Corlyx return with “The Holy Vampire,” a darkwave-goth rock single built around bloodlust, domination, theatrical menace, and the kind of shadow-drenched drama that knows exactly what month it is.
Blood, Velvet, And A Very Dangerous Pulse
Corlyx have released “The Holy Vampire,” a new single that leans straight into the band’s taste for gothic seduction, post-punk atmosphere, and darkwave pressure. The track arrives with the kind of title that does not whisper from the coffin. It kicks the lid open, lights the candles, and dares the dancefloor to make eye contact. 💀
Known for blending darkwave, goth rock, post-punk, death pop, and alt-rock, Corlyx continue building their own feverish lane between classic gothic drama and modern electronic bite. The band, featuring Caitlin Stokes, Brandon Ashley, and Davide Rocco, has spent years shaping a sound that feels glamorous, haunted, sharp-edged, and emotionally dangerous without losing its hook-driven accessibility.
Gothic Horror Built For The Night Shift
“The Holy Vampire” sharpens Corlyx’s familiar darkwave and goth-rock instincts into something seductive, theatrical, and blood-soaked. The song moves through bloodlust, control, obsession, and sacred corruption, turning vampire mythology into a symbol of power, craving, devotion, and emotional hunger rather than simple horror nostalgia.
Musically, the single lives inside Corlyx’s shadowy world of moody guitars, electronic atmosphere, driving rhythm, and fierce vocal presence. It carries the red-lit glamour of goth rock, the pulse of darkwave, and enough cinematic menace to feel like a midnight ritual built for repeat plays.
🎶 Listen Now:
With “The Holy Vampire,” Corlyx keep feeding the darker side of modern alternative music with a track that is dramatic without feeling hollow, gothic without feeling dusty, and seductive without softening the bite.
Timewarp Records prepares another full-power Goa/Psytrance transmission as Racha launches four tracks of cosmic pressure, hypnotic motion, and dancefloor voltage.
A Four-Track Trip Into The Circuit
Racha is dialing straight into the neural mainframe with Neural Abduction, a new four-track release arriving through Timewarp Records. Built for listeners who like their Psytrance fast, cosmic, and fully charged, the EP leans into the label’s Goa-rooted identity while pushing the energy into a more futuristic orbit.
The release features “Auto Sequence,” “It’s Wet Upstairs,” “Neural Abduction,” and “Panic In Asia,” creating a compact but high-impact ride through heavy rhythmic propulsion, spiraling synth work, and psychedelic electronic movement designed for maximum dancefloor hypnosis.
Goa Energy Meets Sci-Fi Pressure
The title alone gives the game away: Neural Abduction is not aiming for casual background listening. This is mind-warp material, built around the sensation of being pulled out of ordinary reality and dropped into a flashing grid of bass pressure, synthetic patterns, and interstellar tension.
Timewarp Records continues to operate in its lane as a Goa Trance-focused label with classic psychedelic foundations and modern production weight. With Racha at the controls, Neural Abduction feels like a direct transmission to the part of the brain that wants rhythm, momentum, and just enough cosmic weirdness to make the walls breathe a little. 💀
Built For Repeat Launch
Across its four-track structure, the release gives DJs and Psytrance fans a tight set of weapons rather than filler. “Auto Sequence” suggests machine-driven precision, “It’s Wet Upstairs” brings the title weirdness, “Neural Abduction” anchors the concept, and “Panic In Asia” closes the set with a sharper rush of urgency.
For fans of Goa Trance, Psytrance, psychedelic electronics, and late-night dancefloor chaos, Racha’s Neural Abduction looks ready to send the signal deep into orbit.
🎶 Listen Now:
Whether you’re here for the hypnotic synth leads, the Goa pulse, or the full-power Psytrance momentum, Neural Abduction gives Racha a focused launch point on Timewarp Records and keeps the label’s cosmic machinery moving forward.
Deep Dive into the Universe of Racha and Timewarp Records
Brisbane electronic project Frequency Dilemma turns urban deterioration into a meditation on isolation, uncertainty and stubborn human hope with “URBAN DECAY,” featuring vocals from Chiru.
Beauty Beneath the Concrete
Frequency Dilemma’s new single “URBAN DECAY,” released September 27, brings vocalist Chiru into a bleak electronic landscape of fractured streets, concrete, shadows and a city seemingly collapsing under its own weight.
Credited to Michael Gillman and Chiru, the track moves through Frequency Dilemma’s industrial and experimental electronic territory, with elements of death disco adding to its dark atmosphere.
But the deteriorating city isn’t simply scenery. Cracked asphalt, gray skies, artificial lights and voices disappearing into the surrounding noise become reflections of emotional disconnection. Beneath the imagery are deeper questions about purpose, direction and what remains when familiar structures begin falling apart.
Finding Light in the Ruins
Despite its bleak surroundings, “URBAN DECAY” refuses to surrender completely to nihilism.
Sleepless nights, memories buried among the ruins and fleeting signs of human warmth transform the collapsing city into something intimate. Alienation and uncertainty exist alongside an equally powerful instinct to keep moving.
As the song progresses, its focus shifts from destruction toward what might survive it. Light becomes a symbol of the small things capable of cutting through the darkness — another person, a moment of warmth or simply the possibility that tomorrow might offer something worth reaching.
“URBAN DECAY” doesn’t pretend the ruins aren’t there. It asks whether hope can exist inside them anyway.
🎶 Listen Now
Frequency Dilemma and Chiru offer no grand escape from the concrete jungle. Instead, “URBAN DECAY” leaves listeners with something more grounded: the determination to keep walking through it. In a world surrounded by deterioration and uncertainty, survival itself becomes an act of resistance.
Brandon Smith returns with a new FiXT single that turns emotional uncertainty, obsession and the fear of finding nothing on the other side into another dark electronic-rock transmission.
The Anix Returns with “If You Feel Nothing” 💀
The Anix has released “If You Feel Nothing,” a new single available now through FiXT, continuing Brandon Smith’s long-running collision of alternative rock, electronic production and futuristic atmosphere.
Released September 30, 2026, the 3:19 track places emotional vulnerability at the center of a relationship balanced somewhere between desire and self-destruction. Smith approaches that uncertainty without dressing it up as conventional romance. Instead, “If You Feel Nothing” revolves around the much uglier question hiding underneath attachment: what happens when one person is falling while the other may no longer feel anything at all?
The imagery surrounding the song repeatedly points toward danger. Flickering lights, fault lines, falling, fire and the night become part of a relationship where attraction and instability are increasingly difficult to separate.
Love Without a Safety Net ⚡
That emotional tension fits naturally into The Anix’s universe, where Brandon Smith continues blurring alternative rock, electronic programming and cinematic sound design into something distinctly his own. Written, produced, mixed and mastered by Smith—who also created the cover artwork—“If You Feel Nothing” maintains the project’s tightly unified musical and visual identity.
Beneath the futuristic production, however, is something painfully human. The song captures the instability before heartbreak: two people still holding on while questioning what remains underneath. It turns one of our oldest vulnerabilities—needing another person to feel what we feel—into another dark, atmospheric chapter for The Anix.
