Hunter As a Horse—the project of South African musician and vocalist Mia van Wyk—returns with “Lighthouse,” a deeply personal new single out January 30, 2026 via Metropolis Records. The track marks van Wyk’s first release for the label, signaling a powerful new chapter in her steadily evolving artistic journey.
Based in South Africa’s Western Cape, van Wyk has spent recent years self-releasing a wide-ranging body of work that blends electronically driven songwriting with intense, melancholic lyricism and darkly cinematic production. Lighthouse distills those elements into one of her most emotionally resonant statements to date.
Drawing inspiration from mythology, psychology, and the writings of Carl Jung—particularly the concept of “shadow work”—Lighthouse explores the idea that only the broken can truly understand one another. Van Wyk frames the song as an act of defiance against the notion that some people cannot be saved. Instead, it becomes a fearless confrontation with inner demons, rooted in empathy, lived experience, and hard-won healing.
Musically, Hunter As a Horse continues to blur boundaries, gliding effortlessly between alternative, indie, electronic, and dream-pop, with subtle detours into alternative dance and nu-goth. The result is a haunting, immersive soundscape that feels both intimate and expansive. The project has previously been described as creating apocalyptic soundtracks for uncertain times, with The Guardian noting its “mesmerising atmospherics… dark and very lovely indeed.”
Van Wyk’s lyrics are shaped by a deeply personal and mystical worldview, informed by themes of death, addiction, astral visions, CPTSD, melancholia, nostalgia, and magical thinking. That authenticity has resonated far beyond the underground, with Hunter As a Horse songs appearing in major U.S. television series including American Horror Story, Riverdale, and Elite, as well as the film Wander Darkly and numerous international advertising campaigns.
With Lighthouse, Hunter As a Horse offers a guiding light through emotional darkness—one grounded not in perfection, but in survival, understanding, and shared scars.
Metropolis Records has officially released “Rage,” the latest hard-hitting single from Damage Control, featuring an unrelenting collaboration with EBM and industrial icon Leæther Strip.
Built on pounding rhythms, harsh electronics, and a confrontational atmosphere, “Rage” lives up to its title—channeling pure aggression into a tightly wound, club-ready weapon. Damage Control bring precision and force, while Leæther Strip injects a signature intensity that reinforces the track’s raw, uncompromising edge.
The release stands as a meeting point between modern industrial ferocity and legacy EBM power, continuing Metropolis Records’ long-standing tradition of bridging generations within the dark electronic underground.
🎶 Listen Now
Deep Dive into the Universe of Damage Control & Leæther Strip
Electronic agitator SPANKTHENUN, in collaboration with Belgian EBM pioneers A Split-Second, has officially released “Broken Machine”—a comprehensive New Beat and EBM reworking of the 1989 industrial landmark “Muscle Machine.”
Originally issued via Wax Trax! Records and Antler Records, Muscle Machine helped define an era of body-driven electronics and militant club culture. With Broken Machine, that original blueprint has been fully dismantled and reassembled for the present day.
This reboot doesn’t chase nostalgia—it weaponizes it. Classic structures are deconstructed and reshaped to reflect modern system failure, societal decay, and the grinding tension of a world stuck in perpetual malfunction. The result is a stark, club-focused release that bridges late-’80s industrial DNA with contemporary EBM and New Beat aesthetics.
Broken Machine stands as both a tribute and a warning: the systems we built are cracking, and the soundtrack has been rewritten to match the collapse.
🎶 Listen Now
Deep Dive into the Universe of SPANKTHENUN & A Split-Second
Confusion Inc. has just released “Crawler (DJ Mixes),” a new remix-focused drop from dark electronic artist Slighter. Reimagined for the dancefloor, the release gives Crawler a full DJ remix treatment—reshaped with club-ready energy and deeper rhythmic pressure.
Adding extra weight for dedicated listeners, the release also includes a Bandcamp-exclusive “dub” version, stripping things down to their raw, hypnotic core. It’s a release designed for late-night sets, industrial-adjacent dancefloors, and anyone who prefers their electronics dark, immersive, and functional.
