#Angular 7 released

[black-arcana]

GARBAGE Announces Summer/Fall 2025 North American Tour

Influential alternative rock band GARBAGE will embark on a 31-city tour across North America this fall in support of their anticipated eighth studio LP, "Let All That We Imagine Be The Light". "Happy Endings" will see stops at New York's Brooklyn Paramount, Washington D.C.'s The Anthem, San Francisco's The Warfield and more. Tickets will go on sale April 4.

For over thirty years, GARBAGE's powerful live show has captivated audiences and continues to inspire worldwide adoration. "Happy Endings" marks GARBAGE's first extensive headline tour in the U.S. in almost ten years.

"Let All That We Imagine Be The Light", set for release May 30, is the follow-up to 2021's critically acclaimed "No Gods No Masters", praised in The New York Times as a "thrumming mix of goth and orchestral pop." According to singer Shirley Manson, the new album was forged out of the need to find an uplifting thread amidst the swell of chaos and extraordinary upheaval in the world.

GARBAGE consists of all four original band members: Manson, Duke Erikson, Steve Marker and Butch Vig. Over the 30 years since their inception in 1995, they have sold over 20 million albums. Their unique sound, songwriting and electric live performances have cultivated global admiration, chart success and critical acclaim. They are considered one of the most influential bands of their generation.

"Happy Endings" tour dates:

September 3 - Orlando, FL - Hard Rock Café September 5 - Pompano Beach, FL - Pompano Beach Amphitheatre September 6 - St Petersburg, FL - Jannus Live September 8 - Atlanta, GA - The Eastern September 10 - Nashville, TN - The Pinnacle September 12 - Cleveland, OH - Agora Theatre September 13 - Detroit, MI - Masonic Cathedral Theatre September 16 - Philadelphia, PA - Franklin Music Hall September 17 - Washington, DC - The Anthem September 18 - Boston, MA - Roadrunner September 20 - Brooklyn, NY - Brooklyn Paramount September 23 - Pittsburgh, PA - Stage AE September 24 - Toronto, ON - History September 29 - Chicago, IL - The Salt Shed September 30 - Newport, KY - MegaCorp Pavilion October 1 - Columbus, OH - KEMBA Live! October 3 - Madison, WI - The Sylvee October 4 - Minneapolis, MN - First Avenue October 6 - Kansas City, MO - Midland Theatre October 7 - Dallas, TX - The Bomb Factory October 12 - Denver, CO - The Mission Ballroom October 15 - Seattle, WA - Paramount Theatre October 18 - Spokane, WA - Knitting Factory Spokane October 20 - Vancouver, BC - Orpheum October 21 - Portland, OR - McMenamins Crystal Ballroom October 23 - Saratoga, CA - The Mountain Winery October 24 - San Francisco, CA - The Warfield October 26 - Reno, NV - Silver Legacy Resort Casino October 29 - Salt Lake City, UT - Rockwell at The Complex October 31 - Las Vegas, NV - The Cosmopolitan of Las Vegas - The Chelsea November 2 - Phoenix, AZ - The Van Buren

"Let All That We Imagine Be The Light" is unmistakably GARBAGE. All the hallmarks and signatures for which they are known are present here. Big angular guitars, precise, propulsive beats and cinematic soundscapes all lurk beneath Shirley Manson's unmistakable voice, her lyrics bristling with attitude. This is the sound of a group at the peak of their creative powers — characteristically harnessing sonic juxtapositions and moods to create an album that thrums equally with both light and shade.

Butch Vig says: "We used a lot of analogue synths and sound design on the album, as they seemed to fit the dystopian vibes we were all experiencing. We started recording the album with a clean slate, although given what's happening in the U.S. and the rest of the world, it's inevitable that the madness starts to infiltrate the songs. But we definitely wanted the record to have some hope, some light, to convey the feeling that people have the power."

Photo credit: Joseph Cultice

[moonsoulastrology]

Angular Houses of the Zodiac

Angular houses 1, 4, 7, 10 (AC, IC, DC, MC) are Cardinal sign houses and correlate to the equinox and solstice seasons. They catapult us into action and are associated with generating and releasing new energy. They represent the spheres of life.

1h personal identity; 4h home, family background, roots, ancestors; 7h personal relationships; 10h career and public life.

Having planets in any of these houses will oppose or square one another

(depending on degree of planet of course). Even if they don't exactly square or oppose one another, you still have the push and pull of polarity between these houses, with said planets, causing tension or friction as the houses automatically square and oppose each other.

This is generalized as planet roles play part in fully describing the aspect.

Planets in:

1h/7h opposition this can give a dilemma of personal will & individual identity versus relationships. How much of one or the other do you sacrifice to keep the balance? Too much towards the 1h you become self-centered to much in the 7h you give away part of your identity.

4h/10h opposition is a conflict of staying home or establishing a career. Childhood conditioning plays a huge role in how we function later in life and our roles in society.

1h/4h square, we are born unique, but to what degree does the home life(4) support or diminish our growing individuality(1)? We might want and like to be independent and free but the security and comfort of what we know and what was instilled in us may inhibit us.

4h/7h square is where we project a parent(4) onto a partner(7). This arises from a complex we grew from parent that didn't give the emotional support needed during our formative years. Typically this is the father, sorry guys but history shows it is typically daddy issues that projected.

7h/10h conflicts arising between career(10) and a relationship(7), giving us less time to form our keep important relationships. Too busy forming a career(10) gives less time for a relationship(7). Or vice versa. It can even have you seeking a relationship that's contingent on social status.

1h/10h square, society approval and validation may place restrictions on what we're naturally inclined to do professionally. Self-discipline is needed to create a career(10h) and this could limit your personal freedom(1h).

#Astrology #AstrologyPost #AstrologyCommunity #angularhouses #opposition #square #Cardinalhouses

[miri-tiazan]

New transcript of unhinged 00Q chatfic declassified now!

A collaboration between me and @cicerfics! In which Bond stumbles across Q's secret hobby, and gets his brain melted a little bit.

tags: poledancing, bondage, shibari, light bdsm

teaser:

cicerfics

OOPS NEW BRAINWORM. I just saw this video: https://www.tumblr.com/indelicateink/717621020504342529?source=share

And I was like 'huh, yeah, I don't see TOO many videos of male poledancers but I guess lots of them do tend to have kind of a narrow, lean, angular body type like that guy, I guess maybe that could be a body type that lends itself well to this type of activity?'

And then I thought of Ben Whishaw.

And then I thought of Q.

