Ireland's Ger Eaton shares 'I Thought I'd A Friend', highlighting debut 'Season Changes' album

Irish singer-songwriter Ger Eaton shares 'I Thought I'd A Friend', an enchanting track that highlights his debut album 'Season Changes', recently released via Peckham-based label Dimple Discs. With a rich progression from baroque pop and cinematic balladry to more folk elements, Eaton creates music that is laced with broad orchestral arrangements, drama, and honesty.

Accompanied by an endearing video by Damien Hickey and beautiful string arrangements, 'I Thought I'd A Friend' is the latest in a string of singles that include 'Season Changes', 'Hollow' and 'The Time It Takes To Fall', and recently-released live rendition of 'Phoenix (Reborn)' and 'Season Changes', recorded live at Hyde Dublin.  

A singer and sonic auteur with flair for Renaissance Pop, Ger Eaton is well known in his native homeland as a performer, his distinctive keyboards having graced many Irish bands of the last two decades. These songs carry echoes of Scott Walker, Jimmy Webb, Brian Wilson, Ian Brown and the high melodic heyday of the late 1960s, yet shot through with a contemporary slant and edge.  

"‘Season Changes’ is essentially an old fashioned break-up LP. All of the songs deal with the complexities, both emotional and physical, that come with the ending of a very long and significant relationship. Mirroring the seasons, ‘Season Changes’ charts the often inevitable decay of a relationship, from the glowing bloom of its Spring, gradually ebbing away to its wintery conclusion," says Ger Eaton.

"The songs were written about and recorded during the end of  my marriage, and I decided from the off that the Lyrics would be raw and honest… I felt I owed that much to myself. Musically, I wanted the arrangements and instrumentation to bring a lushness and drama that would wrap the words in the appropriate Musical Cloak ...For me, music has always been a place where I can both lose and find myself… a Solice … my Phoenix."
 
Each new song and accompanying video from Ger Easton has marked an exciting stage in his progress, for which he has received recognition and tremendous support from music writers and radio programmers in Ireland and the UK, and now in America and further abroad.

The 'Season Changes' album is out now on vinyl and CD, and is also available from digital platforms, including Spotify, Apple Music and also Bandcamp. 

CREDITS
All songs written by Ger Eaton
Produced, recorded and mixed by Ger Eaton, Duncan Maitland & Sean Coleman
Recorded at Old County Studios, The House of Horns, Clane HQ and at Ger Eaton's home
Mastered by Anthony Chapman
Cover Illustration and Design by Josh Fogarty
Ger Eaton - vocals, drums, guitars, mellotron, xylophone, sitar, tabla & percussion
Duncan Maitland - acoustic & electric guitars, bass, mellotron & vocals
Sean Coleman - glockenspiel, mini moog, guitars, harmonium  & vocals
Kieran Eaton - flutes & recorders
Ronan Dooney - trumpets & flugelhorns
Graham Hopkins - drums
Gavin Fox - bass
Castle Quartet - Strings
String Arrangements - Andrew Keeling
Released via Dimple Discs. Catalogue No DD 027LP
Publicity by Shameless Promotion PR


Keep up with Ger Eaton
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"Slay Utterly"" by Carrion Vale

Melodic death metal force of nature CARRION VAEL returns with a vengeance on their fifth album, Slay Utterly, to be released through Unique Leader Records on January 16, 2026. Though raw and ferocious at their core, the band weaves intricate technical nuances throughout the album. Punchy riffs and rhythms drive the intensity home, while memorable lead guitar lines and powerful vocal performances leave a lasting impact. Lyrically, Slay Utterly goes above and beyond to immerse the listener in CARRION VAEL's fascination for history and true crime.

CARRION VAEL's technical prowess may take the spotlight on this album, but they are storytellers at their core. Each song on Slay Utterly explores the story of a different serial killer. The perspective jumps between the killer themselves, and the experiences of the victims. On the whole, the album presents a collection of stories delving into the psyches of famous axe murderers, slashers, and other uniquely violent killers throughout history. 

Slay Utterly opens with "19(fucking)78", which instantly sets the tone for the album's intensity and nuance. Featuring layers of technical guitar parts, slam riffs, and clean vocals, the band leaves no skill in their toolbox unused. Lyrically, the song is set in 1970s California; a particularly violent time in history, given the presence of the Hillside Stranglers. The lyrics contemplate issues of nature versus nurture, as well as an obsession with control by any means possible.

Opening with ominous Spanish guitar arpeggios, "Truth or Consequences" tells the story of David Parker Ray, best-known as the Toy Box Killer. Living in the remote deserts of New Mexico, Ray built a soundproof bunker on his land, where he would kidnap women who were passing through. His number of kills remains unknown, though estimates are high. 

"1912" then presents itself as one of the more theatrical and progressive songs on the album. The lyrics tell of an unsolved axe murder that shook the small town of Villisca, Iowa on a hot June night in 1912. To this day, no one knows who really committed the strange and horrific murders of two adults and six children, but speculations abound. The lyrics explore each speculation, varying from train-hopping sociopaths, scorned business associates, or even evangelical madmen.

Fast, heavy, and catchy, "30 on 9" is a quintessential CARRION VAEL track. It delves into various aspects of the mystery of Jack the Ripper, ranging from his true identity, his victims, and the bloody details of his murders. He was believed to have murdered Elizabeth Stride and Catherine Eddowes on September 30th, with this date lending the song its title. 

Guitarist Ryan Kuder shines on "40 Echoes Upon the Parlor", with rapid-fire riffs and blazing lead sections throughout. Clean vocals make a notable appearance in the choruses, wailing spectrally above a mass of blast beats and growls. The lyrics tell of numerous smaller axe murder cases, referencing Lizzie Borden most prominently.

"Lord of 74" opens almost innocently and uncharacteristically for the band, with delicate piano notes and the sound of water dripping in the background. Low, mournful clean vocals build an atmosphere of remorse and anguish until the song explodes into the fury that defines CARRION VAEL. The song tells the story of Joseph Kallinger, a schizophrenic shoe cobbler from Philadelphia who believed that God had sent him to murder every person on Earth... and that with the help of his children, he could complete this task.

"Bisection 47" embodies unrelenting rage from the first note to the last. The song explores the 1947 murder of Elizabeth Short, better known as the Black Dahlia. She was found cut in half (bisected) from the waist, and the identity of her killer remains unknown. The murder has left its mark on history as one of the biggest true crime mysteries to date. 

The final track, "Black Chariot", was originally recorded for CARRION VAEL's album God Killer (2020). As a fan favorite, the band decided to update the song and re-record it for Slay Utterly. Despite the fact that it was recorded for a different album, "Black Chariot" picks up right where "Bisection 47" left off, with layers of vicious snarls and stunning lead guitar work.

About CARRION VALE:
In 2017, brutal melodic death metal storytellers CARRION VAEL set out on a mission to understand disturbing events that may baffle the sane. Each album and each song explores an aspect of true crime history, often focusing on the stories of individual serial killers and their victims. Though this conceptual focus underpins CARRION VAEL's songwriting, they seek to fully utilize all of their skills and talents to ensure that each song develops the sound it needs to tell its story. The band released their first album, Resurrection of the Doomed, independently in 2017, then signed with HPGD Records and released their 2020 follow-up, God Killer. Subsequently, the band signed with Unique Leader Records and released Abhorrent Obsessions (2022) and Cannibals Anonymous (2024). 