Crawler (DJ Mixes) is available now, continuing Confusion Inc.’s steady output of forward-leaning underground electronic releases.
After more than ten years of silence, Empyrean Asunder resurface with a striking stylistic pivot. Their new single “I Confess,” released January 2, 2026, marks a decisive move away from metal-rooted aggression and into industrial dance and EBSM territory—dark, seductive, and built for the club floor.
With over two decades of evolution behind them, Empyrean Asunder have continuously refused to stay confined to one sound. From black and industrial metal origins to anti-industrial rock, the project now embraces a pulse-driven electronic identity. “I Confess” introduces this new era with sinister, bass-heavy rhythms and a sleek, modern edge reminiscent of Gesaffelstein, while maintaining the project’s trademark darkness.
The release also includes “Everyone Wants To Be You,” a club-ready anthem elevated by the commanding vocal presence of Victoria Graves. Her delivery cuts through the dense electronics with confidence and intensity, making both tracks immediate standouts for goth and industrial dancefloors alike.
Produced by Jerry Barksdale, the single balances infectious earworm melodies with moments of vulnerability and cathartic screams. Massive synth work drives the tracks forward, while deeply personal lyrics add emotional weight beneath the relentless electronic momentum. It’s a combination that rewards repeated listens and signals a fully realized transformation.
Long known as an auditory manifestation of societal decay, Empyrean Asunder continue to channel chaos through sound and vision. Even as the genre framework shifts, the project’s core remains intact—harsh, theatrical, and unflinchingly confrontational.
Project Background & Evolution
Empyrean Asunder is the solo project of multi-instrumentalist Jerry Barksdale, a prolific force in extreme music circles, also known for work in The Promise Of Plague (black/death metal), Then We Died (grindcore), and Grief Cathedral (funeral doom/sludge). Conceived as an experimental outlet, the project frequently collaborates with different musicians, allowing each release to redefine its identity.
Rather than adhering to a fixed genre, Empyrean Asunder moves through distinct creative eras:
Black Metal Era Early releases such as Wrought In Dreams (1999) explored raw, avant-garde black/doom metal.
Industrial Metal & Anti-Industrial Rock Era Albums including The Human Virus (2005), Love At Your Own Risk (2006), They Call Her The Cure (2008), Hate (2013), and Serpent (2014) fused metal and punk with harsh industrial textures.
Electro-Industrial / Techno Era (Present) The current chapter pushes fully into electronic territory, incorporating EBM, darkwave, and techno influences—anchored by the 2026 release of “I Confess.”
ProNoize has officially unleashed “Aberration,” the newest release from hard-hitting industrial act Stahlschlag, further solidifying the label’s reputation for pushing uncompromising electronic and industrial sounds.
Known for their punishing rhythms, mechanized aggression, and cold, militant atmosphere, Stahlschlag delivers a release that lives up to its name. Aberration dives headfirst into distorted textures and relentless energy, offering a sonic experience built for dark clubs, underground dancefloors, and listeners who crave intensity without compromise.
With this release, ProNoize continues its mission of spotlighting forward-driven industrial artists who challenge boundaries while staying rooted in the genre’s harsh, confrontational core. Aberration stands as another sharp-edged entry in the label’s ever-growing catalog of dark electronic weaponry.
Fans of hard industrial, EBM, and power electronics are encouraged to explore Aberration now and experience Stahlschlag’s latest evolution firsthand.
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.
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.
The Browning return in full combat mode with Dominator [EVOLVED], a re-engineered strike that upgrades one of their most aggressive tracks into a sharper, heavier, and more futuristic weapon. This isn’t a remix for convenience. It’s a recalibration for domination.
A Track Rebuilt for Maximum Impact
💀 From the opening moments, Dominator [EVOLVED] hits harder and moves faster, tightening the band’s signature fusion of industrial electronics, deathcore brutality, and cybernetic atmosphere. The low-end is thicker, the synth architecture more hostile, and the percussion feels engineered for mass destruction rather than passive listening.
