One of our favourite bands, Switzerland’s WolfWolf, return with a new single in The Bloody Kiss, the first single from their upcoming album In Delusion and their initial release with the Hamburg based Rookie Records.

The Swiss garage punk duo again delve in the grim with the track with the central theme being madness as a societal phenomenon. The song tells the story of an apparently trivial injury that, in the perception of the main character, transforms into a vampiric myth. With reality tipping into fantasy with fear becoming narrative. As with previous releases The Bloody Kiss is philosophical. In this case, an observation of how people construct meaning when control is lost.

Musically, the duo stays true to their raw, stripped-down approach, while expanding their sound with a subtle psychedelic touch. Driving drums, distorted guitar, and an underlying melody magnify the song’s inner tension. Direct, intense, and deliberately uncomfortable, as with all WolfWolf songs, The Bloody Kiss is the perfect opening chapter of In Delusion, an album that focuses less on death and more on collective illusions, psychological states of exception, and the societal rituals of madness. No confessions. No autobiography. Just stories observed from the outside and sharpened until they hurt. I am sure In Delusion will be a fitting follow up to the grand vinyl that is Totentanz.

WolfWolf are touring in support of The Bloody Kiss playing around Switzerland and Germany.

https://wolfwolf.bandcamp.com/music

A new band has come to our attention. Melbourne’s Roarcuss (six women over a certain age with no fucks to give) are a punk/ska outfit of rhythm plus hornbag section formed in late 2024. They began playing shows to receptive and riotous audiences in 2025.

Boasting three singer/songwriters, and a poet, Roarcuss write songs tackling big issues like misogyny, shrinkflation, and good drying weather with irreverence and humour, reminding us to laugh loud while rocking hard.

Their debut single, Fuck AI, is a bombastic track with the horns acting as the perfect punctuation to the protest shouts of the title as the songs opens on the chorus. The verses are cleverly worded list of justified grievances. Roarcuss have wrapped all of this in an anthemic composition with a theatrical feel immediately making the song visual, with a powerful punch. Fuck AI feels grand and powerful.

https://roarcuss.bandcamp.com/track/fuck-ai

Perched on the edge of the Darkwave, Coldwave, and the Gothic scene, Loki Lockwood and Holly Purnell inject a unique twist to these genres. Full of powerful themes (both musically and lyrically) and dark aesthetics, Velatine have another triumph in We’re Not Suburban.

Both the music and lyrics, float hauntingly around your head like a dream. Loki orchestration paints a sweeping soundscape as Holly’s vocal delivery feels like an ancestral spirit whispering in your ear, bestowing the wisdom you need to hear.

Visually, We’re Not Suburban, as with previous Velatine releases, is accompanied with an artistically crafted video in red, black, and the subtlest touch of blue.

Scattered with dark imagery, feelings of isolation, and an unsatisfied impression of society’s complacency that stifles our potential, Velatine articulate the misfit’s call to greater things. Something that deeply resonates in myself at the moment and I, for one, am grateful to them for it.

“This song is one of my stories, written for Holly soon after we embarked on this journey together. A message if she ever needs a reason to keep being true to her calling of a creative life. So, as Holly and I push Velatine forward, this is our anthem.” – Loki Lockwood.

Now we dream of what we want. Our dreams are filled with why we’re not suburban.

https://velatine.bandcamp.com/track/were-not-suburban

Fresh from a second tour across Europe, Industrial Synth Crust artist Schkeuditzer Kreuz (alias Kieren Hills) announced the new remix collection, Schkeuditzer Kreuz is Reinventing Axel F – Swan Grinder Remixed, a companion release to the third studio LP, Swan Grinder, ahead of the upcoming Swan Grinding Oceania Tour of Australia and New Zealand.

The album features seven of the eight tracks from Swan Grinder, overhauled by UK industrial-darkwave giants ATTRITION; US anarcho-breakcore artists Distruster, Robert Inhuman of Realicide / Decide Today, experimental Siberian-Canadian artist Alia of the Knife from Subterranea, Brisbane’s electro-industrial outfit Hostile Architect, and Sydney industrial-gabber project Mattblackshotgun. Schkeuditzer Kreuz completes the collection with their own Missed Meds Mix of Poor Impulse Control.

“I love putting these remix albums together – hearing how other people take apart my tracks and put them back together in their own image is an amazing feeling.  And this time the range of sounds is huge – from oversaturated distorted breakcore, to reimagining with traditional Arabic instrumentation, and pretty much everything in between.  This is a huge part of what electronic music is to me – the possibility of pulling everything down and building it up again from scratch in totally different ways, so I’m very excited to get this out in the world and into people’s ears.”

The Australian leg of the international Swan Grinding Tour kicks in from November to December 2025, before returning to Aotearoa for Auckland and Wellington shows in January 2026. Reflecting on the recent tour of Europe, Kieren says the best thing was the sense of community everywhere he went.

