Greek symphonic extreme metal titans capture raw power and ritual intensity on their first-ever live album, arriving February 20, 2026.
W.E.B. have revealed a ferocious live video/single for “Dragona”, offering a blistering preview of their upcoming live album Darkness Alive, due February 20, 2026 via Metal Blade Records.
💀 A Night in Athens, Forged in Fire Recorded in the band’s hometown of Athens on September 22, 2024, Darkness Alive captures W.E.B. at full force—ritualistic, commanding, and unrelenting. The performance distills the band’s symphonic extremity into a visceral document that balances precision with raw, communal energy.
💀 “Dragona”: A Live Rite of Passage Originally appearing on the acclaimed 2017 full-length Tartarus, “Dragona” detonates here as a black metal masterwork with an epic, ceremonial finale—one that fans and critics alike have long ranked among the band’s most revered compositions. Lyrically, the track praises an ancient god through a funeral exodus, cementing its status as a permanent pillar of W.E.B.’s live set.
💀 Standout Moments from the Set The album also features crushing performances of “Into Hell Fire We Burn”—described by vocalist/guitarist Sakis Prekas as a “thunderous marriage of black and heavy metal with a chorus that literally orders you to sing along”—and “Dark Web,” an intense collision of melodic death and modern metal ferocity.
💀 What Comes Next With Darkness Alive set for digital release, W.E.B. are already deep into composing their next studio full-length. “It is by far the best material we’ve ever had on a record,” Prekas notes. “All new material must be better material—otherwise there is no reason to release it. Stay Dark.”
The third strike from The Great Satan arrives as Zombie announces a massive Summer 2026 co-headlining tour with Marilyn Manson.
Rob Zombie is back in full hellbilly mode with the release of “(I’m a) Rock ’N’ Roller,” the third single from his upcoming album The Great Satan, due February 27, 2026 via Nuclear Blast Records. Thick, swaggering, and unapologetically loud, the track is a boot-stomping manifesto—Zombie at his most primal and defiant.
💀 A Fist-Pumping Anthem for the Faithful Built on grinding riffs, filthy grooves, and a chant-ready chorus, “(I’m a) Rock ’N’ Roller” doubles down on everything that made Zombie an icon. It’s not nostalgia—it’s a declaration. Rock and roll didn’t go anywhere, and Zombie’s here to remind everyone why it still hits like a wrecking ball.
💀 The Great Satan: A Return to the Slaughterhouse Following the Top 10 Billboard debut of The Lunar Injection Kool Aid Eclipse Conspiracy (2021), Zombie’s eighth solo album revisits his early hellbilly DNA—punk-infused, horror-soaked, and relentlessly anthemic. The Great Satan leans hard into chaos with tracks like “Punks And Demons,” “Heathen Days,” “Tarantula,” and the new single anchoring the assault.
💀 Summer 2026: Monsters on the Road Zombie has also confirmed a Summer 2026 co-headlining North American tour with longtime collaborator and labelmate Marilyn Manson. The run features support from The Hu and Orgy—a stacked lineup designed for maximum impact.
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💀 The Great Satan — Tracklist
F.T.W. 84
Tarantula
(I’m a) Rock ’N’ Roller
Heathen Days
Who Am I
Black Rat Coffin
Sir Lord Acid Wolfman
Punks And Demons
The Devilman
Out of Sight
Revolution Motherfuckers
Welcome To The Electric Age
The Black Scorpion
Unclean Animals
Grave Discontent
💀 ROB ZOMBIE (w/ MARILYN MANSON) — Summer 2026 Tour Dates 8/20 – West Palm Beach, FL – iTHINK Financial Amphitheatre ^+ 8/21 – Tampa, FL – MIDFLORIDA Credit Union Amphitheatre ^+ 8/23 – Alpharetta, GA – Ameris Bank Amphitheatre ^+ 8/24 – Charlotte, NC – Truliant Amphitheater ^+ 8/26 – Holmdel, NJ – PNC Bank Arts Center ^+ 8/27 – Mansfield, MA – Xfinity Center ^+ 8/29 – Burgettstown, PA – The Pavilion at Star Lake ^+ 8/30 – Darien Center, NY – Darien Lake Amphitheater ^+ 9/01 – Toronto, ON – RBC Amphitheatre ^+ 9/02 – Cuyahoga Falls, OH – Blossom Music Center ^+ 9/04 – Clarkston, MI – Pine Knob Music Theatre ^+ 9/05 – Tinley Park, IL – Credit Union 1 Amphitheatre ^+ 9/06 – Noblesville, IN – Ruoff Music Center ^+ 9/09 – St. Louis, MO – Hollywood Casino Amphitheater ^+ 9/10 – Kansas City, MO – Morton Amphitheater ^+ 9/12 – Greenwood Village, CO – Fiddler’s Green Amphitheatre ^+ 9/14 – West Valley City, UT – Utah First Credit Union Amphitheatre ^+ 9/16 – Airway Heights, WA – BECU Live at Northern Quest + 9/17 – Auburn, WA – White River Amphitheatre ^+ 9/18 – Ridgefield, WA – Cascades Amphitheater ^+ 9/20 – Concord, CA – Toyota Pavilion at Concord ^+
America’s largest goth-industrial festival returns May 1–3, 2026, transforming the Sheraton Parsippany “Castle” into a full-spectrum celebration of dark alternative culture.
Dark Force Fest has officially revealed its daily lineup for 2026, and the schedule reads like a living timeline of goth and industrial history—past, present, and future colliding across three immersive nights in Parsippany, New Jersey.
💀 Nightly Headliners: Icons After Dark Each evening is anchored by a genre-defining act, delivering a distinct chapter of the dark underground:
Friday Night: Combichrist return in full-band formation. A longtime U.S. fan favorite, their high-voltage assault sets an explosive tone for the weekend.
Saturday Night: Front Line Assembly take command. Revered as godfathers of industrial music, their legacy and unmistakable sonic architecture make this a must-see moment.
Sunday Night: London After Midnight close the festival with an iconic, long-awaited performance—an enduring force on dark dance floors for decades.
💀 Thursday Pre-Party: The Ritual Begins Early The descent starts Thursday night at QXT’s Night Club with an intimate pre-party featuring Ego Likeness—a perfect warm-up before the castle gates open.
💀 A Full-Scale Dark Culture Convergence Dark Force Fest 2026 delivers 36 bands across two stages over three days, surrounded by 100+ vendors, sideshow performances, DJ-driven club nights, a pool party, panels, and immersive activities celebrating goth and industrial culture in all its forms.
💀 New for 2026: Expanded Outdoor Experience This year introduces a brand-new outdoor tent area, adding more performers, food trucks, expanded vendor offerings, and a dedicated biergarten, amplifying the festival’s already massive atmosphere.
💀 Tickets Are Moving Fast Dark Force Fest sold out in record time last year—and demand for 2026 is expected to exceed it. If you’re planning to attend, hesitation is not your friend.
📍 Event Details Dark Force Fest 2026 May 1–3, 2026 Sheraton Parsippany Hotel (“The Castle”) Parsippany, New Jersey
The US electro-industrial institution returns with a harrowing new single, setting the emotional and thematic tone for the upcoming album On Enmity.
Flesh Field have released “Supplication”, a stark and emotionally devastating new single out now via Metropolis Records. The track arrives as a study in absence, grief, and survival—less about healing, more about learning how to exist inside the wreckage left behind.
💀 A Song About Longing That Never Ends “This song explores the ache of longing for what is absent and will never return,” explains founder Ian Ross. “That longing itself eventually becomes the only reason to continue on despite the knowledge that it will never be fulfilled.” “Supplication” doesn’t offer resolution. Instead, it dwells in the tension between memory and endurance, where persistence itself becomes an act of defiance.
💀 From Survival to Adaptation: On Enmity The single appears on Flesh Field’s forthcoming full-length On Enmity, due February 20, 2026. Described as the most personal material Ross has ever written, the album documents life after trauma—dissecting damage, chronicling endurance, and confronting the reality that survival is not always a choice. This is not an album about recovery. It is about adaptation to ruin.
💀 A Legacy Reforged On Enmity follows a powerful resurgence for Flesh Field. After resurrecting the project in 2023 with the concept album Voice of the Echo Chamber—exploring stages of political radicalization—Ross expanded the narrative with the Voice of Reason EP in 2024. In 2025, the band’s foundational works Viral Extinction (1999) and Belief Control (2001) were remastered and reissued, reaffirming their lasting impact on the electro-industrial canon.
A collision of dark electro titans signals the opening wound of a brutal new era.
Dawn Of Ashes have returned with “Penumbra,” a devastating new collaborative single featuring Suicide Commando, officially released on January 23, 2026 via Metropolis Records. The track marks the first strike from Anatomy Of Suffering, the forthcoming full-length album from Dawn Of Ashes, arriving March 20, 2026.
Dark, oppressive, and unrelenting, “Penumbra” is a deliberate descent into shadow—one that bridges eras of industrial extremity while sharpening the knives for what’s to come 💀
A Reunion of Darkness ⚙️
“Penumbra” channels the suffocating atmosphere and raw aggression that defined early-2000s dark electro, but with modern precision and absolute hostility. The collaboration unites Dawn Of Ashes founder Kristof Bathory with Suicide Commando’s Johan Van Roy, resulting in a track that feels ritualistic, confrontational, and merciless.
Bathory describes the single as both a nostalgic invocation and a warning shot—setting the tone for Anatomy Of Suffering while serving as a prelude to the chaos ahead. This is not a throwback; it’s a reckoning.
Anatomy Of Suffering: The Descent Continues 🩸
Anatomy Of Suffering follows the band’s 2025 release Infecting The Scars, a rebirth forged after Bathory’s relocation to Denmark. That album fused the unfiltered violence of Dawn Of Ashes’ early years with a refined, evolved sonic architecture. Its remix companion, Reinfecting The Scars, expanded that vision further.
