CLOCKTOWERS Unleash Powerful New Single “Ashes” from Upcoming Record 'Genesis'

CLOCKTOWERS have released their new single “Ashes,” the centerpiece of their upcoming debut record Genesis. Formed in 2022 by Tarek Puska and Dakota Logan after a chance reunion in Reily, Ohio, the band quickly rediscovered the chemistry built during their years together in a previous metal project. What began as an impromptu jam soon became a focused writing partnership, leading to a record that merges generations of influence into a sound that is unmistakably their own.

“Ashes” showcases that identity with striking clarity. The song begins with a hypnotic riff before crashing into full force, weaving articulate guitars, a driving rhythm, and vocals that carry both grit and vulnerability. The track shifts between moments of groove and intensity, giving it a dynamic edge that feels alive and unpredictable.

The lyrics pull directly from experience. Written during the aftermath of a decade-long marriage, “Ashes” confronts separation, regret, and the possibility of reconciliation. Its emotional weight is underscored by a performance that refuses to hide behind artifice. The words, the delivery, and the music all carry the same unfiltered honesty.

For the single, CLOCKTOWERS were joined by Jason Viebrooks (HEATHEN, GRIP INC., EXHORDER) on bass and guitar alongside Dakota, and Todd J. Farler on drums, whose sharp, swinging energy adds another layer of urgency. While the record Genesis remains a two-man effort with Tarek on vocals and Dakota on instruments, these contributions brought “Ashes” into sharper focus without diluting the band’s vision.

The accompanying video captures the song’s intimacy and intensity, with Tarek performing the lyrics directly to his wife off-camera. The single artwork, portraying a redhead, continues that personal thread, grounding the release in the story that inspired it.

With Genesis soon to follow, “Ashes” marks the arrival of CLOCKTOWERS with a sound that is bold, urgent, and entirely their own.

About CLOCKTOWERS:

CLOCKTOWERS is a genre-blending rock/metal duo that proves lightning can strike twice—first in the past, then in the most unexpected moment years later. The band was officially born in 2022, but the story begins long before that.

Vocalist Tarek Puska and multi-instrumentalist Dakota Logan first crossed paths in an earlier metal outfit that spent five years grinding through shows, songwriting sessions, and the chaotic rhythm of band life. Life eventually pulled them in different directions—but fate clearly had other plans. Years later, in the unassuming town of Reily, Ohio, the two reconnected by chance at a local pizza joint. A quick conversation turned into a jam session. One riff became a song—“Spirit Junkie”—and by the end of that session, CLOCKTOWERS had begun.

What followed was a creative eruption. Tarek and Dakota fell into a regular routine, meeting 2 to 3 days per week to write, explore sounds, and record from the ground up in a DIY home studio setting. Over the next two years, this process grew into their debut full-length album, Genesis—a record that pulses with heavy riffs, soaring melodies, and the kind of authenticity that only comes from lived experience and musical trust.

At its core, CLOCKTOWERS thrives on contrast and chemistry. Tarek, born in 1969, brings a lifetime of hard-earned perspective and vocal power rooted in classic metal and rock traditions. Dakota, born in 1995, injects fresh energy, fearless experimentation, and a modern edge that pushes the sound into uncharted territory. Their 25-year age gap isn’t a limitation—it’s a superpower. It allows the band to seamlessly blend old-school grit with new-school fire, delivering music that’s nostalgic without being dated, current without being trendy.

CLOCKTOWERS draws inspiration from a wide palette of heavy music: the swagger and electricity of AC/DC, the doom-soaked weight of BLACK SABBATH, the eerie theatricality of GHOST, the brooding darkness of TYPE O NEGATIVE, the bombast of KISS, and the razor-sharp muscle of METALLICA. Yet, these aren’t just influences—they’re launch pads. CLOCKTOWERS takes what’s familiar and twists it into something personal and raw, layering in textures, emotions, and hooks that make their sound unmistakable.

The band’s songwriting is deeply intentional. Some tracks stem directly from personal experience—loss, growth, heartbreak, and perseverance—while others flow from instinct and emotion, letting the pen follow the pulse of the heart. The result is music that hits hard not just sonically, but emotionally. Big choruses, pounding grooves, and intricate guitar work are matched with lyrics that are introspective, honest, and often cathartic.

One of their standout tracks, “Ashes,” caught the attention of Jason Viebrooks, known for his work with HEATHEN, GRIP INC., and now EXHORDER. Viebrooks lent his talents on bass and guitar alongside Dakota for the single, while Todd J. Farler, a seasoned drummer from Cincinnati, added a thunderous groove that elevated the track even further. It’s the only track on the record that features guest musicians—every other note, riff, and lyric on Genesis comes straight from the two founding members. That was a deliberate decision. CLOCKTOWERS is about preserving a raw, undiluted vision. No filler. No compromises.

With Genesis, CLOCKTOWERS has positioned itself not just as a band, but as a statement—a declaration that real, passionate, no-bullshit rock and metal is alive, evolving, and still capable of hitting you straight in the soul. Whether you’re a lifer raised on vinyl and leather jackets, or a newcomer looking for authenticity in a crowded digital landscape, CLOCKTOWERS offers something that resonates.

This is music forged in connection. Fueled by memory. Driven by instinct. And played with the kind of conviction that can only come from two people who live and breathe it.

CLOCKTOWERS is:

  • Tarek Puska – Vocals

  • Dakota Logan – All instruments (guitars, bass, additional production)

ALL HELL - Sunsetter

ALL HELL returns from the shadows with their fifth full-length album, Sunsetter, arriving October 10, 2025 on Terminus Hate City. From their origins in Asheville, North Carolina in 2013, the band has carved a singular path through the underground, blending elements of first wave black metal, deathrock, punk, and film score atmospheres into something entirely their own. Sunsetter is the culmination of years of evolution and hardship, a concept record that stretches from ancient myth to modern apocalypse, driven by fire, blood, and vision.

The band (Jacob Curwen on guitar and vocals, Erik Ballantyne on bass, and Elanti on drums) began work on Sunsetter after the release of 2019’s The Witch’s Grail. Progress was slow and plagued by constant disruption. The pandemic struck, personal tragedies followed, and devastating floods hit their home region. In the midst of all this, the band found themselves burned out and disillusioned with metal entirely. But after stepping back and rediscovering their creative hunger, they emerged with a record that is not only their most metal release to date, but also their most fully realized.

Sunsetter tells a sprawling, violent tale of exile, rebirth, and cosmic vengeance. The story begins in ancient times with the curse of Cain, the first murderer, cast into the land of Nod where he joins with Lilith, the exiled first wife of Adam. From their union comes a cursed bloodline. The album’s opening track, “Exiled into Nod,” skips any slow buildup and immediately drops the listener into the chaos of this mythic prayer. It is followed by “Dominus Sanguis, Domina Nox,” a dark hymn to the Lord of Blood and the Lady of Night, and then “The Violent Brood,” a classic ALL HELL track that portrays the frenzy of being hunted by Cain's spawn.

“The Bleeding” flips the perspective and explores the mind of a predator, with a guest solo from Nate Garnette of SKELETONWITCH adding another layer of menace. The title track, “Sunsetter,” takes a more triumphant tone, capturing the defiance and pride of the children of Cain as they reject the sun and claim dominion over the night. Its straightforward power made it the obvious choice for the album’s name.

Side two of the album begins with “The Flood and the Death,” a cinematic, spoken-word interlude that sets the stage for a shift in time. The next chapter takes place centuries later, where the bloodline of Cain has survived the flood and reemerges in the present. “Behold the Night” brings this rebirth to life with driving energy and shifting dynamics. “Path of Cain” offers a darkly anthemic reflection on lineage, sin, and survival.

The final act of the album accelerates toward doom. “Sacrifice to Shadow” portrays a cult's plea for the return of their ancient masters, while “The Ancients Rise” delivers on that prophecy with grinding riffs and ominous brass that call back to the album’s ancient beginnings. The closing track, “The Outer Night,” brings it all to an end. It begins with militaristic urgency, climbs to apocalyptic grandeur, and fades into the cold silence of a world overrun. Cain and Lilith return, and the sun sets for the last time.