🎶 Listen Now
“If You Feel Nothing” finds The Anix once again occupying the space between the mechanical and emotional. Beneath the polished electronics and futuristic exterior is a remarkably simple fear — falling deeper into someone while wondering whether there is anything waiting to catch you.
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.
Twenty years of industrial rock, cyber-metal, electronic aggression and genre-defying experimentation collide as FiXT turns its history into one massive anniversary compilation.
Twenty Years. One Hell of a Lot of Noise.
Independent label FiXT is celebrating its 20th anniversary with FiXT: 20 Years of Noise, a retrospective compilation built around two decades of heavy electronics, industrial machinery, alternative rock and futuristic sonic experimentation.
Founded in 2006 by artist, producer and Celldweller mastermind Klayton, FiXT grew from an independent solution for his own career into an artist-owned record label, publisher and merchandise company with an international reach. Twenty years later, its catalog has crossed generations of electronic rock, industrial, metal, synthwave, cyberpunk, darksynth and bass-driven electronic music.
20 Years of Noise puts that evolution into perspective by bringing together music from artists who helped establish the FiXT identity alongside projects representing its modern era.
Two Decades of Noise, Evolution and Defiance
20 Years of Noise reaches across FiXT’s history, connecting staples including Celldweller’s “Switchback,” Blue Stahli’s “ULTRAnumb,” Circle of Dust’s “Contagion” and The Algorithm’s “floating point” with newer and continuing names such as Daedric, The Anix, ENMY, The Browning, Fight The Fade, Raizer, I Will Never Be The Same and Soul Extract. Rather than functioning as a conventional greatest-hits collection, the compilation traces how FiXT evolved while maintaining its appetite for polished, futuristic music that tears through the boundaries between rock, metal and electronics.
The celebration extends to a limited-edition 180-gram picture-disc vinyl featuring twelve selections from the label’s history. Its weathered deep-space technical-manual presentation and blueprint-inspired artwork turn the physical release into an extension of FiXT’s futuristic identity. The vinyl remains on pre-order, with shipping expected around November 30, 2026.
For longtime listeners, the collection revisits music that helped shape two decades of FiXT. For newcomers, it provides an entry point into a catalog built around experimentation and genre collision. The technology has changed, the roster has evolved, and new generations have entered the machine—but twenty years later, the noise survived.
🎶 Listen Now
FiXT: 20 Years of Noise captures a label that spent two decades betting on music that didn’t always fit comfortably inside conventional genre boundaries. What began as an independent infrastructure surrounding one artist has grown into a worldwide platform for musicians operating where guitars, machines, cinematic production and electronic culture collide—and after twenty years, FiXT clearly isn’t finished making noise.
Gary Zon reconnects with the electro-industrial machinery that built Dismantled while confronting a very different world nearly two decades later.
Dismantled Returns to the Future with “Zero”
After years of relative silence on the full-length front, Dismantled has returned with “Zero,” the first single from the forthcoming sixth studio album, Endless. Released September 18 through Metropolis Records, the track signals a deliberate reconnection with the sound that established Gary Zon’s project as a distinctive force in electro-industrial music.
Founded by Zon in 2000, Dismantled developed around an intricate collision of layered electro-industrial production, melodic electronics and trance influences. The project quickly drew comparisons to acts including Front Line Assembly, Haujobb and Wumpscut before signing
More than two decades later, “Zero” doesn’t attempt to erase that history. It plugs directly back into it.
Looking Back to Move Forward
“Zero” reconnects Dismantled with the cybernetic atmosphere, melodic electronics and club-driven machinery of the Standard Issue era, but this is more than nostalgia. Gary Zon contrasts the energy of 2006 with the emptiness and disconnection of contemporary society, creating a cyberpunk dancefloor track that simultaneously looks backward and pushes forward.
That philosophy extends into Endless, Dismantled’s long-awaited sixth album, arriving November 20, 2026, through Metropolis Records. Primarily recorded in Oregon and completed in Southern California, Zon describes the twelve-track album as his most cohesive work yet and a rediscovery of the qualities that originally defined Dismantled, complete with deliberate references longtime listeners may recognize from earlier material.
After a catalog spanning Post Nuclear, Standard Issue, When I’m Dead, The War Inside Me and several subsequent EPs, Endless brings Dismantled’s electro-industrial machinery into a world where its once-futuristic themes feel increasingly familiar. With “Zero,” Zon isn’t simply resurrecting the past—he’s switching the machine back on in a world that finally caught up with it.
🎶 Listen Now
“Zero” opens a new chapter while deliberately leaving fingerprints from Dismantled’s past all over the machinery. With Endless approaching in November, the single offers the first real glimpse at what happens when Gary Zon reconnects with the project’s original DNA after fifteen years without a new Dismantled studio album—and points that sound directly at 2026.
Cyberpunk electronics collide with Mari Kattman’s unmistakable vocal presence as Kodeseven turns “Activate” into a call to break the cycle, rewrite the code, and start again.
A New Signal Enters the System
Kodeseven is back online with “Activate,” a new single featuring electronic vocalist and songwriter Mari Kattman, released September 29, 2026.
Running 3:34, “Activate” brings together two artists already deeply embedded in the darker corners of electronic music. Kodeseven is the electro-cyberpunk project of Minsk-based producer Ars Nikonov, also known for his work as Fury Weekend, while Kattman has built an extensive catalog spanning industrial, synthpop, dark electronic music, and collaborations with artists including Assemblage 23, Mesh, Neuroticfish, and Solitary Experiments.
Rather than treating its futuristic imagery as decoration, “Activate” builds its message directly into the machinery. Neon lights, corrupted data streams, fractured systems, and rewritten code become metaphors for refusing to remain trapped by the past.
Rewrite the Code. Reset the System.
At the center of “Activate” is a surprisingly human idea wrapped in cyberpunk language: it is never too late to change direction.
The song frames personal reinvention almost like repairing corrupted software. Fear can be hacked. Broken systems can be rebuilt. What has been damaged does not necessarily have to remain damaged.
That concept fits naturally inside Kodeseven’s established world. Nikonov has developed the project around electronic, industrial, drum & bass, midtempo, and cyberpunk aesthetics, constructing music that frequently feels like the soundtrack to a city glowing beneath surveillance cameras and dying neon.
Kattman adds another dimension to that environment. Instead of the collaboration simply functioning as producer-plus-featured-vocalist, she shares songwriting credit with Nikonov, giving the track a genuine creative intersection between the two artists.
Kodeseven and Mari Kattman Connect Through FiXT
There is also a natural connection behind the collaboration. Both Kodeseven and Mari Kattman have worked within the wider FiXT artist ecosystem, and FiXT currently lists both among artists it has worked with.
“Activate” was written by Ars Nikonov and Mari Kattman, with publishing credited to FiXT New Noise Music and FiXT New Noise Songs. Nikonov produced, mixed, and mastered the track and also created its cover artwork.
That makes “Activate” more than another guest-vocal collaboration in Kodeseven’s catalog. It brings two established electronic creators together around a theme that fits both the dystopian machinery of Kodeseven and the emotionally direct songwriting associated with Kattman.