This evolved version strips away any excess and reinforces what The Browning do best: turning mechanical precision into raw aggression. The result is a track that feels less like a song and more like a system takeover.
Cybernetic Aggression, Perfected
⚙️ The band’s trademark blend of machine-driven sound design and bone-crushing riffs reaches new clarity here. Vocals are more commanding, the drops more punishing, and the overall mix pushes the track into club-and-pit-ready territory. Dominator [EVOLVED] doesn’t just revisit the past, it upgrades it for the present battlefield.
Why This Release Matters
🔥 This single reinforces The Browning’s position at the intersection of metal, industrial, and electronic extremity. It’s a reminder that evolution is not optional in heavy music. You either adapt, or you get erased. Dominator [EVOLVED] chooses adaptation through force.
After years of anticipation, Lords of Acid are officially back on U.S. soil. The legendary electronic provocateurs have announced the “Cheeky Freaky Tour,” a 29-date headlining run launching April 25 in Las Vegas and stretching coast to coast through the end of May. More than a simple comeback, the tour marks the opening chapter of a fully reenergized era for the band—one that looks forward without erasing its infamous past.
This spring run is deliberately framed as a reinvention rather than a nostalgia trip. The “Cheeky Freaky Tour” blends intimate club settings with large-scale festival appearances, including Sick New World in Las Vegas and Ritual Noize Fest in Denver. Each stop promises a high-impact, immersive experience that reflects decades of live evolution while amplifying the band’s modern edge.
Founder and creative architect Praga Khan confirms that this momentum is driven by more than touring ambition. For the first time in eight years, LORDS OF ACID have completed entirely new material, with a brand-new album expected later this year. According to Khan, the upcoming record respects the legacy that built the band’s reputation while decisively pushing their sound, visuals, and performance energy into the future.
Now fronted by Carla Harvey, the current Acid Queen era bridges generations seamlessly. Setlists are designed to collide eras—iconic tracks like “Pu**y,” “I Sit On Acid,” and “Crablouse” sit alongside unreleased material that previews what’s next. The focus remains on tension, theatrical presence, and sonic impact, reinforcing the band’s reputation for performances that feel confrontational, playful, and dangerously alive.
The supporting lineup has been curated to match the tour’s boundary-breaking ethos. Dead on a Sunday bring raw, modern gothic energy, while Princess Superstar delivers razor-sharp lyricism and club-ready confidence. Tony and the Kiki add fashion-forward alternative pop flair, and MZ Neon opens each night with pulsing underground electronics. Notably, both Princess Superstar and Tony and the Kiki appear on the forthcoming LORDS OF ACID album, offering fans an early glimpse into the band’s next creative phase—live and unfiltered.
Decades into their career, LORDS OF ACID continue to defy expectations of what an electronic act can be. Loud, visual, provocative, and unapologetically bold, the “Cheeky Freaky Tour” is less about reclaiming relevance and more about proving they never lost it.
LORDS OF ACID – Cheeky Freaky Tour Dates
April 25, 2026 – Las Vegas, NV – Sick New World * April 26, 2026 – Fontana, CA – Stage Red + April 29, 2026 – Grand Junction, CO – Mesa Theater + April 30, 2026 – Albuquerque, NM – Sunshine Theater + May 1, 2026 – Colorado Springs, CO – Black Sheep + May 2, 2026 – Denver, CO – Ritual Noize Fest * May 4, 2026 – Kansas City, KS – Warehouse May 5, 2026 – Minneapolis, MN – Varsity Theater May 6, 2026 – Chicago, IL – Bottom Lounge May 7, 2026 – Detroit, MI – Magic Stick May 8, 2026 – Pittsburgh, PA – Preserving Underground May 9, 2026 – Washington, DC – Union May 11, 2026 – Cleveland, OH – Mercury May 12, 2026 – New York, NY – Racket May 14, 2026 – Atlanta, GA – Masquerade + May 15, 2026 – Orlando, FL – The Abbey May 16, 2026 – Fort Lauderdale, FL – Culture Room May 17, 2026 – Tampa, FL – Orpheum May 19, 2026 – Fort Walton Beach, FL – Downtown Music Hall May 21, 2026 – Houston, TX – Scout Bar May 22, 2026 – Dallas, TX – Trees May 23, 2026 – Austin, TX – Come And Take It Live May 24, 2026 – San Antonio, TX – Paper Tiger May 26, 2026 – Tucson, AZ – 191 Toole May 27, 2026 – Phoenix, AZ – Nile May 28, 2026 – Las Vegas, NV – Swandive May 29, 2026 – San Diego, CA – Music Box May 30, 2026 – Los Angeles, CA – Echoplex May 31, 2026 – San Jose, CA – The Ritz
⚙️ 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. 💀
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.
