Thank you to all our fans who made it out to @livewirelounge Chicago for this killer femme-fronted show in honor of women’s history month! Here are some videos from the fan cam and a snippet of live audio of our Black Magic Woman Cover. We love dancing with you!
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47 years ago
Live at the Witch Trials is the debut studio album by The Fall, released in March 1979 and is not, despite its title, a live album.
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Oski XD Doski is a Miami-based genre-bending collective blending surf punk, slacker rock, and analog chaos that is born from “friendship, nostalgia and the beautiful noise of long-distance DIY rebellion.” Last year we shared their track “Le Revengining” and they have since returned with their new album, Latency Issues.
Music & Audio
One of the standouts from the album is single and opening track, “Bonny Wraith…>>READ THE REVIEW ON We All Want Someone To Shout For blog.
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Ecos del Presente: cuatro viajes sonoros entre introspección, ruptura y energía urbana
Oski XD Doski – “Bonny Wraith”
With “Bonny Wraith,” Oski XD Doski kicks off their album Latency Issues with an energy that sits right in that sweet spot between post-punk nostalgia and the laid-back vibe of surf rock. The track starts off with these jittery, angular guitar riffs that quickly open up into a driving, vibrant beat—giving the band’s alternative spirit plenty of room to play around with different textures and moods.
The song feels a bit like a coastal road trip under a gray sky: it’s got that post-punk melancholy in the melodies, but there’s a bright, steady pulse pushing it forward. This mix creates a dynamic sound that isn’t afraid to jump between styles while still keeping its own unique identity.
As the lead single for Latency Issues, “Bonny Wraith” perfectly captures the heart of the project: music born out of friendship, shaped by uncertain times, and built to be an emotional escape. The result is a fresh, slightly quirky track that proves alt-rock can still reinvent itself without losing its soul.
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Check out the latest standalone release from Chicago’s very own bass-duo BELLHEAD.Our version of La Tigre’s “The The Empty” is a burst of energy that bridges the gap between our recent studio output ‘Threats’ and our upcoming run of spring tour dates.
Pick it up for Bandcamp Friday for only a buck: https://bellhead.bandcamp.com/track/the-the-empty
Upcoming tour dates:04/10/26 - WC Social Club - West Chicago IL 05/02/26 - The 808 at Indy CD & Vinyl - Indianapolis, IN - BELLHEAD
05/07/26 - Small’s - Hamtramck, MI - BELLHEAD at Fixation
05/23/26 - World Goth Day Festival - Streaming
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‘Cultural monstrosities!’ The thrilling visual legacy of punk and post-punk – in pictures
From bold anti-Nazi posters to an acid-drenched take on Jean Cocteau, a new exhibition, curated by writer Philip Hoare, shows how influential the DIY designs of the 70s and 80s became
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#Cultural #monstrosities #thrilling #visual #legacy #punk #postpunk #pictures
‘Cultural monstrosities!’ The thrilling visual legacy of punk and post-punk – in pictures
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Flowers for Juno presents: Lipstick and Furs
A stark, textured return that turns fixation into confession.
Flowers for Juno return with “Lipstick and Furs,” the first single since the EP Bacchanalia Coppélia and a sharp reminder of the project’s singular focus. Fronted by vocalist and producer Benjó James, Flowers for Juno has been described as gothic rock, but the new track leans just as heavily on shoegaze haze and darkwave density. The result is thick with distortion and atmosphere, yet anchored by a direct and almost confrontational hook.
According to James, the song arrived during a period of collapse. Around the time of Bacchanalia Coppélia, he was recovering from alcohol poisoning, broke and largely confined to bed. Recording new music was not a priority. Still, within minutes of picking up a guitar, the skeleton of “Lipstick and Furs” took shape. Two weeks later, it was released. That urgency is audible. The track feels less sculpted than summoned.
Musically, “Lipstick and Furs” builds a wall of melody from layered guitars, fuzz bass synthesiser, and programmed drums. James handles nearly every element, from mellotron and electric sitar to samples and drum programming. The arrangement is dense but controlled, with textures stacked in a way that suggests both shoegaze maximalism and post punk restraint. The Northumbrian harp by Freja Crozier threads through the mix on this and the accompanying tracks, adding a brittle, almost medieval tone that offsets the electronic undercurrent. Tyrion “Bigfoot” Jackson’s slap bass adds a brief flash of physicality, grounding the swirl in something tactile.
Lyrically, the song circles around fantasy and projection. The narrator lists a series of stylized female figures, defined by clothing, accents, and surface details. Lipstick, furs, designer purses, fake tan, hoop earrings. The repetition becomes deliberate and uncomfortable. These are not portraits of people but constructed images, assembled from desire and distance. The chorus reframes the catalogue as unattainable fantasy, repeating the idea that the object of desire is far away and unreal. What begins as bravado shifts into something closer to confession.
There is a tension between the exaggerated imagery and the emotional undercurrent. The named references to glamour, excess, and cultural signifiers echo the decadent tone of Bacchanalia Coppélia, yet here they feel hollowed out. The repeated invocation of that earlier title within the song suggests a self-aware callback, as if James is confronting his own mythology. The fantasy is not celebrated so much as exposed. The fixation becomes a symptom rather than a triumph.
