Metropolis Records has officially released “Rage,” the latest hard-hitting single from Damage Control, featuring an unrelenting collaboration with EBM and industrial icon Leæther Strip.
Built on pounding rhythms, harsh electronics, and a confrontational atmosphere, “Rage” lives up to its title—channeling pure aggression into a tightly wound, club-ready weapon. Damage Control bring precision and force, while Leæther Strip injects a signature intensity that reinforces the track’s raw, uncompromising edge.
The release stands as a meeting point between modern industrial ferocity and legacy EBM power, continuing Metropolis Records’ long-standing tradition of bridging generations within the dark electronic underground.
🎶 Listen Now
Deep Dive into the Universe of Damage Control & Leæther Strip
After more than ten years of silence, Empyrean Asunder resurface with a striking stylistic pivot. Their new single “I Confess,” released January 2, 2026, marks a decisive move away from metal-rooted aggression and into industrial dance and EBSM territory—dark, seductive, and built for the club floor.
With over two decades of evolution behind them, Empyrean Asunder have continuously refused to stay confined to one sound. From black and industrial metal origins to anti-industrial rock, the project now embraces a pulse-driven electronic identity. “I Confess” introduces this new era with sinister, bass-heavy rhythms and a sleek, modern edge reminiscent of Gesaffelstein, while maintaining the project’s trademark darkness.
The release also includes “Everyone Wants To Be You,” a club-ready anthem elevated by the commanding vocal presence of Victoria Graves. Her delivery cuts through the dense electronics with confidence and intensity, making both tracks immediate standouts for goth and industrial dancefloors alike.
Produced by Jerry Barksdale, the single balances infectious earworm melodies with moments of vulnerability and cathartic screams. Massive synth work drives the tracks forward, while deeply personal lyrics add emotional weight beneath the relentless electronic momentum. It’s a combination that rewards repeated listens and signals a fully realized transformation.
Long known as an auditory manifestation of societal decay, Empyrean Asunder continue to channel chaos through sound and vision. Even as the genre framework shifts, the project’s core remains intact—harsh, theatrical, and unflinchingly confrontational.
Project Background & Evolution
Empyrean Asunder is the solo project of multi-instrumentalist Jerry Barksdale, a prolific force in extreme music circles, also known for work in The Promise Of Plague (black/death metal), Then We Died (grindcore), and Grief Cathedral (funeral doom/sludge). Conceived as an experimental outlet, the project frequently collaborates with different musicians, allowing each release to redefine its identity.
Rather than adhering to a fixed genre, Empyrean Asunder moves through distinct creative eras:
Black Metal Era Early releases such as Wrought In Dreams (1999) explored raw, avant-garde black/doom metal.
Industrial Metal & Anti-Industrial Rock Era Albums including The Human Virus (2005), Love At Your Own Risk (2006), They Call Her The Cure (2008), Hate (2013), and Serpent (2014) fused metal and punk with harsh industrial textures.
Electro-Industrial / Techno Era (Present) The current chapter pushes fully into electronic territory, incorporating EBM, darkwave, and techno influences—anchored by the 2026 release of “I Confess.”
ProNoize has officially unleashed “Aberration,” the newest release from hard-hitting industrial act Stahlschlag, further solidifying the label’s reputation for pushing uncompromising electronic and industrial sounds.
Known for their punishing rhythms, mechanized aggression, and cold, militant atmosphere, Stahlschlag delivers a release that lives up to its name. Aberration dives headfirst into distorted textures and relentless energy, offering a sonic experience built for dark clubs, underground dancefloors, and listeners who crave intensity without compromise.
With this release, ProNoize continues its mission of spotlighting forward-driven industrial artists who challenge boundaries while staying rooted in the genre’s harsh, confrontational core. Aberration stands as another sharp-edged entry in the label’s ever-growing catalog of dark electronic weaponry.
Fans of hard industrial, EBM, and power electronics are encouraged to explore Aberration now and experience Stahlschlag’s latest evolution firsthand.
America’s largest goth-industrial festival returns May 1–3, 2026, transforming the Sheraton Parsippany “Castle” into a full-spectrum celebration of dark alternative culture.
Dark Force Fest has officially revealed its daily lineup for 2026, and the schedule reads like a living timeline of goth and industrial history—past, present, and future colliding across three immersive nights in Parsippany, New Jersey.
💀 Nightly Headliners: Icons After Dark Each evening is anchored by a genre-defining act, delivering a distinct chapter of the dark underground:
Friday Night: Combichrist return in full-band formation. A longtime U.S. fan favorite, their high-voltage assault sets an explosive tone for the weekend.
Saturday Night: Front Line Assembly take command. Revered as godfathers of industrial music, their legacy and unmistakable sonic architecture make this a must-see moment.
Sunday Night: London After Midnight close the festival with an iconic, long-awaited performance—an enduring force on dark dance floors for decades.
💀 Thursday Pre-Party: The Ritual Begins Early The descent starts Thursday night at QXT’s Night Club with an intimate pre-party featuring Ego Likeness—a perfect warm-up before the castle gates open.
💀 A Full-Scale Dark Culture Convergence Dark Force Fest 2026 delivers 36 bands across two stages over three days, surrounded by 100+ vendors, sideshow performances, DJ-driven club nights, a pool party, panels, and immersive activities celebrating goth and industrial culture in all its forms.
💀 New for 2026: Expanded Outdoor Experience This year introduces a brand-new outdoor tent area, adding more performers, food trucks, expanded vendor offerings, and a dedicated biergarten, amplifying the festival’s already massive atmosphere.
💀 Tickets Are Moving Fast Dark Force Fest sold out in record time last year—and demand for 2026 is expected to exceed it. If you’re planning to attend, hesitation is not your friend.
📍 Event Details Dark Force Fest 2026 May 1–3, 2026 Sheraton Parsippany Hotel (“The Castle”) Parsippany, New Jersey
At its core, j:dead is not simply a music project—it is a psychological space. A place where self-reflection replaces performance, where discomfort is not avoided but examined, and where creativity becomes a form of survival rather than spectacle.
The name j:dead was never meant to function like a conventional band identity. Instead, it represents a second state of being—a presence that takes over once the creative process begins. For him, it exists somewhere between an alter ego and a dissociated mindset, where instinct leads and the “normal” version of himself steps aside. It’s a familiar sensation for creatives: the moment when something internal assumes control and drives the work forward without hesitation or self-censorship.
That mindset arrived at a pivotal time. After touring since the age of 17 with various dark-scene acts—and quietly writing original material since the age of 14—he realized he was sitting on decades of unreleased work. Songs that had lived privately for years, heard only by him, accumulating meaning without ever being given space to exist publicly. Eventually, that archive became impossible to ignore.
More than a career move, j:dead became a necessity. Not because collaboration had failed—there were no creative conflicts—but because this project needed to belong entirely to him. It became a place to process thoughts honestly and therapeutically, without compromise or external expectation.
Lyrically and emotionally, j:dead is grounded in lived experience. While societal context inevitably seeps into the storytelling, the focus remains inward. He has no interest in positioning himself as a commentator or spokesperson. He writes from emotional proximity—his own life, his relationships, and the internal patterns he understands most intimately.
Looking back at the earliest releases, the project reflects a period of transition. New routines, reconnection with self, and the slow rebuilding of identity. Much of that music drew from experiences spanning nearly two decades, blending past trauma with present change. Years later, those releases are remembered fondly—not as endpoints, but as markers of growth, both personally and artistically.
The current chapter of j:dead unfolds through an approach that mirrors life itself—unstructured, reactive, and honest. While Pressure introduced themes of endurance and emotional strain, its follow-up, Disgusting, sharpens the focus inward. The escalation wasn’t meticulously planned; the upcoming twelve-track series is being released largely in the order the songs were written and finished, allowing real-time emotional shifts to guide the journey.