With their fifth album, Slay Utterly, on the horizon, CARRION VAEL are set to continue this journey into the monstrous side of the human psyche. Vicious, but surprisingly poignant in just the right dose, Slay Utterly presents an anthology of serial killer stories from significant points in history. The album is certain to enthrall fans of horror, history, and true crime with its vivid portrayals of the minds of both murderers and victims. 

CARRION VALE is:
Travis Lawson Purcell - Vocals
Alex Arford - Bass
Trenton Limburg - Guitar
Ryan Kurder - Guitar
Matt Behner - Drums

Anti-Sapien At The Mercy Of The Merciless

ANTI-SAPIEN return with At the Mercy of the Merciless, a 22 minute blast of sewer-filthy death crust that captures the band in a moment of evolution and escalation. Written on the road and recorded at Growl House Studios for a January 16, 2026 release on Terminus Hate City, the record feels like the point where a pandemic side project that started as a joke has hardened into a focused, relentless, politically furious machine. The songs are still fun, still catchy, still gross and sweaty, but the riffing has become more intricate and the sense of purpose sharper, with the band leaning into real world themes, personal damage, and systemic rot without sacrificing the primal thrill of heavy music.

Opening track “Old Drugs” works as a statement of intent, musically and lyrically. A clipped sample sets the mood, then the song detonates into blasts, double bass breakdowns, and scorching solos that touch on everything the band does best. The lyrics follow someone who cannot stop themselves from using whatever they find at the bottom of the couch or on the street, chasing a high all the way to the edge of death while society judges and discards them. It is fast, ugly, and surprisingly empathetic, and it establishes one of the record’s recurring threads, that loss of control can be internal as much as imposed from above. “Eater of Ghosts” picks up that thread and runs with it at breakneck speed, all tight triplet riffs and hyperactive drumming, tracing late night misadventures in motel parking lots through the eyes of a person who lets alcohol and drugs invite in whatever ghosts want to possess them. The tone is equal parts revelry and horror, a celebration of the dark side that ANTI-SAPIEN clearly sweat bullets to pull off live.

The title track, “At the Mercy of the Merciless”, shifts the record into a mid tempo, knuckle dragging stomp built on a huge drum groove that practically forces a headbang. Here the focus zooms out from individual vices to societal collapse. The lyrics take aim at algorithmic isolation, confirmation bias, and the way people have been divided into echo chambers that make collective resistance almost impossible. The song points a finger at the one percent who profit from this division, but it is just as critical of our own complicity and comfort. As the center of the record it anchors both the sound and the message, tying together the album’s fixation on being trapped, whether by addiction, systems, or our own refusal to act.

“D.E.A.D.” flips the script again, foregrounding the punk and crust influences that run through ANTI-SAPIEN’s sound. A moshy intro and d beat verse, higher register vocals, and a disgusting slam breakdown with 808 bass drops turn the song into a live set highlight. The title stands for “Do Everything All Day”, a phrase handed down from an old friend that the band reshapes into a manifesto against wasted time and hollow, hate filled lives. It is about honoring dead friends by actually living, squeezing meaning and joy out of a world that constantly nudges people toward stagnation. The track also acts as the effective opener to the second half of the EP, written with a side A and side B mentality in mind, and it sets up the flow into the more anthemic “Grinding the System”.

“Grinding the System” is a stadium sized d beat song that leans into a Discharge inspired backbeat, with classic metal dual guitar solos hinting at subconscious Judas Priest or Iron Maiden worship before dropping into a breakdown that is a little cleaner and more melodic than ANTI-SAPIEN’s usual ugliness. Lyrically it is one of the clearest articulations of the album’s political focus, describing workers who keep the machine running for their masters even as hope erodes and debt follows them into the grave. A sound clip about people without hope being easy to control sets the tone before the band tears into lines about false shortages, crisis profiteering, and a species that seems to thrive on self destruction. It is a circle pit anthem with a deep sense of despair underneath, and it gives the record a brief tempo reprieve before the closing track.

“George Washington’s Teeth” ends the EP in a blaze of death metal that nods to bands like Vomitory, Nominon, and Father Befouled, full of tremolo picking, pinch harmonics, and straight ahead violence. The song uses the true story of Washington’s teeth being taken from slaves as an entry point into a broader indictment of American myth making and the way brutality is smoothed over for public consumption. Coins seeping through the eyes, sewer economies, people choking on the suffering they helped enable, it is a grotesque collage that pulls together the record’s concerns with historical lies, present day inequity, and a social body gnawing on itself. Sound clips about Wall Street and government waste inject a darkly comic edge, and a shouted “BITE IT YOU SCUM” courtesy of Roger from No/Más drives the song into a final barrage that feels like a bookend to the whole EP.

Across At the Mercy of the Merciless, ANTI-SAPIEN keep returning to the same tension. On one hand, they are trying to write riffs that feel like comfort and catharsis, something to sweat out to in a packed room. On the other hand, they are unflinching in their critiques of fascism, systemic abuse, exploitation, and the everyday ways people give up their power. The result is a record that is catchy and immediate, but also openly confrontational and political, from the first sound clip about the war on drugs being a war on people to the last reference to being chewed apart by the teeth of empire.

Minimal studio trickery and mostly full vocal and instrumental takes give the EP a live, human feel. Notes bend more with passion than perfection at times, and ANTI-SAPIEN lean into that choice rather than hide it. The band has already proven themselves on the road in the United States and abroad, and here they bottle that momentum into a short, filthy, and surprisingly thoughtful collection that runs from personal self sabotage to global systems of control. For listeners who live somewhere between death metal, crust punk, and hardcore, At the Mercy of the Merciless plays like a fast, furious wake up call, one that invites you to stage dive, circle pit, and then actually think about what you are angry at when the feedback fades.

About ANTI-SAPIEN:

ANTI-SAPIEN formed in Brooklyn in 2021 and grew quickly from a loose pandemic experiment into a touring force known for filthy death crust riffs, sweat soaked shows, and a message that cuts through the noise. The band began as a way for friends to blow off steam and write ugly, fun songs that blended their love of D beat punk, death metal, grind, and the classic New York slam tradition. What surprised them was how quickly audiences connected to not only the heaviness but the honesty. Kids responded to the riffs but also to the moments between songs where the band spoke openly about inequality, exploitation, and the systems that grind people down. That connection pushed ANTI-SAPIEN to take the project further, tighten their sound, and hit the road hard across the United States and eventually through Australia, Korea, and Japan.

Over time the band’s lineup shifted into the current form of Blake Charlton, Alex Fewell, Ryan Murphy, and Nathan Rand, all seasoned musicians with long histories in heavy music. Their combined backgrounds in bands like Ramming Speed, Black Mass, Soul Remnants, and others helped shape the sound into something both raw and disciplined, equal parts crust punk grit and death metal precision. They have played festivals like NEDM Funtime Bonanza and the NYDM International Fest, building a reputation for fast sets, filthy tones, and a refusal to shy away from uncomfortable truths.

ANTI-SAPIEN operate with a clear sense of purpose. They are proudly anti fascist, openly political, and committed to calling out abuses of power while keeping their shows rooted in community and catharsis. The band writes music that is catchy and disgusting, equal parts sewer filth and adrenaline, and they deliver it with the conviction of people who believe heavy music can be fun while still saying something worth hearing. Audiences continue to grow each tour, fueled by the band’s willingness to merge riffs, rage, humor, and a perspective shaped by lived experience.

