Shields' New Single "Miss Me" Is Their Tribute to the Unbearably Tragic Loss of a Friend

NEW ALBUM DEATH & CONNECTION OUT JANUARY 30 — PRE-ORDER

Acclaimed British metalcore band Shields have released their new single and music video "Miss Me."

The song is taken from their upcoming studio album Death & Connection, to be released on January 30 via Long Branch Records. 

"We lost someone dear to us. This song is our tribute — a personal account of the unbearably tragic farewell to our friend, George Christie," the band says.  

Stream "Miss Me" and pre-order the album HERE.

"Our new album Death & Connection is a body of work born from the absence of the people who no longer hold space in our lives," comments the band. "This record was created from a necessity to express and soothe our deepest losses; however, that was never the intention — we simply set out to make an album we wanted to hear."

Watch the "Miss Me" music video Below.

Founded in 2012 by primary songwriters Joe Edwards (vocals) and Samuel Kubrick Finney (guitar/vocals), Shields quickly made an impact in the heavy music scene with their viral single "I Just Feel Hate" — a track they re-released in a newly reimagined version in April 2025. Their EP GUILT cemented their refined sound, blending brutal instrumentation with poignant, emotionally driven lyrics. With this release, they demonstrated an aggressive adaptability to the ever-evolving alternative music landscape, winning over fans from across adjacent genres. The momentum of their powerful breakthrough led to tour cycles alongside acts such as Loathe, Ice Nine Kills, and Escape the Fate.

Shields' debut full-length album Life in Exile (2018) received critical acclaim for its raw honesty and musical maturity. However, the album cycle was tragically cut short by the sudden passing of guitarist George Christie — an event that ultimately led to the band's untimely and abrupt disbandment.

Their return marks a bold decision, given the tragic circumstances surrounding their 2018 split. Yet, Shields re-emerge with powerful new tracks, inviting audiences to witness the next evolution of their sound - matured, refined, and fearless. This new chapter is supported by a fortified lineup, featuring founding members Joe Edwards and Samuel Kubrick Finney, now joined by Alastair Wain (drums) and Krishan Pujara (bass).

If Shields' discography is any indication of what lies ahead, audiences can expect a torrent of unrelentingly bold strides into new sonic territories.

More info about Shields on tour in the UK here.

SHIELDS ARE:
Joe Edwards — Vocals
Samuel Kubrick Finney — Guitar + Vocals
Alastair Wain — Drums
Krishan Pujara — Bass

Death Thrash Metal Outfit INTOXICATED Unleashes Vicious New Single, "Shifted Cross"

Florida death thrash metal outfit INTOXICATED will be unleashing their third full-length, 'The Dome,' on March 27, 2026 via Redefining Darkness! The band is now unleashing the vicious second single from the album, "Shifted Cross," which can be found below.

Vocalist/guitarist Erik Payne comments, "'Shifted Cross' was written for the puppeteers. The ones that hide in the night, the manipulative cowards. It's a reminder that we see them and to never get complacent. They as well can be pulverized where they snivelingly hide."

INTOXICATED is a thrash/death metal band from Altamonte Springs, Florida, originally formed in 1993. Led by vocalist and guitarist Erik Payne, the band quickly carved out a place in Florida’s extreme metal lineage, earning early mentorship from Death’s legendary Chuck Schuldiner. Rooted firmly in Florida’s storied death-thrash tradition, Intoxicated’s sound draws natural comparisons to Death, Sadus, and Obituary— as marked by unrelenting speed, sharp riffing, and concise, high-impact songwriting.

'The Dome' is now available for pre-orders in the USA HERE while it's available for the rest of the world HERE.

In addition, INTOXICATED is hitting the road tomorrow, December 5, in support of Obituary's Florida Swamp Tour 2. The trek will kick off in Destin, FL and make its way through the state until the final stops in Tampa, FL on December 13 - 14. The full itinerary can be found below while tickets can be found HERE.

The cover artwork for 'The Dome' was created by Celeste Payne.

Intoxicated is a thrash/death metal band from Altamonte Springs, Florida, originally formed in 1993. Led by vocalist and guitarist Erik Payne, the band quickly carved out a place in Florida’s extreme metal lineage, earning early mentorship from Death’s legendary Chuck Schuldiner. Their first run produced a trio of EPs—.08 (1994), Scars (1995), and Metal Neck (1997)—before releasing their third EP, Drain.

Following their initial rise, Intoxicated went on hiatus as Payne, along with Obituary’s Donald Tardy and Ken Andrews, joined the touring lineup for Andrew W.K. in 1999, a role they held for nearly two decades while performing around the world.

The band reactivated in 2019, returning with the Walled EP (2020) and their long-awaited debut full-length, Watch You Burn (2022). The album showcased the band’s signature blend of ragged thrash aggression and Florida-bred death metal grit. Featuring guest appearances from Ken Andrews (Obituary, ex–Andrew W.K.) and Tony Foresta (Municipal Waste), and produced, mixed, and mastered by Ryan Boesch (Foo Fighters, Andrew W.K.) at Candor Recording—formerly Morbid Angel’s headquarters—Watch You Burn reaffirmed Intoxicated’s place among fans of classic Kreator, Death, Obituary, Protector, and Devastation.

Now, Intoxicated is preparing to unleash their second full-length album, The Dome, on Redefining Darkness Records.

Rooted firmly in Florida’s storied death-thrash tradition, Intoxicated’s sound draws natural comparisons to Death, Sadus, and Obituary— as marked by unrelenting speed, sharp riffing, and concise, high-impact songwriting.

Lineup:

Erik Payne - Guitar/Vocals

John Sutton - Guitar

Shawn Clarson - Bass/Backing Vocals

Colin Vaccaro - Drums

Album credits:

Produced by Ryan Boesch and Erik Payne @ Candor Recording in Tampa Fl

Recorded, mixed and mastered by Ryan Boesch

Cover Artist: Celeste Payne

Formats:

CD

Vinyl

Digital

Pre-orders (Worldwide excl. USA): https://shop.redefiningdarkness.com/

Preorders (USA): https://tornfromthegrave.us/collections/intoxicated

Links:

Official Website

Bandcamp

Facebook

Instagram

YouTube

Spotify

Apple Music

HOKKA UNLEASHES VIDEO FOR SECOND SINGLE 'DEATH BY CUPID'S ARROW'

The story of the warrior and the sensai continues as HOKKA presents their second single, 'Death By Cupid’s Arrow'. Following the powerful debut of 'In The Darkness', the new track expandsHOKKA’s cinematic narrative with intensity, emotion, and epic scale.