That unfiltered sequencing works. Disgusting arrives early, providing immediate contrast and signaling that the path ahead will not be linear or comfortable.
At its core, Disgusting is about self-directed disgust—an unflinching confrontation with personal behavior, insecurity, and physical self-image. It isn’t a plea for reassurance or sympathy. For him, tough love is necessary. Self-criticism, when handled constructively, becomes fuel rather than damage. He views this mindset as deeply human, culturally familiar, and not inherently unhealthy when it leads to reflection instead of paralysis.
Sonically, the track leans harder into industrial-rock aggression, though not by design. His process always begins with music before vocals or lyrics, and style is never predetermined. Writing primarily from his home studio, the emotional weight of the day dictates the sound. This instinct-driven approach has resulted in a wide emotional and sonic range across the upcoming releases.
That raw energy is sharpened through trusted collaboration. Friends and seasoned professionals helped refine the mix and master, adding precision and impact without dulling the emotional edge. Every distorted texture, rhythmic push, and dynamic shift acts as a catalyst for the lyrical content—and vice versa. Sound and emotion are inseparable here.
The decision to release music monthly comes from a desire to give each track its own moment. In a time when full albums are rarely experienced front-to-back, this strategy ensures no song is lost to passive listening habits. Not every track needs to be a “hit”—but each deserves recognition. At the same time, he is candid about the practical reality: this approach aligns with modern listening behavior and supports the continued growth of the project.
Creatively, the process required a fundamental shift. Instead of working linearly, the writing was divided into phases—melody and structure, sound design, lyrics and vocals, final production—allowing different mindsets to coexist without bottlenecks. The result is a body of work that feels more complete and intentional than anything before it.
Emotionally, detachment remains impossible. For him, release doesn’t come from letting go of meaning—it comes from getting the thoughts out of his head and into the music in the first place.
When listeners describe feeling uncomfortable or “called out,” the response is deliberate. j:dead does not project negativity outward. The harshness is inward-facing, reflective rather than accusatory. While many artists frame their work around triumph and uplift, j:dead occupies a different space—one where doubt, regret, and self-criticism are acknowledged without resolution. It isn’t about making people feel better. It’s about being honest.
Over time, a unifying thread has emerged across the upcoming releases: a personal reset. Frustration with others mirrored by frustration with self. Patience lost, then rebuilt. Each track stands on its own, yet together they trace an arc of internal recalibration.
Sonically, the direction moves toward something more emotionally raw and industrial-forward, balancing aggression and restraint with greater clarity. While synth-pop influences remain part of his creative DNA, the emphasis has shifted toward heavier textures and deeper emotional weight.
At its core, j:dead will always be about self-confrontation. The project exists first and foremost as therapy. There is no calculation around perception, no attempt to tailor the music for external approval. As life evolves, so will the project—but its purpose remains unchanged.
Live performance plays a crucial role in that evolution. j:dead was never meant to exist behind static keyboards. On stage, it becomes fully alive—drums, guitars, bass, vocals, and musicians fully present in every moment. That physicality has directly influenced the production choices on the upcoming material, grounding the recordings in movement and urgency.
Ultimately, he hopes listeners walk away with a simple understanding: it’s okay to be human. It’s okay to feel, to fail, to not have answers. Life doesn’t always deliver messages or resolutions—it simply exists. j:dead exists to reflect that reality without apology.
For those discovering j:dead for the first time through Disgusting, understanding isn’t required. The goal isn’t clarity—it’s presence. To offer something stylistically distinct in an overcrowded landscape, and to let the work stand on its own terms.
j:dead exists because without it, he isn’t sure where he’d be. It is the space where reflection happens, where growth begins, and where lived experience becomes sound.
Circle of Dust returns with Machines of Our Disgrace (Single Edits), a streamlined reintroduction to one of the project’s most confrontational modern-era statements.
Originally released as a full-length album, Machines of Our Disgrace dissected the growing tension between humanity, technology, and systems of control. With Single Edits, the material is re-presented in a more immediate, broadcast-ready form — sharper cuts, tighter runtimes, and maximum impact.
Precision Cuts for a Digital Age
These edits aren’t about dilution. They’re about focus. The Single Edits strip each track down to its most essential elements, amplifying the mechanical pulse, serrated synth work, and industrial weight that define Circle of Dust’s sound. It’s the same warning signal — just delivered faster and harder.
Man vs. Machine, Revisited
Lyrically and thematically, Machines of Our Disgrace remains brutally relevant. Surveillance culture, algorithmic control, and technological dependence loom large, framed through Circle of Dust’s signature blend of cold electronics and human urgency. The Single Edits sharpen that message, making it impossible to ignore in an era where machines increasingly dictate behavior.
Why This Release Matters
Machines of Our Disgrace (Single Edits) serves as both an entry point for new listeners and a fresh angle for longtime fans. It reinforces the album’s core message while adapting it for modern listening habits — playlists, radio rotation, and rapid-fire digital consumption.
This is industrial music engineered for now: efficient, unflinching, and still deeply human beneath the circuitry.
Nutronic returns with Futures (Definitive Edition), a fully realized reissue that cements the project’s vision as it was always meant to be heard.
Originally released as Futures, the album has now been revisited, refined, and locked into place with the release of Futures (Definitive Edition) — a version designed not as a bonus update, but as the final, authoritative statement of the work.
A Definitive Statement, Not a Repackaging
This is not a simple remaster or archival repost. Futures (Definitive Edition) represents a deliberate effort to correct, strengthen, and future-proof the album. Updated mastering and refined mixes bring greater clarity and weight to the production, allowing the mechanical pulse and cold electronic textures to fully assert themselves.
In this form, the album replaces earlier versions entirely, presenting a consistent sonic identity and narrative flow that reflects Nutronic’s original intent.
Industrial Futures, Fully Realized
Musically, Nutronic remains rooted in the industrial, EBM, and dark electronic tradition, drawing power from rigid rhythms, synthetic tension, and an atmosphere steeped in technological unease. Futures explores themes of control, isolation, and speculative tomorrow-states — a forward-facing dystopia where progress and alienation move in lockstep.
The Definitive Edition sharpens these ideas, reinforcing the album’s conceptual cohesion and emphasizing its role as a unified work rather than a collection of tracks.
By releasing Futures (Definitive Edition), Nutronic effectively closes the chapter on earlier iterations and establishes this edition as the canonical version going forward. It’s a move that speaks to long-term intent: ensuring the album stands strong within the artist’s catalog and remains relevant as both sound and statement.
For listeners drawn to disciplined industrial production with modern precision, this release offers a clear entry point into Nutronic’s world — one that feels complete, intentional, and uncompromising.
German electro-industrial institution Wumpscut is set to expand its formidable discography with Zuckerpuppe, a new eight-track album arriving April 3, 2026 via Betonkopf Media. The release continues Wumpscut’s long-standing commitment to tightly curated, collector-focused physical editions while reinforcing the project’s uncompromising sonic identity.
🍬 A Limited Physical Statement
Zuckerpuppe (German for “sugar baby”) will be issued in two carefully crafted formats. The vinyl edition arrives as a 300-copy yellow LP, pressed using direct metal mastering and housed in a heavy 3 mm spine outer sleeve, accompanied by a four-colour printed inner sleeve. True to Betonkopf Media tradition, this pressing is strictly limited worldwide.
The CD edition follows the label’s distinctive “Back is Front” presentation, featuring a 12-page full-colour booklet and the same eight-track running order as the LP. Both formats emphasize tactile design and archival longevity, hallmarks of the Wumpscut catalogue.
⚙️ Prelude to the Album
Ahead of the album’s release, Wumpscut issued the “Zerebral Date (Zuckerpuppe Remix Contest Kit)” digitally via Bandcamp in late 2025. The release provided stems and production material connected to the new album, inviting reinterpretation while offering an early glimpse into the Zuckerpuppe sonic framework.