AND I JUST THINK. THAT Q'S SECRET HOBBY. HIS PREFERRED WORKOUT. HIS FORM OF OFF-THE-CLOCK STRESS RELEASE. HIS WAY TO EXPRESS HIMSELF BOTH ARTISTICALLY AND ATHLETICALLY.

I JUST THINK HE SHOULD BE REALLY INTO POLEDANCING. I think he should take classes (heck, maybe he taught them before he got busy with his job at MI6!) and have studio time whenever he can sneak away from his job.

And I think he should have a pole in his home so he can work out whenever he wants to, and I think Bond should break into Q's flat and stumble across it, and be like *brain dialup noises*

Continued on AO3:

00Q Chatfics and Assorted Headcanons (16157 words) by cicer, miri_tiazan Chapters: 7/? Fandom: James Bond (Craig Movies) Rating: Mature Warnings: Creator Chose Not To Use Archive Warnings Relationships: James Bond/Q Characters: James Bond, Q (James Bond) Additional Tags: Omegaverse, Mpreg | Male Pregnancy, weird omegaverse hormone nonsense, Menopause, Fluff, Crack Treated Seriously, Bond and Q are So Normal About Each Other, Just Coworker Things, Retirement, magical spontaneous conception, Infertility, Unplanned Pregnancy, Fluff and Angst, Angst with a Happy Ending, Memory Loss, Accidental Bonding, dubcon (due to being hormonally compromised), Mating Cycles/In Heat, Bond loves Q's cats, Domesticity, the MI6 rumor mill, Presumed Infidelity, (No Actual Infidelity), POV Outsider, Comedy of Errors, Alternate Universe - Soulmates, Soulmate-Identifying Marks, non-explicit references to canon-typical torture, Madeleine Deserves Compensation, Madeleine Lives Happily Ever After, Pole Dancing, Bondage, Shibari, Light BDSM Summary: Lightly edited chat transcripts between cicer and miri_tiazan: some live-written fics, some random headcanons, some plot-free fluff, all 00Q! Each chapter can be read independently.

[fetznerdeathrecords]

Concrete Icon - Voracious Streams

Old school Death Metal from Turku, Finland

Formed as 5-piece in 2007 in Turku, Concrete Icon was set to play death metal the old school way. After various line- up changes the band soon found the four piece line-up was most effective way to spread their gospel of heaviness. Musically the band combine influences from both sides of the pond, more angular US-style riffing meets melancholy and darkness of European counterparts.

1. Slaves of Hostile Dominion 04:45 2. Aberrant Tyranny 04:07 3. Storm of Denouncement 03:38 4. Rats in the Matrix 04:25 5. Inferior Almighty 03:50 6. From Wisdom to Carnage 04:04 7. Chaos Cult 04:18 8. Voracious Streams 04:34

Release date Jan. 20th 2025 on cd by #MementoMori and on Cassette by @fetzner_death_records . Digital platforms in Feb 2025 by @redefining_darkness

@concreteiconfin

[bubblesandgutz]

Every Record I Own - Day 813: Nomeansno Mama

I'm only home from tour for a few days before heading back out on the road, but I figured I'd try to squeeze one of these out before life gets hectic again. I just finished reading Nomeansno: From Obscurity to Oblivion, so I've been on a bit of a Nomeansno bender these last few days. So it feels like a good time to dive into discussing one of my favorite bands of all time.

Nomeansno originated in Victoria, British Columbia in 1979 as a two piece comprised of brothers Rob Wright (bass, vocals) and John Wright (drums, keyboards). After recording a couple of 7"s and gigging around Victoria and Vancouver, the brothers gathered up their resources and self-released 500 copies of their debut album Mama.

It's difficult to imagine what audiences thought of Nomeansno in those initial three years. The brothers had played music from an early age, giving them a musical adroitness more on par with prog bands than punks. But it was the tail end of the '70s and they'd been exposed to The Ramones, Devo, The Residents, and, perhaps most importantly, Vancouver's hardcore legends DOA. The power and DIY spirit of those artists spoke more to the brothers than the excess and panache of arena rock. But there's little on Mama that's reminiscent of punk and/or hardcore, even if the band would later come to be affiliated with those scenes. Maybe there's a little of Gang of Four's dance-punk leanings or Minutemen's jerking and skronking rhythm section and there's certainly some of Devo's spirit in their angularities and art-rock leanings. But if you're looking for distortion, three-chord anthems, and unmitigated rage, Mama is not for you.

According to the liner notes, the pressing plant who manufactured Mama went out of business and lost track of the masters, meaning that it wasn't possible to reprint more copies after those 500 initial copies sold out. Perhaps it was for the best---by the time the band returned with their next record, 1985's You Kill Me EP, they were a markedly different beast. The master tapes for Mama would be rediscovered nearly 30 years later, yielding this repress. Far from being some sort of classic in the band's canon, Mama became more of an interesting insight into how this pair of brothers from a small and sleepy town in Western Canada managed to morph into a pummeling, heady, sardonic, bass-driven force of nature that were one of the primary movers and shakers in the pre-Nevermind groundswell of the international underground.

This is where Nomeansno began, but it might not be the best entry point for the uninitiated.

[fivepercentgodsandearths]

Let's talk science. Here are my top 10 reasons why I reject the Nation of Islam's belief that the Moon was made 66 trillion years by an evil Black Scientist, who dug near the center of the Earth, filling it with dynamite and separating the Earth from the Moon.

1. Due the extreme temperature and pressure, it's virtually impossible to dig anywhere near the Earth's core. We barely had the technology to drill 7.5 miles below the Earth's surface before the drills overheated and broke. For the NOI Moon deportation belief to be true, without any empirical evidence, we would have to ASSUME that the technology existed.

2. Radiometric dating of the Earth, Moon, Mars, meteorites, in fact most of the material in Solar System, dates back to roughly 4.5 billion years ago. This is one reason scientists think our Solar System formed from the same collapsed cloud of gas and dust about 4.6 billion years ago. For the NOI Moon deportation belief to be true, without any empirical evidence, we would have to ASSUME the Solar System is far older ("trillions of years ") than the data show.

3. Archaeological and genetic evidence suggests the age of anatomically modern Homo sapiens is about 200,000 to 300,000 years old. For the NOI Moon deportation belief to be true, without any genetic or fossil evidence, we would have to ASSUME that humans have existed for trillions of years.