The album was recorded, mixed, and engineered by Chris Adams at Hidden Audio, with mastering by Jacob Curwen. The visual aesthetic, including the album art, was also created by Curwen, preserving the band’s independent and uncompromising approach.

The sun fades. The night takes hold. The world belongs to ALL HELL.

About ALL HELL:

ALL HELL is a blackened metal trio from Asheville, North Carolina, known for their relentless fusion of first wave black metal, deathrock, punk, and horror-driven storytelling. Since forming in 2013, the band has carved out a distinct identity rooted in occult themes, razor-sharp riffs, and a fierce DIY ethos. Their sound is aggressive, stripped-down, and deeply atmospheric — a raw, unfiltered descent into myth, violence, and the supernatural.

With five full-length albums and an EP to their name, including 2025’s apocalyptic concept record Sunsetter, ALL HELL has evolved from a local cult favorite into a powerful underground force. Their live presence has taken them across the U.S., sharing stages with acts like RINGWORM, BLACK TUSK, PROFANATICA, and TURN COLD, and performing at festivals such as Decibel Metal and Beer Fest, Dark Lord Day, and RPM Fest.

The current lineup, Jacob Curwen (guitar and vocals), Erik Ballantyne (bass), and Elanti (drums), continues to push the band’s sound forward while staying true to its core. With each release, ALL HELL digs deeper into a unique mythos that spans history, horror, and apocalypse, embracing the dark, the ugly, and the eternal night.

ALL HELL is:

  • Jacob Curwen – Guitar and Vocals

  • Erik Ballantyne – Bass

  • Elanti – Drums


Connect with ALL HELL:


Bandcamp: https://allhell.bandcamp.com
Facebook: https://facebook.com/allhellband
Instagram: https://instagram.com/allhellband
Spotify: https://open.spotify.com/artist/5FVXnF7zGfuo8WF5qq4XHK
Apple Music: https://music.apple.com/be/artist/all-hell/925520478

Ray Luzier & Billy Sheehan Join KALAMITY KILLS on “I Don’t Know”

Rising rock force KALAMITY KILLS unleashes a bold and reverent take on “I Don’t Know” with their latest video release, featuring powerhouse drummer Ray Luzier (KORN) and legendary bassist Billy Sheehan (MR. BIG, THE WINERY DOGS). This electrifying reinterpretation of the classic track pays homage to the enduring legacy of the Prince of Darkness himself: OZZY OSBOURNE.

The idea for the tribute was sparked after the band witnessed OZZY’s final performance at the Back to the Beginning Concert in Birmingham, England. Deeply moved, KALAMITY KILLS set out to honor the icon who shaped so much of their musical DNA.

Guitarist JAMEY PERRENOT, whose playing is deeply influenced by the late, great RANDY RHOADS, infused this version of “I Don’t Know” with both reverence and fire. Fans of OZZY will also hear subtle nods to other classics woven throughout: a sonic Easter egg hunt for the diehards.

Special thanks to Ray Luzier and Billy Sheehan for joining the sonic rebellion on this one.

The release also comes with news that the Expanded Edition of Kalamity Kills will be available on September 9, 2025. This edition will include brand-new tracks, alternate mixes, and exclusive content on CD in limited quantities. A candy apple red vinyl edition is set to follow in April 2026.

About KALAMITY KILLS

KALAMITY KILLS is a hard rock band forged in the heart of East Nashville, Tennessee. Formed in 2022 by vocalist Jamie Rowe and guitarist/producer Jamey Perrenot, the band emerged from the ashes of a solo project into a fully realized sonic assault—fueled by raw emotion, modern aggression, and a deep respect for rock’s roots. With a sound that fuses the swagger of classic hard rock with the intensity and polish of modern metal, KALAMITY KILLS strikes a rare balance between power and vulnerability.

Best known for their debut self-titled album Kalamity Kills, the band quickly turned heads thanks to high-profile collaborations with members of KORN, 3 DOORS DOWN, LA GUNS, CONQUER DIVIDE, and UNDEROATH. Their music has earned national airplay on SIRIUSXM’s Octane, landed on the Billboard Active Rock charts, and crossed over into viral success without ever chasing trends.

More than just a studio project, KALAMITY KILLS is a growing force with a full live lineup, including bassist/vocalist Julia Lauren Bullock and drummer Rob Bodley. Their songs—ranging from explosive anthems to brutally honest ballads—tackle themes of faith, failure, hypocrisy, redemption, and the messy beauty of being human.

KALAMITY KILLS is for the outsiders, the misfits, the ones who’ve been burned and are still standing. Loud. Unapologetic. Unforgettable.
KALAMITY KILLS is:

  • Jamie Rowe – Lead Vocals

  • Jamey Perrenot – Guitar / Producer

  • Julia Lauren Bullock – Bass / Vocals (Live)

  • Rob Bodley – Drums (Live)
     

Connect with KALAMITY KILLS:

  • Website: https://kalamitykills.com

  • Facebook: https://facebook.com/kalamitykills

  • Instagram: https://instagram.com/kalamitykills

  • X (Twitter): https://x.com/kalamitykills

  • Jamie Rowe on X: https://x.com/jamierowe

  • YouTube: https://youtube.com/kalamitykills

  • TikTok: https://tiktok.com/kalamitykills

  • Spotify: https://open.spotify.com/artist/0Q7zrZUeUnTrX0OC2FvTqU?si=qZPINKoURFONBasOc9iB3g

  • Apple Music: https://music.apple.com/us/artist/kalamity-kills/1636401395

OUT NOW - Dreams Of Gray - A Beginning

Emerging from the shadows of grief, reflection, and the raw beauty of metal, DREAMS OF GRAY returns with their new EP, A Beginning, set for release on September 5th, 2025. Based in Chicago, IL, this one-man project helmed by Luis Rivera first turned heads with the 2023 debut The World After—an independent release that earned praise from the global metal press. Critics from highlighted the debut's sharp songwriting, emotional weight, and its fusion of melodic death, doom, and thrash metal. Now, A Beginning builds upon that foundation and pushes the project’s boundaries even further.

Though DREAMS OF GRAY began as a solo endeavor, Rivera has always surrounded himself with top-tier collaborators to bring his compositions to life. On A Beginning, he is joined by Maria Kosma on bass, Nicole Trinchero on drums for the title track, and Scott Elliot, who handled drum programming on "Beyond the Sky" and "Across the Endless Sea" while also contributing engineering, mixing, and mastering to both. Meanwhile, Josh Middleton took on engineering and mixing duties for "A Beginning", as well as mastering the track. The result is an EP that feels cohesive but unpredictable, aggressive yet melodic, and deeply personal without ever losing sight of metal’s cathartic power.

The EP opens with "A Beginning", a track that embodies the thematic and sonic range of the release. It flows from haunting melodies into crushing intensity, shifting gears between clean vocals and growls, mid-tempo movements and furious headbanging riffs. Its lyrical content wrestles with existential grief—how the living cope with loss, and what unresolved questions remain after someone we love is gone. Rivera's performance here is dynamic, moving between softness and fury, crafting a song that challenges convention but never forgets to move the listener.

"Beyond the Sky" follows as the EP’s most direct track—a high-energy explosion rooted in death metal and thrash. It’s an anthem for the live stage, but beneath its furious pace is a meditation on the soul’s journey through eternity. The song blends brutal riffs with melody in a way that fans of IN FLAMES, AMORPHIS, or DARK TRANQUILITY will appreciate. Here, Rivera asks the big questions: What lies beyond this life? What does peace look like for a restless soul?

Closing the EP is "Across the Endless Sea", perhaps the most dynamic composition in the DREAMS OF GRAY discography so far. While it offers some of the EP’s fastest passages, it never sacrifices melody. In fact, the chorus showcases new approaches to Rivera’s clean vocals—experimental, memorable, and emotionally resonant. There’s even a trace of black metal’s influence in the guitar textures, cleverly reworked to serve the EP’s broader melodic vision. Lyrically, the song explores the interconnectedness of life—how we are all part of a web that links the living with the departed, and how each of us carries others forward across our own seas.