ANTI-SAPIEN is:

Blake Charlton – Guitar and Lead Vocals
Alex Fewell – Drums
Ryan Murphy – Bass and Backup Vocals
Nathan Rand – Lead Guitar

Connect with ANTI-SAPIEN:

Website: terminushatecity.com
Bandcamp:https://anti-sapien.bandcamp.com/music
E Shop:https://anti-sapien.bandcamp.com/merch
Facebook:https://www.facebook.com/AntiSapienBand/
Instagram:https://www.instagram.com/antisapienband/
YouTube:https://www.youtube.com/@antisapienband
Spotify:https://open.spotify.com/artist/4qq4lPjBPdNmudoOk1CfRZ
Apple Music: https://music.apple.com/us/artist/anti-sapien/1679779909

AGENBITE MISERY - Remorse of Conscience

AGENBITE MISERY is a New Hampshire-based trio whose debut album Remorse of Conscience is one of the most ambitious concept records to emerge from the modern extreme metal underground. Formed in late 2022 by guitarist Sam Graff, bassist Cam Netland, and drummer Adam Richards, the band began with a deceptively simple idea: to adapt James Joyce’s Ulysses into an experimental metal album. What emerged from that idea is a 55-minute odyssey of layered sonic aggression and literary depth, an album that blends blackened sludge, dissonant death metal, post-punk, ambient drone, and more into a singular, genre-defying statement of purpose.

The name AGENBITE MISERY is itself a reflection of the band’s literary roots, pulled from a line in Ulysses that references the 14th-century English devotional text Agenbite of Inwit. The phrase, literally “again-bite of inner wit,” or modernized as “remorse of conscience," became the perfect thematic and philosophical framework for an album steeped in grief, alienation, and the search for meaning in modern life. The band’s name was chosen because it reflects the deep, biting sorrow that pervades the novel and their music. Though the original pronunciation might have been “ah-jehn-bite,” the band opts for a harder, contemporary “ae-ghen-bite” as a nod to their mission of dragging ancient texts into the present.

Remorse of Conscience was written over the course of 2023 and recorded in 2024, entirely self-produced by the band, with mixing by Eric Sauter and mastering by Brad Boatright. The recording sessions were a direct extension of the trio’s collaborative ethos: a commitment to honesty, maximalism, and transformation. Each of the album’s eight songs adapts a chapter from Ulysses, using lyrics pulled directly from Joyce’s prose and reshaping them into brutal, beautiful sonic forms. The band sees each track not merely as a song but as a new translation, an attempt to convert stream-of-consciousness literature into aural energy.

The album opens with "Telemachean Echoes," a short, grinding burst of power violence and hardcore chaos that adapts the novel’s opening scene: Stephen Daedalus waking from a bitter dream of guilt and loss. The lyrics, shouted and whispered, move from internal shame to furious defiance: “Hyperborean scrotum tightening mother killer” to the repeated cry of “Let me be and let me live, Agenbite of Inwit.” It’s a blistering introduction to the world AGENBITE MISERY has constructed.

From there, the album spirals into "Cascara Sagrada," a disorienting piece of blackened death metal that explores the quiet horror of Leopold Bloom’s morning routine. Built on warped time signatures, sliding guitars, and sections that move from Slint-inspired indie to full-blown noise assault, the song captures the mundane terror at the heart of Bloom’s lonely life. Lyrics range from meditations on defecation to biblical hallucinations: “Captivity to captivity, multiplying dying being born everywhere, the grey sunken cunt of the world.”

The centerpiece of the album’s first half is the 13-minute "A Charitable View of Temporary Insanity," a devastating doom-sludge epic based on Bloom’s experience at a funeral. Lurching between minimal ambient textures and towering funeral doom riffs, the song reflects on loss, failure, and the strange bureaucracy of death. The vocals echo with grief: “If little Rudy lived, if I had seen him grown, my son, me and his eyes,” while the final line offers a glimmer of hope: “The blood sinking in gives earth new life.”

At the edge of genre, "Whatness of Allhorse" reimagines post-punk and industrial through a metal lens. With deadpan vocals, massive drum machines, horror-synth textures, and a blackgaze-style climax, the track adapts a scene where Stephen Daedalus debates Shakespearean theory with literary elites. The chaotic freedom of that conversation translates into a song full of bold choices and layered absurdity. “He left her, and gained the world of man,” we hear before the song explodes into shimmering tremolo guitars and a final scream: “But I’ll survive.”

"Bellwether and Swine" brings the record back to pure metal, a pummeling, riff-driven anthem inspired by Bloom’s argument with a xenophobic Irish nationalist. The song weaponizes the tropes of epic metal to mock toxic patriotism, stacking sludgy power chords over blast beats, while spoken word passages echo Old Testament imagery. The narrator’s bile is palpable: “Begob, he got as far as the door. Begob, always some bloody clown or other.”

With "Circe," the band returns to black metal, this time with a psychedelic bent. The chapter in Ulysses this track adapts is a hallucinatory descent into Dublin’s red-light district. The song mimics this spiral with hypnotic guitar lines, overlapping time signatures, and an atmosphere of dread. At the climax, we’re given one of the novel’s most haunting images: “A white lambkin peeps out of his waistcoat pocket.” It’s a fever dream of guilt and memory.

"The Twice-Charred Paths of Musing Disciples" offers a brief, contemplative interlude. Inspired by the penultimate chapter of Ulysses, the piece uses dungeon synth textures and ambient layering to conjure the quiet moment when Bloom invites Stephen to stay the night, and is turned down. The central melodic motif is taken from actual sheet music printed in the text, adapted into a modern drone setting.

The record closes with the monolithic "Mnesterophonia," a sprawling, droning epic that mirrors the novel’s final chapter, told from Molly Bloom’s perspective. Drawing on indie rock, doom, and freeform noise, the track builds from intimate to immense. The lyrics pull from Molly’s internal monologue as she drifts into sleep: “When I put the rose in my hair and how he kissed me and I thought well as well him as another…” The final lines of both book and album, “Yes, I will, Yes”, are screamed over a wall of sound, sealing the record with one of the most powerful emotional moments in modernist literature.

Though Remorse of Conscience is steeped in literary references, its emotional core is universal. At every turn, AGENBITE MISERY seeks to translate not just words but the raw human experience: grief, desire, disconnection, hope. In doing so, they’ve created something greater than a concept album, it’s a reinvention of what metal can do.

There is no other band like AGENBITE MISERY, and no album like Remorse of Conscience. This is a project that refuses to compromise, refuses to simplify, and refuses to be easily categorized. Instead, it dares to ask the same question Ulysses once did: can we still find truth, beauty, or meaning in the wreckage of the modern world? And their answer, it seems, is a resounding Yes. Yes, we will. Yes.

AGENBITE MISERY is a New Hampshire-based trio that fuses literary ambition with the visceral force of experimental metal. Formed in 2022 by guitarist Sam Graff, bassist Cam Netland, and drummer Adam Richards, the band emerged from a shared academic background in literature and a mutual devotion to the most extreme and boundary-pushing corners of heavy music.