🧨 Additional Vinyl Releases Confirmed
The April 3, 2026 date also marks the arrival of two further Wumpscut vinyl titles:
“Evoke – Provoke” reissued on light blue 180-gram vinyl
“Homicide Bajazzo”, a remix double LP, also pressed on 180-gram vinyl
Each of these editions is likewise limited to 300 copies, reinforcing the label’s scarcity-driven release philosophy.
🩸 About Wumpscut
Founded in 1991 by Bavarian DJ and producer Rudolf Ratzinger, Wumpscut emerged from southern Germany’s club scene before becoming a defining force in electro-industrial music. Early works like Music for a Slaughtering Tribe, Bunkertor 7, and Embryodead established a brutal, sample-driven aesthetic that would influence an entire generation.
From the late 1990s onward, Ratzinger released much of his output through Betonkopf Media, while select titles reached the U.S. via Metropolis Records. Landmark albums including Boeses Junges Fleisch, Wreath of Barbs, Bone Peeler, and Evoke cemented Wumpscut’s global reputation.
Following an extensive run of releases through the 2000s and early 2010s, Ratzinger briefly signaled an end to new material after Wüterich (2016). That silence was broken with Fledermavs 303 (2021), followed by a steady resurgence through For Those About To Starve, Poison Cookie, Schlossgheist, and Chew Chew Chew.
Now, with Zuckerpuppe, Wumpscut once again proves that the project remains as focused, confrontational, and meticulously constructed as ever.
The Browning return in full combat mode with Dominator [EVOLVED], a re-engineered strike that upgrades one of their most aggressive tracks into a sharper, heavier, and more futuristic weapon. This isn’t a remix for convenience. It’s a recalibration for domination.
A Track Rebuilt for Maximum Impact
💀 From the opening moments, Dominator [EVOLVED] hits harder and moves faster, tightening the band’s signature fusion of industrial electronics, deathcore brutality, and cybernetic atmosphere. The low-end is thicker, the synth architecture more hostile, and the percussion feels engineered for mass destruction rather than passive listening.
This evolved version strips away any excess and reinforces what The Browning do best: turning mechanical precision into raw aggression. The result is a track that feels less like a song and more like a system takeover.
Cybernetic Aggression, Perfected
⚙️ The band’s trademark blend of machine-driven sound design and bone-crushing riffs reaches new clarity here. Vocals are more commanding, the drops more punishing, and the overall mix pushes the track into club-and-pit-ready territory. Dominator [EVOLVED] doesn’t just revisit the past, it upgrades it for the present battlefield.
Why This Release Matters
🔥 This single reinforces The Browning’s position at the intersection of metal, industrial, and electronic extremity. It’s a reminder that evolution is not optional in heavy music. You either adapt, or you get erased. Dominator [EVOLVED] chooses adaptation through force.
After years of anticipation, Lords of Acid are officially back on U.S. soil. The legendary electronic provocateurs have announced the “Cheeky Freaky Tour,” a 29-date headlining run launching April 25 in Las Vegas and stretching coast to coast through the end of May. More than a simple comeback, the tour marks the opening chapter of a fully reenergized era for the band—one that looks forward without erasing its infamous past.
This spring run is deliberately framed as a reinvention rather than a nostalgia trip. The “Cheeky Freaky Tour” blends intimate club settings with large-scale festival appearances, including Sick New World in Las Vegas and Ritual Noize Fest in Denver. Each stop promises a high-impact, immersive experience that reflects decades of live evolution while amplifying the band’s modern edge.
Founder and creative architect Praga Khan confirms that this momentum is driven by more than touring ambition. For the first time in eight years, LORDS OF ACID have completed entirely new material, with a brand-new album expected later this year. According to Khan, the upcoming record respects the legacy that built the band’s reputation while decisively pushing their sound, visuals, and performance energy into the future.
Now fronted by Carla Harvey, the current Acid Queen era bridges generations seamlessly. Setlists are designed to collide eras—iconic tracks like “Pu**y,” “I Sit On Acid,” and “Crablouse” sit alongside unreleased material that previews what’s next. The focus remains on tension, theatrical presence, and sonic impact, reinforcing the band’s reputation for performances that feel confrontational, playful, and dangerously alive.
The supporting lineup has been curated to match the tour’s boundary-breaking ethos. Dead on a Sunday bring raw, modern gothic energy, while Princess Superstar delivers razor-sharp lyricism and club-ready confidence. Tony and the Kiki add fashion-forward alternative pop flair, and MZ Neon opens each night with pulsing underground electronics. Notably, both Princess Superstar and Tony and the Kiki appear on the forthcoming LORDS OF ACID album, offering fans an early glimpse into the band’s next creative phase—live and unfiltered.
Decades into their career, LORDS OF ACID continue to defy expectations of what an electronic act can be. Loud, visual, provocative, and unapologetically bold, the “Cheeky Freaky Tour” is less about reclaiming relevance and more about proving they never lost it.
LORDS OF ACID – Cheeky Freaky Tour Dates
April 25, 2026 – Las Vegas, NV – Sick New World * April 26, 2026 – Fontana, CA – Stage Red + April 29, 2026 – Grand Junction, CO – Mesa Theater + April 30, 2026 – Albuquerque, NM – Sunshine Theater + May 1, 2026 – Colorado Springs, CO – Black Sheep + May 2, 2026 – Denver, CO – Ritual Noize Fest * May 4, 2026 – Kansas City, KS – Warehouse May 5, 2026 – Minneapolis, MN – Varsity Theater May 6, 2026 – Chicago, IL – Bottom Lounge May 7, 2026 – Detroit, MI – Magic Stick May 8, 2026 – Pittsburgh, PA – Preserving Underground May 9, 2026 – Washington, DC – Union May 11, 2026 – Cleveland, OH – Mercury May 12, 2026 – New York, NY – Racket May 14, 2026 – Atlanta, GA – Masquerade + May 15, 2026 – Orlando, FL – The Abbey May 16, 2026 – Fort Lauderdale, FL – Culture Room May 17, 2026 – Tampa, FL – Orpheum May 19, 2026 – Fort Walton Beach, FL – Downtown Music Hall May 21, 2026 – Houston, TX – Scout Bar May 22, 2026 – Dallas, TX – Trees May 23, 2026 – Austin, TX – Come And Take It Live May 24, 2026 – San Antonio, TX – Paper Tiger May 26, 2026 – Tucson, AZ – 191 Toole May 27, 2026 – Phoenix, AZ – Nile May 28, 2026 – Las Vegas, NV – Swandive May 29, 2026 – San Diego, CA – Music Box May 30, 2026 – Los Angeles, CA – Echoplex May 31, 2026 – San Jose, CA – The Ritz
⚙️ .SYS Machine returns with a commanding new single titled “Doubtless,” released via Glitch Mode Recordings. Built on precision-driven electronic architecture and industrial tension, the track delivers a focused, unflinching sound designed for dark rooms, late nights, and underground systems.
🔊 “Doubtless” moves with mechanical certainty. Relentless rhythms lock into place while layered synth structures create pressure and forward momentum. The track avoids excess, choosing discipline and intent instead—each element contributing to a tightly controlled atmosphere that feels cold, powerful, and deliberate.
🖤 This release marks another confident step forward for .SYS Machine, reinforcing the project’s reputation for sharp sound design and uncompromising electronic identity. It’s a track that doesn’t ask for attention—it commands it.
With “Wolf Within Me,” Lykinthrope delivers a visceral, emotionally charged release that lives in the space between control and collapse. Built around tension, patience, and the inevitability of eruption, the track explores what happens when self-restraint becomes a cage—and instinct finally breaks free.
News Article: A Study in Contained Fury
At its core, “Wolf Within Me” is about suppression—the kind that looks calm on the surface but seethes underneath. The lyrics paint a portrait of someone who has mastered silence, discipline, and emotional restraint, not because it’s healthy, but because it’s necessary for survival.