4. The object that impacted the Earth 66 million years ago, partly responsible for the extinction of the dinosaurs, released more kinetic energy than almost any other event in Earth's history. The Chicxulub meteor imoact released 100 Teratons of TNT. But it was not sufficient to overcome the gravitational binding energy between the Earth and the Moon.

In contrast, the energy released by the Mars-size bollide ("Theia") that separated Luna from Earth was equivalent to 8,000 Teratons. This means it was about 80 times more energetic. 1 Teraton is equal to the energy released when detonating 1 trillion tons of TNT. So, 8,000 Teratons would be the energy equivalent of 8,000 trillion tons of TNT. That's the weight of about 50,000 Mt. Everests.

For the NOI Moon deportation belief to be true, without any empirical evidence, we would have to ASSUME someone had the expertise, equipment, materials, manpower and facilities to transport and store this amount of TNT. Even then, it would take several decades (or longer) to produce.

5. Gunpowder is a mixture of potassium nitrate, charcoal and sulfur. Dynamite is primarily nitroglycerin and some sort of absorbent material (like clayshells, or sawdust). Moondust, on the other hand, is composed of silicon dioxide glass, plus iron, magnesium, calcium and other trace materials. No lunar rocks or soil samples taken from the Moon contained any trace of explosives, gunpowder, or any artificial, man-made substances whatsoever. For the NOI Moon deportation belief to be true, without any empirical evidence, we would have to ASSUME either a.) traces of gunpowder does exist in the Luna rock and soil, we just haven't detected it yet or b.) scientists have discovered but there is a global conspiracy to conceal it.

6. The impact craters from comets and asteroids bombarding the lunar surface have a frequency and distribution that's consistent with a 4.5 billion year model of the Solar System, not a 66 trillion one.

7. Tidal forces, from the gravitational interactions between Earth and Moon, are causing the Moon to recede from the Earth at a rate of roughly 1.5 inches per year. This is approximately the rate our fingernails grow.

Over the course of trillions of years, the gravitational forces would have weakened significantly as the distance between the Earth and the Moon increased far beyond what it currently is today. Eventually, this weakening of gravitational forces would have lead to a gradual reduction in the rate of tidal transfer of angular momentum. However, the geological records (preserved in ancient tidal rhythmites in sedimentary rocks formations) do not reflect trillions of years. We also put retroreflectors on the Moon during the Apollo missions, so we can use laser ranging to measure the distance from Earth to Moon with precision and the measurements are consistent with a theoretical model of the Moon being 4.5 billion years, not 66 trillion years.

8. Our Sun is a yellow dwarf. A G-type main-sequence star and is about 4.6 billion years old. It's age was measured by radiometric dating of meteorites, isotopic information, and from observing the life cycle of other stars in the Universe. Based on our understanding of stellar evolution, the Sun will exhaust its hydrogen fuel in about 5 billion years and become a red giant star.

If the Sun were "trillions" of years old, it would have already exhausted its hydrogen fuel, travelled through all of the stages of stellar evolution, from yellow dwarf to red giant to planetary nebula to white dwarf and, finally, a cold, dark object called a Black dwarf.

9. If the Earth were "trillions" of years old, then we would see evidence of that in the fossil record, archeology, geology, climate, ocean sediments, genetic, paleontology, etc. We don't. Everything we discover is consistent with a 4.5 billion year old planet.

10. Cosmic Microwave Background Radiation, the redshift of galaxies, the fact that the farther away a galaxy is from Earth, the faster it appears to be moving away (Hubble's Law), and many other forms of observational evidence (gravitational lensing, stellar evolution, nucleosynthesis) serve as signatures of the universe expanding from a small, hot dense state about 13.8 billion years ago. We would not expect to see, nor could we explain, these phenomena, if the universe was trillions of years old.

By Supreme Scientist Allah (facebook)

[bestfuckinmusic]

Die Kreuzen ‎- Cows And Beer - 1982

One of the early hardcore classics! Die Kreuzen released a demo, a 7″ and an LP, then became Led Zeppelin. The classics are classics - angular and lovely!

[noideamyguy]

Hoover, formed in Washington, D.C., in the summer of 1992, may have only existed briefly (they broke up in the spring of 1994), but the band had a tremendous impact on post-hardcore music.

Early on, Hoover was wrongly dubbed a Fugazi copycat, but played intense, angular, ominous music (to which late-'90s Fugazi may actually owe a debt) thanks to the otherworldly rhythm section of Fred Erskine on bass/vocals and Chris Farral on drums and the shattering dual guitar and vocal onslaught of Joe McRedmond and Al Dunham. With two explosive singles released in 1993, Hoover proved themselves to be one of D.C.'s most exciting new bands. Their first and only album on Dischord -- The Lurid Traversal of Route 7, released in February of 1994 -- sealed the deal. Combining the compulsive power of Drive Like Jehu, a loud-soft dynamic that was previously explored by Slint and would later be perfected by Mogwai, and the three vocalists' dramatic, purging lyrics, Hoover unleashed a fury that would not be soon forgotten.

But, upon returning home to D.C. in April of 1994, following a tour in support of The Lurid Traversal, Hoover announced that the band would split. McRedmond and Erskine went on to form the Crownhate Ruin, which disbanded after the release of their 1995 full-length Until the Eagle Grins, and Erskine continued to play in June of 44. Dunham went on to form Regulator Watts and Albilene. Hoover had a brief reunion in 1997 to record the last four songs they wrote before the band's end. These songs were released as a self-titled EP on Slowdime in 1998.

[lowpolynpixelated]

PS2 Review: Killzone AKA: The most 7/10 shooter that you should play

Killzone is, if nothing else, a fantastic look into a time where competitiveness managed to permeate the entirety of the gaming landscape. Coming out in the era of “The Halo Killer”, Killzone manages to be both above average in comparison to the games it actually stands toe-to-toe with (think Call of Duty and Medal of Honor) as well as underwhelming in what it actually set out to do, kill Halo. What was left in the end was a game that on its own is a fine enough shooter for its time, but really only shines as the beginning of a series that got better with age and successive releases.

Setting

Here’s where Killzone shines in particular. The world that the game and its sequels take place in is an intensely interesting sci-fi future with stellar designs scattered all throughout the experience. From the Helghast’s sleek and angular technology to the ISA’s more chunky militaristic look the game has a strong sense of identity in its world and world building. The game sets itself up as follows: In the not so near future of 2357 humanity has taken to the stars in a halcyon age of planetary colonization under the banner of the Interplanetary Strategic Alliance, the ISA. One of these colonies was started on a mining planet known as Helghan (named after the mining company that purchased the planet and created the colony). The planet itself is harsh, with a poisonous atmosphere and barren surface that not only killed many of the colonists who tried to settle the planet, but mutated them over time as well.