“I played gigs across the continent from Armenia to Sweden, from Poland to Spain, and everywhere I went there were these amazing communities of people – putting on shows, being involved in their local squat or bar, or just turning up to have a great time and support touring artists.  I felt so welcome and wanted everywhere I went, and that is such a huge part of what we do. This record, Swan Grinder, is the best music I’ve made.  I feel like I’ve managed to get the sounds in my head onto record the way I want them, and I’m so excited to take those songs on the road and play them to people who may well have seen me before, but I feel like this is the best I have ever been, particularly when I’m fresh from playing 30 odd shows across Europe.  I feel like I am on and I’m stoked to be taking that out there on the road.”

“It’s been two years since I was last in New Zealand and they have been two extremely busy years. I’ve toured a fair bit of the world, released this new album, and worked to get myself, my performance where I want it.  So, to bring that back to NZ, to my home country, and to my friends there, means a lot to me.”

Variously termed Industrial Synth Crust, D-Beat Raw Synth Punk, and One human and some machines making noise, in the face of it all, Schkeuditzer Kreuz is a mutant post-apocalyptic hybrid. An intersection between harsh, confronting, mechanical noise and the comparatively raw, organic materials of Hardcore, Crust, and D-Beat punk. It is a noise wrought from the anguish and despair of Antipodean punk veteran Hills from a cabin that he built in the Blue Mountains in Australia.

Since 2020, Schkeuditzer Kreuz has released three full-length studio albums. Isolated and Alone in 2021, No Life Left in 2023, and the latest offering Swan Grinder this year. Alongside a raft of singles, videos, EPs, split-releases, compilation tracks, and remix collaborations Swan Grinder has quickly become the most widely acclaimed release of the project yet. Praised internationally Schkeuditzer Kreuz remains in constant live demand worldwide, while Kieren has also become a touring live member of pioneering UK industrial legends, ATTRITION.Schkeuditzer Kreuz is Re-Inventing Axel F – Swan Grinder Remixed is available both as a standalone digital release, and a physical bonus disc as part of the new Swan Grinder Double CD issue.

Swan Grinding Oceania Tour

Australia 2025

Friday 21 November – Banshees Bar & Artspace, Ipswich

Saturday 22 November – Vinnies Dive, Southport

Sunday 23 November – Old Ambulance Factory, Nambour

Saturday 29 November – Hotel Metro, Adelaide

Saturday 6 December – Café Gummo, Melbourne

Sunday 7 December – Blacksound Records, Melbourne

Saturday 13 December – The Croatian Club, Newcastle

Aotearoa 2026

Friday 23 January – Dead Witch, Ding Dong Lounge, Auckland Saturday 24 January – Underworld Tavern, Wellington

https://dorfpunk.bandcamp.com/album/reinventing-axel-f

Originally formed in the late nineties, Melbourne-based KTV were put together by Kat O, whose previous Riot grrrl band Sulk, made many inroads into Australia through hitting the road and touring.

The band released two EPs, played a slew of gigs, and won music industry competitions at the time. KTV played shows with high profile artists. However, after numerous line-up changes, the band sadly ran out of steam in 2001.

In 2024 an old demo of the band’s song High Street was included on Sound as Ever’s Flannel Files compilation of lost indie songs from the 90s which led to interest in the band again. Now, KTV are back in action with original member Philip Yarra on bass and the drumming prowess of John Hastings.

Armed with a back catalogue of original 90s-inspired punk/pop classics, as well as Kat’s new tunes, KTV are currently making a dent on their local live scene, having just released their new single Melt. A grungy, post punk groove that builds into a multi-layered chorus with charming vocal harmonies, ending with ringing distortion. The band will launch Melt at Mamma Chen’s in Footscray with support from Jess Shreds and The Unmade Beds and The Bronze, 29 November.

https://ktvmusic1.bandcamp.com/track/melt

Hot on the heels of the successful Sterilise tour that saw sold out shows in Brisbane, crowds of three hundred plus, and shows spanning the East Coast and Regionally in Queensland, NSW and Victoria Whisperhead are returning to the road for The War That I’m Waging tour.

A band that won’t hold back, they’ll be returning to some familiar places and will tackle new ground through Victoria and New South Wales with an explosive performance of energy not to be missed. Emerging from the shadows of Dubbo, Australia, Whisperhead delivers a potent, skull crushing, and thoroughly engaging brand of modern heavy. Drawing from a dexterous array of influences, Whisperhead hones these varied elements masterfully for a sound that marries dynamic riffs, pummelling percussion, and a gripping, visceral vocal.

Launching in early 2022 with the single Swallow You and shows throughout the Central West, the band quickly expanded to include appearances in Canberra, Sydney, and Wollongong. In their second year, they put even more shows under their belt, along with two releases and shows throughout regional and metro NSW and the ACT and introduced WHISPERFEST, a festival based in the bands’ home town. Last year, the band further extended their reach, touring the East Coast.