Lines like “Wear my patience like a chain” and “Every heartbeat locked in place” immediately frame control as confinement. This is not peace—it’s containment. The song repeatedly emphasizes calculation, control, and self-policing, creating a sense of pressure that steadily builds with each verse.
The wolf becomes the central metaphor: instinct, anger, truth, and identity all compressed beneath composure. It’s not portrayed as evil or reckless—it’s exhausted. “Tired of always folding” becomes the emotional thesis of the track, resonating with anyone who has learned to survive by staying quiet.
As the song progresses, the imagery intensifies. Fur rising, teeth sharpening, the moon igniting something violent inside the chest—it’s the slow, cinematic transformation from restraint to reckoning. By the final chorus, restraint is no longer virtuous. Walking away was mercy. Patience has eroded. The explosion is not sudden—it’s overdue.
“Wolf Within Me” positions Lykinthrope as an artist willing to explore internal conflict without romanticizing it. This is not a power fantasy. It’s an honest confrontation with the cost of always being the controlled one.
Release Review: The Sound of Pressure Cracking
From a sonic standpoint, “Wolf Within Me” thrives on tension. The arrangement mirrors the lyrical theme—tight, controlled, and coiled. There’s a constant feeling that something is being held back, as if the track itself is biting its tongue.
The verses feel restrained and deliberate, allowing the listener to sit inside the pressure rather than escape it. When the chorus hits, it doesn’t explode immediately—it surges, reinforcing the idea that this transformation is inevitable, not impulsive.
The bridge is a standout moment. “Don’t mistake the peace I show for a leash you think you hold” reframes calmness as deception, flipping the listener’s expectations. What appears compliant is actually volatile. The breakdown that follows—voices calling, cages breaking—feels claustrophobic and psychological, rather than purely aggressive.
By the final chorus, the restraint is gone. The storm that “no one noticed” becomes undeniable, and the emotional payoff lands hard because it was earned. The explosion feels justified, not theatrical.
This track will resonate strongly with listeners drawn to dark electronic and industrial-adjacent music that prioritizes emotional truth over bravado. It speaks to those who know what it means to keep the peace at their own expense—and what happens when that cost becomes too high.
Lyrical Interpretation: Instinct vs. Control
“Wolf Within Me” is ultimately about the danger of misreading patience as weakness. The song dismantles the idea that calmness equals compliance and reframes restraint as a countdown.
Key themes include:
Emotional suppression as survival
The psychological toll of constant self-control
Instinct as truth rather than threat
Explosion as consequence, not choice
The wolf is not something to conquer—it’s something to acknowledge. Ignoring it only ensures it will eventually break free.
OUT NOW:Excluded by Leatherstrip Available now via Bandcamp—and it does not ask for permission. 💀
A Song for the Cast Out
With “Excluded,” Leatherstrip delivers a stark, confrontational piece that cuts straight to the emotional core of alienation. This is a track about being pushed outside the circle—socially, politically, ideologically—not by choice, but by systems that decide who belongs and who does not.
There is no metaphorical cushioning here. The song speaks plainly and forcefully about marginalization, enforced silence, and the psychological toll of being erased or dismissed. It’s not framed as victimhood, but as awareness—cold, sober, and unresolved.
Sound & Structure: Discipline Over Decoration
Sonically, “Excluded” is unmistakably Leatherstrip. The track is built on rigid EBM foundations: precise sequencing, relentless rhythmic motion, and a stripped-down arrangement that leaves no room for distraction. The production is austere and controlled, reinforcing the lyrical message rather than competing with it.
Nothing feels excessive. Every element serves purpose. The beat drives forward with mechanical resolve, while the synth work remains cold and focused—never indulgent, never ornamental. This restraint gives the track weight. It feels intentional, sharpened, and uncompromising.
Vocals as Authority, Not Performance
Claus Larsen’s vocal delivery is a defining force here. Rather than theatrical aggression, the performance leans into controlled intensity. The voice sounds grounded, resolved, and fully aware of what it’s saying. There’s no attempt to soften the message or dramatize it for effect.
This approach makes the track feel less like a rant and more like a declaration—measured, deliberate, and unyielding.
Lyrical Interpretation: Exclusion as a System
Lyrically, “Excluded” operates on two levels. On the surface, it speaks to personal isolation—the experience of being shut out, dismissed, or invalidated. Beneath that, it exposes exclusion as a designed outcome, not an accident. The song implies structure, intent, and repetition—systems that thrive by deciding who is worthy of inclusion and who is disposable.
There is no plea for acceptance here. No demand for reconciliation. Instead, the song documents the condition itself, forcing the listener to confront the reality of exclusion without offering easy resolution or emotional release.
This is not a song about overcoming. It is a song about naming the wound.
Why “Excluded” Matters
Leatherstrip has never been about comfort, nostalgia, or neutrality—and “Excluded” reinforces why the project remains vital. In a cultural moment defined by division, gatekeeping, and ideological purity tests, this track feels painfully current.
It will resonate deeply with listeners drawn to industrial and EBM not just for sound, but for truth without varnish. This is music that stands firm, even when standing alone.
A sharp, disciplined release that proves Leatherstrip is still operating with clarity, relevance, and conviction. 💀
OUT NOW:Burn Down the World (Start Over) by DarkHeart Syndicate
The new single is live on all platforms—and it arrives with purpose, pressure, and intent. 💀
A Confrontational Vision, Sharpened by Fire
“Burn Down the World (Start Over)” is a no-illusions statement about tearing down systems already rotten beyond repair. The lyrics reject false authority, broken promises, and inherited lies—using fire not as chaos, but as purification. This isn’t nihilism; it’s responsibility. Destruction becomes the necessary first step toward rebuilding something honest.
Release Review: Controlled Detonation
This release hits like a deliberate blast—emotional, focused, and unapologetically heavy. From the opening moments, it establishes a tense atmosphere that’s both intimate and confrontational, pulling the listener into a headspace shaped by collapse, reflection, and resolve.
Sonically, the production balances grit and clarity. The low end drives with purpose, while layered textures and subtle details reward repeat listens. Nothing feels accidental; every element contributes to momentum and pressure, as if the track is always pushing forward—even when it pauses to breathe.
What stands out most is intent. This isn’t chaos for chaos’ sake; it’s destruction with direction. There’s a quiet defiance embedded in the arrangement—the feeling of standing in the aftermath, still upright, still moving.
“Burn Down the World (Start Over)” reads as a manifesto of disillusionment, reckoning, and radical rebirth. The world is framed as corrupted beyond repair—rot, cages, rigged games, false gods, and manufactured lies dominate the verses. Power structures are exposed as hollow: kings, thrones, flags, gods, and empires reduced to debris.
The repeated call to burn it down is ethical, not reckless. Fire becomes a tool of purification. The chorus makes it explicit—there’s no promise of luck, salvation, or easy redemption. Starting over is cold, painful, and costly. Growth comes with loss.
The bridge sharpens the blade: rejecting divine authority and comforting illusions alike. It’s clarity through annihilation—truth emerging only after everything false collapses. By the final moments, the song pivots from destruction to ownership. No utopia is promised. If we rebuild, we do it knowingly—without myths, without excuses.
In essence, the track confronts:
The failure of inherited systems
The courage to destroy what cannot be fixed
The loneliness and resolve required to rebuild honestly
Transformation through fire rather than comfort
This is not rebellion for rebellion’s sake. It’s a declaration that when the world is broken by design, starting over may be the only moral choice. 💀
Mesh are back, and they’re not easing into it. With the release of “Exile”, the iconic British synthpop duo signal a powerful resurgence—one that feels both urgent and refined. Out today, the new single captures Mesh at their most emotionally charged, blending polished electronic production with the introspective weight longtime fans crave.