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.
The second single from j:dead, titled “Disgusting,” lands on January 2, 2026, via Infacted Recordings, marking a sharper, more volatile evolution of the project’s sound and intent.
Following the debut single “Pressure,” which centered on emotional strain and resilience, “Disgusting” turns inward with far less restraint. This release confronts the discomfort of self-awareness—those moments when complacency, emotional stagnation, and repetitive personal patterns become impossible to ignore. It’s not reflective for comfort’s sake; it’s reflective because looking away is no longer an option.
A More Aggressive Sonic Identity
Musically, “Disgusting” pushes j:dead further into industrial-rock territory. Distorted synth lines grind against driving rhythms while raw, unfiltered vocals deliver their message with urgency. The track is intentionally abrasive—designed to hit hard in both club environments and alternative live settings, trading subtlety for impact.
A Campaign Built on Progression
This release emphasizes evolution over repetition. Rather than chasing frequency alone, each monthly release exposes a different emotional and sonic dimension of j:dead.
The result is a project unfolding in real time—growing darker, heavier, and more self-aware with every chapter while maintaining a direct connection with listeners.
Out Sunday, December 21st, 2025, New World Disorder – A Tinnitorturous Sampler arrives exactly when the night is longest—released on all major digital music services and free (or pay-what-you-want) in lossless quality on the artists’ Bandcamps. This is more than a compilation. It’s a ritual, a statement, and a reflection of a year that tested resolve across the underground.
🌘 A Solstice Ritual Forged in Sound
Each year, the winter solstice marks the balance point between darkness and the slow return of light. In that spirit, Tinnitorturous returns with a sampler that channels the weight of the times through industrial, EBM, and alternative electronic expression.
Following last year’s uncompromising tribute Shouldn’t Have Done That – A Depeche Mode Tribute (still available for free on Bandcamp 💀), this year’s release goes deeper. Inspired by real-world events and rising global tensions, a select group of Tinnitorturous artists created brand-new, exclusive tracks—raw, confrontational, and unfiltered.
⚙️ Art as Resistance
New World Disorder stands as a response to a year defined by authoritarian aggression, propaganda, and attempts to suppress liberty. Fascism wears many masks—but the message here is clear: question supremacy, reject dictatorship, and never accept manufactured greatness. This EP doesn’t preach—it confronts.
As the light slowly returns, this sampler carries a faint but defiant hope: that 2026 may arrive with less madness, less bloodshed, and more humanity.
Founded in Denmark, Tinnitorturous is an independent label dedicated to industrial, EBM, and alternative electronic underground music, run by scene-veteran musicians who live and breathe the culture.
Daily operations are handled by:
Jens B. Petersen(ManMindMachine, Negant, more)
Tommy B-Kuhlmann(In Absentia, Negant, Body-Banden, more)
The label has steadily built a catalog rooted in sonic defiance, mechanical rhythms, and uncompromising vision.
🧾 Selected Discography Highlights
From early digital singles like Eisenwolf – Krigskøter (2019) to landmark releases such as ManMindMachine – RetroFuturist, Institute for the Criminally Insane – Ferryman’s Bell, and the 2024 sampler Shouldn’t Have Done That – A Depeche Mode Tribute, the label’s trajectory has been relentless.