The machine may be running, but the message inside it remains decidedly human: the past doesn’t have to dictate the next command.
🎶 Listen Now
With “Activate,” Kodeseven continues building his cyberpunk universe without allowing the technology to become the entire story. Beneath the electronic architecture is a track about agency, recovery, and refusing to accept damaged programming as permanent. Sometimes changing the future begins with one command: activate.
The second full-length album from pixelgrinder stares directly into the artificial identities, technological dependency, and increasingly blurred boundary between humanity and the digital world.
The Mask Is Online
pixelgrinder has released White Mask, a 12-track descent into modern internet culture and the increasingly cyberpunk reality forming around us.
At the center of the album is the “white mask” itself — a representation of the fictitious versions of ourselves we construct online. Sometimes that mask is an idealized identity. Sometimes it is carefully curated. Sometimes it becomes something completely disconnected from the person sitting behind the screen.
As technology becomes further embedded into everyday existence, the distinction between our physical identities and digital counterparts continues to erode. White Mask takes that uncomfortable reality and turns it into the foundation of an industrial and dark electronic journey built around technology, identity, isolation, and transformation.
Rather than treating cyberpunk as distant science fiction, pixelgrinder approaches it as something increasingly recognizable in the present.
Human Beings Behind the Screens
Across its 12 tracks, White Mask explores a world in which technology is no longer simply something people use. It increasingly becomes part of how people communicate, perceive themselves, construct identities, and experience reality.
That relationship becomes especially personal within pixelgrinder’s work. Technology is not merely an aesthetic backdrop. The artist’s experience with cochlear implants creates a very literal intersection between human biology and electronic technology — a connection that gives the album’s cybernetic themes considerably more weight.
The result fits naturally into pixelgrinder’s established dark electronic universe while pushing its underlying concepts deeper.
Following the territory established through works including The Void Chamber, White Mask continues exploring the psychological spaces created when technology, human emotion, machinery, and identity begin bleeding into one another.
Tracks such as “Catharsis” reinforce that collision between internal emotion and technological atmosphere, allowing the record to move beyond dystopian imagery and into something much more human.
There is an important contradiction running through White Mask: technology gives people unprecedented ways to communicate while simultaneously providing new ways to hide.
Behind usernames, avatars, profiles, filters, carefully selected photographs, and algorithmically constructed digital environments are still human beings attempting to connect with one another.
The mask may be digital.
The person underneath it isn’t.
That tension gives White Mask its identity. The album isn’t simply imagining some distant neon-soaked cyberpunk future. It is examining how much of that future has quietly arrived already.
🎶 Listen Now
White Mask finds pixelgrinder turning the machinery of modern digital culture inward, examining what happens when the technology surrounding humanity begins influencing the identities within it. In a world increasingly defined by screens, algorithms, artificial personas, and technological augmentation, the album asks a question that becomes more relevant every year: when the mask becomes inseparable from the person wearing it, where does the human end and the digital self begin?
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.
Acid-soaked synthesis, hypnotic grooves, and high-energy psytrance collide as BubbleMonk returns to Timewarp Records with a compact release built for movement.
BubbleMonk Powers Up “Electronic Disco”
BubbleMonk is back on Timewarp Records with Electronic Disco, a two-track electronic assault combining psychedelic sound design, acid-driven synthesis, and relentless dancefloor energy.
The release pairs “Acid Disco” with “Electronic Music,” clocking in at a combined 16 minutes and 42 seconds. While its title may suggest classic disco territory, the music is planted firmly in the psychedelic underground: both tracks are categorized within psytrance and Goa trance, continuing BubbleMonk’s relationship with a label dedicated to classic-style Goa trance produced with modern techniques. Timewarp Records
Acid Lines, Psytrance Pressure and Two Different Speeds
Opening track “Acid Disco” stretches across nine minutes, using twisting acid-synth lines and a persistent groove to create the EP’s more hypnotic side. “Electronic Music” follows with 7:42 of considerably faster momentum, pushing the release toward full-throttle psytrance territory. Beatport classifies both tracks as Psy-Trance/Goa Trance. Beatport
The contrast gives Electronic Disco room to move despite containing only two tracks. Instead of treating the EP as two variations of the same idea, BubbleMonk shifts between groove-heavy psychedelia and faster peak-time propulsion.
It also continues an active run for the producer. Earlier in 2026, BubbleMonk released the three-track Time Machine through Timewarp Records, while additional material including “Binary Code,” “Plazma,” “Acid Bazar,” and “I Believe” appeared through GOA Records. Timewarp Records
For Timewarp Records, Electronic Disco fits directly into the label’s stated mission of combining the foundations of classic Goa trance with contemporary production. Timewarp Records
🎶 Listen Now
Electronic Disco keeps its mission refreshingly straightforward: psychedelic electronics, acid circuitry, heavy rhythmic movement, and enough momentum to keep the floor locked in. With only two tracks, BubbleMonk doesn’t waste time—the machines switch on, the frequencies start bending, and the trip is already underway.
The RoboFox universe continues to expand as Tara Fox pushes her cyber-driven musical identity forward with another transmission from the space between humanity and technology.
A New Transmission From Tara Fox
Tara Fox has released her new single “D1GIT4L SUN,” continuing the emerging musical chapter behind her futuristic RoboFox identity.
The release follows “OVRR1DE” and the more recent “MECHANIC4L HE4RT,” extending an aesthetic built around technology, digital identity, emotion, fashion, and the increasingly blurred boundary between physical and virtual existence. Fox’s official RoboFox platform describes that larger creative universe as one where music, fashion, story, and identity intersect. RoboFox
There is an interesting evolution happening here. Where “MECHANIC4L HE4RT” framed human emotion through mechanical imagery, “D1GIT4L SUN” pushes Tara Fox deeper into the language of the digital world—a space where something synthetic can still carry unmistakably human feeling.
Building the RoboFox Universe
Fox isn’t approaching music as an isolated project. RoboFox has been developed as a broader multimedia identity encompassing music, visual storytelling, fashion, digital culture, and collaborative creative work. That context gives releases like “D1GIT4L SUN” another dimension: each track becomes another piece of a much larger world rather than simply another standalone single. RoboFox
The timing also suggests momentum. Tara Fox’s official Linktree was recently promoting “D1GIT4L SUN” as an upcoming pre-save while identifying “MECHANIC4L HE4RT” as her then-current release, confirming the new song as the next step in that progression. Linktree
🎶 Listen Now
With “D1GIT4L SUN,” Tara Fox continues establishing a musical identity that feels inseparable from the visual and conceptual world surrounding RoboFox. The machinery is becoming more elaborate, the universe is getting larger, and another signal has officially entered the system.
The newly released track brings Cat Hall of Dissonance back to a song first heard on Dogtablet’s 2021 album Pearldrop Blue.
A Familiar Star in a New Form
Dogtablet have released “Star (2026),” a rework of “Star” from Pearldrop Blue. That earlier recording featured Cat Hall of Dissonance; she returns with words and vocals on the new version. Dogtablet’s Bandcamp credits Steve White of KMFDM and PIG on guitar and Jules Seifert of Epic Audio Media on mastering.