At its core, AGENBITE MISERY is a project rooted in transformation. Their work doesn’t merely incorporate influences, it dismantles them, reshapes them, and recontextualizes them within a vision that is as cerebral as it is punishing. Their sound weaves together elements of black metal, sludge, death metal, post-punk, ambient, and noise rock, unified not by style but by intent: to confront, to immerse, and to challenge.

Individually, the members bring a history of musical experimentation: Sam Graff and Adam Richards were longtime collaborators in the avant-garde project UNDER GREEN SUNS and the Boston metalcore outfit VICARIUM, while Cam Netland previously fronted the Connecticut stoner/black metal band COAGULATE. Together, they’ve forged something entirely distinct, a collective voice that draws from their diverse histories but refuses to be defined by any one genre or scene.

AGENBITE MISERY exists at the edge of metal and the margins of modern art, translating abstract ideas into concrete sound with unrelenting force. Whether performing live or recording in isolation, their ethos remains constant: dig deeper, aim higher, and never repeat what has already been done.

AGENBITE MISERY is:

Sam Graff – Guitars / Vocals / Synth
Cam Netland – Bass / Vocals
Adam Richards – Drums / Vocals

Connect with AGENBITE MISERY:

WISHER Unveils “AQUA DE VIDA” — A Bold, Immersive New Chapter That Flows Between Power, Emotion and Atmosphere

WISHER return with “Aqua De Vida,” a striking new single that surges with intensity, texture, and emotional weight—marking a powerful evolution for a band unafraid to let their sound expand, collide, and breathe. Translating loosely to “Water of Life,” the track lives up to its name, flowing between moments of restraint and release, calm and chaos, introspection and catharsis.

From its opening notes, “Aqua De Vida” pulls the listener under the surface. Shimmering atmospheres and hypnotic rhythms give way to crushing dynamics, layered guitars, and vocals that feel both urgent and vulnerable. WISHERblends heaviness with melody, crafting a song that feels cinematic in scope while remaining deeply human at its core.

About Aqua De Vida: 

Inspired by the quest for the Fountain of Youth in Pirates of the Caribbean: On Stranger Tides, this track channels admiration for the characters Syrena & Phillip.

We wrote it for the Disney fans who love the world of Pirates of the Caribbean and metal listeners who enjoy strong riffs and a solid rhythm section.

Promotional photo by Jessica Van Hoose 

WISHER BIO: 

WISHER is inspired by the epic orchestral grandeur of Hans Zimmer, the twin-guitar influence of Avenged Sevenfold, and the vocal majesty of singers like Ronnie James Dio, Christina Aguilera, Ozzy Osborne and a vast variety of different music while the presence of classic heavy metal is always in us.

Our online merch store HERE

LISTEN ON SPOTIFY

Moodring Share "Cannibal" Visualizer

Founded in Florida yet now based in Atlanta, Georgia, Moodring is a nu-metal x alt-rock project led by dynamic frontman Hunter Young.

The band's 2022 debut Stargazer captured attention from the tastemaker crowd, including a 4 out of 5 star review from Kerrang! The band recently signed to SharpTone Records. Today, Moodring have shared the visualizer for the new single "Cannibal." The track has a very late '90s and early '00s hard rock energy, with chunky riffs, kinetic synths, and the expected dark subject matter the Moodring are known for.

Watch it below.

"'Cannibal' was one of the last songs added to record, sonically focused on combining nu metal, alt rock, and industrial dance music," Young says. "The song takes the life and mating cycles of black widow spiders to compare and contrast intimate relationships of our own and how they can be 'cannibalistic,' nihilistic, and ultimately end in demise."

The song is also being used to in the trailer for the new season of the Crunchyroll series Clevatess. Watch it here.

Earlier this year, Moodring shared the video for "Half-Life." Watch it here.

RED SANDS Unleash “The Hunt”

Independent melodic metal band RED SANDS announces the release of their new single “The Hunt,”. The track appears on the band’s highly anticipated EP Evocations, set for worldwide release on January 30, 2026.

“The Hunt” serves as an energetic and subconscious tribute to one of RED SANDS’ favorite metal acts, Iced Earth. Written by Eric Novelo (bass), with arrangements and lyrics by Daniel Novelo, the song blends galloping riffs, urgent pacing, and a sharp melodic edge. Although it is the most traditional track on the EP, it stands out as one of the most vibrant due to its direct songwriting and fast, unrelenting momentum.

Lyrically, “The Hunt” immerses listeners in the brutality and fervor of medieval warfare. While its themes resonate with nearly any era of armed conflict, the song draws particular inspiration from the Battle of Hattin in 1187, where Saladin’s forces defeated the Crusaders and reclaimed Jerusalem. Arabesque guitar solos, atmospheric backing vocals, and intricate sound effects depicting clashing swords and firing trebuchets create a vivid, cinematic portrayal of chaos on the battlefield.

Evocations features six tracks that explore themes of mortality, memory, and transformation. From the ominous opening “Mors Vincit Omnia” to the commanding presence of “The Coven,” the aggression of “The Hunt,” and the introspective melancholy of “My Beloved Ghost,” the EP traces a cycle of creation and decay. At its center is “System,” a new song that confronts modern corruption with sharp lyrical intent and complex musicianship. The artwork, created by vocalist and visual artist Jonathan Corral, reflects the record’s themes through surreal imagery featuring a being made from memories and relics carrying a dying bird on a blank musical score, symbolizing both unfinished creation and impermanence.

RED SANDS is:
 

  • Jonathan “Jona” Corral – Vocals

  • Daniel Novelo – Rhythm & Lead Guitar

  • Eric Novelo – Bass

  • Juan Carlos “CJ” León – Piano & Keyboards

  • Ángel Asiain – Drums


Connect with RED SANDS:
 

GORE. Go Back in Time With GOT-Inspired "Wrath" Video

Texas metal quartet GORE. — vocalist Haley Roughton, guitarist Alex Reyes, bassist Devin Birchfield, and drummer Wills Weller — dropped their latest EP, titled IF YOU DO NOT FEAR ME... earlier this year. Get it here.

The band has also shared the video for "Wrath." Watch it below. 

You will transported to a medieval moment in time, as singer Haley Roughton does battle with an archer and beyond in this gripping cinematic footage. It's giving Game of Thrones vibes.

"The 'Wrath' video is fully leaning into the 'Disney Princess Metal' vibe that the song brings," says Roughton. "I get to be a damsel in distress that gives her soul to a man that was supposed to save her, but ends up stealing her soul away for corruption. I haunt his every waking move afterwards, and eventually cause him to go mad and kill his comrades. This is by far one of the coolest music videos I've ever seen and I'm so grateful that it happens to be ours!"

"'Wrath' is the culmination of resentment, cynicism and fear that was made from the experiences in A Bud That Never Blooms," the band has said about the song. "Between the societal turmoil of 'Doomsday,' the death of romance in 'Babylon,' and the familial heartbreak in 'Heaven Is Above Me,' the human condition can wreak havoc on what was supposed to be stability and peace."

The new EP follows GORE.'s Spinefarm debut, the A Bud That Never Blooms EP (2024), which saw the band tipped as a "Band You Need To Know" by Revolverand described as "cutting-edge modern metal at its most vulnerable" by NME in their 2025 Essential Emerging Artists list.