What sets DREAMS OF GRAY apart is not just the fusion of genres—from melodic death and doom to thrash and heavy metal—but Rivera’s refusal to create throwaway music. Every riff, every lyric, and every vocal line is deliberate. There is elegance within the aggression, clarity within the chaos. His music invites you to headbang, yes—but also to reflect, to feel, to connect. Lyrics are intelligible by design, encouraging listeners to engage deeply rather than just react sonically. A Beginning isn’t just a collection of songs. It’s a statement of intent: that melody, melancholy, and metal can coexist with integrity.

This EP arrives after a journey as unpredictable as the music itself. Outside of metal, Luis Rivera is a Family Medicine Physician—an artist with a scientific mind, balancing a high-pressure career with a relentless drive to create. Formerly an electrician and a member of ABOLISHER (a band with acclaim in Metal Maniacs and Brave Words and Bloody Knuckles back in 2002), Rivera took a long pause from music to pursue medicine. Now, with that chapter stabilized, he returns fully committed to his artistic vision.

For those who long for a new voice in melodic extreme metal—one that remembers the spirit of PARADISE LOST, the introspection of OPETH, and the energy of SLAYER—DREAMS OF GRAY offers something vital, something that sounds familiar yet undeniably new. With A Beginning, this project redefines what it means to start again.

About DREAMS OF GRAY:

DREAMS OF GRAY is the melodic extreme metal project of Chicago-based musician and physician Luis Rivera. Blending elements of melodic death, doom, thrash, and traditional heavy metal, the music is as emotionally resonant as it is sonically intense. Founded in 2022, DREAMS OF GRAY quickly made an impact with the independently released debut EP The World After in 2023, earning critical acclaim across the international metal press.

Known for its compelling fusion of melody and heaviness, DREAMS OF GRAY stands out for intelligent songwriting, deeply human lyricism, and an uncompromising creative vision. Rivera’s music confronts themes of loss, grief, resilience, and existential reflection—delivered through dynamic vocals and powerful, layered instrumentation.

Now joined by a cast of talented collaborators, DREAMS OF GRAY continues to evolve with the upcoming EP A Beginning (2025), a bold and immersive follow-up that further refines the project’s genre-defying sound. Whether you’re drawn to the introspection of OPETH, the melodic fire of IN FLAMES, or the weight of PARADISE LOST, DREAMS OF GRAY offers something uniquely honest and unforgettable in today’s extreme metal landscape.

Connect With DREAMS OF GRAY:

Bandcamp: https://dreamsofgray.bandcamp.com/
Facebook: https://www.facebook.com/p/Dreams-of-Gray-100090219272895/
Instagram: https://www.instagram.com/dreamsofgray/
YouTube: https://www.youtube.com/@Dreamsofgray
Spotify: https://open.spotify.com/artist/10SZBmhCP8bJHMX5lyCshB
Apple Music: https://music.apple.com/us/artist/dreams-of-gray/1662301376

SUPREME MYSTIC - Kala Rupa

In the industrial belly of Detroit, where machine noise and rebellion pulse in equal measure, a new sound has emerged. It is raw and searing, but it carries something older than anger and louder than distortion. That sound is SUPREME MYSTIC, and their debut album Kala Rupa is a declaration of identity, purpose, and transformation.

The band is led by Chino Noir, the reborn moniker of Mike Couls, a name well-known to the hardcore underground. From playing clubs at thirteen to signing with a major label in his early twenties, Couls carved a path through chaos with a bass in his hands and the kind of presence that stages remember. He was part of some of the most notorious and revered bands in heavy music. He toured the world with COLD AS LIFE, SWORN ENEMY, MERAUDER, TERROR and the CRO-MAGS, sharing bills with legends and surviving battles on and off stage. But none of those bands carried his voice the way SUPREME MYSTIC does now.

Kala Rupa, meaning “the form of time” in Sanskrit, is more than a record. It is a mirror. It looks directly into life, death, karma, illusion, and the struggle for inner evolution. Each song is a piece of a larger journey, built on decades of lived experience. This is not a genre experiment or a side project. It is the first time Couls has stepped fully into the front, not just as a musician but as a messenger.

The album pulls from stoner rock, post-hardcore, sludge, grunge, and doom, but it defies categorization. It is heavy, often brutally so, but not just for the sake of power. Beneath the layers of distortion, the music is rooted in spiritual philosophy and ancient Vedic wisdom. These are songs of confrontation and transcendence, guided by hard-earned insight and a desire to rise above the trappings of material and emotional decay.

From the opening of “Stealing Beauty,” the record cuts with honesty and defiance. It speaks to betrayal and envy in a world that feeds on appearances and weakness. “Halo of Vultures” takes aim at those who circle with bad intentions, while “Colorblind” addresses the weaponization of ignorance and the spiritual sickness of a divided world. “Transmigration of the Soul” and the title track “Kala Rupa” lift the listener into the metaphysical, exploring the unseen journey of the self and the truth that time is not an enemy, but a teacher.

Couls is joined by a powerhouse of Detroit veterans and new energy. Drummer Jeff Shankin brings decades of heavy groove and thunder, having played in cornerstone Detroit acts like Universal Stomp and Earthmover. Alfredo Riojas, a Berklee-trained guitarist known across Detroit for his technical brilliance and soulful attack, adds a precise and expressive voice. Luis Ulloa, a young keyboardist from Honduras with a deep love for black metal and spiritual music, brings harmonic color and atmosphere. Together, they build a wall of sound that can level a room or lift an audience into something otherworldly.

What sets SUPREME MYSTC apart is intention. This band is not chasing nostalgia. It is not paying tribute to a scene. It is rooted in Krishna Consciousness, influenced by the teachings of His Divine Grace A.C. Bhaktivedanta Swami Prabhupada, and carries lyrics that often include Sanskrit mantras and direct references to sacred texts. This is not metal as fashion or outrage. This is music as inner weapon. The goal is not destruction, but liberation.

Still, nothing here is soft or sanitized. SUPREME MYSTIC comes from the grit of Detroit and carries the weight of its history. That includes the tragedies, the fights, and the resilience that shaped Couls’ path. The murder of his father in the infamous Rouge Rampage, the death of COLD AS LIFE’s original frontman, the wounds from the CRO-MAGS incident, and the long road of pain that led to healing are not erased in this new project. They are integrated. The past has not been forgotten. It has been transformed into fuel.

Even in its heaviest moments, Kala Rupa offers a sense of hope. It invites listeners not just to rage but to awaken. This is music for those who have seen the edge, survived, and returned changed. It is not about escaping pain. It is about turning toward it with clear eyes and an open heart This is music built on scars, faith, rhythm, and resolve.

About SUPREME MYSTIC:

SUPREME MYSTIC is a spiritually charged heavy rock band from Detroit, Michigan, fusing the grit of hardcore and metal with the depth of Vedic philosophy. Founded in 2023 by frontman and bassist Chino Noir (the evolved moniker of Mike Couls, known for his work with COLD AS LIFE, SWORN ENEMY, MERAUDER, and CRO-MAGS), the band draws from a lifetime of musical warfare and personal transformation. Their sound, described as Mo-Metal and DefRoc, merges elements of post-hardcore, stoner rock, grunge, doom, and groove metal with a message rooted in spiritual evolution, esoteric themes, and inner revolution.

Joined by drummer Jeff Shankin (UNIVERSAL STOMP, EARTHMOVER), guitarist Alfredo Riojas (a BERKLEE-trained shredder), and keyboardist Luis Ulloa (a young devotee of heavy music and mysticism), SUPREME MYSTIC creates music that is as punishing as it is purposeful. Their songs explore karma, mortality, illusion, and rebirth, often weaving in Sanskrit mantras and Eastern iconography with street-level truth and raw energy.

Equal parts intensity and intention, SUPREME MYSTIC is not just another heavy band. It is a movement of sound and spirit. Their debut full-length album Kala Rupa is set for release in Fall 2025.

