RISE OF THE NORTHSTAR haben einen weiteren Track ihres kommenden Albums veröffentlicht. „Falcon“ ist die vierte Single aus der kommenden Platte „Chapter 4: Red Falcon Super Battle! Neo Paris War!!““, die am 14. November 2025 erscheint. 

Anfang September hatte die Band mit „A.I.R. MAX“ eine weitere Single geteilt.

Zuvor stellen die Franzosen im vergangenen Sommer die Songs „Neo Paris“ und „Back 2 Basics“ bei YouTube vor. 

Als Gast ist außerdem LANDMVRKS-Frontmann Florent Salfati zu hören. 

 

RISE OF THE NORTHSTAR „Chapter 4: Red Falcon Super Battle! Neo Paris War!!“ Tracklist 
01. Turbo-Intro
02. Payback
03. Neo Paris
04. Falcon
05. Back 2 Basics (ft. Landmvrks)
06. Under
07. Pressure
08. Nemesis (ft. Aaron Matts)
09. A.I.R. Max
10. Solitary Homeboy
11. No Turning Back
12. Desolation Hawk
13. 75 Outro
 

 

Fotogalerie: RISE OF THE NORTHSTAR – Summer Breeze 2024 – 17.08.2024

Source: Vampster

Die Alternative Metal- / Modern Metalcore-Band AVRALIZE stellt das Titelstück ihrer neuen Platte mit einem Musikvideo vor.

Zuvor erschienen bereits „Bite My Tongue„, „Medicine“  sowie „Close To You“ in Bild und Ton.

Auch zu „Helium“ und „Wanderlust“ hat die Gruppe Clips produziert. Zuvor gab es darüber hinaus ein Musikvideo zu „Upside Down“. Beide Stücke folgen auf das Debütalbum „Freaks“ (2024). Produziert wurden die Tracks von Manuel Renner.

Das zugehörige Album „Liminal“ hat die Gruppe für 14. November 2025 angekündigt; es erscheint via Arising Empire auf CD, Vinyl sowie digital.

Im Herbst 2025 gehen AVRALIZE auf Headline-Tour durch Deutschland, Österreich und die Schweiz (Termine s. unten).

AVRALIZE „Liminal“ Artwork

AVRALIZE „Liminal“ Tracklist
01. medicine (Video bei YouTube)02. nothing here feels real03. wanderlust (Video bei YouTube)04. open space05. close to you (Video bei YouTube)06. cyanide07. childhood08. liminal (Video bei YouTube)09. bite my tongue (Video bei YouTube)10. helium (Video bei YouTube)11. spinning round and round12. upside down (Video bei YouTube)13. like a boomerang14. fading faster

AVRALIZE Tourdaten 2025

13.11. – Leipzig, Neues Schauspiel (DE)
14.11. – Berlin, Badehaus (DE)
15.11. – Hamburg, Bahnhof Pauli (DE)
21.11. – Wien, Chelsea (AT)
22.11. – München, Backstage (DE)
29.11. – Zürich, X-TRA Musikcafe (CH)
30.11. – Stuttgart, Im Wizemann (DE)
04.12. – Hannover, LUX (DE)
05.12. – Köln, MTC (DE)
06.12. – Frankfurt, Nachtleben (DE)

Fotogalerie: AVRALIZE – Kranhalle, München – 17.10.2024

Source: Vampster

Am 21. November 2025 bringen THE HALO EFFECT die EP „We Are Shadows“ raus, die Compilation mit Coverversionen erscheint digital und als limitierte LP.

Die Tracklist von „We Are Shadows“:

1. How The Gods Kill (DANZIG)
2. If You Were Here (KENT)
3. I Wanna Be Somebody (W.A.S.P.)
4. Dance With The Devil (PHENOMENA)
5. Shoreline

Vier von fünf Songs haben THE HALO EFFECT bereits veröffentlicht, hier kann man sie anhören:

Niclas Engelin erinnert sich an die nachhaltige Wirkung des Songs auf ihn:

„Ich war wie vom Blitz getroffen, als ich in der 7. Klasse das Album von PHENOMENA von meinem Freund Emil Olsen ausleihen durfte. Der Song Dance With The Devil hat mich tief beeindruckt, und ich habe das gesamte Album auf Kassette aufgenommen – die ich dann rauf und runter gespielt habe, bis sie völlig abgenutzt war.“

 

Jesper Strömblad sagt dazu:

„Der aggressive Sound und die exzentrische Bühnenpräsenz von W.A.S.P. haben mir schon immer Spaß gemacht. Der Schock von Songs wie „I Fuck Like a Beast“ und lustigen Hymnen wie „I Wanna Be Somebody“ und „L.O.V.E. Machine“ ist kraftvoll und heftig. Extrem und dramatisch, kontrovers und lustig – WASP’s „I Wanna Be Somebody“ aus ihrem Debütalbum war mein erster Kontakt mit der Band.“

 

 

Gitarrist Peter Iwers erklärt, was ihm der Song bedeutet:

„KENT hat viele Menschen geprägt, sie haben Pop-Rock und Synthesizer auf eine Weise miteinander verbunden und mich damit tief berührt. Dieser Song ist nach wie vor einer meiner persönlichen Favoriten. Aus Respekt vor ihrer Kunst haben wir versucht, unsere eigene Version zu kreieren, ohne uns zu weit vom Geist des Originals zu entfernen.“

 

Auf Sänger Mikael Stanne hatte der Song großen Einfluss:

„Als Teenager brachten mich meine Faszination an den frühen frühen Danzig-Alben dazu, ganz neu über Rock und Metal zu denken.  Glenns Gesang und seine Texte hatten einen unglaublichen Einfluss auf mmich in meiner Anfangszeit als Sänger und Texter.“

Source: Vampster

COLD TRANSMISSION LABEL NIGHT – Rüsselsheim, Das Rind (18.10.2025) – mit den Künstlern (alphabetisch) Huir, Rina Pavar, SIIE &…

Source: monkeypress.de

Das Fest der Geister und Dämonen naht - das wollen wir mit Euch feiern und geben 10% Rabatt auf unser gesamtes Sortiment! Alle Infos hier.

Source: Sonic Seducer

Die Schweden HÄLLAS haben eine neue Platte angekündigt: „Panorama“ erscheint am 30. Januar 2026 über das bandeigene Label Äventyr Records. Über das neue Material spricht die Band wie folgt:

„In gewisser Weise klingt Panorama vertraut: eine fantasievolle Mischung aus progressivem 70er-Jahre-Rock und Heavy Metal mit Anklängen an Folk und Psychedelia, gepaart mit konzeptionellen Inhalten. In anderer Hinsicht hat man so etwas von Hällas noch nicht gehört. Das Selbstbewusstsein war noch nie so offensichtlich. Einflüsse aus verschiedenen Richtungen prallen aufeinander und kollidieren manchmal, was zu dem Gefühl beiträgt, dass das Erwartete stattdessen in Staunen darüber gipfelt, was man gerade hört.“

Eine Hörprobe sowie weitere Details sollen in Kürze folgen. Ab Februar ist die Gruppe zudem auf Europatour.

HÄLLAS Tourdaten 2026

06-02-2026 Korjaamo, Helsinki (FI)
13-02-2026 Rockefeller, Oslo (NO)
20-02-2026 Fållan, Stockholm (SE)
21-02-2026 Filmstudion, Gothenburg (SE)
28-02-2026 Amager Bio, Copenhagen (DK)
11-03-2026 Uebel & Gefaerlich, Hamburg (DK)
13-03-2026 La Machine du Moulin Rouge, Paris (FR)
15-03-2026 De Helling, Utrecht (NL)
16-03-2026 Junkyard, Dortmund (DE)
17-03-2026 Dynamo, Zürich (CH)
18-03-2026 Hansa39, Munich (DE)
19-03-2026 Arena Wien, Vienna (AT)
21-03-2026 Heimathafen Neukölln, Berlin (DE)
22-03-2026 Futurum, Prague (CZ)

HÄLLAS Line-up 2025
Tommy Alexandersson: vocals, bass
Rickard Swahn: guitar
Marcus Petersson: guitar
Nicklas Malmqvist: keyboards
Kasper Eriksson: drums

Source: Vampster

Mit „Duality“ schlagen VENUES ein neues Kapitel auf: Die Single folgt auf das Album „Transience“ (2024) und ist als Videoclip bei YouTube abrufbar.

Ob „Duality“ bereits der erste Vorgeschmack auf ein neues Album ist, ist derzeit noch nicht bekannt.

Source: Vampster

Am 14. November 2025 bringen STELLAR CIRCUITS ihr drittes Album „Phantom :: Phoenix“ raus. Reinhören kann man in die dritte Single „Bury The Ashes“:

 

Im September telte die Band zweite Auskopplung „Corridor„. Sie folgt auf die Single „I See Your Spirit„.

Laut Sänger Ben Beddick entstand das Album in einer schwierigen Phase:

„Während des Songwritings kam immer wieder ein Thema auf:  Tod und die Wiedergeburt durch Feuer. Diese Idee, alte und tote Teile selbst zu töten, um etwas Neues und vielleicht sogar eine ehrlichere Version von uns zu schaffen. Jedes Mal, wenn wir ein Album schreiben, erwarten wir, dass es unangenehm werden und wir einen verletzlichen Teil von uns offenbaren werden. Ein weiteres Thema, das uns beim Schreiben immer wieder beschäftigt, ist der Umgang mit Verlust. Jeder von uns hat während dieses Prozesses verschiedene Phasen des Verlusts und der Trauer durchlebt, und ich glaube, das spiegelt sich in diesem Album wieder. Wir wollen uns immer wieder neu herausfordern und auf dem Fundament aufbauen, das wir in den letzten Jahren als Band geschaffen haben. Ich denke, dass uns das mit Phantom :: Phoenix gelungen ist. Es ist eine Darstellung dieses Zyklus, und ich hoffe, dass es für diejenigen, die es hören, als Katalysator für Wachstum dienen kann.“

STELLAR CIRCUITS „Phantom : : Phoenix“ Tracklist

I See Your Spirit (Video bei YouTube)
Queen Mary
Silhouette
Elegant Illusion
The War Within
Bury The Ashes (Video bei YouTube)
Corridor (Video bei YouTube)
Gloria
Same Page
Paris

Source: Vampster

Die Alternative Metal-Band THE VEER UNION hat ein neues Album angekündigt: „Reinvention“ erscheint am 20. Februar 2026 via Arising Empire. Mit der Single „Sunk Your Teeth In“ ist jetzt eine weitere Hörprobe verfügbar.

Mit „Caught In The Crossfire“ gibt es außerdem die dritte Single von „Reinvention“, das Video kann man bei YouTube ansehen:

Im Juli haben die Kanadier ein Video zur Single „Sea Of Fear“ geteilt. Ausgekoppelt hat die Gruppe außerdem das Stück „My Empire„.

THE VEER UNION „Reinvention“ Tracklist
01. Caught In The Crossfire (Video bei YouTube)
02. Dying Light
03. Feel Again
04. Hole In My Head
05. Meet Your Maker
06. My Empire (Video bei YouTube)
07. Never Say Never
08. Sea of Fear (Video bei YouTube)
09. Sunk Your Teeth In (Video bei YouTube)
10. Venom in my Veins

THE VEER UNION „Reinvention“ Artwork

Source: Vampster

HELLRIPPER, die Ein-Mann-Blackend-Thrash-Metal-Band von James McBain,hat einen neuen Song inklusive Video veröffentlicht, den Clip zu „Kinchyle (Goatkraft And Granite)“ kannst du hier ansehen:

Der Track wird auch auf dem kommenden Album enthalten sein, der  Nachfolger des 2023er Albums „Warlocks Grim & Withered Hags“ soll 2026 veröffentlicht werden.

„‚Kinchyle‘ ist der Schlachtruf des McBain-Clans und ein passender erster Einblick in das kommende Album.

Der Text handelt von den Erfahrungen meiner Kindheit im Schottlands in Aberdeen, der Granitstadt. Es geht  um das Gefühl,  in einer Umgebung gefangen zu sein. Ich wollte eine Seite Schottlands zeigen, die nicht unbedingt das magische „Postkartenbild“ ist, das viele Menschen vor Augen haben, wenn sie an das Land denken.

Musikalisch klingt der Track sehr nach „Hellripper“ und ist der „rockigste“ Song, den ich seit langer Zeit geschrieben habe, obwohl er auch ein paar neue Elemente enthält, mit denen ich gerne experimentiert habe. Der Track wurde sowohl von Bands wie TANK, RUNNING WILD und MOTÖRHEAD als auch OPETH und WITHERSCAPE beeinflusst.

Alles in allem ein sehr persönlicher Song, sowohl was den Text als auch die musikalischen Einflüsse angeht. Ich hoffe, er gefällt euch… All Hail the Goat!“

Im Frühjahr sind HELLRIPPER, SCHIZOPHRENIA und SARCATOR zusammen auf Tour.

 

Hellripper Konzerte 2025/2026
SA 09.11.2025 Manchester (England) – Damnation Festival
SU 06.12.2025 Wolverhampton (England) – Bloodstock Winter Gathering
TH 22.01.2026 Helsinki (Finland) – Tavastia
SA 21.03.2026 Aalst (Belgium) – Oilsjt Omploft Festival
FR 27.03.2026 Glasgow (Scotland) – Garage *
SA 28.03.2026 Bern (Switzerland) – EmMetal Festival
FR 03.04.2026 Nottingham (England) – Saltbox ***
SA 04.04.2026 London (England) – Downstairs at the Dome ***
MO 06.04.2026 Utrecht (Netherlands) – De Helling ***
TU 07.04.2026 Dortmund (Germany) – Junkyard  ***
WE 08.04.2026 Hamburg (Germany) – Logo ***
TH 09.04.2026 Copenhagen (Denmark) – Pumpehuset ***
FR 10.04.2026 Berlin (Germany) – Lido ***
SA 11.04.2026 Warsaw (Poland) – Voodoo ***
SU 12.04.2026 Kraków (Poland) – Zascianek
MO 13.04.2026 Vienna (Austria) – Arena ***
TU 14.04.2026 Budapest (Hungary) – Dürer Kert ***
WE 15.04.2026 Munich (Germany) – Backstage ***
TH 16.04.2026 Prague (Czechia) – Subzero ***
FR 17.04.2026 Mannheim (Germany) – 7er Club ***
SA 18.04.2026 Paris (France) – Backstage by the Mill ***
SA 06.06.2026 Maastricht (Netherlands) – South of Heaven Open Air
SA 13.06.2026 Hauptmannsgrün (Germany) – Chronical Moshers Open Air
FR 04.09.2026 Ostrava (Czechia) – Metal!!! Festival

* HELLRIPPER & SARCATOR
*** HELLRIPPER, SCHIZOPHRENIA & SARCATOR

Source: Vampster

Die Alternative Rock-Band EVA UNDER FIRE kehrt mit einer neuen Single zurück: „Awakening“ ist die erste neue Veröffentlichung seit rund zwei Jahren.

Nähere Details zu einem potenziell folgenden Album haben die US-Amerikaner noch nicht verraten.

Source: Vampster

Mit Into The Blue legen Preyrs ihre erste Single vor – ein düsterer, intensiver Vorbote ihres kommenden Debütalbums The…

Source: monkeypress.de

Rock-Musiker MILES KANE stellt sein neues Album „Sunlight In The Shadows“ mit einem weiteren Preview-Song vor: Nach „Without You“ gibt es nun auch den Titeltrack als Video bei YouTube.

Außerdem gibt es ein Musikvideo vor zu „I Pray“ bei YouTube. Auch „Electric Flower“ sowie „Love Is Cruel“ sind dort zu sehen.

Produziert wurde die Platte von Dan Auerbach, herausgekommen ist die Platte am 17. Oktober 2025. „Sunlight In The Shadows“ erschien via Easy Eye Sound.

MILES KANE „Sunlight In The Shadows“ Tracklist

Love Is Cruel (Video bei YouTube)
Electric Flower (Video bei YouTube)
Sunlight In The Shadows (Video bei YouTube)
Coming Down The Road
Always In Over My Head
Blue Skies
My Love
Without You (Audio bei YouTube)
Sing A Song To Love
Slow Death
I Pray (Video bei YouTube)
Walk On The Ocean

Source: Vampster

Das Neoklassische Folk- / Singer/Songwriter-Projekt ANTINOË veröffentlicht sein Debütalbum „The Fold“ am 21. November 2025 via Karisma Records. Hinter dem Pseudonym steckt Pianistin und Sängerin Teresa Marraco, die für ihre erste Platte insgesamt zwölf Tracks aufgenommen hat.

Den ersten davon gibt es mit „Flock“ als Video bei YouTube zu sehen.

Mix und Mastering übernahm Javier Félez.

ANTINOË „The Fold“ Tracklist
1. Night Falls
2. The Devil’s Voice
3. Turn to Dust
4. Indulgence
5. Flock (Video bei YouTube)
6. Threshold
7. Chaos in the Sky
8. Ulven
9. Si Te Dejo Ir
10. Når Du Dør
11. Light Bringer
12. Four Things

Source: Vampster

GAEREA haben mit „Loss“ ein neues Studioalbum angekündigt. Erscheinen wird die Platte am 20. März 2026 via Century Media auf CD, Vinyl sowie digital. Mit dem Musikvideo „Hellbound“ ist schon jetzt der zweite Höreindruck vorab verfügbar.

Außerdem gibt es den Clip „Submerged“ im Stream.

Derzeit sind GAEREA im Vorprogramm von ORBIT CULTURE auf Europatour:

ORBIT CULTURE: neues Album „Death Above Life“ – weiterer Song „Bloodhound“ & Tour 2025

GAEREA „Loss“ Tracklist

Luminary
Submerged (Video bei YouTube)
Hellbound (Video bei YouTube)
Uncontrolled
Phoenix
Cyclone
LBRNTH
Nomad
Stardust

GAEREA „Loss“ Artwork

Fotogalerie: GAEREA – Summer Breeze 2025 – 16.08.2025

Source: Vampster

Für  „A Tribute To The Reaper“ haben Bands ihre Versionen von CHILDREN OF BODOM-Songs aufgenommen, die Coverversionen werden zunächst digital als Singles veröffentlicht. Außerdem erscheinen alle Songs gebündelt auf dem CD-Sampler „A Tribute To The Reaper“, der ab Ende Oktober 2025 allen Bestellungen im offiziellen CHILDREN OF BODOM-Shop kostenlos beigelegt wird.

Nun haben HORIZON IGNITED ihre Version von „Sixpounder“ online gestellt.

Die Neuinterpretation von „Homeland“ der deutschen Melodic Death Metal-Band PARASITE INC. ist ebenfalls als Stream verfügbar. Zudem gibt es „Needled 24/7“ in der Version von BLOODORN.

Weitere Cover sind in Arbeit, das Label deutet an, dass es auch eine offizielle Veröffentlichung auf CD und Vinyl geben könnte. Hinter dem Projekt steht das Label Reaper Music und die Bands, die dort unter Vertrag sind.

Bislang gibt es diese Coverversionen:

ELVENKING – „Children Of Decadence“
PARASITE INC. – „Homeland“ (IneartheD-Cover)
BLOODORN – „Needled 24/7“ (Video bei YouTube)
HORIZON IGNITED – „Sixpounder“ (Audio bei YouTube)
GLADENFOLD – „Towards Dead End“
FINAL STRIKE – „Bodom After Midnight“
KAMBRIUM – „Angels Don’t Kill“
MILKING THE GOATMACHINE – „Hate Me!“
SUOTANA – „Hatebreeder“

Source: Vampster

Die Progressive Rock- / Metal-Band ASTRONOID kehrt mit einem neuen Album zurück. Drei Jahre nach „Radiant Bloom“ (2022) präsentiert die Formation ihre neue Platte „Stargod“ mit einer zweiten Single: „Love Weapon“ bei YouTube.

Auch ein Musikvideo zur Single „Third Shot“ ist online verfügbar.

„Stargod“ erscheint am 7. November 2025 via 3DOT Recordings.

ASTRONOID „Stargod“ Tracklist

Embark
Love Weapon (Audio bei YouTube)
Stargod
Third Shot (Video bei YouTube)
Explosive
Dream Protocol ’88
Beneath The Lights
Depressed Mode
Vicennium
Arrival

Source: Vampster

Ein Schock für Fans: Soft Cell-Instrumentalist und -Gründungsmitglied Dave Ball ist tot. Alle Infos hier!

Source: Sonic Seducer

Laibach has released the new single “Yom Kippur” today, October 23, 2025, via Nika. The...

Source: Side Line

Electronic musician Dave Ball, co-founder of Soft Cell and later The Grid, died in his...

Source: Side Line

Jetzt Sonic Seducer abonnieren und eine von vielen teils limitierten und signierten CD-Prämien sichern! Aktuell im Angebot: Vogelfrey, The Other, White Lies, Nine Inch Nails, Faun, Saltatio Mortis, The Cure, Tyske Ludder, Peter Murphy, Mono Inc., Lord Of The Lost, Feuerschwanz, Epica, Lacrimosa und Blutengel! Wer ein 2-Jahres-Abo abschließt, kann sich außerdem ZUSÄTZLICH ein Gratisticket für das M'era Luna 2026 sichern!

Source: Sonic Seducer

  Oslo Tapes will soon be unveiling its fifth studio album, with the third and final teaser taking a slight detour as the band presents a remix rather than an album track. Created by Los Angeles-based guitarist Jeff Kim Schroeder, the JKS remix of “Pyramid Shape” maintains the hypnotic arpeggios and cosmic groove of the original [..]

Source: RE:GEN Mag

Thrash Metal aus Brasilien:  THE MIST veröffentlichen am 7. November 2025 ihr neues Album „The Dark Side of the Soul (An Anatomy of the Soul)“, es ist das erste neue Album der Band seit dem Jahr 1995. Nun hat die Band die zweite Single „The Curse Of Life“ als Stream veröffentlicht.

Zur erste Single „(Brain) – Geppetto’s Song“ gibt es einen Videoclip bei YouTube:

„The Dark Side of the Soul (An Anatomy of the Soul)“ erscheint via Alma Mater Records, dem Label von  MOONSPELL-Sänger Fernado Ribeiro. Produziert hat das Album André Damien, Mix und Mastering kommen von Tue Madsen.

THE MIST „The Dark Side of the Soul (An Anatomy of the Soul)“ Tracklist & Cover
1. The Curse Of Life
2. (Embryo) – Anatomy Of The Soul
3. (Cuore) – The Dark Side Of The Soul
4. (Brain) – Geppetto’s Song (Video bei YouTube)
5. (Liver) – Killing My Imaginary Friends
6. (Lungs) – Death Is Alive Inside Me
7. (Face) – Name + Number= Namber
8. (Bones) – Lesson Lived, Lesson Learned
9. (Death) – Return To Sender

Source: Vampster

Die Heavy / Power Metal-Band SKULL & CROSSBONES hat ihr zweites Studioalbum fertiggestellt. Erscheinen wird „Time“ am 14. November 2025 via Massacre Records.

Wie sich die Platte anhört, verraten die Singles „Labyrinth Of Time„, „Echoes Of Eternity“ und „Time Thief“

Produziert wurde „Time“ von der Band in Zusammenarbeit mit Marc Ayerle. Letzterer übernahm überdies Mix und Mastering. Das Artwork gestaltete Michael Vetter.

Live erleben kann man SKULL & CROSSBONES noch 2025 oder Anfang 2026 (Termine s. unten)

SKULL & CROSSBONES „Time“ Tracklist
1. Echoes Of Eternity (Video bei YouTube)
2. Labyrinth Of Time (Video bei YouTube)
3. Time Thief (Video bei YouTube)
4. The Illusionist
5. The Price
6. Thunderstorm
7. Passing Hours
8. Eye Of Wisdom
9. Nocturnal Dreams
10. The Ocean’s Call

SKULL & CROSSBONES Tourdaten 2025/2026

06.09.2025 – DE Waldbronn, Soundcheck One (w/ Q5)
13.09.2025 – DE Heidenheim/Brenz, Treff 9
02.10.2025 – DE Nagold, Rocknacht Alte Seminarturnhalle
15.11.2025 – DE Dunningen-Lackendorf, Eventlocation Krone
22.11.2025 – DE Freiburg, Artik (w/ Sacred Steel & Portrait)
28.11.2025 – DE Balingen, Sonnenkeller (Release Show)
20.12.2025 – DE Schauenburg, Rittersburg
27.12.2025 – DE Runkel, No Sleep After X-Mas Festival
21.02.2026 – DE Leonberg, Beat Baracke
14.03.2026 – DE Kempten, Cambo Metal (Allgäuhalle)
25.04.2026 – DE Hochspeyer, Metal Garage
27.06.2026 – DE Weselberg, Sicking High Rock Open Air

SKULL & CROSSBONES Line-up 2025
Tobias Hübner – Gesang
Volker Schmietow – Gitarre
Tobias Kipp – Gitarre
Jürgen Wannenwetsch – Bass
Bernd Heining – Schlagzeug

Source: Vampster

Die Doom/Dark Metal-Band NOVEMBRE veröffentlicht am 7. November 2025 ein neues Album, das letzte Album der Italiener, „Ursa“,  war 2016 veröffentlicht worden.
Mix und Mastering des Albums kommen von Dan Swanö, das Artwork for ‘Words of Indigo’ ist von Travis Smith.

Reinhören kann man in die Songs „House of Rain“, an dem Track ist Ann-Mari Edvardsen von THE 3RD AND THE MORTAL als Gastsängerin beteiligt:

Auch zum Song „Your Holocene“ gibt es einen Clip:

 

 

Auf  ‘Words of Indigo’ sind die neuen Bandmitglieder Fabio Fraschini (Bass), Alessio Erriu (Gitarre), Federico Albanese (Gitarre) und Yuri Croscenko (Schlagzeug) zu hören, außerdem gehörtSänger Carmelo Orlando zur Besetzung.

 

NOVEMBRE „Words Of Indigo“ Tracklist & Cover

1.      Sun Magenta
2.      Statua
3.      Neptunian Hearts
4.      House of Rain
5.      Brontide
6.      Intervallo
7.      Your Holocene
8.      Chiesa Dell’alba
9.      Ipernotte
10.    Post Poetic
11.   Onde

 

Source: Vampster

Mit „Dopamine“ wird am 31. Oktober 2025 via ORD das neue Album der Punk / Noise / Indie Rock-Band STATUES erscheinen. Es ist das vierte Album der Schweden und wurde von Christian Ramirez und Bassist Henrik Wiklund im Gräsrot Studio aufgenommen. Das Cover-Artwork stammt von Olof Ahlström.

Nach zwei Videos bei YouTube hat die Band nun mit „Mad Dash“ bei Bandcamp einen weiteren Song daraus vorab veröffentlicht.

 

STATUES Line-Up:
Johan Sellman – Vocals, guitar
Christian Kjellvander – Vocals
Magnus Egerbladh Öberg – Drums, percussion
Henrik Wiklund – Bass
Mathias Rask-Andersen – Guitar

STATUES „Dopamine“ Tracklist
01. Big Freeze (Lyric-Video bei YouTube)
02. Opportunities
03. Occupational
04. Mechanism
05. Chasing a dream
06. Dopamine Hits
07. Cures feat. Christian Kjellvander (Lyric-Video bei YouTube)
08. Mad Dash (Audio bei Bandcamp)
09. Loan Shark
10. Forget

Source: Vampster

Die Blackened Death Metal-Band THE OMINOUS CIRCLE hat mit „Through Tunnels Ablaze“ eine erste Single ihres kommenden Albums „Cloven Tongues of Fire“ veröffentlicht. Es ist nach „Appalling Ascension“ (2017) das zweite Album der Portugiesen aus Porto rund um Sänger Simón García Lopez (LEGACY OF BRUTALITY).

„Cloven Tongues of Fire“ wurde von Dan Lowndes gemastert und mit einem Cover-Artwork von Anna „Ars Alchymiae“ Frigati ausgestattet. Release-Termin ist der 28. November 2025 via Osmose Productions.

THE OMINOUS CIRCLE Line-Up:
Z.P. – Bass
M.A. – Drums
A.C. – Guitars
M.S. – Guitars
S.L. – Vocals

THE OMINOUS CIRCLE „Cloven Tongues of Fire“ Tracklist
1. Thus Beckons the Abyss (0:59)
2. Lowest Immanations (8:14)
3. Through Tunnels Ablaze (7:54) (Audio bei YouTube)
4. In Ira Flammae Devoratur Qui Salvatur (1:37)
5. Black Flesh, Sulfur, and All in Between (7:18)
6. Writhing, Upturning, Succumbing (6:30)
7. Utterance of the Formless (9:50)

Source: Vampster

Die Heavy Metal / Hard Rock-Band BYGONE hat „Bygone“ ein neues Album angekündigt. Es ist das erste Album der US-Amerikaner aus Boston rund um Gitarrist Chris Corry (Ex-MAGIC CIRCLE) und wird am 12. Dezember 2025 via Svart Records erscheinen. Vorab gibt es den Track „Take Me Home“ zu hören.

BYGONE Line-Up:
Jim – Vocals
Noah – Guitars
CC – Guitars
Renato – Keyboards
Cecelia – Bass
Connor – Drums

BYGONE „Bygone“ Tracklist
1. Lightspeed Nights
2. Shadow Rising
3. Take Me Home (Audio bei YouTube)
4. Into the Gleam
5. The Last Horses of Avalon
6. City Living
7. Fire In You Fire In Me

Source: Vampster

Unhappily Ever Now has released the digital single “To The Light.” The track was written...

Source: Side Line

It was a cold, autumnal evening in 2018 when I first stumbled upon Irish five-piece Just Mustard. I remember exactly how I felt while listening to the first few moments of their breakout single “Pigs.” That deep bass groove juxtaposed against subtle metallic terror, with the most delicate and ethereal of vocal melodies cutting through the din. I was transfixed immediately, caught willingly in the track’s intricate webbing. As soon as the drums hit and the song kicked into overdrive, my jaw nearly had to be surgically removed from the floor. I sent the track to everyone I knew and anyone that would listen, and have been preaching the gospel of Just Mustard ever since.

Ever since that singular moment, Just Mustard have been my favorite modern band, without a shred of competition. In 2022, their sophomore record Heart Under was my number one record of the year, with a silver bullet. Not only were their albums fantastic from top to bottom, the standalone singles they released between records were just as captivating as their album tracks. I was smitten with them, as head over heels as I’ve ever been with a modern outfit, as the band represented everything I truly adored about music.

On paper, Just Mustard’s sound taps into the industrial terror and ethereal beauty of bands like Swans, Cranes, Sonic Youth, This Heat, and all the very best bands who are able to channel both sheer beauty and powerful trepidation in their music, often in the very same moment . However, Just Mustard are simply not content wearing their influences on their sleeves, and have continued to push the envelope further and further with each release. Each track they release is a stunner, and every show I’ve seen in a dimly lit, jam-packed club is a revelation.

This Friday, October 24th, Just Mustard release their third (and arguably best) LP, WE WERE JUST HERE via Partisan Records. The LP is, for lack of a better word, tremendous, featuring ten nightmare lullabies for dreamers. Each track is a treasure unto itself – a heady balance of seduction and dread, a series of absolute bangers that lure you in gently yet go straight for the jugular.

Just Mustard, with good reason, have caught the attention of The Cure’s Robert Smith, who has booked them as support on numerous occasions. The band is also a force to be reckoned with live, perfectly channeling the beautiful chaos of their recordings into a visceral live experience, with all five members of the band firing on all cylinders. I’ve seen the band three times in small clubs in New York City, and each show I’ve seen has been deeply inspiring. In 2026, Just Mustard will embark upon a massive worldwide tour, which finds the band playing a mix of gigs across the US and Europe. Tickets for the US leg of the tour are on sale this Friday, coinciding with the album’s release.

With all of this in mind, we had the chance to catch up with vocalist Katie Ball and guitarist/vocalist David Noonan about the new LP, the Irish tradition, and how it feels to play nachtmusik while the sun is still shining.

It just so happens that every time you put out a new record, it’s my favorite record of the year! Can you tell us how WE WERE JUST HERE came together?

Katie Ball: Thanks very much! I suppose we properly started writing this January last year. We tried to do the writing-while-touring thing, but it wasn’t really working for us. So we just took last year completely off and started writing then. We probably got about 20 to 30 songs together and at the start of last year we scrapped all of them. But we had 10 songs and we scrapped all songs but two and then we wrote another maybe 15 or so after that.

So yeah, the album could have gone in so many different directions. It was whenever we wrote “POLLYANNA” and “ENDLESS DEATHLESS,” we decided to just go in whatever direction that was and try and write songs to go with that world. 

What about the leftover tracks? Do you ever save them for a rainy day or do you start fresh every time?

KB: They’re on the hard drive, but we didn’t even get around to finishing some of them. In the end, some of them are only basic song structures while others were fully fledged songs that we scrapped, but I doubt any of them will see the light of day. It’s funny that “DANDELION” made it out of the scrap heap. That was one of the songs that we got rid of, but then we had the rest of the album together, we felt like it sort of fit in this world and we brought it back.

I’ve always loved your use of effect pedals. How do you generally write songs? Do the effect loops work as your backbone? For lack of a better term, do you “jam?” 

David Noonan: It’s a little different every time. Sometimes Katie might have chords and lyrics and vocal melodies or someone in the band might bring an instrumental piece to work on, or someone may have a vocal melody that hasn’t been put down. Maybe not that last part as much anymore, but otherwise, anything really goes. It could be one single instrument that forms the backbone of a core song.

Our process has certainly evolved over time. We do try and jam but it wasn’t necessarily working for us that much at this time. It wasn’t the most fruitful way to come up with music for us. We do work better with people bringing in ideas, with Katie writing the lyrics, and we just kind of go from there.

I think this time the thing that was different was that we decided early on before we’d even really started writing that we wanted the vocal melody and the lyric to lead the song more, so we applied that more this time. Previously, we would find ourselves trying to shoehorn a song into a musical idea, so this time we just flipped it and let the vocals guide the rest of the arrangement.

Katie, how do you write lyrics? Do you tend to write stream-of-consciousness, have a certain feeling in mind, or do you compose your lyrics more texturally? 

KB: For me it’s all about getting that first line and then I’ll write as many lines that come to my head that could fit with that first one, and then I’ll just do a lot of editing. I also tried a new thing with this album because I know I haven’t been writing songs very long, so I’m still learning what works for me. Before, I would stop myself from even writing a lyric down on the piece of paper because I’d be like, “no, no, no, no, that’s too cringey” or whatever.

This time I forced myself to write things down if I thought it was decent. I decided that no matter what I came up with, I don’t have to release it if it didn’t work after a while, so I tried to stop talking myself out of certain lyrics. With that in mind, I just wrote as much as I could. In the end, it was way better because in the past, I was masking my true feelings, and this time I just tried to write without stopping.

I get it. I write lyrics myself and I’ve unfortunately felt blocked for most of the year, not sure what I want to say or if I have anything prudent to say anymore. I’m not quite sure how to work that out–but I guess, the way out is through. Good tip!

KB: Yeah. Just write it down, and move on! More often than not, the next day you’ll look at what you wrote and it’ll sound a lot better than it felt in those first few moments. 

Just Mustard live at National Sawdus, NYC. Photo by Frank Deserto
Good call! So, I’d love to talk about your live show. Here in NYC, you played quite a bit of the new record. I was talking to Rob about it after, and perhaps I misheard, but I recall him saying this was the first time you played some of those songs out. Is that right? 

KB: Not quite! I think we had played most of them before, not many times…

DN: I think it might have been the first time we played them all together in one set. We’ve slipped a few in here and there to see how they feel, but we played six that night, which was a first for us.

Well still, that must have felt scary, debuting some of these tracks for the American audiences ahead of the album release. How’s the reception to the new tracks been? 

KB: Yeah, it’s been almost as good as the old tracks, which is kind of rare since people tend to prefer hearing songs they’ve heard before, or they’ll need to have heard the recording for them to fully take them in live. It felt great to see the crowd respond so much to the new material!

I think that might have something to do with your live show. I think the way you sound live does such a great job of bringing the records to life and vice versa. You’re a powerful live band with such a visceral quality. The way the effects and rhythms and vocals all gel together really gets under my skin. Is it hard to bring these songs to life, or has that come naturally to you over the years? 

DN: There’s elements of it I think that are hard. We definitely do put time and effort into it. We are always actively working on elevating our live show and making sure that it’s as good as it can be out front. We do have a lot of technical work to do since we use so many effects and have to consider how everything comes together sonically. It can be hard–there’s so much low end that it’s difficult to find your feet on stage if the sound is a bit off. 

Arrangement-wise, we do try and write with the live show and full band in mind. We try to be in the moment, trying to think about when we’re playing together in a practice room or if we’re doing a sound check or if we’re playing a gig, that exact moment is what the band tuly is, and that’s the only actual reality. I think when we’re writing, we’re not worried about how to figure it out and make it real later–it just is real in that moment, if that makes sense. We just carry the band forward, just trying to be self-contained so we don’t need any other members or a computer or anything else to exist for us to be able to perform. We just need the five of us on stage playing, and then that’ll be the song.

We always try to write with that in mind, to not add anything that we just can’t do live. Obviously we like to layer stuff and we will make things sound as big as possible. That’s a fun thing to explore, but in terms of the actual arrangements of the core parts, when we try to translate it to the live show, it’s mostly there already and is how it should sound.  So when we do go to translate to live it’s kind of already there. It already is how it should sound. It’s just a case of making sure we can make it sound the best version of that.

So, no studio trickery or massive amounts of overdubs, then? 

DN: Well, despite what I just said, we definitely tried to use the studio as an instrument more than we have in the past. I think we’ve been quite rigid with this in the past and seen it only as a documenting tool as opposed to a creative tool. On Wednesday, we just treated the studio as a tool to capture what we’re doing in the room and there was nothing else allowed to be added to it. On Heart Under, we let go of that a little and explored a bit more. With this record, we were a bit more free with it and tried to experiment more with recording techniques and formats, but we didn’t start adding any extra melodies or synths or anything like that.

Since you don’t use synths, how often do you experiment with different pedals? Some of the sounds you get are terrifyingly beautiful, while others are truly chaotic and wild. You really do have a great spectrum of sound across your body of work.

DN: Cool. Thank you! I don’t know how rigid this rule has been, but I feel like every time we write an album, we add more pedals as we’re writing it. Since the first record, I think we’ve only added a pedal or two each for every album. I suppose we still end up using ten pedals each in total. What I find most exciting is exploring the parameters of what you already have and trying to push our rig towards doing something that it couldn’t do before, through a combination of sounds and whatever input we’re giving it. So yeah, it’s less about trying to find really cool pedals and more about getting them to do really unexpected things I wouldn’t normally try.

I personally try to keep my pedal board as small as possible, because I feel like it’s so easy to just get lost in the pedal world forever. We don’t go on an endless hunt for new pedals, but if there is a sound we desperately want, we’ll try and find a pedal that will scratch that itch. It’s more about functionality for us.

Let’s talk about the latest single ENDLESS DEATHLESS. That track in particular has a lot of grooves, dance beats, and things like that. I know there’s always been a percussive energy to your tracks, but were you thinking of intentionally exploring dance music in that way, or did this happen organically?

KB: We definitely wanted to make music that people could dance to. You can’t really tell from our previous stuff, but we are all influenced by electronic music and dance music so I think that’s always on our mind. That’s actually the one track that came from a jam on this album! 

Well, mission accomplished! My 10-year-old son just heard that track the other day and he really cut a rug to it. 

DN:  That’s cool! I think my brother’s partner said the same thing, she played it for the kids she looks after and they were all dancing to it. They were all dancing really funnily to it, but all the same…

At this time, my ten-year-old pops into the frame to say hello to the band before heading off to school.

DN: Do people do many all ages shows in New York?

Not really, not that I’ve seen as much these days… It’s kind of an underground thing here, and that’s become a rarity these days. I’m not saying the underground has gone away, but I feel like New York is mostly about selling drinks, while the music often can be a secondary consideration. There aren’t as many safe spaces for kids to enjoy live music these days, which is too bad.

DN: Yeah. 

KB: We did an all ages show in our hometown of Dundalk last Halloween, with prizes for the best costumes. The all ages show was at 6 PM and then the adult show was at 10 PM. It was pay what you want for the all ages show!

We noticed ourselves when we were younger, there were loads of all ages shows that we had access to and now there are teenage bands who go to see each other and play for each other, but not a lot of older established bands do them anymore, sadly.

Yeah, sadly, if you’re going to take a kid to a show here in the States, you have to take them to a massive arena show or bust. That’s fine in a way, it’s not a bad experience in some ways, but it’s not about celebrating younger bands and tapping into that vibrant energy of an all ages punk show, or something. That’s more about community building. 

DN: Yeah, that’s massive as well when you’re a young teenager and actually experiencing music up close is massively impactful and I know just when I went to gigs when I was 14 or 15 it was the biggest deal in the world, jumping around and stuff. I don’t feel like you can get that same thing from going to see an arena gig when you’re a kid.

KB: A lot of people can’t afford arena shows…

Yeah, they’re expensive. I mean, we took him to see Devo at an outdoor amphitheater and we went for lawn seats because we weren’t sure of how he’d react or how he’d feel in the moment. With these massive shows you’re spending $200+ to get up front and then someone who isn’t even much of a fan but can afford the cost of tickets will just haphazardly spill beer all over you. The whole thing is just kind of a drag. 

KB: Yeah. In the end, music should be accessible for everyone, even if you don’t have the money for arena shows.

Honestly, things have gotten more and more expensive over the years. Actually, I can’t imagine what touring is like for you guys, and how much that costs, especially here.

KB: Yeah, America is very expensive actually.

And you’re just playing a few dates here, is that right?

DN: We just did Boston and New York this time, but we’ll be back next year. We’re definitely doing a lot more extensive traveling in the near future. 

Yeah, it looks like you have quite the year ahead of you so far! Aside from doing some smaller gigs in the UK, I just saw you’re playing with The Cure again for some of those larger festival gigs. That’s awesome! Of course, I’m a lifelong fan of that band, and I know you’ve been playing with them for a while now. How did that come about? 

KB: Well, we played with them in Dublin in 2019 and we got along well, and then they asked us again for the South American shows in 2023. Indeed, they just got in touch with us again about these new shows. We just feel so lucky, yeah!

They’re really great like that, taking bands they love and believe in on tour with them over the years like Mogwai or Cranes or Twilight Sad or even Kaelan Mikla. It’s always nice to see they have such a respect for younger bands and such loyalty to everyone they share stages with.

KB: It seems very intentional and he really thinks about the support slots and what a bill can be with the right bands.

Just Mustard live at National Sawdus, NYC. Photo by Frank Deserto
Since I’ve only seen you play in small clubs in NYC where things can get really loud and intense, I’m curious about some of the bigger places you’ve played. How do you feel the band translates live in those massive outdoor spaces?

KB: It’s hard to know. It feels weird playing some of our songs in the daytime outside, especially with the Heart Under tracks, because they were made for clubs and dark rooms. I think maybe these new songs might translate better in that way. Our ideal situation every day would be to play in a dark room, inside, at night time, but I hope hopefully these tracks might work in different environments. Back in the day, if we were playing an outdoor show, we would pick our most “daytime” songs to play for people in hopes that people wouldn’t give us dirty looks and cover their ears. 

Well, what ARE your daytime songs?

KB: “Deaf,” “Frank,” Tainted,” and probably “Early” from Heart Under is a bit of a daytime song, I guess… There aren’t many, you can count them on one hand! “Seven” can probably make it as a daytime song…

Maybe it’s time to do a daytime EP?

KB: Yeah!

DN: That’s not a bad name for an EP, actually! It’s funny though, I think the songs definitely turn into something very different in these situations because they feel like they’re in the air and not contained. That’s what it feels like from the stage anyway. I don’t know how you feel with the vocals, Katie, but I feel the same if I’m doing any of the backing vocals. It just feels like your voice is getting thrown out into the sky. Same with the guitars. It just hits different.

It’s certainly a mad life experience to be playing any kind of big festival stages like that but also to bounce off of that as well. You play differently in those situations and you lean into different things because the sound is reacting in ways you wouldn’t expect compared to playing a small, tuned acoustic room. When we play the smaller shows, I like hearing how the sounds are reacting and mingling with each other. We perform a little differently in both situations, I think.

Well the venue in New York was long and skinny. I was hearing things bouncing off the walls that I’d never heard before, and that was terrifying in the best way possible. It was beautiful. It must be nice to hear yourselves differently after all the shows you’ve done. 

KB: Yeah, that show at National Sawdust was one of my favorite shows we’ve ever done for sure.

DN: Me, too!

So, I want to talk about your homeland for a second. There’s such a rich musical history in Ireland that spans many different genres – folk, classical, post-punk, and so on. Do you feel connected to the great Irish musical tradition in any way?

KB:  I suppose maybe there isn’t as much Irish music influence in our music compared to other bands, but I definitely feel very connected to Ireland and the music scene especially in our hometown.

DN: Katie, I don’t want to speak for you in terms of vocal melodies, but for our melodies in general I feel definitely influenced, if not directly by traditional Irish music or Irish folk music. I think I often gravitate towards unique time signatures and rhythms that you hear in Irish music. Our music often has a triplet feel which definitely comes from, among other places, the Irish tradition.

KB: I do think there’s an eeriness to my vocal melodies that is inspired by Irish singing, come to think of it!

Do you draw inspiration from anything aside from music? 

KB: Films, definitely films.

DN:  Yeah, films and sometimes books, but I’m a terrible reader. However, when I do read, I get really inspired. I don’t know what’s wrong with me, though. I used to be a really good reader, but now I have to force myself to read, for some reason. Katie reads a lot! 

KB:  I’m really good!

I’ve always been a big reader, but it’s been hard to focus these last few years. The pandemic ruined me. I feel like a different person these days, not prioritizing books the way I used to, but perhaps that’s just part of growing up. Teach us your ways, Katie!

KB:  You just got to sit down and do it. For me, I didn’t really practice reading. I would read one line and start daydreaming and then I’d read another line and start daydreaming and then I’d be like, “What is this book even about?” I didn’t take anything in, despite reading things over and over again. But the more I made the time for it, the better I got about being able to take it all in. I read a lot of rock biographies these days, which are very easy to digest.

DN: Did you see that film Aftersun?

I have not, but it’s on my list! I’d love to see it soon.

KB: Yeah. it’s a hard watch, but that was very inspiring for us.

DN: Obviously, a lot of David Lynch stuff. It’s just a favorite and…

Rest in peace… 

DN: Of course. I think just his approach to telling stories or getting across a mood… How he worked was so inspiring to us, and even if you don’t necessarily digest what he’s done…

KB: …also how he just didn’t talk about his work, just let people have their own interpretations of it. You can really tap into a specific mood of a film and be like, “I want to recreate that in a song.”

DN: Right! Or even just a single moment or a piece of dialogue or something.  You can kind of riff off that. Whatever resonates with you and kind of gives you a little start to create something else…

KB: With books, I’ll read a line and I’ll write about it in my notes, and then I’ll come back to it much later and be like, “Whoa, did I write that?” The lines got a little blurry for me. I had to start writing the book name and page numbers beside it in my notes, but then I would try to write my own lyrics based on how that line made me feel.

Right! I’ve done this – take a snapshot of what moves you and re-synthesize it…  That’s the trick. As for loving Lynch, I can definitely see surrealism in your music, again, the way your music is both beautiful and frightening. You weave such a lush tapestry in that way…

DN: I like the idea of films being a non-linear form of storytelling. I think that applies to our music, because we’re not often trying to get across a specific narrative or an idea. We often try to capture a single emotion or feeling in one setting, or explore that feeling from different angles in the same song.

KB: We also like to tap into Lynch’s balance of the light and the dark. I think that’s what we do with our music as well.

Absolutely! So, to shift gears a bit, let’s talk about what you have planned for the next year or two. 

KB: I think next year is just going to be a whole lot of touring and not sure what else, to be honest. I’m always trying to write as much as I can… The plan is to just play as many shows as we can and take the album as far as possible.

DN: I do want to try and figure out how to write on the road. That’s my goal.

Ah, yes! The great “road record” – Aladdin Sane, New Adventures in Hi-Fi, Nebraska, Year Zero, etc… Most of those records are my favorites in a band or artist’s catalogue.

DN: Absolutely, yeah! It’s  just a personal goal that I’m trying to figure because I don’t know… It can be very demoralizing having these periods of forced drought where we’re on the road and can’t write, and when we get home, I feel like I have to start from scratch every time. I want to try and kick that cycle and make it feel less like a stop-start, push-pull rhythm… I don’t know, I’m laying my New Year’s aspirations on you here!

So, are you thinking about taking a rig with you on the road? Are you traveling on a bus or a van?

DN:  We’re usually in a van, but yeah we’ll see what the crack is next year. I think if we had a bus, we could bring a lot of gear with us. At the very least, I might just bring an iPad along and just try and record with that.

Ah, technology! Yeah, it’s so much easier to write and record using simple tools these days… Since you’ll be traveling by day though, truly you have to record the Daytime EP…

DN: Seriously, I wouldn’t be surprised if that happens.

KB: We’ll totally give you credit if we do! §

WE WERE JUST HERE is out tomorrow, October 24th, on CD, vinyl, cassette, and digital streaming services. Check below for the full track listing and please pick up a copy or three via Bandcamp. Also, check below for a full list of UK, EU, US, and Canada tour dates for 2026. UK and EU dates are on sale now, while US and Canada dates are on sale this Friday to coincide with the album release.

Follow Just Mustard:

Facebook
Instagram
Spotify
Bandcamp
Linktree

Just Mustard tour dates:

Europe:

8th April – Stockholm – Debaser – Presale tickets
9th April – Oslo – John Dee – Presale tickets
11th April – Copenhagen – Loppen – Presale tickets
12th April – Hamburg – Nochtspeicher – Presale tickets
13th April – Cologne – Helios 37 – Presale tickets
15th April – Amsterdam – Paradiso – Presale tickets
16th April – Brussels – Botanique – Presale tickets
17th April – Paris – Le Trabendo – Presale tickets
19th April – Norwich – The Waterfront – Presale tickets
20th April – Birmingham – The Castle and Falcon – Presale tickets
21st April – Newcastle – The Grove – Presale tickets
23rd April – Glasgow – Glasgow School of Art – Presale tickets
24th April – Leeds – Brudenell Social Club – Presale tickets
25th April – Manchester – Gorilla – Presale tickets
27th April – Bristol – Thekla – Presale tickets
28th April – Brighton – Chalk – Presale tickets
29th April – London – Electric Brixton – Presale tickets
1st May – Dublin – 3Olympia Theatre – Tickets

North America:

8th May – Seattle, WA – Tractor Tavern
9th May – Vancouver, BC – Fox Cabaret
10th May – Portland, OR – Polaris Hall
12th May – San Francisco, CA – Cafe Du Nord
14th May – Santa Ana, CA – Constellation Room
16th May – West Hollywood, CA – Troubadour
17th May – Phoenix, AZ – Valley Bar
19th May – Denver, CO – Larimer Lounge
21st May – Chicago, IL – Empty Bottle
23rd May – Toronto, ON – The Garrison
24th May – Montreal, QC – Bar Le Ritz PDB
26th May – New York City, NY – Bowery Ballroom
29th May – Philadelphia, PA – Johnny Brenda’s
30th May – Washington, DC – Songbyrd Music House

Live photos by Frank Deserto
Many thanks to Kevin Larkin Angioli for copyediting this piece

The post Out of Heaven — An Interview with Just Mustard appeared first on Post-Punk.com.

Source: Post-Punk.com

Mit "Yom Kippur" haben Laibach eine brandneue Single anlässlich des Friedensabkommen zur Beendigung des Krieges in Gaza veröffentlicht. Mehr Infos und das Musikvideo hier!

Source: Sonic Seducer

Minneapolis-based artist Mach FoX has released the new 7-track album “Chaos of Man”, available now...

Source: Side Line

Gestern waren Lacuna Coil in Stuttgart zu Gast - seht hier unsere exklusiven Bilder aus dem LKA Langhorn von Cristina Scabbia, Andrea Ferro und Co sowie dem Special Guest Nonpoint!

Source: Sonic Seducer

The legendary Manchester post-punk band Chameleons will embark on their “Arctic Moon” European tour from...

Source: Side Line

Die Thrash Metal-Band KRUSHOR hat mit „Taste of Hatred“ ein neue EP angekündigt. Es ist der erste Release der Finnen aus Oulu und wird am 9. Januar 2026 via Inverse Records erscheinen. Das Cover-Artwork stammt von Gitarrist Joni Kärsämä. Vorab gibt es den Opener „Shockwave“ zu hören.

„“Shockwave“ handelt vom Krieg, seinem Wahnsinn und vielleicht, passend zur heutigen Zeit, auch ein wenig davon, warum Kriege geführt werden, wer sie beginnt und wer davon profitiert. Im Krieg gibt es keine Gewinner, zumindest nicht für uns arme Leute. Ich mag es nicht, Dinge zu politisieren, aber in diesen Zeiten sind Kriege allgegenwärtig, und man kann immer einen Song darüber schreiben, wie schrecklich sie sind“, sagt die Band.

KRUSHOR Line-Up:
Ville Lehtoranta – Vocals
Joni Kärsämä – Guitar
Juho Mattila – Guitar
Sami Keränen – Bass
Saku Hirvimäki – Drums

KRUSHOR „Taste of Hatred“ Tracklist
01. Shockwave (Audio als Stream)
02. Vortex
03. Rise Above
04. Taste of Hatred

Source: Vampster

Die Neoclassical Melodic Death Metal-Band BURNED IN EFFIGY hat „The Racking“ einen weiteren Video-Clip ihres kommenden Albums „Tyrannus Aeternum“ veröffentlicht.

Davor ist mit „Masquerade“ ein anderer Video-Clip vom Album erschienen.

„Dieser rasante Track basiert auf einem Text, der von Edgar Allan Poes „Masque of the Red Death“ inspiriert ist, in dem Adlige in einer abgelegenen Abtei einen Maskenball veranstalten, in der Hoffnung, einer Pest zu entkommen, die die Bevölkerung dezimiert“, erklärt die Band.

„Tyrannus Aeternum“ ist nach „Rex Mortem“ (2022) das zweite Album der US-Amerikaner aus Chicago und wird am 31. Oktober 2025 erscheinen. Produziert wurde das Album von Jordan Beal. Vorab gibt es zum Opener „Befouled Benefaction“ auch ein Lyric-Video.

BURNED IN EFFIGY Line-Up:
Mark “Smedy” Smedbron – Vocals
Steve Bacakos – Guitar
Mike Hisson – Guitar
Matt Watkins – Bass
Eddie Dec – Drums

BURNED IN EFFIGY „Tyrannus Aeternum“ Tracklist
1) Befouled Benefaction (Lyric-Video bei YouTube)
2) Retribution
3) Masquerade (Video bei YouTube)
4) Procession
5) Wage of Exile
6) Sacrificial Seance
7) Monstrosity Reborn
8) Gallows Hymn
9) The Racking (Video bei YouTube)
10) Crown Crusher
11) Citadel

Source: Vampster

Die Dark / Heavy Metal-Band THE LOSTS hat mit „Venom Within“ ein neues Album angekündigt. Es ist nach „…of Shades & Deadlands“ (2016) und „Mystery of Depths“ (2021) das dritte Album der Franzosen aus Lille und behandelt wie die Alben zuvor eine fiktive Geschichte um die „Losts“. Aus dem Nichts entstanden und getrieben von einem Durst nach Menschlichkeit, nähern sich diese Figuren den menschlichen Zivilisationen.

„Venom Within“ wurde von Phil Reinhalter und Frédéric Motte gemixt und gemastert und wird am 19. Dezember 2025 via Inverse Records erscheinen. Vorab gibt es zum Opener „A Dark Place To Hide“ ein Lyric-Video.

THE LOSTS Line-Up:
DGC – Lead & rhythm guitars, thrash & backing vocals
JCR – Drums, extreme & backing vocals
PPG – Bass guitars, backing vocals
YGC – Lead & backing vocals, lead & rhythm guitars

THE LOSTS „Venom Within“ Tracklist
01. A Dark Place To Hide (Lyric-Video bei YouTube)
02. Black Out Days
03. Back To Never
04. Magical Idea
05. Mellem Verdenerne
06. Muspellsheim Ascent
07. Exponential Law
08. The Headless Cross Reloaded
09. Here Comes Tragedy (feat. Valérie Penumbra)
10. Into The Unknown…
11. The Whisperers

Source: Vampster

Die Progressive Power Metal-Band IN VIRTUE hat mit „Desolation Throne“ einen weiteren Video-Clip ihres kommenden Albums „Age of Legends“ veröffentlicht.

Es ist nach „Delusions of Grandeur“ (2008) und „Embrace the Horror“ (2012) das dritte Album der US-Amerikaner aus Kalifornien und folgt inhaltlich einem fehlerhaften Protagonisten, der vom Mythos des Sisyphos inspiriert ist.

„Es geht um einen sympathischen Protagonisten, der das sucht, was wir alle suchen: sich selbst trotz seiner Fehler zu lieben, sich selbst tiefgreifend kennenzulernen und seinen Kampf gegen vernichtende Selbstzweifel zu gewinnen“, fügt Frontmann Trey Xavier hinzu.

„Age of Legends“ wurde mit einem Cover-Artwork von Niklas Sundin (DARK TRANQUILLITY) ausgestattet und wird am 21. November 2025 erscheinen. Vorab gibt es auch zu „Gunslingers of the New American Desert“ einen Video-Clip.

IN VIRTUE Line-Up:
Bruno Valverde (drums)
Jamie Hush (bass)
Trey Xavier (guitar/vocals)
Alex Nasla (keys)
Rami Khalaf (guitar)

IN VIRTUE „Age of Legends“ Tracklist
1. Ascent Glorious (00:36)
2. Sisyphus Awakening (4:55)
3. Karma Loop (ft. Charlotte Wessels) (3:35)
4. Push That Rock (2:46)
5. Purgatory (4:39)
6. Exposed (3:27)
7. Scream (3:40)
8. Where The Edges Meet (3:16)
9. Gunslingers of the New American Desert (4:42) (Video bei YouTube)
10. Desolation Throne (3:03) (Video bei YouTube)
11. Thoughts in Freefall (ft. Dave Davidson of Revocation) (4:10)
12. The River (2:24)
13. Tempus Fugue (ft. Chaney Crabb of Entheos) (8:05)
14. Descent Limitless (1:22)

Source: Vampster

Die Belfaster Band Chalk, die geschickt Post-Punk und elektronische Elemente kombiniert, kommt auf Tour und macht auch in Deutschland Station. Wir freuen uns, Euch die Show präsentieren zu dürfen - Mehr Infos hier!

Source: Sonic Seducer

Anna Jordan — better known as The Allegorist — presents a new album that she...

Source: Side Line

Norwegian alternative dark rock band Seigmen return with their new album “Dissonans”, out now via...

Source: Side Line

Electro-industrial artist Staytus has a new single out, “Kiss N Tell”. The track was produced...

Source: Side Line

Die Death Metal / Metalcore-Band AUDITORY ANGUISH hat einen Labeldeal bei Creator-Destructor Records unterschrieben. Im Zuge dessen werden die US-Amerikaner aus Südkalifornien ihre neue EP „AFA“ veröffentlichen. Es ist nach „Crime Rituals“ (2024) die zweite EP der Band.

„AFA“ wurde von Taylor Young im The Pit Recording Studio in Van Nuys aufgenommen und gemixt und von Nick Townsend gemastert. Das Cover-Artwork stammt von Rodridgo Morales. Release-Termin ist der 14. November 2025. Vorab gibt es den Track „Unrelenting Blade“ zu hören.

„Textlich wollte ich, dass der Song in einer mittelalterlichen Zeit spielt, weil mir der Hauptrhythmus/Riff aus irgendeinem Grund sofort ein mittelalterliches Gefühl vermittelt hat“, sagt Gitarrist Diego Diaz. „Ich beschloss, über Eroberungen aus der Sicht eines Kreuzritters zu schreiben, der die Religion als Vorwand benutzt, um Krieg zu führen und Gräueltaten zu begehen, ähnlich wie in der heutigen Zeit. Außerdem habe ich damals nach der Arbeit viel „Elden Ring gespielt“, daher stammt auch die Zeile „O death“.“

AUDITORY ANGUISH Line-Up:
Diego Diaz – guitar
Ben Karnofsky – guitar
Jose Ruelas – bass
Abe Mendoza – drums
David Montes – vocals

AUDITORY ANGUISH „AFA“ Tracklist
1. AFA
2. Chained In A Hole
3. Clementine
4. Tierra Santa (ft. Tzompantli)
5. Unrelenting Blade (ft. Disgrace) (Audio bei YouTube)

Source: Vampster

Die Experimental Death Metal-Band CZART hat mit „W sercu gaju“ ein weiteres Video von ihrem neuen Album „Czarty Polskie“ veröffentlicht. Es ist das erste Album des von Michał Chrościelewski gegründeten Projekts und sei eine multimediale Erkundung alter und moderner Dämonen. Durch die Integration von KI in die Musikkomposition und das Videodesign erreiche das Projekt eine surreale, traumähnliche Atmosphäre.

Die Lyrics enthalten Auszüge aus „Czary i czarty polskie oraz wypisy czarnoksiÄ�skie“ („Polnische Hexerei und Teufel, mit Auszügen aus der Zauberei“), einem Buch des polnischen Schriftstellers Julian Tuwim aus dem Jahr 1924. Tuwim beschrieb, wie Teufel, obwohl sie keine Gestalt haben, Körper aus Luft und irdischen Dämpfen formen und in einer „künstlichen Sprache“ sprechen können.

„Czarty Polskie“ ist am 17. Oktober 2025 via code666 erschienen.

CZART „Czarty Polskie“ Tracklist
1. Satana passa! Niema juz diabla (Video bei YouTube)
2. Peregrynacja dziadowska (Video bei YouTube)
3. Ksiega grzechow (Video bei YouTube)
4. Noc zatracenia (Video bei YouTube)
5. Zla interpretacja
6. Ballada o spalonych kwiatach
7. W glebi boru ciemnego
8. Szalwja (Video bei YouTube)
9. Trucizna
10.Gusla milosne (Video bei YouTube)
11. Czarcie lamenty (Video bei YouTube)
12. Poszli chlopi na role
13. Rozdroze dusz (Video bei YouTube)
14. W sercu gaju (Video bei YouTube)
15. Czart rogat (Video bei YouTube)
16. Czarcia kolysanka (Video bei YouTube)

Source: Vampster

Mit „Contemplation Scriptures & the Swallowing Void“ wird am 14. November 2025 via Nameless Grave Records die neue EP der Death Metal-Band PRIMORDIAL RITES erscheinen. Es ist nach dem 2024er-Demo „The Order of Primordial Chaos“ der erste Release der Mexikaner. Vorab gibt es zu „The Calamitous Void (After the Gates of Yoth)“ einen Video-Clip.

PRIMORDIAL RITES Line-Up:
Néstor Márquez – Bass
Eliel Gómez – Guitars (lead)
Marc Apodaca – Guitars (rhythm)
Ivan Bloodhunter – Vocals
Gerardo Wicked – Drums

PRIMORDIAL RITES „Contemplation Scriptures & the Swallowing Void“ Tracklist
1. Intro
2. Dismal Is the Eternal (It Is the Key, It Is the Gate)
3. Immolation Oath to Chaos and Demise
4. Forlorn Fathomless Vortices
5. The Calamitous Void (After the Gates of Yoth) (Lyric-Video bei YouTube)

Source: Vampster

Die STEVE MORSE BAND hat mit dem Video zu „TexUS“ – mit Gast-Gitarrist Eric Johnson – eine zweite Single ihres kommenden Albums „Triangulation“ veröffentlicht.

Es ist das erste Album des Projekts seit dem 2009er-Album „Out Standing In Their Field“. Neben dem namensgebenden Gitarristen Steve Morse (Ex-DEEP PURPLE) wirken auf dem Album auch Bassist Dave LaRue (FLYING COLORS, Ex-DIXIE DREGS) und Drummer Van Romaine mit.

„Der Albumtitel stammt aus der Luftfahrt, wo Piloten, Navigatoren und Seeleute zwei Punkte betrachten, um ihren genauen Standort zu einem bestimmten Zeitpunkt zu bestimmen“, erklärt Steve Morse. „Es handelt sich um ein geografisches Konzept, das sich auch auf das menschliche Leben im weiteren Sinne übertragen lässt.“

„Triangulation“ wurde von Bill Evans produziert und wird am 14. November 2025 via Music Theories Recordings erscheinen. Vorab gibt es zum Opener „Break Through“ einen Video-Clip.

STEVE MORSE BAND „Triangulation“ Tracklist
1. Break Through (Video bei YouTube)
2. Off the Cuff
3. TexUS (ft. Eric Johnson) (Video bei YouTube)
4. The Unexpected
5. March of the Nomads
6. Ice Breaker
7. Tumeni Partz
8. Triangulation (ft. John Petrucci)
9. Taken by an Angel (ft. Kevin Morse)

Source: Vampster

Artist: Unify SeparateTitle: Before the Silence ComesGenre: Electro Pop / Synth PopRelease Date: 24th October 2025Label: Self-released

Source: Reflections of Darkness

Also, es gibt da ja diese Tage, da fühlt sich das Leben an wie Beton unter den Schuhen – fest, zuverlässig, unerschütterlich. Und dann kommt Lone Assembly...

Source: MedienKonverter

Artist: AdeptTitle: Blood CovenantGenre: Metal CoreRelease Date: 24th October 2025Label: Napalm Records

Source: Reflections of Darkness