'Death By Cupid’s Arrow' is released alongside another epic music video bringing the next chapter of the story vividly to life through striking visuals and dramatic storytelling.

Both singles have already been performed on Finnish national television during the country’s major New Year's Eve broadcast, introducing HOKKA to a nationwide audience and marking a significant milestone for the band.

Joel Hokka comments on the song: 

“Cupid’s arrow to the chest or a knife in the back — it’s all the same. Death by Cupid’s Arrow is a song about the not-so-nice side of love. Time after time, a poor broken heart cries out its pain as it drowns.”

Check out the video Below:

Listen to the single on all platforms: https://hokka.bfan.link/death-by-cupid-s-arrow

In addition, HOKKA has just announced their first live shows for 2026 giving fans the opportunity to experience the power and storytelling of the warrior and sensai saga on stage for the first time.

The first club show:
07.05.26  FI  Helsinki - Tavastia

Confirmed Finnish festival shows:
12. - 13.06.26  FI  Lahti - Kesämössö
27.06.26          FI  Helsinki - Tuska
03. - 05.07.26  FI  Turku - Ruisrock
17. - 19.07.26  FI  Joensuu - Ilosaarirock
23. - 25.07.26  FI  Kuopio - Kuopiorock
25.07.26          FI  Oulu - QStock

line up:
Joel Hokka - voc
Pauli Rantasalmi - guitar
Sampo Sundström - guitar
Jimi Aslak - drums

social media: 
Instagram: @joelhokka @jimiaslak @paulirantasalmi
Tiktok: @joelhokka @jimiaslak.  
YouTube: @hokkasyndicate.    

New Jersey's The Melancholy Kings share 'UV', showcasing new album 'Her Favorite Disguise'

New Jersey rockers The Melancholy Kings kick off 2026 with the single 'UV', a quasi-psychedelic musical journey drawing from Thomas Pynchon’s novel "V", a post-modern homage that follows the enigmatic heroine V and the Whole Sick Crew, brought to life through crunchy guitar riffs, psychedelic keyboards, string interludes, a quasi-rap and a bacchanalian finale.

'UV' is featured on their sophomore album 'Her Favorite Disguise', recently released via Magic Door Record Label. This song features contributions by famed trumpeter Mac Gollehon (David Bowie, Al Jarreau, Duran Duran, Mick Jagger, Hall and Oates), who added his sick improvisations in the outro, cellist Carolyn Jeselsohn, who performs Scott Selig’s Beatle-esqe string arrangements, and vocalist Olivia Selig with some soulful belting at the end of the song.

The Melancholy Kings' core is singer-guitarist Mike Potenza (The Anderson Council, Crash Harmony, BARD, Gramercy Arms) and bassist Scott Selig (Ambulance, Uncle Moon, Deni Bonet Band, Super Tuesday), who met amidst corporate life in Manhattan, learning they were both active in the '90s-'00s NYC indie scene, playing in various "almost-famous" bands, touring and opening for legendary artists. They ultimately rededicated themselves to music, solidifying their lineup with drummer Paul Andrew (Fluffer, Phantom Tollbooth) and guitarist Peter Horvath (The Anderson Council).

"I wanted both the music and lyrics to embrace multiple genres like the book “V” and the main character, who transforms in many unexpected ways.  So we worked in rock, psychedelic, some rap and a classical vibe with the strings and the lyrics being purposefully impressionistic. This song is this kind of mixture with a lot of different things happening, but in the end comes together," says Michael Potenza.

Scott Selig adds, “From the start, we wanted the studio version of this song to have a kaleidoscope of aural ear candy, with trippy effects, multiple guitar layers, electric piano, strings and horns. The song originated as a riff, chord progression and embryonic song structure that I recorded and sent to Mike, who fleshed it out and added the lyrics. The band worked up the final arrangement collectively."

This long-awaited follow up to their 2019 eponymous debut record, 'Her Favorite Disguise' is an unapologetic nod to the rough-hewn '80s pre-grunge alt-rock era. Produced, recorded, mixed and mastered by Ray Ketchem (Guided by Voices, Luna, Elk City, Gramercy Arms, Crash Harmony) at Magic Door Recording Studio in Montclair, NJ, this album also involves Elk City vocalist Reneé LoBue, accordionist Carl Riehl (Michelle Shocked, Uncle Moon), and Ketchem on percussion.

"The video alludes to, without overtly referencing, the characters in the novel “V” – in particular the mysterious title character.  It juxtaposes colorful outdoor band performance footage with black & white vignettes (shot old-school on 16mm film) of a V-like woman from various indeterminate time periods in and around New York City, perhaps engaged in semi-clandestine activities," says Scott Selig.

"Later, they are joined by assorted characters (beatniks, punks, flappers, intellectual revolutionaries, hippies, a Russian spy, a Bierkeller-Madl, a recluse) to form a colorful debauched bacchanal, in an indirect nod to The Whole Sick Crew from the novel. An unforecasted rain shower drenched our party, but I think that ended up contributing to a more absurd and interesting atmosphere. The video concept was fleshed out and brought to fruition with the help of emerging cinematographer Jordan Miller, filmmaker Madeleine Grace Smith as “V”, and our friends and family as The Whole Sick Crew".

'Her Favorite Disguise' taps into the vicissitudes of life in the Big Apple and its homely step-sister across the Hudson, celebrating and cringing at its rich tapestry and follies. 'Bitcoin Elegy' explores the inevitable decline of meaningful personal relationships in the digital age. Jangly guitar rocker 'Victoria' was resurrected from days of wearing down the grooves of their REM and Replacements records. 'Astor Place'recounts the familiar tale of suburban exodus to Jersey's promised land, and 'New Girl' tells the lonely tale of a man hopelessly in love with a film noir siren.