Production plays a central role in that shift. The guitars are smeared and heavy, but the vocals cut through with clarity. James does not bury the words under reverb. Instead, he lets them sit close to the surface, forcing attention onto their bluntness. The contrast between lush instrumentation and stark repetition sharpens the theme. Texture becomes a frame for something raw.
“Lipstick and Furs” stands as both relapse and recovery, a song born from physical and financial low points yet shaped into something controlled and deliberate. It does not romanticize the fall that preceded it. Instead, it turns fixation into structure, fantasy into repetition, and excess into sound. In doing so, Flowers for Juno sharpen their identity without softening their edges.
With “Lipstick and Furs,” Flowers for Juno continue to refine a dark, textured language that feels both self-aware and unsettled, pushing forward from the shadows cast by Bacchanalia Coppélia.
We also had the chance to ask the artist a few questions: keep reading for more!
“Lipstick and Furs” was written during a period of physical and emotional collapse. How did that state shape the song’s directness and repetition?
I’m not sure if it did. I was in a very, very, dark place and by the grace of God I managed to write, record, and release a song. I could barely get out of bed but I somehow managed to pick up my guitar. It’s a mystery.
The lyrics revolve around constructed images of desire and fantasy. Do you see the narrator as sincere, ironic, self-critical, or something in between?
Something in between. He’s being tortured by his fixations.
You reference Bacchanalia Coppélia within the song itself. Was that meant as a continuation of that chapter, or as a way of confronting it?
“Coppélia” is my favourite ballet, the titular character being an incredibly beautiful woman…who turns out to a life sized doll. As for bacchanalia? Excessive drinking has been a huge part of my life. So lyrically it makes perfect sense.
The production layers guitars, fuzz bass synthesiser, harp, and programmed elements. How do you decide when a track has reached its limit texturally?
It’s never a conscious decision. My December single “My Bloody Kisses” was more straightforward in its composition, whereas on “Lipstick and Furs” I just instinctively kept adding more sections and instrumentation.
You handle nearly every aspect of the recording process yourself, from writing to mastering. Does that total control feel freeing, isolating, or both?
Liberating for the most part. The track’s got harps, sitars, mellotrons, samples, and heavy distorted guitars…backed by a drum and bass beat played on a metal kit. Working alone allows me to go full ‘mad scientist’.
What did you want listeners to feel or question after hearing “Lipstick and Furs”?
I don’t. The pleasure is in my creating it.
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OSKI XD DOSKI drops latest LP Latency Issues
The Sound of the Half-Second Delay
The title isn’t metaphor alone.
Recorded across cities and time zones, the album embraces the lag — the slight digital stutter between idea and execution. Instead of editing out imperfections, the band leaned into them.
Danny explains:
“These songs weren’t built in a boardroom. They were passed between cities, across time zones, through half-working interfaces and late-night voice notes. You’ll hear the glitches. That’s the point.”
The result?
- Folk-punk instincts running through broken pedals
- Garage grit with a sideways grin
- Dance rhythms that don’t fully trust the dance floor
- Melody wrapped in distortion
It’s messy. It’s intentional. It’s human.
Listen Now
Latency Issues is available on Bandcamp.
Support directly. Share recklessly. Play it loud.
Four hideous idiots.
Still making noise on Earth.
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Él Zafra presenta: L45 4GUJ45 (LAS AGUJAS)
“No hay mucho que contar para esta canción, sino mas que sentir.. el tiempo pasa en nuestras cabezas cuando tenemos expectativas rotas! entre el pudo ser y el no es.. el tiempo es lo único que siempre esa ahí! con sus agujas de reloj girando y girando, susurrando ideas o recuerdos sin tregua”, Él Zafra.
‘Se abrió el portal, nada será como pensé"
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First single and official video for 30 DENARI
The wait is over!!!
“Modern Era Working Class”, the first single from 30 DENARI’s album “Kindly Plotting For Riot”, is available on YouTube thanks to the official video created by Zibernaugh Studio.
Here is the link: https://youtu.be/3a98a2_KonE
Singer Crez Adrenalink Dojo introduces us to the song by summarizing its concept and sound: “This song is for those who wake up tired and go to sleep still thinking about tomorrow. For those who sacrifice hours of their lives just to stay afloat in an increasingly heavy world. It’s about working hard and still not reaching your goals, about being told to wait, to resist, to compete, while everything you have is slowly squeezed out.
The sound is nervous and pulsating: post-punk rhythms fueled by tension, electronic undertones creeping into the noise, mirroring the anxiety, pressure, and constant movement of modern working life.
This is not a story of failure, it’s a story of survival, of pressure, of dignity and of the strength that comes from standing together.
This is the modern working class!”.
“Kindly Plotting For Riot” will be released on April 24th.
Expect a visceral journey, almost a hypnotic and cutting ritual, able of combining mechanical impulses and emotional tension. The music has its roots in the Post-Punk and New Wave scene (Joy Division, Bauhaus, Killing Joke, Coil, Gary Numan) and in more contemporary visions such as Nine Inch Nails, Editors, and Chelsea Wolfe, but it also pays homage to the Italian PUNK and POST-PUNK scene represented by Negazione, Kina, Franti, Diaframma, Disciplinatha, and Limbo / Pankow.
PRE-ORDER CD and LP at: https://t.ly/Ylu3d
Digital distribution: Sodeh Records
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Hi i don’t know how to use tumblr Look what i bought with my lunar new year’s money