Now known as the Helghast, the colonists instituted their own civilization on their new home. One which idolized the ideals of authoritarianism and militarism. Hellbent on revenge the Helghast have now taken to the stars yet again to invade the very worlds that abandoned them, starting with the planet Vekta. Pretty cool premise, right? A revenge conquest across the stars held by a planet of mutated colonists with hyper advanced military technology and unwillingness to forgive. The game features an absolute feast of chunky military sci-fi with a distinct world-war 2 game feel. Sadly, I don’t particularly think that Killzone does a very good job at realizing its world outside of its impressive looking cutscenes.

Visuals

With such interesting premise behind the overall setting you would think there would be a wealth of environmental worldbuilding, this is sadly not the case. The very first level sees you making your way through bland muddy grays and browns as you fight group after group of the same enemies. To give credit where credit is due, the overall aesthetics of Killzone are strong. The Helghast and their sleeker more geometrical approach to their more advanced technology contrasts wonderfully with the more plucky olive green squared off angles of the ISA. The characters themselves, enemies and NPCs alike, work wonders in differentiating the opposing sides.

Helghast are clad in black and grey, with standard units having an imposing silhouette enhanced by their bright orange combat goggles. As more enemy types are introduced the design is further iterated upon. Captains will wear military caps instead of helmets, elites have bulky armor and a distinct lack of a helmet showing off their pale skin. Meanwhile the ISA wear uniforms akin to the UNSC marines from Halo. Sporting olive drab and sets of armor pads and plenty of pouches for ammunition. These differences continue into the spectacular weapon design of the game. Helghast weaponry takes on their stark angular design sensibilities while the ISA use weapons and tech that looks closer to things we use today.

Sadly the art direction of the setting begins to fall apart when examining the world of Vekta and the areas of it you fight through. While there are some standout areas in the perilous journey from a coastal city all the way into space to assault one of the captured orbital defense platforms, most of it is going to be painted in dull grays and dim greens. There isn’t much visual distinction within the game’s 11 levels, and even less environmental world building to help flesh out its setting. A few vending machines here, a monument there, but in between those little flourishes are vast sums of empty space. Urban environments with massive empty buildings and streets, mountains with the same rock asset used over a dozen times in one area, it all amounts to a game that could have more interesting visual design but simply doesn’t.

We never get to learn what kind of world Vekta is. What sorts of people live there, what Vektan society is really like. Even the shopping mall is almost completely devoid of anything that would signify it as an urban shopping center. With so much empty space taken up by bland, washed out textures, it’s hard to truly feel as immersed in the experience as you would playing something like Halo or Warhammer 40K Fire Warrior. The graphics themselves are quite impressive for the PS2, but the way they’re utilized leaves much to be desired.

Level design

I do want to preface this section of my review with something positive. Killzone does have good levels. In particular the city park and mall towards the beginning of the game, swampy jungle later on, and ISA missile base near the end all stand out as memorable levels packed with fun shootouts and set pieces. However, it’s everything else where the game tends to lose me. The game’s first two chapters, Helghast Assault and Vekta Evacuates, have almost nothing that stands out against their endless barrage of flat urban hallways and barely winding mountain passes. Combined with predictable enemy placement and blandly set up areas littered with very little cover, the game struggles to make things truly engaging until its third chapter. It doesn’t feel like an invasion despite all the destruction around you. It tends to feel more like walking through a paintball arena filled with buildings that only exist to have the same three shootouts inside. Very little sense of verticality, flat terrain, and long stretches of emptiness all plague its weaker levels. 

“Empty” is I think the best descriptor I have for those weaker parts. In particular the mountainous levels of the late game and the earlier beach assaults feel almost vapid in comparison to the denser design of the levels I mentioned at the beginning of this section. It’s such a stark contrast in design that causes some whiplash when moving from level to level.

Gameplay

Now we get into the real meat of any game. How does it play? I think in Killzone’s case I would have to describe it as a mixed bag. On one hand the core shooting and weapons available to you feel pretty good, but on the other there’s a lot of little things that hold it back from feeling as loose or fluid as it probably should. For starters none of the weapons allow you to ADS (aim down sights) making firefights a hassle at a certain range. Combine this with the frankly confusing spread patterns of many of the game’s guns and you’ve got shooting that feels nearly impossible to be accurate at. There were times where I had the generously large crosshairs of the Helghast’s main infantry rifle, the StA-52 Assault Rifle, over an enemy but not a single one of my shots managed to land before its 50 round magazine was depleted.

It’s particularly frustrating when you’re trying to take out particularly dangerous enemies such as the Helghast Elites who often wield large machine guns or explosive weapons like grenade launchers, and not a single shot you fire hits where you’re aiming. I should also mention that this issue seems to be wildly inconsistent. Other times when I was hovering above an enemy outside of any range I thought I’d be able to hit at, I was able to put them down in a matter of three shots or less. Randomizing the ability to effectively and accurately take down enemies is just as maddening as it sounds, and is only made worse when nearly every enemy in the game has perfect pinpoint accuracy seemingly regardless of difficulty. Going hand in hand with the overall frustration caused by little things within the core gameplay, the game manages to feel very clunky and slow to move around and fight in.

This is partly due to the fact that Killzone suffers from framerate issues as well as stuttering during certain loading areas, but that’s just one part of it. Aiming manages to feel either too loose or too sluggish with not a whole lot of a sweet spot in between.One of the most tedious features is that most intractable spots in the environment have to be initiated by a button prompt. This includes vaulting over certain cover, climbing ladders, crawling through vents, and even using a melee attack on an enemy at close range. Most of if not all of these actions lock you into animations where you’re still vulnerable to gunfire. Crawling is particularly dangerous due to the baffling decision to not allow you to reload while on the ground. Now this isn’t all to say there aren’t parts that work well. As mentioned before, the gunplay manages to be satisfying despite its shortcomings.

Each weapon feels unique in your hands with varying fire rates, accuracy, and alt-fire capabilities to really shake up combat. A favorite of mine is yet again on the StA-52 which has an underslung shotgun capable of firing a single shot before needing to reload. The variety doesn’t stop there though. Underbarrel grenade launchers, silenced shots, proximity mines, laser guided missiles, there’s absolutely no shortage of fun ways to mow down Helghast as they throw themselves at you wave after wave.