Revisiting Pearldrop Blue
The original “Star” opened Pearldrop Blue in 2021. Five years later, Dogtablet’s decision to revisit it gives listeners a direct way to hear how the song has changed, with Hall’s voice still central to its identity. The new track is available on Dogtablet’s Bandcamp page, which also offers it with the Our Lives T-shirt.
🎶 Listen Now
“Star (2026)” is a released rework of an existing Dogtablet song, rather than a track from a newly announced album.
Released September 24 through Out Of Line Music, the new track also has an official visualizer credited to Rave The Reqviem and Mikeyla.
A New Chapter After EX-EDEN
Rave The Reqviem are back with “Irreplaceable,” their new single through Out Of Line Music. The three-minute, 36-second track follows the Swedish band’s 2023 album EX-EDEN, which brought heavy guitars, electronic production and symphonic elements together across eleven songs. “Irreplaceable” is available now as a single, rather than an advance announcement.
A Stark Image for the Return
The cover makes its point with unsettling restraint: a bent, smoke-wreathed nail against a pale background, with the band’s white monogram in the corner. Out Of Line Music has also published an official Irreplaceable visualizer credited to Rave The Reqviem and Mikeyla.
🎶 Listen Now
“Irreplaceable” puts Rave The Reqviem back in the spotlight with a new track and visualizer. Whether it leads to a larger release remains unannounced.
Two tracks are available now ahead of the nine-track release on November 27, 2026.
Unfinished Business After The Truth Doesn’t Matter
Mesh have announced Fallen Angel, a nine-track mini-album that continues the ideas behind their March album The Truth Doesn’t Matter. Mark Hockings and Richard Silverthorn began writing again after that release and found the new material belonged alongside it. Fallen Angel brings those songs together with an extended version, a live recording and a remix through Dependent.
Nine Tracks, Two Available Now
The tracklist includes “Fallen Angel,” “Protect Your Neck,” “Not This Time,” “The Meeting of the Broken,” and “Tilt,” alongside an extended “Fallen Angel,” a live version of “The Truth Doesn’t Matter,” and two versions of “Trying To Save You.” The complete mini-album arrives November 27, 2026. Digital, CD, black vinyl and limited clear vinyl pre-orders are open; Bandcamp lists two tracks available to stream or download now.
🎶 Listen Now
For listeners still exploring The Truth Doesn’t Matter, Fallen Angel promises another chapter in the same world. The two available tracks offer a first listen while the full mini-album remains on pre-order.
Vancouver artist Eva X released Dance in Shadows on September 18 through Distortion Productions. The release contains the original track and Stoneburner’s “Muad’dib Breakbeat Mix,” giving listeners two ways into the song before TURBOPINK arrives in November. Gabrielle Gustafson and Erik Gustafson produced the original; Stoneburner handled the remix.
A Brighter Color for the Robot Girl
Eva X describes her music as a collision of pop, industrial, dance, and metal, with a “robot girl” persona singing about human experiences. Dance in Shadows follows the earlier TURBOPINK singles “Dopamine Blind” and “Fiction.” The forthcoming album is listed for November 6, 2026; the single is already available to stream and purchase.
🎶 Listen Now
With an original and a breakbeat remix available now, Dance in Shadows offers a compact introduction to Eva X’s next album without making listeners wait for November.
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.
Two contrasting songs turn futurepop momentum and emotional urgency into a call for resilience, unity, and human connection.
Light Breaks Through the Machinery 💀
Simon Carter has reunited with Alex Erbacher of DISTRICT 13 and MENSCHDEFEKT for Chasing The Dawn / One Pulse, a two-track release that balances dancefloor energy against the emotional pressure of an increasingly divided world.
The collaboration follows their earlier work on “Let Me Sink in Shadows,” released in 2024. Carter once again provides the electronic production while Erbacher contributes vocals and lyrics, connecting Carter’s melodic, club-oriented programming with the German vocalist’s unmistakable futurepop presence.
“Chasing The Dawn” opens the release with the brighter of its two perspectives. Driven by soaring melodies, a steady electronic pulse, and an unapologetically hopeful chorus, the track focuses on escaping the mental shadows that prevent personal growth. Its message is not built around passive optimism; it presents hope as a deliberate act of leaving fear behind and moving toward something better.
One Release, Two Emotional Extremes ⚙️
“One Pulse” turns outward and confronts the fractures shaping modern society. Headlines, borders, political hostility, nationalism, and fear form the song’s tense backdrop, but its central argument remains profoundly human: beneath every ideology and division is the same heartbeat.
Spoken passages give the five-minute track the weight of a public address, while its recurring refrain strips the conflict back to a shared human foundation. Erbacher’s delivery transforms that message into something suited for the darkened dancefloor—part warning, part appeal, and part declaration that empathy remains possible.
Together, the songs create a deliberate emotional arc. “Chasing The Dawn” addresses the internal fight to escape darkness, while “One Pulse” expands that struggle into a broader plea for compassion and solidarity. The contrast gives the release more substance than its compact runtime might suggest.
Released September 4, 2026, Chasing The Dawn / One Pulse is available directly through Simon Carter’s Bandcamp.
🎶 Listen Now
With infectious futurepop melodies on one side and a deeply reflective social message on the other, Chasing The Dawn / One Pulse captures two different battles against darkness. One begins within the individual; the other asks humanity to remember the pulse it shares.
Deep Dive into the Universe of Simon Carter and Alex Erbacher
Milwaukee industrial-goth veterans Lockjaw transform one of heavy metal’s foundational songs into a compact collision of mechanical pressure, distorted atmosphere, and raw underground energy.
A Metal Classic Enters Lockjaw’s Dark Universe 💀
Lockjaw released its new interpretation of “Paranoid” on August 27, revisiting the Black Sabbath classic through the band’s distinctive industrial-goth framework.
Rather than attempting to imitate the original recording, Lockjaw pulls the composition into a colder and more claustrophobic environment. The familiar momentum remains recognizable, but the surrounding textures carry the weight of grinding electronics, oppressive minor-key atmosphere, and the weathered aggression of a band shaped by more than three decades in the underground.
The result moves quickly, striking with nearly three minutes of concentrated tension. It preserves the anxious urgency at the heart of “Paranoid” while replacing the warmth of early heavy metal with something darker, harsher, and more mechanical.
Three Decades of Milwaukee Darkness ⚙️
Founded by creative force and vocalist Medavon DeRaj’e in 1994, Lockjaw has become one of Milwaukee’s most enduring industrial-goth projects. The band’s history includes performances alongside Prong, KMFDM, Powerman 5000, Wednesday 13, Type O Negative, and Marilyn Manson, as well as the placement of “Bored Again” in the Xbox 360 game Dead Rising.
That history makes “Paranoid” an appropriate choice. Black Sabbath helped establish the vocabulary of darkness and psychological unease that later generations of industrial, gothic, and alternative musicians would continue reshaping. Lockjaw approaches that legacy from its own corner of the underground, filtering the song through years of electronic experimentation and abrasive live performance.
