Rave culture has found its darker reflection as Pretty Addicted joins forces with extreme-metal vocalist Sarah Jezebel Deva for “HYSTERICAL,” released October 9, 2026. Blending industrial electronics, aggressive rave energy, drum & bass and the theatrical darkness of extreme metal, the collaboration marks another chapter in the British outfit’s evolving Blackened Rave identity. Led by vocalist, songwriter and producer Vicious Precious, alongside drummer Loki Leviathan, Pretty Addicted continues dismantling the boundaries between underground electronic culture and metal. Following “ROT” and “MOCK,” the new single introduces Deva’s commanding vocal presence into an increasingly confrontational soundscape, where the dancefloor and the mosh pit are no longer separate territories.
Reclaiming Hysteria: A Battle Cry Across Generations
Behind the sonic aggression lies a message rooted in women’s history, solidarity and resistance. “HYSTERICAL” confronts the historical misuse of hysteria as a medical diagnosis and social weapon against women who challenged authority, expressed anger or refused to conform. Rather than allowing that history to remain a symbol of oppression, Pretty Addicted transforms it into a declaration of collective strength, honoring generations of women whose voices were dismissed or silenced. Sarah Jezebel Deva, whose career is closely associated with symphonic and extreme metal, adds another dimension to Vicious Precious’s uncompromising delivery, connecting the project’s electronic rebellion with the darker traditions of metal. Following seven months of creative withdrawal, Pretty Addicted’s 2026 return represents more than a stylistic reinvention. Their Blackened Rave concept brings together the physical intensity of club culture, the ferocity of metal and an unapologetic commitment to confronting uncomfortable subjects. With “HYSTERICAL,” the message is unmistakable: the voices once condemned as dangerous are becoming impossible to ignore
“HYSTERICAL” is available now, with its official music video bringing Pretty Addicted’s latest Blackened Rave chapter to the screen. The single features Sarah Jezebel Deva and is released through the cult of the broken children.
Waylon Reavis and A Killer’s Confession turn rejection, disappointment and the hunger for recognition into something darker on “Roses,” while preparing to close their sprawling Victim trilogy this November.
There Will Be No Roses on This Grave
A Killer’s Confession has returned with “Roses,” a dark new single from the band’s forthcoming sixth studio album, Victim 3, arriving November 13 via MNRK Heavy.
Led by former Mushroomhead vocalist Waylon Reavis, “Roses” digs into the moment when seeking recognition becomes pointless. It’s about pouring yourself into something, receiving little acknowledgement in return, and eventually realizing that outside approval was never supposed to determine the value of what you created.
That frustration gives the track its bite, but underneath it sits something closer to liberation.
Reavis describes the song as emerging from the feeling that everything you’ve done has been in vain. The conclusion is considerably less defeated than the premise: know why you made your choices, own them, and stop waiting for somebody else to congratulate you.
The song’s bleak central declaration — “There will be no roses on my grave” — becomes less about death than refusing to spend a lifetime waiting for flowers.
“Roses” arrives alongside an official music video directed and produced by Dusten Boles.
“Victim 3” Brings the Killing to an End
The eleven-track Victim 3 isn’t simply another A Killer’s Confession album. It concludes the band’s three-record Victim narrative, bringing the story that began with Victim 1 and continued through Victim 2 to its final reckoning.
At the center of the trilogy is a vigilante serial killer who initially targets some of society’s worst offenders. By Victim 3, that warped pursuit of justice has reached its inevitable destination: death row.
What began as vengeance has mutated into something considerably darker, allowing the trilogy to wrestle with morality, punishment, accountability and whether someone who believes they are delivering justice can eventually become indistinguishable from the evil they condemn.
Musically, the album moves through the electronic darkness of “Roses,” the crushing grooves of “Meat Hook,” the aggression of “The One” and ultimately the resignation of closing track “Worth Saving.”
The record also contains the band’s recent stripped-back interpretation of The Weeknd’s “Blinding Lights,” which traded much of A Killer’s Confession’s usual weight for a more exposed performance built around Reavis’ vocals and the melancholy buried inside the original song.
For Reavis, the trilogy has become one of the most personal projects of his career — not merely three albums, but an interconnected universe of characters, perspectives and consequences.
A Decade of Darkness Comes Full Circle
Formed in 2016, A Killer’s Confession has built its identity around the collision of alternative and nu-metal heaviness, electronic atmosphere, sinister storytelling and hooks designed to survive long after the impact of the riffs.
Along the way, the band has collaborated with Brian “Head” Welch of Korn, Chad Gray of Mudvayne, Aaron Nordstrom of Gemini Syndrome and Reavis’ former Mushroomhead bandmate JMANN, while tracks including “Numb” and “Angel on the Outside” helped push the project to millions of streams.
Now that decade-long journey is converging with the conclusion of the band’s most ambitious story.
A Killer’s Confession will take that chapter onto the road with the Everything Comes Full Circle Tour, joined by Dizasterpiece and Dead Things. The North American run begins November 4 in Raleigh and puts the band in Louisville on November 13 — the same day Victim 3 arrives — before continuing through early December.
For A Killer’s Confession, everything really is coming full circle.
🎶 Listen Now
“Roses” doesn’t ask for sympathy, applause or a pat on the back. It strips away the expectation of recognition entirely. With Victim 3 waiting just beyond it, A Killer’s Confession is preparing to close a story about vengeance by confronting the consequences that inevitably follow — and perhaps asking whether anyone deserves roses when the final chapter is written.
Deep Dive into the Universe of A Killer’s Confession
Amon Amarth Summons the Gods on Monumental New Album “The Allfather Awakens”
Three decades into their campaign, Amon Amarth returns with ten new tales of sacrifice, battle and hard-earned wisdom — expanding their Viking-metal universe without abandoning the thunder that built it.
The Allfather Has Awakened
Swedish melodic death metal titans Amon Amarth have returned with their 13th studio album, The Allfather Awakens, released October 2 through Metal Blade Records.
Across ten tracks, the band once again draws inspiration from Norse mythology and history, with Oden serving as a recurring presence throughout the album’s lyrics and imagery. Rather than constructing a single continuous concept, however, The Allfather Awakens presents individual stories exploring conflict, sacrifice, wisdom, honor and the pursuit of something greater than oneself.
The album opens with “Gjallarhorn” before charging through “Eight Legs of Thunder,” “Kvasir’s Blood,” “We Rule the Waves,” “Upphaf,” “Die With a War Cry,” “Raven God,” “The Allfather Awakes,” “Oden’s Hunt” and the closing “Ascending Like an Eagle.”
Among its biggest departures is “Upphaf,” Amon Amarth’s first acoustic piece, bringing a solemn, ancient atmosphere into a catalog better known for colossal riffs and battlefield-sized melodic death metal.
Old Gods, New Territory
The Allfather Awakens was created differently from previous Amon Amarth records.
Instead of waiting until touring ended to begin writing, the band developed material while still on the road. Recording was then divided between two sessions at producer Jacob Hansen’s studio in Denmark, beginning in spring 2025 and concluding in March 2026.
The approach allowed individual songs to receive concentrated attention, essentially treating each composition with the importance of a potential single.
Amon Amarth also shifted their guitar approach, stepping somewhat away from the ultra-modern amplification associated with previous recordings and returning toward Marshall-driven tones. The music was developed before the lyrics, allowing the instrumental character of each song to establish the battlefield before frontman Johan Hegg populated it with gods, warriors and mythology.
That combination keeps The Allfather Awakens firmly rooted in the sound Amon Amarth have spent decades forging while leaving room for experimentation.
The band remains Johan Hegg on vocals, Olavi Mikkonen and Johan Söderberg on guitars, Ted Lundström on bass and Jocke Wallgren on drums, with Hansen handling production, mixing and mastering. Album artwork comes from Tom Thiel.
Wisdom Beyond the Battlefield
The album’s mythology isn’t merely decorative.
Oden’s legendary sacrifice of an eye for wisdom becomes particularly important to the record’s larger message. On release-day focus track “The Allfather Awakes,” that ancient pursuit of knowledge is pulled toward the present, with Hegg emphasizing the importance of allowing wisdom, knowledge and facts to guide the future.
It’s a fitting idea for a band now more than three decades into its own journey.
Amon Amarth formed in Tumba, Sweden, in 1992, eventually transforming their combination of melodic death metal and Norse storytelling into an internationally recognizable identity. Their concerts have grown into massive communal spectacles, complete with elaborate stage productions and the now-famous audience “Viking Row,” where crowds sit and collectively mimic rowing a longship.
With The Allfather Awakens, that mythology is getting an even larger physical presence. The band’s upcoming UK and European tour will introduce a new stage production inspired by Oden’s legendary Golden Hall, turning the album’s imagery into part of the live experience.
The campaign begins October 9 in Manchester before crossing the UK and Europe through November 15 in Lisbon.
🎶 Listen Now
Thirty-four years after Amon Amarth first began carving their path through Swedish metal, The Allfather Awakens finds them doing something considerably harder than simply becoming heavier: expanding a world they’ve spent decades constructing. There are still longships, gods, war cries and riffs capable of rattling shields — but beneath the mythology is an album concerned with knowledge, sacrifice and what experience teaches those willing to pay attention.
The Austrian industrial force returns to the world of IMPERIVM with a new visual assault for one of the album’s most commanding tracks.