As of January 8th, 'Her Favorite Disguise' is available on limited edition 12" vinyl. Digitally, the album is out everywhere, including Apple Music, Spotify and Bandcamp. The Melancholy Kings perform next in NYC at The Delancy on February 12 and at The Meat Locker in Montclair, NJ on March 21 for their official album release show.

CREDITS
Mike Potenza – lead vocals, lead and rhythm guitars, pedal steel, keyboards & percussion
Scott Selig – electric and upright bass, keyboards, guitar, backing vocals & percussion
Peter Horvath – lead vocals on 9, backing vocals, guitars & percussion
Paul Andrew – drums & percussion
Mac Gollehon – trumpet on 7 & 8
Carolyn Jeselsohn – cello on 3 & 8
Ray Ketchem – various percussion
Reneé LoBue – vocals on 5
Carl Riehl – accordion on 5 & 7
Olivia Selig – vocals on 2, 4, 5 & 8
All songs by Mike Potenza except, Track 2 by Mike Potenza & Peter Horvath;
Track 8 by Mike Potenza & Scott Selig; Track 9 by Robert Pollard
Published by Hamilton Publishing (BMI) © 2025 except:
2 by Hamilton Publishing (BMI) / Peter Horvath (BMI) © 2025
9 by Needmore Songs (ASCAP) © 2022
Produced by Ray Ketchem, Scott Selig & The Melancholy Kings
Recorded, mixed & mastered by Ray Ketchem at Magic Door Recording, Montclair, NJ
Additional recording at The Old Stone House, Maplewood, NJ
String arrangements on Tracks 3 & 8 by Scott Selig
© 2025 The Melancholy Kings
Released by Magic Door Record Label
Cover art by Reneé LoBue
Art & design by Ray Ketchem
Photo on LP sleeve by Sonya Selig
Video directed by Scott Selig & Jordan Miller
Director of Photography: Jordan Miller
Video edited by Scott Selig
Publicity by Shameless Promotion PR

Keep up with The Melancholy Kings
Website | Bandcamp | Facebook | Instagram | Twitter | Soundcloud | YouTube | Apple Music | Spotify | Press contact

Keep up with Magic Door Record Label
Bandcamp | Facebook | Instagram | Soundcloud | YouTube | Magic Door Studio | Press contact

Keep up with Shameless Promotion PR
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The Hirsch Effekt Explore A Less Melancholic Theme With Video for Emotional Single "Die Brücke"

Today, German rock/metal trio The Hirsch Effekt present the new single "Die Brücke."

It's the third track released from the new studio album Der Brauch, which arrives January 30 via Long Branch Records.

"Meiner? Ebenso. Viel zu lange wach schon. Echt K.O. Und bei dir? Gehst du noch raus? Jetzt noch?"

"'Die Brücke' — matching the music — takes on a less heavy theme," says singer Nils Wittrock. "It's more of an every day scene. Two people meet at home after a long day and ask each other how it went. One decides to go straight to bed. The other chooses to keep working. Amidst the every day stress, the protagonist — realizing how much the close environment depends on him — tries to remain a safe harbor."

Watch the "Die Brücke" video Below. 

Stream the new single and pre-order the album HERE.

Since their formation The Hirsch Effekt have carved out a unique niche in the German-speaking music scene. Yet, despite — or perhaps because of — their elusiveness, the band has captivated a devoted audience. Musically, The Hirsch Effekt have always embraced limitless possibilities. Acoustic, introspective moments — where bassist Ilja John Lappin brings out his cello or guitarist Nils Wittrock returns to his classical roots — sit naturally alongside massive progressive metal onslaughts.

While earlier works, despite their diversity, were still labeled "metal albums," this new record explores paths first hinted at on the multilayered second album, Holon: Anamnesis — the same album that fans of VISIONS magazinevoted the only German-language entry among the 20 best albums of all time. Der Brauch can be seen as a return to that pivotal point - and simultaneously as a bold step forward. Drummer Moritz Schmidt doesn't entirely forgo blast beats, but the record demands a new heading. In the end, though, there is only one truth: It unmistakably sounds like The Hirsch Effekt.

THE HIRSCH EFFEKT ARE:
Nils Wittrock — Guitar, Vocals
Ilja John Lappin — Bass, Vocals
Moritz Schmidt — Drums, Vocals

SYLOSIS - Drop Devastating Second Single 'Erased' From Forthcoming Album 'The New Flesh'

Late last year, SYLOSIS almost left a rift in the cosmos with furious track 'The New Flesh'. Now they're back for blood, delivering devastating second single 'Erased'.

'Erased' is taken from their upcoming seventh studio album, The New Flesh, slated to drop on February 20th via Nuclear Blast Records. The New Flesh is a towering testament to destructive riffing, incisive melody and refined brute force.

SYLOSIS stated,
"Erased was one of the last songs to be written for the album. As we were approaching the deadline to get everything submitted there was a pressure there that really helped shape this song into something special. There's a massive chorus here and one of our favourite middle 8 sections that we've ever put together. We can't wait to play this one live."

Pre-order album The New Flesh here: https://sylosis.os.fan/
Watch the 'Erased' video below:
Stream 'Erased' here: https://sylosis.bfan.link/erased 

Across January and February 2026, SYLOSIS will be tearing across the UK and Europe for their biggest ever tour.