Released independently across Bandcamp and major streaming platforms, “Paranoid” stands apart from Lockjaw’s forthcoming Forever Tomorrow EP. It functions as a standalone tribute—one that respects the architecture of the original while allowing the band’s fractured visual and sonic identity to consume the structure around it.
🎶 Listen Now
Lockjaw’s “Paranoid” does not attempt to replace Black Sabbath’s original. It demonstrates how a foundational song can survive translation into another musical language—emerging colder, more damaged, and unmistakably shaped by Milwaukee’s industrial underground.
Four fan-requested tracks return with reconstructed production, completely re-recorded vocals, and a limited physical edition designed to preserve more than music.
Four Archived Tracks Rebuilt for 2026 💀
nolongerhuman has opened pre-orders for Insect Archives, the first vinyl release in the project’s history. Arriving October 2 through COP International, the four-track collection revisits material spanning nolongerhuman’s first three albums—but these are not conventional remasters or recycled versions of familiar recordings.
Clint Robertson returned to the original sessions, recovered the individual stems, removed outdated effects and compression, eliminated unnecessary layers, cleaned the samples, reconstructed the mixes, and applied modern processing. Every vocal performance was then recorded again specifically for this release.
The result is intended to represent how Robertson originally imagined these songs before current production technology and nearly two additional decades of studio experience were available to him. Rather than simply polishing the past, Insect Archives rebuilds it from the machinery outward.
Side A contains “Let Me Go,” originally released on the 2009 debut album Antipathy, and “Insect Politics” from 2012’s Depersonalization. Side B reaches into 2014’s Withdrawal for “Dead Empire” and “Sycophant.”
Industrial History Preserved in Physical Form ⚙️
The decision to release Insect Archives on vinyl reflects Robertson’s resistance to treating music as disposable content. He wanted the physical edition to justify its presence on a listener’s shelf through sound, presentation, and deliberate artistic construction.
Vlad McNeally of Kallisti Design created the artwork around a mid-century archival aesthetic, evoking an aging listening station surrounded by filing cabinets, reel-to-reel machinery, and forgotten records. That visual direction extends to the Euro-style jacket, black inner sleeve, and full-color center labels.
The pressing is limited to only 300 black-vinyl copies worldwide, with no repress planned. Pre-orders are priced at $20 plus shipping and include immediate digital access to “Insect Politics.” The complete digital edition becomes available alongside the physical release on October 2.
Active since 2006, nolongerhuman has built its identity around aggressive electronics, hard-driving rhythms, cinematic atmosphere, and deeply personal examinations of humanity, apathy, identity, and emotional isolation. Insect Archives transforms four milestones from that history into definitive new versions shaped by the artist Robertson has become.
🎶 Listen Now
Insect Archives is not simply an exercise in nostalgia. It is an act of preservation—recovering songs from older machines, rebuilding them with modern precision, and placing them inside a physical archive designed to survive the endless churn of disposable digital media.
Industrial provocateur Raymond Watts returns with four new PIG songs and four remixes engineered to grind beauty, brutality, and black humor into the same bloodstained machine.
Four New Cuts from the Lord of the Lard 💀
PIG released Dirt Box on September 4 through Metropolis Records, delivering an eight-track companion piece to the May 2026 album Hurt People Hurt. The EP combines four original songs with four remixes, expanding the current era of Raymond Watts’ long-running industrial-rock project without simply repackaging its recent material.
“An American Ideal of Beauty” opens the box with a collision of mechanical aggression and decadent theatricality. The track reunites Watts with Marc Heal of Cubanate and C-Tec, former KMFDM guitarist Günter Schulz, and longtime collaborator Jim Davies, formerly of The Prodigy and Pitchshifter.
The remaining originals—“Your Reptilian Overlord Presents,” “Infidel,” and “Butterfly”—push the release through different shades of menace. PIG’s familiar mixture of distorted electronics, muscular guitars, dark sensuality, and lyrical provocation remains intact, but the compact EP format keeps every attack immediate.
Industrial Machinery Rewired by Four Remixers ⚙️
The second half of Dirt Box hands each original composition to a different artist from the industrial underground. Cyanotic reconstructs “Your Reptilian Overlord Presents,” Stabbing Westward reshapes “An American Ideal of Beauty,” Combichrist takes control of “Butterfly,” and Rabbit Junk drives “Infidel” through its own abrasive circuitry.
These versions give the EP a deliberate mirrored structure: four songs establish the source material, then four remixers dismantle and rebuild it. Instead of behaving like leftover bonus content, the remixes expose different rhythmic, electronic, and guitar-driven possibilities buried inside the originals.
That collaborative approach fits naturally into PIG’s history. Watts has spent decades moving between industrial rock, electronic experimentation, performance art, and gloriously filthy theatrical excess. His résumé stretches through Psychic TV, Einstürzende Neubauten, Foetus, and KMFDM, where he helped shape the band’s early identity and later contributed to landmark material including “Juke Joint Jezebel.”
Released alongside PIG’s extensive Hurt People Tour of North America, Dirt Box captures an artist still treating collaboration as a weapon. It is compact, confrontational, and packed with enough grime to leave fingerprints on the machinery.
🎶 Listen Now
Dirt Box does not ask listeners to choose between beauty and brutality. PIG throws both into the same enclosure, locks the door, and lets eight tracks determine which one crawls out alive.
The French producer rejects predictable structures and drives three radically different forms of industrial violence through one uncompromising release.
Three Routes into Industrial Ruin 💀
RABBeAT released The Hill on September 4, 2026, through Netherlands-based industrial hardcore label Dark. Descent. Across three tracks and nearly 19 minutes, the Lyon producer dismantles familiar genre conventions through distorted kicks, unstable arrangements, nightmarish atmospheres, and noise that refuses to behave politely.
The opening track, “Ghosts,” is a collaboration with Dark. Descent. founder The Relic, the project of Dutch producer Maurice Pinkster. Sparse horror vocals are buried beneath crushing distortion and an immovable kick drum, turning the track’s apparent familiarity into something suffocating and overwhelming.
Written and produced by RABBeAT’s J. Ravit and The Relic’s M. Pinkster, “Ghosts” establishes the EP’s central principle immediately: recognizable industrial hardcore elements can still become dangerous when pushed far enough.
Familiar Structures Collapse Under Pressure ⚙️
“Hang On, Not Yet” abandons the predictable architecture of conventional hardcore. Trippy passages interrupt the impact while stripped beats temporarily lose their expected bass foundation. Strange synthetic melodies emerge without warning before collapsing beneath sudden walls of distorted rhythm.
The usual cues provide little assistance. RABBeAT continually changes the track’s internal logic, forcing listeners to follow its movement instead of anticipating the next transition.
“Running Down The Hill” closes the release with its dirtiest and most openly abrasive collision. Abused post-rock guitars, shouted vocals, high-frequency squeals, and a gray storm of noise drag the track somewhere between an old industrial bunker and a contemporary hardcore floor.