“Unterwerfung” Gets the Visual Treatment 💀
NACHTMAHR has returned to the front lines with the official music video for “Unterwerfung,” extending the campaign surrounding the project’s 2026 album IMPERIVM with another dose of disciplined, confrontational industrial electronics.
Led by Thomas Rainer, NACHTMAHR has spent nearly two decades carving out a particularly recognizable corner of the industrial and EBM underground: pounding electronics, authoritarian imagery, provocation, sexuality, control and a live presentation deliberately designed to overwhelm the senses.
“Unterwerfung” — German for “submission” — fits squarely inside that world.
Originally appearing as the second track on IMPERIVM, the song combines NACHTMAHR’s familiar rhythmic aggression with the harder electronic territory that has increasingly pushed the project beyond conventional industrial and EBM. Dark techno pressure, distorted percussion and an almost mechanical sense of momentum give the track the kind of physical impact built as much for a packed club floor as a pair of headphones.
Another Chapter in the IMPERIVM Campaign ⚙️
Released June 26, 2026 through Trisol Music Group, IMPERIVM contains ten tracks and continues the evolution heard across NACHTMAHR’s recent output.
The album moves through industrial, EBM, dark techno and heavier electronic territory while maintaining the confrontational aesthetic that has surrounded the project since its beginnings in Vienna in 2007.
Its tracklist includes “Wer Wind sät,” “Unterwerfung,” “Nie zurück,” “Das Böse,” “Stärker als ihr Hass,” “Infantil,” “Der Schlaf,” “Willenlos,” “Offenbarung” and “Neue Ufer.”
Rather than simply repeating the formula that established NACHTMAHR, IMPERIVM pushes further into the collision between traditional industrial club music and contemporary hard electronic production. The machinery is still unmistakably NACHTMAHR, but the edges have become sharper.
“Unterwerfung” is an especially fitting example. Its relentless pulse and atmosphere of dominance turn the song into something deliberately physical — music built around tension, obedience, resistance and release.
Nearly Two Decades of Industrial Provocation 🔥
Rainer launched NACHTMAHR in 2007, and the project has since developed into a long-running fixture of the international industrial scene.
Albums including Feuer Frei!, Alle Lust will Ewigkeit, Semper Fidelis, Veni Vidi Vici, Feindbild, Unbeugsam, Antithese, Flamme, Stellungskrieg and Verboten! established a catalog centered around aggressive electronic production and an intentionally provocative visual identity.
IMPERIVM carries that lineage forward without turning it into nostalgia.
And with NACHTMAHR taking the album onto stages throughout Europe during the IMPERIVM Tour 2026, “Unterwerfung” now receives another life beyond the record itself.
The arrival of the “Unterwerfung” video reinforces what IMPERIVM has represented throughout 2026: NACHTMAHR isn’t softening its approach after nearly twenty years. The machinery is still running, the beats are still merciless, and Thomas Rainer appears perfectly content to keep pushing the project deeper into the collision of industrial, EBM and dark electronic club culture.
Fundustrial’s latest single collides pounding industrial electronics with the project’s deliberately absurd sense of humor, while its accompanying video drags the madness straight through the neon-soaked world of ’90s Eurodance.
Industrial Music Doesn’t Have to Look Miserable
Industrial music has never suffered from a shortage of darkness. Fundustrial, however, seems perfectly comfortable asking a different question: what happens when you keep the machinery, distortion and dancefloor impact—but allow yourself to have some ridiculous fun with it?
The answer this time is “Psyduck,” released September 25, 2026. The four-minute track is the third and final advance single from the upcoming Fundustrial album Episode 2, scheduled for release December 11. “Psyduck” was mixed and mastered by Sebastian Sünkler and is currently available as a free high-resolution 24-bit/44.1 kHz download through Bandcamp.
Fundustrial is the intentionally less-serious cyberindustrial project connected to Sebastian Sünkler’s STAHLSCHLAG universe. While STAHLSCHLAG occupies the heavier electro-industrial and noise end of the spectrum, Fundustrial provides an outlet where pounding electronics and cyberindustrial machinery can coexist with humor, absurdity and a refusal to take everything quite so seriously.
That distinction matters. The humor isn’t something accidentally attached to the music. It’s part of the machinery.
“Psyduck” Takes Industrial Back to the ’90s
“Psyduck” doesn’t arrive alone. Fundustrial has also released an accompanying music video deliberately inspired by Eurodance videos of the 1990s, turning one of electronic music’s most unapologetically colorful eras into the visual playground for a modern cyberindustrial track.
The video concept comes from Fundustrial, with ElectronicPassion handling camera duties and video production shared between Fundustrial and ElectronicPassion.
It’s a wonderfully strange collision of worlds. Industrial’s mechanical aggression and black-clad underground identity meet the exaggerated visual language of an era remembered for enormous dance hooks, surreal video concepts and enough chroma-key experimentation to permanently scar a generation of television screens.
And that’s precisely why the concept works.
Fundustrial isn’t attempting to make industrial respectable. It is leaning into the freedom to make heavy electronic music entertaining, strange and danceable without stripping away its teeth.
From “Episode 1” to the Next Round of Fundustrial
The idea has deeper roots than one novelty single. Sünkler originally used the name Fundustrial for an industrial compilation concept before eventually transforming it into a side project where he could explore a more relaxed and humorous counterpart to STAHLSCHLAG.
That philosophy eventually produced Episode 1 in October 2024, an eleven-track album packed with danceable industrial, cartoon-like samples, musical references, puns and deliberately absurd subject matter.
Now the story is moving toward Episode 2.
“Psyduck” follows “Feed The Camera,” released August 28 as the album’s second single. That release also placed considerable emphasis on its accompanying video, assembled with contributions from participants who submitted their own clips.
With “Psyduck” officially designated as the final single before Episode 2 arrives on December 11, 2026, Fundustrial has finished setting the stage.
🎶 Listen Now
There is something refreshingly rebellious about refusing to accept that dark electronic music must always take itself seriously. “Psyduck” still lives among industrial rhythms, electronic abrasion and cybernetic noise, but Fundustrial remembers one critical ingredient that can occasionally disappear beneath all that machinery: fun.
If this is the final warning before Episode 2, December could get wonderfully weird.
Boston dark-electronic project Asphodel Ivory turns emotional collapse into dancefloor propulsion on “Fall,” a self-released single already finding its way into the underground industrial circuit.
Darkness, Emotion and the Machinery of “Fall”
Asphodel Ivory has returned with “Fall,” a new digital single released on August 21, 2026, pushing the Boston project deeper into the collision point between industrial aggression, dark-electronic atmosphere and emotionally charged club music. The track is currently listed as Asphodel Ivory’s latest release.
Rather than separating melancholy from dancefloor energy, “Fall” brings the two together. The result fits naturally within Asphodel Ivory’s increasingly recognizable territory: industrial, dark electro, EBM, aggrotech and futurepop, where heavy electronic rhythms can carry just as much emotional weight as the vocals riding above them.
Importantly, available release documentation identifies “Fall” as a self-released digital single. While Asphodel Ivory has appeared on releases connected with Outer Darkness Records, current documentation does not identify the label as the issuer of “Fall.” Communion After Dark specifically listed the single as self-released when featuring it on its August 31 program.
From Boston’s Dark Clubs to the Wider Underground
Asphodel Ivory isn’t operating from the sidelines of dark-club culture. The project is dark-electronic project of the founder behind Boston events Elysium and Synapse, with a sound spanning EBM, industrial, trance, darkwave, aggrotech, futurepop and synthpop.
That connection to the dancefloor is tangible. Asphodel Ivory as the promoter behind Synapse, with an August 2026 event describing the project’s DJ sets as a combination of industrial techno and pounding EBM. Earlier Elysium events likewise positioned Asphodel Ivory within Boston’s goth, industrial, aggrotech and power-noise community.
The recording project itself officially emerged with “Eclipse” in May 2025. Recorded at Lukotyk Studios, the track was described as Asphodel Ivory’s debut single and a message from a future self to the past about discovering one’s place within the dark community.
“Fall” shows that evolution continuing. What began as a relatively young recording project is increasingly intersecting with the broader dark-electronic ecosystem through original material, remixes, compilation appearances and DJ culture.
“Fall” Is Already Moving Through the Underground
The single hasn’t remained confined to Asphodel Ivory’s own channels.
Communion After Dark featured “Fall” during its August 31, 2026 program, placing Asphodel Ivory alongside contemporary industrial and dark-electronic artists including Xiescive, INVA//ID and Subliminal Code.
For longtime Evol Radio readers, the name should also sound familiar. Asphodel Ivory previously appeared on Outer Darkness Records’ Inquisition Vol. II: The Scorn with “Upgrade (Ground to Dust Remix),” alongside artists including pixelgrinder, ANGER 奰, Dilemma, Hexen Prozess and Ground to Dust.
That makes “Fall” another step in a project steadily expanding beyond its Boston foundations while remaining firmly connected to the underground community that shaped it.
🎶 Listen Now
With “Fall,” Asphodel Ivory demonstrates how effectively dark electronic music can occupy two spaces at once: physical enough for the club and introspective enough to survive after the lights come back on. The machinery may provide the impact, but underneath it sits something distinctly human—and that tension is exactly where “Fall” finds its pulse.
Ministry have released a dystopian new single and video as the countdown to their final studio album continues.