“Exile” doesn’t just arrive — it confronts. Propelled by driving synth lines and unmistakably human vulnerability, the track stands as a bold statement of intent. It’s a reminder of why Mesh continue to matter: emotionally resonant songwriting wrapped in precision-crafted electronic atmospheres.
The forthcoming album is already shaping up to be something special. Early impressions place it among their strongest work to date—rivaled only by Automation Baby, a high watermark in the band’s catalog. For fans who value depth, melody, and emotional honesty, this next era promises to deliver in full.
Preorders are now live, with regional options recommended for convenience:
European customers are encouraged to order via Dependent or POPoNAUT
UK fans should order directly from Mesh
🎶Listen Now:
This is Mesh, fully present and fully realized. If “Exile” is the opening signal, what follows may well define their modern legacy.
As the calendar turns, there’s a quiet milestone approaching in the Faderhead universe. March 31, 2026 marks 20 years since the release of FH1—the debut album that kicked open the door back in 2006. Two decades later, the machine is still running, sharper and more self-aware than ever.
20 Years of Faderhead ⚙️
With the anniversary looming, planning is already underway. While the final release schedule is still being locked in, all signs point toward a brand-new Faderhead album landing in the second half of 2026, accompanied by very few “20 Years of Faderhead” headline shows—likely no more than two. No victory lap. No nostalgia overload. Just precision.
2025 Patreon Songs 🎧
To close out 2025, a snippet mix of the 12 Patreon-exclusive tracks released throughout the year was shared—offering a rare look behind the curtain. The reaction was unexpected: a surprising number of listeners didn’t even realize Patreon existed, let alone what it actually offers.
So let’s clarify.
What Is Patreon, Really? 🔒
Patreon is the Faderhead Inner Circle—a space for fans, creatives, and curious minds who want more than just the finished product.
What You Get:
One exclusive song every month – Patron-only releases, usually never available elsewhere
Weekly “Faderhead Friday” newsletter – Over 500 consecutive weeks and counting
Studio livestreams & Q&As(Producer tier) – Real-time writing and production insight
Monthly 1-on-1 mentorship calls(Mentor tier) – Personalized Zoom sessions to level up your art or project
This isn’t about content farming.
It’s about connection, insight, and transparency—a direct line into how things actually work, without industry theater or posturing. And yes, it costs less than a McDonald’s meal.
Live in 2026 🔥
March 28, 2026 – E-Tropolis, Oberhausen (DE)
June 26–27, 2026 – Black Lower Castle, Kranichfeld (DE)
Limited appearances. No filler.
You Don’t Hate Social Media. You Just Suck at It. 🧠
This part might sting—but it matters.
If social media feels exhausting, humiliating, time-consuming, or vaguely insulting to your intelligence, there’s a strong chance the issue isn’t the platform.
It’s inefficiency.
Slowness Turns Neutral Tasks Into Enemies
Watching someone spend nearly an hour editing a simple Instagram Reel—basic cuts, timing, text—says everything. For someone experienced, that’s a 3–5 minute task. The task didn’t change. The skill level did.
And with it, the emotional reaction.
If every post feels like an existential crisis, the problem isn’t social media. It’s friction.
“Hate” Is Often Just Resistance
Most musicians who claim to hate social media don’t hate publishing.
They hate:
Not knowing what to post
Taking forever to decide
Feeling clumsy with the tools
Watching others move fast while they struggle
So the ego steps in with comforting lies:
This is fake
This isn’t real art
I shouldn’t have to do this
Convenient. Comfortable. Completely useless.
The Hidden Cost Nobody Calculates
When posting takes an hour, you avoid it. When you avoid it, you stay bad. When you stay bad, the hour never becomes five minutes.
That loop—not algorithms, audiences, or “culture decline”—is the real enemy.
An untrained muscle you refuse to train because you resent the gym.
Speed Is Freedom, Not Selling Out
People who are good at social media don’t dramatize it. They don’t overidentify with it. They don’t justify it.
They open the app. They do the thing. They close the app.
The faster something becomes, the less emotional weight it carries. Ironically, competence is what creates distance.
One Uncomfortable Question
Before declaring social media beneath you, ask this:
If this took five minutes instead of fifty, would I still hate it?
If the honest answer is no, then this isn’t a values problem.
It’s a skill gap.
And skill gaps don’t close by pretending your frustration is philosophical.
Hand of Juno continue their fearless genre mutation with “Right Now (FASTER Remix)”, a club-focused reimagining of their industrial metal track—out today via Out Of Line Music. The remix strips the song down to pure momentum, trading metallic aggression for pounding low-end pressure and hypnotic repetition designed for dark rooms and late hours.
Rebuilt from the rhythmic spine outward, the FASTER Remix replaces distortion with precision. Driving kicks, glitch-infused textures, and a minimalist pulse transform “Right Now” into a weaponized techno cut—lean, raw, and engineered for underground dancefloors. It’s another sharp turn in the band’s evolution, proving Hand of Juno can dismantle their own sound and reassemble it without losing intensity.
Formed in Italy in 2021, Hand of Juno began as a female-fronted industrial metal trio featuring Melissa Bruschi, Alice Lane Pandini (Infected Rain), and Helly Elisa Montin. After four successful singles, the project evolved—continuing forward without Pandini and expanding its live force with Francesca Mancini (guitar) and Marco Valerio (bass). The result is a darker, more adaptable unit built for both stage and studio.
That adaptability is fully realized on their debut album Psychotic Banana, released via Out Of Line Music. The record collides industrial metal with electronic music, techno, brutal deathcore breakdowns, and deep, cinematic melody. Each track pulls from a different sonic world, creating a volatile listening experience that refuses to sit still.
The album’s title says it all. Psychotic Banana is about change—constant shifts in mood, structure, and intensity that mirror the band’s own journey. Songs escalate and fracture, pushing toward aggression before the closing moments pull back, hinting at a hard-earned moment of stability after chaos.
This momentum has already translated to the stage. Hand of Juno have delivered punishing live sets, shared stages with labelmates ERDLING on tour across Germany, and torn through festival crowds including Summer Breeze Open Air. With each release, their audience grows—and the lines between metal, industrial, and techno continue to dissolve.
On January 18, 2026, Evol Radio will publish an exclusive in-depth interview with j:dead, diving beneath the surface of one of the most emotionally confrontational industrial projects currently emerging from the underground.
This interview moves beyond standard promo cycles, instead unfolding as a PAST / PRESENT / FUTURE narrative—examining origin, escalation, and intent with brutal clarity.
A PROJECT BUILT FROM PRESSURE
Since the release of Pressure, j:dead has positioned the project as more than sound—using distortion, repetition, and emotional friction as tools for self-examination. With the follow-up single Disgusting, the project sharpens its edge, turning inward and outward at the same time, forcing listeners to sit with discomfort rather than escape it.
The upcoming Evol Radio interview traces the roots of j:dead’s identity, exploring the moments that demanded the project exist in the first place, and how those early impulses continue to shape its trajectory.
PRESENT TENSION, FUTURE COLLISION
At the center of the conversation is j:dead’s evolving release strategy—monthly drops designed not for algorithmic noise, but for progression in real time. The interview dissects how this approach affects creative detachment, listener connection, and the emotional cost of staying exposed in public.
Topics include:
The psychological meaning behind the name j:dead
The shift from endurance to confrontation between releases
The role of discomfort as a catalyst for growth
Whether j:dead is meant to exist on stage—or remain internal and solitary
This isn’t a surface-level Q&A. It’s a study in self-awareness, pressure, and refusal to numb out—a conversation for listeners who don’t just consume music, but use it as a mirror.
The full interview will be published January 18, 2026, exclusively on evolradio.com.
