Metal Blade Records is thrilled to welcome Tasmanian death metal behemoths PSYCROPTIC to its esteemed roster for the release of their forthcoming new full-length album. To mark the occasion, the band has just unleashed their new video and single, “Architects Of Extinction.”
PSYCROPTIC stands as Australia’s most globally respected death metal act for a quarter-century. When the history of technical metal is written, PSYCROPTIC will undoubtedly claim a hefty chapter. They carved their path into the underground in the late ’90s and have consistently pushed the genre forward with their dense riff jungles, bursting into powerfully rhythmic grooves and blasts. The profound talent of brothers Joe (guitar) and Dave Haley (drums) anchors their sound. Joe’s esoteric picking style weaves hooks that ensnare listeners, while Dave’s pulsating rhythms provide the backbone. Their level of synchronization is unparalleled, a testament to decades of playing together. The telepathic performance is only matched by the precise contributions of Todd Stern on bass and the charismatic roar of Jason Peppiatt. Like true masters, they make the impossible look impossibly easy.
Guitarist Joe Haley comments on the signing: “Having grown up listening to countless amazing bands on the Metal Blade roster, the label had a big impact on shaping who we are as musicians, essentially becoming an integral part of our creative DNA. From the early days of picking up our instruments to finding our own sound as a band, Metal Blade has always represented the pinnacle of heavy music and a place where groundbreaking artists are created and thrive. So we’re beyond honored to announce that we’re officially joining the Metal Blade family – a surreal and humbling moment for all of us in PSYCROPTIC. We’re currently in the final stages of finishing our new album, and we can’t wait to share what we’ve been working on. To kick off this awesome new chapter on the right note, we’re dropping our brand-new single, ‘Architects Of Extinction.’ Enjoy.”
Bassist Todd Stern adds, “As PSYCROPTIC prepares to release our ninth full-length studio album, we couldn’t be more excited about the fact that we’ve joined forces with the one and only Metal Blade Records, who will be handling its release. We feel that at this point in our career, both the timing and the fit are seemingly perfect. Metal Blade and its roster have always been exceptional, and we are very grateful and humbled to join such a legendary list of artists that have been part of the label’s family throughout the ages. We are adding the final touches on our next record, but in the meantime we have something savory prepared: a dense, hard-hitting single entitled ‘Architects Of Extinction.’ Get ready for the golden age of Tasmania’s most prolific metal band!”
Watch PSYCROPTIC’s “Architects Of Extinction” video HERE.
Next week, PSYCROPTIC will kick off a host of Summer performances throughout Australia and Europe. See all confirmed dates below.
PSYCROPTIC Live:
6/06/2025 Republic Bar – Hobart, AU
6/07/2025 Royal Oak – Launceston, AU
6/08/2025 Pub Rock Diner – Devonport, AU
6/10/2025 Magnet House – Perth, AU
6/11/2025 Lion Arts – Adelaide, AU
6/13/2025 170 Russell – Melbourne, AU
6/14/2025 Metro Theatre – Sydney, AU
6/15/2025 Princess Theatre – Brisbane, AU
7/26/2025 Tolminator – Tolmin, SI
7/27/2025 Backstage Free & Easy – München, DE
7/28/2025 Vaudeville – Lindau, DE
7/29/2025 Garage – Saarbrücken, DE
7/30/2025 Hellraiser – Leipzig, DE
8/02/2025 Manchester Academy – Manchester, UK
8/05/2025 La Eventhalle – Cham, DE
8/07/2025 Brutal Assault – Jaromer, CZ
8/09/2025 Alcatraz – Kortrijk, BE
8/10/2025 Hall Of Fame – Tilburg, NL
Most bands take a few albums to find their feet, but PSYCROPTIC’s first two releases were underground classics: The Isle Of Disenchantment (2001, self-released) and The Scepter Of The Ancients (2003, Unique Leader). Vocalist Matthew Chalk and bassist Cameron Grant were part of the first squad who joined the Haleys on their quest for perfection. A relentless touring schedule emerged in Australia, including legendary appearances at Canberra’s Metal For The Brain festival. Normally this would be the high point for an Australian metal band. Two albums out, successful shows, who could ask for more?
Tasmania couldn’t contain them, and as it turned out, neither could Australia. Their first overseas tour was Europe in 2004. Matthew was replaced on vocals by Jason Peppiatt, and PSYCROPTIC went on to record Symbols Of Failure (2006, Neurotic). The band expanded their sound with Ob (Servant) (2008, Nuclear Blast), bringing in ambience and atmosphere, then The Inherited Repression (2012, Nuclear Blast) introduced the powerful neck-cracking grooves that would mark their sound going forward.
It also introduced them to touring the US with their first happening in 2010. This pushed their lust for the road to new levels, smashing audiences and stupefying musicians around the planet. They’re unique among death metal bands in that it’s almost pointless to try and list the festivals and countries they’ve visited, let alone the bands they’ve played with. It can be condensed to “everyone, everywhere.” Official estimates are at forty countries.
PSYCROPTIC solidified their American relationship by signing to Prosthetic Records in 2014, replacing Cameron on bass with US legend Todd Stern in 2015, then releasing their self-titled album in the same year. At this point something indefinable clicked, and the band unleashed As The Kingdom Drowns (2018), a clear step up from their previous work. Divine Council (2022) proved that this wasn’t a new level for the band – it’s a new normal. Origin vocalist Jason Keyser, long considered a part of PSYCROPTIC’s extended family, contributed vocals to Divine Council as well as the upcoming new material. Keyser remains a session and live vocalist on select tours.
Signing to the legendary Metal Blade Records for their forthcoming full-length album – there is no slowing down. PSYCROPTIC are no longer the local Australian band made good: they are a global powerhouse with a footprint the size of the world, nothing left to prove, and an endless commitment to finding ways to rock you as hard as technically possible.
Electronic artist Rhys Fulber has released his new single, “Only Love Will Save Us,” featuring suicide disco icon Barkosina (from Years of Denial). The track is available today, May 30th, and is a powerful precursor to his upcoming solo album, “Memory Impulse Autonomy,” set for release on September 5th via Artoffact Records.
“Only Love Will Save Us” delivers a powerful and emotional message. Its chorus, acting as a potent mantra, declares that love is the sole force capable of healing, uniting, and redeeming humanity from its darkest tendencies. Amidst the sweeping synth lines of this moodily atmospheric club banger, Barkosina takes a moment to shine, lending her unique touch to its timely lyrics.
Listen to the previously released single ‘The Abyss’ HERE.
Fêted electronic artist Rhys Fulber takes you further back and forward with his first solo release for Artoffact, Memory Impulse Autonomy. The album harks back to the music that Fulber made in his youth, inspired by bands such as Cabaret Voltaire, Portion Control, and fellow Vancouverites Skinny Puppy, but blends those influences with the brutalist rhythms and harsh industrial techno that he has been pioneering in recent years.
Thematically, the record explores his joy of creating music for the first time in the Eighties, using primitive equipment with a freedom of expression driven only by his imagination.
’The title refers to fond memories of my roots in making electronic music and the excitement and passion I had for these sounds that were new at the time,’ Fulber says. ‘That style is embedded in me. Going back to them allowed me to make music on impulse, and many of the instrumentals were created from studio jams.’
While there are distinct nods to the past in the gnarly Richard H Kirk-esque cut ups of ‘All Of You Go To Heaven’ and ‘Baaderzeit’s’ eerie Tangerine Dream-like sequences, the album is also very much a modernist collaborative effort, utilizing voices from the forefront of contemporary electronic music including William Maybelline (Qual/Lebanon Hanover), Years of Denial’s Barkosina, and Hamburg-based aufnahme+wiedergabe recording artist Konstantin Unwohl.
‘The vocalists are new artists who are inspired by a similar era,’ Fulber adds.
Darkwave and EBM artist Qual guests on two tracks, lending his trademark lugubrious vocals and bleakly humorous lyrics to the dark techno of opening track and first single ‘The Abyss’ and the strident rhythmic ‘Control’.
Suicide disco icon Barkosina takes a moment to shine amid the sweeping synth lines of ‘Only Love Will Save Us’, a moodily atmospheric club banger with timely lyrics, while Unwohl, a genre-bending artist with a growing cult following and a series of groundbreaking releases, delivers a sonorous vocodered turn on melancholic electro-ballad ‘Nichts Dafür Getan’, a slow burning epic with lyrics that Unwohl originally wrote for a punk song.
Elsewhere, the chugging dancefloor friendly ‘Exlavier’ and the titanic beats of ‘New Despotism’ contrast with the pretty interlocking textures of ‘The Elder’ and the gently pulsing ambient closer ‘Further Back And Forward’.
The distinctive cover art comes courtesy of legendary graphic designer Steven R Gilmore, perhaps best known for his decades-long relationship with Skinny Puppy and his work for Vancouver-based label Nettwerk, for whom he provided eye-catching sleeves for A Perfect Circle, Moev, Severed Heads, Chris & Cosey, and many others.
’The concept for the album is not a total replication of the past, except in the case of the artwork, which recalls that era at its peak’, says Fulber.
Fulber is a longtime member of Canadian industrial outfit Front Line Assembly and ambient pop duo Delerium (both with Bill Leeb), and solo project Conjure One. As a producer, he has worked with artists as varied as Fear Factory, Paradise Lost, Sinead O’Connor, Sarah McLachlan, and Youth Code.
“Memory Impulse Autonomy” Tracklisting:
The Abyss (featuring Qual)
Control (featuring Qual)
Only Love Will Save Us (featuring Barkosina)
Exclavier
Nichts Dafür Getan (featuring Konstantin Unwohl)
New Despotism
All Of You Go To Heaven
The Elder
Baaderzeit
Further Back And Forward
More About Rhys Fulber:
Rhys Fulber is widely known in the industrial and electronic music circles for his EBM trailblazing with Front Line Assembly, chart topping with Delerium, and dramatic melodies with Conjure One. Additionally holding a grey cardinal status in metal and a variety of other genres, Fulber is a respected producer whose discography and work speaks for itself. Rhys Fulber now opens a new chapter, sculpting both intricate and hard hitting music best described as “Future EBM.”
Ethereal darkwave artist Ships In The Night is set to perform for the first time at the upcoming iconic Wave-Gotik-Treffen festival in Leipzig, Germany. This performance marks a major milestone for the project helmed by Alethea Leventhal, known for her haunting vocals, cinematic soundscapes, and emotionally charged live shows.
Wave-Gotik-Treffen, held annually in Leipzig since 1992, draws over 20,000 attendees and transforms the city into a celebration of Gothic culture, music, fashion, and art. Ships In The Night is scheduled to perform among a vast selection of acts spanning darkwave, post-punk, and industrial genres that include Drab Majesty, Public Image Limited, New Model Army, and Selofan, to name a few.
Ships In The Night’s latest album, “Protection Spells,” was recently released by Metropolis Records, earning critical praise with a sound that echoes the melancholy of ’80s darkwave while also forging new emotional ground. “It’s an incredible honor to be part of a festival that has meant so much to the dark music community for decades,” says Alethea. “I’m excited to bring Ships In The Night to Leipzig and share this experience with people from around the world.”
Ships In The Night will perform at Moritzbastei for the Wave-Gotik-Treffen festival in Leipzig on Friday, June 6th at 9 PM.
Deep Dive into the Universe of Ships In The Night: 🎧🎶
Mexico’s electro-industrial juggernauts HOCICO once again plunge into the dystopian psyche of the digital era. Erk Aicrag and Racso Agroyam return with a visceral, unrelenting track that strips away the glossy veneer of online life and exposes the rot festering beneath.
If The Screen was a direct attack on the anonymity of internet cruelty, “Brainrot” dives even deeper, capturing the suffocating grip of algorithmic addiction. It’s a grotesque ballet of dopamine, dependency, and despair, screamed through Erk’s searing vocals and wrapped in Racso’s hellish production.
Musically, “Brainrot” marks a bold evolution in Hocico’s sound. Infused with aggressive drum and bass influences, it hits with a hyperkinetic energy that feels both chaotic and meticulously controlled. The track seamlessly fuses this rhythmic onslaught with the duo’s signature industrial brutality and aggrotech venom, creating a sound that feels both fresh and devastatingly familiar. This is not a trend-following experiment—it’s a fully weaponized Hocico beatdown, sharpened for the digital battlefield.
From the very first line, “Plug me in, I’m a slave to the screen,” the listener is dragged into a world where identity, free will, and humanity are systematically dismantled by our tech overlords. The lyrics are a cyberpunk confession: raw, paranoid, and disturbingly accurate. Lines like “I dance for the likes, I bleed for the views” hit like gut punches, capturing the performance anxiety and manufactured existence many experience but few dare to articulate.
The chorus, an unrelenting chant of “Brainrot!”, becomes a war cry and a diagnosis all at once. Each repetition digs deeper into the madness, like a virus rewriting the code of the self. The distorted synths and glitchy textures reflect the chaos of a mind being rewired for engagement, not meaning.
Hocico doesn’t just critique digital culture—they drag its corpse onto the stage, expose its entrails, and make you dance with it. The track’s final verse, “Now I’m the king of nothing but brainrot!”, isn’t just a lyric, it’s a warning: the more we feed the machine, the more it devours us.
With “Brainrot,” Hocico once again proves they are not just musicians but prophets of a dying age, screaming from the edge of digital oblivion. This isn’t just music, it’s a mirror. And you won’t like what you see.
CHAMELEONS have today, May 29th, released their brand new single, ‘Saviours Are A Dangerous Thing,’ via Metropolis Records. The track is taken from their recently announced and long-awaited album, ‘Arctic Moon,’ which is now available for pre-order.
Vocalist/bassist Vox (Mark Burgess) explains the inspiration behind the new single: “I see too many echoes of the 1930s in what’s going on in the world, which I see as being extremely dangerous both for the country I’ve chosen to live in and the Western world in general.” He adds, “It was the last song to be completed for the album. I’m particularly pleased with the way it turned out, because it was our guitarist Stephen Rice who initially brought the rough idea to the table and we all then collaborated on it to produce the final song.”
‘Saviours Are A Dangerous Thing’ perfectly captures Chameleons’ innate flair for crafting exquisite guitar textures, merging them with Vox’s sharp grasp of melody and wordplay. The song delivers a dark message about the current political climate amidst its thoroughly engaging sound. Reinforcing this theme, the accompanying video splices live performance footage with kaleidoscopic images of war, its effects, and the surrounding propaganda, creating a compelling statement.
“The lyrics came to me quite quickly,” Vox explains. “They reflect what has been happening globally and how senior officials line up to kiss the rings of clowns who regard themselves as self-proclaimed kings rather than elected statesmen.”
‘Arctic Moon,’ set for release on September 12th on Metropolis Records, marks the first full-length album by Chameleons since 2001’s ‘Why Call It Anything?’ Vox concludes, “There is an obvious maturity to the songwriting on this record, and anyone familiar with our past work will hear that this is a positive step forward. While we’re proud of the band’s legacy, we really wanted to forge something fresh while retaining that profound and imaginative quality we’re known for. We think that we have managed to do that and deliver a very strong record!”
The band will continue to tour extensively around the album release, with dates in Spain and Portugal from June 6th-19th, followed by a set at the Forever Now festival in Milton Keynes on June 22nd. They will then return to the US for headlining shows and a dozen dates with The Psychedelic Furs commencing on June 26th. A further headlining tour of North American cities kicks off two weeks after the release of ‘Arctic Moon’, with mainland European dates in Germany and the Benelux scheduled from late October, ahead of a previously announced UK tour in November.
Long cited as a hugely influential act, inspiring bands like (The) Verve, Oasis, Interpol, The Killers, Editors, and White Lies, Chameleons are renowned for their transformative catalog and intense, emotionally charged live performances. Their legacy extends far beyond their four studio albums to date. Their widely acclaimed debut, ‘Script of the Bridge’ (1983), has been cited by many as a masterpiece ahead of its time, followed by ‘What Does Anything Mean? Basically!’ (1984), ‘Strange Times’ (1986), and ‘Why Call It Anything?’ (2001).
Their unique sound quickly captivated audiences with its mix of melancholic yet energetic and powerful tunes, hypnotic, ethereal riffs, and a potent, timeless lyrical style. They are considered one of the most influential guitar bands of the ‘80s and ‘90s, contributing substantially to the post-punk, shoegaze, and indie scenes.
2024 saw the release of two EPs that kicked off a new chapter for the band: ‘Where Are You?’, consisting of three new songs, and ‘Tomorrow Remember Yesterday,’ featuring five re-recorded archive tracks. ‘Arctic Moon’ sees them propelling forward musically while retaining the essence that originally made them iconic.
WHITECHAPEL is set to return to US stages this Fall on the Rituals Of Hate headlining tour. This extensive journey will hit over two dozen cities from November 12th through December 14th, with the band performing their critically acclaimed new full-length, Hymns In Dissonance, in its devastating entirety, alongside some old favorites. Support will be provided by Bodysnatcher, Angelmaker, and Disembodied Tyrant.
The band comments, “After the overwhelming responses from the Hymns In Dissonance release, we decided it would be great to close out the year by giving this album to the fans live front to back. The tour will be ending with our 10th annual hometown Christmas benefit show in Knoxville, Tennessee. Do not wait and grab your tickets/VIP now for this special tour!”
Presales begin Wednesday, May 28th at 10:00 AM local time. General on-sale date is Friday, May 30th at 10:00 AM local time. VIP upgrades will be available at whitechapel.soundrink.com and include:
Released earlier this Spring on Metal Blade Records, WHITECHAPEL’sHymns In Dissonance debuted at #2 on Billboard’s Current Hard Rock Albums chart, #3 on the Independent Label Current Albums chart, #4 on the Current Rock Albums chart, and #7 on the Digital Albums chart in its first week.
The record showcases the band’s reinvention, diving deeper and heavier than ever before. Guitarist Alex Wade notes, “We attempted to write our heaviest album to date. We wanted to put out something that was shockingly menacing and brutal.”
Critics have lauded the album, with Revolver praising its “blistering attack of ground-fissuring blasts, terror-thrashed guitar melodies and guts-hucking mosh sections.” Metal Injection agreed, calling it “heavy as shit, it’s unrelenting, and it will destroy you.” MetalSucks championed it as “one of WHITECHAPEL’s heaviest offerings since the glory days of The Somatic Defilement and This Is Exile,” adding that it “captures that same raw energy and mouth-frothing rage… but with a new and improved modern twist.” Blabbermouth hailed the band’s “…white-knuckle, weaponized deathcore with brains, brawn, and a point to prove. Hold on to your helmets.”
Hymns In Dissonance is available now on CD, vinyl, and digital formats. For orders, visit: [suspicious link removed]. Find merch bundles and band-exclusive vinyl at: whitechapelband.com.
Watch WHITECHAPEL’s Videos:
“Hymns In Dissonance” HERE, “A Visceral Retch” HERE, and “Hate Cult Ritual” HERE.
AMIENSUS has surprisingly dropped a digital single for their new song “Fields of Emerald Fire.” Just last year, the epic, melodic, progressive black metal group released two critically acclaimed records. Not resting on their laurels, AMIENSUS now gives fans the first of several new tracks in the works. Listen to “Fields of Emerald Fire” here or watch the streaming visualizer here.
“’Fields of Emerald Fire’ was written concerning The Great Hunger,” explains singer/guitarist James Benson. “As a band that has often written about historical events, as well as current events, we used this opportunity to draw parallels between the past and present actions of governments and their oppression of minorities.”
James continues, “’Fields of Emerald Fire’ is the first of multiple singles to be released in 2025. Some of these tracks were written with the objective of creating within a limited time span, and therefore pushing ourselves to maintain our standards on creativity without the pesky overanalyzing that often can delay completion of songs/albums. We have a lot of material for the future and a lot to speak on. We hope you enjoy ‘Fields…’ and look forward to sharing more music with you this year!”
James Benson, who also fronts Midwest post-black metal operatives CHROME WAVES, is joined in AMIENSUS by GHOST BATH drummer Chris Piette plus guitarists Alec Rozsa, Kelsey Roe and bassist Todd Farnham. Chilling, harsh yet melodic and progressive are just some ideas of AMIENSUS’ sound heard on “Fields of Emerald Fire,” which will sate fans of their two-part ‘Reclamation’ opus while they continue work on additional new music this year.
AMIENSUS formed in Minnesota in 2010 as a project amongst friends, who self-released an EP that same year. It took 3 years for the band to develop into a full group, expanding their lineup way beyond state lines to find the right talents and mindsets, and release the atmospheric black metal album ‘Restoration’ in 2013. Two years later AMIENSUS were back with the more polished and well-received ‘Ascension,’ which introduced Alec and Todd. 2017 marked the release of the lengthy EP, ‘All Paths Lead To Death’ (Apathia/Black Lion Records), which saw the band drop some of the heavy orchestration in favor of more melodic death and black metal passages and introduced Chris. In 2020, AMIENSUS signed with Transcending Records to release the heralded ‘Abreaction,’ which now also included Kelsey. That same lineup remains today and also recorded the aforementioned ‘Reclamation’ albums.
Here’s what some have written about ‘Reclamation’: “Easily the group’s best album yet, demonstrating that they more than deserve to be mentioned in the same breath as their more prominent peers… Agalloch, Alcest, Borknagar and Enslaved. – No Clean Singing”
“This is an auditory journey like no other—a fusion of raging, intense black metal with glorious melodies that will ignite your soul. It’s a sonic tempest, a whirlwind of ferocity and beauty that will leave you breathless and exhilarated. You’ll be engulfed in the raw power of black metal, with blistering riffs and thunderous drums. Yet within, melodies soar and cascade, weaving a tapestry of beauty and emotion that transcends the brutality of the music. This is an early contender for “Album of the Year” for sure. – Metal Temple”
“An impressive album that shows all of AMIENSUS’ finest features and builds them to a level that the band has not achieved previously, Reclamation part 1 builds further anticipation for its second half, while reminding the metal community that they are still one of the underground’s best kept secrets. Black, death, prog, folk – whatever your flavor, you are going to find plenty of content with Reclamation that will leave you incredibly impressed even if you are already familiar with the band. AMIENSUS have a poignant and genre-pushing masterpiece in their hands… it will more than satiate anyone looking for high quality extreme metal that tosses the traditional boundaries aside for something insightful and far more unique. – Dead Rhetoric”
KMFDM is set to re-release their classic fourteenth album, “HAU RUCK,” on May 23rd, 2025, via Metropolis Records. This special 20th-anniversary edition, titled “HAU RUCK 2025,” has been completely remixed and remastered, and will be available on 2xLP, CD, and digital formats. Fans can get an early taste with the newly available audio for ‘FREE YOUR HATE’.
The original “HAU RUCK” was recorded in Seattle and released in 2005. Following their industrial/metal assault with 2003’s ‘WWIII’, KMFDM sought a fresh direction. Band leader Sascha Konietzko expressed the desire for something “more noisy, more dance-y, more electronic, and less butt rock.” The album’s concept was playfully dubbed FUBAR – ‘Fucked Up Beyond All Recognition/Repair’ – reflecting their aim to push boundaries.
From the politically charged anthems of ‘Free Your Hate’ and ‘New American Century’ to the grimly emotional grooves of ‘Real Thing’; from the confrontational dancefloor venom of ‘Ready to Blow’ and ‘Professional Killer’; and encompassing a swinging cover of Jacques Dutronc’s ‘Mini Mini Mini’ and the self-effacing snark of ‘Feed Our Fame’, the album proved anything but FUBAR. It showcased KMFDM at its most concentrated, sharply focused, and aggressive, imploring audiences to fight corruption and embrace individuality. The powerful German phrase ‘HAU RUCK’ (meaning ‘Heave Ho’) perfectly captured this defiant spirit.
Hamburg-based industrial rock pioneers KMFDM have carved out a unique path since their founding by Sascha ‘Käpt’n K’ Konietzko in 1984. They’ve continuously refined and redefined modern music while boldly addressing social and political issues. After early albums recorded in Germany, the band moved to the US and gained widespread recognition with Chicago-based Wax Trax! Records.
The 1990s saw KMFDM become a household name in the global industrial rock scene. Their 1995 hit ‘Juke Joint Jezebel’ propelled them onto the Billboard charts and earned them placements on film soundtracks like ‘Bad Boys’ and ‘Mortal Kombat’. Future titans such as Rammstein and Korn even started their careers opening for KMFDM tours.
After a hiatus in 1999 following their tenth album for Wax Trax!, Konietzko resurrected KMFDM three years later, signing with Metropolis Records. This new era featured American singer Lucia Cifarelli (from Drill) and Tim Skold (who later joined Marilyn Manson). Konietzko and Cifarelli returned to Germany in 2008 and have consistently recorded and toured. Their most recent album, ‘LET GO’, released in 2024, coincided with the group’s 40th anniversary.
Metamorph, the captivating project led by Margot Day, has just announced the release of their new “Harlot EP”!
While specific details about the EP’s soundscapes and lyrical themes are eagerly awaited, this new offering from Metamorph promises to continue Margot Day’s unique artistic vision.
This Sunday, May 31st, prepare for a full-on assault of mechanical, raw, and unapologetic sound as we bring you an in-depth look into the world of Dead Posey!
Join us as we dive deep into their origin story, how they forged their signature sound, and the challenges they’ve overcome to become the undeniable force they are today. From their early breakthroughs with tracks like “Don’t Stop the Devil” to the potent fire behind their latest album, Are You In A Cult?, you’ll hear the raw, unvarnished truth of their journey.
Discover their creative process, their fight for authenticity in a fickle industry, and what it truly takes to push boundaries and build a lasting legacy. If you crave music that’s rebellious, empowering, and unapologetically real, you don’t want to miss this!
Tune in to evolradio.com this Sunday, May 31st to immerse yourself in the Dead Posey universe.
Steel City Kings MALEVOLENCE have unleashed a new single from their massively anticipated new album, Where Only The Truth Is Spoken, which is set to be released on the 20th June via MLVLTD in partnership with Nuclear Blast Records.
Compared to the punishing previous singles, ‘Trenches’ and ‘If It’s All The Same To You’ the brand new release ‘Salt The Wound’ shows a more emotional side of MALEVOLENCE, but that only makes its incredibly heavy chorus stand out even more.
Alex Taylor (vocals) commented: “’Salt The Wound’ is the product of us making a conscious decision to bridge the two faces of Malevolence. On one hand we have the heavy aggressive side, and on the other we have the slower melodic songs, so we wanted a song that could combine the two. The video was entirely shot in Sheffield and the surrounding areas. From the industrial depths of Sheffield, a 900-year-old ruined Abbey, to a perfect sunrise over some of the incredible hills of Derbyshire, there is some incredible scenery in the north of the UK which we sometimes take for granted, so this song felt like the perfect opportunity to show case some of that. From the moment I heard the guitar solo Josh had written for this song, I pictured him on a mountain top doing the solo, so we made it happen, Malev style!”
Malevolence – ‘Salt The Wound’ (Official Music Video) Where Only The Truth Is Spoken
Blood To The Leech
Trenches
If It’s All The Same To You
Counterfeit
Salt The Wound
So Help Me God
Imperfect Picture
Heavens Shake
In Spite (ft. Randy Blythe)
Demonstration Of Pain
With Dirt From My Grave
MALEVOLENCE are currently touring Australia for a run of dates supporting Alpha Wolf.
22.05. – AU – Adelaide – Jive 23.05. – AU – Warrnambool – The Whalers† 24.05. – AU – Forth – Forth Pub† 25.05. – AU – Hobart – Altar Bar† 28.05. – AU – Melbourne – Stay Gold 29.05. – AU – Geelong – Wool Exchange† 30.05. – AU – Albury – Beer Deluxe† 31.05. – AU – Castlemaine – Theatre Royal† 01.06. – AU – Narre Warren – District 14†
†supporting Alpha Wolf
SUMMER SLAUGHTER TOUR 2025 w/ HATEBREED, BLEEDING THROUGH …
08.07. – US – St Petersburg, FL – Jannus Live 09.07. – US – Atlanta, GA – The Eastern 11.07. – US – San Antonio, TX – Vibes Event Center 12.07. – US – Oklahoma City, OK – Diamond Ballroom 13.07. – US – Dallas, TX – The Bomb Factory 15.07. – US – Indianapolis, IN – Egyptian Room at Old National Centre 16.07. – US – Pittsburgh, PA – Stage AE 17.07. – US – Huntington, NY – The Paramount 19.07. – US – Sayreville, NJ – Starland Ballroom 20.07. – US – Philadelphia, PA – Franklin Music Hall 22.07. – US – Charleston, SC – Charleston Music Hall 23.07. – US – Charlotte, NC – The Fillmore Charlotte 25.07. – US – Rochester, NY – Water Street Music Hall 26.07. – US – Detroit, MI – Harpos 27.07. – US – Milwaukee, WI – The Rave 28.07. – US – Grand Rapids, MI – The Intersection
MALEVOLENCE HEADLINE UK & EU TOUR 2025
27.10 – FR – Toulouse – Bikini Club 28.10 – FR – Paris – Elysee Montmartre 30.10 – DE – Munich – Backstage 31.10 – DE – Leipzig – Felsenkeller 01.11 – DE – Berlin – Huxleys 02.11 – DE – Hamburg – Gruenspan 04.11 – NL – Tilburg – 013 05.11 – DE – Cologne – Live Music Hall 06.11 – BE – Ghent – Vooruit 08.11 – UK – Manchester – O2 Victoria Warehouse 09.11 – UK – London – O2 Academy Brixton
MALEVOLENCE have never waited for permission. From the underground to festival main stages, they’ve built their reputation on sheer force of will, crushing live shows, and an unshakable foundation of heavy riffs and harder work. Now, with their fourth studio album Where Only The Truth Is Spoken, Sheffield’s finest step into a new league.
Recorded in California at Dave Grohl’s legendary Studio 606, the album was tracked through the iconic Neve 8078 console, the same desk that captured game-changing records like Nirvana’s Nevermind, Fleetwood Mac’s Rumours, and Tom Petty’s Wildflowers. For a band that’s always pushed forward without compromise, it was the perfect setting to carve out a record that represents everything MALEVOLENCE stands for. The album marks a new level of songwriting precision without sacrificing the band’s trademark weight. Working alongside Grammy Award-winning producer Josh Wilbur (Lamb of God, Gojira, Trivium), the result is MALEVOLENCE at their most punishing, urgent, and anthemic.
Lyrically, Where Only The Truth Is Spoken reflects the principles that MALEVOLENCE have lived by since day one—honesty, loyalty, and integrity. These are not just themes woven into the album but values the band holds in their personal and professional lives. This record doesn’t deal in facades or empty gestures; it’s an unfiltered expression of the struggles, victories, and unshakable brotherhood that have carried them this far.
Malevolence are:
Alex Taylor | Vocals
Konan Hall | Guitar / Vocals
Josh Baines | Guitar
Wilkie Robinson | Bass
Charlie Thorpe | Drums
Deep Dive into the Universe of Malevolence: 🎧 Website – Facebook,
IGORRR is set to unleash their latest single, “Blastbeat Falafel,” taken from the band’s stunning fifth album, “Amen,” which will see its release on September 19th via Metal Blade Records. This new track features guest appearances by Trey Spruance (Mr. Bungle) and Timba Harris (Estradasphere, Secret Chiefs 3).
French multi-instrumentalist and producer Gautier Serre has been operating under the moniker IGORRR for two decades, yet each new record still resonates with a startling freshness and radical vitality. Mr. Bungle, Spruance’s main band, has long been a savvy comparison for IGORRR’s ethos of tightly controlled musical anarchy and gleeful boundary-smashing intensity, serving as another motivating force for the young Gautier. Like Mr. Bungle, IGORRR stubbornly repels the sort of generic pigeonholing that certain media and fans love to indulge in.
On “Blastbeat Falafel,” Gautier further elaborates, “The track is an unnatural and unorthodox connection between metal and traditional oriental music. A metalhead who truly loves oriental music tried to fit in with the codes of oriental music but didn’t succeed. He tried too hard, lost his identity, and ended up in a psychiatric hospital.”
Stay tuned for more info on “Amen” to be unveiled in the coming weeks.
“Amen” Track Listing:
Daemoni
Headbutt
Limbo
Blastbeat Falafel
ADHD
2020
Mustard Mucous
Infestis
Ancient Sun
Pure Disproportionate Black and White Nihilism
Étude n°120
Silence
Photo by Ophélie Legriffon / Artwork by Adrian Baxter
IGORRR Live w/ Master Boot Record, Imperial Triumphant:
10/01/2025 Le Rocher de Palmer – Bordeaux, FR
10/02/2025 Le Bikini – Toulouse, FR
10/03/2025 Santana 27 – Bilbao, ES
10/04/2025 Apollo 1 – Barcelona, ES
10/05/2025 La Riviera – Madrid, ES
10/07/2025 L’Usine – Istres, FR
10/08/2025 Les Docks – Lausanne, CH
10/09/2025 Batschkapp – Frankfurt, DE
10/10/2025 Soulcrusher Festival – Nijmegen, NL
10/11/2025 Ancienne Belgique – Brussels, BE
10/12/2025 Live Music Hall – Cologne, DE
10/14/2025 Markthalle – Hamburg, DE
10/15/2025 Nancy Jazz Pulsation – Nancy, FR
10/16/2025 Le Transbordeur – Lyon, FR
10/17/2025 L’Olympia – Paris, FR
10/19/2025 Stereolux – Nantes, FR
10/21/2025 Prospect Building Crane – Bristol, UK
10/22/2025 Shepherd’s Bush Empire – London, UK
10/23/2025 O2 Ritz – Manchester, UK
More on IGORRR’s Amen:
Since signing to Metal Blade in 2017, the IGORRR name has expanded from one man’s pseudonym to become a full group identity, but Gautier remains the project’s guiding light and mastermind. Steadfastly unclassifiable, “Amen” blindsides its listeners with a new set of exploratory curveballs and continues to surprise and unnerve even the most attuned enthusiast. “This album is definitely darker than its predecessors, it has such a very weighty and solemn vibe that has never been reached before in IGORRR,” explains Gautier. “The fact that I recorded a real choir in a church helped this a lot, but above all there has been very long and meticulous work on the sound and the choice of instruments, and deep experimental research to create a unique sound design. Of course, because it’s an IGORRR album, there are some more colorful tracks, like ‘Blastbeat Falafel,’ ‘ADHD’ etc… They contrast very much with the ambient heaviness. I need tracks like these on an album, it helps to really get through it fully focused, like a shot of limoncello before the next meal.”
With an urge to continually take IGORRR’s multifaceted and challenging sound further forward with each release, Gautier has spent a lot of time cultivating multiple new modes and methods of working since 2020’s breathtaking, critically acclaimed opus Spirituality And Distortion, which even reached number twelve on the official German album chart. Gautier has always made clear that IGORRR is as much about the influence of Bach and Chopin as it is about Cannibal Corpse, Aphex Twin, and Meshuggah, but the source of specific stimuli gets harder to ascertain as the process is refined.
“It’s always difficult for me to know from where the inspiration comes,” he muses. “Music is an expression of life, and everything, even what seems the most insignificant thing, can be a source of inspiration. I would say there hasn’t been one event or one experience that has led me on a creative process, it’s more like a cumulation of everything. I love making music. My brain processes music all the time. You cannot imagine the amount of albums and concertos I create during my sleep. The challenge is more how to sort these ideas to keep the ones with the best potential, the ones that I won’t get bored of, the ones that I really Love, with a big letter L.”
Finland’s fiercest export LOST SOCIETY are back with a vengeance. The band returns with their brand-new single, ‘Dead People Scare Me (But The Living Make Me Sick),’ a high-octane anthem destined to ignite moshpits across festivals all summer long. With this explosive track, LOST SOCIETY kick off a bold new chapter in their career, diving headfirst into fresh sonic territory while retaining the raw energy and aggression fans have come to love. The single is the first taste of their upcoming full-length album, details of which will be revealed soon. Accompanying the release is a riotous party video that perfectly captures the song’s chaotic spirit and tongue-in-cheek attitude — a perfect visual complement to the track’s adrenaline-pumping riffs and biting lyrics.
Frontman Samy Elbanna comments: “When we were kids, we often were scared by zombies, the grim reaper and whatever concept of death we felt we knew anything about – but as we grew up and were introduced to the real world, we would find out that there is nothing more terrifying than a person with a heartbeat and power. This track dives into universal themes that most of us think about constantly: fitting in, and questioning why we should fit in? We are brought up in institutions molding us to prepare for adulthood, and even in the 21st century, differing from the mass still makes people look down on you – and this song is an anthem for the downtrodden. No matter how ”mainstream” metal music is, it’s always marginal, and ”being touched by the devil” is a metaphor for all of the people out there who feel like they are doing something that differs from the mass, and they like it.”
LOST SOCIETY on a European festival this summer: 25.06. ES Resurrection Fest 27.06. EST Tallinn Rock Festival 28.06. FI Provinssi 04.07. FI Rokki Raikaa 11.07. FI Metallivuori 19.07. FI Pomefest 30.07. DE Wacken Open Air 31.07. DE Helm Fest 08.08. ES Leyendas Del Rock 15.08. DE Summer Breeze 30.08. FI Nordis Live 08.11. FI Metalli Mössö XXL
Feast upon the gothic sludge night stalker, BLOOD VULTURE, created by Jordan Olds (2 Minutes To Late Night), as they unveil their 2nd single, “Grey Mourning” (Featuring Jade Puget of AFI), from the upcoming debut album, Die Close, set to be unleashed on June 27th via Pure Noise Records.
Commenting on the song, Olds states: “When I was in middle school, AFI was my gateway to punk, hardcore, and goth. Jade Puget specifically was probably the biggest influence on my guitar playing and songwriting in that very formative time in my life. He’s such a melodic and unique player, and “Grey Mourning” is just a barrage of chromatic death metal riffs, so I thought it would be a really fun juxtaposition to set him loose in that kind of space and see what he came up with. I was honored that he agreed to do it, and his solo is so cool and unpredictable. It was exactly what I wanted. In my freshman year of highschool, I snagged a black Les Paul studio because I saw him playing one in the Leaving Song Pt. II video and that’s actually the same guitar that I used to mimic his solo for the video. So this whole thing has been a wild full circle moment for me. Oh yeah, and the song is about vampires.”
The impending debut, Die Close, lures listeners in with a mesmerizing melding of gothic romanticism, lush metallic vibes and brutal reckoning. The record features luminary guests Jade Puget (AFI), Kristin Hayter (Lingua Ignota) and Brian Fair (Shadows Fall).
BLOOD VULTURE will perform in Brooklyn, NY on June 1st at The Meadows with Pallbearer and Cinder Well.
About BLOOD VULTURE:
This is the story of a vampire known as “The Blood Vulture.” A once-insatiable bloodthirsty abomination of a creature, he is now a recluse long locked away as he grapples with what it means to live forever in a world of impermanence. His tales of regret and grief and terror will be told from hereon through songs that meld the emotive vocal stylings of grunge’s golden era with death metal, goth rock, and doom metal.
For nearly three decades, US/French Canadian melodic death metal powerhouse KATAKLYSM has delivered unrelenting waves of powerful sound. Today, the band offers fans a brand new track entitled, ‘The Rabbit Hole’.
With brutal honesty and relentless force, it rips through the illusion of control and dares listeners to wake up, fight back, and resist. A soundtrack for the disillusioned—unapologetic and unrelenting. The song features Clemens Wijers (CARACH ANGREN) who curated the track’s ambient sound effects and synth section.
KATAKLYSM’S Maurizio Iacono states, “‘The Rabbit hole’ is the bands first stand alone single since the bands classic ‘Iron will’ track. As the world spins out of control and people search for purpose and truth, we felt questioning these things is something important to do, theres a lot of noise and lots of distortion these days, but always trust your gut and what is right vs what is forced fed, so why not put these thoughts to music, so while we wait for the next record, we decided to drop this heavy hitter, spread it an enjoy!”
The single was recorded earlier this year at JFD Studios in Dallas, TX and Studio City, CA as well as The Cabin in Orlando, FL and Silver Black Studio, Laval, QC, Canada. ‘The Rabbit Hole’ was produced, mixed, and mastered by the band’s very own J-F Dagenais.
25.07.25 SI Tolmin @Tolminator Festival 26.07.25 AT Vienna @ Metal Fields 29.07.25 DE Nürnberg @ Hirsch 30.07.25 DE Stuttgart @ Wizemann 31.07.25 DE Dortmund @ Dortmund Deathfest *warm up 01.08.25 DE Rojtzschjora @ Full Rewind Festival 02.08.25 RO Rasnov @ Rockstad Extremefest 07.08.25 DE Aschaffenburg @ Colos-Saal 08.08.25 UK Derbyshire @ Bloodstock Festival 09.08.25 CZ Jaromer @ Brutal Assault Festival 10.08.25 DE Munich @ Backstage 12.08.25 DE Karlsruhe @ Substage 14.08.25 FR Carhaix @ Motocultor Festival 15.08.25 CH Cudrefin @ Rock the Lakes Festival 16.08.25 DE Sulingen @ Reload Festival 17.08.25 NL Eindhoven @ Dynamo open air
The Northern Territories celebrate today’s release of their new album, “A Star in Orbit Still,” with a new video single cover of Lana Del Rey’s “Say Yes to Heaven.” This acclaimed album, their fourth full-length, has already been hailed as ‘The Album of the Month’ in the renowned German magazine Orkus!
After a record-breaking hiatus of 25 years, THE NORTHERN TERRITORIES are back for good. The Swedish melancholic synth duo has used the time well to hone their musical prowess and to think hard about how they wanted their unique sound to come across in the present. As a result of this intense thought process, the stunning album “A Star in Orbit Still” combines everything that made the band great and generated a dedicated and loyal following that eagerly awaited their return during all those years with a contemporary sound design.
Channeling their trademark melancholy and Nordic knack for captivating melodies, THE NORTHERN TERRITORIES did not even shy away from covering LANA DEL REY’s iconic track ‘Say Yes to Heaven’ and to make it theirs. When the Swedish duo disbanded after the release of their third full-length “Satellite People” in 1999, they left behind many a broken heart in the electronic music scene that was mourning the loss of a one of a kind band with a unique sonic appearance. THE NORTHERN TERRITORIES’ combination of outstanding songwriting with a strong melancholic Nordic tint as well as semi-acoustic, semi-electronic instrumentation created their very own version of a dreampop soundscape. With “A Star in Orbit Still’, THE NORTHERN TERRITORIES are not just back on track as if nothing happened in the years of their absence, but the Swedes return on top of their game and fully ready to climb new peaks!
THE NORTHERN TERRITORIES comment: “The video for our cover of Lana Del Rey’s ‘Say Yes to Heaven’ consists of footage that we have lifted from our first ever video clip “Midnight Ambulance”, which we shot in Stockholm during the summer of 1994,” vocalist and multi-instrumentalist John Alexander Ericson explains on behalf of the duo. “We have not released an album in 25 long years, so it made sense to us to include these images as a nod to our past and as a reminder to ourselves and to others about how it all started.”
When the Swedish duo disbanded after the release of their third full-length “Satellite People” in 1999, they left behind many broken hearts. Now, after a record-breaking hiatus of 25 years, THE NORTHERN TERRITORIES are back! “A Star in Orbit Still” was released today by Dependent Records of Germany and is available in a 48-page artbook 2 CD edition along with all streaming and digital platforms.
Japanese black metal legends Sigh are celebrating an incredible 35 years of pushing extreme music’s boundaries! With a dozen studio albums, countless global performances, and an unwavering dedication to sonic evolution, they’ve rightfully earned their place as one of metal’s most revered and influential cult acts.
To mark this monumental anniversary, Sigh has turned its gaze back to their 2007 opus, “Hangman’s Hymn.” This album was a compositional tour de force, notable as Sigh’s first concept album, famously weaving aggressive ’80s thrash influences (think Wehrmacht, Sarcofago, Repulsion) with complex classical arrangements, particularly inspired by German symphonies. However, “Hangman’s Hymn” never quite met the band’s own exacting standards in terms of its original execution and production.
Frontman Mirai Kawashima has personally undertaken the ambitious task of rectifying this. He’s meticulously re-recorded this intricate, at times overlooked masterpiece with Sigh’s current lineup and modern production sensibilities. The result is the newly titled “I Saw the World’s End – Hangman’s Hymn MMXXV,” set to drop on Peaceville on June 13th.
Mirai himself sheds light on the project’s genesis: ““Hangman’s Hymn”, which was released in 2007, is one of my best compositions of my whole career, but it does not necessarily mean that this is my favorite Sigh album. The excessively monotonous drumming must be the biggest issue. The guitars are sloppy. The production is far from the best. And my orchestrations and vocals could have been much better. So what if we re-record this with better musicians and today’s production? The idea was always in my head, and finally the time has come to make it happen. I do know that re-recording can be the double-edged sword. “Scorn Defeat” has some flaws. So does “Imaginary Sonicscape”. But I will never ever re-record those albums as I am sure that it would lose their magic. But “Hangman’s Hymn” is an exception. You can easily tell what I mean if you listen to this completely re-recorded version.”
With Nozomu Wakai on guitar and the formidable Mike Heller returning on drums, “I Saw the World’s End – Hangman’s Hymn MMXXV” is poised to be Sigh’s fiercest, most brutal, and most symphonic album to date. The flawless delivery from the new members, coupled with fresh orchestration featuring real orchestral instruments, brings an entirely new dimension to the work. The album’s enhanced production, courtesy of Lasse Lammert, and striking cover artwork by Eliran Cantor, complete this monumental re-imagining.
About SIGH:
Japanese black metal pioneers Sigh originally formed in 1989/1990. Their genre-defining debut, ‘Scorn Defeat,’ arrived in 1993 via Euronymous’ Deathlike Silence Productions. With each subsequent release, Sigh solidified their reputation as one of Japan’s most influential and revered metal exports. Their career has been a captivating journey through the strange and the psychedelic, eclectically incorporating a vast mix of genre styles and relentless experimentation. Sigh has consistently remained a vital creative force in the avant-garde metal landscape while fiercely maintaining their old-school roots, as powerfully demonstrated by their stellar 2022 album, ‘Shiki.’
Photo Credit: Itsutaka Takusagawa
“I Saw the World’s End – Hangman’s Hymn MMXXV” Tracklist:
Introitus / Kyrie (MMXXV)
Inked in Blood (MMXXV)
Me-Devil (MMXXV)
Dies Irae (MMXXV)
The Master Malice (MMXXV)
The Memories as a Sinner (MMXXV)
Death with Dishonor (MMXXV)
In Devil’s Arms (MMXXV)
Overture (MMXXV)
Rex Tremendae / I Saw the World’s End (MMXXV)
Salvation in Flame / Confutatis (MMXXV)
Finale: Hangman’s Hymn / In Paradisum / Das Ende (MMXXV)
Belgian electro-industrial pioneer Suicide Commando is set to unleash their powerful new EP, “Final Stage,” on July 18, 2025, via Out Of Line Music. Available on limited edition CD and transparent red vinyl, this release is a raw, stripped-down, and uncompromising return to the project’s roots, embodying a ferocious essence.
“Back to the essence, back to the core! No compromises, no frills, no stupid fashion show…” states Johan Van Roy, emphasizing the EP’s focused intensity.
A Modern Reinterpretation of a Classic
This six-track EP isn’t just a trip down memory lane; it’s a complete transformation. “Final Stage” features five radically reimagined versions of tracks from Suicide Commando’s influential 1994 debut album, Critical Stage. These aren’t mere remixes, but full-scale modern reinterpretations designed to showcase how Critical Stage would sound if crafted with today’s cutting-edge production, all while retaining its classic aggression.
The EP also includes “De weg,” a significant milestone as the first Suicide Commando song ever performed in Johan Van Roy’s native Dutch. Fans won’t have to wait long for a taste of this new material, as “De weg” will be released as the first single on June 5, 2025.
Prepare for a sonic onslaught from Portland’s burgeoning black/death metal entity, DROUTH, as they unleash their highly anticipated third full-length album, “The Teeth of Time,” today via Eternal Warfare Records!
“We are proud to present The Teeth of Time, a culmination of several years of blood, sweat and pain. It is a nightmare made manifest, and we are both eager to share our creative work and grateful to the many people who helped make it possible,” states the band DROUTH.
“The Teeth of Time,” the long-awaited follow-up to their acclaimed 2020 release, “Excerpts From a Dread Liturgy,” is a true sonic mind-melter. Brace yourself for a potent blend of searing death metal and vicious black metal, as evidenced on crushing tracks like “False Grail” and the title track itself. Step through the portal and experience one of the year’s most intensely rewarding records.
But the darkness doesn’t end with the album! DROUTH is also embarking on a US Spring Tour, starting May 31st:
DROUTH Tour Dates:
May 31 – Portland, OR – High Water Mark June 2 – Salt Lake City, UT – Ace’s High Saloon June 3 – Colorado Springs, CO – What’s Left Records June 4 – Denver, CO – Hi Dive June 6 – Minneapolis, MN – Zhora Darling June 7 – Milwaukee, WI – Sabbatic June 8 – Indianapolis, IN – Black CIrcle June 9 – Chicago, IL – Reggies June 10 – Wichita, KS – Kirby’s Beer Store June 12 – Denton, TX – Dan’s Silverleaf June 13 – Dallas, TX – Double Wide June 14 – Austin, TX – The 13th Floor June 16 – El Paso, TX – Love Buzz June 17 – Albuquerque, NM – Sister Bar June 18 – Flagstaff, AZ – Monte Vista Lounge June 19 – Los Angeles, CA – Eli’s Mile High Club June 21 – Eureka, CA – Savage Henry Comedy Club
Credit: Jason DeSomer
About DROUTH:
Formed in Portland in 2012 (originally as Contempt), DROUTH has been stirring the local scene with their powerful concoction of black metal, death metal, doom, and crust. Following their 2014 EP “Skinwalker,” 2015’s “Vast, Loathsome” EP, and the albums “Knives, Labyrinths, Mirrors” (2017) and “Excerpts From a Dread Liturgy” (2020), “The Teeth of Time” marks their most crushing offering yet. Recorded and mixed with the legendary Billy Anderson (Neurosis, Cattle Decapitation) and mastered by Justin Weis (Agalloch, Hammers of Misfortune), this five-track behemoth delivers 40 unrelenting minutes of vicious and melodically adventurous black/death metal.
DROUTH is:
Matt Stikker: Guitar, vocals, lyrics Patrick Fiorentino: Drums John Edwards: Guitar, vocals Matt Solis: Bass
SPANKTHENUN, alongside twisted re-imaginings from CVRBON DECVY and Melody Whore, has just unveiled “PANOPTIKON,” a chillingly captivating 4-on-the-floor electro experience. This track serves as an ominous sonic tribute to Dallas’s iconic Panoptikon club, pulling you into its shadowy embrace.
“PANOPTIKON” ensnares the listener with its relentless surveillance beats and a haunting, unforgettable refrain (“See me now, see forever, PANOPTIKON”). You’re drawn into a world of neon grids and pulsing rhythms, where the infectious groove becomes your captor. As shadows writhe and the intensity builds, the very notion of freedom seems to slip away within this hypnotic soundscape.
Adding further layers to this digital menace, the release features compelling and distorted remixes from the sonic architects CVRBON DECVY and Melody Whore. Each remix amplifies the track’s inherent darkness and technological dread, offering unique and unsettling perspectives on SPANKTHENUN’s original vision.
Experience the captivating darkness of SPANKTHENUN’s “PANOPTIKON”: [Link to where the release can be found will be added if available]
From the vibrant heart of Brazil emerges AESTHETISCHE, the formidable EBM duo led by Gui Pires and Fab Viscardi, delivering a powerful sonic statement for 2025: the “Selling Fear” EP. In a reality increasingly fractured by the weight of misinformation, manipulative media, and escalating socio-political tensions, this new EP strikes with the urgency of a pounding alarm – a defiant and vital soundtrack for an era teetering on the edge.
With “Selling Fear,” AESTHETISCHE channels their signature fusion of precise electronic craftsmanship and raw, gritty intensity into six fiercely sharp tracks. These sonic creations artfully straddle the line between potent protest anthems and irresistible dance floor weapons. Drawing inspiration from the iconic legacies of FRONT LINE ASSEMBLY and the “Tyranny For You”-era FRONT 242, the duo seamlessly blends abrasive industrial textures with compelling melodic EBM grooves – a potent combination of visceral energy and intellectual depth.
From the aggressive rhythmic onslaught of the title track itself to its intriguing reinterpretations, “Selling Fear” provides multiple angles on a central, undeniable truth: resistance is not optional, and silence equates to complicity. The EP also features a fresh and impactful 2025 rework of “Everything Ends,” transforming last year’s original into a hard-hitting, club-ready anthem.
This is more than just an EP; “Selling Fear” is a sonic manifesto. AESTHETISCHE issues a rallying cry to all sonic dissidents: confront the overwhelming noise, decipher the pervasive lies, and transmute fear into the very fuel for change.
Let the machines articulate the message – and let the unvarnished truth resonate.
Hailing from the heart of Hungary and wielding powerful rhythms comes STAHLGEIST, the nation’s prime purveyors of Electronic Body Music. Their latest decree, “Justice,” isn’t just an album; it’s a 13-track sonic sentencing that proves their recent “Silence” EP was merely a polite cough before a full-throated roar. The masterminds behind this auditory arraignment are István Gazdag (also known for FIRST AID 4 SOULS and FIRST AID TECH) and the vocal prosecutor Tamás Bank (of WORKER MUNKAS and INTERZONE INC.). Together, they’ve crafted their most rigorously engineered and brutally effective record to date – a dance floor demolition expertly produced and as shadowy as an oil slick in a moonless night.
Prepare for a journey that begins with the wailing sirens of the opening track, “Justice,” navigates the darkly melodic highways of “Bad Galaxy,” slams you with the percussive force of the club hit “Boots On The Ground,” and finally leaves you in the stark quietude of “Silence.” This album cleverly synthesizes the militant drive of vintage NITZER EBB, the catchy synth lines of AND ONE, the sonic venom of LEAETHER STRIP, and the precise impact of FRONT LINE ASSEMBLY, all while retaining STAHLGEIST’s distinct Central European edge. Gazdag’s production achieves a crystalline clarity within a darkly textured soundscape, while Bank’s vocals deliver biting accusations against societal ills, urban decay, and even divine comeuppance.
Forged over three years, “Justice” stands as STAHLGEIST’s artistic creed: no backing down, no leniency, just pure power channeled through compelling beats. If your musical tastes align with the classic sounds of FRONT 242 (circa 1985), the relentless intensity of :WUMPSCUT:, the early melodicism of AND ONE, or the stark aggression of NITZER EBB, then prepare to have your speakers thoroughly interrogated.
The final verdict? Unquestionably guilty of inciting total dance floor pandemonium. Initiate playback and feel the sonic gavel fall!
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