Although all three tracks are uncompromisingly heavy, each arrives through a different route. “Ghosts” weaponizes recognizable industrial hardcore force, “Hang On, Not Yet” destabilizes rhythmic expectations, and “Running Down The Hill” contaminates the machinery with guitars, voices, and corrosive noise.
Written, produced, and mastered by RABBeAT, with visual design by R23, The Hill reinforces the producer’s reputation for crossing the boundaries between industrial techno and hardcore. Cold metallic textures collide with flashes of melody, emotional tension, and sound design that remains identifiable even while the surrounding structure fractures.
🎶 Listen Now
The Hill does not climb toward a clean destination. It drags listeners through three hostile environments, destroys the expected route behind them, and leaves the machinery running after everything else has collapsed.
Deep Dive into the Universe of RABBeAT and The Relic
Gal Kinetik and Acid Mike return to the psychedelic frontier with a two-track release engineered to drive Goa trance energy deep into the night.
A Psychedelic Mission Enters Hyperdrive 🚀
Gal Kinetik and Acid Mike released Take Control on September 4, 2026, through Timewarp Records, part of the Geomagnetic Label Group. The two-track release combines classic Goa trance foundations with modern production, acid-soaked sequences, hypnotic rhythms, and relentless forward momentum.
The title track begins the journey with a commanding 7-minute-and-31-second arrangement driven by forceful basslines, escalating synth patterns, and psychedelic details that continually reshape the surrounding atmosphere. Rather than rushing toward a single payoff, “Take Control” builds its energy progressively, sustaining the tension required for festival stages, underground sessions, and late-night dancefloors.
Two Tracks Built for Total Immersion 🌀
“Igeltanz” extends the experience to nearly eight minutes, pushing the collaboration further into twisting acid rhythms and tightly controlled trance propulsion. The title translates from German as “hedgehog dance,” adding an eccentric edge to a track designed around constant motion and altered perception.
Together, “Take Control” and “Igeltanz” form a focused 15-minute psychedelic transmission. Gal Kinetik and Acid Mike avoid unnecessary detours, concentrating instead on evolving synthesizers, driving percussion, and grooves that remain locked in motion from beginning to end.
The release follows the pair’s May 2026 collaboration United Galaxy, continuing a partnership centered on cosmic imagery, psychedelic sound design, and classic Goa trance energy. Gal Kinetik—the electronic identity of musician and producer Andrey Galkin—brings a background shaped by rave culture and electronic experimentation, while Acid Mike contributes experience rooted in psytrance production and DJ culture.
Timewarp Records describes its mission as combining classic Goa trance style with modern production, and Take Control fits directly within that orbit. Its retro-futuristic foundation respects the genre’s origins while delivering the clarity, weight, and scale expected from contemporary psychedelic trance.
🎶 Listen Now
Take Control does exactly what its title promises: it takes command of the frequency, locks the rhythm into place, and sends Gal Kinetik and Acid Mike hurtling deeper into the psychedelic galaxy.
Deep Dive into the Universe of Gal Kinetik and Acid Mike
Two transcontinental industrial machines collide as Damage Control and OHMelectronic prepare a three-track transmission of mechanical tension, electronic resistance, and uncompromising club energy.
A New Alliance Advances Beyond “Manifesto” 💀
Damage Control and OHMelectronic will release their collaborative EP Red Lines on September 11, 2026, through Metropolis Records. The three-track collection follows “Manifesto,” the alliance’s debut single, which arrived on July 17 and is available immediately with the Bandcamp pre-order.
“Manifesto” introduced the collaboration with nearly six minutes of calculated electro-industrial pressure. Now joined by “Modernity” and the title track, the full EP expands that opening declaration into a tightly concentrated electronic assault.
The title Red Lines immediately suggests boundaries, warnings, and points beyond which retreat is no longer possible. Its stark presentation reinforces that atmosphere: fractured architecture, industrial decay, and scattered red lettering transform the cover into a visual alarm system.
Transcontinental Machinery Crosses the Red Line ⚙️
Formed in 2012, Damage Control operates as a remote international collaboration connecting musicians across Australia, Canada, and beyond. The project includes Bill Barsby, Alex Wise, Richard Thacker, and Craig Joseph Huxtable, alongside an evolving network of contributors from the industrial underground.
OHMelectronic brings together Vancouver electronic veterans Chris Peterson and Craig Joseph Huxtable. Peterson’s extensive history includes work with Front Line Assembly, Noise Unit, Decree, and Delerium, while Huxtable’s background includes Landscape Body Machine and Noise Unit. With Huxtable connecting both projects and Peterson contributing decades of production experience, Red Lines represents a natural collision between two interconnected industrial forces.
The EP’s three-song structure keeps that collaboration compact and deliberate. “Manifesto” establishes its ideological foundation, “Modernity” confronts the machinery and contradictions of contemporary life, and “Red Lines” drives the concept toward its breaking point.
Rather than burying its message beneath unnecessary material, Damage Control and OHMelectronic have constructed a focused statement around rhythm, tension, and confrontation. The result connects classic electro-industrial discipline with modern production engineered for dark rooms, heavy systems, and listeners who prefer their electronics sharpened at the edges.
Metropolis Records will release Red Lines digitally on September 11, 2026. The Bandcamp pre-order is available for $4 or more and includes immediate streaming and download access to “Manifesto,” with the remaining tracks becoming available when the complete EP arrives.
🎶 Listen Now
With Red Lines, Damage Control and OHMelectronic are drawing more than boundaries—they are marking the precise point where restraint gives way to resistance. Three tracks, two interconnected projects, and one warning signal are preparing to cut through the industrial underground.
Deep Dive into the Universe of Damage Control and OHMelectronic
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.
The UK industrial-electronic artist turns the relentless search for stimulation into a dark, heavy examination of dopamine, distraction, and the fear of silence.
When Stimulation Becomes Dependence
UK industrial-electronic project j:dead will release the new single “Null” on September 4, 2026, through Infacted Recordings. The track is the tenth installment in the 12-month release campaign launched by solo creator Jay Taylor with “Pressure” in December 2025.
At the center of “Null” is an overactive mind that refuses to switch off. The song examines the constant hunger for information, activity, entertainment, and distraction—the repeated dopamine hits used to drown out intrusive thoughts and avoid the discomfort of silence.
For an overthinker, that stimulation can function as both an escape and a necessary coping mechanism. However, “Null” questions where coping ends and dependency begins. Is the brain receiving something it genuinely needs, or has distraction become another addiction protecting it from reality?
Industrial Weight Built for the Live Stage
Musically, “Null” continues j:dead’s movement toward a larger, more physical sound. Dark electronic production collides with electro, industrial rock, heavy rhythms, driving electronics, and the force of a live band.
Taylor wrote, performed, and recorded the single, sharing guitar duties with Hilger Tintel. The track was produced by Motel-Music, mastered by Studio-600, and features artwork created by Dokodemo.
The result retains the emotionally charged darkness that defines j:dead while expanding beyond the confines of headphones and club systems. This is industrial music engineered for maximum impact—music intended to hit at full volume inside a packed venue.