Now, with Anatomy Of Suffering, the band pushes even deeper—into pain, decay, and psychological collapse—continuing a legacy that has relentlessly evolved for over two decades 💀
Acts Of Destruction: 2026 U.S. West Coast Tour 🔥
The release of “Penumbra” lands on the eve of Dawn Of Ashes’ Acts Of Destruction U.S. West Coast tour, kicking off in Los Angeles—the city where the project was born at the turn of the millennium.
Jan 24 — Los Angeles, CA — Bar Sinister
Jan 25 — San Francisco, CA — DNA Lounge
Jan 27 — Portland, OR — Star Theater
Jan 28 — Seattle, WA — El Corazon
Jan 30 — Salt Lake City, UT — Aces High Saloon
Jan 31 — Denver, CO — The Crypt
Feb 02 — Dallas, TX — Haltom Theater
Feb 05 — Mesa, AZ — The Nile Theater
Feb 06 — Las Vegas, NV — The Dive Bar
Expect ritualistic intensity, crushing electronics, and total annihilation on stage 💀
Rob Zombie and Marilyn Manson — two of rock’s most notorious and theatrical icons — are hitting the road together once again for a massive 21-date North American co-headline tour this summer. Dubbed the “Freaks on Parade” Tour, the trek promises late-summer chaos, industrial shock-rock spectacle, and a carnival-of-the-damned energy that only these two showmen can deliver.
The tour kicks off on August 20 in West Palm Beach, Florida at the iTHINK Financial Amphitheatre and barrels through major cities including Tampa, Charlotte, Boston, Chicago, Toronto, and Detroit, before closing out on September 20 in Concord, California at the Toyota Pavilion at Concord.
Tour Highlights
21 dates across the U.S. and Canada with stops in Florida, Georgia, New Jersey, Pennsylvania, Ontario, Michigan, Missouri, Colorado, Utah, Washington, and more.
Special guests The Hu, the Mongolian metal collective blending traditional instrumentation with thunderous rhythms, will join every show.
Industrial rock veterans Orgy, famed for their late-’90s hits, ride shotgun throughout the tour.
Tickets go on sale January 23 to the general public after presales via Citi and artist presales earlier in the week.
This isn’t the first time Zombie and Manson have linked up — their storied history goes back to previous joint tours, where theatrical shock rock and chaotic stage presence became a signature draw for fans.
Whether you’re a long-time fan of industrial mayhem or just crave an unforgettable night of warped theatrics and hard-hitting rock, Freaks on Parade is shaping up to be one of summer 2026’s unmissable live experiences.
Deep Dive into the Universe of Rob Zombie & Marilyn Manson
At its core, j:dead is not simply a music project—it is a psychological space. A place where self-reflection replaces performance, where discomfort is not avoided but examined, and where creativity becomes a form of survival rather than spectacle.
The name j:dead was never meant to function like a conventional band identity. Instead, it represents a second state of being—a presence that takes over once the creative process begins. For him, it exists somewhere between an alter ego and a dissociated mindset, where instinct leads and the “normal” version of himself steps aside. It’s a familiar sensation for creatives: the moment when something internal assumes control and drives the work forward without hesitation or self-censorship.
That mindset arrived at a pivotal time. After touring since the age of 17 with various dark-scene acts—and quietly writing original material since the age of 14—he realized he was sitting on decades of unreleased work. Songs that had lived privately for years, heard only by him, accumulating meaning without ever being given space to exist publicly. Eventually, that archive became impossible to ignore.
More than a career move, j:dead became a necessity. Not because collaboration had failed—there were no creative conflicts—but because this project needed to belong entirely to him. It became a place to process thoughts honestly and therapeutically, without compromise or external expectation.
Lyrically and emotionally, j:dead is grounded in lived experience. While societal context inevitably seeps into the storytelling, the focus remains inward. He has no interest in positioning himself as a commentator or spokesperson. He writes from emotional proximity—his own life, his relationships, and the internal patterns he understands most intimately.
Looking back at the earliest releases, the project reflects a period of transition. New routines, reconnection with self, and the slow rebuilding of identity. Much of that music drew from experiences spanning nearly two decades, blending past trauma with present change. Years later, those releases are remembered fondly—not as endpoints, but as markers of growth, both personally and artistically.
The current chapter of j:dead unfolds through an approach that mirrors life itself—unstructured, reactive, and honest. While Pressure introduced themes of endurance and emotional strain, its follow-up, Disgusting, sharpens the focus inward. The escalation wasn’t meticulously planned; the upcoming twelve-track series is being released largely in the order the songs were written and finished, allowing real-time emotional shifts to guide the journey.
That unfiltered sequencing works. Disgusting arrives early, providing immediate contrast and signaling that the path ahead will not be linear or comfortable.
At its core, Disgusting is about self-directed disgust—an unflinching confrontation with personal behavior, insecurity, and physical self-image. It isn’t a plea for reassurance or sympathy. For him, tough love is necessary. Self-criticism, when handled constructively, becomes fuel rather than damage. He views this mindset as deeply human, culturally familiar, and not inherently unhealthy when it leads to reflection instead of paralysis.
Sonically, the track leans harder into industrial-rock aggression, though not by design. His process always begins with music before vocals or lyrics, and style is never predetermined. Writing primarily from his home studio, the emotional weight of the day dictates the sound. This instinct-driven approach has resulted in a wide emotional and sonic range across the upcoming releases.
That raw energy is sharpened through trusted collaboration. Friends and seasoned professionals helped refine the mix and master, adding precision and impact without dulling the emotional edge. Every distorted texture, rhythmic push, and dynamic shift acts as a catalyst for the lyrical content—and vice versa. Sound and emotion are inseparable here.
The decision to release music monthly comes from a desire to give each track its own moment. In a time when full albums are rarely experienced front-to-back, this strategy ensures no song is lost to passive listening habits. Not every track needs to be a “hit”—but each deserves recognition. At the same time, he is candid about the practical reality: this approach aligns with modern listening behavior and supports the continued growth of the project.
Creatively, the process required a fundamental shift. Instead of working linearly, the writing was divided into phases—melody and structure, sound design, lyrics and vocals, final production—allowing different mindsets to coexist without bottlenecks. The result is a body of work that feels more complete and intentional than anything before it.
Emotionally, detachment remains impossible. For him, release doesn’t come from letting go of meaning—it comes from getting the thoughts out of his head and into the music in the first place.
When listeners describe feeling uncomfortable or “called out,” the response is deliberate. j:dead does not project negativity outward. The harshness is inward-facing, reflective rather than accusatory. While many artists frame their work around triumph and uplift, j:dead occupies a different space—one where doubt, regret, and self-criticism are acknowledged without resolution. It isn’t about making people feel better. It’s about being honest.
Over time, a unifying thread has emerged across the upcoming releases: a personal reset. Frustration with others mirrored by frustration with self. Patience lost, then rebuilt. Each track stands on its own, yet together they trace an arc of internal recalibration.
Sonically, the direction moves toward something more emotionally raw and industrial-forward, balancing aggression and restraint with greater clarity. While synth-pop influences remain part of his creative DNA, the emphasis has shifted toward heavier textures and deeper emotional weight.
At its core, j:dead will always be about self-confrontation. The project exists first and foremost as therapy. There is no calculation around perception, no attempt to tailor the music for external approval. As life evolves, so will the project—but its purpose remains unchanged.
Live performance plays a crucial role in that evolution. j:dead was never meant to exist behind static keyboards. On stage, it becomes fully alive—drums, guitars, bass, vocals, and musicians fully present in every moment. That physicality has directly influenced the production choices on the upcoming material, grounding the recordings in movement and urgency.
Ultimately, he hopes listeners walk away with a simple understanding: it’s okay to be human. It’s okay to feel, to fail, to not have answers. Life doesn’t always deliver messages or resolutions—it simply exists. j:dead exists to reflect that reality without apology.
For those discovering j:dead for the first time through Disgusting, understanding isn’t required. The goal isn’t clarity—it’s presence. To offer something stylistically distinct in an overcrowded landscape, and to let the work stand on its own terms.
j:dead exists because without it, he isn’t sure where he’d be. It is the space where reflection happens, where growth begins, and where lived experience becomes sound.
Circle of Dust returns with Machines of Our Disgrace (Single Edits), a streamlined reintroduction to one of the project’s most confrontational modern-era statements.
Originally released as a full-length album, Machines of Our Disgrace dissected the growing tension between humanity, technology, and systems of control. With Single Edits, the material is re-presented in a more immediate, broadcast-ready form — sharper cuts, tighter runtimes, and maximum impact.
Precision Cuts for a Digital Age
These edits aren’t about dilution. They’re about focus. The Single Edits strip each track down to its most essential elements, amplifying the mechanical pulse, serrated synth work, and industrial weight that define Circle of Dust’s sound. It’s the same warning signal — just delivered faster and harder.
Man vs. Machine, Revisited
Lyrically and thematically, Machines of Our Disgrace remains brutally relevant. Surveillance culture, algorithmic control, and technological dependence loom large, framed through Circle of Dust’s signature blend of cold electronics and human urgency. The Single Edits sharpen that message, making it impossible to ignore in an era where machines increasingly dictate behavior.
Why This Release Matters
Machines of Our Disgrace (Single Edits) serves as both an entry point for new listeners and a fresh angle for longtime fans. It reinforces the album’s core message while adapting it for modern listening habits — playlists, radio rotation, and rapid-fire digital consumption.
This is industrial music engineered for now: efficient, unflinching, and still deeply human beneath the circuitry.
Nutronic returns with Futures (Definitive Edition), a fully realized reissue that cements the project’s vision as it was always meant to be heard.