Story

Killzone’s narrative is what I would be most inclined to call serviceable. It’s nothing groundbreaking but it doesn’t really need to be. The Helghast successfully invade Vekta after the orbital defense grid protecting the planet is mysteriously sabotaged. You then find yourself in the boots of one Jan Templar, an ISA soldier tasked with finding ISA General Vaughton who has one of the two keys needed to reboot the defense grid which will allow the Vektans to take down the Helghast fleet in orbit. Over the course of the game it is revealed that General Adams, and ISA general overseeing the SD platform defense grid, is a turncoat and kills Vaughton as he arrives in space. A Helghast general by the name of Lente is let aboard and behind to oversee usage of the SD platforms to send missile strikes to Vekta’s major cities. All the while Templar and the other three playable characters, Shadow Marshal Luger, Heavy Weapons specialist Rico, and half-Helghast spy Hakha, fight their way to the SD platform to stop Adams from annihilating the earth fleet coming to provide reinforcements to the ground troops on Vekta.

Like I said, it’s nothing groundbreaking.  A classic twist of an inside job putting the odds against a plucky group of heroic soldiers who manage to come out on top despite it all. So little of the game actually has the story in the spotlight with cutscenes providing most of the context. Where the game’s weakness lies is in the characters themselves. All four playable characters are incredibly one note, with Rico in particular becoming grating very shortly after his introduction. His “hate all Helghast” attitude and tendency to spout off loud hateful things at Hakha for his heritage make his writing the weakest of the bunch. It’s hard to really take off any marks for the story when it’s so simple and takes more of a guiding role to the gameplay and objectives.

Conclusion and comments

If you’re read through to the end of this review you’ve probably gotten the impression that I think Killzone is a bad game. In actuality I mostly find myself in a frustrating middle point between very much enjoying my time and being put off by its shortcomings. In the realm of “the Halo Killer” Killzone did not succeed in its goal. Halo would go on to be one of the most influential and beloved series within the gaming landscape, but Killzone itself would also go on to have a lineage of its own.

I do like Killzone and would probably put it firmly on a must play list of games to play on the PS2, but the plethora of flaws and edges hold it back from being something that I could readily recommend to everyone. This is also the point in the review where I mention that the sequel, Killzone 2, is one of my favorite PS3 games ever, but that’s for another time. As it stands, Killzone is a perfectly fine game on its own. It didn’t break new ground or kill off another franchise, but it did create an intensely interesting sci-fi world and a solid, if not flawed, FPS experience on the PS2. If you ever feel yourself itching to play something that fits that description and have already played through Halo too many times, give Killzone a shot.

Extra notes

Should you actually wish to go play Killzone after reading this, good! It's a solid shooter that has plenty of good action to offer, even if it is a bit lacking. If you do though, I have some suggestions on exactly how to play it. My playthrough was done on the Nightly builds of the PCSX2 emulator. PCSX2 is, in my experience, by far one of the best PS2 emulators available and ran the game flawlessly start to finish. My suggestions come more in the flavour of tweaks to use in said emulator, one to be exact. Killzone is many things but one thing you'll probably realize is that it's SLOW. Unbearably so in some segments and animations, such as crawling, reloading, and climbing/descending ladders. I played this entire game on 1.25X speed via the emulation settings available in PCSX2. I cannot recommend this enough if you give it a shot yourself. Making the movement and combat pacing more in par with something like Call of Duty 2 and Halo Combat Evolved makes this game not only way more playable, but way more fun.

[doomedandstoned]

‘90s Vets DEAR DECEASD Run “Traffic” Ahead of Ripple Music Full-Length

~Doomed & Stoned Debuts~

By Billy Goate

Cali stoner metal vets DEAR DECEASED stretch back into those exciting experimental days of the early 1990s, when they band broke away from a stereotypical corporate sound and got, well, grungy.. Everything got heavier, it seemed, and much, much more down to earth.

Active in the San Jose area, Dear Deceased members went on to be involved in influential acts of the day. George Rice (rhythm guitar, bass) was the original bassist for High on Fire, for example, and Mitchell French (bass) fronted Operator Generator. Rounding out the group: the husky vocals of Erik Kliever, commanding guitarist Ryan Landes, and bulwark drumming from Chris Musgrave.

Recently, the group announced the special reissue of their early material as part of Ripple Music’s Beneath The Desert Floor vinyl series. The band's forthcoming full-length is a brawny collection of 8 tracks, a mix of grunge, blues, and some thumping low end. It captures the spirit of an era, with a sound that's big, sweeping, and audacious, as you'll hear from the lumbering new single we're premiering today, opening number "Traffic."

Look for 'Beneath the Desert Floor: Chapter 7 - Dear Deceased' (2024) on Ripple Music, with the album dropping December 9th (pre-order here). A must for fans of Nirvana, Godsmack, Temple of the Dog, and Core-era Stone Temple Pilots.

Give ear...

SOME BUZZ

Californian 90s stoner metal veterans DEAR DECEASED (with former High On Fire, Operator Generator members) are set to issue their early recordings for the first time on vinyl and digital this December 9th, as part of Ripple Music's "Beneath The Desert Floor" special series.

Dear Deceased formed in San Jose, CA, in 1990. Their heavy, rhythmic sound and complex arrangements took form out of the ashes bands whose members were influenced by everything from West Coast crossover thrash to post-punk, glam rock, industrial, grunge, British heavy metal and especially, Black Sabbath.

The material flowed from the quartet, but they lacked a frontman. So the band continued to play instrumentally until one pivotal show when the audience got a surprise. Nobody in the crowd knew Dear Deceased had invited a vocalist to join them onstage to have a go at singing live. Emerging from the audience, clutching the mic, the unknown singer belted out a song. His soaring vocals meshed perfectly with the band's angular riffs and pummeling rhythm section. They now had their vocalist.

Beneath the Desert Floor: Chapter 7 - Dear Deceased by Dear Deceased

With the lineup complete, Dear Deceased immediately booked a recording session at House of Faith, the Bay Area studio known for punk and metal run by the masterful Bart Thurber. Initially distributed as cassettes, these recordings soon became coveted cult items among fans. Before long, the band was selling out shows with their intense, live performances. Dear Deceased’s remarkable sound soon caught the attention of record labels. Yet despite the interest, the band dissolved before a label deal could materialize. Lacking the widespread distribution of the pre-streaming era, the music faded into relative obscurity.