Tickets on-sale now via https://sylosis-band.com

SYLOSIS will also be touring North America across April and May 2026 with Bleed From Within, Great American Ghost & Life Cycles. Full dates are here:

NORTH AMERICA 2026
w/ Bleed From Within, Great American Ghost & Life Cycles

02.04 - Worcester MA, The Palladium
03.04 - Montreal QC, Theatre Beanfield
04.04 - Toronto ON, Opera House
06.04 - Philadelphia PA, Theatre of the Living Arts
07.04 - Lakewood OH, The Roxy
08.04 - Millville PA, Mr Smalls
10.04 - Detroit MI, St Andrew’s Hall
11.04 - Grand Rapids MI, Elevation
12.04 - Chicago IL, House of Blues
14.04 - Minneapolis MN, Varsity Theatre
15.04 - Lincoln NE, Bourbon Theatre
17.04 - Englewood CO, Gothic Theatre
19.04 - Boise ID, Shrine Social Club
20.04 - Seattle WA, The Crocodile
21.04 - Portland OR, Hawthorne Theatre
22.04 - Roseville CA, Goldfield Trading Post
24.04 - Los Angeles CA, The Regent Theatre 
25.04 - Pomona CA, The Glass House
26.04 - Phenoix AZ, Crescent Ballroom
28.04 - Austin TX, Come and Take It Live
29.04 - Dallas TX, Granada Theater 
01.05 - Tampa FL, The Orpheum
02.05 - Atlanta GA, The Masquerade (Hell)
03.05 - Greensboro NC, Hangar 1819
05.05 - Richmond VA, Canal Club
06.05 - Baltimore MD, Nevermore Hall
07.05 - New York NY, Gramercy Theatre

Tickets on-sale now via https://sylosis-band.com

When the going gets tough, metal gets heavier. SYLOSIS have always been devoted to the fine art of breaking necks, but in recent times, the urgency of their mission has grown exponentially. Still surfing on a wave of acclaim and the effusive fan response to their last album, 2023’s A Sign Of Things To Come, Josh Middleton’s virtuoso wrecking crew are poised to release their latest and best album, The New Flesh. A towering testament to destructive riffing, incisive melody and refined brute force, the band’s seventh full-length offering is a powerful showcase for the state of SYLOSIS in 2025: lethal, uncompromising, and avowedly metal as all hell.  

The New Flesh is a fearsome statement of renewed intent. Harder, heavier and more ruthless than its predecessor, it is full of the kind of explosive, riff-driven anthems that guarantee carnage in the pit. But this is no exercise in mindless bludgeon: instead, Josh Middleton has penned his most evocative and thought-provoking songs to date. From the punishing grooves and breakneck viciousness of the opening 'Beneath The Surface', to the epic conflagration of album closer 'Seeds In The River', The New Flesh is an artful and nuanced take on the pure metal that SYLOSIS hold close to their hearts. This is brutality and catchiness in perfect symbiosis.   

Dark and destructive, but dynamic and diligent, SYLOSIS are on blistering, career-best form on The New Flesh. The purposeful reset that began with The Sign Of Things To Come has evolved into something unstoppable, and the band’s latest work brims with confidence and authority. If it’s skull-shattering, 21st century heavy metal you want, The New Flesh brings it like never before.  

Cosmic Inheritance And Inescapable Darkness As PROFANE ELEGY Unveils “Immutable

Independent black metal band PROFANE ELEGY unveils “Immutable,” a stark and uncompromising new track that delves into the shadowed realities of human inheritance and cosmic fate.

“Immutable” explores the negative attributes, conditions, and pathologies that are etched into us at birth. It reflects on the idea that existence itself is governed by a cruel balance of blessing and curse, with cosmic luck determining the circumstances, traits, and burdens we are born into. While growth and transformation remain possible, the song confronts the unsettling truth that the darkness within us can never be fully erased, only understood and endured.

Musically, “Immutable” channels PROFANE ELEGY’s raw black metal intensity, pairing aggressive ferocity with a contemplative undercurrent that mirrors the song’s philosophical weight. The track stands as both a personal reckoning and a universal meditation on inevitability, decay, and the limits of escape.

“Immutable” is the latest preview from the forthcoming album Herezjarcha, set for release on January 30, 2026. With this release, PROFANE ELEGY continues to carve a path defined by bleak introspection, unfiltered emotion, and a relentless commitment to confronting the darker truths of the human condition.

For listeners drawn to uncompromising black metal that faces existence without illusion, “Immutable” offers a haunting glimpse into what awaits on Herezjarcha.

About PROFANE ELEGY

PROFANE ELEGY is a black metal band from Bangor, Pennsylvania, formed in late 2021 by guitarist J Gulick and vocalist Mikael L. Originally conceived as a two-man studio project, the band quickly evolved into a full lineup with the addition of bassist David G and drummer Sean M in 2023. What sets PROFANE ELEGY apart is their refusal to remain confined within genre boundaries—while rooted firmly in black metal, their sound incorporates elements of death, doom, and progressive metal, often enhanced by orchestral arrangements and clean vocals.

The band’s debut album When All Is Nothing (2023) was released independently and drew attention for its blend of atmospheric aggression and emotional vulnerability. The release earned praise for its ability to move fluidly between blistering speed and melancholic melody, with Doom Heart calling it “a massive Doom delight.” Following the album’s release, PROFANE ELEGY made their live debut and began performing across the northeastern United States, including a notable support slot for Dark Funeral in late 2024.

Lyrically, the band explores themes of nihilism, mortality, philosophy, and religious symbolism, often invoking figures like Satan not as dogmatic statements, but as metaphors in a broader spiritual and existential dialogue. Their work is poetic, introspective, and often challenges the listener to confront uncomfortable truths about life, death, and belief.

Their upcoming full-length album Herezjarcha, set for release in January 2026, represents the band’s most ambitious and expansive work to date. With a more dynamic sound, deeper orchestration, and a clear conceptual throughline, the record pushes their sonic and thematic boundaries further than ever before. The album title, the Polish translation of the English word heresiarch (meaning arch-heretic), encapsulates the spirit of the band: rebellious, introspective, and unafraid to question the sacred.

PROFANE ELEGY continues to forge a unique path within the underground metal scene. Blending bleak intensity with philosophical weight, they aim not just to be heard—but to be felt.

VOICES OF EXTREMES Release the Music Video for “Stoned Babies” the First Single from the Upcoming Album “Faith In Action” Featuring Rod Morgenstein on Drums

VOICES OF EXTREME have released a performance music video for their first single “Stoned Babies”, taken from their upcoming full-length album ‘Faith In Action’ due out in 2026. Legendary Winger/Dixie Dregs drummer Rod Morgenstein says that he's “Really pumped about the premiere of ‘Stoned Babies’, the band’s first video from our debut album, ‘Faith in Action’, on BraveWords Records. Hope you dig watching the band in action!”