Originally released as Futures, the album has now been revisited, refined, and locked into place with the release of Futures (Definitive Edition) — a version designed not as a bonus update, but as the final, authoritative statement of the work.
A Definitive Statement, Not a Repackaging
This is not a simple remaster or archival repost. Futures (Definitive Edition) represents a deliberate effort to correct, strengthen, and future-proof the album. Updated mastering and refined mixes bring greater clarity and weight to the production, allowing the mechanical pulse and cold electronic textures to fully assert themselves.
In this form, the album replaces earlier versions entirely, presenting a consistent sonic identity and narrative flow that reflects Nutronic’s original intent.
Industrial Futures, Fully Realized
Musically, Nutronic remains rooted in the industrial, EBM, and dark electronic tradition, drawing power from rigid rhythms, synthetic tension, and an atmosphere steeped in technological unease. Futures explores themes of control, isolation, and speculative tomorrow-states — a forward-facing dystopia where progress and alienation move in lockstep.
The Definitive Edition sharpens these ideas, reinforcing the album’s conceptual cohesion and emphasizing its role as a unified work rather than a collection of tracks.
By releasing Futures (Definitive Edition), Nutronic effectively closes the chapter on earlier iterations and establishes this edition as the canonical version going forward. It’s a move that speaks to long-term intent: ensuring the album stands strong within the artist’s catalog and remains relevant as both sound and statement.
For listeners drawn to disciplined industrial production with modern precision, this release offers a clear entry point into Nutronic’s world — one that feels complete, intentional, and uncompromising.
New York death metal legends Immolation storm into 2026 with renewed fury, unveiling their twelfth studio album Descent, set for release on April 10 via Nuclear Blast Records. Alongside the announcement, the band has unleashed the album’s first single, Adversary, delivering a merciless preview of what lies ahead. 💀
Since their seminal 1991 debut Dawn of Possession, Immolation have remained a defining force in extreme metal, shaping the genre through innovation rather than imitation. At the core of their unmistakable sound is guitarist Bob Vigna’s signature fretwork—serpentine leads colliding with ominous, slow-burning dirges that feel both ancient and alien.
A First Descent into the Abyss
“Adversary” hits with relentless precision: blast-driven percussion, dissonant riff structures, and Ross Dolan’s cavernous growls forming a towering wall of sound. It’s death metal sharpened to a lethal edge—uncompromising, atmospheric, and deeply menacing. The accompanying video, directed by Bob Vigna himself, visually amplifies the track’s suffocating intensity.
Immolation describe Descent as both a continuation and an evolution—rooted firmly in their origins while daring to push further into new territory. The band calls the album “almost addictive,” highlighting its ambitious songwriting, immersive atmosphere, and one of the strongest productions of their career. 💀
Forged in Fire: Production & Artwork
Descent was recorded across two locations: guitars, bass, and vocals tracked with Justin Passamonte at Jpass Music, while drums were captured at Mercinary Studios with Noah Buchanan. Longtime collaborator Zack Ohren handled mixing and mastering alongside the band, resulting in a muscular, high-definition production that balances sheer brutality with unsettling clarity.
Visually, Immolation once again partnered with acclaimed artist Eliran Kantor for the album cover, complemented by interior illustrations from Santiago Jaramillo (Triple Seis Design). The result is a visual statement as harrowing and iconic as the music itself.
This February, Immolation will join Mayhem on the Death Over Europe Tour, alongside Marduk, tearing through major European cities.
Following that run, the band heads to North America as direct support for Behemoth on The Godless IV 2026 Tour, joined by Deicide and Rotting Christ. Select festival appearances will follow, including Rockstadt Extreme Fest and Brutal Assault. 💀
Why Descent Matters
Calling Descent “heavy” barely scratches the surface. This is Immolation refining their language of darkness—death metal that is brutal yet cerebral, oppressive yet precise. With Descent, Immolation don’t just reaffirm their legacy; they deepen it, proving once again why they stand alone at the genre’s highest tier.
German electro-industrial institution Wumpscut is set to expand its formidable discography with Zuckerpuppe, a new eight-track album arriving April 3, 2026 via Betonkopf Media. The release continues Wumpscut’s long-standing commitment to tightly curated, collector-focused physical editions while reinforcing the project’s uncompromising sonic identity.
🍬 A Limited Physical Statement
Zuckerpuppe (German for “sugar baby”) will be issued in two carefully crafted formats. The vinyl edition arrives as a 300-copy yellow LP, pressed using direct metal mastering and housed in a heavy 3 mm spine outer sleeve, accompanied by a four-colour printed inner sleeve. True to Betonkopf Media tradition, this pressing is strictly limited worldwide.
The CD edition follows the label’s distinctive “Back is Front” presentation, featuring a 12-page full-colour booklet and the same eight-track running order as the LP. Both formats emphasize tactile design and archival longevity, hallmarks of the Wumpscut catalogue.
⚙️ Prelude to the Album
Ahead of the album’s release, Wumpscut issued the “Zerebral Date (Zuckerpuppe Remix Contest Kit)” digitally via Bandcamp in late 2025. The release provided stems and production material connected to the new album, inviting reinterpretation while offering an early glimpse into the Zuckerpuppe sonic framework.
🧨 Additional Vinyl Releases Confirmed
The April 3, 2026 date also marks the arrival of two further Wumpscut vinyl titles:
“Evoke – Provoke” reissued on light blue 180-gram vinyl
“Homicide Bajazzo”, a remix double LP, also pressed on 180-gram vinyl
Each of these editions is likewise limited to 300 copies, reinforcing the label’s scarcity-driven release philosophy.
🩸 About Wumpscut
Founded in 1991 by Bavarian DJ and producer Rudolf Ratzinger, Wumpscut emerged from southern Germany’s club scene before becoming a defining force in electro-industrial music. Early works like Music for a Slaughtering Tribe, Bunkertor 7, and Embryodead established a brutal, sample-driven aesthetic that would influence an entire generation.
From the late 1990s onward, Ratzinger released much of his output through Betonkopf Media, while select titles reached the U.S. via Metropolis Records. Landmark albums including Boeses Junges Fleisch, Wreath of Barbs, Bone Peeler, and Evoke cemented Wumpscut’s global reputation.
Following an extensive run of releases through the 2000s and early 2010s, Ratzinger briefly signaled an end to new material after Wüterich (2016). That silence was broken with Fledermavs 303 (2021), followed by a steady resurgence through For Those About To Starve, Poison Cookie, Schlossgheist, and Chew Chew Chew.
Now, with Zuckerpuppe, Wumpscut once again proves that the project remains as focused, confrontational, and meticulously constructed as ever.
The Browning return in full combat mode with Dominator [EVOLVED], a re-engineered strike that upgrades one of their most aggressive tracks into a sharper, heavier, and more futuristic weapon. This isn’t a remix for convenience. It’s a recalibration for domination.
A Track Rebuilt for Maximum Impact
💀 From the opening moments, Dominator [EVOLVED] hits harder and moves faster, tightening the band’s signature fusion of industrial electronics, deathcore brutality, and cybernetic atmosphere. The low-end is thicker, the synth architecture more hostile, and the percussion feels engineered for mass destruction rather than passive listening.
This evolved version strips away any excess and reinforces what The Browning do best: turning mechanical precision into raw aggression. The result is a track that feels less like a song and more like a system takeover.
Cybernetic Aggression, Perfected
⚙️ The band’s trademark blend of machine-driven sound design and bone-crushing riffs reaches new clarity here. Vocals are more commanding, the drops more punishing, and the overall mix pushes the track into club-and-pit-ready territory. Dominator [EVOLVED] doesn’t just revisit the past, it upgrades it for the present battlefield.
Why This Release Matters
🔥 This single reinforces The Browning’s position at the intersection of metal, industrial, and electronic extremity. It’s a reminder that evolution is not optional in heavy music. You either adapt, or you get erased. Dominator [EVOLVED] chooses adaptation through force.
ESA has unveiled the final chapter in the Sounds for Your Happiness visual saga with the release of the music video for Something For The Horsemen, closing out a bold and uncompromising album cycle while simultaneously opening the door to a darker, more collaborative evolution of the track.
Released on July 5, 2025 via Negative Gain Productions, Sounds for Your Happiness has stood as one of ESA’s most confrontational and conceptually sharp releases to date. “Something For The Horsemen” marks the fifth and final video from the album, serving as a chaotic finale that many fans have been anticipating since the record’s release.
The video itself is a five-minute descent into black metal–tinged absurdity and black comedy excess. Guided by a mysterious and perpetually irritated Conductor, the visual narrative summons the four horsemen of the apocalypse: WAR (portrayed by Daniel Mullins of My Dying Bride), FAMINE, PESTILENCE (played by Jamie Blacker himself), and DEATH. The result is frantic, unhinged, and deliberately irreverent, balancing violent energy with grim humor in a way that feels distinctly ESA. It’s less a traditional music video and more a final ritual, closing the album’s visual arc with fire and noise.
The track’s life doesn’t end there. “Something For The Horsemen” has also been reborn as a dedicated remix collection, now available on Bandcamp and all major digital platforms. The remix project originated from a publicly released remix pack made available in late November 2025, inviting producers from across the underground to deconstruct and reassemble the track. From approximately thirty submissions, six remixes were selected for the official release, joined by ESA’s own unapologetically hip-hop–influenced reinterpretation of the song.
The remix collection showcases a wide spectrum of industrial extremity and club-focused aggression. Noise and power industrial perspectives come from Octocell, Wavepeak, and Nigen, while EBM and techno-inflected reconstructions are delivered by Neuroklast, Matt Hart, and Psykkle. Together, the remixes function not just as alternate versions, but as parallel realities—each amplifying different facets of the original track’s menace and momentum.