ABOUT GORE.:
Haley Roughton leads the charge in Gore., a band that brings a distinctly feminine perspective to the heavy music scene. Debuted in 2023 with guitarist Alex Reyes, bassist Devin Birchfield, and now drummer Wills Weller, the Texas-based trio quickly made waves with their emotionally raw and unapologetically vulnerable sound. Their signing to Spinefarm solidifies their place in the industry. Gore.'s A Bud That Never Blooms EP serves as a deeply personal exploration of the complexities of femininity. Tracks like "Babylon" confront the painful realities of womanhood, while "Doomsday" reflects on the desensitization to violence and suffering in today's world. With plans for more music in 2025, Gore. are poised to continue challenging norms and expressing the full spectrum of feminine experience through their powerful sound.

New Miserable Experience (Feat. Members of Rivers of Nihil, ex-Revocation, Rosetta) Share "The Devil We Know" Video —

New Miserable Experience, featuring an all-star cast with members of Rivers of Nihil, Rosetta, ex-Revocation, and Model Prisoner, have revealed their new single "The Devil We Know."

"The Devil We Know" is taken from the band's new album Gild The Lily, due January 23 via Pelagic Records.

Pre-order Gild The Lily and stream "The Devil We Know" here.

Watch the new video below:

New Miserable Experience are a Philadelphia-rooted collective that reshapes heavy-music rigor into expansive, melody-forward songs through alternative synth-rock. What started as a file-trading collaboration between vocalist/bassist David Grossman (ex-Rosetta) and multi-instrumentalist Joshua Mahesh Kost (Model Prisoner) expanded into a full band that now includes Rosetta drummer Bruce "B.J." McMurtrie Jr., technical-metal bassist Brett Bamberger (ex-Revocation), and guitarist Brody Uttley (Rivers of Nihil). 
  
Each member of New Miserable Experience contributes a distinctive sonic fingerprint. The vocals act as the emotional center, delivering lines that feel confessional and immediate; synths and guitars are constructed with shimmering arpeggios and decisive motifs; percussion and production choices blend groove and tension within electronic nuance; and bass work often functions as a countermelody, lifting refrains and anchoring transitions. Together the five players emphasize careful craft over spectacle, shaping a song that rewards patient listening.

Across the twelve tightly arranged tracks of third album Gild The Lily, the band pares its palette to essential elements: clear melodies, precise dynamics, and richly textured production. The album trades overt bombast for craft, building emotional weight through small gestures and patient arrangements rather than moments of spectacle.

Elements of Gild the Lily combine alternative synth rock with chorus-tinted guitars, and a rhythm section that alternates between taut propulsion and roomy, reverb-soaked space. Elements of artists as lauded and disparate as Crosses, Ulver, The Black Queen, and more combine to irresistible effect.

NEW MISERABLE EXPERIENCE ARE: 
Josh Kost — Multi-Instrumentalist
Brody Uttley — Guitar
Brett Bamberger —Bass
David Grossman —Vocals
BJ McMurtrie — Drums

Windswept Resurrect Historic Witch Trials on 'The Devil's Vertep'

In 2017, Roman Sayenko of Drudkh started a new band built on raw black metal. Now, Windswept are casting a cold spell over a dark moment in Ukrainian history with their upcoming third album The Devil’s Vertep.

The Devil’s Vertep come out Friday, December 12, 2026 on Season of Mist Underground Activists, but you can hear all six blazing tracks by listening to the full album stream at Black Metal Promotion.

Listen Below:

Pre-order & Pre-save

https://orcd.co/windsweptthedevilsvertep

Available Formats
CD Digipak
12” Vinyl Gatefold — Black
12” Colored Vinyl Gatefold — Red & Black

Across The Devil’s Vertep, Windswept retrace the witch trials that took place in Western Ukraine between 1753 and 1754. The album blisteringly unfolds across six acts: the grim discovery narrated in “Infanticide,” the escalating procedures of “Investigation” and “Torture & Confession,” the witchdoctor’s craft in “The Potion,” the broader networks of sorcery in “Nest of the Witches,” and the judicial reckoning in “Verdicts.” With a cold hard gaze, Windswept transform archival records into unflinching black-metal.

While The Devil’s Vertep marks Windswept’s first venture into Ukrainian demonology and witchcraft, these themes trace back much earlier in Roman Sayenko’s creative path. In the autumn of 1996, Sayenko began developing an unfinished project titled KOZLONOGYI (Goat-Footed):  a concept rooted in the same folkloric and mythological territory that would later resurface within The Devil’s Vertep. Although KOZLONOGYI never moved beyond a few rehearsals, its sketches and early riffs became the foundation for Windswept’s latest work. By reviving and re-working these ideas nearly three decades later, Sayenko bridges eras of black metal evolution, imbuing The Devil’s Vertep with a distinctly 1990s sensibility and reverence for the early traditions that shaped his artistic identity.

Recorded, mixed, and mastered at Viter Music with production handled internally, The Devil’s Vertep balances immediacy with conceptual cohesion. Its stark presentation reflects the gravity of the source material, while the cover art by Obsidian Bone situates the work in a visual landscape as unsettling as the music itself. By channelling the voices of the past, Windswept expand their raw black metal vision into a work of historical remembrance, turning archival fragments into a haunting artistic statement.

Line-up:
R. — Vocals & Guitars
T. — Bass
V. — Drums

Production Credits:
Recorded at Viter Music. Produced & engineered by R. & V. Mixed & Mastered by V. at Viter Music.

Cover Art:
Obsidian Bone

Edenbridge Release Lyric Video for "Set The Dark On Fire"

Austrian symphonic metal act Edenbridge have released a new digital single and lyric video.

It's the title track — "Set The Dark On Fire" — from the upcoming album out January 16.

Watch the lyric video below. 

With the title track, Edenbridge present one of their fastest songs ever. The band continues to convey confidence without denying dark themes. The songs are earthier and more emotional than ever before, and in many cases, even more aggressive — but never destructive. The transformative power of fire runs like a thread through the entire album, literally making the listener feel the sparks.

Sabine Edelsbacher says, "As a bridge-building force in the musical universe, we stand for transformation rather than escalation. We see ourselves as observers of external events and dedicate ourselves to the underlying issues — inner development and our own effectiveness."

In the gentle passages, the band members are concerned with inner peace and finding insights. These are then presented with full expressiveness.

"When chaos reigns outside, don't get entangled, but go to the zero point, the center," Edelsbacher continues. "The fiery power of the sun immediately rises within you as insight and inspiration. Connected to your inner sun, you rise like a phoenix from the ashes."

Set The Dark On Fire will be released on January 16 through Steamhammer as CD digipak, 2LP gatefold version and digital and can be pre-ordered here.

AGENBITE MISERY Announce Run Of New England Dates

New Hampshire experimental extreme-metal trio AGENBITE MISERY will embark on a four-date Northeastern tour this February in support of their forthcoming debut album Remorse of Conscience. The tour brings the band’s singular fusion of blackened sludge, dissonant death metal, post-punk, and ambient drone to four venues across New England and the Northeast.