Powerhouse vocalist Don Chaffin and bassist Paul Ranieri from the band add, “We’re so excited to unveil the video for our first single, “Stoned Babies” from our upcoming new album. It shows not only what this new lineup of Voices Of Extreme sounds like, and now what we look like! We’re hitting the road with a bunch of live dates which will be announcing soon but I can’t think of a better way to start a brand new year with a killer first video and album to come.”

Iridium Rock and Metal Reviews heard the first single “Stoned Babies” and fell in love with it… “I love it, I absolutely love it… I can’t believe the vocals, they just blow me away… I love everything about it… Can’t wait to hear more from them… Fucking brilliant… Beautiful song.”

Watch VOICES OF EXTREME “STONED BABIES” Official Music Video Below

VOICES OF EXTREME “Stoned Babies” Lyric Video: https://youtu.be/ymIO7XC6pQ8

VOICES OF EXTREME “Stoned Babies”, stream the single: https://smarturl.it/VoxStonedBabies

 

Links:

https://voicesofextreme.com

https://www.facebook.com/VOICESOFEXTREME/

https://youtube.com/@voicesofextremetv

https://www.instagram.com/voicesofextreme/

https://x.com/voicesofextreme

https://www.bandsintown.com/a/2199204

About BraveWords Records:

BraveWords Records has released albums by Alcatrazz, Bangalore Choir, Paul Di'Anno's Warhorse, The Chris Slade Timeline, Rhett Forrester and Rob Robbins, Prophets of Addiction, Jack Starr, ASKA and future releases from Lillian Axe, Crimson Glory.

DISTANT RELEASE VIDEO FOR NEW SINGLE "NOTHING LEFT TO HATE"

After releasing "Desolation" in October, the Netherlands Dutch/Slovakian down-tempo x deathcore band DISTANT are dropping the new single, "Nothing Left To Hate." Watch the video Below.

The band comments, "'Nothing Left To Hate' is DISTANT at full destructive force — thicker riffs, deeper grooves, and a raw dive into self-destruction and chaos. The track is made for circle-pits, rage workouts, and letting the anger out."

The single lands right before DISTANT join Sylosis for a massive EU tour starting January 16, placing the band in front of thousands of new fans across Europe.

In the past two months, DISTANT played the Evisceratour with Ingested and Ov Sulfur in the USA and Canada as well as their own Dutch Xmas Special with Cabal and local supports to help their native scene.

DISTANT have become one of the prominent faces of European Deathcore. Melding together brutal death metal, slam, noise and beatdown with a hyper-dissonant orchestra of impending doom, they've come eons since their origins as metalcore obsessed friends in Rotterdam and Bratislava.

All The Damn Vampires Close The Vicecore Story With New Single "Sunset Over The Final Chapter" Featuring Miles Dimitri Baker (Ice Nine Kills)

Los Angeles-based synthwave-meets-alternative-metal pioneers All The Damn Vampires drop "Sunset Over The Final Chapter" today, the album-closing track from their highly anticipated debut VICECORE (out February 6th). The single marks a pivotal moment for the project: the first proper introduction of guitarist and official live member, Miles Dimitri Baker (Ice Nine Kills) to All The Damn Vampires fans, and the emotional culmination of the story woven throughout the album.

Fans can stream "Sunset Over The Final Chapter" HERE, watch the live performance video Below, and pre-order VICECORE on vinyl .

Where previous singles "Last Man Standing" and "Into The Night" leaned into AI-generated visuals, "Sunset Over The Final Chapter" brings the band into sharp, tangible focus. The video splices smoky, neon-drenched band performance footage with cinematic shots of a young woman looking out over Los Angeles from the Hollywood Hills—a visual representation of the album's themes of longing, closure, and release. It's intimate and atmospheric, grounding the project's retro-futuristic world in raw human emotion.

Speaking on today's release. ATDV founder, songwriter, producer and guitarist - Davey Oberlin - shares

"'Sunset Over The Final Chapter' is not only our way of introducing guitar virtuoso Miles Dimitri Baker to our All The Damn Vampires listeners, but it closes out the story being told throughout our VICECORE album.It's the culmination of a delicate blend of synthwave and heavy that will define the direction going forward for ATDV."

Miles Dimitri Baker also adds

“So stoked on this track and video finally coming out. I really like how the solo turned out and it’s awesome to be doing something not only with my friends, but musicians I respect.”

Musically, "Sunset Over The Final Chapter" delivers everything that's made All The Damn Vampires compelling: vintage synthwave textures colliding with crushing alternative metal, industrial elements threading through the arrangement, and gut-punch beatdowns that hit like emotional catharsis. But it's Baker's incendiary guitar solo that elevates the track into something transcendent. Dripping with emotion and technical firepower, the solo showcases a different facet of his exceptional talent that may pleasantly surprise fans who are only familiar with his work in Ice Nine Kills. Powerhouse vocalist, Ryan Rose delivers one of his most vulnerable performances yet, his classically trained voice cutting through the dense production with raw intensity.

Throughout VICECORE, there's a story being told. A narrative that unfolds across reimagined covers (Benny Mardones' "Into The Night," Whitesnake's "Is This Love," Phil Collins' "In The Air Tonight," Cutting Crew's "(I Just) Died In Your Arms") and original tracks that blur the line between the two. "Sunset Over The Final Chapter" brings that story to its conclusion, leaving listeners to piece together the details themselves.

"Throughout the VICECORE album there is a story being told," Oberlin explains. "It's up to the listener to pinpoint exactly what is being told—we're just providing the paintbrush and canvas. This song closes out the story with subtle direction, where we see ourselves walking away from a day that never seems to end, finally letting this next sunset be its last."

Recorded over 18 months and entirely self-produced by Oberlin, VICECORE also features contributions from synthwave producer Sunglasses Kid on the title track and a blistering guitar solo from virtuoso Andy James on "Is This Love." The album's aesthetic draws from Miami Vice, hardcore merch culture, and Los Angeles gang imagery, filtered through Oberlin's deep love of film soundtracks and a childhood spent obsessing over Type O Negative, Korn, and Alice in Chains.