Fast forward to years later, when Thurber came across the master tape in his archives. This find led to a revival of Dear Deceased's music, with Ripple Music stepping in to give the songs a proper release. A new rendition of the band’s art, has been re-drawn by long-time friend Rob Klem in keeping with the band's original vision and includes an insert with archival photos by Brandy Bennet Jordan.

"Dear Deceased" is the seventh chapter of Californian music label Ripple Music's "Beneath The Desert Floor" series, which unearths long-lost treasures from the golden days of stoner and desert rock, such as releases from Fireball Ministry, The Awesome Machine, Glitter Wizard, Witch White Canyon, Rollerball and the Sabians.

Get Their Music

[bandcampsnoop]

5/7/24.

Vaguess (Los Angeles, California) is the vehicle for the work of Vinny Earley. To be honest, I fully expected this band to be Australian rather than from Los Angeles. And this is really entirely my fault. I've come to associate Los Angeles with Uni Boys and Billy Tibbals - power pop/punk. Not that either band wouldn't like Vaguess, but this release sounds more post-punk than power pop. And as much as I've come to associate Los Angeles with power pop, this brand of angular post-punk makes me think of Australia (Ausmuteants).

Erste Theke Tontraeger (ETT) is releasing this LP - and this makes me think of a cross between Germ House and Wounded Lion (neither of which, oddly, are Australian).

The Bandcamp write-up brings to attention the title of the last song "Profit or Punk?". Great title, great song, and great attitude. The write up ends, "In summation: Save Vinny Earley, may his reign last a thousand years."

[upalldown]

The Rolling Stones - Hackney Diamonds

The latest release from the rock veterans, and first album of original material since 2005, includes guest appearances from Elton John, Lady Gaga, Paul McCartney, Stevie Wonder and Bill Wyman

7/13

The release of a new album by a storied band used to be considered a major event, one that was highly anticipated and greeted with excitement, enthusiasm, and all the other additives that generally accompany any momentous occasion.

That doesn’t seem to be the situation anymore. With the advent of streams, digital releases, and the other byproducts of the so-called cyber world, the physical album has become a vanishing breed. Singles and single tracks herald the arrival of new work, often negating the importance of an album and relegating it to little more than a collection of selected songs that preceded its arrival. 

If any band could defy that trend, it’s naturally the Rolling Stones. The fact that it’s the band’s first new album since their 2016 Grammy-winning blues covers album Blue & Lonesome, and more, significantly, their first studio album of original material since the 2005 A Bigger Bang, Hackney Diamonds is a milestone to be reckoned with.  It provides proof that even with the tremendous loss of drummer Charlie Watts and the fact that Mick Jagger is an octogenarian and Richards is on the verge of becoming one himself, they and “new boy” Ronnie Wood remain as undeterred as ever, rocking on without regard to age, expectation or,  for that matter, any additional consideration.

Happily then, Hackney Diamonds justifies that attitude entirely. Built on a series of reliable riffs, it’s classic Stones, somewhat perfunctory perhaps, formula-fitting and comfortably comforting to a signature sound. Anyone speculating about what the album would have to offer can probably guess without hearing even a single strain of music. “Angry,” “Driving Me Too Hard” and “Get Close” are singularly Stones, built around ready refrains, angular guitar riffs, and Jagger’s signature snarl. They’re “Start Me Up” and “Jumping Jack Flash” reimagined with contemporary credence. “Dreamy Skies,” on the other hand, recalls the bottle-neck acoustic blues of “No Expectations” and Beggars Banquet. Likewise, a ballad titled “Tell Me Straight” gives Keef the prerequisite lead vocal. “Rolling Stones Blues,” is, as the name implies,” an opportunity to get back to basics. In general, it’s easy to imagine the band taking their cues from some roughshod jams, adding lyrics, and letting things fly. The pointed titles tell it all. Clearly, too, each of these songs is easily finessed to become standards in their live sets.

Ironically, the edge and intensity find the Stones more or less harkening back to an earlier era. Certain songs—“Bite My Head Off,” featuring a sturdy bass line from Paul McCartney, and “Whole Wide World” and “Mess It Up,” one of two tracks recorded with Watts, along with echoes of ‘70s punk and new wave through a combination of melody and menace, shared with defiance and determination. “Live By the Sword,” the other effort featuring Watts, also marks the temporary return of bassist Bill Wyman, a reunion of sorts of the Stones’ essential ‘70s and ‘80s line-up. 

Nevertheless, the band buttresses its ranks with any number of special guests. Besides McCartney, Hackney Diamonds features cameos by Lady Gaga sharing a high-pitched lead vocal on the weary yet emotive ballad “Sweet Sounds of Heaven” (with Gaga filling the longstanding role of Jagger’s female foil), Elton John playing piano on the rollicking “Get Close and “Live By the Sword,” Stevie Wonder providing keyboards on the aforementioned “Sweet Sounds of Heaven,” and Don Was and Benmont Tench adding their touches as well. Steve Jordan takes on the bulk of the drumming duties while Grammy-winning producer Andrew Watt serves as a stringer, playing pretty much everything else that’s needed, including bass, guitar, percussion, keyboards, backing vocals, strings, mixing, and production.

Consequently, Hackney Diamonds is quintessential Stones, a fine comeback by any measure. Some 60 years on, the Stones are rolling as effortlessly as ever. Welcome back, boys.

[broken-clover]

Ok so people actually expressed interest so I guess I'll take a good excuse to show off my Neopets customs! I'm definitely not on the level of some really serious users who stake out the really rare items but it's still fun to make my weird cats stylish and give them their own little lore.

Thanks to the anniversary event gifting some free NC, I bought another pet slot and currently have 7!

Dhanue (Donahue/Donnie) is my active main, and even though I know ghost isn't a super rare color I'm absolutely never painting him. Somewhere along the line I just really liked the idea of a steampunk ghost gentleman. He's a gentleman thief with a flair for the dramatic who pretends to be suave but is really a massive troll underneath it.

The only design change I'd like to do with him is finding a better background bc the magma puddle clips into this one. I found one I sorta liked but it's expensive so that's a future goal

0grese was a lucky pound find a few years back! I really love how the robot pets look so weird and angular and gritty without the sleek casing on, it lends well to a slightly spookier aesthetic, I just had to make a her a mad scientist! Though she isn't a bad person, just very timid and odd-looking. She's actually a doctor that studies biohazards and diseases since she doesn't have to worry about getting sick or spreading it to other pets. She also has an unsubtle crush on my Draik but is too shy to say anything

Batatiinha_ (Batat) is another not-really-rare color that I'm not in a hurry to paint. I think it adds to her vibe! I wish I could find a library background that was a bit more ominous, though. And if I can find anymore good gold accessories I might use those, too. I wanted to go for a Midas-esque vibe, with an obsession for riches leading to her obsessively studying dark magic and becoming more ensnared in it until it started altering her body

She and Dhanue go way back, with him often trying to rope her into heists. She finds him insufferable, but it's one of the few reasons she leaves her empty estate anymore and prevents her from becoming a complete shut-in

I love Kaceae way too much, something about baby Aishas actives a rabid part of my brain. I'm not quite sure what I'm doing with her background yet, that's still a to-do, but I'm very happy with her little outfit.