FiXT sharpens the blade with the release of Machines of Our Disgrace (Single Edits), a precision-cut offering that distills the raw power of Circle of Dust and Celldweller into streamlined, high-impact versions built for immediate immersion. These single edits preserve the aggression, atmosphere, and mechanical soul of the originals—now tightened for repeat listens without losing an ounce of weight.
This release bridges eras and aliases, bringing together two pillars of Klayton’s sonic universe under the FiXT banner. Industrial pressure, cinematic tension, and cybernetic rhythm collide in edits designed to hit fast, hit hard, and linger long after the last transient fades.
Re:Mission Entertainment closes the chapter on 2025 the only way it knows how—by detonating a genre-spanning compilation that captures the pulse of the underground in all its shadow-drenched glory. The 2025 Label Compilation stands as a sonic time capsule, uniting 25 tracks across Industrial, EBM, Darkwave, Witch House, Synthpop, and Experimental realms into one cohesive statement of intent.
This annual release isn’t just a retrospective—it’s a declaration. Singles collide with remixes, collaborations bleed into exclusives, and familiar names share space with boundary-pushers operating at the fringe. Every track is curated to reflect the restless evolution of the scene, offering listeners both reflection and revelation as the calendar resets.
Available digitally via Bandcamp, the compilation also arrives as a strictly limited physical pressing of just 200 CDs, making it a must-have artifact for collectors who still value tangible relics of underground culture. Once they’re gone, they’re gone.
For those who live in the margins between genres and thrive in the darker frequencies, this compilation isn’t optional—it’s essential listening.
🎶 Listen Now:
Deep Dive into the Universe of Re:Mission Entertainment
From the beginning, horror has been more than an aesthetic for her—it has been a language. One of the earliest and most profound awakenings came not from music, but from cinema. Luca Guadagnino’s Suspiria (2018) struck her in a way she didn’t yet have words for. Its hypnotic cinematography, ritualistic symbolism, and suffocating mood seeped into her subconscious, quietly laying the foundation for the world she would later build. Even now, the film remains a touchstone—something she revisits again and again, consciously or not, across projects.
Her musical origins took shape in music school, where she was immersed in electronic production and mid-tempo bass music. At the same time, she found herself gravitating back toward heavier sounds—industrial textures, sludge pop, witch house, nu-metal riffs, and gothic atmospheres. She wanted to fuse distorted electronic bass with the physical weight of metal guitars, but lacked the technical ability to execute those riffs herself. That changed when a classmate introduced her to the producer who would help translate her vision into reality—someone who could bridge electronic production with guitar-driven aggression and bring her hybrid sound to life.
One of the most defining battles of her early career, however, wasn’t compositional—it was physical. Learning how to scream nearly destroyed her voice. For years, she pushed through false cord techniques that sounded raw and feral but caused damage and inconsistency. You can hear that struggle embedded in early releases like “Lobotomy” and “Know You Best.” It wasn’t until she discovered fry screaming—and later, voiced fry screaming under the guidance of vocal coach Warren Jensen—that everything clicked. What once felt uncontrollable became precise, powerful, and sustainable. The screams she had been chasing were finally hers, and they now define the next chapter of her sound.
Visually, her artistic identity crystallized during the creation of the “Know You Best” music video. With a background in fashion styling, she was already accustomed to wearing multiple hats on set—offering creative direction, shaping mood, and understanding what translated on camera. That project marked the first moment where her roles as musician, writer, stylist, and director fully merged. Working alongside co-director and DOP Myles Mantzaris, she realized she wasn’t just participating in a project—she was building a universe. Each visual became a twisted fairytale, rooted in horror but driven by emotion. It was also the moment she understood something vital: this was only the beginning.
Her earliest songwriting experiences were chaotic, exhilarating, and rule-free. One of her first public releases came together overnight before a music school final—written, recorded, and produced in a single sleepless stretch with close friends. That same magic resurfaced years later with “Voodoo Doll,” which began as a solitary idea on her couch before evolving into a fully realized track through spontaneous phone-call sessions with her producer. For her, the process has never been linear—only intuitive.
Among her most surprising influences is Marina’s Electra Heart. The album rewired her creative chemistry, embedding itself so deeply that she only later recognized its fingerprints in her unreleased work. That emotional theatricality, vulnerability, and conceptual boldness continue to echo beneath the surface of her darker material.
At its core, her creative mission has remained consistent: to tell dark fairytales. Whether it’s a gothic ball, a grim ritual, or a violent roadside nightmare, every song is meant to be a fully immersive experience. Horror remains foundational, but her visuals are evolving—branching into new cinematic territories while still carrying her unmistakable signature.
Building Worlds Through Sound, Vision, and Control
Her recent visuals for “Wasteland” and “Voodoo Doll” may not have followed the original blueprints she envisioned, but adaptability has become part of her process. Life intervenes, plans shift, and art evolves. Still, those unrealized concepts remain alive—waiting for the right moment to be resurrected.
When translating music into visuals, her approach is deeply internal. She listens to a song on repeat—sometimes for hours, sometimes across days—until images surface organically. From there, she builds dense moodboards pulling from films, runway shows, advertising campaigns, color theory, and cultural references. Each video is meticulously planned shot by shot, with visual references and written treatments that guide collaborators from concept to execution.
Lyrics almost always come first. As she writes, a cinematic narrative unfolds in her mind, shaping not only the emotional arc of the song but also the production direction. By the time vocals are finished, the visual story already exists. That imagined world then informs how she works with her producer to sculpt the soundscape around her voice.
Balancing her many roles requires precision and preparation. Overplanning isn’t optional—it’s survival. Detailed treatments, pre-production meetings, shot lists, schedules, and clear communication allow her to focus on what matters most during a shoot: directing and performing. Trusting her team is essential, especially when difficult decisions—like cutting scenes to preserve performance quality—have to be made. For her, collaboration isn’t about control; it’s about alignment.
Sonically, her industrial grit is born from experimentation. Working in Ableton, she and her producer dismantle sounds and rebuild them—reversing, bit-crushing, re-amping, distorting—until something feral emerges. Their shared love for cinematic scores, video game soundtracks, and heavy music bleeds into every track.
Beyond music, fashion remains a constant source of inspiration. She studies legendary runway shows and designers—Alexander McQueen, Mugler, Margiela, Galliano, Iris Van Herpen, Dilara Findikoglu—alongside shock advertising and guerrilla marketing campaigns from around the world. To her, marketing is unavoidable, and when done well, it becomes art in itself.
Her days begin with meditation and morning pages, grounding her creativity before movement—walking, driving, exercising—sets ideas into motion. Vocal warmups follow, then collaborative recording sessions in her makeshift home studio. The day often ends with sushi, strategy, and plotting the next move forward.
Creative control, she believes, is non-negotiable. Opinions are everywhere. Standards are personal. Holding the final say allows her to protect the integrity of her work—and her own relentless self-critique ensures that nothing is released unless it meets her vision.
Expansion, Impact, and Immortality
While her catalog has so far focused on singles, she is actively working toward a full-length album. Delays have slowed the process, but the intention remains firm: finish writing and recording within the coming months, with hopes of releasing it by early next year.
Looking ahead, she envisions expanding her universe beyond music and video. Fashion is a natural next frontier. She dreams of launching her own sustainable, high-quality clothing line—complete with curated runway shows and immersive retail experiences that reflect her aesthetic world.
At the heart of everything is connection. She hopes her music empowers listeners, gives them courage, and reminds them they are not alone. Having spent much of her life feeling like an outsider, she wants her growing community to be a place of belonging. Music, after all, is invisible—but it can change lives.
Her ultimate ambition is global impact. She wants her name—and her music—to resonate internationally, to tour relentlessly, and to build a worldwide community bound by sound and story. Placing her music in video games and films is another lifelong dream, shaped by formative experiences with franchises like Call of Duty, World of Warcraft, and Halo, where soundtracks left permanent emotional imprints.
Live performance is the next frontier. While the focus remains on finishing new music, ideas for cinematic stage production are already taking shape. Performing puts her into a trance-like state—pure adrenaline, pure presence—and she’s eager to bring her world into physical space.
Five years from now, she sees herself on the road, releasing albums, collaborating with new artists, expanding her merch and visual projects, and continuing to push the boundaries of what her universe can become.
This is not just a project. It’s a world—still unfolding.
The second single from j:dead, titled “Disgusting,” lands on January 2, 2026, via Infacted Recordings, marking a sharper, more volatile evolution of the project’s sound and intent.
Following the debut single “Pressure,” which centered on emotional strain and resilience, “Disgusting” turns inward with far less restraint. This release confronts the discomfort of self-awareness—those moments when complacency, emotional stagnation, and repetitive personal patterns become impossible to ignore. It’s not reflective for comfort’s sake; it’s reflective because looking away is no longer an option.
A More Aggressive Sonic Identity
Musically, “Disgusting” pushes j:dead further into industrial-rock territory. Distorted synth lines grind against driving rhythms while raw, unfiltered vocals deliver their message with urgency. The track is intentionally abrasive—designed to hit hard in both club environments and alternative live settings, trading subtlety for impact.
A Campaign Built on Progression
This release emphasizes evolution over repetition. Rather than chasing frequency alone, each monthly release exposes a different emotional and sonic dimension of j:dead.
The result is a project unfolding in real time—growing darker, heavier, and more self-aware with every chapter while maintaining a direct connection with listeners.
Out Sunday, December 21st, 2025, New World Disorder – A Tinnitorturous Sampler arrives exactly when the night is longest—released on all major digital music services and free (or pay-what-you-want) in lossless quality on the artists’ Bandcamps. This is more than a compilation. It’s a ritual, a statement, and a reflection of a year that tested resolve across the underground.
🌘 A Solstice Ritual Forged in Sound
Each year, the winter solstice marks the balance point between darkness and the slow return of light. In that spirit, Tinnitorturous returns with a sampler that channels the weight of the times through industrial, EBM, and alternative electronic expression.
Following last year’s uncompromising tribute Shouldn’t Have Done That – A Depeche Mode Tribute (still available for free on Bandcamp 💀), this year’s release goes deeper. Inspired by real-world events and rising global tensions, a select group of Tinnitorturous artists created brand-new, exclusive tracks—raw, confrontational, and unfiltered.
⚙️ Art as Resistance
New World Disorder stands as a response to a year defined by authoritarian aggression, propaganda, and attempts to suppress liberty. Fascism wears many masks—but the message here is clear: question supremacy, reject dictatorship, and never accept manufactured greatness. This EP doesn’t preach—it confronts.
As the light slowly returns, this sampler carries a faint but defiant hope: that 2026 may arrive with less madness, less bloodshed, and more humanity.
Founded in Denmark, Tinnitorturous is an independent label dedicated to industrial, EBM, and alternative electronic underground music, run by scene-veteran musicians who live and breathe the culture.
Daily operations are handled by:
Jens B. Petersen(ManMindMachine, Negant, more)
Tommy B-Kuhlmann(In Absentia, Negant, Body-Banden, more)
The label has steadily built a catalog rooted in sonic defiance, mechanical rhythms, and uncompromising vision.
🧾 Selected Discography Highlights
From early digital singles like Eisenwolf – Krigskøter (2019) to landmark releases such as ManMindMachine – RetroFuturist, Institute for the Criminally Insane – Ferryman’s Bell, and the 2024 sampler Shouldn’t Have Done That – A Depeche Mode Tribute, the label’s trajectory has been relentless.
The journey culminates—so far—with: V.A. – New World Disorder – A Tinnitorturous Sampler Digital EP | TT-DDEP-07 | Out December 21, 2025
After years of silence and anticipation, Unter Null continues her long-awaited resurgence with the official music video for “Coming Up To Breathe,” translating raw emotion into a powerful visual statement that cuts straight to the core.
A Visual Reckoning 🖤 “Coming Up To Breathe” has already resonated deeply as a comeback track—equal parts defiance, vulnerability, and survival. With the release of its official music video, Unter Null elevates the song into a cinematic experience, pairing stark imagery with the relentless emotional weight that defined her earlier legacy while signaling a sharpened, more intentional evolution.
Rather than relying on excess or spectacle, the video leans into atmosphere and tension. Every frame reinforces the song’s central theme: the fight to reclaim identity and breath after prolonged suffocation—personal, creative, and societal. It’s not nostalgia. It’s confrontation.
A Milestone Moment in the Unter Null Revival 🔥 This release marks a significant chapter in Unter Null’s return to the industrial landscape. Long regarded as a defining voice in the aggrotech and dark electro movement, her re-emergence has been measured, deliberate, and uncompromising. The video for “Coming Up To Breathe” stands as both a statement and a promise: this era is not about revisiting the past—it’s about finishing unfinished business.
For longtime followers, it’s a powerful reminder of why Unter Null mattered then. For new listeners, it’s an invitation into a universe built on truth, pressure, and release.
A raw transmission from the inner machinery of the self, “Behind My Eyes” marks a defining moment in the evolution of DarkHeart Syndicate.
DarkHeart Syndicate have officially released their new single Behind My Eyes, delivering a stark, emotionally charged entry into their growing catalog of dark electronic and industrial-infused soundscapes. The track arrives as both a confession and a confrontation—an unfiltered look at the internal battles that rage beneath the surface.
A Glimpse Beneath the Surface
“Behind My Eyes” leans heavily into atmosphere and tension, pairing brooding electronics with a sense of restrained aggression. Rather than relying solely on brute force, the song builds its impact through mood, pacing, and lyrical introspection. It feels claustrophobic by design—pulling the listener inward, into a mental space shaped by isolation, perception, and unresolved conflict.
There’s a deliberate contrast at play: cold, mechanical textures collide with deeply human emotion. The result is a track that doesn’t just play—it lingers, echoing long after the final note fades.
Soundtrack for the Inner War
At its core, “Behind My Eyes” explores the divide between what is shown to the world and what remains hidden. It speaks to survival, endurance, and the quiet strength required to carry unseen weight. This is not a song engineered for surface-level consumption; it’s meant for listeners who resonate with darkness not as spectacle, but as truth.
A Statement Release
With this release, DarkHeart Syndicate continues to sharpen its identity—blending dystopian aesthetics, emotional realism, and a cinematic sense of scale. “Behind My Eyes” feels less like a standalone single and more like a mission statement, signaling deeper narratives and heavier transmissions yet to come.
Fans of industrial, dark electronic, and emotionally driven alternative music will find plenty to dissect here—both sonically and thematically.
This isn’t about fitting into the system or playing along with its rules—it’s about reshaping the landscape entirely and claiming what was never meant to be given.
Deep Dive into the Universe of DarkHeart Syndicate
Time to wake up and smell the dystopia. Twisted Flesh Recordings has just unleashed Redacted, the latest sonic assault from Terrorbit—and it hits like a corrupted data stream ripping through the last illusions of comfort.
Built on crushing industrial rhythms, distorted electronics, and a cold, confrontational atmosphere, Redacted feels engineered for a world drowning in surveillance, misinformation, and systemic decay. Terrorbit doesn’t whisper warnings—they broadcast them at full volume, dragging listeners into a fractured future where truth is fragmented and control is constant.
True to the Twisted Flesh Recordings ethos, this release thrives in the shadows between aggression and precision. Every beat feels intentional. Every texture feels weaponized. Redacted isn’t just a release—it’s a signal flare for those already awake, and a rude awakening for those still asleep.
If you crave dark electronic music that reflects the unease of modern existence without compromise, Redacted delivers exactly that—raw, relentless, and unapologetically dystopian.
From the depths of the Dark Lands comes a new mutation: Collected: Into The Dark Lands – Chronicles of the Pale Wanderer: The Remixes, a collaboration forged by the ever-expanding Dark. Descent. collective — now available for descent, distortion, and ritual consumption.
The Pale Wanderer Returns… in New and Distorted Forms 🖤
The Pale Wanderer does not fade. Instead, its shadow stretches longer, darker, and more disfigured as familiar themes twist into unfamiliar shapes. This remix companion pushes the mythology of Chronicles of the Pale Wanderer further into the abyss, reshaping past echoes into something far more vicious, more cryptic, and more ritualized.
Each remix channels a different vein of the Wanderer’s essence, expanding the lore with fresh scars and spectral interpretations. What once was known is now reborn — warped, sharpened, and spiritually unhinged.
A Family of Shadows Reworking the Bloodline ⚔️
In true Dark. Descent. fashion, the artists themselves confront each other: Paired at random, members of the D.D. family were tasked with reimagining one another’s work, tearing apart familiar sonic DNA and rebuilding it into four axes of darkness.
The result? A convergence of minds, a communion of blackened creativity, and a shared frequency that vibrates between myth, memory, and metamorphosis.
The pulse of a forgotten era roars back to life as SPANKTHENUN unveils “Berlin,” a pure New Beat time capsule forged entirely from authentic 1987 hardware.
The Sound of a Dark Dancefloor Reborn 💀
SPANKTHENUN steps straight into the shadows of electronic history with “Berlin,” the first transmission from their upcoming New Beat Collection: Era 1987. This release is more than a song—it’s a restoration of an era when underground clubs bled smoke, neon, and minimalist mechanical rhythm.
To honor the origins of New Beat, the band turned back the clock and used only gear from 1987—no modern shortcuts, no plugins, no digital gloss. The result? A raw, pulsing, hypnotic groove that feels ripped straight from a European nightclub caught between darkness and desire.
A Refrain That Possesses the Mind 🖤
The mantra at the core of Berlin is as addictive as it is transportive:
“Baby, take me to Berlin.” “Baby, nimm mich mit nach Berlin.”
A bilingual invocation. A looping seduction. A phrase engineered to echo in your skull long after the track stops spinning.
This is the kind of single that doesn’t just play—it haunts.
In a ruthless sonic onslaught, Suicide Queen’s newest album “Crowned in Blood” pushes every boundary of their industrial-metal hybrid, delivering raw emotion sharpened to a blade.
The Reckoning Arrives
Los Angeles-based Suicide Queen unleash “Crowned in Blood” via COP International. SIDE-LINE+1 The album follows their debut Nymphomaniac and arrives as a full-length, 11-track release packed with ferocity. SIDE-LINE Frontwoman Kay Dolores writes with a bite: “We forced ourselves to go heavier, louder, more personal”. Guitarist Ron Graves and Scarr Kevorkian deliver on strings and programming, while Dorian Dolore’s remix and lead-guitar cameo bring a twist of weirdness and inevitability.
Why It Hits Hard
This isn’t a safe listen — Suicide Queen go in deep, lyrically and vocally, digging at wounds and turning them into sound.
The mix is brutal: heavy guitars, pounding industrial rhythm, layered anger and melody colliding.
COP International champions this kind of dark-electric assault, ensuring the record lands in the right hands. COP International+1
For fans of aggressive electronic/metal hybrids, this is the kind of release you will spin loud.
Emerging from the industrial underworld, Sensuous Enemy delivers a fierce re-interpretation of their track “Shadowlands,” remixed by Red Lokust and unleashed on Distortion Productions.
Sensuous Enemy has resurfaced with a new aggressive remix of their track “Shadowlands,” reworked by Red Lokust and released via Distortion Productions. YouTube+2Facebook+2 The original band — fronted by vocalist JAI with John Freriks (programming/guitars) and Bob Hensley (programmer/synths/drums) — brings their darkwave/industrial sound into sharper relief under Red Lokust’s remix aesthetic. Distortion Productions Red Lokust’s involvement adds heavier EBM/industrial edges and dance-floor momentum. The label Distortion Productions, based in Pittsburgh, continues to support the underground electronic scene. Distortion Productions
This remix bridges Sensuous Enemy’s melodic darkwave roots with Red Lokust’s harsher industrial club energy — ideal for fans of both realms.
For the label, it’s another strong move in expanding their roster’s reach and reinforcing credibility in the underground scene.
For listeners and DJs, it offers a fresh track suited for both introspective listening and high-octane dance-floor sets.
Expect Sensuous Enemy to continue evolving their sound, possibly leading up to a larger full-length or album cycle. Their past work and this new remix suggest they’re ramping up momentum. For Red Lokust and Distortion Productions, this shows the label’s hunger to push boundary-crossing collaborations and remixes.
🎶 Listen Now:
Deep Dive into the Universe of Sensuous Enemy & Red Lokust
Digital World Audio has just dropped a powerful new strike from the shadows — PROMETHEUS FLAME returns with the explosive single “March On Blaze,” a rallying cry forged in smoke, steel, and cyber-industrial fire.
🔥 PROMETHEUS FLAME — A Rising Force in the Dark Electronic Vanguard PROMETHEUS FLAME has been slowly carving a place in the global industrial underground, mixing militant electronic rhythms with cinematic atmospheres and razor-edged production. Known for a sound that blends dark electro, post-apocalyptic ambience, and martial industrial influence, PROMETHEUS FLAME continues to evolve with each new release — and “March On Blaze” is their most incendiary offering yet.
🔥 “March On Blaze” — A Call to Stand, Fight, and Survive Built on thunderous percussion, smoldering synths, and the unmistakable mechanical heartbeat of Digital World Audio’s signature aesthetic, “March On Blaze” is a track that hits like a strike of lightning across a war-torn horizon. It carries the spirit of rebellion, the weight of resistance, and the full fury of PROMETHEUS FLAME’s sonic arsenal.
🔥 Digital World Audio Continues Its Tactical Expansion Released via Digital World Audio, one of the most consistent players in underground industrial, the track arrives as part of the label’s continued push to spotlight high-intensity electronic warfare from emerging and established artists alike.
U.S. electro-industrial act genCAB rises from the depths once more with their haunting new single, “Open Grave,” out now via Metropolis Records. Released on October 31, 2025, this brooding club anthem drags listeners into a confessional spiral of self-sabotage, decay, and emotional dissection—set to a driving, dancefloor-ready beat.
💿 Includes:
Open Grave
Open Grave (Unsolved Remix by Lost Signal)
Last (Nine Inch Nails cover)
🩸 A Dance with Self-Destruction
“The song explores the decay of our own undoing. I’m a self-destructive person, and ‘Open Grave’ is about lying in my own mess that I create for myself,” confesses David Dutton, the creative force behind genCAB.
Dutton adds, “Most of the advice we get is to keep our inner pain hidden, so we isolate further. This song is me laying that pain bare—for anyone to hear, whenever they need it. It’s more accessible than my past work, but it carries a message that’s universal. Sometimes life is just a dance track and an outlet to lose yourself. Who knows what’s left when you tear yourself apart—but at least it’s honest.”
⚙️ genCAB’s Sonic Evolution
Since their 2008 debut II transMuter, genCAB has been a force in the darker corners of electronic music, expertly merging EBM, synth-pop, and alternative rock. After a long hiatus that saw Dutton and drummer Tim Van Horn touring with Aesthetic Perfection, genCAB returned in 2022 with Thoughts Beyond Words and the Everything You See Is Mine EP—showcasing a renewed energy and emotional intensity.
Their 2023 Metropolis release Signature Flaws introduced dreamlike shoegaze and post-hardcore influences, while 2024’s III I II (THIRD EYE GEMINI) reimagined and expanded upon their earliest material with modern, atmospheric depth. Now, Open Grave continues that evolution—melding catharsis with rhythm, and ruin with revelation.
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