All The Damn Vampires has already carved out a lane at the intersection of heavy music and visual media. The project's music has appeared in cult horror film Terrifier 2, while Oberlin's collaboration with Avenged Sevenfold on a reimagined version of "Ordinary", which he produced and co-wrote, debuted via a secret Fortnite puzzle. With over 12.7 million cross-platform streams and 2.14 million YouTube views to date, All The Damn Vampires continues to build a world where nostalgia can be cinematic, crushing, and transformative.

ABOUT ALL THE DAMN VAMPIRES

All The Damn Vampires is more than a music project. It’s a cinematic world crafted by musician and producer Davey Oberlin. Built on a foundation of synthwave, goth metal, and cinematic sound design, the project evokes neon‑drenched cityscapes, emotional storytelling, and an unapologetic embrace of retro‑futuristic aesthetics.

Oberlin’s musical pedigree adds depth to the project. Having performed and toured with legendary acts like Korn, Five Finger Death Punch, and Winds of Plague, he brings a unique perspective that fuses heavy music sensibilities with lush, melodic synth textures. This balance of grit and atmosphere has become a hallmark of All The Damn Vampires.

The project’s reach has extended into visual media, with its music featured in films such as the cult‑favorite Terrifier 2, connecting the sound of All The Damn Vampires with horror and synthwave subcultures worldwide.

Further elevating the project, Oberlin collaborated with Avenged Sevenfold on a reimagined version of their song “Ordinary.” Serving as both producer and co‑writer, he infused their track with his distinctive sonic vision, melding synth‑pop vibrancy with the band’s powerful rock identity.

Whether crafting immersive soundscapes or collaborating with some of the biggest names in modern music, All The Damn Vampires continues to push boundaries. Delivering beautifully evocative music that’s as cinematic as it is unique and unforgettable.

Bizarrekult Haunt Hopes and Dreams on New Single “Drøm”

Without breaking, Bizarrekult continues to bend black metal’s traditions by honing its mastermind’s singular, tortured vision. Much like Roman V.’s two previous retreats into the studio, his upcoming third album slowly and painstakingly emerged from a deeply personal crisis. Only this time, he’s not alone in confronting all there is.  

Today, Bizarrekult is releasing the second advanced single from Alt Som Finnes (All There Is). While hounded by a familiar sense of dread, “Drøm” (Dream) escapes by following the mysterious call of Predatory Void and Cross Bringer vocalist Lina R. before the darkness closes in once more.

“Chased like a hunted beast, you run in haste, all your life, only to lose that crazy race”, Roman says about the inspiration behind “Drøm”. “It’s only in your dreams that you remember who you are and what your purpose is. Only in dreams are you yourself. But there is no place to hide when you are awake”.    

Watch the haunting video for “Drøm” below;

Alt Som Finnes comes out February 20, 2026 on Season of Mist Underground Activists.

Pre-order & Pre-save

https://orcd.co/bizarrekultaltsomfinnes

In keeping with Norwegian tradition, Alt Som Finnes (All There Is)maintains the manic energy of old-school black metal. Chased by frantic riffs and horrified screams, there’s no escaping “Drøm”. The song’s video brings its mental prison to life. A woman breaks free from her captor, only for him to hunt her down through the woods. But in a strange twist of fate invoked by Lina R.’s heavy, sighing incantations, she escapes once again. Or does she? As blast beats pound away at the dreamy passage carved out by the guitar melody, she’s left to ponder whether her scars will ever heal.    

“I was not ready for all this”, Roman says about Bizarrekult’s new album. “None of us are, when the time comes. But at the end of this journey, it seems to have all been worth it. The music gave me hints as to where to go and what can be”.  

The video for “Drøm” was directed by Natalia Drepina (@mourneress). It stars Pavel V. Boldyrev (@somebodyawful) and @dustofreason.

Line-up
Roman V. — Vocals
Ignat P. — Guitars & Bass
Alexander P. — Drums

Production Credits
Recorded at Seaside Room.
Produced, mixed & mastered by Miguel Tereso at Demigod Recordings, Portugal.

Guest Musicians
Yusaf "Vicotnik" Parvez (Dødheimsgard) — Vocals on "Blikket Hennes"
Lina (Predatory Void / Cross Bringer) — Vocals on "Drøm” (Recorded by Tim De Gieter)
Kim Song Sternkopf (Møl) — Vocals on "Tomhet"

Cover Art
Gravestench Art (https://www.instagram.com/gravestench_art/)

Photography
Radmila Volchenkova

Available Formats
CD Jewelcase

12” Vinyl (Black)

12” Vinyl (Purple, black and white marbled)

Pre-save & Pre-order 

https://orcd.co/bizarrekultaltsomfinnes

Follow Bizarrekult
Bandcamp: https://bizarrekult.bandcamp.com/
Facebook: https://www.facebook.com/bizarrekult/
Instagram: https://www.instagram.com/bizarrekvlt/
Spotify: https://open.spotify.com/artist/6Cj4Bc1WpdNZhGcKyQfWci/
Apple Music:https://music.apple.com/artist/bizarrekult/1455860457 Deezer: https://www.deezer.com/artist/11699593

Freedom Call Release Video for New Single "Heavy Metal Happycore" (Feat, Petri Lindroos of Ensiferum)

German "Happy Metal" pioneers FREEDOM CALL have released the video for their new brand new single "Heavy Metal Happycore" today. The song features Petri Lindroos of Ensiferum.

 

Singer/guitarist Chris Bay says, "The brand new song 'Heavy Metal Happycore' was born from the idea of creating a superlative to the musical style 'Happy Metal.' With 'Heavy Metal Happycore,' Freedom Call, known for their extremely melodic and catchy metal music style combined with positive and life-affirming lyrics, has created an additional and previously unprecedented and concise trademark. With the overwhelming images of our incredible audience in mind, we set out to write a song that immediately engages the listener and highlights all the typical elements of our musical style ...a song that ultimately leads us to a new era of Happy Metal — HAPPYCORE!"
 

The song is available on all digital platforms HERE.

Watch the video Below.


Don't miss Freedom Call on tour with Ensiferum and Dragony starting in Heidelberg, Germany today. Tickets are available HERE.