After years of anticipation, Lords of Acid are officially back on U.S. soil. The legendary electronic provocateurs have announced the “Cheeky Freaky Tour,” a 29-date headlining run launching April 25 in Las Vegas and stretching coast to coast through the end of May. More than a simple comeback, the tour marks the opening chapter of a fully reenergized era for the band—one that looks forward without erasing its infamous past.
This spring run is deliberately framed as a reinvention rather than a nostalgia trip. The “Cheeky Freaky Tour” blends intimate club settings with large-scale festival appearances, including Sick New World in Las Vegas and Ritual Noize Fest in Denver. Each stop promises a high-impact, immersive experience that reflects decades of live evolution while amplifying the band’s modern edge.
Founder and creative architect Praga Khan confirms that this momentum is driven by more than touring ambition. For the first time in eight years, LORDS OF ACID have completed entirely new material, with a brand-new album expected later this year. According to Khan, the upcoming record respects the legacy that built the band’s reputation while decisively pushing their sound, visuals, and performance energy into the future.
Now fronted by Carla Harvey, the current Acid Queen era bridges generations seamlessly. Setlists are designed to collide eras—iconic tracks like “Pu**y,” “I Sit On Acid,” and “Crablouse” sit alongside unreleased material that previews what’s next. The focus remains on tension, theatrical presence, and sonic impact, reinforcing the band’s reputation for performances that feel confrontational, playful, and dangerously alive.
The supporting lineup has been curated to match the tour’s boundary-breaking ethos. Dead on a Sunday bring raw, modern gothic energy, while Princess Superstar delivers razor-sharp lyricism and club-ready confidence. Tony and the Kiki add fashion-forward alternative pop flair, and MZ Neon opens each night with pulsing underground electronics. Notably, both Princess Superstar and Tony and the Kiki appear on the forthcoming LORDS OF ACID album, offering fans an early glimpse into the band’s next creative phase—live and unfiltered.
Decades into their career, LORDS OF ACID continue to defy expectations of what an electronic act can be. Loud, visual, provocative, and unapologetically bold, the “Cheeky Freaky Tour” is less about reclaiming relevance and more about proving they never lost it.
LORDS OF ACID – Cheeky Freaky Tour Dates
April 25, 2026 – Las Vegas, NV – Sick New World * April 26, 2026 – Fontana, CA – Stage Red + April 29, 2026 – Grand Junction, CO – Mesa Theater + April 30, 2026 – Albuquerque, NM – Sunshine Theater + May 1, 2026 – Colorado Springs, CO – Black Sheep + May 2, 2026 – Denver, CO – Ritual Noize Fest * May 4, 2026 – Kansas City, KS – Warehouse May 5, 2026 – Minneapolis, MN – Varsity Theater May 6, 2026 – Chicago, IL – Bottom Lounge May 7, 2026 – Detroit, MI – Magic Stick May 8, 2026 – Pittsburgh, PA – Preserving Underground May 9, 2026 – Washington, DC – Union May 11, 2026 – Cleveland, OH – Mercury May 12, 2026 – New York, NY – Racket May 14, 2026 – Atlanta, GA – Masquerade + May 15, 2026 – Orlando, FL – The Abbey May 16, 2026 – Fort Lauderdale, FL – Culture Room May 17, 2026 – Tampa, FL – Orpheum May 19, 2026 – Fort Walton Beach, FL – Downtown Music Hall May 21, 2026 – Houston, TX – Scout Bar May 22, 2026 – Dallas, TX – Trees May 23, 2026 – Austin, TX – Come And Take It Live May 24, 2026 – San Antonio, TX – Paper Tiger May 26, 2026 – Tucson, AZ – 191 Toole May 27, 2026 – Phoenix, AZ – Nile May 28, 2026 – Las Vegas, NV – Swandive May 29, 2026 – San Diego, CA – Music Box May 30, 2026 – Los Angeles, CA – Echoplex May 31, 2026 – San Jose, CA – The Ritz
⚙️ Carpenter Brut has officially announced his new album Leather Temple, arriving February 27th via No Quarter PROD / Virgin Records. The record closes the door on the ambitious Leather trilogy and pushes its cinematic narrative into a fully realized dystopian future.
🧥 The Final Chapter of the Leather Saga Leather Temple stands as the third and concluding entry following 2018’s Leather Teeth—a glam-soaked, retro-charged debut—and 2022’s Leather Terror, a darker slasher-horror descent centered on serial-killer anti-hero Brett Halford. As with its predecessors, the new album functions as both a musical release and a narrative soundtrack, unfolding like a brutal, neon-lit film.
🌆 2077: A World in Ruins The story leaps forward to the year 2077. Decades after a nuclear catastrophe, civilization exists under the rule of a transhuman elite known as the Overlords, who reside in glowing megacities while the rest of humanity struggles among the wreckage. At the center of this fractured world is Midwichpolis, a capital ruled by the iron-fisted tyrant Iron Tusk—addicted to a synthetic drug called Pink Base and obsessed with eternal life.
🏁 Speed or Perish To maintain control, Iron Tusk broadcasts Speed or Perish, a weekly death race promising freedom to its contestants—an escape no one has ever achieved. Far from the capital, in the Midwichslums, a rebel collective known as the Horde fights back. Led by Lita Connor, the group uncovers a forgotten cold room buried in the ruins. Inside lies Bret Halford—Leather Teeth himself—frozen in time.
🦾 Reforged for Rebellion Upgraded with advanced technology and reborn as a half-man, half-machine weapon, Bret becomes the unlikely spearhead of a resistance determined to dismantle the regime. This violent, hyper-stylized world forms the backbone of Leather Temple, brought to life visually through the title track’s official video.
🎥 Sound, Speed, and Saturation Musically, Leather Temple leans harder into urgency and impact. The album is more cinematic and orchestral, yet sharper and more direct—channeling a saturated ’90s electro atmosphere that’s dark, aggressive, and unrelenting. Tracks hit like scenes: short, explosive, and relentless. There’s no exposition—only motion. Neon flickers, engines roar, and tension never lets up.
🔥 Leather Temple – Track Listing
Ouverture (Deus Ex Machina)
Major Threat
Leather Temple
She Rules The Ruins
Start Your Engines
Neon Requiem
Iron Sanctuary
The Misfits The Rebels
Speed or Perish
The End Complete
🎸 A Decade-Defining Force Since 2012, Carpenter Brut has fused electronic music, metal, and 1980s pop-culture obsession into a singular aesthetic that’s as brutal as it is cinematic. Drawing inspiration from filmmakers like John Carpenter and Dario Argento alongside the sonic aggression of Slayer and Justice, his universe sits at the crossroads of retro thrillers, glam metal, and futuristic dystopia.
🎤 Live Assault Incoming The audiovisual spectacle continues on stage, with Carpenter Brut announcing shows across Europe and the United States in March 2026. This includes a special standalone UK headline performance at Shepherds Bush Empire on March 22nd.
⚙️ .SYS Machine returns with a commanding new single titled “Doubtless,” released via Glitch Mode Recordings. Built on precision-driven electronic architecture and industrial tension, the track delivers a focused, unflinching sound designed for dark rooms, late nights, and underground systems.
🔊 “Doubtless” moves with mechanical certainty. Relentless rhythms lock into place while layered synth structures create pressure and forward momentum. The track avoids excess, choosing discipline and intent instead—each element contributing to a tightly controlled atmosphere that feels cold, powerful, and deliberate.
🖤 This release marks another confident step forward for .SYS Machine, reinforcing the project’s reputation for sharp sound design and uncompromising electronic identity. It’s a track that doesn’t ask for attention—it commands it.
With “Wolf Within Me,” Lykinthrope delivers a visceral, emotionally charged release that lives in the space between control and collapse. Built around tension, patience, and the inevitability of eruption, the track explores what happens when self-restraint becomes a cage—and instinct finally breaks free.
News Article: A Study in Contained Fury
At its core, “Wolf Within Me” is about suppression—the kind that looks calm on the surface but seethes underneath. The lyrics paint a portrait of someone who has mastered silence, discipline, and emotional restraint, not because it’s healthy, but because it’s necessary for survival.
Lines like “Wear my patience like a chain” and “Every heartbeat locked in place” immediately frame control as confinement. This is not peace—it’s containment. The song repeatedly emphasizes calculation, control, and self-policing, creating a sense of pressure that steadily builds with each verse.
The wolf becomes the central metaphor: instinct, anger, truth, and identity all compressed beneath composure. It’s not portrayed as evil or reckless—it’s exhausted. “Tired of always folding” becomes the emotional thesis of the track, resonating with anyone who has learned to survive by staying quiet.
As the song progresses, the imagery intensifies. Fur rising, teeth sharpening, the moon igniting something violent inside the chest—it’s the slow, cinematic transformation from restraint to reckoning. By the final chorus, restraint is no longer virtuous. Walking away was mercy. Patience has eroded. The explosion is not sudden—it’s overdue.
“Wolf Within Me” positions Lykinthrope as an artist willing to explore internal conflict without romanticizing it. This is not a power fantasy. It’s an honest confrontation with the cost of always being the controlled one.
Release Review: The Sound of Pressure Cracking
From a sonic standpoint, “Wolf Within Me” thrives on tension. The arrangement mirrors the lyrical theme—tight, controlled, and coiled. There’s a constant feeling that something is being held back, as if the track itself is biting its tongue.
The verses feel restrained and deliberate, allowing the listener to sit inside the pressure rather than escape it. When the chorus hits, it doesn’t explode immediately—it surges, reinforcing the idea that this transformation is inevitable, not impulsive.
The bridge is a standout moment. “Don’t mistake the peace I show for a leash you think you hold” reframes calmness as deception, flipping the listener’s expectations. What appears compliant is actually volatile. The breakdown that follows—voices calling, cages breaking—feels claustrophobic and psychological, rather than purely aggressive.