The journey culminates—so far—with: V.A. – New World Disorder – A Tinnitorturous Sampler Digital EP | TT-DDEP-07 | Out December 21, 2025
A raw transmission from the inner machinery of the self, “Behind My Eyes” marks a defining moment in the evolution of DarkHeart Syndicate.
DarkHeart Syndicate have officially released their new single Behind My Eyes, delivering a stark, emotionally charged entry into their growing catalog of dark electronic and industrial-infused soundscapes. The track arrives as both a confession and a confrontation—an unfiltered look at the internal battles that rage beneath the surface.
A Glimpse Beneath the Surface
“Behind My Eyes” leans heavily into atmosphere and tension, pairing brooding electronics with a sense of restrained aggression. Rather than relying solely on brute force, the song builds its impact through mood, pacing, and lyrical introspection. It feels claustrophobic by design—pulling the listener inward, into a mental space shaped by isolation, perception, and unresolved conflict.
There’s a deliberate contrast at play: cold, mechanical textures collide with deeply human emotion. The result is a track that doesn’t just play—it lingers, echoing long after the final note fades.
Soundtrack for the Inner War
At its core, “Behind My Eyes” explores the divide between what is shown to the world and what remains hidden. It speaks to survival, endurance, and the quiet strength required to carry unseen weight. This is not a song engineered for surface-level consumption; it’s meant for listeners who resonate with darkness not as spectacle, but as truth.
A Statement Release
With this release, DarkHeart Syndicate continues to sharpen its identity—blending dystopian aesthetics, emotional realism, and a cinematic sense of scale. “Behind My Eyes” feels less like a standalone single and more like a mission statement, signaling deeper narratives and heavier transmissions yet to come.
Fans of industrial, dark electronic, and emotionally driven alternative music will find plenty to dissect here—both sonically and thematically.
This isn’t about fitting into the system or playing along with its rules—it’s about reshaping the landscape entirely and claiming what was never meant to be given.
Deep Dive into the Universe of DarkHeart Syndicate
Time to wake up and smell the dystopia. Twisted Flesh Recordings has just unleashed Redacted, the latest sonic assault from Terrorbit—and it hits like a corrupted data stream ripping through the last illusions of comfort.
Built on crushing industrial rhythms, distorted electronics, and a cold, confrontational atmosphere, Redacted feels engineered for a world drowning in surveillance, misinformation, and systemic decay. Terrorbit doesn’t whisper warnings—they broadcast them at full volume, dragging listeners into a fractured future where truth is fragmented and control is constant.
True to the Twisted Flesh Recordings ethos, this release thrives in the shadows between aggression and precision. Every beat feels intentional. Every texture feels weaponized. Redacted isn’t just a release—it’s a signal flare for those already awake, and a rude awakening for those still asleep.
If you crave dark electronic music that reflects the unease of modern existence without compromise, Redacted delivers exactly that—raw, relentless, and unapologetically dystopian.
No album cycle. No compromises. Just raw, confrontational energy aimed straight at the dancefloor.
🔥 A New Single—And It Stands Alone
MIKROMETRIK has officially unleashed “Ashes of God [Club Mix]”, a standalone release forged to exist outside the upcoming album’s narrative. This isn’t a teaser or a leftover—this track is its own entity, built to hit harder, darker, and more aggressively than anything before it.
⚙️ Harsh Energy. Relentless Intent.
Driven by punishing EBM rhythms and aggrotech ferocity, “Ashes of God” channels unfiltered anti-religion fury into a club-ready assault. It’s confrontational, uncompromising, and designed to burn everything in its path. Expect zero mercy—only impact.
As winter descends across alien terrain, Celldweller opens a shimmering portal between galaxies, holiday nostalgia, and the next era of his sonic universe.
A Holiday Broadcast from the U.S.S. Solaris ❄️🚀
Hovering above the frozen Atirian plains, Celldweller reflects on how a fresh coat of crystalline snowfall can soften even the harshest landscape. From Command Control aboard the U.S.S. Solaris, he uses this rare serenity to deliver a gift to his interstellar listeners: the first two tracks from his growing Offworld Christmas collection.