NYC artist NEVARIS shares 'Ninth Sun - Live', previewing 'SoundSession' EP, involving BILL LASWELL

Manhattan-based artist Nevaris presents 'Ninth Sun-Live', the first offering from his new 'SoundSession' EP, a fruitful and soulful live recording that combines dub, funk, Afro-Latin rhythms, turntablism and extended improvisation. This follows his 2023 debut 'Reverberations' album, released via M.O.D. Reloaded, with the one and only Carlos Santana calling it "a work of supreme creativity”. 

A live studio recording from percussionist Agustín Nevaris, and a nine-piece ensemble that includes DJ Logic, Jonathan Maron, Angel Rodriguez, Will Bernard, Peter Apfelbaum,  Jojo Kuo, Lockatron and Matt Dickey, 'SoundSession' is the fourth collaboration between Nevaris, legendary bassist-producer Bill Laswell, and this lineup of musicians. 

Captured in Laswell’s Orange Sound studio in West Orange, New Jersey, this EP was recorded live in a single session on May 30th, 2023. Originally planned as a streaming virtual performance, the band scrapped that idea to instead focus on the simplicity of playing live with multiple cameras documenting the process. There were no edits or overdubs to the recording, and all instruments were captured synchronously in real time. The result is 'SoundSession'.

Recorded and mixed by James Dellatacoma and mastered by Michael Fossenkember at Turtletone Studios, this recording features interpretations of music previously written by Nevaris and Bill Laswell, including specific basslines that were written by Laswell, which bassist Jonathan Maron learned and performed when Bill was unable to participate in the recording for health reasons.

"SoundSession is about playing together live without being stressed by ticket sales or a venue accommodating so many musicians. Bill Laswell's studio in West Orange, New Jersey has always been an inspiring place with so much history. (It was built for Franki Valli originally.) The live room is something magnificent. We had never used it in a way that fully took advantage of it," says Nevaris.

"So this was a chance to do so, using the full space of this sizeable room. From the first notes, we could tell there was something good happening. And the recording documents it exactly as it was, with no overdubs or edits. Every note feels right from my perspective; exactly how it happened in real time."

Agustín Nevaris is a percussionist, keyboardist, vocalist and composer, heavily influenced by Afro-Latin, dub, and funk music. From the Upper West Side of Manhattan, Nevaris also performs under the name Loud Apartment with an evolving lineup of musicians, most notably Bernie Worrell of P-Funk and Talking Heads.

"People think everything is manipulated in the studio and a lot of it is. And everybody is talking about AI now. But we are moving in the opposite direction where everything gets more organic and raw with every project we work on," says Nevaris.

"There is nothing that can compare to the beauty of artists making work in its most organic form. There's a place for technology and a place for getting back to the old school way of doing things. And that's what this recording is about. Playing live together without any click track or overdubbing, or edits of any kind. And it takes cats who can really play to pull it off. It is a joy to play with every one of the musicians involved in this process."

Inspired by the energy of growing up in New York City, Nevaris is of European and Mexican descent with multi-generational roots in both NYC and LA's Echo Park neighborhood. A visual and multimedia artist, who has worked on a vast array of creative projects across mediums, Nevaris also co-founded Nolej Records, Nolej Studios and the Uncomun Festival.

Already in the works is a second studio album that features some truly exciting special guests, which will be released via Bill Laswell's label M.O.D. Reloaded later in 2026.

As of January 7, 'Ninth Sun - Live' will be available on the 'SoundSession' EP pre-order via Bandcamp. On February 27, the full EP will be released via digital music platforms, including Apple Music, Spotify and Bandcamp, where the 'Reverberations' album can also be found.

CREDITS
Written by Agustín Nevaris, Bill Lasswell, DJ Logic, Peter Apfelbaum, Jojo Kuo, Will Bernard, Lockatron, Angel Rodriguez, Jonathan Maron & Matt Dickey
Agustín Nevaris - timbales, bongos, Hammond Organ
Angel Rodriguez - bata drums, shekere, congas, darbuka
Jojo Kuo - bata drums, shekere, misc. percussion
DJ Logic - turntables
Peter Apfelbaum - sax, flute, melodica, reed organ
Will Bernard - guitar
Lockatron - drumset
Matt Dickey - guitar
Jonathan Maron - bass
Produced by Agustín Nevaris
Recorded at Orange Sound in West Orange, New Jersey
Recorded & mixed by James Dellatacoma
Mastering by Michael Fossenkember at Turtletone Studios
Artwork by Realize
Artist photos by Michael Black
Publicity by Shameless Promotion PR 


Keep up with Nevaris

Bandcamp | Facebook | Instagra m | Twitter | Soundcloud | You Tube | Apple Music | Spotify | Press contact


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OFFICER LUCIFER Releases New Single "Far From Right" Featuring Page Hamilton of HELMET

OFFICER LUCIFER returns with "Far From Right", a blistering new single featuring the unmistakable vocals and guitar work of Page Hamilton of HELMET. "Far From Right" delivers a confrontational and uncompromising statement that attacks complacency, false authority, and media-fueled outrage.

Fusing metal, punk, grunge, and Latin rhythms, "Far From Right" expands OFFICER LUCIFER’s genre-defying sound while reinforcing the project’s core mythology. The song exists within a narrative world where engineered hybrids rise up against their human creators, mirroring real-world cycles of control, corruption, and resistance.

Driven by crushing riffs, volatile rhythms, and Hamilton’s venomous vocal performance, "Far From Right" functions as both protest and provocation. The lyrics dissect moral decay, consumer worship, and hollow belief systems, calling out performative rage and manufactured ideology with brutal clarity. It is politically charged without slogans and aggressive without compromise.

The single was recorded across Ecuador, California, and Austin, Texas, with production handled by OFFICER LUCIFER. Mixing and mastering were completed by Jim Kaufman. The international recording process reflects the project’s hybrid identity, unconfined by borders or traditional genre expectations.

With "Far From Right", OFFICER LUCIFER offers no comfort and no easy answers. The track stands as a warning and a challenge, demanding awareness, resistance, and a rejection of the systems that thrive on apathy.