She's, well...she's a baby! She doesn't do much aside from chew on her plushies and nap. When she grows up, she'll become a famous scientist, but for now, she's just baby.

Professor_Giri is the pet I moved to my account with the new pet slot I bought. I traded a Krawk for her current paintbrush and I really love the dark blue, even if Stealthy tends to be more about the ninja accessories. So far I'm happy with her custom! Might change later, but for now I like the vibe.

Giri is an adventure archaeologist who studies tombs, and she absolutely does not know when to shut her mouth. She means well, though. She also knows full well 0grese has a crush on her, but is waiting for the doc to work up the nerve to say something.

Weaclen was obtained from a very lucky fountain faerie quest I got during the festival a few years back. Getting an alien aisha was always one of my dreamies! I love their weirdness. In contrast to the space-age tech and design, I wanted to make his customization a little grungy, with garbage and Slorgs. I'm trying to trade for a few more Slorg accessories, either the raincoat or the little faerie companion released during the last festival, that's another WIP

Speaking of Slorgs, Weaclen can't get enough of the things! He collects as many Slorgs and Slorg memorabilia he can get his paws on, and my account's gallery is devoted to his menagerie. He's actually from the future, but an incident with a wormhole sent him back a few hundred years. He's a descendent of the famed doctor and roboticist Kaceae, and upon finding her as a baby, he takes it upon himself to care for her and raise her until she fulfills her grand destiny in a few decades. He considers it a massive honor.

And finally Zekotah (Zeko) is a pretty simple custom that I'm nonetheless really happy with. Faerie just lends itself nicely to pastel and flowers. If I find any garden-related pieces I like better I might change them, but I like this general vibe a lot

Compared to the others, Zeko lives a pretty quiet, uninteresting life as a gardener, but she's fine with that. She's mostly nonverbal and hates commotion and being crowded, so she's perfectly happy to spend most of her time in the flowerbeds in quiet solitude. Making friends is difficult, so if you're nice to her and don't make a lot of ruckus, she would probably die for you

[anandtechverceseo]

Best Software Development Company in Chennai | Leading Software Solutions

When searching for the best software development company in Chennai, businesses of all sizes look for a partner who combines technical expertise, a customer-centric approach, and proven delivery. A leading Software Development Company in Chennai offers end-to-end solutions—from ideation and design to development, testing, deployment, and maintenance—ensuring your software is scalable, secure, and aligned with your strategic goals.

Why Choose the Best Software Development Company in Chennai?

Local Expertise, Global Standards Chennai has emerged as a thriving IT hub, home to talented engineers fluent in cutting-edge technologies. By selecting the best software development company in Chennai, you tap into deep local expertise guided by global best practices, ensuring your project stays on time and within budget.

Proven Track Record The top Software Development Company in Chennai showcases a rich portfolio of successful projects across industries—finance, healthcare, e-commerce, education, and more. Their case studies demonstrate on-point requirements gathering, agile delivery, and robust support.

Cost-Effective Solutions Chennai offers competitive rates without compromising quality. The best software development company in Chennai provides flexible engagement models—fixed price, time & materials, or dedicated teams—so you can choose the structure that best fits your budget and timeline.

Cultural Alignment & Communication Teams in Chennai often work in overlapping time zones with North America, Europe, and Australia, enabling real-time collaboration. A leading Software Development Company in Chennai emphasizes transparent communication, regular status updates, and seamless integration with your in-house team.

Core Services Offered

A comprehensive Software Development Company in Chennai typically delivers:

Custom Software Development Tailor-made applications built from the ground up to address unique business challenges—whether it’s a CRM, ERP, inventory system, or specialized B2B software.

Mobile App Development Native and cross-platform iOS/Android apps designed for performance, usability, and engagement. Ideal for startups and enterprises aiming to reach customers on the go.

Web Application Development Responsive, SEO-friendly, and secure web apps using frameworks like React, Angular, and Vue.js, backed by scalable back-end systems in Node.js, .NET, Java, or Python.

UI/UX Design User-centered design that drives adoption. Wireframes, prototypes, and high-fidelity designs ensure an intuitive interface that delights end users.

Quality Assurance & Testing Automated and manual testing—functional, performance, security, and usability—to deliver a bug-free product that scales under real-world conditions.

DevOps & Cloud Services CI/CD pipelines, containerization with Docker/Kubernetes, and deployments on AWS, Azure, or Google Cloud for high availability and rapid release cycles.

Maintenance & Support Post-launch monitoring, feature enhancements, and 24/7 support to keep your software running smoothly and securely.

The Development Process

Discovery & Planning Workshops and stakeholder interviews to define scope, objectives, and success metrics.

Design & Prototyping Rapid prototyping of wireframes and UI mockups for early feedback and iterative refinement.

Agile Development Two-week sprints with sprint demos, ensuring transparency and adaptability to changing requirements.

Testing & QA Continuous testing throughout development to catch issues early and deliver a stable release.

Deployment & Go-Live Seamless rollout with thorough planning, user training, and post-deployment support.

Maintenance & Evolution Ongoing enhancements, performance tuning, and security updates to keep your application competitive.

Benefits of Partnering Locally

Speedy Onboarding: Proximity to Chennai’s tech ecosystem speeds up recruitment of additional talent.

Cultural Synergy: Shared cultural context helps in understanding your business nuances faster.

Time-Zone Overlap: Real-time collaboration during key business hours reduces turnaround times.

Networking & Events: Access to local tech meetups, hackathons, and startup incubators for continuous innovation.

Conclusion

Choosing the best software development company in Chennai means entrusting your digital transformation to a partner with deep technical skills, transparent processes, and a client-first ethos. Whether you’re a startup looking to disrupt the market or a large enterprise aiming to modernize legacy systems, the right Software Development Company in Chennai will guide you from concept to success—delivering high-quality software on schedule and within budget. Start your journey today and experience why Chennai stands out as a premier destination for software development excellence.