His blistering, atmospheric renditions of “Silent Night” and “What Child Is This?”—now available everywhere—mark the beginning of a long-term plan to craft a full offworld holiday album, one song at a time. No luck required—just relentless cosmic craftsmanship.
Millions of Streams & A Year of Gratitude 🌌
With 2025 approaching its final checkpoint, Celldweller turns his attention back to you—the listeners who helped push his music into the millions upon millions of streams. Every play, every share, every deep-dive into his sonic architecture fuels the engine behind his galaxy-sized creativity.
New Worlds, New Scores, New Sagas 🎮🔥
The year ahead marks a major turning point. Celldweller now confirms two full game scores have been completed:
Legacy of Kain: Soul Reaver – The Dead Shall Rise
A second, yet-unannounced score dropping in early-to-mid 2026
Whether you’re a fan of the franchises or simply a devotee of dark, cinematic audio, he promises these compositions stand on their own as massive pieces of the Celldweller mythos.
God Mode: The Next Celldweller EP 💀⚡
The next chapter begins with God Mode, a brutal, high-energy EP already pulsing with momentum. The first single “Fakebreaker”—featuring SWARM and REEBZ—has already rocketed to 1.6 million views on YouTube in a single month.
Next up: “Respawn,” now in the final phase of production, vocals locked, arrangements nearly perfected. With luck (or determination), it should reach listeners in early 2026.
Even further down the pipeline is a new track tentatively titled “No Damage,” along with sketches for additional songs. Celldweller assures fans: God Mode is very real—and very imminent.
Scandroid Reawakens 🟥🟦
On the synthwave frontier, the Scandroid universe has been quietly expanding in the shadows. A full album already exists in demo form, with several tracks fully mixed and awaiting deployment.
This era promises the most elaborate world-building ever attempted under the Scandroid banner—an immersive retro-futuristic odyssey set to unfold once God Mode clears its final checkpoints.
Upgrading the Arsenal: Canon R6 mkIII & New Creative Tools 📸✨
After an agonizing internal battle between Canon and Sony, Celldweller made his choice: the Canon R6 mkIII now joins his offworld toolkit.
This means sharper studio content, more detailed behind-the-scenes glimpses, and perhaps… short films. Ambitious? Absolutely. Off the table? Never.
And if you’ve got unused photography or videography gear gathering stardust in storage? Send it into orbit—he’ll put it to work.
Holiday Warmth from the Cold Atirian Surface 🎁🌲
As moonflare pines glow against a bleak alien horizon, Celldweller reminds fans that warm vibes—and holiday sales—await at the FiXT Store.
You can explore Celldweller’s music, merch, and seasonal offerings right here: FiXT Store
Toward 2026 and Beyond 🌠
Celldweller closes his transmission with hope: wherever you roam—Earth, Atiria, or any orbit in between—pause to embrace whatever peace your world can offer. Spend time with family, friends, or your favorite Outland Industries Companion Bot (Series 9 recommended for optimal conversation).
He’ll see you back on Earth in 2026. Until then… sleep in heavenly peace.
Industrial chaos architect CAUSTIC tears open the vault once again, resurrecting the long-buried This Is Jizzcore: PreJizz EPs (2008) — a relic from an era before streaming swallowed the underground.
A Blast From the Filthy Past 🩸
Originally dropped as free downloads on the legendary VampireFreaks platform in late 2008, these early EPs were the feral warm-up before CAUSTIC released the full-length This Is Jizzcore the following year.
For years, these tracks were buried in the digital graveyard, unheard and untouched. Now, they crawl back into the light — unrestored, unfiltered, and unapologetically chaotic.
A Who’s Who of Industrial Mayhem ⚙️
The release features a stacked lineup of remixers from the golden age of online industrial culture, including:
UBERBYTE (RIP Richard)
SKINJOB (RIP Fitz)
UNWOMAN
[SYNDIKA_ZERO]
BETA VIRUS
ALTER DER RUINE
…and more resurrected audio degeneracy
This EP set is more than a release — it’s a digital artifact from a subculture that thrived before algorithms, playlists, and “skip” buttons. A preserved snapshot of industrial’s DIY heartbeat, soaked in noise, humor, and absolute audacity.