🎶 Listen Now
With two installments remaining in the yearlong campaign, “Null” demonstrates how far j:dead’s sound has evolved since the series began. What started as a disciplined monthly release schedule is becoming something more expansive: a live-inspired industrial force built to transform internal chaos into physical energy.
Elektrikill invites listeners into a celebration where the witching hour never ends, transforming Halloween horror into a relentless collision of industrial rhythms, dark electronics, monsters, and macabre humor.
The Macabre Masquerade Begins at Midnight
New Jersey industrial project Elektrikill, led by musician and producer Steve Vil, has officially released Macabre Masquerade through Evol Music Group. Released September 1, 2026, the 13-track Halloween album is constructed as a continuous celebration of everything lurking in the dark.
The album combines brand-new material with reworked Elektrikill songs, terrifying interludes, and remixes from Kill Vector, Kontrol Phreak, and SPKTR. Rather than simply assembling a collection of horror-themed tracks, Elektrikill sequences the album like one long infernal party—complete with vampires, demons, werewolves, parasites, restless ghosts, and enough industrial machinery to wake the dead.
DarkHeart Syndicate Joins the Digital Haunting
One of the album’s defining collaborations is “Digital Ghosts (DarkHeart Syndicate Vs Elektrikill),” a dystopian industrial assault examining algorithmic manipulation, surveillance, online outrage, artificial memories, and the gradual disappearance of human identity inside the digital machine.
Throughout the rest of Macabre Masquerade, Elektrikill moves between pounding EBM, darkwave atmosphere, industrial-rock aggression, electronic dance rhythms, and cinematic horror. The result is sinister without becoming joyless, balancing menace with enough twisted humor and dancefloor energy to keep the party moving long after the cemetery gates have closed.
The album is available digitally and on CD through Bandcamp, with a vinyl edition also available through ElasticStage.
🎶 Listen Now
With Macabre Masquerade, Elektrikill delivers more than a seasonal novelty. It is a fully realized industrial Halloween experience built for dark clubs, haunted houses, horror marathons, and anyone who believes October deserves its own soundtrack. Drink, dance, and enjoy the celebration—because eternity is a very long time. 💀
Industrial pioneers Ministry fire another shot across the political landscape with “We Hate,” the second single from what has been announced as the band’s final studio album, Hate To Go (Take Out Or Delivery).
Ministry Still Has Something to Say
After more than four decades of distortion, confrontation and industrial-strength provocation, Ministry is not exactly slipping quietly toward the exit.
Released August 21 through Cleopatra Records, “We Hate” finds Al Jourgensen and company once again turning political frustration into sonic ammunition. The track takes direct aim at Donald Trump and the increasingly surreal collision between American politics, personality cults, propaganda and AI-generated media.
Rather than dressing the message in subtlety, Ministry attacks it with the kind of abrasive humor and venom that has defined much of Jourgensen’s politically charged work. The accompanying video, directed by Joshua Bradford, pushes the satire even further, matching the song’s aggression with deliberately confrontational imagery.
“We Hate” follows July’s “Burned Out” and serves as the second preview of Ministry’s forthcoming final studio album, Hate To Go (Take Out Or Delivery).
One Last Industrial Assault
Scheduled for October 30 through Cleopatra Records, Hate To Go (Take Out Or Delivery) is being presented as the closing studio chapter of a career stretching back to Ministry’s formation in Chicago in 1981.
That history has taken the band through synth-pop beginnings, the formative Wax Trax! era, industrial landmarks including Twitch, The Land of Rape and Honey and The Mind Is A Terrible Thing To Taste, and the mainstream breakthrough of 1992’s Psalm 69: The Way to Succeed and The Way to Suck Eggs.
More than 40 years later, Jourgensen apparently has no intention of becoming sentimental for the finale.
The upcoming record instead turns its attention toward the state of the world, political leadership and the social machinery surrounding it. Current Ministry members Monte Pittman, Cesar Soto, Paul D’Amour, John Bechdel and Pepe Clarke Magaña join Jourgensen on the record, while longtime Ministry figure Paul Barker returns for a particularly significant final collaboration on album closer “We’re Still Here.”
That reunion gives Ministry’s final studio statement an additional connection to the band’s past while bringing its recorded history toward a fitting full-circle conclusion.
Hate To Go (Take Out Or Delivery) is available for pre-order in multiple physical configurations, including vinyl, CD and cassette editions, alongside digital availability. Cleopatra Records currently lists the album for an October 30, 2026 release.
Goodbye Europe 2027
The studio farewell will also extend onto the road.
Ministry has announced its Goodbye Europe 2027 tour, beginning April 2 in Utrecht and running through May 1 in Helsinki, with German industrial veterans Die Krupps appearing as special guests.
The 21-date European run will take Ministry through the Netherlands, Germany, Belgium, the United Kingdom, Ireland, France, Spain, Switzerland, Austria, the Czech Republic, Poland, Denmark, Norway, Sweden and Finland.
For a band that helped drag industrial music out of the underground and into a much larger cultural arena, the farewell represents more than another touring cycle. Ministry’s evolution helped establish the vocabulary of industrial rock and metal for generations of artists that followed.
But before the machinery finally shuts down, Jourgensen is making certain Ministry gets the last word.
And judging by “We Hate,” that word is going to be loud.
“We Hate” is available now, while Hate To Go (Take Out Or Delivery) arrives October 30 through Cleopatra Records. If this truly represents Ministry’s final studio chapter, the band appears determined to leave the same way it spent much of its career: confrontational, politically furious and completely unwilling to behave.
Eva X is powering up for album number two, pushing her collision of industrial, electronic pop and metal into a louder, heavier and considerably pinker dimension.
The Robot Girl Returns in Full Color
Eva X has announced TURBOPINK, her second full-length album and the follow-up to 2022’s I Dream of a Reality. The new record arrives November 6, 2026 through Distortion Productions, with the digital album currently available for pre-order.
Based in Vancouver, Eva X has built her identity around being a “robot girl singing about human things,” folding pop hooks, industrial electronics, dance music and metal into an increasingly difficult-to-categorize sound. TURBOPINK appears ready to push that formula harder rather than sand down its edges.
Distortion Productions describes the album as a heavier and harder Eva X, combining industrial, electronica, metal and touches of J-Pop. That mixture puts bright melodic energy beside considerably sharper machinery — essentially a sugar rush plugged into an amplifier and pushed toward the red.
Industrial Muscle, Pop Hooks and a Shot of J-Pop
TURBOPINK follows previously released singles “Dopamine Blind” and “Fiction,” while “Dance in Shadows” is scheduled to arrive as the next digital single on September 18. The album will ultimately contain nine tracks, including “Love.Hate.Paradise,” “Otherside,” “Cross My Heart,” “I Remember Me,” “Mother Mirror,” and Eva X’s cover of Korn’s “Twisted Transistor.”
The Bandcamp pre-order currently provides immediate access to “Love.Hate.Paradise,” with the complete digital album becoming available upon its November 6 release. The album is offered in 24-bit/48kHz, while Distortion Productions has also confirmed a CD release for the same date.