By the final chorus, the restraint is gone. The storm that “no one noticed” becomes undeniable, and the emotional payoff lands hard because it was earned. The explosion feels justified, not theatrical.
This track will resonate strongly with listeners drawn to dark electronic and industrial-adjacent music that prioritizes emotional truth over bravado. It speaks to those who know what it means to keep the peace at their own expense—and what happens when that cost becomes too high.
Lyrical Interpretation: Instinct vs. Control
“Wolf Within Me” is ultimately about the danger of misreading patience as weakness. The song dismantles the idea that calmness equals compliance and reframes restraint as a countdown.
Key themes include:
Emotional suppression as survival
The psychological toll of constant self-control
Instinct as truth rather than threat
Explosion as consequence, not choice
The wolf is not something to conquer—it’s something to acknowledge. Ignoring it only ensures it will eventually break free.
OUT NOW:Excluded by Leatherstrip Available now via Bandcamp—and it does not ask for permission. 💀
A Song for the Cast Out
With “Excluded,” Leatherstrip delivers a stark, confrontational piece that cuts straight to the emotional core of alienation. This is a track about being pushed outside the circle—socially, politically, ideologically—not by choice, but by systems that decide who belongs and who does not.
There is no metaphorical cushioning here. The song speaks plainly and forcefully about marginalization, enforced silence, and the psychological toll of being erased or dismissed. It’s not framed as victimhood, but as awareness—cold, sober, and unresolved.
Sound & Structure: Discipline Over Decoration
Sonically, “Excluded” is unmistakably Leatherstrip. The track is built on rigid EBM foundations: precise sequencing, relentless rhythmic motion, and a stripped-down arrangement that leaves no room for distraction. The production is austere and controlled, reinforcing the lyrical message rather than competing with it.
Nothing feels excessive. Every element serves purpose. The beat drives forward with mechanical resolve, while the synth work remains cold and focused—never indulgent, never ornamental. This restraint gives the track weight. It feels intentional, sharpened, and uncompromising.
Vocals as Authority, Not Performance
Claus Larsen’s vocal delivery is a defining force here. Rather than theatrical aggression, the performance leans into controlled intensity. The voice sounds grounded, resolved, and fully aware of what it’s saying. There’s no attempt to soften the message or dramatize it for effect.
This approach makes the track feel less like a rant and more like a declaration—measured, deliberate, and unyielding.
Lyrical Interpretation: Exclusion as a System
Lyrically, “Excluded” operates on two levels. On the surface, it speaks to personal isolation—the experience of being shut out, dismissed, or invalidated. Beneath that, it exposes exclusion as a designed outcome, not an accident. The song implies structure, intent, and repetition—systems that thrive by deciding who is worthy of inclusion and who is disposable.
There is no plea for acceptance here. No demand for reconciliation. Instead, the song documents the condition itself, forcing the listener to confront the reality of exclusion without offering easy resolution or emotional release.
This is not a song about overcoming. It is a song about naming the wound.
Why “Excluded” Matters
Leatherstrip has never been about comfort, nostalgia, or neutrality—and “Excluded” reinforces why the project remains vital. In a cultural moment defined by division, gatekeeping, and ideological purity tests, this track feels painfully current.
It will resonate deeply with listeners drawn to industrial and EBM not just for sound, but for truth without varnish. This is music that stands firm, even when standing alone.
A sharp, disciplined release that proves Leatherstrip is still operating with clarity, relevance, and conviction. 💀
OUT NOW:Burn Down the World (Start Over) by DarkHeart Syndicate
The new single is live on all platforms—and it arrives with purpose, pressure, and intent. 💀
A Confrontational Vision, Sharpened by Fire
“Burn Down the World (Start Over)” is a no-illusions statement about tearing down systems already rotten beyond repair. The lyrics reject false authority, broken promises, and inherited lies—using fire not as chaos, but as purification. This isn’t nihilism; it’s responsibility. Destruction becomes the necessary first step toward rebuilding something honest.
Release Review: Controlled Detonation
This release hits like a deliberate blast—emotional, focused, and unapologetically heavy. From the opening moments, it establishes a tense atmosphere that’s both intimate and confrontational, pulling the listener into a headspace shaped by collapse, reflection, and resolve.
Sonically, the production balances grit and clarity. The low end drives with purpose, while layered textures and subtle details reward repeat listens. Nothing feels accidental; every element contributes to momentum and pressure, as if the track is always pushing forward—even when it pauses to breathe.
What stands out most is intent. This isn’t chaos for chaos’ sake; it’s destruction with direction. There’s a quiet defiance embedded in the arrangement—the feeling of standing in the aftermath, still upright, still moving.
“Burn Down the World (Start Over)” reads as a manifesto of disillusionment, reckoning, and radical rebirth. The world is framed as corrupted beyond repair—rot, cages, rigged games, false gods, and manufactured lies dominate the verses. Power structures are exposed as hollow: kings, thrones, flags, gods, and empires reduced to debris.
The repeated call to burn it down is ethical, not reckless. Fire becomes a tool of purification. The chorus makes it explicit—there’s no promise of luck, salvation, or easy redemption. Starting over is cold, painful, and costly. Growth comes with loss.
The bridge sharpens the blade: rejecting divine authority and comforting illusions alike. It’s clarity through annihilation—truth emerging only after everything false collapses. By the final moments, the song pivots from destruction to ownership. No utopia is promised. If we rebuild, we do it knowingly—without myths, without excuses.
In essence, the track confronts:
The failure of inherited systems
The courage to destroy what cannot be fixed
The loneliness and resolve required to rebuild honestly
Transformation through fire rather than comfort
This is not rebellion for rebellion’s sake. It’s a declaration that when the world is broken by design, starting over may be the only moral choice. 💀
Mesh are back, and they’re not easing into it. With the release of “Exile”, the iconic British synthpop duo signal a powerful resurgence—one that feels both urgent and refined. Out today, the new single captures Mesh at their most emotionally charged, blending polished electronic production with the introspective weight longtime fans crave.
“Exile” doesn’t just arrive — it confronts. Propelled by driving synth lines and unmistakably human vulnerability, the track stands as a bold statement of intent. It’s a reminder of why Mesh continue to matter: emotionally resonant songwriting wrapped in precision-crafted electronic atmospheres.
The forthcoming album is already shaping up to be something special. Early impressions place it among their strongest work to date—rivaled only by Automation Baby, a high watermark in the band’s catalog. For fans who value depth, melody, and emotional honesty, this next era promises to deliver in full.
Preorders are now live, with regional options recommended for convenience:
European customers are encouraged to order via Dependent or POPoNAUT
UK fans should order directly from Mesh
🎶Listen Now:
This is Mesh, fully present and fully realized. If “Exile” is the opening signal, what follows may well define their modern legacy.
As the calendar turns, there’s a quiet milestone approaching in the Faderhead universe. March 31, 2026 marks 20 years since the release of FH1—the debut album that kicked open the door back in 2006. Two decades later, the machine is still running, sharper and more self-aware than ever.
20 Years of Faderhead ⚙️
With the anniversary looming, planning is already underway. While the final release schedule is still being locked in, all signs point toward a brand-new Faderhead album landing in the second half of 2026, accompanied by very few “20 Years of Faderhead” headline shows—likely no more than two. No victory lap. No nostalgia overload. Just precision.
2025 Patreon Songs 🎧
To close out 2025, a snippet mix of the 12 Patreon-exclusive tracks released throughout the year was shared—offering a rare look behind the curtain. The reaction was unexpected: a surprising number of listeners didn’t even realize Patreon existed, let alone what it actually offers.
So let’s clarify.
What Is Patreon, Really? 🔒
Patreon is the Faderhead Inner Circle—a space for fans, creatives, and curious minds who want more than just the finished product.
What You Get:
One exclusive song every month – Patron-only releases, usually never available elsewhere
Weekly “Faderhead Friday” newsletter – Over 500 consecutive weeks and counting
Studio livestreams & Q&As(Producer tier) – Real-time writing and production insight
Monthly 1-on-1 mentorship calls(Mentor tier) – Personalized Zoom sessions to level up your art or project
This isn’t about content farming.
It’s about connection, insight, and transparency—a direct line into how things actually work, without industry theater or posturing. And yes, it costs less than a McDonald’s meal.
Live in 2026 🔥
March 28, 2026 – E-Tropolis, Oberhausen (DE)
June 26–27, 2026 – Black Lower Castle, Kranichfeld (DE)
Limited appearances. No filler.
You Don’t Hate Social Media. You Just Suck at It. 🧠
This part might sting—but it matters.
If social media feels exhausting, humiliating, time-consuming, or vaguely insulting to your intelligence, there’s a strong chance the issue isn’t the platform.
It’s inefficiency.
Slowness Turns Neutral Tasks Into Enemies
Watching someone spend nearly an hour editing a simple Instagram Reel—basic cuts, timing, text—says everything. For someone experienced, that’s a 3–5 minute task. The task didn’t change. The skill level did.
And with it, the emotional reaction.
If every post feels like an existential crisis, the problem isn’t social media. It’s friction.
“Hate” Is Often Just Resistance
Most musicians who claim to hate social media don’t hate publishing.
They hate:
Not knowing what to post
Taking forever to decide
Feeling clumsy with the tools
Watching others move fast while they struggle
So the ego steps in with comforting lies:
This is fake
This isn’t real art
I shouldn’t have to do this
Convenient. Comfortable. Completely useless.
The Hidden Cost Nobody Calculates
When posting takes an hour, you avoid it. When you avoid it, you stay bad. When you stay bad, the hour never becomes five minutes.
That loop—not algorithms, audiences, or “culture decline”—is the real enemy.