MORTAL REALM Invokes Digital Decay with New Single “ROT (And Decompose)” 💀
US industrial force MORTAL REALM returns with a corrosive new offering, releasing “ROT (And Decompose)” on December 5th via Negative Gain — a track that drags listeners deeper into the project’s expanding world of dread-soaked electronic ritual.
A Descent Into Beautiful Corruption 🖤
“ROT (And Decompose)” is a slow, shadow-breathing anthem of erosion and emotional collapse. Built on heavy mechanical pulses, haunted atmospheres, and MORTAL REALM’s signature sonic corrosion, the track feels like a living machine rotting from within — and inviting you to witness every moment of its decay.
The single’s design is intentionally claustrophobic, textured, and immersive, pulling from the raw power of industrial grit while weaving in melodic undertones that linger like ghosts in rusted hallways.
The Mind Behind the Machine: Adam V. Jones ⚙️
MORTAL REALM is the multi-genre, industrial-driven creation of Adam V. Jones, known for his impactful work in Haex and Sterling Silicon.
After carving open a new era of dark electronics with the 2024 debut album Stab in the Dark on Negative Gain Productions, the project has continued expanding its sonic palette — fusing heavy electronics, melodic textures, and esoteric atmospheres into a style that feels both ritualistic and futuristic.
“ROT (And Decompose)” marks one of two new singles arriving in Fall 2025, alongside the emotionally crushing “With a Heavy Heart,” signaling a new chapter of evolution in Jones’s expanding world of digital sorrow and industrial chaos.
Negative Gain’s Arsenal Grows Stronger ⚔️
With each release, MORTAL REALM becomes a sharper weapon in Negative Gain’s dark sonic arsenal. This new single is crafted for fans who crave immersive industrial soundscapes, post-apocalyptic electronics, and emotionally charged decay — a track meant to burrow under the skin and stay there.
UK industrial/electronic force j:dead has launched a massive year-long campaign—12 singles in 12 months—and the first strike has already landed with devastating impact. “Pressure”, released today via Infacted Recordings (DE), arrives as both a mission statement and a warning: expect zero restraint from here on out.
Built on urgency, tension, and raw emotional voltage, Pressure captures everything this campaign intends to deliver. The track radiates immediacy—dark electronics, visceral vocals, and a production style sharpened for both the introspective listener and the dancefloor addict.
The single moves like a psychological collapse in two acts: the first half drifts in with melancholic isolation, quiet tragedy, and emotional fragility… before detonation. The second half hits hard—percussive, aggressive, club-driven, and cathartic. It mirrors the human breaking point: sometimes shattering us, sometimes transforming us.
Musically, Pressure continues j:dead’s evolution toward bigger hooks, darker atmospheres, and increasingly cinematic storytelling. The vocals cut deep while the electronics pulse with a near-mechanical inevitability. It’s a powerful opening salvo for the 12-month series, setting a high bar for what’s ahead.
With performances at Amphi Festival, Wave Gotik Treffen, Plage Noire, and other major European dark-electronic events, j:dead is quickly embedding himself into the fabric of the modern industrial scene. His refreshed sound is wired for live impact, ensuring every upcoming single will land heavy in club sets across the world.
The underground just rumbled — MATT HART has announced his newest descent into dystopian darkness: TALES FROM THE BELOW.
Known for fusing industrial grit, cybernetic atmosphere, and post-apocalyptic storytelling, Hart’s latest chapter promises a heavier, deeper excavation of the world beneath the wasteland. Tales From the Below feels less like a simple announcement and more like a transmission — a warning flare fired upward from the dark.
Expect pounding machines, metallic tension, and narrative shadows that refuse to let go. This is MATT HART at his most expansive and mythic yet.
Check it out now and step into the underworld he’s building.
Confusion Inc. closes 2025 with a final shockwave as Slighter drops a brand-new reimagining of the In Ruins standout: “WORMS (DJ Dub).”