  • 2/5 – Blue, Portland ME (with ERGI, INGRATE and BÜZEM)

  • 2/6 – Riverhill Grange, Concord NH (with IMIPOLEX, BENEATH PURGATORY and PERFECT SUFFERING)

  • 2/7 – AS220, Providence RI (with RHIZARIA, CAREGIVER and SATAN WEED)

  • 2/8 – O’Brien’s, Allston MA (with NORTH STAR THE WANDERER, GLOOMLURKER and HEXROT)

The tour is in support of their upcoming album, Remorse of Conscience. Remorse of Conscience adapts James Joyce's Ulysses into eight tracks that merge literary themes with extreme metal. Written in 2023 and recorded in 2024, the album was self-produced by the band with mixing by Eric Sauter and mastering by Brad Boatright. Each track reframes a chapter of the novel as aggressive, atmospheric sound. Highlights include “Telemachean Echoes,” a blast of power violence, “Cascara Sagrada,” a warped meditation on Bloom’s morning routine, and “A Charitable View of Temporary Insanity,” a funeral doom epic. The record concludes with “Mnesterophonia,” which transforms Molly Bloom’s final monologue into a cathartic crescendo.

Though rooted in dense literary reference, Remorse of Conscience aims beyond academia, toward the raw human experience at its core. With this album and their upcoming tour, AGENBITE MISERY present a project that refuses compromise or categorization, instead confronting the question of whether meaning can still be found amid the wreckage of modern life. Their answer is clear: Yes, we will. Yes.

About AGENBITE MISERY:
AGENBITE MISERY is a New Hampshire-based trio that fuses literary ambition with the visceral force of experimental metal. Formed in 2022 by guitarist Sam Graff, bassist Cam Netland, and drummer Adam Richards, the band emerged from a shared academic background in literature and a mutual devotion to the most extreme and boundary-pushing corners of heavy music.

At its core, AGENBITE MISERY is a project rooted in transformation. Their work doesn’t merely incorporate influences, it dismantles them, reshapes them, and recontextualizes them within a vision that is as cerebral as it is punishing. Their sound weaves together elements of black metal, sludge, death metal, post-punk, ambient, and noise rock, unified not by style but by intent: to confront, to immerse, and to challenge.

Individually, the members bring a history of musical experimentation: Sam Graff and Adam Richards were longtime collaborators in the avant-garde project UNDER GREEN SUNS and the Boston metalcore outfit VICARIUM, while Cam Netland previously fronted the Connecticut stoner/black metal band COAGULATE. Together, they’ve forged something entirely distinct, a collective voice that draws from their diverse histories but refuses to be defined by any one genre or scene.

AGENBITE MISERY exists at the edge of metal and the margins of modern art, translating abstract ideas into concrete sound with unrelenting force. Whether performing live or recording in isolation, their ethos remains constant: dig deeper, aim higher, and never repeat what has already been done.

AGENBITE MISERY is:
Sam Graff – Guitars / Vocals / Synth
Cam Netland – Bass / Vocals
Adam Richards – Drums / Vocals

Connect with AGENBITE MISERY:
Bandcamp: https://agenbitemisery.bandcamp.com
Facebook: https://www.facebook.com/profile.php?id=61574211514876#
Instagram: https://www.instagram.com/agenbitemisery/?hl=en
YouTube: https://www.youtube.com/channel/UCwjOZilhkqTRkZHpJJwlbhw
Spotify: https://open.spotify.com/artist/6dYQgCtNvpvNWwfQ06LQQZ
Apple Music: https://music.apple.com/us/artist/agenbite-misery/1716987132
TikTok: https://www.tiktok.com/@agenbite.misery
Ampwall: https://agenbitemisery.ampwall.com/

PARADISE LOST UNVEILS NEW VIDEO FOR 'SALVATION' FROM ACCLAIMED NEW ALBUM 'ASCENSION'

Icons of goth and doom, PARADISE LOST have revealed a new music video for the song ‘Salvation’ from the band’s widely acclaimed new album, Ascension. Directed by longtime collaborator Ash Pears, the stunning, cinematic portrayal of one of 2025’s most haunting tracks provides further evidence of their unyielding creative vision decades into the band’s legendary career.

Commenting on the song and video, vocalist Nick Holmes states:

"Salvation embraces the belief in a higher power and seeking forgiveness for a lifetime of transgression, typically prompted by the approach of death or a significant crisis. However, the video, and given that it is Christmas, takes perhaps a more optimistic view. It portrays the connection between two individuals committed to upholding a beacon, a symbol they will protect until their last breath and pass on for others to embrace. Whether this force is ultimately good or bad will always remain a mystery."

PARADISE LOST’s first album in 5 years, following 2020’s acclaimed Obsidian, was produced by the band’s revered guitarist Gregor Mackintosh and mixed/mastered by Lawrence Mackroryand is adorned with artwork by renowned British artist George Frederic Watts’ classic painting The Court of Death (1870-1902). Their latest, critically lauded masterpiece soaked in misery and grief, soars with song’s like ‘Tyrants Serenade,’ ‘Serpent on the Cross’ and ‘Silence Like The Grave,’ that take listeners on an unforgettable journey through morose despair forged in soundscape of massive riffs and searing solos.

PARADISE LOST will embark on the second leg of their “Ascension of Europe” tour in February. Tickets are on sale now at: https://tix.to/Ascension

Purchase/Stream Ascension: https://paradiselost.bfan.link/ascension

About PARADISE LOST:

More than three decades into their career, and with over two million albums sold, PARADISE LOST remain the undisputed kings of metal’s dark side. Formed in Halifax in 1988, the band quickly became noted as the pioneers of gothic metal through their early groundbreaking albums like 1991’s aptly-titled Gothic, a mixture of heaviness intertwined with shadowy melody and atmosphere.  

Never a group to remain creatively static, across their career they’ve explored a myriad of avenues of dark music, from sludgy doom-death roots, to conquering the metal mainstream with the enormous, lush sounds of 1995’s Draconian Times, to more experimental, electronic leanings, leaving an influence on a trail of artists as varied as CRADLE OF FILTH, HIM, GATECREEPER and CHELSEA WOLFE.  

Now, in 2025, the Yorkshire quintet return with their staggering 17th album, Ascension, a record that sees their crown continue to gleam as it underlines just how they attained their position. Produced by guitarist Gregor Mackintosh at Black Planet studios in East Yorkshire, with drums and vocals captured at NBS and Wasteland studios in Sweden, its 10 tracks traverse the multitude of sounds in the band’s arsenal, from full-bore heavy metal to sky-high melody, all the while keeping a minor-key melancholy that remains irresistible.

Follow PARADISE LOST:

Website | Facebook | Instagram | X | Youtube | Spotify | Apple Music | Bandcamp

ZP Theart (ex-DragonForce, ex-Skid Row) Drops First New Single in 13 Years With "Dark to Light"

ZP Theart has carved out one of the most distinctive vocal paths in modern metal. He first exploded onto the scene as the founding voice of DragonForce, shaping the band's trademark blend of turbo-charged guitars and sky-high melodies. Across albums like Valley of the Damned, Sonic Firestorm, Inhuman Rampage, and Ultra Beatdown, his vocals became the backbone of a sound that pushed the power metal group into the global spotlight and to RIAA Gold and Platinum certification. The era-defining anthem "Through the Fire and Flames" became a worldwide phenomenon, appearing in video games Guitar Hero III, Fortnite, and even the movie Minions 4, while their single "Heroes of Our Time" earned a Grammy nomination, cementing Theart as one of metal's most recognizable frontmen.

After his departure from DragonForce in 2010, Theart launched I AM I, exploring a more hard-rock-driven sound, and briefly joined NWBHM veterans Tank, adding his intensity to their 2015 album Valley of Tears.