SUPREME MYSTIC is:


  • Chino Noir – Vocals / Bass

  • Alfredo Riojas – Lead Guitar / Backup Vocals

  • Jeff Shankin – Drums

  • Luis Ulloa – Keyboards


Connect with SUPREME MYSTIC:

Black Metal Quartet VISERION Present "Reign of Fire"

"Reign of Fire" is VISERION's second offering to land ahead of the forthcoming immersive album, Fire and Blood that is due to arrive on January 16, 2026.

Laden with groove and melodies, "Reign of Fire" stands out from other compositions on the album's track list. In terms of the narrative, this song explores the rise of Aegon The Conqueror and his dragon Balerion - notably how he seized control over Westeros.

The black metal outfit, who enhance their sound with atmospheric and melodic elements, delve into the realms of Game of Thrones. "Our concept for this album was inspired by George R.R. Martin’s Game of Thrones world. It particularly focuses on the Targaryen dynasty hence the title being their house words: Fire and Blood." The band explains. "This particular song focuses on the black magic rituals that the Targaryen family was rumored to use in order to control dragons". 

About VISERION:
Located in Queens, NY, VISERION blend brutal and aggressive black metal with atmospheric and melodic passages in their own distinctive take on the genre. Storytelling is embedded in their musical creativity, highly influenced by the writings of George R.R. Martin and the World of Westeros. The band initially formed as a three-piece in 2020 by Ben Marvilli taking on bass and vocals, Matt Marvilli on drums and John Magnani performing guitars. Subsequently, in 2022, Magnani left and Ben Marvilli swapped out bass for guitar. Cris Valentine also joined on guitar and Tasso Diakov took on the bass. The debut album Natural Selection dropped in 2021, followed by a split EP release with TELOCH VOVIN titled The Iron Age of Kali Yuga in 2023. Now, Fire and Blood is set to emerge on January 16, 2026. 

VISERION Is:
Benedetto Marvilli -Guitar/Vocals
Matthew Marvilli - Drums
Cris Valentine - Guitar
Tasso Diakov - Bass

Album Credits:
Producer: Billy Pfister
Recording Studio: Westfall Recording
Engineer: Billy Pfister
Mastering: Jacob Buczarski
Mixing: Chris Grigg
Cover art: “Fire in Rome” by Hubert Robert

Links:
Bandcamp: https://viserion.bandcamp.com/
Instagram: https://www.instagram.com/viserion_official/
Facebook: https://m.facebook.com/ViserionOfficial/
YouTube: https://www.youtube.com/@viserion9676

THE JOTUNN Return With “Blood Flower,” A Dark Fusion of Groove and Deathcore

THE JOTUNN return with their first new music since the release of their 2024 EP Summoner, unveiling their crushing new single “Blood Flower.” A natural evolution of the band’s sound, “Blood Flower” blends the Swedish groove melodeath influences that have shaped the band since its inception with the unrelenting intensity of blackened deathcore.

“This was our real attempt at pushing everything we love about extreme music to the next level,” says guitarist Shawn Kahan, who initially penned the track. “Cole [Martinez] really elevated it with his production, and it sounds absolutely massive. We’ve never been happier with a song.”

“Blood Flower” is a merging of THE JOTUNN’s love for music and horror. The track is interwoven with a short story written by vocalist Paul Kahan, and its music video, directed by Tom Stumpf, brings the concept vividly to life. 

About THE JOTUNN:
Based out of Cleveland and Columbus Ohio, THE JOTUNN formed in 2021 after guitarist and songwriter Shawn Kahan presented a number of demos to Paul Kahan. Soon producer Cole Martinez (ABIGAIL WILLIAMS, WHITECHAPEL, ABORTED) was on board taking up the role of bassist and producer of their music. Nick Amato (ATOMIC WITCH) performed drums on the band's debut album Graveworshipper (2022), prior to Adam Biats joining the line-up. The outfit was awarded the Columbus Artist Grant in 2023, and subsequently in 2025. THE JOTUNN's EP Summoner arrived in 2024, and is set to be followed in 2025 by two cover releases and a new original track. Cole left the band in June 2025 on good terms, leading to the arrival of Leo Debevc on guitar and Londyn Hager on bass. 

THE JOTUNN is:
Paul Kahan - Vocals
Shawn Kahan - Guitar
Leo Debevc - Guitar
Londyn Snow - Bass
Adam Biats - Drums

Links:
Streaming links: www.thejotunn.com
Bandcamp: https://jotunn.bandcamp.com/
Facebook: https://www.facebook.com/TheJotunnBand/
Instagram: https://www.instagram.com/thejotunnband/

Credits: 
Recording Studio: Conquistador Studios
Engineered, Mixed and Mastered: Cole Martinez
Performed by The Jötunn
Song Written by At the Gates

LAST RETCH Reveals Video For "Dissolved in Lye"

Canadian death metal outfit LAST RETCH present "Dissolved in Lye (Down to Rot)", the second single to land from their forthcoming album Abject Cruelty, due out September 26, 2025 via Time to Kill Records. 

Watch the video for "Dissolved in Lye (Down to Rot)" below.

Pre-Order Abject Cruelty HERE: https://timetokillrecords.com/en-us/collections/last-retch-abject-cruelty

Or HERE: https://lastretch.bandcamp.com/album/abject-cruelty

“Dissolved in Lye (Down to Rot)" is the second single from LAST RETCH’s sophomore album, Abject Cruelty. This relentless, high-speed track delves into the desire to annihilate one’s own body in pursuit of unity with death, seeking immortality through self-mutilation, using substances to transcend reality, and grasping for any means to escape the crushing weight of mental illness and addiction. The lyrics serve as a stark reflection of the hardships endured by society’s most vulnerable, ultimately highlighting the devastating effects of opioid and stimulant addiction.

Written collaboratively in 15 minutes and featuring drummer Spencer Robson’s on-the-fly contributions, it’s a sonic freefall into what the band calls the 'nightmare zone,' a gory mess that gleefully collapses under its own weight. 

Abject Cruelty is LAST RETCH’s third official release and their first for Time to Kill Records. The album follows their 2023 debut Sadism and Severed Heads and 2024’s Ergotism EP. Written amidst the industrial decay and social collapse of Hamilton, the new record offers eight tracks of no-frills death metal, anchored by concise songwriting, memorable hooks, and blunt-force aggression.

About LAST RETCH:

LAST RETCH is a death metal band from Hamilton, Ontario, Canada, formed in 2021. Blending the earworm riffs of CARCASS, the anthemic drive of BOLT THROWER, and the relentless savagery of CANNIBAL CORPSE, the band delivers a modern take on old-school death metal that’s as visceral as it is memorable. With short, focused songs built around crushing grooves and no-nonsense structures, LAST RETCH distills the genre down to its most punishing essentials.

The current lineup: Finlay Blakelock (Vocals), Derek Brzozowski (Guitar), John Russell (Guitar), Matt Fyke (Bass), and Spencer Robson (Drums), operates with a clear mission: write riffs that stick, keep things tight, and hit hard. Each member brings a different perspective, resulting in a sound that nods to death metal’s roots while pushing into new territory with dynamics, pacing, and variation in tuning.

Since their formation, LAST RETCH has released a self-titled demo (2021), the full-length Sadism and Severed Heads (2023, CDN Records), and the Ergotism EP (2024, CDN Records/Iron Fortress Records). They’ve shared the stage with bands like GUTALAX, UNDEATH, GATES TO HELL, KRUELTY, and REPLICANT, earning a reputation for ferocious live performances and tight musicianship.

Their latest album, Abject Cruelty (2025, Time to Kill Records), is their most direct and aggressive work yet: an eight-track assault shaped by the decay and desperation of their hometown. With themes pulled from real life and riffs sharpened to a deadly point, LAST RETCH continues to evolve while staying rooted in the timeless brutality of death metal.

LAST RETCH is: 
 

  • Finlay Blakelock – Vocals

  • Derek Brzozowski – Guitar

  • John Russell – Guitar

  • Matt Fyke – Bass

  • Spencer Robson – Drums


Connect with LAST RETCH:
 

PALE HORSE RITUAL Announce 'Diabolic Formation'

Canadian stoner/doom/heavy psych outfit PALE HORSE RITUAL evoke the occult sound of the '70s in their new album, Diabolic Formation. The first single, "Wickedness" provides a taste of the fuzz-driven, analogue ambience that lies in wait. Diabolic Formation is set to arrive in our realm on November 28, 2025, via Black Throne Productions.