A Machine Takes Control
A cyborg announces that humanity’s time has passed in the video for “Singularity,” turning the song’s fear of a robotic takeover into an apocalyptic scene. The video was directed by Ben Garcia of Rage4Order Designs in coordination with Al Jourgensen and Joshua Bradford.
“Singularity” is the third single from Hate To Go (Take Out Or Delivery), following “Burned Out” and “We Hate.” Cleopatra Records is set to release the album on October 30, 2026. Ministry’s Bandcamp listing identifies it as a pre-order.
The Final Album and Farewell Tour
For Al Jourgensen, the album closes a recording career that helped define industrial rock. Its final track, “We’re Still Here,” features former Ministry member Paul Barker. The record also includes contributions from guitarists Monte Pittman and Cesar Soto, bassist Paul D’Amour, synth player John Bechdel, and drummer Pepe Clarke Magaña.
Ministry are preparing a farewell tour, with a Goodbye Europe 2027 run scheduled to begin in Utrecht on April 2. Die Krupps are listed as special guests for the European shows. Fans can check the band’s official tour page for dates and details.
“Singularity” puts the approaching end of Ministry’s studio catalog in stark terms: the machines have the screen, Jourgensen still has the microphone, and the final album is on its way.
Elektrikill brings one of the most theatrical cuts from Küntzpiracy to the screen as “Vampire Blond” steps out of the shadows in a new official music video.
A Vampire, a Drag Queen and a Different Side of Elektrikill
Elektrikill has released the official music video for “Vampire Blond,” giving one of the more colorful and theatrical tracks from Küntzpiracy its own visual spotlight.
The song originally appeared on Elektrikill’s ten-track Küntzpiracy, released through Evol Music Group. While much of the album digs into considerably heavier territory—including corruption, social division, hypocrisy and political frustration—“Vampire Blond” deliberately breaks away from that weight.
Elektrikill founder Steve Vil has described the song’s subject rather simply: a vampire drag queen.
That premise gives Elektrikill an opportunity to trade some of the album’s dystopian anger for something more playful, campy and nocturnal without abandoning the dark electronic world surrounding the project. Against Küntzpiracy’s heavier themes, “Vampire Blond” becomes a welcome detour into the strange, theatrical and unapologetically weird side of underground culture.
“Vampire Blond” Gets the Visual Treatment
Musically, the track sits comfortably inside Elektrikill’s collision of industrial, dark electronic and electro-goth influences, driven by electronic rhythms and a distinctly late-night atmosphere.
The arrival of an official video now pushes that personality beyond the recording itself.
It also extends the life of Küntzpiracy beyond the album release, allowing individual pieces of the record to continue developing their own identities. “Vampire Blond” is particularly suited for that treatment because it stands apart from the album’s more confrontational material while remaining unmistakably part of Elektrikill’s increasingly bizarre electronic universe.
Following the politically charged aggression surrounding much of Küntzpiracy and the more recent Halloween-minded Macabre Masquerade, the video is another glimpse into a project that seems increasingly comfortable allowing horror, industrial music, dark humor and underground culture to occupy the same room.
And apparently this time, the vampire owns the dance floor.
Polish extreme-metal architects Behemoth are excavating their earliest foundations, forging new material, and honoring the bands that shaped them with the eight-track release I, Scvlptor.
Behemoth will release I, Scvlptor on September 4, 2026, presenting an autonomous body of work constructed from seven previously unreleased studio recordings and one live performance.
Rather than serving as a conventional studio album, I, Scvlptor operates as a connecting piece between the band’s formative years and its current creative fire. New compositions including “I, Scvlptor,” “Lord ov the Horizons,” and “Begotten” carry the full force of Behemoth’s modern intensity while opening another chapter in the band’s continuing evolution.
The title track embodies that transition through a monumental arrangement built around the idea of continuous self-creation. Its central metaphor treats human identity as unfinished material—something shaped through conflict, limitation, mortality, and the stubborn refusal to remain unchanged.
Ancient Rituals Reforged with Modern Force ⚔️
Behemoth also descends into its earliest history for two newly recorded pieces. “Rise of the Blackstorm of Evil,” originating from the 1992 demo The Return of the Northern Moon, and “In Thy Pandemaeternum,” originally featured on Sventevith (Storming Near the Baltic), have been reconstructed with contemporary production while preserving their original black-metal spirit.
That collision of eras makes I, Scvlptor more than a collection of obscurities. The record allows Behemoth to confront its history without simply reproducing it, giving decades-old material the weight, precision, and sonic violence of the band’s present incarnation.
The release also recognizes two foundational forces in extreme metal. Behemoth’s interpretation of Venom’s “In League With Satan” features Shagrath of Dimmu Borgir, while a live performance of Bathory’s “The Return of Darkness and Evil” includes Sakis Tolis of Rotting Christ. These collaborations connect Behemoth’s evolution to the artists whose work helped establish the language of black metal.
Tracklist
I, Scvlptor
Lord ov the Horizons
Rise of the Blackstorm of Evil
In Thy Pandemaeternum
Begotten
In League With Satan
The Return of Darkness and Evil [Live]
Lord ov the Horizons [Studio Rough Mix]
Three Decades of Extreme-Metal Evolution 🔥
Formed in Gdańsk, Poland, in 1991, Behemoth grew from the underground black-metal movement into one of extreme music’s most internationally recognized forces. Led by Adam “Nergal” Darski, the band has continually expanded its sound through death-metal power, theatrical presentation, philosophical confrontation, and incendiary live performances.
That progression carried Behemoth from its earliest demos to its first appearance on the Billboard 200 with The Apostasy in 2007. The band reached another major milestone when The Satanist debuted at No. 34 in 2014, followed by The Shit Ov God, which reached No. 1 in Poland and No. 19 in Germany in 2025.
Behemoth’s live history has been equally formidable, including multiple appearances alongside Slayer during the legendary band’s farewell campaign. Across more than three decades, Behemoth has remained rooted in the underground while repeatedly pushing extreme metal onto larger international stages.
Physical editions of I, Scvlptor will be issued through Massacre Records on CD, vinyl, cassette, and as a limited-edition box set. Nuclear Blast Records will handle the digital release.
With I, Scvlptor, Behemoth is neither retreating into nostalgia nor severing its connection to the past. The band is reshaping that history into new material—preserving the scars, strengthening the structure, and leaving the final form deliberately unfinished.
Buenos Aires solo project Sektor Voltage returns with En otra dimensión, an eight-track collision of EBM, post-punk, coldwave, synth-punk, and dark ’80s electronics. Released June 6, 2026, the album is the fourth full-length from producer, guitarist, vocalist, and songwriter Nicolás Pomilio, balancing bleak atmosphere with relentless, dance-driven energy.
Motorik Motion, Post-Punk Guitars and EBM Machinery
Motorik rhythms and electronic basslines provide the album’s backbone while raw guitars, futuristic synths, and Pomilio’s cavernous vocals push Sektor Voltage deeper into the territory between human emotion and machinery. Drawing from German electronics, Belgian New Beat, EBM, and post-punk, En otra dimensión builds on influences ranging from Kraftwerk and Front 242 to The Cure and early Ministry.
First single “In den Verborgenen Wäldern” (In the Hidden Forests) captures that contrast, pairing mechanical electronics with a music video following Pomilio through isolated natural landscapes.
Built in the Bunker
The album’s hands-on production reinforces its underground character. Pomilio recorded with a Zoom R8 Portastudio, Kawai R50e drums, Korg Monologue bass, Korg Volca FM, MicroKorg, Yamaha QY10, and Casio SA, combining MIDI programming with live synths, percussion, guitars, and vocals before completing the final master in Ableton.
A Darker Evolution of Sektor Voltage
Since forming Sektor Voltage in 2020, Pomilio has evolved from techno, New Beat, EBM, and darkwave toward a more organic hybrid of electronics, guitar, and voice. Following Amor a mi negra lista (2023), Animal en extinción (2024), and Oscura noche del alma (2025), En otra dimensión pushes that evolution into more metaphysical territory, imagining the soul slipping beyond visible reality through dark, hypnotic, danceable sound.
Whether that other dimension is spiritual, psychological, or musical is left to the listener.
Getting back is their problem. 💀
🎶 Listen Now
En otra dimensión turns ’80s underground influences into something distinctly Sektor Voltage: part machine, part human, and built for headphones, dark rooms, and dance floors.
The Chicago industrial artist takes on one of Nine Inch Nails’ most provocative songs, turning “Closer” toward questions of identity, expectation, and what can disappear while trying to become what the world demands.
I Ya Toyah Takes On a Nine Inch Nails Classic
I Ya Toyah has released “Closer,” her interpretation of the iconic Nine Inch Nails track, arriving August 21, 2026 through Femme Fatale Records.
Rather than treating “Closer” as a simple exercise in nostalgia, I Ya Toyah approaches the song through her own industrial and dark electronic identity. Her accompanying statement reframes the familiar material around a pointed question: How far will we go to become what we are told we should be—and what disappears along the way?
That perspective gives the cover another layer. The original Nine Inch Nails recording has spent more than three decades embedded in industrial and alternative culture, but I Ya Toyah uses its themes of desire, self-destruction, isolation, and transformation as raw material for her own interpretation.
A New Machine Built Around “Closer”
The production team behind the release gives the cover some serious weight. “Closer” was produced by I Ya Toyah and Johnny K, with Johnny K also handling the mix. Mastering was completed by legendary mastering engineer Howie Weinberg, while the release artwork was created by Angelica Dulany.