This year has seen Whisperhead tighten their grip on the east coast, with their first run of shows in Victoria, and more in New South Wales including WHISPERFEST ‘25.

https://whisperhead.bandcamp.com/track/swallow-you

2025 has been an incredible year so far for Velatine. Their last single, Till Death We Do Art, became a huge turning point for the band, particularly in Europe and Germany. The track has now surpassed a hundred thousand streams and the video over fifteen thousand.

Another exciting development is the addition of new vocalist, Hollie Purnell, who, with Loki, has injected a fresh sound, crafting new songs with powerful themes and dark aesthetics.

Oh See Me, The Siren was written as a song to counteract the rise of the manosphere. Reading too much news and triggered by the effect these influencers are having targeting the adolescent had left Loki outraged.

“The Siren is the survivor. She’s damaged, but as she finds her strength, she paralyses her predator to a life of misery and loneliness by the power she holds. She is the optimistic view. The other side is traumatic for those caught. The Siren can now shine light on this issue and help create awareness surrounding the early signs of coercive control.”

The addition of Holly Purnell has added an evocative melancholy to the Velatine soundscape, adding a mythic solemnity as if other worldly beings are whispering wisdoms in your ear. The perfect poignant intensity of sound and presentation.

https://velatine.bandcamp.com/track/oh-see-me-the-siren

Infinite Skies have returned from their debut overseas tour playing three dates in Sicily. The Synth Pop duo hit Nino Arrigo Panini E Piattini in Roccavaldina, Caldera in Pedara, and Retronouveau in Messina receiving coverage from Salad Days Magazine after unleashing their iridescent live performance with a distinctly dark undercurrent on three minimalist stages during the warm nights of a Sicilian summer.

“I had such an incredible time. This was my first time performing overseas which made it even more exciting. It was great to not only take a holiday, and do plenty of sight-seeing in such a beautiful country, but it was great to see so many people at our shows. I also really loved the strong sense of community there! If I had the opportunity to go back I definitely would!”

Nay

“I was very excited to tour with Infinite Skies in my own home country, and hope that we can play there again in the future”

Sal

https://infiniteskiesmusic.bandcamp.com/music

Rising from the underbelly of the New South Wales Central Coast and Sydney’s live music scene, Trojan Guns have officially dropped their debut single, Pump Girl. A high-voltage collision of rock and rave, the track is accompanied by a visually striking music video produced and directed by ‘Video by Design’, fusing green screen effects with keyframe animation for a wild, genre-defying ride showcasing the band’s rebellious spirit through stylised animation and surreal visuals, offering an immersive dive into their raw creative universe.

Formed by members of Sydney underground bands Felix of Exile, Scarlet’s Revenge, and Crimes Against Fashion, Trojan Guns deliver a fresh sound forged in fire. Pump Girl is complete with unexpected audio-scape samples and brassy flair. Every element pulsates with an attitude and intensity, capturing the spirit of a band that thrives on unpredictability and passion, where Art meets Rock. The music video is a bold visual counterpart with a sound that straddles the line between chaos and craftsmanship.

Having launched Pump Girl at Sydney’s Ramblin Rascal Tavern, Trojan Guns are quickly carving out a name as one of the states’ most electrifying live acts. Known for shows that are equal parts sonic assault and irresistible spectacle, they have set their sights on live shows, playing near you soon.

Pump Girl is out now, on all streaming services.

The one thing I took away from The Sugar Beat‘s self-titled album is sheer, unadulterated power. Covering a number of harder edged styles of music, even in their moodier moments there is an ominous air, almost threatening, pushing the tracks forward. However, everything about this album is fun. No matter how they choose to express themselves, there is an infectious groove that moves you.

Using one genre to lump the band into would be a gross injustice and lazy writing. This eleven-track album kicks off with Adam’s thundering drums ushering us in Sugar Beat Blues before leading you into the Bubble Gum Punk of Uh Oh, which then leads to the Alternative Rock of Beat To My Hear with Morgana playing some sublime guitar.

Stay just stomps with all the aggression of early Garage Punk Rock with some clever shifts mid-track. Sara’s overdriven and melodic bass takes us to Burnin’ Up before all of this is suddenly pulled back to the Post Punk Blues Gothic ballad of Lips. Executed with a brooding sensuality and dark sparseness, the song never loses The Sugar Beat‘s relentless energy within the menacing ambience of the song.

From there, we return with the single, Backroom, which made me fall in love with the band to start with, before sliding into the scruffy dirge of Hurry Kane, building intensity with chord progressions and grinding rhythms, before Foreshore’s Cosmic Sludge Rock. Light conjures up images of long country roads with a touch of Psychobilly follow showing the band’s ability to fuse elements of the aforementioned styles while also mixing in Action Rock with Glam and Glitter Rock into their own potpourri of sound.

The choice of closing the album with Liars Kite was a exquisite touch. This track is almost cinematic in scope and I can’t think of a better way to say goodbye to this opus. There isn’t a dull moment on this entire album but don’t take my word for it. Have a listen yourself. The Sugar Beats are exciting and full of an energy I haven’t felt in some time. This is absolutely brilliant.

https://thesugarbeats.bandcamp.com/album/the-sugar-beats