The haunting psychedelic splendor of "Wickedness" is highly immersive. Rhythmic instrumentation carries the momentum throughout the track while additional textures are delivered by organ arrangements, atmospheric fuzz and compelling vocals. Flooded in a haze of heavy, there's something eerie and disturbing beneath the surface. 

About PALE HORSE RITUAL
Steeped in mysticism, PALE HORSE RITUAL create an spellcasting blend of doom, occult rock and vintage metal. Based out of Hamilton, Ontario, Canada, the band formed in 2024 and their sound is driven by gritty vocals, sludgy riffs, and pounding rhythms that channel the spirit of 1970s heavy music with a modern, gothic edge. Following their alluring 2024 EP titled Enchantress, the quartet are preparing to unveil the full-length, Diabolic Formation on November 28, via Black Throne Productions. 

Line Up: 
Paco (Bass/Vocals)
James Matheson (Lead Guitar)
Will Adams (Rhythm Guitar/Backing Vocals)
Jonah Santa-Barbara (Drums)

Album Credits:
Producer: Will Adams
Recording Studio: Green Mountain Ranch
Engineer: Will Adams at Tell Me About It… Records
Mastering: Zack Hollow at Z Hollow Studios
Mixing: Will Adams

Guest Musicians:
Dom Valela- Keys, Vocals
Doom Valhalla- Italian Preacher

Links:
Bandcamp: https://palehorseritual.bandcamp.com/
Instagram: https://www.instagram.com/palehorseritual/
Facebook: https://www.facebook.com/PaleHorseRitualBand
TikTok: https://www.tiktok.com/@pale.horse.ritual

ALL HELL returns from the shadows with their fifth full-length album, Sunsetter,

Arriving October 10, 2025 on Terminus Hate City. From their origins in Asheville, North Carolina in 2013, the band has carved a singular path through the underground, blending elements of first wave black metal, deathrock, punk, and film score atmospheres into something entirely their own. Sunsetter is the culmination of years of evolution and hardship, a concept record that stretches from ancient myth to modern apocalypse, driven by fire, blood, and vision.

The band (Jacob Curwen on guitar and vocals, Erik Ballantyne on bass, and Elanti on drums) began work on Sunsetter after the release of 2019’s The Witch’s Grail. Progress was slow and plagued by constant disruption. The pandemic struck, personal tragedies followed, and devastating floods hit their home region. In the midst of all this, the band found themselves burned out and disillusioned with metal entirely. But after stepping back and rediscovering their creative hunger, they emerged with a record that is not only their most metal release to date, but also their most fully realized.

Sunsetter tells a sprawling, violent tale of exile, rebirth, and cosmic vengeance. The story begins in ancient times with the curse of Cain, the first murderer, cast into the land of Nod where he joins with Lilith, the exiled first wife of Adam. From their union comes a cursed bloodline. The album’s opening track, “Exiled into Nod,” skips any slow buildup and immediately drops the listener into the chaos of this mythic prayer. It is followed by “Dominus Sanguis, Domina Nox,” a dark hymn to the Lord of Blood and the Lady of Night, and then “The Violent Brood,” a classic ALL HELL track that portrays the frenzy of being hunted by Cain's spawn.

“The Bleeding” flips the perspective and explores the mind of a predator, with a guest solo from Nate Garnette of SKELETONWITCH adding another layer of menace. The title track, “Sunsetter,” takes a more triumphant tone, capturing the defiance and pride of the children of Cain as they reject the sun and claim dominion over the night. Its straightforward power made it the obvious choice for the album’s name.

Side two of the album begins with “The Flood and the Death,” a cinematic, spoken-word interlude that sets the stage for a shift in time. The next chapter takes place centuries later, where the bloodline of Cain has survived the flood and reemerges in the present. “Behold the Night” brings this rebirth to life with driving energy and shifting dynamics. “Path of Cain” offers a darkly anthemic reflection on lineage, sin, and survival.

The final act of the album accelerates toward doom. “Sacrifice to Shadow” portrays a cult's plea for the return of their ancient masters, while “The Ancients Rise” delivers on that prophecy with grinding riffs and ominous brass that call back to the album’s ancient beginnings. The closing track, “The Outer Night,” brings it all to an end. It begins with militaristic urgency, climbs to apocalyptic grandeur, and fades into the cold silence of a world overrun. Cain and Lilith return, and the sun sets for the last time.

The album was recorded, mixed, and engineered by Chris Adams at Hidden Audio, with mastering by Jacob Curwen. The visual aesthetic, including the album art, was also created by Curwen, preserving the band’s independent and uncompromising approach.

The sun fades. The night takes hold. The world belongs to ALL HELL.

About ALL HELL:

ALL HELL is a blackened metal trio from Asheville, North Carolina, known for their relentless fusion of first wave black metal, deathrock, punk, and horror-driven storytelling. Since forming in 2013, the band has carved out a distinct identity rooted in occult themes, razor-sharp riffs, and a fierce DIY ethos. Their sound is aggressive, stripped-down, and deeply atmospheric — a raw, unfiltered descent into myth, violence, and the supernatural.

With five full-length albums and an EP to their name, including 2025’s apocalyptic concept record Sunsetter, ALL HELL has evolved from a local cult favorite into a powerful underground force. Their live presence has taken them across the U.S., sharing stages with acts like RINGWORM, BLACK TUSK, PROFANATICA, and TURN COLD, and performing at festivals such as Decibel Metal and Beer Fest, Dark Lord Day, and RPM Fest.

The current lineup, Jacob Curwen (guitar and vocals), Erik Ballantyne (bass), and Elanti (drums), continues to push the band’s sound forward while staying true to its core. With each release, ALL HELL digs deeper into a unique mythos that spans history, horror, and apocalypse, embracing the dark, the ugly, and the eternal night.

ALL HELL is:

  • Jacob Curwen – Guitar and Vocals

  • Erik Ballantyne – Bass

  • Elanti – Drums


Connect with ALL HELL:


Bandcamp: https://allhell.bandcamp.com
Facebook: https://facebook.com/allhellband
Instagram: https://instagram.com/allhellband
Spotify: https://open.spotify.com/artist/5FVXnF7zGfuo8WF5qq4XHK
Apple Music: https://music.apple.com/be/artist/all-hell/925520478

THE SORROW OF BEING IMMACULATE Releases "Sea of Trees"

THE SORROW OF BEING IMMACULATE provide another sonic space in which to dwell inside the uncomfortable and the emotional in the new single "Sea of Trees". The anonymous solo project has announced their new full-length album Suicide Forest, will arrive on September 26, 2025 via Drone Alone. 

"Sea of Trees," another name for Japan's Aokigahara Forest, is built around a single crushing riff, slowly embellished with lead parts that rise and twist like the restless spirits often imagined in that place. Following the release of the first single and title track "Suicide Forest," it continues the project's theme around an abstract tribute to those spaces where despair and silence meet. 

Written and recorded in solitude in a remote Welsh barn during winter 2024, Suicide Forest is an instrumental descent into psychological ruin, framed by loops of distorted guitar, subterranean bass, and meditative drones. The album’s eleven tracks move between suffocating sludge and eerie ambience, rooted in themes of trauma, detachment, and the long half-life of sorrow. There are no vocals. No catharsis. Just the sound of emotional erosion played at full volume.

The album was engineered and co-mixed by Mike Bannard at Safehouse Studios, Oxford, with mastering, artwork, and production handled by THE SORROW OF BEING IMMACULATE themselves. The result is a record that feels more exorcism than expression—music created not for others, but in spite of everything.

Suicide Forest follows 2024’s Church Music for Satanists EP, which gained underground attention for its immersive gloom and hypnotic minimalism. The new album expands on that aesthetic while deepening its emotional range and sonic intensity.