[fetznerdeathrecords]

Insineratehymn - Irreverence of the Divine

Death Metal from Los Angeles, California, U.S.

Hailing from Los Angeles, Insineratehymn have managed to position themselves in the taste of underground extreme Metal fans with their powerful Death Metal clearly influenced by classic bands, giving a masterclass in 90’s Death Metal, from the spiraling vortexes of early Tampa to the sewage to come from New York, through to eerie emanations from Europe and the dissonance at the dawn of the new millennium. Naturally, the band bend those classic tropes in a variety of ways, all of which bespeak their own identity. Scuzzy, slicing, clanging, angular, brutal beatdown, ignorant stomp, or just straightforward killshot: no weapon is left aside. Simply, Insineratehymn are Death Metal for Death Metal maniacs, by Death Metal maniacs who understand and appreciate the rich-yet-codified history of the genre.

1. Revelations... 01:02 2. Irreverence of the Divine 04:07 3. Cosmic Abominations 04:29 4. Delusive Omniscience 05:47 5. Sempiternal Suicide 04:14 6. Mephitic Anamnesis 03:21 7. Covenant of the Virtuous 04:37 8. Visage of the Infinite 06:29 9. Acolytes of God’s Disease 03:57 10. Empyrean Desolation 01:07

Release date: April 21st, 2025 via @memento.mori.label@rottedliferecords@ancient_urn_records

@insineratehymnofficial

[musicblogwales]

FRANKIE AND THE WITCH FINGERS SHARE NEW SINGLE “DEAD SILENCE” WITH OFFICIAL MUSIC VIDEO

Today, influential Los Angeles psychedelic punk rockers Frankie and the Witch Fingers have shared “Dead Silence,” the latest single from their new album Trash Classic (June 6, 2025 // The Reverberation Appreciation Society / Greenway Records). An official video accompanies the track – watch HERE. The band has also prepared an announcement that’s sure to thrill fans in London, New York City and Los Angeles – the week leading up to the release of Trash Classic will see them perform at intimate venues in each city. On May 30, the band will perform at London’s Shacklewell Arms, before returning to America for shows at New York City’s Berlin on June 5 and Permanent Records Roadhouse in Los Angeles on June 7.

The new track comes just before their impressive slate of headline world tour dates begins at The Netherlands’ Sonic Whip Festival, after which the band will criss-cross mainland Europe before doing the same back in the States later in the summer. See below for the full list of tour dates, including these new album release shows.

“This one’s got a nice little origin story,” the band says about the “Dead Silence.” “We played a festival in Boise with Spacemoth, Maryam Qudus’ brainchild, and met her for the first time there. Cut to a year later, and she’s deep in the guts of this record - producing, engineering, twisting knobs, and arranging sounds with us.

On the flight home from that Boise show, Josh threw on the Spacemoth album for the first time and got his brain microwaved. He also recorded the plane taking off, just on a whim. That roar ended up in the bridge of DEAD SILENCE. It’s a nice crusty texture, but it also weirdly bookmarks the start of it all.

Maryam’s all over this record. She sings, plays, distorts, haunts - leaving smudges on everything in the best way. She rules, and we were happy to accidentally mark the occasion sonically with a little jet-engine weirdness.”

Trash Classic follows another sort of classic, the band’s widely-acclaimed 2023 masterwork Data Doom. FLOOD Magazine had an almost prescient take, noting that Data Doom “feels much more in line with vintage dystopian sci-fi connotations, swapping weed-smoke riffs for frigid new wave pulses.” SPIN Magazine was early on the scene to declare the band has “become a heavy hitter in the underground rock, punk, and psychedelic circles,” and Exclaim! praised the band’s tendency to “walk the line between chameleonic and commanding, wielding endless inventiveness as a weapon to outsmart artificial intelligence.”

In addition to enjoying global press accolades in 2023, the band also played their biggest shows yet (including headline festival appearances), recorded a very special KEXP live session, and reached #3 on Billboard’s Alternative New Albums and #4 on Top New Artist Albums charts.

Hooks so infectious they rot on impact. Trash Classic marks a feral mutation for Frankie and the Witch Fingers—a record that snarls with proto-punk venom, angular melodies, and electronic textures that cough and sputter like dying neon lights under a poisoned sky.

This record pushes the Witch Fingers’ sound to a razor's edge. Wiry and twitching, it bends into synth-punk and fractured new wave, with fragments of industrial grime caked under its nails. Guitars detonate and slice like cinder blocks through glass, while gnashing basslines slither through the sludge, alive and seething. Buzzy synths take the forefront, driving relentless rhythms that crack and pop, drenched in a chemically saturated sheen—part bug-eyed speed-freak pogo, part dance-floor delirium. The vocals cut through like static-laced transmissions—balancing both smirk and sneer—layering playful unease over themes of escapism, decay, and overindulgence.

The songs were born in the grime of Vernon, Los Angeles—a wasteland littered with gutted RVs and rusting machinery, where the air tastes like asphalt and dog food. But the real alchemy happened in Oakland, at Tiny Telephone Studio, where producer Maryam Qudus (La Luz, Spacemoth) helped transmute the tracks into their final forms. Unhinged tones, unconventional recording experiments, and wild sonic detours transformed the songs into something alive and unpredictable.

Every day of recording began with cartoons blaring at full volume—a Looney Tunes ritual that turned the madness of the recording process into something child-like. Late at night, sugar-fueled candy binges kept the energy spiking, pushing the sessions into a fever dream of jittery, spastic playfulness.

The result is a raw, twisted monument to rot and excess—toxic glamour and nihilistic salvation. Trash Classic isn’t just a record; it’s an auditory dumpster bible—a gutter gospel for those ready to dive into its filth.

About Frankie and the Witch Fingers

Los Angeles psych-punk shapeshifters Frankie and the Witch Fingers have spent the last decade mutating their sound into bold, electrifying new forms. Their latest release, Trash Classic (via Greenway Records and The Reverberation Appreciation Society), plunges into a sewer-slick fusion of proto-punk venom, fractured new wave, and industrial grime. Brimming with wiry synths, angular melodies, and grooves that squirm and bite, it’s all delivered with a sly, playful wink. Fueled by relentless global touring and a fierce DIY ethos, the band has shared stages with OFF!, Ty Segall, Oh Sees, Cheap Trick, and ZZ Top, cementing their place as one of the most unforgettable live acts around. Frankie and the Witch Fingers continue to morph, dragging listeners into whatever warped direction their experimental journey takes next.