talk Talk Talk album on cassette back in 1981. I missed a lot of their catalogue because most of it wasn’t available where I grew up. MTV, when it still played music videos, kept me up to date on their newest singles, but that was it.

As a result, this collection has allowed to me hear a lot of great stuff that I didn’t know existed. It starts off with a loud, gritty dance mix version of “Aeroplane” that’s over five minutes long, was produced by Todd Rundgren, and was the B-side of the “Love My Way” 12″ single from 1982.

“Another Edge” (the B-side of the “Here Come Cowboys” single from 1984) is pretty much a krautrock track with Tim Butler adding some great slap bass to the electro-beats and flashy horn section. “Badman” (taken from a promo-only 12″ release of 1989’s “Should God Forget”) has that cool psych-saxophone / spooky bass / cracking drums / drone guitar mix that only the Psychedelic Furs seem to pull off without effort.

“Birdland” is the B-side of the “All That Money Wants” single from 1988, and is a slick, dark bit of shoegaze. Up next is another five-minute-plus, Rundgren-produced dance mix from the 1982 “Love My Way” 12″ single – “Goodbye.” Richard Butler‘s vocals and lyrics are in fine form as he growls about the proliferation of apathy (“Yesterday’s news is today’s news…You don’t remember, you forget, that’s the way the stories all go…I’ll see you all around sometime if I ever go back there.”) and, at the same time, finding strength in leaving negativity.

Speaking of “Love My Way” B-sides, “I Don’t Want to Be Your Shadow” was on the flip side of the 7″ version of that single. It’s has a cool, pulsing beat and a surprising bit of guitar shredding. The 7″ remix of “Heartbeat” from 1984 originally appeared on the B-side of “The Ghost in You” single. It’s another track full of Richard Butler’s bass groove, this time churning out disco funk along with the guitars, and frantic saxophone blasts.

A cover of “Mack the Knife” (the B-side to the “Angels Don’t Cry” single from 1987) is a fun inclusion, barely recognizable, and a dark, broody version that turns the title character into someone probably found more in dark basement clubs than swanky jazz affairs. “New Dream” (taken from the 1987 “Heartbreak Beat” 12″ single) is a slick blend of 1980s city pop, shoegaze, psychedelia, and a goth of goth. It reminds me of some of The The‘s work from the same era. The guitar solo on it from John Ashton is especially good. Mars Williams was also on saxophone by this point, and you can hear how much he elevates the band right away.

The 12″ remix-edit version of “Here Come Cowboys” from 1984 is another fine example of Richard Butler’s vocals and lyrics, this time taking a jab at masculine stereotypes (“It’s so hard at times to take it serious. It really gets to be a drag when all we really need is love. Here comes cowboys, here to save us all.”). You can practically feel Butler sighing as his eyes roll upwards at the idea of angry dudes screwing things up yet again.

The extended 12″ mix (over eight minutes!) of 1987’s classic “Heartbreak Beat” is top-notch. The 7″ remix of “Angels Don’t Cry” from the same year is a picturesque love song that borders on pop-alternative, another type of song the Furs do well while other shoegaze bands chose to cover their feelings on love with walls of sound (which isn’t a bad thing, by any means, and can be quite effective and evocative). Want another remix from 1987? How about Shep Pettibone‘s 12″ remix of “Shock?” It turns the track into a nightclub hit with bright vocals, saxophone, and synths but never losing it’s rock edge.

The last two tracks are live cuts. The first is a recording of “President Gas” (a song that, unfortunately, never goes out of style) on The King Biscuit Flower Hour from 1983 and was on the B-side of the “Run and Run” single. The second is “No Easy Street” and was only released on maxi-cassette (Remember those? They were cassettes that featured one song per side.) in 1988. Both are sharp recordings. “President Gas” is fuzzy and growling, while “No Easy Street” is haunting stuff that borders on dark wave at some points.

This collection is well worth tracking down if you can find it, and it begs for the Furs to release a large retrospective. There has to be a vault of live cuts, demos, and other rarities somewhere on top of their already impressive catalogue.

Keep your mind open.

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Boston punks La Peste to release big compilation album of rare 1970s tracks.

The story of La Peste can be traced back to a flier Peter Dayton saw in Central Park. The future frontman was visiting New York for a concert that had just been canceled. While wandering in search of something else to do, he came across an advertisement for a show at someplace called CBGB, featuring a band of mischievous looking guys in leather jackets, The Ramones. It was October 26th, 1975. He hadn’t heard of them, or of punk itself. Figuring what the hell, why not, he headed down to the Bowery to check out the show.

Dayton returned to Boston a changed man. “I stood there for 22 minutes, and when it was done,  I was like, well, fuck, man, I want to do that,” he says. “And within two and a half years, I was opening for them.” 

So begins the story of Boston’s first true punk band. Born as a group of art students who had never played instruments and over a few short years becoming a foundational influence for a Boston music scene that would go on to produce some of the most important and boundary-pushing American bands of the ’80s. They played with the Ramones, worked with The Cars’ Ric Ocasek and earned the attention of the legendary BBC DJ John Peel all with only one single (1978’s “Better Off Dead” to their name). 

Today, Wharf Cat Records are announcing the release of a new compilation entitled I Don’t Know Right From Wrong: Lost La Peste 1976-1979 Vol. 1 that will air the band’s unreleased recordings. Due out on April 17th of 2026, the collection tells the full story of La Peste with a presentation of the band’s unreleased studio and loft recordings along with the two tracks that were officially released during the band’s run. The material in this compilation comes from the Better Off Dead 7” sessions, their 1978 studio session with Ric Ocasek, a 1978 session at Electro Acoustic Studios, 4-track loft recordings made by Boston punks Billy Dafodil and Dave Cola in 1977 and the band’s first ever studio sessions in early 1977.

On the A and B sides of this collection Peter Dayton and Mark Andreasson give their first shot at sequencing the La Peste LP that they never got a chance to make. The C side features the tracks from the loft recordings that were not used on the A and B sides. Side D is a window into a nascent La Peste and features studio and 4-track recordings with Curt Naihersey (Pastiche, The Kids, Mr. Curt). The D side also includes a rare curiosity from the La Peste catalogue, their collaboration with Lord Manuel, “Computer Love,” from a sought-after split 7” on Joe “The Count” Viglione’s Verulven label with The Neighborhoods & Lord Manual on the b-side.

To mark the announce Wharf Cat are sharing the Ocasek-produced track “I Don’t Know Right From Wrong” with a brand new video created from archival footage of the band. 

“I Don’t Know Right From Wrong” survives as one of a handful of tracks produced by Ocasek, who acted for a time as a sort of unlikely patron and mentor for the band, and gave them a slot opening for the Cars at Boston’s Paradise Theater. He believed he could get La Peste onto the radio with just a little primping, but had the good sense not to give them a full-on pop makeover. With its ghostly synth line hovering above the band’s earthbound churn, “I Don’t Know Right From Wrong” comes across less like the Cars’ slick new wave than it does like Joy Division—who recorded their landmark debut across the pond at around the same time —albeit with a vocal presence that sounds more inclined to nervous mania than catatonic depression.

Peter Dayton says of the track:

“We didn’t really know right from wrong when we formed La Peste. But the song was always great live and everyone believed me when I sang it. It had 2 chords which made it an amazing song for it’s utter simplicity.  When I went back to these lyrics to write them all out I couldn’t believe how repetitive I was. The verses were usually very similar and the choruses were almost like I was shouting a political slogan. Our fans had a real connection with each song and often sang along, even though they might not have understood them.”

Keep your mind open.

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[Thanks to Tom at Terrorbird Media.]