About THE SORROW OF BEING IMMACULATE:

THE SORROW OF BEING IMMACULATE is an anonymous solo project from Oxford, England, crafting bleak, instrumental sludge and drone since 2023. With no vocals, no public identity, and no live appearances, the music exists in complete isolation: just distortion, repetition, and emotional exhaustion.

Emerging from the Welsh countryside with the debut EP Church Music for Satanists in early 2024, THE SORROW OF BEING IMMACULATE quickly established a signature sound: hypnotic, heavy, and relentlessly minimal. The follow-up full-length, Suicide Forest, released by drone alone in 2025, pushed further into themes of anxiety, decay, and existential fatigue, blending guitar-driven doom with eerie drones and field-recorded interference.

Influenced by artists such as ELECTRIC WIZARD, SUNN O))), EARTH, and CARTER/TUTTI/VOID, the project explores psychological weight through slow repetition and spiritual dissonance. There are no lyrics because nothing more needs to be said. The riffs are the message.

For those drawn to the darker corners of sound, where catharsis is earned through endurance, THE SORROW OF BEING IMMACULATE offers a solitary descent.

Connect with THE SORROW OF BEING IMMACULATE:
 

Out Friday - Old Machines - The Cycles of Extinction

Astral warlords and celestial leviathans, OLD MACHINES emerge from the void to announce their cataclysmic debut, The Cycles of Extinction, arriving August 22, 2025. A monolithic fusion of bombastic brutality and cosmic dread, this album heralds a new chapter in extreme metal where ancient engines of annihilation awaken once more.

About OLD MACHINES:

From the darkest depths of the oceans of time and space comes a legend over two billion years old, which has spawned a multitude of harrowing galactic sagas. These stories arrive to us in the form of the debut album from OLD MACHINES titled The Cycles of Extinction, featuring eight songs regarding mysterious, malevolent horrors, which create the very extinction cycles all organic life forms are forever trapped in.  These are tales of horror, war, and genocide, spanning eight tracks for one hour of music which can be described as Extreme Cosmic Metal; combining elements of thrash, death, black, and power metal.  If any of this story sounds familiar, it may be because we have re-conceptualized plots from our favorite video games with a series of concept albums in chronological order, while musically, for now, being in the vein of bands such as BAL SAGOTH, EMPEROR, LIMBONIC ART, OBSIDIAN GATE, combined with the story-telling element of BLIND GUARDIAN. The Cycles of Extinction will be the first in a series of concept albums from OLD MACHINES, an ongoing project with current and former members of OXYGEN DESTROYER, SKELETAL REMAINS, SILVER TALON, THIRSTING ALTAR, and DOMINUS NOX. There will be more of such epics in this fashion because...extinction...is only the beginning....

OLD MACHINES is:

  • Gary Reavis - Vocals

  • Jason Stares - Keyboards

  • Brian Rush - Guitar

  • Devon Miller - Guitar

  • Joel Henigson - Bass  

  • Chris Craven - Drums


Artwork by Alexander Preuss

Heavy Act BEAST EAGLE Launch "The Dead Follow"

Taking flight with their new single "The Dead Follow", Nebraska's BEAST EAGLE provide a distortion fueled morsel of their approaching EP Sorceress. Mesmerizing groove riffs and enchanting vocals await in this magical manifestation. The release is set to be unveiled on November 21st, 2025, via Golden Robot Records. 

The band comments on "The Dead Follow"

"'The Dead Follow' crashes open with thunderous riffs and a restless pulse, telling the story of a witch awakening to her power just as the world around her begins to unravel. As spells come easier and fire dances at her fingertips, everything she once knew feels distant—twisted, unfamiliar. The track channels that disorientation into raw, driving energy, blending mysticism with rebellion. It’s a gritty anthem for anyone who’s ever grown into something stronger and stranger than the world was ready for."

About BEAST EAGLE
Soaring out of Omaha, Nebraska, heavy quartet BEAST EAGLE evoke a powerful take on hard rock driven by rock 'n' roll sensibilities. Influenced by the likes of KYUSS, HE IS LEGEND, and MASTODON, the band's huge sound is spearheaded by a fury of riffs and unyielding vocals. Since forming in 2019, BEAST EAGLE unleashed their first full length Loud at Flat Black Studios in 2021 with the self-titled EP following in 2023. Most recently, BEAST EAGLE were bestowed the title of Omaha Entertainment Award Association Best Hard Rock Band 2025. The forthcoming guitar-led, blues influenced offering, Sorceress is set to be unveiled on November 21st, 2025, via Golden Robot Records. 

Line Up:
Kate Lewis (Vocals)
Austin L’Ecuyer (Guitarist)
August Sievering (Drums)
Toby Wandel (Bassist)

EP Credits: 
Producer: Rick Carson
Recording Studio: Make Believe Studio
Engineer: Ryan Harvey
Mastering: Rick Carson
Mixing: Rick Carson
Album Cover Artist: Austin L’Ecuyer

Links:
Bandcamp: https://beasteagle402.bandcamp.com/
TikTok: https://www.tiktok.com/@beasteagle402
Instagram: https://www.instagram.com/beast.eagle
Facebook: https://www.facebook.com/BEASTEAGLENE/

ELECTROMANCY Releases “Nonlinear Healing," A 10-Minute Journey Through Grief, Hope, and Persistence

Experimental extreme metal innovators ELECTROMANCY have released their latest single, “Nonlinear Healing,” along with a visually striking music video, ahead of the upcoming sophomore album Visions of Utopia, out September 10, 2025.

The track’s title reflects its emotional and thematic depth; the battle for physical and mental health is rarely a straight path. As frontwoman and band founder Steph Tranovich explains, “The only thing worse than getting sick is getting sick again. This song is about grief, but also about the will to persevere even when we’ve returned to our lowest.”

Musically, “Nonlinear Healing” is the most black metal–infused cut on Visions of Utopia, driven by tremolo-picked riffs, blast beats, shrill vocals, and intricate open arpeggios. Beneath its chaos, a powerful low guitar tone adds doomy heaviness, while call-and-response vocals between Tranovich and Shaun Gallagher push the emotional intensity to its peak, culminating in an unhinged yet perfectly in-time spoken-word metal climax that sends shivers down the spine.

Visions of Utopia follows ELECTROMANCY’s groundbreaking debut Technopagan, which introduced audiences to Tranovich’s DIY robotic instruments, a necessity after chronic illness and nerve damage made traditional playing impossible. Where Technopagan was steeped in chaos and grief, the new album takes listeners on a hero’s journey from hope, through despair, to hard-won joy, blending black, death, and doom metal with progressive flourishes. Pre-orders are available here: https://www.robotmetalband.com/

About ELECTROMANCY:

Forged at the intersection of grief, resilience, and radical creativity, ELECTROMANCY is a boundary-defying black/doom/death metal duo from the Bay Area blending blistering sonic chaos with DIY robotics and raw human emotion. Formed in June 2019 by composer and vocalist Steph Tranovich (they/them), alongside co-vocalist Shaun Gallagher (he/him), ELECTROMANCY uses custom-built robotic instruments as a form of assistive technology—enabling Steph to continue making music despite their chronic illness. Their discography, spanning from the brutal Technopagan to the emotionally complex Visions of Utopia, chronicles Steph’s journey through disability and healing, channeling pain, perseverance, and moments of cathartic joy. With influences like THOU, MESHUGGAH, and LITURGY, the band fuses intricate polyrhythms with avant-garde metal, while exploring themes of queer identity, grief, and radical strength. Their live shows are visceral, theatrical experiences—robot guitars and LED-lit mannequins sharing the stage with two unapologetically human voices. ELECTROMANCY isn’t just for metal fans—it’s for anyone searching for something different, something real, and something powerful.