This version hits different — stripped, sharpened, and rebuilt for maximum club damage. Slighter leans into a laser-focused, beat-driven architecture that transforms the original into a venomous dancefloor weapon. It’s darker, tighter, and engineered to move bodies through smoke and strobe.
And for a limited time, Slighter is handing this one out like a holiday hex: FREE to download by entering 0 at checkout. A perfect year-end gift before the project storms into 2026.
Twisted Flesh Recordings cracks open a new abyss today as Against I erupt with their latest sonic offering, Darkness Within — a release carved straight from the marrow of industrial aggression and shadow-drenched atmosphere. This is not just another drop… it’s an invocation. A pulse. A descent.
From the first hit, Darkness Within coils around the listener like barbed wire in slow motion, fusing dark electronics, punishing rhythms, and a sense of dread that feels almost ceremonial. Against I sharpen their sound here — tighter, heavier, more unrelenting — proving once again why they remain a force inside the darker corners of alternative music.
This release is engineered for dim rooms, heavy nights, and those who find comfort where the light refuses to go.
Check out Darkness Within now and experience the fracture point between power, pain, and purpose.
🎶 Listen Now:
Deep Dive into the Universe of Twisted Flesh Recordings
The pulse of a forgotten era roars back to life as SPANKTHENUN unveils “Berlin,” a pure New Beat time capsule forged entirely from authentic 1987 hardware.
The Sound of a Dark Dancefloor Reborn 💀
SPANKTHENUN steps straight into the shadows of electronic history with “Berlin,” the first transmission from their upcoming New Beat Collection: Era 1987. This release is more than a song—it’s a restoration of an era when underground clubs bled smoke, neon, and minimalist mechanical rhythm.
To honor the origins of New Beat, the band turned back the clock and used only gear from 1987—no modern shortcuts, no plugins, no digital gloss. The result? A raw, pulsing, hypnotic groove that feels ripped straight from a European nightclub caught between darkness and desire.
A Refrain That Possesses the Mind 🖤
The mantra at the core of Berlin is as addictive as it is transportive:
“Baby, take me to Berlin.” “Baby, nimm mich mit nach Berlin.”
A bilingual invocation. A looping seduction. A phrase engineered to echo in your skull long after the track stops spinning.
This is the kind of single that doesn’t just play—it haunts.
Industrial-electro giants Combichrist return with a violent, seductive new offering: “Feraline,” the third single from their forthcoming full-length album. Following the crushing intensity of “Desolation” and “RISE,” the band now dives deeper into ritualistic darkness—unveiling a track built for the clubs, the shadows, and the wildness within us all.
A Dark Invocation for the Dancefloor 🌑🔥
“Feraline” is Combichrist in their purest, most feral form: distorted synths, primal rhythms, hypnotic vocals, and a surge of industrial energy sharpened for a new era.
The band’s signature aggression pulses through every beat, paired with a modern electronic edge that guarantees its domination across goth clubs, industrial nights, and festival floors worldwide.
Frontman Andy LaPlegua explains the myth behind the madness:
“Feraline is a Goddess, symbolizing the return to nature — a way to connect to your own feral self, to truly be free from modern-day society.”
Fresh off a blistering Australian tour and a special old-school electro European run, Combichrist continue to build global momentum. Their next album grows nearer—and “Feraline” serves as a seductive omen of what is coming.
The band now prepares for their next conquests:
E-Tropolis Festival 2026 (Germany)
Dark Force Fest 2026 (USA)
Expect sweat, noise, chaos, and a feral transformation under open skies.
About Combichrist 🩸
Founded by Norwegian mastermind Andy LaPlegua, Combichrist have spent more than 20 years reshaping industrial, EBM, and metal with relentless innovation and brutal energy. From legendary albums to explosive stage shows, the band stands at the frontlines of the global industrial movement—fearless, evolving, and eternally ferocious.
With their next full-length album rising on the horizon, “Feraline” is more than just a single—it’s the opening growl of a new beast.
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