In 2016, he surprised many by stepping into American hard rock as the new vocalist for Skid Row. Initially touring with the band, he became their official frontman in 2017 and spent several years performing internationally, injecting fresh energy into their revered live shows. He also ventured into gaming-inspired metal, lending his voice to Riot Games' virtual band Pentakill as the character Karthus on their 2014 album Smite and Ignite, proving his versatility across mediums.

He now shares the video for his new single "Dark to Light," which first new music in 13 years. It was worth the wait. 

Watch the video below:

"This single marks my first solo release, and stepping into this new chapter has been incredibly energizing," Theart says. "I've been collaborating with the ridiculously talented Swiss writer and producer Syndrone and it has opened the door to a sound I've been wanting to explore for a long time. I'm beyond excited to reveal everything I have planned for you all in  2026. Merry fucking Christmas!"

From speed-metal pioneer to hard-rock frontman to digital-era metal icon, ZP Theart has spent more than two decades proving he can command any stage and any genre. His return isn’t just a comeback, it’s the next chapter in a legendary career built on relentless energy and intensity, a visceral force of vocal power and a presence that demands attention, ready to set the world on fire once again.

INDUCTION Premiere Music Video for Furious New Single "Steel And Thunder" from Upcoming Studio Album LOVE KILLS!

After the previously released single "Love Kills" - the album title track of their forthcoming, much-awaited studio offering - power metal frontrunners INDUCTION have shared a music video for the furious new single "Steel And Thunder"! The song is a thunderous tribute to the epic sci-fi classic "Terminator", infused with gritty energy and futuristic darkness, blending crushing guitar riffs with cinematic intensity.
 
“Seriously… who doesn’t love the Terminator series? “Steel And Thunder” is our tribute to exactly that," says INDUCTION guitarist and songwriter Tim Kanoa Hansen. "Terminator played a huge role in shaping my love for sci-fi and continues to inspire Induction both visually and musically. I think this song really captures that vibe. Crank it up and see for yourself, but don’t blame me if it feels like Judgment Day in your living room, and Skynet breathing down your neck.

Stream / Download "Steel And Thunder": https://induction.rpm.link/satPR 

Watch the video clip premiering below:

Following a storm of milestones, including a series of live dates supporting the legendary SAVATAGE, a frenetically acclaimed debut at Wacken Open Air, and the release of fan-favorite singles “Beyond Horizons” and “Dark Temptation”, INDUCTION are firing on all cylinders.

Crafted at Chameleon Studios and Boogie Park Studios in Hamburg, the new album was produced by Tim Kanoa Hansen, and was mixed and mastered by Eike Freese in collaboration with the guitarist. LOVE KILLS! marks the beginning of a new era for INDUCTION, defined by musical evolution, emotional depth, and a fearless drive to push the boundaries of modern power metal!

“For me, this album carries a lot of raw and personal emotion", Tim recently shared. "Life always moved forward, and even in the darkest times, love always found its way back. With LOVE KILLS! we explore the beauty and cruelty of love in a futuristic power metal context. It’s Induction at our biggest, boldest, and most fun yet.”

LOVE KILLS! will be released on February 6, 2026 via powerhouse label Reigning Phoenix Music. Pre-Save / Pre-Order the album now at: https://induction.rpm.link/lovekillsPR

ATAVISTIA Unveil Lyric Video For "Eternal Oceans (Reforged)"

Symphonic melodic death metal band ATAVISTIA return with their reimagined and re-recorded album The Winter Way (Reforged), unleashed today via Blood Blast Distribution. The Winter Way (Reforged) showcases ATAVISTIA’s ability to merge cinematic orchestrations with ferocious metal intensity to form a catalyst for their epic storytelling. The new album is accompanied with a lyric video for the dramatic and enthralling “Eternal Oceans (Reforged)”.

Engulfed in the lyrical theme of a vast, cosmic sea, “Eternal Oceans (Reforged)” sees the pacing become slower with lower-tuned guitars, but without lessoning the power and resonance of the arrangement. The track demanded extreme changes from its original incarnation; the band focused intently on removing unnecessary details so that the most important parts of the song could make the greatest impact. Although the arrangement remains long, the orchestration and atmosphere were completely overhauled, and a guitar solo was added for a sudden burst of energy. It is as dynamic and thrilling as the untamable nature of the open water. 

Originally released in 2020, The Winter Way marked a defining moment for ATAVISTIA’s ambitious fusion of extreme metal and orchestral soundscapes. However, founder Mattias Sippola felt that its execution and production did not live up to his vision for the album. While working on a brand new record, unforeseen delays arose and during this pause, Sippola decided to completely reconstruct The Winter Way from the ground up. This new version is not a remix or remaster but an entirely new recording, featuring reworked arrangements, modern production, and rewritten orchestral and atmospheric elements. Some of the original drum and bass recordings remain but have been refined for tighter performance. The addition of Spencer Budworth’s powerful growls brings an entirely new energy to the mix, elevating the album to new heights.

The Winter Way (Reforged) was produced, mixed, and mastered by Matthew Richard Sippola at Atavistic Studios with engineering support from Maximilian Sepulveda. The recording lineup includes Mattias Sippola on vocals, guitars, orchestrations, and production, Max Sepulveda on drums, Spencer Budworth on backing vocals, and D’wayne Murray on bass. The album artwork was created by Simo Häsänen.

ATAVISTIA lineup:

Mattias Sippola - Guitar, Vocals, Composition, Production
Max Sepulveda - Drums, Engineering
Elia Baghbaniyan - Guitar
Spencer Budworth - Bass, Vocals
 

About ATAVISTIA:

Formed in 2017 in Vancouver, Canada, ATAVISTIA takes their fans on a spellbinding journey though vast sonic landscapes of snow covered forests, desolate tundras, and permafrost-laden landscapes. Fans of WINTERSUN, ENSIFERUM, DIMMU BORGIR, and XANTHOCHROID will be enthralled by the elements of melodic death metal, black metal, and Scandinavian folk that is intricately woven together throughout their diverse soundscape.

Taking inspiration from the majestic natural landscapes of their homeland, earthly seasons, and ancient Norse culture, ATAVISTIA’s grandiose sound matches these lyrical themes in an impressive symphony of destruction. Their debut EP, One With The Sun (2017) introduced their unique blend of beauty and ferocity, which they followed up with a stormy full-length in 2020 through The Winter Way. The next two releases, the full-length Cosmic Warfare (2023) and the EP Inane Duncam (2024), saw the band spreading their wings and exploring a wider variety of influences. Through it all, ATAVISTIA balances graceful melodies with a brutal rhythmic cacophony, swirling elegance and fury together like a ferocious northern blizzard.

On stage, ATAVISTIA is a force of nature, like waves crashing against a rocky shore. Their music washes over audiences worldwide, leaving them gasping for more long after the last note has faded. They have toured Europe twice alongside notable acts such as SKÁLMÖLD, METSATÖLL, and SEVEN SPIRES, and have opened locally for MOONSPELL, ELEINE, and OCEANS OF SLUMBER. ATAVISTIA has firmly established its presence in a niche among a wide swath of metal genres.

Are you ready to lose yourself in the juxtaposition of lush and arid, the dichotomy of hope and despair, and welcome the inevitable and beautiful end?

Capsize Share "The Fracture" Video

Last month, Capsize announced their return with "The Fracture," their first release since signing to Roux & Ruin Records.