 

ELECTROMANCY is:

  • Steph Tranovich (they/them) - composition, robotics, vocals

  • Shaun Gallagher (he/him) - vocals

 

Links:

Website: https://www.robotmetalband.com/

Linktree: https://linktr.ee/robotmetalband

Bandcamp: https://electromancy.bandcamp.com/

Youtube: https://www.youtube.com/channel/UCf5ibaDYgdr4DMw6m7Kg-Rg

Spotify: https://open.spotify.com/artist/35z3NAqjlymF9wUPREF92J?si=qOpGJoZzTmSF7dFKI4PpDw

Instagram: https://www.instagram.com/robotmetalband/

Twitter: https://twitter.com/RobotMetalBand

Facebook: https://www.facebook.com/RobotMetalBand

Patreon: https://www.patreon.com/robotmetalband

TikTok: https://www.tiktok.com/@robotmetalband

Apple Music: https://music.apple.com/us/artist/electromancy/1517326510 

PROFANE ELEGY Unleashes “The Accuser”

Independent black metal force PROFANE ELEGY has released their latest single, “The Accuser,” the final and most searing track from their forthcoming sophomore album Herezjarcha, out January 30, 2026.

Originally conceived as a two-man recording project, PROFANE ELEGY quickly evolved into a full four-piece band, igniting the live circuit in late 2023. With members spread across Pennsylvania and New Jersey, the band’s creative process thrives in the digital realm with file sharing and relentless group chat collaborations forging every note of Herezjarcha.

“The Accuser” stands as a blistering indictment of false witnesses and a bold rejection of god. Drawing on the biblical portrayal of Satan as “the accuser of the brethren," the eternal prosecutor, the song assumes the role of the accuser itself. Blood is laid upon the hands of the hypocrites, and damnation is embraced without remorse.

Herezjarcha marks a natural yet fearless evolution from the band’s debut When All Is Nothing. While the essence of their original sound remains, it has been sharpened and expanded: more dynamic, more melodic, yet heavier and more unrelenting than ever. From mournful dirges to unhinged fury, each track is bound by a unified musical and lyrical vision. The album title, meaning “arch-heretic,” encapsulates its spirit: an oath, a testament, and a declaration of new heresy.

With “The Accuser” closing the eight-part descent into darkness, PROFANE ELEGY cements their place as a band unafraid to confront the sacred, embrace the profane, and speak with unflinching conviction.

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—a made-up word 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.

PROFANE ELEGY is:
 

  • Mikael L – Vocals, Orchestration

  • J Gulick – Guitars, Orchestration

  • David G – Bass, Orchestration

  • Sean M – Drums

VÖLUR & CARES Release Breathless Spirit With Video for “Windbourne Sorcery II”

Toronto-based trio VÖLUR, the band that has spent the past decade proving heavy music doesn’t need guitars, join forces with producer and sound artist CARES (James Beardmore) to release their fourth full-length album Breathless Spirit today via Black Throne Productions. The record arrives alongside the premiere of a haunting video for “Windbourne Sorcery II,” an otherworldly piece of doom-folk storytelling featuring guest vocals from Amy Bowles (PONY DA LOOK).

Breathless Spirit is VÖLUR & CARES’ most immersive and uncompromising work to date, a six-track journey through dread, exile, and psychic unraveling inspired by The Saga of Grettir the Strong, a 13th-century Icelandic tale of a cursed outlaw. Blending doom, folk, black metal, free improvisation, and world music traditions, the album reimagines myth as sound: cinematic, spectral, and unbound by genre.

CARES’ role goes far beyond production, contributing piano, synthesizers, theremin, custom-built electronics, and radical sound processing to expand VÖLUR’s acoustic core of violin, bass, and drums into liminal territory. Through fractured textures, spectral layering, and immersive re-amping, the collaboration transforms Breathless Spirit into something part metal ritual, part sound art installation.

“Windbourne Sorcery II,” the record’s third track, shifts from crushing doom riffs to an introspective folk lament. Told from the perspective of a witch cursing Grettir, the song is filled with paradoxes, air that freezes, snow that burns, and builds toward a hallucinatory vision of an encroaching iceberg, a solid wall of metallic ice on an unalterable course. The new video channels the song’s stark intensity, pairing its dynamic shifts with imagery steeped in isolation, magic, and the inevitability of fate.

Breathless Spirit is available today on black vinyl in standard and limited “diehard” editions, the latter including a 7-inch bonus record (Flutterby Number and Glamr) and a 20g packet of custom-blended Breathless Spirit tea. Digital formats also include the bonus track Glamr, unavailable on streaming platforms.

About VÖLUR & CARES

VÖLUR is a Toronto-based experimental doom metal trio composed of Laura C. Bates (violin, vocals), Lucas Gadke (bass, vocals), and Justin Ruppel (drums). Known for their unorthodox instrumentation and boundary-pushing compositions, VÖLUR draws from a wide range of influences including doom metal, European folk, free improvisation, classical music, and Persian/Kurdish traditions. Their sound, often described as haunting and cinematic, blends thunderous low-end weight with fragile melodic tension. Since forming in 2014, they have released multiple albums and EPs, performed at festivals such as ProphecyFest and Sled Island, and collaborated with artists from around the world as part of their Die Sprachen der Vögel series.

CARES is the project of James Beardmore, a UK-born, Ontario-based musician and producer. Known for his experimental production methods and emotional sonic textures, Beardmore integrates analog synthesizers, hacked hardware, custom Max/MSP instruments, and field recordings into compositions that are as tactile as they are atmospheric. His work with VÖLUR on Breathless Spirit is a seamless collaboration that expands the band’s sonic universe, elevating their music into a richly layered fusion of organic and electronic sound.

Together, VÖLUR & CARES create immersive, mythically charged music that resists categorization, rooted in story and sound, breath and ritual.

VÖLUR is:
 

  • Laura C. Bates – violin, electric violin, viola, cymbals, vocals

  • Lucas Gadke – electric bass, double bass, harmonium, keyboards, tanbur, clarinet, bass clarinet, vocals

  • Justin Ruppel – drums, percussion


Connect with VÖLUR:

Website: www.volurdoom.com
Bandcamp: https://volur.bandcamp.com/
Facebook: https://www.facebook.com/VolurDoom/
Instagram: https://www.instagram.com/volurdoom/
Twitter/X: https://twitter.com/volurdoom
YouTube: https://www.youtube.com/volurdoom
TikTok: https://www.tiktok.com/@volurdoom
Spotify: https://open.spotify.com/artist/2Y2XCmgrMhdMpoNdGibU01 

AGENBITE MISERY Unleashes First Single “Bellwether and Swine”

Experimental metal trio AGENBITE MISERY has released the first single from their forthcoming debut album Remorse of Conscience. Titled "Bellwether and Swine," this is the first look into the band's genre-defying literary adaptation of James Joyce’s Ulysses.

At just under six minutes, "Bellwether and Swine" delivers a searing fusion of black metal, sludge, and militaristic riffage, pairing relentless sonic aggression with sharp thematic intent. The track adapts the infamous “Cyclops” chapter of Ulysses, reimagining its critique of xenophobia and jingoism through a modern metal lens. With pounding rhythms, towering riffs, and a vocal delivery soaked in irony and venom, AGENBITE MISERY turns the language of triumphalist metal against itself, mocking the very nationalist violence it so often celebrates. The official visualizer for the track can be seen below.

Lyrically, "Bellwether and Swine" blends lines from Joyce’s exaggerated narrator with direct biblical and mythic allusions, mimicking the “gigantism” style of the original text. Spoken word sections conjure Old Testament visions as Bloom’s escape from a violent barroom argument becomes a parable of survival. Meanwhile, sludgy choruses chant the narrator’s dismissals with mock-reverence: “Begob, he got as far as the door. Begob, always some bloody clown or other.”

"Bellwether and Swine" was self-recorded and produced by the band, with mixing by Eric Sauter and mastering by Brad Boatright. It is the first of five singles to be released ahead of Remorse of Conscience, which arrives February 6, 2026. 

AGENBITE MISERY formed with a mission to translate great literary works into modern sonic languages. Their upcoming debut draws directly from Joyce’s Ulysses, with each track adapting a specific chapter using genre-spanning metal composition and lyrics lifted from the original text. The result is a sprawling, ambitious, and unapologetically cerebral journey through some of the most emotionally dense terrain ever attempted in heavy music.