The original song was written by Trent Reznor, with I Ya Toyah’s version officially licensed for release. That distinction matters: this is not an unofficial remix or reinterpretation floating through the underground. It is a fully produced and licensed cover that deliberately places I Ya Toyah’s artistic identity against one of industrial music’s most recognizable compositions.
The release also continues a busy period for the Chicago-based artist. I Ya Toyah operates as a fiercely independent, multidisciplinary force, writing, producing, and performing her own material while moving between industrial, darkwave, electronic rock, dark pop, and EDM. In 2026, her output has included “FEELINGS” and “Apology,” alongside continued international activity and touring.
With “Closer,” she steps directly into the shadow of a song almost everyone in the industrial world already knows—and instead of trying to erase that shadow, she uses it as part of the atmosphere. The result is less about replacing Nine Inch Nails and more about asking what the song can reveal when filtered through a different artist, a different voice, and a different moment in time.
🎶 Listen Now
“Closer” is available now through I Ya Toyah’s Bandcamp and digital release channels. For listeners already familiar with the original, the real draw is hearing how a song this deeply ingrained in industrial culture changes when another artist takes possession of its emotional machinery. For those following I Ya Toyah’s evolution, it is another glimpse into an artist increasingly willing to push directly into uncomfortable territory and make it her own.
Industrial rock icon Marilyn Manson has officially unleashed his 13th full-length studio album, One Assassination Under God – Chapter 2. Co-written and produced alongside longtime collaborator Tyler Bates, the record arrives as the direct follow-up to late 2024’s critically acclaimed Chapter 1, completing a intense two-part sonic era for the band.
Driven by hard-hitting production, searing guitar work, and heavy synth atmospheres, the new record expands on the dark industrial metal soundscapes that have defined Manson’s career. Anchored by heavy-hitting singles such as “Exit Wound” and “Front Toward Enemy,” the album explores themes of purgatory, conflict, and personal catharsis across nine brand-new tracks.
Manson will hit the road in support of this record next week, co-headlining the ‘Twins Of Evil Tour‘ alongside industrial metal icon Rob Zombie. The HU and Orgy will be opening that trek:
Raymond Watts pushes PIG into even heavier territory with a brutal new collaboration featuring industrial legends, while setting the stage for a new EP and an extensive North American tour this fall.
Industrial Royalty Reunites for a Ferocious New Single
UK industrial icon Raymond Watts, better known as PIG, has unveiled his explosive new single, “An American Ideal Of Beauty,” available now through Metropolis Records. The track serves as the first taste of the forthcoming Dirt Box EP, arriving on September 4, 2026, just ahead of PIG’s highly anticipated North American Hurt People Tour.
The release brings together an impressive lineup of industrial veterans. Longtime collaborator Marc Heal (Cubanate, C-Tec) co-wrote the track while contributing vocals and synthesizers, alongside Günter Schulz (formerly of KMFDM) on guitar. Watts’ longtime songwriting partner Jim Davies (formerly of The Prodigy and Pitchshifter) also returns, creating a powerhouse collaboration that blends decades of industrial experience into one relentless new anthem.
According to Watts, the goal was to refine and intensify the sound established on Hurt People Hurt.
“I wanted to distil and hone the sound of the current PIG album… inviting my old partners in swine Marc and Günter to join Jim and myself in the studio seemed the perfect blend of brutality and beauty… This new single was the first result of our work as a quartet.”
The result is a crushing blend of industrial aggression, glam swagger, and razor-sharp production that continues PIG’s evolution while remaining unmistakably true to its roots.
A Cinematic Video and a New Chapter
The single arrives alongside an atmospheric new music video directed by E Gabriel Edvy for Blackswitch Labs, expanding the song’s dystopian themes through striking visual storytelling.
The creative sessions that produced the single also generated three additional new songs, each receiving exclusive remixes from respected names across the industrial scene, including Chris Hall of Stabbing Westward, Combichrist, Rabbit Junk, and Cyanotic.
Dirt Box Expands the Hurt People Hurt Era
Rather than simply releasing another standalone single, PIG has collected eight tracks into the upcoming Dirt Box EP, featuring new material alongside exclusive remixes.
Dirt Box Track Listing
An American Ideal Of Beauty
Your Reptilian Overlord Presents
Infidel
Butterfly
Your Reptilian Overlord Presents (Cyanotic Remix)
An American Ideal Of Beauty (Chris Hall / Stabbing Westward Remix)
Butterfly (Combichrist Remix)
Infidel (Rabbit Junk Remix)
Riding the Momentum of Hurt People Hurt
The new EP follows the critically acclaimed release of Hurt People Hurt, an album that has received some of the strongest reviews of Raymond Watts’ career.
Critics praised the record for balancing crushing industrial power with memorable songwriting and theatrical flair. Publications across North America and Europe highlighted Watts’ ability to merge industrial rock, glam, electronic experimentation, and dark melody into something uniquely his own.
Much of that success stemmed from Watts’ continued partnership with Jim Davies, whose songwriting chemistry has become one of the defining elements of modern PIG releases.
Forty-Four Dates Across North America
The release of Dirt Box coincides with PIG’s Hurt People Tour, which spans 44 North American dates beginning in late August. The tour includes appearances at Cold Waves XIV, with performances scheduled in major cities including Chicago, Los Angeles, and Austin before concluding with four UK performances in December.
Fans can expect selections from Hurt People Hurt, the new Dirt Box EP, and classics spanning PIG’s influential industrial catalog.
A Lasting Legacy in Industrial Music
Few artists have shaped industrial music as consistently as Raymond Watts. Beyond releasing fifteen albums as PIG, Watts helped establish KMFDM during its formative years while contributing vocals and songwriting to many of the band’s most recognizable material.
His career has also included collaborations with Einstürzende Neubauten, Foetus, Psychic TV, Schwein, and Schaft, while his compositions have extended beyond music into film, television, advertising, and internationally recognized fashion productions, including projects associated with the late fashion icon Alexander McQueen.
More than three decades into his career, Watts continues proving that industrial music can remain fearless, inventive, and uncompromising.
With “An American Ideal Of Beauty,” PIG demonstrates that innovation and intensity remain at the heart of the project. Backed by legendary collaborators, an ambitious new EP, and an extensive tour schedule, Raymond Watts continues reinforcing his status as one of industrial music’s most enduring creative forces.
The industrial grunge outfit returns with a powerful new anthem that confronts certainty, division, and the complexity of modern life.
Industrial grunge band ESOTERIK has released its latest single, “No Absolutes,” delivering another emotionally charged blend of heavy guitars, electronic textures, and introspective songwriting. The new track continues the band’s evolution while reinforcing the genre-bending sound that has become its signature.
Finding Truth Between the Extremes
At its core, “No Absolutes” explores the dangers of rigid thinking in an increasingly polarized world. Rather than presenting simple answers, the song encourages listeners to embrace complexity, question certainty, and recognize that life’s most meaningful truths often exist somewhere between opposing viewpoints.
Musically, ESOTERIK pairs crushing riffs with cinematic electronics and modern industrial production, creating a sound that balances aggression with atmosphere. The result is a track that is both emotionally reflective and sonically powerful, appealing to fans of modern industrial rock, alternative metal, and electronic-infused heavy music.
Continuing the Evolution
Since emerging on the independent heavy music scene, ESOTERIK has continued refining a style that blends industrial, grunge, electronic, and alternative metal influences into a distinctive identity. “No Absolutes” builds on that foundation while showcasing the band’s continued growth as songwriters and producers.
The release is accompanied by a new music video, giving fans a visual interpretation of the song’s themes while expanding the band’s growing catalog of multimedia content.
With “No Absolutes,” ESOTERIK continues to blur the boundaries between industrial music and modern heavy rock, delivering a thoughtful release that proves powerful songwriting and memorable hooks can coexist with uncompromising intensity.
Ira Black’s modern metal project follows its breakout debut with a deeply personal new chapter ahead of its first full-length album arriving August 28.
APOCÆLYPSE is building on the momentum of its explosive debut with the announcement of its first full-length album, FÆNIX, set for release on August 28. Alongside the announcement comes the band’s emotionally charged new single, “BLACK BOX,” a powerful statement that showcases a more personal side of the project while continuing to expand its cinematic approach to modern metal.
Founded by acclaimed guitarist Ira Black (Vio-Lence, Lizzy Borden, Metal Church), APOCÆLYPSE burst onto the scene with debut single “INTELL-I-GENTS.” The track quickly captured attention, earning more than 1.4 million video views while debuting on Billboard’s Radio Chart, introducing listeners to the band’s fusion of crushing riffs, cinematic production, and socially conscious songwriting.
From Artificial Intelligence to Inner Reflection
While “INTELL-I-GENTS” explored humanity’s increasingly complex relationship with artificial intelligence, “BLACK BOX” shifts the focus inward.
Driven by soaring melodies, crushing guitars, and emotionally raw lyrics, the new single examines survival, healing, addiction, loss, and the difficult process of confronting painful memories. Rather than offering simple answers, the song embraces vulnerability, presenting one man’s journey toward acceptance and resilience.
Ira Black describes the song as the most personal composition of his career. Drawing inspiration from an aircraft’s black box recorder, he explains that the song represents opening the hidden record of his own life—examining childhood trauma, addiction, heartbreak, and decades of pursuing a dream that often seemed impossible. Ultimately, “BLACK BOX” becomes a testament to survival, proving that even after life’s greatest crashes, it is still possible to rebuild and move forward.
Cinematic Production Meets Modern Metal
Accompanying the single is a dramatic new music video directed by Ira Black and co-directed by Vicente Cordero of Industrialism Films, bringing the song’s emotional themes to life through striking cinematic visuals.
The single was produced by Ira Black, executive produced by Andy Fetyko, mixed by Kane Churko (Ozzy Osbourne, Five Finger Death Punch, Papa Roach), and mastered by Maor Appelbaum (Sepultura, Faith No More, Limp Bizkit), delivering a polished yet aggressive sound that complements the band’s modern metal vision.
FÆNIX Signals the Arrival of a New Force
Scheduled for release on August 28, FÆNIX represents the official arrival of APOCÆLYPSE as one of modern metal’s most promising new acts.
Blending the experience of veteran musicians with a forward-thinking creative direction, the album explores both deeply personal struggles and broader societal issues while balancing cinematic atmosphere with crushing heaviness. True to its title, FÆNIX is built around themes of resilience, transformation, and rising from adversity.
Following the overwhelming response to “INTELL-I-GENTS,” the release of “BLACK BOX” provides another compelling preview of what promises to be one of the year’s most anticipated debut metal albums.
With “BLACK BOX,” APOCÆLYPSE demonstrates that the project is about more than technical musicianship and heavy riffs. By pairing cinematic storytelling with deeply personal songwriting, the band continues carving out a distinctive identity that should make FÆNIX a debut worth watching when it arrives on August 28.
Progressive metal innovators Entheos embrace the spirit of ’90s heavy music while pushing their sound further than ever before on their upcoming Metal Blade Records release.
Progressive metal powerhouse Entheos has officially announced the arrival of their long-awaited new studio album, Empty on the Inside, scheduled for release on October 23, 2026, through Metal Blade Records. Alongside the announcement, the band has unveiled the album’s first single, “Golden Crown,” accompanied by an intense new official music video that offers listeners their first glimpse into the band’s evolving creative direction.
Fronted by vocalist Chaney Crabb and multi-instrumentalist Navene Koperweis, Entheos continues to redefine modern progressive metal by combining technical precision with emotionally driven songwriting. Empty on the Inside promises to be the band’s most ambitious release yet, balancing crushing heaviness with memorable melodies and dynamic hooks inspired by the raw energy of 1990s rock and metal.
A Single Years in the Making
According to Chaney Crabb, “Golden Crown” underwent years of refinement before reaching its final form. While the song’s chorus originated back in 2020, the band continued revisiting and reshaping the composition until it fully captured the vision they had for the album.
Musically, the track pays tribute to many of the band’s favorite ’90s influences, blending eerie synthesizers, soaring choruses, and explosive breakdowns into a modern progressive metal framework. Rather than simply recreating the past, Entheos channels those influences into something distinctly contemporary.
Lyrically, “Golden Crown” explores the destructive nature of relationships that become inseparable from one’s identity. The song examines how emotional burdens can simultaneously empower and imprison a person, making it increasingly difficult to distinguish themselves from the very thing causing their suffering.
Empty on the Inside Track Listing
Hell Is a Part of Me
Empty on the Inside
Hollow
Call My Name
Golden Crown
Undone
Tomblight (feat. Michael Lessard)
Pale Faith
Never Let Me Go
The Earth Will Move
The Most Complete Entheos Album Yet
Empty on the Inside represents the strongest collaborative effort of the band’s career. Joining Crabb and Koperweis are acclaimed guitarists Scott Carstairs (Fallujah) and Michael Stancel (Allegaeon), creating a lineup that combines elite musicianship with a renewed emphasis on songwriting and emotional impact.
The band describes the record as a defining statement, explaining that their primary objective was to recapture the authenticity and visceral performances that made 1990s heavy music so timeless. Instead of relying on overly polished modern production, Entheos focused on preserving the unique personalities of each musician while delivering an album that feels immediate, organic, and powerful.
The album was produced by Mark Lewis, whose production credits include The Black Dahlia Murder, Whitechapel, and Fallujah, before being mastered by Justin Sturtz at Sterling Sound. Visual artist Zac Shiffer, known for his work with Nine Inch Nails, Behemoth, and Soundgarden, created the album’s striking cover artwork.
Continuing Momentum on the Road
The album announcement arrives while Entheos is performing on Jinjer’s North American Duél Tour alongside Crystal Lake, marking one of the highest-profile tours of the band’s career.
Following a successful headlining run in 2025 that featured multiple sold-out performances and venue upgrades, Entheos has continued earning praise for its commanding live performances. Critics have highlighted Chaney Crabb’s remarkable vocal versatility, seamlessly transitioning between devastating gutturals, piercing screams, and soaring melodic passages, while the band’s technical precision continues to impress audiences across North America.
The current tour concludes on July 24 in Las Vegas, Nevada.
As anticipation builds toward the October release of Empty on the Inside, “Golden Crown” offers an impressive preview of a band refusing to stand still. By blending technical mastery with stronger melodies and emotionally resonant songwriting, Entheos appears poised to deliver one of the defining progressive metal releases of 2026.
German heavy metal torchbearers unveil another glimpse into their upcoming Metal Blade Records debut, Cold Velvet, blending cinematic atmosphere, haunting melodies, and timeless guitar-driven power.
A New Chapter in German Heavy Metal
Germany’s rising melancholic heavy metal force The Night Eternal continues building anticipation for its upcoming album, Cold Velvet, with the release of its latest single and official music video, “Caught In A Spell.” Scheduled for release on August 21 through Metal Blade Records, the album marks another major step forward for a band that has rapidly become one of Europe’s most exciting modern heavy metal acts.
Formed in 2018, the five-piece has earned widespread recognition for breathing new life into the guitar-driven heavy metal of the 1970s and 1980s while infusing it with gothic atmosphere and contemporary songwriting. Their previous albums, Moonlit Cross (2021) and Fatale (2023), led to tours alongside Blind Guardian, Michael Schenker Group, Angel Witch, and Lucifer, as well as appearances at major European festivals including Wacken Open Air, Hellfest, Summer Breeze, Alcatraz, and Hell’s Heroes.
Heavy Metal for the Midnight Highway
With its hypnotic groove, soaring chorus, and cinematic pacing, “Caught In A Spell” captures the feeling of endless nighttime highways and restless wanderlust. The song balances memorable hooks with dark atmosphere, drawing listeners into an immersive blend of melody and power that has become one of The Night Eternal’s defining characteristics.
Directed by Robert Piel, the accompanying music video expands on that vision through striking visuals centered around a Harley-Davidson-riding knight navigating a surreal nocturnal landscape. The cinematic presentation perfectly complements the song’s dreamlike mood while reinforcing the band’s unmistakable aesthetic.
Cold Velvet Expands Their Vision
Rather than revisiting familiar territory, Cold Velvet represents a confident evolution of The Night Eternal’s sound. The album embraces hypnotic rhythms, richly layered guitar work, evocative choruses, and ritualistic energy while preserving the raw spirit of classic heavy metal. Gothic undertones merge naturally with hard-driving metal rock ‘n’ roll, creating a distinctive identity that feels both nostalgic and refreshingly modern.
Recorded between May and December 2025 at Church Of Sound Studios near Munich, the album was produced and mixed by Michael Zech of Secrets Of The Moon, whose production amplifies the band’s atmospheric depth without sacrificing the grit and intensity of its performances.
With Cold Velvet arriving on August 21, “Caught In A Spell” offers an impressive preview of what lies ahead. By combining memorable songwriting, cinematic storytelling, and the timeless power of classic heavy metal, The Night Eternal continues carving out its place among Germany’s new generation of heavy metal artists. Fans of dark, melodic, guitar-driven music will find plenty to anticipate when the full album arrives.
Belgian electro-industrial legends Lords of Acid return with a hypnotic new visual experience, pairing their latest Metropolis Records single with a cinematic journey through temptation, chaos, and surreal nightlife.
Lords of Acid have unveiled the official music video for “Dream Boy,” the latest single from their forthcoming seventh studio album. Released through Metropolis Records, the video arrives after the song’s successful debut earlier this year and further builds anticipation for the band’s next full-length release, expected later in 2026. Directed by acclaimed filmmaker Vicente Cordero, whose visual work has helped define artists including Ministry and 3TEETH, the production captures the unmistakable aesthetic that has kept Lords of Acid at the forefront of provocative electronic music for decades.
A Hallucinatory Vision of Seduction and Decay
“Dream Boy” fuses seductive acid house grooves with industrial textures and dark electronic atmospheres, creating a soundtrack that is equal parts hypnotic and unsettling. Rather than relying on straightforward storytelling, the video embraces a dreamlike descent into neon-lit chaos, blending pristine 4K cinematography with nostalgic ’90s camcorder footage to create a surreal visual contrast.
Band co-founder Praga Khan described the production as a spontaneous and energetic collaboration involving friends and fans in Las Vegas. Frontwoman Carla Harvey takes center stage as a ghostly Acid Queen, drifting through smoke-filled rooms and shadowy encounters while embodying the song’s seductive yet dangerous spirit. The result is a visual experience that mirrors the track’s themes of temptation, obsession, and emotional surrender.
Building Momentum Toward a New Era
“Dream Boy” joins two previously released singles, “Karaoke Superstar,” featuring Princess Superstar, and the club-driven “El Mundo Está Loco” featuring Tony & The Kiki. Together, the three tracks offer an early glimpse into the band’s upcoming seventh album, which promises an eclectic lineup of guest vocalists alongside Carla Harvey.
Beyond the studio, Lords of Acid continue to dominate the live circuit. Following the success of their extensive Cheeky Freaky U.S. tour, the band has expanded its North American schedule with an additional run of October performances, giving fans even more opportunities to experience their legendary blend of electronic excess, industrial energy, and theatrical spectacle.
🎶 Listen Now
More than three decades after redefining the intersection of acid house, industrial, and electronic dance music, Lords of Acid continue to prove why they remain one of the genre’s most influential and uncompromising acts. “Dream Boy” doesn’t simply revisit the band’s signature sound—it expands it, delivering another provocative chapter in a legacy built on fearless experimentation and unforgettable performances.
The latest remix injects a shadowy, techno edge into MATT HART’s evolving sound.
Listeners seeking a raw, immersive sound experience will find Fear The Hybrid (Tech Noir Remix by Kreign) a compelling addition to MATT HART’s discography, a strong statement within the darker edge of electronic music.
Richard Patrick of Filter and Jim Louvau unite for a fearless new industrial project that fuses crushing electronics, cinematic production, and modern aggression into one of 2026’s most compelling heavy releases.
Leading the release is “Jet Engine,” accompanied by an official music video directed by Tony Aguilera. The single serves as a powerful introduction to A Place To Kill’s uncompromising vision, pairing explosive visuals with crushing industrial intensity.
A Modern Industrial Assault
Instead of relying on traditional guitar-driven songwriting, APTK is powered by crushing synthesizers, punishing programmed drums, thunderous bass, and dense electronic textures. Patrick and Louvau combine industrial rock, electronic music, metal, and contemporary production into a sound that is both cinematic and relentlessly aggressive, while exploring themes of conflict, anxiety, social division, and resilience.
For fans of Filter, industrial rock, dark electronic music, and heavy alternative sounds, APTK is one of 2026’s strongest debut releases, showcasing remarkable chemistry between Patrick and Louvau while laying the foundation for what promises to be an exciting new chapter in modern industrial music.
The official “Jet Engine” music video further expands the experience, reinforcing the band’s dark aesthetic and establishing A Place To Kill as one of industrial music’s most promising new acts.
Jamie Blacker’s ESA continues pushing creative boundaries with a fearless new collaboration featuring Angie Staxx, delivering two radically different interpretations of the same explosive concept.
Industrial music has always thrived on experimentation, and ESA’s latest release, So Pure / More Pure EP, is another bold example of why Jamie Blacker remains one of the genre’s most unpredictable creators. Released on June 19, 2026, the double A-side pairs Blacker’s genre-defying production with the commanding vocals of Angie Staxx, seamlessly blending old-school hip hop, industrial, and dark techno into a release that refuses to be confined by convention.
One Concept, Two Devastating Interpretations
“So Pure” delivers a gritty fusion of industrial power and hip hop attitude, driven by crushing electronics and Angie Staxx’s venomous vocal performance. Its companion track, “More Pure,” takes those same core elements and rebuilds them into a relentless 157 BPM dark techno assault designed for warehouse floors and industrial club nights. Together, the two tracks highlight ESA’s ability to transform a single musical idea into two completely different experiences without sacrificing intensity or identity.
🎶 Listen Now
With So Pure / More Pure EP, ESA once again proves that the most exciting music often exists between genres rather than inside them. Anchored by Jamie Blacker’s fearless production and Angie Staxx’s unforgettable performance, the release is a powerful reminder that innovation and dancefloor energy can thrive side by side.
The UK’s uncompromising industrial force returns with an unrelenting audiovisual assault, revealing the first chapter of its next full-length era.
A New Era Begins with “ROT”
UK industrial provocateurs Pretty Addicted have officially premiered the music video for their explosive new single, “ROT.” More than just another standalone release, the track serves as the first preview of the band’s forthcoming full-length album, currently untitled and scheduled for release in 2027.
After initially appearing as a Bandcamp-exclusive release before expanding to streaming platforms, “ROT” now arrives with a visually arresting music video that perfectly captures the project’s trademark blend of chaos, confrontation, and artistic rebellion.
Industrial Mayhem Meets Social Decay
As its title suggests, “ROT” dives headfirst into themes of personal collapse, societal corruption, psychological deterioration, and the slow erosion of identity. Pretty Addicted channels these ideas through an aggressive collision of industrial, digital hardcore, aggrotech, punk, noise, and dark electronic music.
Rather than offering polished accessibility, the band continues to embrace the abrasive intensity that has made it one of the underground’s most distinctive and uncompromising voices.
Every distorted synth line, crushing beat, and venom-soaked vocal performance reinforces the feeling that decay isn’t a distant threat—it’s already unfolding all around us.
A Disturbing Visual Companion
The official video expands the song’s unsettling atmosphere through rapid-fire editing, horror-inspired imagery, glitch effects, and surreal visual storytelling. Instead of following a conventional narrative, the production immerses viewers inside the emotional and psychological chaos that defines “ROT.”
The video was directed by Vicious Precious and shot and edited by DeadBee Films, resulting in an intense visual experience that complements the song’s relentless sonic assault.
Looking Toward 2027
While details surrounding Pretty Addicted’s next album remain under wraps, “ROT” offers an unmistakable indication of where the project is headed. If this first single is any indication, fans can expect another uncompromising collection of aggressive electronics, confrontational songwriting, and fearless artistic expression when the new album arrives in 2027.
For longtime followers and newcomers alike, “ROT” proves that Pretty Addicted continues to thrive by refusing to compromise its vision, pushing industrial music into darker, louder, and more provocative territory with every release.
With “ROT,” Pretty Addicted isn’t simply releasing another single—they’re opening the door to their next creative chapter. As anticipation builds for the band’s upcoming 2027 album, this blistering first preview leaves little doubt that the underground remains one of the most exciting places for fearless artistic experimentation.
Chicago’s rising dark electronic force expands the vision behind its acclaimed debut album “Crown” with a powerful new music video that explores identity, transformation, and the unsettling boundaries between humanity and technology.
A Dark Vision Brought to Life
Chicago dark electronic project Sleep Of Mirrors has released the official video for “Not My Skin,” a standout track from its debut album Crown, available now through Negative Gain Productions. Featuring Ronnie Canizaro of Born Of Osiris, the song blends darkwave, electro, dark techno, and industrial into a powerful collaboration that explores fractured identity and the disconnect between body and self.
Directed by Christopher Lee, the video depicts the construction of a synthetic human form, bringing the song’s existential themes to life through striking visuals and Chicago-filmed performance footage.
The World of Crown
Crafted as a complete artistic statement, Crown unfolds across ten interconnected tracks exploring power, transformation, devotion, and occult symbolism through immersive darkwave, industrial, and dark techno soundscapes. Guided by the philosophy, “The only rule is that the music feels real,” Sleep Of Mirrors delivers a compelling debut that firmly establishes the band as a rising force in modern dark electronic music.
Crown Track Listing
Gemini
Obsidian
Sacrament
Crown
Blood Moon
Alchemize
Not My Skin (feat. Ronnie Canizaro)
Las Cruces Se Doblan
Redemption
The Resolve
Band Credits
Jay Ramirez — Vocals, Synthesizers, Assistant Producer
Danny Lucero — Synthesizers, Programming, Assistant Producer, Guitars, Bass
Christopher Lee — Vocals, Synthesizers, Programming, Mixing, Producer, Guitars, Bass, Album Art & Logo
Ronnie Canizaro — Guest Vocals, Assistant Producer, Synthesizers
Dan Zorn (Vissona Recording Co.) — Mastering
Steve Gomez (Pinkmachine) — Album Art
🎶 Listen Now
As “Not My Skin” continues introducing listeners to the immersive world of Crown, Sleep Of Mirrors demonstrates that compelling dark electronic music isn’t simply built on heavy synths or haunting melodies—it’s forged through atmosphere, emotional honesty, and a willingness to explore the deepest corners of human identity. With a remarkable debut already turning heads across the underground scene, this is a project well worth keeping on your radar.
Blutengel unveil the emotionally charged second single from their upcoming new album, accompanied by a cinematic video, exclusive remix EP, and the announcement of their only full-length live performance of 2026.
German darkwave icons BLUTENGEL have emerged once again from the darkness with their brand-new single and music video, “Schwarzer Engel,” available now via Out Of Line Music. Serving as the second glimpse into the band’s forthcoming studio album, the track delivers everything longtime fans have come to expect from Chris Pohl’s enduring dark electronic empire — haunting atmospheres, melancholic melodies, emotional tension, and a seductive pull between beauty and despair.
More than twenty years into their career, BLUTENGEL continue refining the sound that helped define modern darkwave and gothic synthpop, while still finding space to evolve beyond familiar territory. “Schwarzer Engel” feels both deeply nostalgic and unmistakably forward-moving, balancing sweeping synth arrangements with cinematic emotional weight and shadow-drenched electronics.
The accompanying music video further amplifies the song’s gothic atmosphere, surrounding the track with striking visuals steeped in darkness, longing, and theatrical intensity — elements that have remained central to BLUTENGEL’s artistic identity since the project first emerged from Berlin’s underground electronic scene.
A Full Sonic Expansion of “Schwarzer Engel”
Rather than releasing a standalone single, BLUTENGEL expand “Schwarzer Engel” into a complete four-track EP experience, offering multiple reinterpretations of the song through collaborations spanning darkwave, EBM, dark rock, and atmospheric pop influences.
US darkwave/EBM duo ghostbells inject the track with club-focused momentum through a remix built from icy synth textures, pulsing basslines, and dancefloor energy. On the opposite side of the emotional spectrum, German dark rock outfit Erdling strip the song down to its vulnerable core through a haunting piano reinterpretation. Destroy Me Again complete the package with an atmospheric remix blending dark pop melodies, driving beats, and cinematic tension.
The result is an EP that explores the many emotional dimensions hidden inside the original composition while expanding its reach into multiple corners of the dark electronic underground.
The Only Full-Length Blutengel Performance of 2026
Alongside the release, BLUTENGEL also confirmed that ghostbells and Destroy Me Again will join them live at Dark Summer Open Air Vol. 2, taking place September 12, 2026, at Wasserschloss Klaffenbach in Chemnitz.
The performance carries even greater significance for fans, as it has been announced as the only full-length BLUTENGEL concert scheduled for all of 2026 — making the event one of the year’s most anticipated gatherings for the gothic and dark electronic community.
“Schwarzer Engel” EP Tracklist
Schwarzer Engel
Schwarzer Engel (Ghostbells Remix)
Schwarzer Engel (Erdling Piano Cover)
Schwarzer Engel (Destroy Me Again Remix)
The physical CD edition of the EP is currently available for pre-order and will officially release July 17, 2026, alongside an exclusive new BLUTENGEL T-shirt.
🎶 Listen Now
Few projects within dark electronic music have maintained the balance between melancholy, theatricality, and melodic power as consistently as BLUTENGEL. While countless artists have passed through the gothic and synthpop underground over the past two decades, Chris Pohl’s project continues evolving without abandoning the emotional core that built its legacy. “Schwarzer Engel” feels less like a nostalgic revisit and more like another chapter unfolding in real time — darker, deeper, and still emotionally devastating.
Industrial architect Slighter joins forces with Sneaker Pimps lyricist Ian Pickering for a hypnotic new chapter from the acclaimed album In Ruins — delivering a brooding audiovisual experience that blurs the line between electronic decay, cinematic tension, and underground nostalgia.
The world of dark electronic music thrives on unexpected collaborations, and Slighter’s latest release proves exactly why. “Vulture,” taken from the project’s latest full-length album In Ruins, arrives today with a brand-new music video and a newly released single edit — but this is more than just another album cut receiving visual treatment.
This release carries the unmistakable creative fingerprints of Ian Pickering, the legendary songwriter behind Sneaker Pimps classics “Six Underground” and “Spin Spin Sugar.” The collaboration bridges decades of electronic evolution, merging the atmospheric sophistication of 90s trip-hop with Slighter’s modern industrial precision and cinematic darkness.
The result is a track that feels both nostalgic and futuristic at once. “Vulture” unfolds with eerie elegance, pulling listeners through layers of shadowy synth textures, mechanical rhythms, and emotionally charged vocal tension. The accompanying video amplifies that atmosphere further, transforming the song into a fully immersive visual descent into fractured beauty and urban ruin.
For longtime followers of underground electronic culture, the collaboration itself feels significant. Ian Pickering’s songwriting legacy helped define an era of moody, sophisticated electronic alternative music in the 1990s, and hearing that influence collide with Slighter’s harsher industrial aesthetic creates something uniquely compelling — less a simple feature and more a collision between generations of dark electronic storytelling.
The newly released single edit of “Vulture” is now streaming across major platforms, while Bandcamp listeners are being treated to something even deeper: an exclusive ambient revision that strips the track into a more haunting, atmospheric form. Rather than functioning as a throwaway remix, the ambient version expands the emotional core of the composition, transforming tension into slow-burning cinematic immersion.
“In Ruins,” meanwhile, continues to solidify itself as one of Slighter’s most ambitious releases to date. Across 13 tracks, the album explores themes of collapse, survival, emotional erosion, and transformation through dense electronic production and razor-sharp sound design. “Vulture” serves as one of the album’s most emotionally resonant moments — balancing aggression and atmosphere in a way that lingers long after the final note fades.
🎶 Listen Now
As dark electronic music continues evolving beyond traditional genre boundaries, collaborations like this demonstrate how the underground remains capable of reinventing itself without abandoning its roots. “Vulture” is not merely a single release — it is a meeting point between eras, styles, and emotional landscapes that continues expanding the sonic world of In Ruins.
Industrial grit collides with raw nu-metal aggression as ESOTERIK reinvent themselves for a new generation of heavy music listeners.
American alternative metal and industrial duo ESOTERIK have officially stepped into a darker, heavier, and more emotionally explosive chapter with the release of their new single “Cycles,” the first glimpse into their forthcoming full-length album Nü Skin.
Blending crushing nu-metal grooves, industrial precision, grunge-soaked atmosphere, and emotionally charged melodies, “Cycles” marks a major sonic transformation for the duo while still preserving the signature hooks and haunting textures that helped build their underground reputation over the last decade.
The accompanying music video for “Cycles” is now available, delivering a visual extension of the track’s chaotic energy and reinforcing the band’s evolving identity as they prepare to launch Nü Skin into the modern heavy music landscape.
Originally formed in 2013 by vocalist Allison Eckfeldt and multi-instrumentalist/vocalist Brady Bledsoe, ESOTERIK steadily carved out a name for themselves through relentless touring across the United States and Europe. Along the way, they shared stages with influential acts including Combichrist, Priest, Grendel, and Pig, helping establish their reputation within the industrial and alternative underground scenes.
Momentum continued building in 2024 when the band’s single “Trickster” broke into the Top 10 of the Deutsche Alternative Charts, further proving that ESOTERIK were rapidly becoming one of the more unpredictable and evolving acts emerging from the dark alternative world.
Rather than simply repeating what worked before, the duo intentionally chose to reconnect with the music that originally inspired them during the explosive late-’90s and early-2000s heavy music movement. According to the band, Nü Skin is designed as both a reinvention and a return to their roots.
“We wanted to do something different on this next album and go back to the roots of what got us interested in picking up an instrument back in the ’90s. It’s been a breath of fresh air, and the shift feels quite natural for us. It’s a big evolution, and we’re excited to bring that energy into our live show both visually and sonically.”
That philosophy is embedded directly into the album’s title itself. Nü Skin acts as a deliberate callback to the era of oversized riffs, chaotic mosh pits, emotional catharsis, and unapologetic sonic rebellion that helped define an entire generation of heavy music fans.
With additional singles expected before the album’s official release, ESOTERIK appear poised to push beyond their industrial roots and establish themselves as a powerful force within the modern nu-metal resurgence.
The arrival of “Cycles” doesn’t feel like a temporary stylistic experiment — it feels like the sound of a band fully embracing transformation. As heavy music continues cycling back toward raw emotion, groove-driven aggression, and genre fusion, ESOTERIK may have chosen the perfect moment to tear open a brand-new chapter.
Rona Rougeheart blurs the lines between seduction, danger, glamour, and industrial power on SINE’s bold new album through Metropolis Records.
Austin-based electronic artist SINE returns with a striking new chapter as La Mordre officially arrives through Metropolis Records. Led by multi-instrumentalist and visionary performer Rona Rougeheart, the album expands the project’s sonic identity into something darker, sleeker, and more emotionally immersive — merging industrial grit, heavy electronic grooves, cinematic atmosphere, and seductive storytelling into one hypnotic experience.
Described by Rougeheart as a tale of ambition, temptation, lust, and moral decay, La Mordre explores the psychological cost of chasing power, recognition, and transformation. The album unfolds almost like a neon-lit psychological thriller, following a character seduced by the promise of breakthrough success while slowly descending into obsession and emotional corruption. Rather than staying confined to a single genre, the release moves fluidly between industrial, EBM, dark electronic, and club-driven soundscapes while maintaining a sharp emotional core.
SINE’s self-described “Electronic Boom” style continues evolving throughout the album, combining pounding sub-bass, precision synth programming, dancefloor energy, and industrial textures with Rougeheart’s signature lyrical approach — balancing sarcasm, vulnerability, sensuality, and emotional tension. The result is an album that feels equally suited for underground clubs, headphones at 3AM, and cinematic dystopian worlds.
Several tracks on La Mordre were self-produced by Rougeheart, while additional collaborations include Curse Mackey of Pigface and My Life With The Thrill Kill Kult, alongside AwareNess of calm. The album was mastered by industrial and electronic veteran Mark Pistel, known for work with Consolidated and Meat Beat Manifesto. Previously released singles including Trauma Bondage, Succumb To Me, Blood + Wine, and Cruel helped build anticipation leading into the full release, with the newly unveiled Blood + Wine video further amplifying the album’s seductive visual identity.
Critics across the electronic and industrial scene have already praised the record’s intensity and atmosphere. Reviews have highlighted SINE’s balance of club energy and emotional unease, applauding Rougeheart’s ability to command both the production and artistic direction behind the project while maintaining a sound that feels polished, dangerous, and emotionally charged.
Beyond the studio, SINE’s live performances continue earning attention for their fusion of high-fashion aesthetics, live drumming, synth performance, cinematic visuals, and commanding stage presence. Rougeheart will take La Mordre on the road this August for the “Divine Creatures Tour” alongside Seattle act Nuda, with Curse Mackey appearing as a DJ for select performances. Additional tour dates are expected to be announced soon.
Rougeheart’s growing creative legacy includes collaborations with legendary figures and projects including Adrian Sherwood, Clan of Xymox, Chris Connelly, Meat Beat Manifesto, Andee Blacksugar of KMFDM and Blondie, Xiu Xiu, and the late Mark Stewart of The Pop Group — further solidifying SINE as one of the most intriguing and forward-moving names currently emerging from the dark electronic underground.
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With La Mordre, SINE successfully transforms dark electronic music into something both seductive and unsettling — an immersive soundtrack for listeners drawn toward glamour, danger, vulnerability, and emotional chaos beneath the glow of neon lights and industrial shadows.
Glitch-soaked aggression collides with cybernetic atmosphere as PixelGrinder unveils a new sonic assault built for the underground.
The digital shadows grow darker as PixelGrinder returns with a brand-new release, White Mask — a track that feels like a transmission intercepted from a collapsing cyberpunk future. Fusing abrasive industrial textures, distorted electronics, and haunting synthetic atmospheres, the release pushes deeper into the fractured emotional terrain where machine precision and human chaos collide.
Rather than relying on predictable structure, White Mask thrives on tension and atmosphere. The track pulses with mechanical energy while layers of corrupted synths and heavy rhythmic movement create a hypnotic sense of unease. PixelGrinder continue carving out a sound that feels equally suited for underground warehouse speakers, dystopian cinema, and late-night headphone immersion.
With White Mask, the project further establishes itself inside the darker corners of electronic music culture — embracing industrial grit, futuristic aesthetics, and emotionally charged sound design without compromise. The release captures the feeling of identity distortion in the digital age, transforming paranoia and isolation into something strangely addictive and danceable.
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The arrival of White Mask reinforces PixelGrinder’s growing presence within the dark electronic underground. As more listeners search for music that feels raw, cinematic, and emotionally volatile, releases like this continue proving that industrial electronic music remains one of the most powerful forms of sonic escapism in modern alternative culture.
Industrial-metal veterans Combichrist return with a relentless new anthem and a high-voltage music video as anticipation builds for their upcoming albumThe Venom In The Mouth Of God, arriving this July via Out Of Line Music.*
Industrial-metal juggernauts Combichrist are back with another devastating transmission from the underground. Their brand-new single, “Only Here For A Good Time,” has officially arrived alongside a fresh music video produced by G13 Production House, delivering another brutal glimpse into the chaos and intensity surrounding the band’s forthcoming album, The Venom In The Mouth Of God, scheduled for release on July 24, 2026.
Unlike the suffocating slow-burn aggression of previous single “Demons Wanna Be Summoned,” this newest release erupts with immediate force. “Only Here For A Good Time” trades creeping tension for a fast-moving, adrenaline-fueled assault, balancing sharp industrial rhythms with metallic aggression and reckless abandon. Beneath its infectious energy lies the same darkness and emotional corrosion that has always defined Combichrist’s sound, proving the band can still evolve without losing the brutality that built their legacy.
The accompanying video amplifies that energy even further, pushing the track’s destructive atmosphere into visual form with chaotic performance intensity and cinematic grit. The result feels less like a traditional music video and more like a warning shot from a band fully locked into its most volatile era yet.
“The Venom In The Mouth Of God” continues shaping up as one of the band’s most ambitious records to date. Previous singles including “Desolation,” “RISE,” “Feraline,” and “Demons Wanna Be Summoned” featuring King 810 have each explored different corners of the album’s sonic identity, ranging from crushing industrial-metal violence to darker, more introspective territory. Together, the releases suggest an album determined to push beyond Combichrist’s established formula while preserving the raw aggression fans expect.
Founded in 2003 by Andy LaPlegua, Combichrist emerged from Atlanta as one of the defining acts in industrial metal and aggrotech. Across albums like Making Monsters, One Fire, and 2024’s CMBCRST, the project has built a global reputation through relentless touring, violent live energy, and a genre-defying fusion of EBM, industrial, metal, and electronic chaos. Their music has appeared in major gaming franchises including Devil May Cry 5, while their explosive live performances have earned them spots alongside giants like Rammstein.
The band is also preparing for a massive festival season in 2026, including a headlining appearance at Dark Force Fest 2026 and performances at Alcatraz Metal Festival 2026 and M’era Luna 2026.
Dark electronic architect I Ya Toyah has unveiled the official video for “FEELINGS,” delivering a visually immersive and emotionally charged experience that blends industrial atmosphere, darkwave emotion, and cinematic intensity.
Driven by haunting vocals, pulsing electronics, and moody visual storytelling, “FEELINGS” explores themes of emotional isolation, inner conflict, and vulnerability beneath the noise of modern life. The video’s dark aesthetic and hypnotic pacing perfectly complement I Ya Toyah’s evolving fusion of electro-industrial, alternative rock, and dark electronic music.
As a fiercely independent artist known for handling nearly every aspect of her creative vision herself, I Ya Toyah continues building one of the most distinctive identities in today’s dark alternative underground.
Taiwan-based industrial project ANGER 奰 return with “Grandiose Delusions,” a conceptual full-length album arriving April 17 that confronts humanity’s growing obsession with power, tribalism, artificial identity, and digital addiction through crushing industrial soundscapes and cinematic atmosphere.
Industrial Music Built Around Psychological and Social Collapse
“We shall be as gods. Or be crushed like puppets that outlived their usefulness.”
That statement drives the core philosophy behind “Grandiose Delusions.” Rather than focusing on surface-level political outrage, ANGER 奰 founder BW approaches modern societal collapse from a socio-philosophical perspective, examining the erosion of authenticity, mass dopamine addiction, collective identity, and humanity’s escalating god complex.
The album blends aggressive industrial rhythms with ambient passages and contemporary classical influences, creating an experience that feels both intellectually confrontational and physically intense. BW intentionally balanced philosophical depth with hard-hitting energy, ensuring the record remains as powerful on the dancefloor as it is conceptually.
Expanding Beyond Traditional Industrial Boundaries
“Grandiose Delusions” incorporates dark electro, cinematic textures, martial industrial, and experimental electronic elements while remaining rooted in industrial aggression. The album also features collaborations with ODR collective member pixelgrinder and Taiwanese jazz improviser 劉佳恩, further expanding its sonic reach.
Fans of Skinny Puppy, Laibach, Youth Code, and Perturbator will find familiar darkness woven throughout the album’s atmosphere.
Founded in Taichung, Taiwan in 2022, ANGER 奰 continues to push forward with a mission statement that perfectly captures the project’s identity:
Chicago’s underground dark electronic scene gains a powerful new entry as SLEEP OF MIRRORS officially publish their debut full-length album Crown through Negative Gain Productions. Blending darkwave, dark techno, electro, and industrial atmosphere into a hypnotic cinematic experience, the project arrives with a release that feels less like a traditional album and more like a descent into a carefully constructed ritual.
At the core of Crown is a commitment to mood, immersion, and emotional authenticity. The ten-track record unfolds as a singular journey built on dense synthesizer architecture, pulsing rhythms, haunting vocal performances, and slow-burning tension. Rather than chasing trends or fragmented singles, SLEEP OF MIRRORS construct a cohesive sonic world where every track feeds into the next, creating an atmosphere that feels ceremonial, mechanical, and deeply human all at once.
The band’s newly released video for “Gemini” offers a striking visual gateway into that universe, pairing shadow-drenched aesthetics with the project’s brooding electronic pulse. Across the album, themes of transformation, devotion, occult symbolism, internal conflict, and power echo through layered production and restrained intensity. Tracks like “Obsidian,” “Blood Moon,” and the title track “Crown” channel a cold hypnotic energy, while “Not My Skin” featuring Ronnie Canizaro introduces a sharper emotional aggression into the record’s immersive flow.
SLEEP OF MIRRORS describe their creative philosophy with a deceptively simple statement: “The only rule is that the music feels real.” That authenticity resonates throughout Crown. The album avoids artificial excess in favor of atmosphere, tension, and emotional weight, giving the project a distinct identity within the growing intersection of industrial music, dark techno, and modern darkwave.
Released through Negative Gain Productions, Crown establishes SLEEP OF MIRRORS as a project to watch closely as dark electronic music continues evolving into harsher, more cinematic territory.
Simon Carter returns with The Journey (Re:Visited), a refreshed nine-track release featuring the unmistakable vocals of Megan McDuffee. The album is out May 1, 2026, with Bandcamp listing the release as a digital album available in 24-bit/44.1kHz quality.
A Familiar Journey Rebuilt for the Dancefloor
This new edition takes nine tracks from Carter’s earlier collaborative universe with McDuffee and reshapes them with tighter arrangements, shorter runtimes, and a more immediate club-driven pulse. The result is less of a simple revisit and more of a full recalibration: melodic vocal trance energy sharpened for modern dance floors, late-night streams, and anyone who likes their electronic music emotional without losing momentum.
The Forest Opens the Door
Leading the release is “The Forest,” now accompanied by an official lyric video. The track clocks in at 3:45 on Bandcamp, standing as one of the immediate access points into the revised album’s atmosphere: lush, vocal-led, and built around that balance between escape, movement, and glowing synth-driven release.
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