There is also something fitting about the title. TURBOPINK takes the futuristic identity surrounding Eva X and turns the saturation knob violently clockwise. The accompanying artwork trades industrial music’s seemingly mandatory gray concrete for circuitry, black and an almost radioactive blast of pink — a visual counterpart to an album promising considerably more color without sacrificing its mechanical backbone.
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With TURBOPINK, Eva X isn’t abandoning the robot girl at the center of the project; she is upgrading her. The combination of industrial weight, electronic hooks, metal and unabashed pop color makes this second album an intriguing next stage for an artist who has spent years happily scrambling genre boundaries. November 6 will reveal just how far the upgrade goes.
Bell Size Park returns with a two-track psychedelic transmission built from relentless momentum, hypnotic acidlines, and the unmistakable machinery of Goa trance.
The Chaos Machine Is Running
Israeli psytrance veteran Bell Size Park, the long-running project of producer Shlomy Kaufman, has returned with Chaos Machine, released through Timewarp Records.
Kaufman has been active in the psychedelic and Goa trance underground since the 1990s, and Chaos Machine keeps that history firmly connected to the dancefloor. The release combines classic Goa DNA with modern production, driving rhythms, spiraling synth work, acidic sequences, and the kind of forward momentum designed for a system turned up considerably louder than recommended.
Two Tracks, One Psychedelic Machine
The title track, “Chaos Machine,” delivers escalating psychedelic energy, pushing soaring electronic lines through a relentless rhythmic framework.
“Maguaa” follows by shifting the machinery toward deeper bass movement and atmospheric grooves while maintaining the release’s hypnotic pulse.
Together, the two tracks make Chaos Machine a compact dose of modern Goa and psytrance built around movement, repetition, and controlled electronic chaos.
Timewarp Records remains an appropriate home for the release, placing Chaos Machine directly within the label’s ongoing psychedelic mission.
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Chaos Machine doesn’t need an oversized tracklist to make its point. Bell Size Park takes two tracks, feeds them into decades of Goa trance experience, and lets the circuitry do the rest.
Industrial metal architects Fear Factory return with “Roboticist,” the first new single recorded by the band’s current lineup and the opening transmission from their next chapter.
The Machine Is Online Again
For more than three decades, Fear Factory has built its identity around the collision between humanity and technology. Now, as artificial intelligence and technological dependence move from science fiction into everyday reality, the band’s dystopian vision feels increasingly close to home.
Released August 29, 2026 through Nuclear Blast Records, “Roboticist” is Fear Factory’s first new single in five years and the recording debut of the band’s current incarnation: founding guitarist Dino Cazares, vocalist Milo Silvestro, bassist Tony Campos, and drummer Pete Webber.
Silvestro and Webber have already spent years proving themselves onstage. “Roboticist” moves the current lineup beyond performing Fear Factory’s history and into creating its future.
Man, Machine and What Comes Next
Musically, “Roboticist” retains the machinery that made Fear Factory unmistakable: tightly synchronized guitars and drums, crushing mechanical rhythms, industrial precision, electronic atmosphere, aggressive vocals, and a haunting melodic hook.
The track explores a dystopian evolution where flesh ultimately fails while consciousness endures, continuing ideas Fear Factory has explored throughout its career. What once sounded like distant cyberpunk fiction, however, doesn’t feel nearly as distant today.
“The future isn’t coming. It’s already here,” Cazares says, describing “Roboticist” as “the next evolution of Fear Factory. Man, Machine and the war for what comes next.”
The single was produced, engineered, mixed, and mastered by Damien Rainaud, while its cinematic music video was directed by Vincente Cordero and produced by Arion Csihar.
An early instrumental version of “Roboticist” first surfaced in 2023 during Cazares’ demonstration of the Toneforge Disruptor guitar plugin. That mechanical foundation was later rearranged and developed into the finished Fear Factory track, transforming it into the first recorded statement from the current lineup.
A New Voice Inside the Machine
“Roboticist” isn’t an attempt to disconnect Fear Factory from its past. Instead, it plugs a new lineup directly into the machinery the band spent decades constructing.
The single also signals something considerably larger. Fear Factory says details surrounding its upcoming album are imminent, while the band prepares for extensive European and U.S. touring, including the Cybernetic Domination Tour and U.S. dates with Mushroomhead, Darkest Hour, and others.
The riffs remain mechanical, the future remains hostile, and humanity’s relationship with technology remains dangerously complicated.
Only now, the machine has a new voice.
With “Roboticist,” Fear Factory has officially activated its next chapter. More than thirty years after the band began warning about the collision between humanity and its machines, the technology has changed, the lineup has evolved, and the questions at the heart of Fear Factory’s music may be more relevant than ever.
Demonwarp turns resistance into combustible dark-electronic warfare with “Spreading the Flames,” the second single from the forthcoming album Viral Empire.
A New Transmission from “Viral Empire”
Demonwarp is continuing the march toward the forthcoming Viral Empire album with “Spreading the Flames,” a punishing collision of industrial bass, aggrotech, dark electro, and cyberpunk hostility released through Re:Mission Entertainment.
The single follows March’s “Protocol Obey,” which introduced Viral Empire with a theme built around control, submission, and breaking free from systems designed to keep people obedient. “Spreading the Flames” pushes that narrative forward with a considerably more incendiary message: fight tyranny through flames.
That resistance-driven concept fits naturally into Demonwarp’s established world. The project has consistently combined industrial electronics with horror, black metal, darksynth, cyberpunk, and dystopian storytelling, building music around conflicts between humanity, corruption, technology, power, and the demons lurking on both sides of the machine.
Industrial Bass Meets Aggrotech Firepower
“Spreading the Flames” doesn’t approach rebellion quietly. The track is engineered around physical impact, combining crushing electronic rhythms and industrial-bass weight with the abrasive energy that has defined Demonwarp’s darker material.
The release also brings Kristof Bathory of Dawn of Ashes into the machinery. Bathory handled mastering and contributes an aggrotech remix, giving the single another direct connection to the harsher end of the industrial and dark-electronic underground.
That combination makes “Spreading the Flames” more than another isolated single. Alongside “Protocol Obey,” it is beginning to reveal the architecture surrounding Viral Empire: a world where authoritarian control, resistance, technological decay, and outright confrontation are being woven into one larger dystopian narrative.
Demonwarp’s previous full-length Dominion explored similarly hostile territory, imagining collapsing societies, artificial intelligence, corrupted humanity, and an ongoing struggle for control. Viral Empire appears ready to carry those ideas into another chapter—one where obedience is no longer the only option.
The Fire Is Already Spreading
“Spreading the Flames” is available now through Re:Mission Entertainment, offering the album version alongside Kristof Bathory’s remix while the underground waits for the arrival of Viral Empire.
With two singles now establishing the record’s direction, Demonwarp isn’t exactly being subtle about what is coming. The machine demanded obedience with “Protocol Obey.”
Now somebody brought gasoline.
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“Spreading the Flames” turns the next stage of Viral Empire into a declaration of resistance—heavy, hostile, electronic, and built for an industrial dancefloor that would probably violate several workplace safety regulations.
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