Hot on the heels of “Annihilator,” the first new song from Night Sins in over two years, Kyle Kimball blesses us with another track from his upcoming full-length, Portrait in Silver. While the former pulsed and throbbed with hard-hitting EBM beats (accompanied by a remarkable Trent Reznor impression), the latest

Usually, dark songs come from dark places. That’s why when you think of goth, you think of England. Yes, England is dark, not only because it’s mostly cold and damp but also because they were, and sort of still are, one of biggest colonialist countries, and that’s some dark shit

  Emerging from the darkness in early 2016 and spat out of their native Houston, Lace are a blend of vitriolic hardcore and bitter, abrasive post-punk designed to tear down the world around them. Bursting onto the scene playing a brand of aggressive, lo-fi hardcore, Lace began to earn fans

Dancing Chrome has much more of a danceable/industrial/synthpop vibe than your previous releases. I’m excited you took this route because it’s among the best synthpop I’ve heard in many years. What made you take this direction? Was it a natural progression? Thanks for the words. It’s hard for me to

The contemporary classic darkwave band Night Sins, haling from Philadelphia, have finally released their third LP and first on Funeral Party Records, Dancing Chrome. This is their first album release since 2013’s To London Or The Lake, and I’ve gotta say, I absolutely love the direction Kyle Kimball has taken his work.

Since 2009, Population have been making some of the most immersively moody postpunk music out there. Although they hail from the hardcore punk scene’s reclaiming of the roots of postpunk, deathrock, and gothic rock that was kickstarted last decade by bands like The Estranged, the Observers, Deathcharge, and the Spectres,