An untrained muscle you refuse to train because you resent the gym.
Speed Is Freedom, Not Selling Out
People who are good at social media don’t dramatize it. They don’t overidentify with it. They don’t justify it.
They open the app. They do the thing. They close the app.
The faster something becomes, the less emotional weight it carries. Ironically, competence is what creates distance.
One Uncomfortable Question
Before declaring social media beneath you, ask this:
If this took five minutes instead of fifty, would I still hate it?
If the honest answer is no, then this isn’t a values problem.
It’s a skill gap.
And skill gaps don’t close by pretending your frustration is philosophical.
Hand of Juno continue their fearless genre mutation with “Right Now (FASTER Remix)”, a club-focused reimagining of their industrial metal track—out today via Out Of Line Music. The remix strips the song down to pure momentum, trading metallic aggression for pounding low-end pressure and hypnotic repetition designed for dark rooms and late hours.
Rebuilt from the rhythmic spine outward, the FASTER Remix replaces distortion with precision. Driving kicks, glitch-infused textures, and a minimalist pulse transform “Right Now” into a weaponized techno cut—lean, raw, and engineered for underground dancefloors. It’s another sharp turn in the band’s evolution, proving Hand of Juno can dismantle their own sound and reassemble it without losing intensity.
Formed in Italy in 2021, Hand of Juno began as a female-fronted industrial metal trio featuring Melissa Bruschi, Alice Lane Pandini (Infected Rain), and Helly Elisa Montin. After four successful singles, the project evolved—continuing forward without Pandini and expanding its live force with Francesca Mancini (guitar) and Marco Valerio (bass). The result is a darker, more adaptable unit built for both stage and studio.
That adaptability is fully realized on their debut album Psychotic Banana, released via Out Of Line Music. The record collides industrial metal with electronic music, techno, brutal deathcore breakdowns, and deep, cinematic melody. Each track pulls from a different sonic world, creating a volatile listening experience that refuses to sit still.
The album’s title says it all. Psychotic Banana is about change—constant shifts in mood, structure, and intensity that mirror the band’s own journey. Songs escalate and fracture, pushing toward aggression before the closing moments pull back, hinting at a hard-earned moment of stability after chaos.
This momentum has already translated to the stage. Hand of Juno have delivered punishing live sets, shared stages with labelmates ERDLING on tour across Germany, and torn through festival crowds including Summer Breeze Open Air. With each release, their audience grows—and the lines between metal, industrial, and techno continue to dissolve.
On January 18, 2026, Evol Radio will publish an exclusive in-depth interview with j:dead, diving beneath the surface of one of the most emotionally confrontational industrial projects currently emerging from the underground.
This interview moves beyond standard promo cycles, instead unfolding as a PAST / PRESENT / FUTURE narrative—examining origin, escalation, and intent with brutal clarity.
A PROJECT BUILT FROM PRESSURE
Since the release of Pressure, j:dead has positioned the project as more than sound—using distortion, repetition, and emotional friction as tools for self-examination. With the follow-up single Disgusting, the project sharpens its edge, turning inward and outward at the same time, forcing listeners to sit with discomfort rather than escape it.
The upcoming Evol Radio interview traces the roots of j:dead’s identity, exploring the moments that demanded the project exist in the first place, and how those early impulses continue to shape its trajectory.
PRESENT TENSION, FUTURE COLLISION
At the center of the conversation is j:dead’s evolving release strategy—monthly drops designed not for algorithmic noise, but for progression in real time. The interview dissects how this approach affects creative detachment, listener connection, and the emotional cost of staying exposed in public.
Topics include:
The psychological meaning behind the name j:dead
The shift from endurance to confrontation between releases
The role of discomfort as a catalyst for growth
Whether j:dead is meant to exist on stage—or remain internal and solitary
This isn’t a surface-level Q&A. It’s a study in self-awareness, pressure, and refusal to numb out—a conversation for listeners who don’t just consume music, but use it as a mirror.
The full interview will be published January 18, 2026, exclusively on evolradio.com.
FiXT sharpens the blade with the release of Machines of Our Disgrace (Single Edits), a precision-cut offering that distills the raw power of Circle of Dust and Celldweller into streamlined, high-impact versions built for immediate immersion. These single edits preserve the aggression, atmosphere, and mechanical soul of the originals—now tightened for repeat listens without losing an ounce of weight.
This release bridges eras and aliases, bringing together two pillars of Klayton’s sonic universe under the FiXT banner. Industrial pressure, cinematic tension, and cybernetic rhythm collide in edits designed to hit fast, hit hard, and linger long after the last transient fades.
Re:Mission Entertainment closes the chapter on 2025 the only way it knows how—by detonating a genre-spanning compilation that captures the pulse of the underground in all its shadow-drenched glory. The 2025 Label Compilation stands as a sonic time capsule, uniting 25 tracks across Industrial, EBM, Darkwave, Witch House, Synthpop, and Experimental realms into one cohesive statement of intent.
This annual release isn’t just a retrospective—it’s a declaration. Singles collide with remixes, collaborations bleed into exclusives, and familiar names share space with boundary-pushers operating at the fringe. Every track is curated to reflect the restless evolution of the scene, offering listeners both reflection and revelation as the calendar resets.
Available digitally via Bandcamp, the compilation also arrives as a strictly limited physical pressing of just 200 CDs, making it a must-have artifact for collectors who still value tangible relics of underground culture. Once they’re gone, they’re gone.
For those who live in the margins between genres and thrive in the darker frequencies, this compilation isn’t optional—it’s essential listening.
🎶 Listen Now:
Deep Dive into the Universe of Re:Mission Entertainment
From the beginning, horror has been more than an aesthetic for her—it has been a language. One of the earliest and most profound awakenings came not from music, but from cinema. Luca Guadagnino’s Suspiria (2018) struck her in a way she didn’t yet have words for. Its hypnotic cinematography, ritualistic symbolism, and suffocating mood seeped into her subconscious, quietly laying the foundation for the world she would later build. Even now, the film remains a touchstone—something she revisits again and again, consciously or not, across projects.
Her musical origins took shape in music school, where she was immersed in electronic production and mid-tempo bass music. At the same time, she found herself gravitating back toward heavier sounds—industrial textures, sludge pop, witch house, nu-metal riffs, and gothic atmospheres. She wanted to fuse distorted electronic bass with the physical weight of metal guitars, but lacked the technical ability to execute those riffs herself. That changed when a classmate introduced her to the producer who would help translate her vision into reality—someone who could bridge electronic production with guitar-driven aggression and bring her hybrid sound to life.
One of the most defining battles of her early career, however, wasn’t compositional—it was physical. Learning how to scream nearly destroyed her voice. For years, she pushed through false cord techniques that sounded raw and feral but caused damage and inconsistency. You can hear that struggle embedded in early releases like “Lobotomy” and “Know You Best.” It wasn’t until she discovered fry screaming—and later, voiced fry screaming under the guidance of vocal coach Warren Jensen—that everything clicked. What once felt uncontrollable became precise, powerful, and sustainable. The screams she had been chasing were finally hers, and they now define the next chapter of her sound.
Visually, her artistic identity crystallized during the creation of the “Know You Best” music video. With a background in fashion styling, she was already accustomed to wearing multiple hats on set—offering creative direction, shaping mood, and understanding what translated on camera. That project marked the first moment where her roles as musician, writer, stylist, and director fully merged. Working alongside co-director and DOP Myles Mantzaris, she realized she wasn’t just participating in a project—she was building a universe. Each visual became a twisted fairytale, rooted in horror but driven by emotion. It was also the moment she understood something vital: this was only the beginning.
Her earliest songwriting experiences were chaotic, exhilarating, and rule-free. One of her first public releases came together overnight before a music school final—written, recorded, and produced in a single sleepless stretch with close friends. That same magic resurfaced years later with “Voodoo Doll,” which began as a solitary idea on her couch before evolving into a fully realized track through spontaneous phone-call sessions with her producer. For her, the process has never been linear—only intuitive.
Among her most surprising influences is Marina’s Electra Heart. The album rewired her creative chemistry, embedding itself so deeply that she only later recognized its fingerprints in her unreleased work. That emotional theatricality, vulnerability, and conceptual boldness continue to echo beneath the surface of her darker material.
At its core, her creative mission has remained consistent: to tell dark fairytales. Whether it’s a gothic ball, a grim ritual, or a violent roadside nightmare, every song is meant to be a fully immersive experience. Horror remains foundational, but her visuals are evolving—branching into new cinematic territories while still carrying her unmistakable signature.
Building Worlds Through Sound, Vision, and Control
Her recent visuals for “Wasteland” and “Voodoo Doll” may not have followed the original blueprints she envisioned, but adaptability has become part of her process. Life intervenes, plans shift, and art evolves. Still, those unrealized concepts remain alive—waiting for the right moment to be resurrected.
When translating music into visuals, her approach is deeply internal. She listens to a song on repeat—sometimes for hours, sometimes across days—until images surface organically. From there, she builds dense moodboards pulling from films, runway shows, advertising campaigns, color theory, and cultural references. Each video is meticulously planned shot by shot, with visual references and written treatments that guide collaborators from concept to execution.
Lyrics almost always come first. As she writes, a cinematic narrative unfolds in her mind, shaping not only the emotional arc of the song but also the production direction. By the time vocals are finished, the visual story already exists. That imagined world then informs how she works with her producer to sculpt the soundscape around her voice.
Balancing her many roles requires precision and preparation. Overplanning isn’t optional—it’s survival. Detailed treatments, pre-production meetings, shot lists, schedules, and clear communication allow her to focus on what matters most during a shoot: directing and performing. Trusting her team is essential, especially when difficult decisions—like cutting scenes to preserve performance quality—have to be made. For her, collaboration isn’t about control; it’s about alignment.
