Respect: https://www.youtube.com/watch?v=P76gpuKhTzY

Post-Punk & Synth Pop Shower (70s to 2025)

Pic: Maximo Pedraza (http://www.flickr.com/photos/maximopedraza)

Soko - Monster Love (feat. Ariel Pink)

Candy Walls

► Official website: www.teklix.net
► Facebook: facebook.com/teklix
► Instagram: instagram.com/teklix.official
► Spotify: spoti.fi/2UJud8X

Beatport

Blind Dreams (Original Mix) Preview

Side A on the new tour single for Makthaverskan. Out digitally now!

Out on 7" March 3rd in Scandinavia, April 18th in the US. 

Makthaverskan - Witness

If love can’t outlast the grave, then what’s the point of it all? Blood Red Roses offers a tale of love as both a blessing and a curse, a lover’s spell that binds and breaks. The lyrics speak of the painful grip of desire, where passion cuts deep, and the roses bloom with both beauty and brutality. It’s a song of torment, of being bound to a love that wounds as much as it seduces. The heart, though shattered, is drawn ever closer to the sweet destruction. Blood Red Roses weaves a rich tapestry of religious themes and metaphors, invoking the crucifixion—the ultimate act of sacrifice—and the unwavering faith in resurrection. In the realm of gothic literature, parallels are drawn between the holy communion and the dark covenant of iconic vampires like Nosferatu, Dracula, and Vourdalak. Legends recount how those who witnessed such haunting spectacles etched their tales into history, whispering of eternal life.
In this context, roses—deep crimson and tinged with blood—become powerful symbols of a love forged in sacrifice. The inspiration for writing Blood Red Roses emerged from a serene moment of introspection, its haunting hook taking shape during a meditative moment when frontman Pete Mills drifted beyond time into a spiritual plane. The themes explored in the track also delve into a toxic love that spirals into depravity yet clings desperately to the flicker of hope for rebirth and redemption—all things part and parcel regarding religious fervor and pacts sealed in blood.

The video for the song, inspired by Denis Villeneuve’s Dune adaptation—particularly the infrared scenes of Feyd-Rautha (Austin Butler) in the arena—was shot by Ellen Hawk. It showcases Mills’ multi-instrumental talents and mirrors the song’s intensity, capturing the complex emotions at the heart of Blood Red Roses.

Released at the spawn of Autumn as the world shifts into the cold of winter, Blood Red Roses keeps those, who dare to love, warm throughout the storm.

Blood Red Roses

Vive la Fête - Noir Désir

Fogo Branco

Ficas bem perto de Deus
De garrafa na mão aos céus
Uma vida sem saída
Trago de escárnio poesia

Anda comigo e dá-me a mão
Bons costumes deixados no chão
Dar sangue por um Sheridan
Chá de alecrim e avelã

Banco de trás
Diz só para mim
Juras de amor
Quero fugir
Beija-me os lábios
Volta para mim
Senta-te ao colo e bebe uma Pepsi

Esta saudade e ausência de viver
Se o amor não tem idade quero amar até morrer
Fogo branco para sempre
Vou de escárnio a trovador

Ficas bem perto de Deus
De garrafa na mão aos céus
Uma vida sem saída
Trago de escárnio poesia

Anda comigo e dá-me a mão
Bons costumes deixados no chão
Dar sangue por um Sheridan
Chá de alecrim e avelã

Fogo branco para sempre
Fogo branco para sempre
Fogo branco para sempre
Para sempre
Para sempre
Ámen

Fogo branco para sempre
Fogo branco para sempre
Fogo branco para sempre
Para sempre
Para sempre
Ámen

Fogo branco para sempre
Fogo branco para sempre
Fogo branco para sempre
Para sempre
Para sempre
Ámen

Fogo branco para sempre
Fogo branco para sempre
Fogo branco para sempre
Para sempre
Para sempre
Ámen

Ficas bem perto de Deus
De garrafa na mão aos céus
Uma vida sem saída
Trago de escárnio poesia

Anda comigo e dá-me a mão
Bons costumes deixados no chão
Dar sangue por um Sheridan
Chá de alecrim e avelã

Fogo Branco

Vocals : Oleksii
Drums : Giovanni Maucieri
Mastering: Ben Mas

RUN AWAY

nightschoolrecords.bigcartel.com/artist/m…-nilsson

A sweeping, cinematic, emotional change is in the air. Molly Nilsson’s sixth studio album Zenith begins with clear, wide eyes open to Earth as we would love it to be but seldom is. Recorded in her home of Berlin and whilst touring and, as ever, conceived, produced, written and recorded in solitude, Zenith is Nilsson’s big statement and consequently her most affecting work to date. It sees her reveling in big arrangements, sweeping synth strings, bigger choruses and emotions. Like the rest of us she looks within and to endless sunsets in wonder and puzzlement.