About OFFICER LUCIFER:

OFFICER LUCIFER is a conceptual heavy music project built on confrontation, storytelling, and sonic collision. Drawing from metal, punk, grunge, and Latin rhythmic traditions, the project creates an aggressive and immersive sound that refuses genre boundaries. Each release exists within a dystopian narrative framework where engineered half-animal, half-machine beings turn against their human creators, reflecting themes of control, resistance, and collapse in the modern world.

The project first revealed its universe with the debut single "Uncivil War", establishing a raw and cinematic atmosphere where chaos is not background noise but the driving force. The music is designed to feel physical and urgent, pairing crushing instrumentation with a sense of narrative tension and unrest.

OFFICER LUCIFER operates as a collective rather than a traditional band. The core creative vision is shaped by Pancho Tomaselli, David Coloma, and Andrés Benavides, musicians whose international careers span diverse projects, scenes, and stages. Their combined experience fuels a foundation that is both disciplined and volatile. As the project evolves, additional collaborators are brought in to expand the sound, introducing new textures, voices, and perspectives without diluting the central vision.

Beyond the music, OFFICER LUCIFER functions as a fully realized world. Band members are portrayed as hybrid soldiers assigned distinct military-style ranks, reinforcing a shared identity rooted in rebellion, unity, and defiance. The result is not just a collection of songs, but a living mythos designed to confront listeners and challenge complacency.

OFFICER LUCIFER is:

Pancho Tomaselli - Bass
David Coloma - Guitars
Andrés Benavides - Drums

DIRKSCHNEIDER & THE OLD GANG Broadcast Their Metal ‘Propaganda’ In New Video

On time with their monthly rendezvous with fans since the first single release, here comes another video from Babylon: DIRKSCHNEIDER & THE OLD GANG have unveiled the new visual for "Propaganda", one of the most high-energy tracks from their latest album, released on October 3rd, 2025 through Reigning Phoenix Music (RPM). While the song has already made its mark on the album, the video now adds the visual dimension to its uncompromising power.
 

"Propaganda" is a rousing song in typical double bass drum style that barely gives you time to breathe. After an aggressive guitar intro and a sublime guitar riff, the highlights follow in rapid succession: Udo Dirkschneider and Peter Baltes shine with their polyphonic choir type vocals which alternate with two-part guitar licks, while the chorus screams the entire media-critical message of the lyrics out into the world.
 

Manuela “Ella” Bibert supports all this with her solo vocal interludes as well as with a harsh and intensely played Hammond organ. as if that weren’t enough, a guitar solo follows a hymn type vocal part, which culminates in a harmony battle with the organ. The seventies and eighties send their regards!

Listen to Babylon on your favourite streaming platform or get your CD/LP/Earbook here: https://datog.rpm.link/babylon

About DATOG:

DIRKSCHNEIDER & THE OLD GANG (DATOG) was originally launched in 2020 as a one-off charity project, but quickly developed a momentum of its own and formed into a band consisting of Udo Dirkschneider (vocals; ACCEPT/U.D.O./DIRKSCHNEIDER), Peter Baltes (bass, vocals; ACCEPT/U.D.O./DIRKSCHNEIDER), Stefan Kaufmann (guitar; ACCEPT/U.D.O.), Mathias “Don” Dieth (guitar; SINNER/U.D.O.), Sven Dirkschneider (drums; U.D.O./DIRKSCHNEIDER) and Manuela “Ella” Bibert (vocals). Between 2020 and 2021 their first three singles attracted a lot of attention, whereupon the band wrote more songs and recorded their debut album. With a unique vocal concept of three voices, powerful riffs and stylistic complexity, DATOG combine classic heavy metal with a modern, powerful production.

 

 

DATOG are:

Udo Dirkschneider | lead vocals

Peter Baltes | bass, lead & backing vocals

Manuela “Ella” Bibert | lead & backing vocals, keys

Stefan Kaufmann | guitars, backing vocals

Mathias “Don” Dieth | guitars, backing vocals

Sven Dirkschneider | drums, backing vocals

 

More on DATOG:

datog.de | Facebook | Instagram | Spotify | Apple Music | YouTube | RPM

HORROR SCENE Ignites A New Era With The Explosive Single “YEAH YOU”

HORROR SCENE is back—and they’re coming straight for the pulse. The band unleashes their latest single, “Yeah You,” is a relentless, high energy track that blends aggression, attitude, and hooks that hit like a gut punch. Fueled by dark intensity and raw emotion, the song captures that moment when you stop explaining yourself and let the music do the damage. Produced by Dan Malsch, "Yeah You" delivers crushing power, sharp precision, and a sound that refuses to be ignored.”

"Yeah You’ is a middle finger wrapped in melody loud, unapologetic, and aimed straight at anyone who ever doubted us.”

- HORROR SCENE

Fueled by driving riffs, pounding rhythms, and a vocal delivery that balances menace with undeniable charisma, “Yeah You” is confrontational in the best way possible. It’s a song that doesn’t hide in metaphor—it locks eyes with the listener and calls them out. Loud. Direct. Unfiltered.

Lyrically, “Yeah You” thrives on confrontation and confidence, capturing that moment where frustration turns into fire and silence turns into action. HORROR SCENE channels that raw, electric tension into an anthem built for packed clubs, midnight drives, and anyone who’s ever felt underestimated or overlooked.

Sonically, the band sharpens their edge, blending gritty industrial textures with infectious modern rock energy. The result is a track that feels both dangerous and accessible—dark enough to haunt, catchy enough to stay stuck in your head long after the final chorus fades.

With “Yeah You,” HORROR SCENE proves they’re not here to play it safe. They’re here to make noise, shake rooms, and leave a mark. This single signals a band fully locked into their identity—confident, confrontational, and unafraid to push forward at full volume.

This is HORROR SCENE at their most focused

and ferocious.

“Yeah You” is available now on all major streaming platforms.

Turn it up. Let it hit. And don’t look away—HORROR SCENE talking to you.

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
Website | Bandcamp | Facebook | Twitter | Instagram | YouTube | Spotify | Apple Music | Press contact

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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: