Carmen Burguess, formerly of Mueran Humanos, released "El Mar" and will issue her debut album, "Flores de Cuero," via Mixta Music on 15 January 2027.

Source: Side Line

Gothic rock artist Leon Noir releases his second album, "Revelation," in December 2026. Lead single "Saint Marie" is out now on Spotify and YouTube.

Source: Side Line

Berlin duo WHOLE released their third album "THING" on 9 October 2026 through Blackjack Illuminist Records, on CD, limited cassette and digital.

Source: Side Line

ShadowMouth release the debut album "Modern Alchemy" on 14 October 2026 via Death of the Party Records, with vinyl and CD editions on 16 October.

Source: Side Line

Harpyie haben mit „Unsere Lieder“ die erste Vorab-Single aus ihrem kommenden Album „Nach uns die Sintflut“ veröffentlicht, welches das letzte Werk der Band sein soll. Alle Infos dazu sowie das Musikvideo bei uns!

Source: Sonic Seducer

Jürgen Engler (Die Krupps) celebrates his 63rd birthday today. We wish him all the best! Did you know?– The Krupps were founded by Jürgen Engler and Bernward Malaka.– It was named after the Krupp family of heavy industry.– Accordingly, the album artwork contains reminiscences of working-class life and industrial culture.– The “steel microphone” typical of […]

Source: Orkus

Bei ‘Judas Priest’ geht eine Ära zu Ende: Ian Hill hat seinen sofortigen Rückzug aus der Band und vom aktiven Tourleben bekannt gegeben. Nach mehr als fünf...

Source: MedienKonverter

Die finnische Melodic Death / Heavy Metal-Band GARDEN OF STONE hat nach „Silence Falters“ und „Obsession“ mit „Red Giraffe“ eine dritte Single ihres kommenden Albums „For the World of the Obsolete“ veröffentlicht.

„Der Song befasst sich mit den Folgen des Drogenmissbrauchs und der oft verzerrten öffentlichen Debatte rund um dieses Thema. Für uns geht es bei „Red Giraffe“ darum, die dunkleren Seiten des Themas zu beleuchten, ohne es zu vereinfachen“, sagt die Band.

Das Album folgt auf das diesjährige Debütalbum „The Grave Mistake“ nach und wurde von Joona Muistola in den HAW Studios gemixt und gemastert. Das Cover-Artwork stammt von Matias Stenman. Release-Termin ist der 11. Dezember 2026 via Inverse Records.

GARDEN OF STONE Line-Up:
Jere Mäntysalo – Guitar
Jesse Salo – Vocals
Kalle Hänninen – Bass
Ville Penkari – Guitar
Tapio Haverinen – Drums

GARDEN OF STONE „For the World of the Obsolete“ Tracklist
01. Prelude
02. Silence Falters (Video bei YouTube)
03. Create, Doctrinate, Incinerate
04. Nightcrawler
05. Red Giraffe (Video bei YouTube)
06. Obsession (Lyric-Video bei YouTube)
07. Jää
08. Road Without A Path
09. Butterfly of Wasted Prayers
10. Satumaa-tango

Source: Vampster

Die Melodic Death Metal-Band OLYMPUS hat mit „L’appel Du Vide“ eine neue EP angekündigt. Es ist nach „Knowing It Shall Wake“ die zweite EP der Engländer und beschäftigt sich mit Themen wie Selbstwertgefühl, Depression und Selbstmord und zeichnet eine Reise durch die Dunkelheit aufdringlicher Gedanken nach – hin zu der entscheidenden Erkenntnis, dass man nicht allein ist und dass Hoffnung einen letztendlich retten kann.

„L’appel Du Vide“ wird am 6. November 2026 erscheinen. Vorab gibt es zu „Misguided“ einen Video-Clip.

OLYMPUS Line-Up:
Jason Dugal – vocals
Dan Barratt – guitar & vocals
Ruaidhri Conroy – guitar
Reece Cash – bass
Oz Hassan – drums & vocals

OLYMPUS „L’appel Du Vide“ Tracklist
1. L’appel Du Vide
2. Breathe
3. Misguided (Video bei YouTube)

Source: Vampster

Die Melancholic Metal-Band KANTALASYNDROOMA hat mit „Viinanpolttajien laulu“ eine neue Single mitsamt Video-Clip veröffentlicht. Der Song wird Teil des ersten Albums „Aavan suon tuolle puolen“ sein, welches am 6. November 2026 erscheinen soll. Es ist das erste Album der Finnen, die zuvor in der Band LYIJYKOMPPANIA engagiert waren.

KANTALASYNDROOMA Line-Up:
Tero Vuorinen : guitar & vocals
Petri Lindström : guitar
Arto Alaluusua : bass
Petteri Virtanen : drums

KANTALASYNDROOMA „Viinanpolttajien laulu“ (Video bei YouTube)

Source: Vampster

Die Black / Thrash Metal-Band WITCHGÖAT hat mit „Serpent Hordes“ ein neues Album angekündigt. Es ist nach „Egregors of the Black Faith“ (2019) und „Altars of Necromancy“ (2023) das dritte Album der Band aus El Salvador und wird am 4. Dezember 2026 via Personal Records erscheinen. Vorab gibt es den Titeltrack zu hören.

WITCHGÖAT Line-Up:
P. Scyther – Guitars
C. Fog – Bass
E. Driller – Drums
M. Miasma – Vocals

WITCHGÖAT „Serpent Hordes“ Tracklist
1. Echoes from the Abyss (Intro)
2. Ophidian Will
3. Serpent Hordes (Audio bei Bandcamp)
4. Lesser Shadows
5. Necrophiliac Fever
6. Requiem for Myself
7. Deceivers of the Crucifix
8. Storming the Walls of Eternity
9. Nyctophiliac
10. In the Fog (Outro)

Source: Vampster

Die Heavy Progressive / Psychedelic Rock-Band BOSS KELOID hat mit „Pedestal“ einen zweiten Track ihres kommenden Albums „Float & Aperture“ veröffentlicht. Es ist das sechste Album der Engländer aus Wigan und ist von persönlichen Erfahrungen, Schwierigkeiten und Lebenserfahrungen inspiriert.

„Das Leben annehmen, sich den Herausforderungen und den Wellen der Schönheit stellen und keine Angst davor haben, diese Erfahrungen durch Kunst, Musik, Liebe, Wut und Weisheit zu verarbeiten und auszudrücken. Erfahrungen erzählen eine Geschichte, wenn man bereit ist, sie zu teilen“, sagt die Band.

„Float & Aperture“ wird am 23. Oktober 2026 via Church Road Records erscheinen. Vorab gibt es mit „Landslide“ auch einen Video-Clip.

„Dieser Song enthält in seinem Text viele Bedeutungen. Im Kern geht es darum, zu lernen, zu akzeptieren, dass wir alle unser schlimmster Feind sind, und dass das Leben tatsächlich einfacher wird, wenn man das erkennt“, sagt die Band.

BOSS KELOID Line-Up:
Ste Arands – Drums and Percussion
Paul Swarbrick – Guitars
Alex Hurst – Vocals and Guitars
Liam Pendlebury-Green – Bass

BOSS KELOID „Float & Aperture“ Tracklist
1 – Breeze
2 – Pedestal (Audio bei YouTube)
3 – Landslide (Video bei YouTube)
4 – Weight
5 – Aros
6 – Accord
7 – Sanguine

Source: Vampster

Die Nu-Metal-Band CELAVI hat nach „Plaster“ mit „Ar Dy Liniau“ eine neue Single mitsamt Video-Clip veröffentlicht. Es ist ein Lied über Konfrontation, Widerstandsfähigkeit und die Weigerung, sich beiseite schieben zu lassen. Die neuen Songs des walisischen Ehepaars Gwion und Sarah Wynn Griffiths wurde von Romesh Dodangoda (u.a. für BRING ME THE HORIZON tätig) produziert und werden am 13. November 2026 auf der EP „Praelia“ erscheinen.

CELAVI „Praelia“ Tracklist
1. Ar Dy Liniau (On Your Knees) (Video bei YouTube)
2. 13
3. Malum
4. Plaster (Video bei YouTube)

Source: Vampster

Die Power Metal-Band ETERNITY’S END hat mit „Titanblood“ ein neues Album angekündigt. Es ist das vierte Album der Deutschen rund um Gitarrist und Bandgründer Christian Muenzner (Ex-OBSCURA, Ex-PARADOX, Ex-ALKALOID) und das erste mit dem neuen Sänger Mike Livas (SILENT WINTER, PRYDAIN, BLOODORN).

„Titanblood“ wurde von Drummer HANNES GROSSMANN (ALKALOID, Ex-OBSCURA) in den Mordor Sound Studios produziert und wird am 6. November 2026 via Scarlet Records erscheinen. Das Cover-Artwork stammt von Dimitar Nikolov. Vorab gibt es nach dem Track „Ravenheart“ nun auch den Video-Clip zu „Sword In The Storm„.

ETERNITY’S END Line-Up:
Mike Livas – vocals
Christian Muenzner – guitar
Justin Hombach – guitar
Jimmy Pitts – keyboards
Linus Klausenitzer – bass
Hannes Grossmann – drums

ETERNITY’S END „Titanblood“ Tracklist
1. The Gods Of Bal Sagoth
2. Sword In The Storm (Video bei YouTube)
3. Titanblood
4. Interstellar Transmission
5. In The Wake Of The Carrion King
6. Eternal Winter
7. Gates Of Eternity
8. The Abyss Watchers
9. Ravenheart (Audio bei Bandcamp)
10. Rule The Night

Source: Vampster

Mit „Never Again“ wird am 23. Oktober 2026 die neue EP der Hard Rock / Heavy Metal-Band ROPE erscheinen. Die Scheibe folgt auf das 2023er-Album „Rope“ nach und wurde von Jeff Black gemixt und gemastert. Das Cover-Artwork stammt von Matt Mcmurian. Vorab gibt es den Track „Hooks“ zu hören.

ROPE Line-Up:
Anne Thorsteinson: Vocals / Guitar
Leona Hayward: Bass
Margot Pryor-Jones: Drums / Vocals

ROPE „Never Again“ Tracklist
01. Taste Of Blood
02. Hooks (Audio bei Bandcamp)
03. Tunnel Vision
04. Doctor, Doctor (UFO Cover)
05. Into The Night (Bonus Track)
06. Red Nails (Bonus Track)

Source: Vampster

Die Avantgarde / Progressive Metal-Band THY CATAFALQUE hat mit „XIII: Sárga erdő“ ein neues Album angekündigt. Es ist das 13. Album des ungarischen Solo-Projekts von Tamás Kátai und folgt auf das vor eineinhalb Jahren erschienene Album „XII: A Gyönyörü Álmok Ezután Jönnek“ nach. Anders als damals und auch bei den Alben davor kommt diesmal ein echtes Schlagzeug zum Einsatz – eingespielt von Árpád Szenti (AHRIMAN, DAMNATION, MERCULISTARYA). Insgesamt sind auf dem Album 34 Musiker und Sänger zu hören und zusätzlich ein 20-köpfiger Männerchor.

„XIII: Sárga erdő“ wurde von Gábor Vári bei Miracle Sound in Szeged gemixt und gemastert. Release-Termin ist der 20. November 2026 via Season of Mist. Vorab gibt es nach dem Opener „Búcsú a piros madártól“ mit „Tömbök“ einen weiteren Video-Clip.

THY CATAFALQUE „XIII: Sárga erdő“ Tracklist
1. Búcsú a piros madártól (06:04) (Video bei YouTube)
2. Ég-anyám, föld-apám (04:28)
3. Dunnák alatt kék mező (04:04)
4. Szitakötő (01:10)
5. Suhamló éji fák (05:04)
6. Puszta (04:58)
7. Sirató (03:58)
8. Cseremisz (04:05)
9. Sárga erdő (10:15)
10. Tömbök (04:59) (Video bei YouTube)
11. Kút vizén nap forog (04:06)
12. 87 tavasz, 87 ősz (10:52)

Source: Vampster

Die Hard Rock / Heavy Metal-Band 1THIRTY8 hat einen Labeldeal bei Wormholedeath unterschrieben. Im Zuge dessen wird das australische Projekt von Karl Szulik (DIVINE ASCENSION) sein neues und erstes Album „A Reckless Game“ veröffentlichen. Release-Termin ist der 13. November 2026. Vorab gibt es zum Opener „In Vain“ einen Video-Clip.

1THIRTY8 Line-Up:
Karl Szulik – Guitars, Bass & Keys
Emo Alaeddin – Vocals
James Knoerl – Drums

1THIRTY8 „A Reckless Game“ Tracklist
1 In Vain (Video bei YouTube)
2 Suffer Silence
3 Frustration Divide
4 Aligned Again
5 Inside A Mind
6 Chaos Control
7 Where Confusion Lies
8 Paper Is Not A Colour
9 Still Breathing
10 Delusional Sin

Source: Vampster

Die Doom Metal-Band NIGHT GAUNT hat mit „Rupture“ ein neues Album angekündigt. Es ist nach „Night Gaunt“ (2014) und „The Room“ (2018) das dritte Album der Italiener aus Rom und wird am 6. November 2026 via Aural Music erscheinen. Vorab gibt es nach einem Video-Clip zum Opener „Of Clouds and Gleam“ mit „The Deer and the Hunter“ nun auch ein Lyric-Video.

NIGHT GAUNT Line-Up:
Giuseppe Colio – Guitars, Vocals
Jacopo Gianmaria Pepe – Bass
Stefano Allegretti – Guitars
Luca Ercolani – Drums

NIGHT GAUNT „Rupture“ Tracklist
1. Of Clouds and Gleam (Video bei YouTube)
2. Strangers
3. Struck by the Fever
4. Ordeal
5. The Revenant
6. The Deer and the Hunter (Lyric-Video bei YouTube)
7. September Song
8. The Antagonist
9. Blooming
10. The End

Source: Vampster

Mit „Mugwort“ wird am 26. Oktober 2026 via Amor Fati Productions das neue Album der Black Metal-Band HERZOG. Es ist nach „Furnace“ (2023) das zweite und letzte Album der Belgier, nachdem Sänger und Gitarrist Asgeir Amort Ende 2025 an Krebs verstorben ist.

„Dieses Album ist zugleich ein Zeugnis für die wilde Unvorhersehbarkeit des Lebens – seine Absurdität, seine Grausamkeit, seine zerbrechliche Schönheit. Es erzählt von der Kraft, die in der Gegenwart liegt. Davon, den Moment mit voller Intensität zu leben, wenn das Morgen nicht mehr sicher ist. Von Widerstandsfähigkeit. Von Beharrlichkeit. Von Würde angesichts des Unvermeidlichen“, sagt die Band.

Vorab gibt es zu „Trauma“ ein Lyric-Video.

HERZOG Line-Up:
Déhà – Bass
Hochofen – Drums
Asgeir Amort (R.I.P.) – Vocals, Guitars

HERZOG „Mugwort“ Tracklist
1. Region of the Nest (4:50)
2. Dawn of the Prosper (7:10)
3. Trauma (7:32) (Lyric-Video bei YouTube)
4. Chaosphonia (4:47)
5. Saudade (5:21)
6. Post-Truth (6:05)

Source: Vampster

Die Abrissbirne schwingt – aber kennen wir ihre Flugbahn nicht längst? 'Miss May I' liefern auf 'No Place For Me' fette Riffs, große Refrains und reichlich Druck....

Source: MedienKonverter

Im Archiv gilt normalerweise Zimmerlautstärke. Heute rumpelte es dort so entschieden, dass wir nachsehen mussten. „RMXD“ hatte offenbar genug von der vornehmen Zurückhaltung. Manche Reviews verschwinden nach...

Source: MedienKonverter

Beim ersten Mal war es ein redaktioneller Außeneinsatz. Beim zweiten Mal ein Rückfall. Beim dritten Mal bekommt man nun auf der Familienfeier einen festen Sitzplatz...

Source: MedienKonverter

Artist: Boy HarsherTitle: Get MeanGenre: EBM / Darkwave / Coldwave / Drone / ElectronicRelease Date: 18th September 2026Label: Boy Harsher under license to Atlantic Recording Corp

Source: Reflections of Darkness

Dunkel, mitreißend, verdammt eingängig: 'Vioflesh' begeistern uns mit 'Dark Bellow'. 'Intuition' lässt uns nicht mehr los! Warum dieses Album packt? Jetzt im Review!

Source: MedienKonverter

Cold Spring releases the "Driller Killer" O.S.T. on CD on 30 October 2026, the first CD edition of Joe Delia's 1979 Abel Ferrara score.

Source: Side Line

UK dark ambient artist CrAwE released the album "Torc Bound Ley Lines" on 8 October 2026 via Triple Moon Records.

Source: Side Line

VÍZ, the project of Réka Csiszér, will release "Ég/Üres" on 20 November 2026 through Asadun Alay Records on LP and digital, with Radwan Ghazi Moumneh.

Source: Side Line

Wenn ihr schon einige Reviews von mir gelesen habt, wisst ihr, dass ich immer ein kleines Problem habe, wenn es um Songtexte geht, deren Sprache ich...

Source: MedienKonverter

Bei manchen Musikern erinnert man sich zuerst an ein Gesicht. Bei anderen an einen Rhythmus, der sofort wieder da ist, sobald die Nadel aufsetzt. Edgar Patrik gehörte...

Source: MedienKonverter

The Chilean duo Vioflesh released their third album earlier this year. Following their previous album,...

Source: Side Line

Die Black Metal-Band SENTRIES hat mit „Disciples of Void & Fire“ ein neues Album angekündigt. Es ist der erste Release der internationalen Band rund um Gitarrist und Bassist Hans Cools (OERHEKS, SILVER KNIFE, HÄXENZIJRKELL) und wird am 4. November 2026 via Amor Fati Productions erscheinen. Vorab gibt es den Track „Dying Stars and Skies Ablaze“ zu hören.

SENTRIES Line-Up:
RH – vocals
HC – guitars, bass
DV – guitars, ambience
MDK – drums

SENTRIES „Disciples of Void & Fire“ Tracklist
1. Arise, Thou who Dwelleth in Shadows (6:39)
2. Dying Stars and Skies Ablaze (6:55) (Audio bei YouTube)
3. Lacerations of Ages (5:26)
4. Into the Dawn Beyond Mortality (7:56)
5. Towards the Monolith of Grief (6:51)
6. Sentries of Stone and Hatred (7:35)

Source: Vampster

Die Österreicher MASTIC SCUM kündigen ihr mittlerweile siebentes Studio Album an: „Void“ erscheint am 29. Oktober 2026 via MDD Records und wird als CD und in limitierter Auflage auch als Vinyl veröffentlicht. Mit dem Lyric-Video zu „Arise // Erase“ gibt es nun die erste Vorab-Single.

MASTIC SCUM Line-Up:
Harry Gandler – Guitars
Maggo Wenzel – Vocals
Dominique Heine – Bass
Stephan Huber – Drums

MASTIC SCUM „Void“ Tracklist
01. Birth of Emptiness
02. Arise // Erase (Lyric-Video bei YouTube)
03. Deathwish
04. D-Termination
05. Thoughtcrime
06. Experiment on Obedience
07. Aftermath
08. Synthetic Catharsis
09. Effusion to Suspicion
10. Cut the Nerve
11. The Avoidance

 

Source: Vampster

Die Death Doom Metal-Band ABYSMAL RAGE hat einen Labeldeal bei Wormholedeath unterschrieben. Im Zuge dessen wird das englische Projekt rund um Hangsvart (ABYSMAL GROWLS OF DESPAIR) sein neues Album „A House No One Could Live In“ veröffentlichen. Es ist der erste Release der Band und wird am 6. November 2026 erscheinen. Vorab gibt es ein Lyric-Video zum Titeltrack.

ABYSMAL RAGE Line-Up:
Hangsvart: Full songwriting/lyrics credits
OphidiaXIII: Lyrics, artwork

ABYSMAL RAGE „A House No One Could Live In“ Tracklist
1 – Non
2 – My Olympus
3 – The Chasm
4 – Exoneration
5 – A House No One Could Live In (Lyric-Video bei YouTube)
6 – Hands of Gods
7 – Aries
8 – Black Is Not a Colour
9 – Black They Bloom

Source: Vampster

Die Black Metal-Band ARCKANUM hat zum Opener „Mz Fianda Raþi“ ihres kommenden Albums „Beswærilsin“ einen Video-Clip veröffentlicht. Es ist das zehnte Album des schwedischen Solo-Projekts von Shamaatae und wird am 31. Oktober 2026 via Darkness Shall Rise erscheinen.

ARCKANUM „Beswærilsin“ Tracklist
1. Mz Fianda Raþi – (Mz Fianda Rathi) (Video bei YouTube)
2. Utgarþzeþer – (Utgarthzether)
3. Wilianz Kniwer – (Wilianz Kniwer)
4. Rymz Rand – (Rymz Rand)
5. Gyghra Hirþi – (Gyghra Hirthi)
6. Eldstenz Frø – (Eldstenz Fro)
7. Wiþirskapit – (Withirskapit)
8. Skæpna Ær Krigh – (Skaepna Aer Krigh)
9. Anskoti – (Anskoti)
10. Trulmoþir – (Trulmothir)
11. Twæþursaspa – (Twaethursaspa)

Source: Vampster

Die Death Metal-Band EYES OF AGONY hat mit „When They Return“ ein neues Album angekündigt. Es ist der erste Release der Italiener rund um Bandgründer und Gitarrist Danny Cinicolo (Ex-MALEFICARUM, Ex-EXCIDIUM) und wird am 20. November 2026 via Awakening Records erscheinen.

„When They Return“ wurde von Luca Nicolucci im Comet Broadcasting Studio gemixt und gemastert und wurde mit einem Cover-Artwork von Julian Mortuus ausgestattet. Vorab gibt es den Track „Resuscitation Failed“ zu hören.

EYES OF AGONY Line-Up:
Danny Cinicolo – Guitars
Andrea Zanetti – Vocals
Massimo Boffa – Guitars
Fabrizio Biondi – Bass
Davide Billia – Drums

EYES OF AGONY „When They Return“ Tracklist
1. The Blackening of the Skies
2. Infected Lands
3. Altars of Hate
4. As Angels Fall
5. And Life Slips Away
6. Resuscitation Failed (Audio bei YouTube)
7. Underworlds of Atrocity
8. Eyes of Agony
9. When They Return

Source: Vampster

Die Ambient Doom / Trip-Hop-Band BOSCO SACRO hat mit „Inhabit“ ein neues Album angekündigt. Es ist nach „Gem“ das zweite Studioalbum der Band und wurde von Lorenzo Stecconi produziert. Auf dem Cover ist „Testa di Terra“ zu sehen, eine Skulptur aus rohem Ton der italienischen Künstlerin Roberta Busato.

„Inhabit“ wird am 6. November 2026 via Supernatural Cat Records erscheinen. Vorab gibt es nach dem eröffnenden Titeltrack auch zu „Gift From The Fog“ einen Video-Clip.

BOSCO SACRO Line-Up:
Paolo Monti – guitar
Giulia Parin Zecchin – vocals, lyrics
Francesco Vara – guitar
Luca Scotti– drums

BOSCO SACRO „Inhabit“ Tracklist
1. Inhabit (Video bei YouTube)
2. Gift From The Fog (Video bei YouTube)
3. Silence Dances
4. Desert Of Sense
5. Vertigo
6. Dong-Dee
7. Trickster
8. The Future Past

Source: Vampster

Mit „hollow moon; aphelion“ wird am 26. Oktober 2026 die neue EP der Synth / Vaporwave Black Metal-Band HELLIR erscheinen. Es ist der zweite Teil einer geplanten EP-Trilogie des US-amerikanischen Solo-Projekts von Daniel Shaneyfelt.

HELLIR „glint“ (Playthrough-Video bei YouTube)

HELLIR „nebula“ (Audio bei Bandcamp)

Source: Vampster

Die Symphonic Black Metal-Band FADING LIGHT hat mit „Seeds of Death“ eine erste Single ihres kommenden Albums „The Spell Of A New Dawn“ veröffentlicht. Es ist der erste Release des deutschen Solo-Projekts von Simon „Totleben“ Bossert (Ex-TOTENGEFLÜSTER) und wird am 13. November 2026 via Apostasy Records erscheinen. Als Session- und Gast-Musiker wirkten Drummer Michiel van der Plicht (PESTILENCE), Sängerin Sophie Müller und Gitarrist Christian Kupczyk (AEONYZHAR) mit.

FADING LIGHT „The Spell Of A New Dawn“ Tracklist
01 – A Gathering of Souls
02 – Crowned with Might
03 – On Wings of Vengeance
04 – The Return
05 – Seeds of Death (Video bei YouTube)
06 – Far away from the Stars
07 – Necromance
08 – Poltergeist

Source: Vampster

Die Doom-Death Metal-Band THY BLEEDING SKIES meldet sich mit einem neuen Album zurück: „All The Angels Descend“. Zwölf Jahre nach ihrem letzten Album wird die Band rund um Sänger Claudio A. Enzler (MY DARKEST HATE) am 13. November 2026 via MDD Records ihr viertes Album veröffentlichen.

„All The Angels Descend“ ist ein Konzeptalbum über den Ersten Weltkrieg aus der Perspektive der Menschen, die ihn selbst erlebt und durchgestanden haben.

Source: Vampster

Die Melodic Death Metal-Band NIGHT IN GALES hat mit „Bitter Harvest“ ein neues Album angekündigt. Es ist das zehnte Album der Deutschen und folgt dem 2024er-Album „Shadowreaper“ nach.

„Bitter Harvest“ wurde abermals von Fredrik Nordström produziert und wird am 13. November 2026 via Apostasy Records erscheinen. Das Cover-Artwork stammt von Paolo Girardi. Mit dem Lyric-Video zu „Emberfield Veil“ gibt es nun die erste Vorab-Single.

NIGHT IN GALES Line-Up:
Tobias Bruchmann – Bass
Frank Basten – Guitars
Jens Basten – Guitars
Christian Müller – Vocals
Adriano Ricci – Drums

NIGHT IN GALES „Bitter Harvest“ Tracklist
01 – The Great Abyss
02 – A Void Devours
03 – Hollow Ember
04 – Emberfield Veil (Lyric-Video bei YouTube)
05 – Wake To Cease
06 – Seas Of Red
07 – Dying Dawn
08 – Where Silhuettes Burn
09 – Sirens Fade

Source: Vampster

Mit „Flesh Apart, Mind Aside“ wird am 23. Oktober 2026 das neue Album der Black Metal-Band ALASTHOR erscheinen. Es ist nach einer Reihe von EPs das erste Album der Belgier.

ALASTHOR Line-Up:
WxTen – Drums, Guitars, Bass
Erroiak – Vocals

ALASTHOR „Flesh Apart, Mind Aside“ Tracklist
01 Wormhole
02 Flesh apart, mind aside
03 More diving into the dark
04 Black door
05 Divine limited flesh
06 Io sono sangre nero

Source: Vampster

Ein Montagabend in Berlin, der sich alles andere als nach Wochenstart anfühlt: Mit ORTHODOX, VARIALS und SILENT PLANET im Vorprogramm ist die Messlatte für THE AMITY AFFLICTION im Metropol bereits hoch gelegt. Vier Bands, die zwar allesamt im modernen Metalcore- und Hardcore-Spektrum zu Hause sind, dabei aber sehr unterschiedliche Akzente setzen.

Den Auftakt machen ORTHODOX mit einem progressiven und ausgesprochen hart gespielten Hardcore-Sound. Schon nach den ersten Songs fliegen im Pit Fäuste und Tritte durch die Luft, während sich die Menge im Takt der Musik bewegt, bangt und wild durcheinander tanzt.

Erste schweißnasse Gesichter feiern gemeinsam mit der Band, und die Energie vor der Bühne nimmt von Song zu Song zu.
Der rohe Sound von ORTHODOX liefert damit den perfekten Einstieg in einen Abend, der noch deutlich intensiver werden soll.

ORTHODOX – Fotogalerie

Mit VARIALS steht eine Band auf der Bühne, die seit ihrer Gründung in Philadelphia für eine Mischung aus Hardcore und Metalcore steht und dabei immer wieder Elemente aus Nu Metal einfließen lässt. Nach Alben wie „Pain Again“, „In Darkness“ und „Scars for You to Remember“ präsentiert die Band mit „Where the Light Leaves“ ihre bislang schwerste und zugleich emotionalere Seite.

Im Pit bleibt entsprechend niemand lange ruhig.

Auch live steht die Härte im Vordergrund: Tiefe Gitarren, wuchtige Breakdowns und aggressive Vocals bestimmen das Set. Vor der Bühne bleibt es entsprechend nicht lange ruhig – im Pit wird gemosht, gesprungen und getanzt.

Ein besonderer Moment folgt, als der Sänger von ORTHODOX für einen Song die Bühne betritt und VARIALS unterstützt. Das Publikum nimmt den Gastauftritt mit viel Applaus auf.

VARIALS verzichten dabei auf große Inszenierungen und lassen vor allem ihre Musik sprechen. Gerade die Kombination aus ihrem schweren Sound und der unmittelbaren Reaktion des Publikums macht den Auftritt zu einem der härteren Momente des Abends.

VARIALS – Fotogalerie

Mit SILENT PLANET verändert sich die Stimmung im Metropol. Die 2009 in Kalifornien gegründete Band hat sich über die Jahre einen eigenen Platz im modernen Metalcore erspielt und verbindet Hardcore und Metal mit atmosphärischen, elektronischen und teils progressiven Elementen.

Auch live wird schnell deutlich, was die Band von klassischem Metalcore unterscheidet. Melodische und atmosphärische Passagen treffen auf massive Riffs und harte Breakdowns, während Sänger Garrett Russell zwischen intensiven Shouts und emotionalen Momenten wechselt.

Trotz der musikalischen Komplexität bleibt die Crowd voll dabei. Schon bald rotiert der erste Circle Pit. Gleichzeitig schaffen die ruhigeren und melodischeren Passagen immer wieder Momente, in denen die Aufmerksamkeit ganz auf der Musik liegt.

SILENT PLANET zeigen damit eindrucksvoll, warum ihre Musik nicht allein von Härte lebt. Atmosphäre, Dynamik und emotionale Tiefe gehören ebenso zum Sound der Band und genau diese Mischung macht ihren Auftritt an diesem Abend besonders.

SILENT PLANET – Fotogalerie

Spannend wird es, als die Pausenmusik von LINKIN PARK wiederholt unterbrochen wird. Was zunächst wie eine technische Störung wirkt, entpuppt sich schließlich als geschickt eingespielter Opener für THE AMITY AFFLICTION.

Bereits beim Einstieg ins Set ist die Crowd voll bei der Sache und unterstützt die Band lautstark beim Mitsingen. Mit „Pittsburgh“ beginnt ein Set, das sich schnell zu einer einzigen großen gemeinschaftlichen Gesangseinlage entwickelt. Die Sänger wechseln dabei mühelos zwischen emotionalen cleanen Vocals von Jonny Reeves und aggressiven Shouts von Joel Birch und verleihen den Songs damit eine enorme Dynamik. Es folgen „Drag the Lake“, „Like Love“ und „Bleed“.

Stets begleitet vom unaufhörlich erklingenden Gesang aus dem Publikum prescht die Band durch ihr Set.
Atmosphärisch werden auf den LED-Paneelen links und rechts der Bühne Videosequenzen eingespielt, die dem gesamten Auftritt zeitweise etwas sehr Magisches verleihen.

Mit „It’s Hell Down Here“, „House of Cards“ und „All My Friends Are Dead“ geht es weiter durch eine Setlist, die verschiedene Facetten der Band miteinander verbindet. Die melodisch-orchestralen Arrangements stehen im krassen und doch harmonischen Kontrast zum hart dargebotenen Core und ergänzen diesen zu einem ungemein rund wirkenden Gesamtkonzept.

Auch bei „Open Letter“, „Afterlife“ und dem mittlerweile zehn Jahre alten „All Fucked Up“ bleibt die Intensität ungebrochen. Und auch im Publikum tut sich einiges: Die Crowdsurfer werden in Serie nach vorne geschmissen, während sich vor der Bühne immer wieder mehr Konzertbesucher dem Massen-Movement anschließen.

THE AMITY AFFLICTION schaffen es dabei, die unterschiedlichen Facetten ihrer Musik miteinander zu verbinden.

Auf die schweren und aggressiven Momente folgen emotionale Passagen, bevor der nächste Breakdown die Menge wieder komplett eskalieren lässt.

Das Metropol selbst erweist sich an diesem Abend als eine optisch beeindruckende Kulisse. Der prachtvolle Saal, die hohen Decken und die besondere Architektur verleihen dem Konzert eine Atmosphäre, die hervorragend zu einem solchen Abend passt. Ganz unproblematisch ist die Location bei dieser Auslastung allerdings nicht: Das Metropol ist schlicht zu vollgepackt. Vor allem weiter hinten im Saal wird es schnell eng, und die zahlreichen Säulen erweisen sich immer wieder als echte Sichtbarriere.

THE AMITY AFFLICTION – Setlist

Pittsburgh

Drag the Lake

Like Love

Bleed

Heaven Sent

It’s Hell Down Here

House of Cards

All My Friends Are Dead

Open Letter

Afterlife

All Fucked Up

Kickboxer

All That I Remember

Death’s Hands

Soak Me in Bleach

THE AMITY AFFLICTION – Fotogalerie

 

Source: Vampster

Mit „Indomitable Hostility“ wird am 20. November 2026 via Transcending Obscurity Records die neue Split der beiden Death Metal-Bands REPLICANT und ELITIST erscheinen. Das Cover-Artwork stammt von Alex Eckman-Lawn. Mit „To Unsee, To Untether“ gibt es nun ein weiteren Track daraus zu hören.

REPLICANT / ELITIST „Indomitable Hostility“ Tracklist
01 REPLICANT – Anti-Cosmic Spiral (Audio bei YouTube)
02 REPLICANT – Breathe the Trepid Hole
03 REPLICANT – Shallow then Halo (Cocteau Twins Cover)
04 REPLICANT – Menacing Void
05 ELITIST – Enforced Malnourishment
06 ELITIST – Conflagration Beckons! (Audio bei YouTube)
07 ELITIST – To Unsee, To Untether (Audio bei YouTube)
08 ELITIST – Proclaiming Sovereignty Over a Sunless Domain

Source: Vampster

New York, Ende der Siebziger: knappe Kassen, laute Bands und ein Künstler, der zunehmend den Verstand verliert. Abel Ferraras „The Driller Killer“ machte daraus 1979 einen verstörenden...

Source: MedienKonverter

Im Redaktionskühlschrank steht vieles, dessen Herkunft niemand mehr erklären kann. „Dataseed“ befand sich zum Glück nicht darunter, sondern sauber archiviert nebenan. Das Haltbarkeitsdatum prüfen wir trotzdem heute....

Source: MedienKonverter

Dreams are better than things you’re told, all these changes, keep me alone

Anyone who has ever wished for a time machine to the post-punk clubs of 1981 to 1983 knows the frustration of discovering a brilliant band decades after their last gig. A handful of singles, a photograph, and some blurred footage can be enough to make such a long-gone history feel personally inconsiderate. Dutch coldwave trio Desinteresse offer a more agreeable arrangement. They have the look and sound of a lost band from that period, right down to the clothes, severe haircuts, and lean instrumental interplay, with the added advantage that you can see them live now.

Their new song Falling Faces is the first and only single from their forthcoming album A Picture, due at the end of 2026 through Fabrika Records. It also marks the band’s first released song in English, accompanied by a video filmed by their friend Romy Janssen.

Falling Faces sounds strikingly like The Cure during the Seventeen Seconds era, particularly the taut, restless movement of Play for Today. The prominent bassline and flanged guitar carry the song forward together, their phrases blending into a fluid melodic pattern, while its steady drumbeat maintains a measured insistence. That close interplay gives the repeating figures a hypnotic continuity, making the tension feel increasingly difficult to escape. The vocal gives that restraint an exposed emotional edge, bringing the ache of separation into an otherwise tightly controlled performance.

The lyrics drift between the intimacy of a dance and the distance left in its wake, trading tears, glances, and dreams across a relationship growing harder to reach. “Dreams are better than things you’re told, all these changes, keep me alone” sets imagined comfort against the ache of what has come to pass. Faces fill an empty space, only to vanish without a trace; even the promise of meeting again leaves open whether another encounter could mend what’s been lost. The refrain, “Push it away,” becomes a quiet plea against a feeling that returns no matter how hard it’s banished.

Janssen’s video extends the impression of an early post-punk performance preserved on an old tape. Blue stage lighting, grainy images, and occasional horizontal tracking lines frame close views of the musicians’ faces and instruments. The camera gives the band room to play, making their appearance and physical presence part of the song’s austere appeal. For anyone still considering that time machine, the footage makes a persuasive case for checking the forthcoming tour dates first.

Watch the video for Falling Faces below:

Desinteresse began in the Netherlands in late 2022 as the partnership of bassist Bart Vranken and vocalist, guitarist, and synth player Sem van den Munckhof. Their early releases, Voor Altijd and Ik Wil Dood Als Ik Het Vergeet, appeared on cassette through their own DECADENCE label in 2023. Drummer Joppe de Swart joined in 2024, with Grijze Dromen marking their first release as a trio.

Their commitment to vintage instruments, effects, amplifiers, and analogue recording has shaped the band since its earliest cassette releases. After moving to Fabrika Records, Desinteresse released Onschuld in September 2025, recorded entirely on analogue equipment at Amsterdam’s The Lullabye Factory. The album drew explicitly on The Cure’s Faith and Pornography, as well as Joy Division and French coldwave band Trop Tard. A Picture follows later this year, preceded by its sole advance single, Falling Faces.

Tour Dates:

October 21 — Trier, Germany — Mergener Hof
October 24 — Parma, Italy — Arcistella
November 6 — Venlo, Netherlands — Grenswerk
November 8 — Amsterdam, Netherlands — Paradiso
November 26 — Vigo, Spain — La Fábrica de Chocolate
November 27 — Porto, Portugal — Hard Club
November 28 — Madrid, Spain — Hangar 48
November 29 — Zaragoza, Spain — La Lata de Bombillas
December 2 — Marseille, France — L’Intermédiaire
December 3 — Lyon, France — Sonic
December 4 — Kusel, Germany — Kinnet
December 6 — Hamburg, Germany — MS Stubnitz
December 8 — Berlin, Germany — Kantine am Berghain
December 11 — Paris, France — Le Chinois
December 19 — Utrecht, Netherlands — DB’s

Follow Desinteresse:

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The post “A Distant Dream” — Dutch Coldwavers Desinteresse Share Video for “Falling Faces” Ahead of New Album “A Picture” appeared first on Post-Punk.com.

Source: Post-Punk.com

“It is about hiding nothing”

German grammar gives death a masculine identity, an administrative decision Die Tödin has taken the liberty of correcting. With an arresting voice, a fine ear for melody, and a sharp sense of the absurd, she has become one of darkwave’s most distinctive personalities. A microphone, a MIDI controller, and Ableton provide the tools; she supplies the morbid wit and conviction. There is an elegance to that economy, particularly in the way she makes the bleakest observation sound like a perfectly reasonable complaint. Her dark electronic beats keep the flesh moving, even when the lyrics have reservations about the whole business of being alive.

Die Tödin initially took shape in the West German city of Gelsenkirchen, where industrial surroundings, limited prospects, and the useful luxury of being left alone provided room to work. Although she has recently moved away from that bleak environment, her songs retain the resolve of someone carving out her own space when society has failed to offer any. Musically, the basslines and beats come first, followed by the words and vocals. Likewise, German and English share the microphone, sometimes for comic effect and sometimes to establish distance. That instinct extends across yet another language in the Spanish refrain of La Bruja / Die Geister, die ich rief. Even the designation “trve darkwave” borrows black metal’s spelling habits with a straight face, and whether anyone catches the joke is someone else’s problem.

Her wit is matched by equally formidable candor. For instance, her song “Angepasste Spießerschweine” takes aim at status-conscious conformity, while “Dissonanz des Lebens” speaks openly about mental illness and the pressure to keep it hidden. Meanwhile, “Die Tödin” distinguishes the project’s focus on lyrics and performance from the immediate emotional expression of her other work as Strobo.Lolita. Although both draw on deeply personal psychological states, she gives each experience a clear musical identity. Just as impressive is the self-possession with which she protects that identity when choosing collaborators.

Her forthcoming self-titled collection brings nine recordings from 2022–2025 to Heartworm Press, the label founded by Cold Cave’s Wesley Eisold. Due October 30, 2026, Die Tödin expands upon the earlier Selected Singles release on Minimalkombinat. She regards the collection as a way to bring closure to a difficult period in her life, and the recordings remain unchanged for this edition.

We spoke with Die Tödin about the mysterious woman behind the name, the usefulness of being left alone, her relationship with Heartworm Press, and the pleasure of leaving an audience uncertain whether she is joking. Listen to Angepasste Spießerschweine below, then read our conversation with Die Tödin.

Your very first song as Die Tödin, “Ich bin schon tot,” name-checks Einstürzende Neubauten, Throbbing Gristle, Peter Murphy, Nosferatu, and Dracula. Which records, books, and films first gave Die Tödin her identity, and which of your formative influences would surprise listeners?

There aren’t really any surprises.

Die Tödin’s identity didn’t evolve so much through the influence of records, books, and films, rather, it is rooted in a personal history of mental suffering. Themes like suicidality and depression have played a major role in shaping the persona.

But to name someone anyway, I really adore artists like Beta Evers. Also, the track “Frustration” by Soft Cell from the Mutant Moments EP was kind of an influence on Die Tödin.

You have also worked as Strobo Lolita, drawing more directly from industrial music, no wave, noise, and performance art. What required Die Tödin to become a separate project, and do techniques or ideas ever pass between those two identities?

Strobo.Lolita prioritizes raw, immediate emotions, whereas Die Tödin focuses on lyrical content and performance.

The only thing the two projects actually have in common is that they represent profound expressions of a psychological state.

You describe the city you are from, Gelsenkirchen, through its lack of prospects, industrial nature, cemeteries, physical roughness, and sense of chosen isolation. Can you tell us more about your experience there, and if we can hear the city within the music itself, whether in the rhythms, synthesizer tones, repetition, lyrics, or empty space?

You can definitely hear that in the lyrics!

Gelsenkirchen is anti-social, and so is Die Tödin. What I liked most about the place was that people left me alone and I had my own space to make music. There are so many poor and unemployed people there, too. So no one noticed that I was in a similar situation, and it didn’t matter that I was just another person who didn’t fit into society.

By the way, I moved away recently, so no more Gelsenkirchen.

German ordinarily gives death a masculine form, der Tod, while Die Tödin turns that figure female. Why was that particular name important, and what can Die Tödin express that you might be unable or unwilling to express under your own name?

As I mentioned before, Die Tödin deals with suicide, death, and transience. Therefore, it makes the most sense to choose a name that embodies these themes. And since I am a woman and express my innermost self through music, Die Tödin had to be female as well.

“Trve Darkwave from Gelsenkirchen” began partly as a joke about “trve Norwegian black metal,” although you have also connected it to genuine pessimism and misanthropy. As the project reaches listeners outside the German underground, are you concerned that some of its self-irony may be lost in translation?

Sure, but I don’t think that’s a problem.

The music itself can create enough atmosphere to carry the emotions, even if people don’t understand the lyrics. That’s exactly the beauty of music.

By the way, even Germans sometimes don’t catch the irony. They find themselves asking, “Is she serious?”

How did your relationship with Heartworm Press begin? Who approached whom, which recording first caught the label’s attention, and what convinced you that Heartworm understood Die Tödin?

Wes reached out to me completely out of the blue, and it didn’t take long until I was convinced that Heartworm Press and Die Tödin were a perfect match.

They act in my best interests as a musician, are artists themselves, and I really like the work they have published.

I don’t know which song caught their attention first, but the first one they asked me about was “Ich bin schon tot.” We also didn’t know whether it was supposed to be just a single or a longer release.

Heartworm Press was founded by Cold Cave’s Wesley Eisold to release his own recordings and writing before expanding into an international home for singular underground voices. Why does it feel like the right label for Die Tödin, and what do you hope the partnership will make possible without compromising the project’s independence?

I have a very specific vision for what I create as Die Tödin, and I am very selective when it comes to collaborations. They worked closely with me, and it was important to them that everything was done in my best interest. They made me feel that they wanted to support me and truly valued the fact that I was working with them – and not the other way around.

The self-titled Heartworm Press release gathers nine recordings made between 2022 and 2025. Why did this particular moment call for a definitive collection, and why was Die Tödin the right title rather than something that identified it as an anthology or retrospective?

The last two years have been very difficult for me, so I want to draw a symbolic line under that period with this release.

It isn’t an album, but rather almost everything Die Tödin has released to date. For me, this collection marks the conclusion of this chapter. The original release on Minimalkombinat was titled Selected Singles, now a few more tracks have been added, and a self-titled release seemed the obvious choice for the international market.

How did you determine the sequence and final selection? Was there a reason the nine-minute “Nacht” remained outside the collection, and were any of the chosen tracks remastered, remixed, or otherwise altered for this edition?

The two songs that didn’t make it onto the record have no recognisable lyrics and aren’t played live. Consequently, they have something of a hidden track quality and aren’t quite typically tödish. The other songs remained unchanged.

Earlier editions became extraordinary physical objects, including a one-sided clear record with screen-printed henbane artwork and a special version involving black candles, roses, and petals pressed into the vinyl. The Heartworm pressing comes on Black Static or White vinyl with an 11-by-17-inch newsprint poster. How closely were you involved in shaping this edition, and what role does your continuing visual collaboration with Schwarze.Leere play in the identity of Die Tödin?

Schwarze.leere is closely connected with Die Tödin and understands the visual aesthetic.

The extras for the special editions were primarily ideas from Minimalkombinat.

For the current release, after we had discussed the visual concept together, Amy from Heartworm Press showed me her designs, and I was immediately on board.

Listen to Selected Singles below:

Selected Singles by Die Tödin

“Angepasste Spießerschweine” attacks a mindset governed by status, consumption, narrowness, and hostility toward alternative lives, including versions of that behavior found inside subcultures. As darkwave becomes increasingly fashionable and commercially visible, where do you currently see conformity reproducing itself within the scene?

I don’t really keep up with the scene anymore and prefer to spend my time on my own. That’s why I can’t give you an answer to that.

You have previously stated that your songs generally begin with a bassline and beat, with the words and vocals arriving last, and that the first vocal take is often the strongest. Which song departed most radically from that method, and how has your minimal setup of Ableton, microphone, and MIDI controller changed since the earliest recordings?

To be honest, work on every song begins exactly like that, and the setup hasn’t really changed either.

Your lyrics move freely between German and English, while “La Bruja / Die Geister, die ich rief” introduces a Spanish refrain. Do different languages create different degrees of intimacy, distance, humor, or severity, or are those choices guided primarily by rhythm and the physical sound of the words?

Yes, it has to do with humor and a sense of detachment. Most of it happens intuitively.

In German, many neologisms, especially from English, are already in use, so it felt quite natural.

The songs approach despair through very different forms: “Gift” (an interesting word with a double meaning in translation) places poisonous plants beside a ruined fairy tale, “Wild” turns catastrophe into dance music, “Verderben” reduces existence to repetition and vacancy, and “La Bruja” finds companionship among ghosts. How has your lyrical voice developed across those recordings, and what connects these different approaches in your mind?
I think it is still far too early in the story of Die Tödin to speak of anything having developed.

Listen to Verderben below:

Verderben by Die Tödin

“Dissonanz des Lebens” directly names psychiatric medication, therapy waiting lists, exhaustion, self-harm, and suicidal ideation. How do you decide what can be disclosed in a song and what must remain private? Has the response from listeners changed how you think about presenting these subjects without diminishing their severity?

It is about hiding nothing. In their daily lives, people with mental illness already have to hide so much. On stage, Die Tödin has to let everything out unfiltered, because it is the only way to endure that state of being.

People with mental illness are increasingly being pushed into a corner and left to fend for themselves. There are cutbacks everywhere, and help is no longer available. It is important to address this and deal with it openly.

As for the people who think this is sick or inappropriate – they haven’t understood the meaning of the lyrics, and Die Tödin simply isn’t the right artist for them.

Onstage, you use instrumental playback to give yourself complete freedom of voice and movement, surrounding the performance with corpsepaint, candles, incense, altars, and other carefully chosen elements. With the Heartworm release bringing Die Tödin to a larger international audience, how do you imagine the project developing from here through new music, expanded performances, or shows beyond Europe?

I don’t overthink it, nor do I make it my main focus. Making music is definitely the priority. Ultimately, however, Die Tödin should be present wherever she is needed.

Nevertheless, music is what I live for. So it would be great to bring tödish music to the whole world.§

Die Tödin has a knack for keeping interviews honest: a question may arrive dressed in their funeral best and leave with an answer that fits on a postage stamp. Her clarity is part of the appeal. She knows what her work needs, holds the terms of collaboration firmly in her own hands, and gives difficult experiences both musical precision and room to be spoken aloud. These nine recordings from her forthcoming self-titled release offer a fitting introduction to an artist whose melodic instinct is matched by the conviction behind it. She says Die Tödin should be present wherever she is needed. And for anyone tired of being told to put on a happy face, this Lady of Death makes surprisingly good company, especially in that she makes darkwave worth living for.

Die Tödin is due October 30, 2026, via Heartworm Press. The first pressing is offered on White vinyl and Black Static vinyl, with the latter limited to 200 copies. Both editions include an 11-by-17-inch newsprint poster. Preorder through Heartworm Press here, or visit the collection’s Bandcamp page.

Tracklist:

Ich bin schon tot
Angepasste Spießerschweine
Wild
Gift
living that DSBM life
Dissonanz des Lebens
Im Schatten
Verderben
La Bruja / Die Geister, die ich rief

Forthcoming live shows:

October 31, 2026 — Berlin, Germany
November 7, 2026 — Munich, Germany
November 27, 2026 — Cologne, Germany
December 5, 2026 — Dresden, Germany
December 18, 2026 — Essen, Germany
January 16, 2027 — Arnhem, Netherlands
February 11, 2027 — Siegen, Germany
March 7, 2027 — Hamburg, Germany

Follow Die Tödin:

Instagram
Bandcamp
YouTube

Heartworm Press:

Die Tödin Store
Bandcamp





The post Death Becomes Her — An Interview With Trve Darkwave Artist Die Tödin on Her Self-Titled Compilation via Heartworm Press appeared first on Post-Punk.com.

Source: Post-Punk.com

There is a particular kind of youthful ambition that treats a synthesizer’s limitations as somebody else’s problem. If the arrangement feels crowded, another drum track might settle the argument; if the equipment begins to struggle, perhaps it needs to be programmed harder. Baltimore’s Pygmy Children remember their earliest recordings with the affectionate candor of two people who have since learned exactly what they were putting their machines through. More than thirty years later, those experiments are getting a fresh listen.

Out now through Re:Mission Entertainment, Malignant: Redux revisits the electro-industrial duo’s 1994 debut album, Malignant, and the preceding 1993 EP, Facedown. Released October 2, the collection brings brothers Pete and Brian Roper back to the recordings that introduced them to the American industrial underground, with the digital edition collecting both releases in full.

Originally recorded at Hit and Run Studios in Rockville, Maryland, with engineer Steve Carr, the material has received its first official remaster from Jeff Mortimer at JM Mastering. Brian Roper supplies the Redux artwork, completing a return to a period when the duo’s appetite for dense arrangements regularly outpaced the resources at their disposal.

The brothers describe those sessions with refreshing frankness:

“Admittedly, the record sounds pretty raw. We were novices trying to create something multi-layered and frenetic, working with what we had and probably not fully knowing what the hell we were doing, just going for it. Some of the synths were being pushed to the point of voice exhaustion, while multiple drum tracks pounded away simultaneously. Looking back, some editing was probably in order, but the intention was always there. We may not have hit the target exactly, but the aim was definitely there.”

That willingness to admit the excess is part of the appeal. Their account describes two musicians learning through accumulation, pursuing an idea until the equipment itself began to object. The early titles suggest a similarly restless approach: Core moves between Resistance and Meltdown, while Facedown appears in Reflex, Manic, Bootstamp, and Dead versions across the digital collection. Even the track listing seems reluctant to leave an experiment alone.

For Re:Mission founder Wes Turner, the release also carries a personal connection. Pygmy Children helped shape his taste in dark electronic music during the 1990s; three decades on, his label is releasing both their new work and these formative recordings. Turner now gets to put the records that helped educate him back into other listeners’ hands.

Listen to Malignant : Redux below:

Malignant : Redux by Pygmy Children

Pygmy Children first surfaced with Facedown on Noname/Noslogan Productions, following it with Malignant before moving on to Deconstruct, released by Cleopatra in 1995, and Low Life Dream, issued through Sub/Mission Records and Out Of Line in 1998. After years away, the brothers returned in 2025 through Re:Mission with Coincidental Strategies, accompanied by singles including I Have No Name and Signal Unknown.

Their recent single Proof in Lies, which we covered in August, leads their forthcoming fifth studio album, Into The Silence. With new material underway, Malignant : Redux offers a timely return to the duo’s beginnings. The brothers can now afford to smile at their early excesses, though the synthesizers they used back then may still be entitled to an apology.

Malignant : Redux is available digitally and on CD via Re:Mission Entertainment. Order here or find additional listening options here.

Digital edition: Both Malignant and Facedown in full, comprising 16 tracks.
Limited digipak CD: An edition of 100 copies, containing Malignant plus Fear, the B-side from the Facedown EP, with the digital edition included.
Three-CD autographed bundle: Malignant : Redux alongside autographed original pressings of Malignant and Facedown, plus the digital edition. Limited to 25 bundles, with US shipping only.

Malignant : Redux digital track listing:

Shock v3.1
Xero (Absolute)
Eye
Core (Resistance)
Mantra (Subliminal)
Origin
Propaganda
Facedown (Reflex)
Red
E/E/G
File Regarding…
Facedown (Manic)
Facedown (Bootstamp)
Facedown (Dead)
Fear
Core (Meltdown)

Follow Re:Mission Entertainment:

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Bluesky
Threads

The post Baltimore Electro-Industrial Duo Pygmy Children Revisit Their Earliest Recordings on “Malignant : Redux” appeared first on Post-Punk.com.

Source: Post-Punk.com

Silence has a talent for passing itself off as peace. Two people can share a room, exchange the necessary pleasantries, and conduct an entire argument without troubling the air between them. Inside, every withheld accusation is already gathering speed. Given enough time, even “How was your day?” can begin to sound like a contact sport.

Milan quartet October take that condition onto the ice in their video for Universe. The fourth single from their debut album, Dancing Like an Idiot, out now through Waddafuzz! Records, follows the uncomfortable distance between what a relationship looks like from the outside and what its participants are putting themselves through within it. A frozen surface can conceal considerable commotion, and October have enlisted a hockey team to give those private collisions a public airing.

The song itself has a supple, sophisticated swing. A rhythmic bassline brings the new wave funk of Roxy Music and Japan to mind, its firm articulation keeping the groove grounded as sustained guitar tones stretch above it. The snare lands at deliberate intervals, leaving generous space around each strike. There is a progressive streak in the arrangement, a willingness to let the instrumental passages stretch and change shape without losing the underlying rhythm.

Gianluca Villa sings in a silky upper register reminiscent of Peter Gabriel, his measured delivery building to increasingly impassioned peaks on the line “A Message from the stars.” A gentle guitar jangle carries the song forward, lifting some of its emotional weight. A string interlude zigzags through the arrangement as the vocal rises into a high croon, and tension builds until the full force of the performance comes crashing back. 

Directed and edited by Fabrizio Grasso, with concept and production by Davide Debenedetti for Filmico, the video makes that division visible. October perform on the rink beneath bright backlights, framed against rows of empty seats, while members of Sgularat Hockey Club Milano skate around them in yellow and black. The musicians hold their positions as the players accelerate, compete, and cut across the space between them. Pads, helmets, and sticks give anger and frustration a physical vocabulary; the ice supplies the emotional temperature.

There is something both funny and painfully apt about bringing protective equipment into a love song. Here, the action surrounding the band becomes the argument nobody is having aloud: misunderstandings, thwarted attempts at connection, and the helplessness of trying to reach someone who has become difficult to recognise. Grasso lets the rink carry the metaphor, its broad white expanse accommodating all that activity without offering much warmth.

Watch the video for Universe below:

October formed in Milan in 2024, bringing together musicians whose backgrounds include Grandi Animali Marini, Il Fieno, NOA, and Egokid, alongside collaborations with Veracrash and I Ministri. Villa handles guitar and vocals, joined by bassist Dario Giordano, drummer Paolo Soffientini, and synth player Davide “dEbE” Debenedetti. Their debut was recorded at Casamedusa with Francesco Campanozzi and Frigo Studio with Francesco Ferrari, then mixed and mastered by Paolo Mauri.

Released on March 30, 2026, Dancing Like an Idiot is available digitally and on vinyl. Listen to Universe below and order the album here.

Dancing like an idiot by OCTOBER

Follow October:

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We all want something better, bright and shiny dust.

Fake names to hide within, blind among the rust

Northeastern Pennsylvania has always seemed peculiarly suited to its own species of Gothic, where abandoned coal mines, crumbling factories, old churches, and stubborn little towns exist in uneasy communion with the American Dream. There is something metaphysically peculiar about a landscape whose prosperity was excavated from beneath its own feet, leaving the earth hollow and its inhabitants contemplating what remains. Here, the Gothic requires neither medieval castles nor European aristocrats. It grows naturally from industrial decay, Catholic guilt, Appalachian folklore, and the peculiar American talent for building civilizations atop buried disasters. Under such circumstances, making strange, sinister music seems less like an artistic decision than a perfectly reasonable response to one’s surroundings.

Which brings us to ZEU, pronounced “zoo,” the musical alter ego of Matthew Zedolik of Wilkes-Barre, who has apparently decided that the region’s accumulated ghosts could use a backing band. There are few things more dangerous to public decency than a man left alone in a recording studio with a guitar, a head full of questionable ideas, and absolutely nobody around to tell him when to stop. Sometimes the result is genius. Zedolik writes, plays, records, and produces everything himself, an arrangement capable of yielding either magnificent obsession or twelve tracks of a man arguing with his presets. Fortunately, he seems to have made peace with his machinery, although his relationship with the rest of civilization remains questionable.

Zedolik describes his approach as “’80s-era Springsteen meets Billy Idol, Depeche Mode, and Sisters of Mercy.” Which sounds like a barroom dare issued after somebody fed the jukebox three dollars and locked all the exits. Imagine the Boss borrowing Andrew Eldritch’s wardrobe, Billy Idol stealing the getaway car, and Martin Gore sitting in the back seat contemplating several regrettable romantic decisions.

On Blind Among The Rust and Beyond Life and Death, ZEU takes that peculiar family reunion somewhere considerably less respectable. The songs inhabit the cracked asphalt between Tom Waits and The Gun Club, with the skeletal guitar menace of Rowland S. Howard and the diseased theatrical instincts of Foetus lurking nearby. There is something wonderfully disreputable about the combination, a species of surf goth that sounds as though somebody dragged a rockabilly band through a cemetery and subsequently denied them access to decent amplifiers.

Zedolik’s growling vocals come crawling out of the arrangements with the nicotine-stained authority of a man who has seen the bottom of several bottles and found the conversation there surprisingly agreeable. Echoing guitars suggest desert highways, abandoned dance halls, and the occasional questionable roadside establishment, while atmospheric synthesizers introduce an industrial chill. Beneath the Gothic furnishings sits a garage-rock impulse, loose enough to suggest spontaneous combustion and sufficiently disciplined to keep the songs from collapsing into glorious nonsense.

His musical education explains some of this strange chemistry. Teenage metal bands supplied the muscle; The Ordinals taught him bass discipline; American Buffalo Ghost gave him considerable guitar mileage. Recording studies in New York subsequently sharpened his understanding of arrangement and spatial dynamics. The accumulated experience gives these recordings their peculiar sense of purpose, even when the music appears headed toward some spectacularly unpleasant destination.

Listen below:

Blind Among The Rust / Beyond Life and Death by Zeu

Following July’s full-length Existor, these two singles, released through Everything Evaporated, suggest an artist increasingly comfortable inhabiting his own peculiar corner of Pennsylvania Gothic. Somewhere between the last call at a roadside tavern and the first light over a neglected graveyard, ZEU has found a promising place to conduct his business. The neighbours may have complaints.

Follow Zeu:

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The post ZEU Turns Industrial Decay into Coal-Stained Gothic Rock on “Blind Among the Rust” and “Beyond Life and Death” appeared first on Post-Punk.com.

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