Sonically, her industrial grit is born from experimentation. Working in Ableton, she and her producer dismantle sounds and rebuild them—reversing, bit-crushing, re-amping, distorting—until something feral emerges. Their shared love for cinematic scores, video game soundtracks, and heavy music bleeds into every track.
Beyond music, fashion remains a constant source of inspiration. She studies legendary runway shows and designers—Alexander McQueen, Mugler, Margiela, Galliano, Iris Van Herpen, Dilara Findikoglu—alongside shock advertising and guerrilla marketing campaigns from around the world. To her, marketing is unavoidable, and when done well, it becomes art in itself.
Her days begin with meditation and morning pages, grounding her creativity before movement—walking, driving, exercising—sets ideas into motion. Vocal warmups follow, then collaborative recording sessions in her makeshift home studio. The day often ends with sushi, strategy, and plotting the next move forward.
Creative control, she believes, is non-negotiable. Opinions are everywhere. Standards are personal. Holding the final say allows her to protect the integrity of her work—and her own relentless self-critique ensures that nothing is released unless it meets her vision.
Expansion, Impact, and Immortality
While her catalog has so far focused on singles, she is actively working toward a full-length album. Delays have slowed the process, but the intention remains firm: finish writing and recording within the coming months, with hopes of releasing it by early next year.
Looking ahead, she envisions expanding her universe beyond music and video. Fashion is a natural next frontier. She dreams of launching her own sustainable, high-quality clothing line—complete with curated runway shows and immersive retail experiences that reflect her aesthetic world.
At the heart of everything is connection. She hopes her music empowers listeners, gives them courage, and reminds them they are not alone. Having spent much of her life feeling like an outsider, she wants her growing community to be a place of belonging. Music, after all, is invisible—but it can change lives.
Her ultimate ambition is global impact. She wants her name—and her music—to resonate internationally, to tour relentlessly, and to build a worldwide community bound by sound and story. Placing her music in video games and films is another lifelong dream, shaped by formative experiences with franchises like Call of Duty, World of Warcraft, and Halo, where soundtracks left permanent emotional imprints.
Live performance is the next frontier. While the focus remains on finishing new music, ideas for cinematic stage production are already taking shape. Performing puts her into a trance-like state—pure adrenaline, pure presence—and she’s eager to bring her world into physical space.
Five years from now, she sees herself on the road, releasing albums, collaborating with new artists, expanding her merch and visual projects, and continuing to push the boundaries of what her universe can become.
This is not just a project. It’s a world—still unfolding.
Simon Carter has kicked the doors open on 2026 with the release of Welcome, a new EP engineered for the underground. Designed to hit hardest after midnight, the record dives headfirst into shadow-soaked spaces where rhythm rules and the outside world fades away.
Built across four hypnotic techno cuts, Welcome thrives on driving basslines, industrial grit, and a relentless forward motion. Each track locks into a deep pulse, layering mechanical textures and pressure-heavy grooves that feel tailor-made for dark rooms, late nights, and packed dance floors.
This EP isn’t about easing listeners in—it’s about total immersion. From the first beat to the last echo, Welcome establishes Simon Carter’s intent for the year ahead: uncompromising energy, raw atmosphere, and a sound rooted firmly in the underground.
If this release is any indication, 2026 is arriving loud—and Simon Carter is setting the tone.
The Ultra Heavy Beat never dies—but sometimes it’s forced to regroup. German electronic and industrial rock pioneers KMFDM have officially postponed their nearly sold-out European tour, originally scheduled for February and March 2026, due to a severe illness requiring immediate medical intervention and ongoing therapy.
Tour Update: Health Comes First
The tour was set to support the band’s forthcoming 24th studio album, ENEMY, but circumstances beyond their control have brought plans to a temporary halt.
“We are so very sorry. We were looking forward to do this tour, but we will make up for it,” states KMFDM founder Sascha ‘Käpt’n K’ Konietzko. “We appreciate your love and support! Long live the ULTRA HEAVY BEAT,” adds co-vocalist Lucia Cifarelli.
All tickets will remain valid for the rescheduled dates. A revised tour timeline is expected to be announced soon.
Album Release Unchanged: ENEMY Arrives February 6, 2026
Despite the tour delay, the release of ENEMY remains locked in for February 6, 2026, via Metropolis Records.
The first single, “OUBLIETTE,” is already available and sets the tone for what may be KMFDM’s most confrontational release yet.
ENEMY
Formats: 2×LP | CD | Digital
Release Date: February 6, 2026
Label: Metropolis Records
Includes the single: OUBLIETTE (WAV | MP3 | Streaming | Bandcamp)
The Sound of Defiance
Society fractures. Fascism parades openly. Silence is demanded. KMFDM responds the only way they know how—louder, sharper, and more uncompromising than ever.
With 42 years of conceptual continuity through distinction, KMFDM declare themselves the ENEMY—a direct challenge to hypocrisy, discrimination, and systemic decay. The album is helmed by the songwriting and vocal command of Konietzko and Cifarelli, driven by the percussive assault of Andy Selway, and now reinforced by London-based guitarist Tidor Nieddu, whose vivid six-string attack injects fresh aggression into the KMFDM arsenal.
Adding another striking dimension, Annabella Konietzko appears on the explosive track “YOÜ,” marking her songwriting debut with the band after mesmerizing audiences during the 40th anniversary tour.
Musical Warfare Across the Tracklist
ENEMY is stylistically fearless—biting satire, political venom, and dancefloor-ready brutality collide across its runtime:
Dance/rock melodicism: OUBLIETTE
Dark industrial grooves: CATCH & KILL
Thrash satire: OUTERNATIONAL INTERVENTION
Vicious industrial metal: L’ETAT
Funk-driven menace: VAMPYR
Dub-laced defiance: STRAY BULLET 2.0
KMFDM continues to move—dancing on the blood-dimmed tide, roaring against a world that demands ignorance over awareness.
ENEMY – Tracklist
ENEMY
OUBLIETTE
L’ETAT
VAMPYR
YOÜ
OUTERNATIONAL INTERVENTION
A OKAY
STRAY BULLET 2.0
CATCH & KILL
GUN QUARTER SUE
THE SECOND COMING
Legacy of the Ultra Heavy Beat
Founded in Hamburg in 1984 by Sascha Konietzko, KMFDM carved a singular path through industrial rock—combining confrontational politics, abrasive electronics, and undeniable hooks. Early releases in Germany led to U.S. success through Wax Trax! Records, with the 1990s cementing their legacy via hits like “Juke Joint Jezebel” and soundtrack placements in Bad Boys and Mortal Kombat.
Bands such as Rammstein and Korn cut their teeth opening on KMFDM tours. After a brief hiatus in 1999, the band re-emerged on Metropolis Records with Lucia Cifarelli, continuing a relentless cycle of releases and tours. Their most recent album, LET GO (2024), capped a 40-year legacy, followed by a remixed and remastered edition of HAU RUCK in 2025.
Los Angeles heavy hitters Fatalist return with a punishing new visual statement that drags modern metalcore back into the gutter — and dares you to sit with it.
Released just 14 hours ago, LOWLIFE marks the latest chapter in the evolving sonic identity of Fatalist, a project that continues to blur the lines between nu-core aggression, modern metal brutality, and raw emotional confrontation.
There’s no polish-for-radio here. LOWLIFE hits like a clenched jaw and a swinging fist — intentional, uncomfortable, and unapologetically real.
⚠️ A VIDEO THAT STARES BACK
The official music video for LOWLIFE doesn’t just accompany the track — it amplifies it. Shot with a stripped-down, confrontational visual style, the video places the viewer face-to-face with the band’s raw intensity. Stark lighting, claustrophobic framing, and chaotic performance energy combine to mirror the song’s internal tension.
This isn’t escapism. It’s confrontation.
The visuals feel grounded in the same emotional weight as the music — a reflection of frustration, self-awareness, and the grind of existing at the margins. Every frame reinforces the feeling that LOWLIFE isn’t a character — it’s a mirror.
🔥 LOS ANGELES DNA, NO COMPROMISE
Forged in Los Angeles, California, Fatalist channels the city’s volatile underground energy into a sound that feels both modern and feral. This is music born from concrete, sweat-soaked rooms, and the pressure of a scene that doesn’t hand anything out for free.
LOWLIFE continues the band’s trajectory of releases that prioritize impact over comfort, proving Fatalist isn’t chasing trends — they’re documenting a state of mind shaped by survival, grit, and defiance.
A slow pulse. A frozen loop. A track designed not to move you—but to stop you. spankthenun has officially announced Rigor Mortis, a release that operates less like a traditional song and more like a sustained psychological state.
❄️ A Loop That Refuses to Die
At the core of Rigor Mortis lies a loop that never fully resolves. It pulses steadily, mechanically, as if unearthed rather than written. The beat is slow, deliberate, and unrelenting, while a minimal hook repeats just enough to bypass conscious thought and settle directly into the body. This is repetition as ritual—designed to linger long after the sound stops.
“We unearthed a loop that never stopped pulsing.”
Rather than building toward release or climax, Rigor Mortis traps the listener in suspension. The track doesn’t escalate—it locks in, holding its ground with clinical precision.
🩸 Hypnosis Over Emotion
This is not a song meant to provoke feeling in the traditional sense. Instead, it explores detachment, stillness, and the eerie calm that follows overstimulation. The simplicity is intentional. The restraint is the weapon.
“A slow beat and simple hook hypnotize the body long after the mind has checked out.”
The experience feels physical before it feels emotional—muscle memory responding while the mind drifts elsewhere. It’s industrial minimalism at its most unsettling.
🧊 When Numbness Means It’s Working
Perhaps the most chilling aspect of Rigor Mortis is its mission statement. The track embraces emotional absence as success, leaning into coldness as a final form rather than something to escape.