That Molly Nilsson is a DIY cult figure is beyond question; she has always written directly and with wit straight down the line between the universal and the personal. The difference with Zenith, and you can hear it in the opening chords of opener The Only Planet, is that her scope is now much wider and her heart heavier than ever before: over a post-ecstatic dusk, Nilsson serenades the globe in a loving embrace. Following on, 1995 is, arguably, one of Nilsson’s finest songs to date. It’s one of those songs to learn the lyrics to, to listen to on repeat, a reason to wear the grooves down to the bone, it’s why pop music can be one of the greatest art forms we have. It’s an example of how, on this album, Molly draws the listener closer to her heart than ever before. There’s simply no escape from the line “The plans that you made / when you still had the time / I’ve saved all the things that you left behind but by now I guess I’d consider them all mine /Windows 95, is only a metaphor for what I feel inside / Although I’m older now / there’s still an emptiness that’s never letting go somehow.” Show-stopper Mountain Time is the soundtrack to being on the run, from societal conventions, from normative ideas of happiness, from your surroundings. It’s the intoxicating call of the renegade. That’s not to say that Nilsson’s light touch has been forsaken for grandiose statements. Bunny Club begins as a demo-sketch before breaking into a fast-paced tale of doomed romance with big rave synths and Bus 194 (All There Is) sees Molly joyride through a city on a happy hardcore bus. But it’s tracks like Tomorrow and another contender for best-ever-Molly moment, Happyness that the true scale of what she’s accomplished reveals itself. We’re locked in a spiraling orbit, strings and bass whirling, gazing at the spinning planet below us as we contemplate both the ultimate freedom in loneliness and the glimmer of hope in the Other. Can we ever be truly with someone? Are we ever truly alone?

Over the 13 tracks here we get the impression that Nilsson may always be restless; like anyone else she has conflicting feelings of love and hate. It’s just not many other people can tell you exactly how you feel before you know it yourself.

MOLLY NILSSON: Mountain Time (from Zenith)

BUY VINYL:  http://www.darkentriesrecords.com/store/vinyl/the-frozen-autumn-time-is-just-a-memory-ep/

he Frozen Autumn is an Italian darkwave band, formed in May 1993 in Turin, Italy. Originally the solo project of singer, keyboardist and synth programmer Diego Merletto, guitarist Claudio Brosio joined on during early studio sessions and live performances. Together they recorded and released two albums, “Pale Awakening” in 1995 and “Fragments of Memories” in 1997. In 1998, Claudio left the band and Diego recruited Arianna (aka Froxeanne) who sings, programs and composes. After 18 months of work, The Frozen Autumn's third album, “Emotional Screening Device”, was released in April 2002.

“Time Is Just A Memory” is a 6-track overview of songs from The Frozen Autumn’s first three albums. Characterized by a blend of melancholic vocals, atmospheric gothic-wave and 1980s-style electropop, the duo call their style "frozen wave”. The Frozen Autumn have stated that labelmates Clan of Xymox have been their main source of inspiration over the years. Other influences include Dead Can Dance, Cocteau Twins, The Sisters of Mercy, Xmal Deutschland, David Sylvian and Depeche Mode. These six tracks stand out for their rich melodies, from the  guitar-laden early tracks “Dusk Is Like A Dagger”, “Wait For Nothing”, “There's No Time To Recall”, and “This Time,” to the  electronic sheen on later songs “Is Everything Real?” and “Silence Is Talking”.

All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The release is housed in a custom-made jacket by Peer Lebrecht, from German electro/synthpop band The Dust Of Basement, incorporating a photograph by Diego over a textured background that recalls early 4AD designs. Each copy comes with a double sided 11x11 insert with lyrics and notes.

Dusk Is Like A Dagger

Milk & Kisses

Violaine

Taken from their self-titled debut album 'Exploded View', Out Now!

 New band from Berlin & Mexico City fronted by Anika. 

Download Orlando instantly: https://explodedview.bandcamp.com
Order the LP/CD: http://hyperurl.co/EVAMZ

Facebook: www.facebook.com/explodedviewband/
Instagram: www.instagram.com/explodedviewband/
Twitter: twitter.com/ExplodedViewBnd
Tumblr: explodedviewband.tumblr.com/

Tour dates: bit.ly/1R1m34M

Exploded View

Orlando

Exploded View – Orlando

David Lynch - So Glad

Portishead - Machine Gun

Black Kiss

Invisible

Sunday Best is an eclectic independent record label & the creators of https://soundcloud.com/silver-bear-recordings, 

Contact: info@sundaybest.net

David Lynch - So Glad

Sunday Best

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