The song, produced by Matt Good (From First To Last, Asking Alexandria), twists melody and misery into one — a dark anthem that reminds everyone why people can't seem to look away.

Now they share the official, self-shot video. Watch it Below.

"This song is about taking responsibility for everything in my life, even the things that are out of my control," Daniel Wand previously share about the song's meaning. "I've found holding myself accountable is the only way I've been able to make sense of the aftermath when things fall apart in any category of life. It's about feeling empty from it, and still trying to find some kind of light at the end of the tunnel by being candid about internal struggle. More than anything, I hope it connects with people who can find it relatable, who stuck in their own self-destructive cycles and helps them feel less alone in what they're going through and maybe taking on a similar route to process what they're are going through."

As for the accompanying visual, Wand says, "Maintaining full creative control has always been essential for us. By filming and editing 'The Fracture' ourselves, we were able to shape the visual identity exactly as we envisioned it. Although we've produced in-house content before, this video represents a new level of intention and execution, and we're incredibly proud to share it."

After several years of sporadic single drops, Capsize fans can look forward to a new physical release, on deck for 2026, with more details to be revealed shortly. The next release will be the band's first since A Reintroduction: The Essence Of All That Surrounds Me, which arrived in 2016 via Equal Vision Records.

For now, fans can revel in the melodic maelstrom of "The Fracture."

Caliban Drop "Dear Suffering" (Feat. Andreas Bjulver) Live in Cologne 2025" to Celebrate "Back From Hell (Deluxe Edition)"

Before embarking on the Darkness Over X-Mas tour, Caliban are releasing "Dear Suffering" (Feat. Andreas Bjulver of Cabal) Live in Cologne 2025 (Live Video)."

The song is part of the digital Back From Hell (Deluxe Edition). For the release, the band didn't only capture some songs from their home show in Cologne last summer, but also recorded "Anthem," a brand new song, as well as two cover versions: "You Only Live Once" and "Shout."

The band comments,"'Anthem' feels like the perfect final song in terms of message and vibe — but it's not a goodbye. It's the exact opposite. It's our message to you: A 'thank you' for every year, every moment, every step we've shared together… and for all the ones still to come. You're the reason this band exists. Without you, we're nothing."

Watch "Dear Suffering" (feat. Andreas Bjulver of Cabal) Live in Cologne 2025 (Live Video) below. 

Stream the deluxe edition here.

After a seven year break CALIBAN are also bringing back their very own Darkness Over X-Mas Tour 2025:
Special Guests: Mental Cruelty, Doomcrusher & Strength
12/27 — Saalfeld, DE – Klubhaus (low ticket warning!)
12/28 — Frankfurt, DE — Das Bett
12/29 — Oberhausen, DE — Kulttempel

For over two decades, Caliban has stood as one of the defining forces in metalcore. With their latest album Back From Hell the German band continues to evolve their sound while staying true to the intensity and emotion that have defined their career. Led by founding members Andreas Dörner (vocals) and Marc Görtz (guitar), the band’s current lineup includes new vocalist and bassist Iain Duncan, whose clean vocals, songwriting skills and diverse perspective and experience bring a fresh dimension to their already powerful dynamic. Complemented by longtime drummer Patrick Grün and guitarist Denis Schmidt, Caliban's formidable lineup is poised to deliver a relentless and emotionally charged experience that reaffirms their status as metalcore pioneers.

CALIBAN ARE:
Iain Duncan — Bass + Vocals
Patrick Grün — Drums
Andreas Dörner — Vocals
Marc Görtz — Guitar
Denis Schmidt — Guitar

War On Women Announce Spring 2026 U.S. Tour

War On Women are hitting the road in March 2026. After launching a new chapter with the release of their single "Precious Problem," and teasing more new music coming soon, they are ready to share a live setlist of new and long-beloved War On Women tracks this Spring. 
 
Listen to "Precious Problem" below.

Shawna Potter, vocalist of War On Women, shares her thoughts on the upcoming tour: "I'm so stoked to get back to the west coast! This is our first run of shows with the new album out, so the songs are fresh, and we're excited about them. We spent a lot of time on 'Time Under Tension,' and to finally be able to share it with everyone feels good."

In addition to the tour, "Precious Problem" heralds what is to come — fans can expect a new album from War On Women titled "Time Under Tension" in 2026. More information will be revealed in due course.

ABOUT WAR ON WOMEN
War On Women's band name is the band’s ethos straight from the get. For well over a decade the group has stood at the frontlines of advocacy, communication, and change, shaping songs in reaction to headlines, news pieces, and current events around intersectional communities with the intention of raising awareness and conveying a response based in humanity rather than division. 

War On Women's lives outside of music allow for new perspectives and understanding that not only balances intersectional perspectives, but sonic dynamics that both rage and inform. From the critically acclaimed recordWonderful Hell to performances at Download Fest Australia, Riot Fest, Warped Tour, a D.O.A song on a new tribute record, tours alongside legendary acts such as Alkaline Trio, Bad Religion, Jawbreaker, and more – it's War On Women's lives outside the band that fuses their music with such passion. Vocalist Shawna Potter is an author, advocate, and Intimacy Coordinator' guitarist Brooks Harlandesigns and fabricates guitar amps; bassist Sue Werner is a senior programming analyst at the Johns Hopkins Institute for data intensive engineering and science; and guitarist Jenarchy is a Rock Camp Director. 

TIME UNDER TENSION TOUR // MARCH 2026
18  Pittsburgh, PA @ Little Giant
19  Columbus, OH @ Used Kids Records
20  St Louis, MO @ Duck Room
21   Kansas City, MO @ Recordbar
23  Denver, CO @ HQ
24  Salt Lake City, UT @ The Beehive
25  Boise, ID @ Treefort Music Fest*
26  Seattle, WA @ The Vera Project
27  Portland, OR @ Dante’s
28  Arcata, CA @ Rampart Skatepark
29  Oakland, CA @ Doll Fest*
*No Oceanator 

New Singles From Lionheart

California's hardcore heavyweights Lionheart push their current reign even further and now unleash their brand-new single "Salt The Earth." 

Building on the massive momentum of their recent run — from the comeback strike "Bulletproof" through the pit-igniting "Roll Call," the explosive "Death Grip," featuring Kevin Skaff of A Day To Remember, and last week's powerful title track "Valley Of Death II" – the Oakland band makes it unmistakably clear that this new era is firing on all cylinders.
 

With "Salt The Earth," Lionheart deliver another uncompromising statement, driven by crushing grooves, merciless riffs, and commanding gang shouts that hit with absolute authority. The new single perfectly continues the band’s unstoppable streak and underlines why the response to their recent releases has been nothing short of overwhelming. One track after another, Lionheart prove that they have fully reclaimed their position at the top of modern hardcore.

With pre-orders already in full swing, Lionheart are charging full speed toward the release of Valley Of Death II, set to drop on January 9 via Arising Empire. Serving as the long-awaited sequel to their 2019 fan-favorite, the album promises a darker, heavier, and more aggressive chapter in the band's legacy.
 

To complete this massive cycle, Lionheart will return to Europe in January 2026 for a huge headline tour, joined by Madball, Gideon, and Slope. From the first comeback blow of "Bulletproof" to the latest strike "Salt The Earth," Lionheart leave no doubt: this era isn’t about survival – it's about total domination.

Catch the band live in Europe — more info here.