“If you feel nothing when you hear it, that means it is working.”
There’s no comfort here. No catharsis. Just the slow acceptance of stillness as the beat continues, indifferent to the listener’s response.
⚙️ A Condition, Not a Song
Rigor Mortis feels less like a standalone release and more like a state of activation—something that spreads gradually, tightening its grip over time. It’s built for headphones, isolation, and late-night immersion, where repetition becomes oppressive and silence feels louder than sound.
Industrial provocateurs return to the stage with a transatlantic run backed by scene heavyweights and festival firepower.
Aesthetic Perfection have officially locked in their 2026 tour, delivering a stacked schedule that spans the United States and Germany, blending intimate club shows, high-energy support bills, and major festival appearances. Known for confrontational performances, sweat-drenched crowds, and relentless momentum, this tour marks another decisive chapter in the project’s ongoing evolution.
⚙️ A Relentless Live Force Returns
Fronted by Daniel Graves, Aesthetic Perfection has built a reputation for shows that refuse complacency. Every performance is engineered for impact—aggressive electronics, razor-edged hooks, and constant audience interaction. The 2026 tour continues that tradition, reinforcing the project’s position at the crossroads of industrial, EBM, aggrotech, and dark alternative culture.
This run also brings strategic support and collaborations, reinforcing scene unity while pushing the intensity higher night after night.
🇺🇸 United States Tour Dates — April 2026
The U.S. leg kicks off on the West Coast before cutting across the Midwest and East Coast, closing out in the Southwest.
Apr 2 (Thu) — Whisky A Go Go — West Hollywood, CA withJulien-K
Apr 3 (Fri) — Brick By Brick — San Diego, CA with Julien-K, Priest
Apr 4 (Sat) — Flyway — Pomona, CA
Apr 5 (Sun) — DNA Lounge — San Francisco, CA with Julien-K, Priest
Apr 11 (Sat) — The Foundry Concert Club — Cleveland, OH with Julien-K, Priest
Apr 12 (Sun) — Capital City Music Hall — Harrisburg, PA with Julien-K, Priest
Apr 14 (Tue) — Dingbatz — Clifton, NJ with Julien-K
Apr 17 (Fri) — The Meadows — New York City, NY
Apr 24 (Fri) — Come and Take It Live — Austin, TX
Apr 25 (Sat) — Scout Bar — Houston, TX
Apr 29 (Wed) — The 44 Sports Grill & Nightlife — Glendale, AZ
🇩🇪 Germany — Festival & Fall Tour 2026
Aesthetic Perfection’s European presence begins with a major festival appearance before returning for an extensive fall club run across Germany.
May 2026
May 7 (Thu) — Out Of Line Weekender 2026 — Berlin (Festival appearance alongside Priest, Chrom, Ashbury Heights, Dawn of Ashes, Massive Ego, and more)
May 8 (Fri) — Astra Kulturhaus — Berlin
November 2026
Nov 3 (Tue) — Essigfabrik — Köln
Nov 4 (Wed) — Frannz Club — Berlin
Nov 6 (Fri) — Kulttempel — Oberhausen
Nov 10 (Tue) — Backstage — München
Nov 11 (Wed) — Das Bett — Frankfurt am Main
Nov 12 (Thu) — Musikzentrum — Hannover
Nov 13 (Fri) — Hellraiser — Leipzig/Engelsdorf
Nov 14 (Sat) — Markthalle — Hamburg
This isn’t a nostalgia lap—it’s a forward strike. With Julien-K and Priest reinforcing the U.S. dates and a high-profile appearance at Out Of Line Weekender, Aesthetic Perfection’s 2026 tour reflects a scene that’s still evolving, still aggressive, and still unwilling to dilute its edge.
Expect packed floors, no-filter performances, and nights engineered for maximum impact.
Deep Dive into the Universe of Aesthetic Perfection
Shock-rock icon Marilyn Manson has officially extended his ongoing One Assassination Under God Tour, announcing a new run of Spring 2026 U.S. dates with support from Australian death-pop duo VOWWS.
Following a year defined by sold-out performances across the globe, Manson shows no signs of retreat. The newly announced dates continue the campaign behind his critically praised 2024 release One Assassination Under God – Chapter 1, out now via Nuclear Blast Records.
🩸 A RECORD BUILT ON DEFIANCE
One Assassination Under God – Chapter 1 stands as one of the most focused and confrontational statements of Manson’s career. Tracks like “Sacrilegious,” “Raise The Red Flag,” and “As Sick As The Secrets Within” fuse scorched-earth lyrics with industrial weight and ritualistic menace, reinforcing his legacy as a provocateur who thrives in chaos.
This next chapter of the tour continues that narrative on stage — theatrical, abrasive, and unfiltered.
🎟️ TICKET INFORMATION
Artist Presale: Tuesday, 12/16 @ 12:00 PM (Local) Password: OAUG26WT
Public On Sale: Friday, 12/19 @ 10:00 AM (Local)
🗓️ MARILYN MANSON — ONE ASSASSINATION UNDER GOD
2026 U.S. TOUR DATES
4/23 – Highland, CA – Yaamava’ Theater*
4/25 – Las Vegas, NV – Sick New World*
5/08 – Minneapolis, MN – The Armory
5/10 – Green Bay, WI – EPIC Event Center
5/12 – Louisville, KY – The Louisville Palace Theatre
5/13 – Memphis, TN – Graceland Soundstage
5/15 – Nashville, TN – The Pinnacle
5/16 – Columbus, OH – Sonic Temple*
10/24 – Fort Worth, TX – Sick New World Texas*
* without VOWWS
📀 ONE ASSASSINATION UNDER GOD – CHAPTER 1
Tracklist
One Assassination Under God
No Funeral Without Applause
Nod If You Understand
As Sick As The Secrets Within
Sacrilegious
Death Is Not A Costume
Meet Me In Purgatory
Raise The Red Flag
Sacrifice Of The Mass
Multiple official music videos from the album — including “Sacrilegious,” “Raise The Red Flag,” and “As Sick As The Secrets Within” — further expand the album’s bleak, cinematic vision.
Italy’s boundary-breaking computer metal project Master Boot Record is set to return to North America in Spring 2026, launching a full coast-to-coast headlining tour across the United States and Canada.
Following a hugely successful European run alongside Igorrr with support from Imperial Triumphant, MBR now brings their uncompromising live assault back across the Atlantic. The tour ignites on April 24 in Cambridge, Massachusetts, and culminates on May 30 in Brooklyn, New York, marking over a month of relentless execution.
Tickets are on sale now.
🧠 COMPUTER METAL RETURNS — LOUDER, SHARPER, DEADLIER
MASTER BOOT RECORD describes the upcoming run as both a return and an expansion — revisiting familiar strongholds while finally infiltrating long-awaited new cities.
Fans can expect:
Brand-new synchronized visual systems
A full expanded live set
Inclusion of “Tenebre Rosso Sangue” by Keygen Church, as performed during the recent European tour
This is computer metal in its most evolved state — precision-engineered, visually weaponized, and physically overwhelming.
SPREAD THE CODE.
🗓️ MASTER BOOT RECORD — 2026 NORTH AMERICAN TOUR DATES
4/24 – Sonia – Cambridge, MA
4/25 – Piranha Bar – Montreal, QC
4/27 – Lee’s Palace – Toronto, ON
4/28 – Sanctuary – Hamtramck, MI
4/29 – The Foundry – Columbus, OH
4/30 – Reggies – Chicago, IL
5/01 – X-Ray Arcade – Milwaukee, WI
5/02 – Zhora Darling – Minneapolis, MN
5/03 – Slowdown – Omaha, NE
5/05 – HQ – Denver, CO
5/07 – Metro Music Hall – Salt Lake City, UT
5/09 – Rickshaw – Vancouver, BC
5/10 – Star Theater – Portland, OR
5/12 – El Corazon – Seattle, WA
5/14 – Café Colonial – Sacramento, CA
5/15 – DNA Lounge – San Francisco, CA
5/16 – Zebulon – Los Angeles, CA
5/17 – Brick By Brick – San Diego, CA
5/19 – The Rosetta Room – Mesa, AZ
5/22 – Empire Control Room – Austin, TX
5/23 – Siberia – New Orleans, LA
5/24 – Garden Club – Atlanta, GA
5/26 – Chapel of Bones – Raleigh, NC
5/27 – Richmond Music Hall – Richmond, VA
5/28 – Metro Gallery – Baltimore, MD
5/29 – Underground Arts – Philadelphia, PA
5/30 – The Meadows – Brooklyn, NY
🧨 CRITICAL PRAISE
“A relentless stream of instrumental metal fused with retro computer-game bleeps and aesthetics… technically dazzling, packed with tapping, sweeping, and shredding.” — Rock Flesh
“Loaded and ready to execute. Their sound is crushing, industrial, and punishing — the crowd is fully onboard.” — At The Barrier
💽 HARDWAREZ — THE CODE BEHIND THE CHAOS
MASTER BOOT RECORD tours in support of HARDWAREZ, the 2024 full-length released via Metal Blade Records.
Created by multi-instrumentalist and mastermind Vittorio D’Amore (aka Victor Love), HARDWAREZ explores the duality of technology — power versus dependence, precision versus chaos. The album follows Personal Computer (2022) and Floppy Disk Overdrive (2020), further expanding MBR’s cybernetic mythology.
True to form, HARDWAREZ was composed live via desktop streaming, entirely programmed through MIDI, then reinforced by real guitars, updated drum systems, and a heavier, punchier mix approach developed through intensive touring.
The results spoke immediately:
#3 on Billboard’s Current Electronic Albums
#11 on Current Hard Music Albums
#17 on Top New Artists Albums
🌐 Deep Dive into the Universe of Master Boot Record
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