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:
 

Electromancy - Visions of Utopia

ELECTROMANCY is thrilled to announce their new album, Visions of Utopia, arriving September 10th, 2025. Blending the frostbitten chaos of black metal, the crushing weight of doom, and the visceral ferocity of death metal, this seven-track journey dives into the emotional landscape of composer and multi-instrumentalist Steph Tranovich’s experience with chronic illness and disability. From searing despair and cathartic rage to fragile hope, Visions of Utopia is both a sonic onslaught and a testament to perseverance—turning pain into power and offering light to those navigating their own darkness.

Steph shares, “Visions of Utopia doesn’t lose sight of my struggles, but it sees a future that’s bright and hopeful and right over the horizon. These past few years I’ve seen a lot of progress in my health—and also some intense relapse. But I’ve grown again and have been finding ways to really thrive given my disability. This album takes you through that journey: hope, relapse, recovery, and a renewed appreciation for life.”

The album opens with “Intro,” a stark spoken-word track that lays the foundation for ELECTROMANCY’s story. Against a backdrop of haunting ambience and mechanical drone, it unflinchingly recounts the band's origin, their use of robotic instruments as assistive tech, and Steph’s personal evolution through illness. It sets the emotional tone for the record’s fusion of blackened intensity, doomy heft, and experimental death metal edge—grounding listeners in the human experience behind the cybernetic sound.

“Utopic Visions,” the second track, is a defiant incantation for a better world. It acknowledges the crushing weight of personal and collective suffering, but refuses to stop there—choosing instead to conjure something brighter. Downtuned guitars bring weight; piercing highs give shape; glitching synths and swirling textures enhance the hypnotic pull, while Shaun Gallagher’s commanding vocals slice through with clarity and conviction. It’s a dream of Utopia cast in distortion and dissonance, built for those ready to imagine—and fight for—something more.

Track three, “Brief Moments of Total Collapse,” captures the brutal volatility of chronic illness: one moment you’re rising, the next you’re falling harder than before. Its short runtime mirrors the rapid descent into relapse, while sharp dynamic shifts and death metal ferocity channel the whiplash of losing control. It’s a violent flash of vulnerability—a sonic snapshot of how quickly the ground can disappear beneath you.

At the emotional core of the album lies “Nonlinear Healing,” a sweeping ten-minute epic that embraces the messy, spiral-shaped nature of recovery. Weaving between grief and hope, open harmonies and bitter dissonance, it acknowledges that healing isn’t linear—it’s a process full of backslides, slow climbs, and moments of quiet resilience. Blackened textures, mournful doom, and layered melodies mirror this ebb and flow, settling not in triumph, but in steady perseverance. Sometimes, as Steph says, “the only thing we can do is keep moving forward.”

“Repair,” track five, offers a tonal shift—a flash of sunlight after the storm. This short, lively track bursts with playful energy, featuring call-and-response vocals that lift the refrain “up and up.” It’s a reminder that rebuilding can be joyful, even fun; that healing includes laughter, motion, and moments of celebration.

Next comes “Thriving Cyborg,” a groove-laden ode to adaptation and gratitude. Drawing from Steph’s lived experience of thriving with assistive technology, the track celebrates the communities, tools, and creativity that make life possible and fulfilling. Its funk-infused rhythm, bursts of synth, and hands-on manipulation of robotic instruments reflect the seamless blend of organic and inorganic at the heart of ELECTROMANCY’s identity. A brief moment of heaviness nods to continued struggle, but it’s the triumphant, polyrhythmic crescendo that defines this nine-minute track’s spirit—resilient, euphoric, and alive.

Closing the album is “Static Ecstatic,” a meditation on finding joy in the overlooked moments of daily life. Fusing blackened atmosphere, doomy depth, and experimental textures, the song explores the quiet fulfillment that emerges not from grand victories, but from stillness, presence, and the strange wonder of simply existing. It’s a gentle but powerful resolution—a final breath that grounds the listener after a journey of storms. In true ELECTROMANCY form, the record ends not with spectacle, but with hard-won peace.

About ELECTROMANCY:

Forged at the intersection of grief, resilience, and radical creativity, ELECTROMANCY is a boundary-defying black/doom/death metal duo from the Bay Area blending blistering sonic chaos with DIY robotics and raw human emotion. Formed in June 2019 by composer and multi-instrumentalist Steph Tranovich (they/them), alongside co-vocalist Shaun Gallagher (he/him), ELECTROMANCY uses custom-built robotic instruments as a form of assistive technology—enabling Steph to continue making music despite their chronic illness. Their discography, spanning from the brutal Technopagan to the emotionally complex Visions of Utopia, chronicles Steph’s journey through disability and healing, channeling pain, perseverance, and moments of cathartic joy. With influences like THOU, MESHUGGAH, and LITURGY, the band fuses intricate polyrhythms with avant-garde metal, while exploring themes of queer identity, grief, and radical strength. Their live shows are visceral, theatrical experiences—robot guitars and LED-lit mannequins sharing the stage with two unapologetically human voices. ELECTROMANCY isn’t just for metal fans—it’s for anyone searching for something different, something real, and something powerful.

ELECTROMANCY is:

  • Steph Tranovich (they/them) - composition, robotics, vocals

  • Shaun Gallagher (he/him) - vocals

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.

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:

OLD MACHINES Unleashes Cosmic Doom With Title Track “The Cycles of Extinction”

Prepare for transmission: the machines have awakened. Today, OLD MACHINES has released “The Cycles of Extinction”, the thunderous and chilling title track from their upcoming debut album; a sweeping, cosmic metal concept record chronicling the death march of civilizations in the grip of mechanical genocide.

A monolithic descent into the void, The Cycles of Extinction, due out August 22nd, is the band’s bold, hour-long odyssey through blackened space, where eight tracks map the eternal cycle of galactic evolution and annihilation. With today's single release, the second track in the album’s chronology, Old Machines takes listeners into the heart of the empire’s unraveling.

The song opens with layered synths: choir vocals and pipe organ twisted through a haze of cinematic strings, conjuring an ominous prelude before launching into blast-driven intensity and haunting, melodic choruses. Combining elements of black, death, thrash, and power metal, the track nods to acts like EMPEROR, LIMBONIC ART, and even evokes unexpected comparisons to NOCTURNUS: influences both deliberate and incidental.

Lyrically, “The Cycles of Extinction” explores a galactic snare set by sentient AI known as the Old Machines. Once the architects of civilization, these cybernetic titans now harvest evolved organic life, luring entire species with techno-utopian promises before assimilating or obliterating them. The track narrates the rise of their horrific army, twisted, perverted reflections of once-living beings, bound to the will of the most diabolical artificial intelligence in existence.

A centerpiece in both sound and story, the single has become a live staple since the band’s first performance.

About OLD MACHINES:

From the darkest depths of the oceans of time and space comes a legend over two billion years old, which has spawned a multitude of harrowing galactic sagas. These stories arrive to us in the form of the debut album from OLD MACHINES titled The Cycles of Extinction, featuring eight songs regarding mysterious, malevolent horrors, which create the very extinction cycles all organic life forms are forever trapped in.  These are tales of horror, war, and genocide, spanning eight tracks for one hour of music which can be described as Extreme Cosmic Metal; combining elements of thrash, death, black, and power metal.  If any of this story sounds familiar, it may be because we have re-conceptualized plots from our favorite video games with a series of concept albums in chronological order, while musically, for now, being in the vein of bands such as BAL SAGOTH, EMPEROR, LIMBONIC ART, OBSIDIAN GATE, combined with the story-telling element of BLIND GUARDIAN. The Cycles of Extinction will be the first in a series of concept albums from OLD MACHINES, an ongoing project with current and former members of OXYGEN DESTROYER, SKELETAL REMAINS, SILVER TALON, THIRSTING ALTAR, and DOMINUS NOX. There will be more of such epics in this fashion because...extinction...is only the beginning....

OLD MACHINES is:

  • Gary Reavis - Vocals

  • Jason Stares - Keyboards

  • Brian Rush - Guitar

  • Devon Miller - Guitar

  • Joel Henigson - Bass

  • Chris Craven - Drums

Links: