Disfiguring the Goddess will release their new album Bloom on 31st July via Seek & Strike, marking a pivotal new chapter for the long-running project helmed by Cameron Argon (aka Big Chocolate). Alongside the announcement, Argon unveils the album’s devastating new single 'Low Slam Low', a relentless, slam-driven assault built on blast beats and suffocating low end guitar that showcases Disfiguring the Goddess at its most punishing.

Watch the video for 'Low Slam Low' here: https://youtu.be/Pfqqmgx1gz8

Pre-save Bloom here: https://orcd.co/dtgbloom

Commenting on the single, Argon states: “'Low Slam Low' is one of the most brutal and relentless songs on the album. It was written with a very intentional slam-focused mindset, shifting between blast beats and crushing slams that gradually morph into slower, heavier forms of themselves. A huge part of the song’s character comes from the guitar tone. I tracked it with my Gretsch Baritone tuned extremely low, and what I love about that instrument is how much body and texture it carries. On parts of this song, the guitar stops feeling like a traditional riff instrument and starts becoming more like a wall of physical texture, with the notes nearly disappearing under the weight of the tone. When the bridge hits, that is where the actual voice of the guitar comes through more clearly. The whole track is also surrounded by creepy sound design that keeps shadowing the brutality and pushing the atmosphere further. Lyrically, it is one of my favorite songs on the record because of how strange and personal it feels. There is a moment in it where I am talking about being completely alone with my thoughts, while at the same time the opening of My Girl by The Temptations is looping in my head. That contrast captures something I really love about the song. To me, it feels like a unique contribution not only to this album, but to the more brutal and slam-oriented side of heavy music right now.”

Bloom is the first Disfiguring the Goddess release via Seek & Strike and represents a natural step forward for a project that has consistently pushed its own boundaries. Argon comments: “Partnering with Seek & Strike marks a natural and timely evolution for Disfiguring the Goddess. As the working title became official, Bloom took on a deeper symbolic weight. It represents DTG awakening from a long slumber to become what it was always intended to be. I see myself as the firekeeper for that vision, and Seek & Strike arrived at the perfect moment to add the energy and momentum needed for this next stage.”

Disfiguring the Goddess has always operated on its own terms. Driven by Argon’s singular vision across vocals, production and programming, the project has built a global following outside traditional industry structures, blending deathcore with electronic textures and experimental elements. The partnership with Seek & Strike expands that reach while keeping full creative control intact.

This year also sees Disfiguring the Goddess perform live for the first time, with a run of Canadian dates alongside Angelmaker and Ingested. Long a studio-focused project, the move into a live setting marks a significant shift. Argon comments: “Disfiguring the Goddess hasn’t developed in the traditional sense of a touring band. It has existed as an experimental entity. Bringing DTG into the live sphere must reflect that history. It will be experimental, alternative and immersive.”

Despite the shift, the core ethos remains untouched. Disfiguring the Goddess is still driven by Argon’s meticulous approach to songwriting and production, dense, punishing compositions layered with atmosphere and precision. The difference now is scope: a larger stage for a project that has always deserved one, representing a new, exciting beginning for DTG. Argon remarks, “Bloom is an album about accumulation, cultivation, and execution. There are a lot of themes running through it, both personal and sonic, but when I step back and look at the bigger picture, it symbolizes nurturing the seed of DTG until it finally blossoms. It is the beginning of a new chapter and the closing of an old one.”

With Bloom, Disfiguring the Goddess continue to refine their identity with a clear focus. No compromises, no dilution, just a more direct and fully realised version of the project on a larger scale.

Catch Disfiguring the Goddess live:

Angelmaker and Ingested Canadian Tour 

7/31 - Red Deer, AB - Bo’s
8/1 - Edmonton, AB - Starlite Room
8/2 - Grand Prairie, AB - Better Than Fred’s
8/4 - Saskatoon, SK - Coors Event Centre
8/5 – Winnipeg, MB - Park Theatre
8/7 – North Bay, ON - North Bay Granite Club
8/8 – Toronto, ON - Lee’s Palace
8/9 – Windsor, ON - Scarehouse Windsor
8/11 – St. Catherines, ON - Warehouse Concert Hall
8/12 – Ottawa, ON - Brass Monkey
8/13 – Montreal, QC - Fairmount Theatre
8/14 – Quebec City, QC - La Source de la Martinière
8/15 – Moncton, NB - Xeroz Arcade Bar
8/16 – Halifax, NS - The Seahorse
8/18 - Sherbrooke, QC - Le Murdoch
8/20 – Sault Ste Marie, ON - TBD
8/21 – Thunder Bay, ON - Black Pirates Pub
8/23 – Regina, SK -The Exchange
8/25 – Calgary, AB - Dickens
8/26 – Nelson, BC - The Royal
8/27 – Kelowna, BC - Revelry
8/28 –Vancouver, BC - The Rickshaw

For more:
Instagram || Facebook || Bandcamp

Track-list:

1. Samba of the Faceless
2. Echoes Fade, I Remain
3. Deathcore Song
4. AWOL
5. Mask Off (feat J Figure)
6. Sweet Dreams (feat Four Stroke Baron)
7. Low Slam Low
8. Goddess Box (feat  Bodybox)
9. Deep Sway
10. Permission to be Claimed
11. Kiss the Dice
12. Black Widow Spider
13. Dapper (feat Four Stroke Baron)
14. Pleasure Island
15. Old Man’s Bones
16. Lose the Head
17. Penance

Photo Credit: Gregory Perrochon

French post-rock collective HANRY have unveiled their third single, 'Her Crown, Her Empire', taken from their forthcoming debut album What Came From Silence, set for release on 29th May via Pelagic Records. 

Watch the live video for 'Her Crown, Her Empire' here: https://youtu.be/UNYY0a6mlGY

Pre-order What Came From Silence here: https://orcd.co/hanry-wcfs  

Opening with a sense of quiet introspection, ‘Her Crown, Her Empire’ unfolds with a delicate, solemn touch. Subtle textures interlace with precision as motifs ebb and flow, gradually building momentum through shifting dynamics. Each swell feels intentional with layers overlapping and expanding until the track reaches its climactic peaks, moments that land with a tectonic weight, earned through patient development and emotional depth, ultimately resolving into a vast, resonant sense of release.

Formed in 2022, HANRY have quickly developed a reputation for expansive compositions that balance atmosphere with weight. Built around patience, texture and carefully controlled crescendos, their music moves fluidly between fragile ambient passages and towering, emotionally charged climaxes.

Written during a particularly long winter in Brittany, debut album What Came From Silence carries an atmosphere of tension and introspection across its eight immersive tracks.

Across the record, HANRY lean further into the contrast that defines their sound. Clean guitar tones shimmer before dissolving into waves of saturated distortion. Ambient passages slowly evolve into powerful, widescreen moments. Even at their most delicate, there is motion, subtle pulses and shifting textures that push the music forward. When the band unleashes its full force, the sound remains articulate; each instrument retains its identity within the surge. 

“Since the beginning of HANRY, cinematic imagery has been at the core of our artistic vision,” the band say. “We often compose from mental images, landscapes or scenes that could almost belong to a film. We wanted the album to feel like a continuous experience, something listeners can fully immerse themselves in and interpret in their own way.”

Initially composed by the core trio of Anthony Leliard (bass/guitar), Marc Mifune (keys) and Jean-Anaël Aubaux (J.A) (guitar), the album was then further developed with the full band in their own studio. With J.A. and drummer Clément Champigny both working as sound engineers, HANRY produced and mixed the record themselves at DiscoCasino Studio, ensuring complete control over its identity. It was mastered by Chab at Chab Mastering. 

'Phantom Rush', the closing track on the album features a stunning collaboration with pianist Mariposa, adding an additional layer of depth and emotional intensity to the record.

Artwork was created by French artist Aloïs Lecerf, who describes the piece as reflecting the same tension between stillness and eruption that runs through the record itself.

“It’s balanced between restraint and release. The cover evokes a presence that gradually emerges , something calm, dense, almost motionless, that eventually becomes vast and luminous. It seeks to capture that moment when silence begins to crack. Within a grainy, incandescent landscape, an immobile silhouette slowly fractures, allowing light to emerge.”

The album arrives at a pivotal moment for the band. A recent performance at the renowned Trans Musicales in Rennes was broadcast nationally to thousands, while a live session with KEXP signals growing international momentum.

With What Came From Silence, HANRY deliver a record that feels both expansive and deeply personal, a carefully constructed journey where silence, texture and atmosphere carry as much weight as the crescendos themselves.

Catch the band live atPelagic Fest in August, with more live dates to be announced soon. 

HANRY are:
Jean-Anaël Aubaux: Guitars, Synth.
Hadrien Benazet: Guitars.
Clément Champigny: Drums.
Anthony Leliard: Bass, Guitars, Synth.
Marc Mifune  Piano, Synth, Cello

For more information:

INSTAGRAM • FACEBOOK • BANDCAMP • PELAGIC ARTIST PAGE

What Came From Silence track list:

1. Noise Drowns Out
2. Aurora
3. Dustwake
4. Her Crown, Her Empire
5. Remains
6. Time’s Collapsing 
7. Dead Waves
8. Phantom Rush

THROATCUT. deliver a crushing statement of intent, raw, unfiltered and unapologetically violent with new single 'MOLOCH.'. Blending relentless metalcore aggression with a dark, almost ritualistic intensity, the track captures a world defined by manipulation, blind obedience and the collapse of false authority.

Watch the video here: https://youtu.be/rPWQjbJwyek

Stream here: https://arisingempire.com/throatcut

Driven by themes of guilt, negligence and control, 'MOLOCH.' dives deep into the psychology of submission and revolt. Lines like "Negligence is just a different way to say ‘I’m not responsible" cut through the noise, exposing the hollow justifications of those in power, while the recurring imagery of false prophets and rigged systems paints a bleak but familiar reality. Yet beneath the suffocating weight of it all lies a breaking point, a moment where silence turns into resistance.

Sonically, the track lives up to its message. Crushing riffs collide with punishing drums and feral, unrestrained vocals, creating a soundscape built for chaos, a soundtrack for circle pits, walls of death and total release. There is no subtlety here, only impact. Every breakdown feels like a collapse, every scream like a refusal to submit.

Rising rapidly from Germany’s underground scene, THROATCUT. have already made waves with viral releases and an increasing presence on festival stages. With 'MOLOCH.', they push their vision even further, sharper, darker and more confrontational than ever before.

This is more than just a song. 'MOLOCH.' is a reckoning.
 
Catch the band live:
 
01.05.2026 I Ponyhof I Frankfurt, DE
02.05.2026 I VEB Bandhaus I Erfurt, DE
09.05.2026 I KJH Hüweg, Essen, DE (Shifter support)
13.06.2026 I Mobilat I Heilbronn, DE
22.08.2026 I LOGO I Hamburg, DE (Avoider support)

THROATCUT. online:
https://www.instagram.com/throatcut.hc

Photo Credit: John Carluccio

Equal Vision Records, Dine Alone Records, Rude Records and Sparta are pleased to present 'Everything You Say,' the latest track to be lifted from the 29th release of Cut A Silhouette, the forthcoming album from the celebrated El Paso, TX-based alt-rock band. 

Watch the 'Everything You Say' video, directed Travis Shinn, here: https://youtu.be/QxkuMwytMQo

Pre-save, pre-add and pre-order Cut A Silhouette here: https://evr.lnk.to/CutASilhouette

"The music for this was brought in by Matt [Miller] to the earliest writing sessions at my house in El Paso, tweaked in a hotel room in Oklahoma City and played at a soundcheck that night,” frontman Jim Ward recalls. “It is one of those songs that takes shape early and no matter how you adjust, it just keeps ending up back where it started. I love it. This is a dreamy song about longing and love. A big scream declaring desire.” 

Produced, engineered and recorded in seven days at Magpie Cage Recording Studio by the iconic J. Robbins, Cut A Silhouette is a collision of past and present. It builds off Sparta’s legacy but equally continues the evolution of a band that have never rested on their laurels. Written in hotel rooms, practice spaces, studios and soundchecks over the course of a year, Cut A Silhouette reveals frontman Jim Ward’s rediscovery of his love for music.
 
“This is a love record,” Ward happily declares. “I want it to leave an impression, and at this point in my career, that's what I yearn for. I'm working so hard to make something meaningful to me, and I really want people to get a chance to feel it as well.”

Additionally, Sparta will be making a number of appearances over the summer behind Cut A Silhouette, performing headline shows in Latin America, appearing at Sol Summit Festival, and supporting Jimmy Eat World and The Toadies separately in select markets across the U.S.

It all started with John Candy. Some 31 years after the comedian’s death, Jim Ward was watching a documentary about him, and in it Macaulay Culkin — who had starred in a number of films with the late actor — said something that really stuck with the musician. So much so, in fact, that, after months of pondering and overthinking what Sparta’s sixth full-length album would be named, Ward decided that those very words—“cut a silhouette”—should be the title. 

“He said that when he met John Candy, he just entered your brain and cut a silhouette,” says Ward. “Like, he just left an impression is the way I see it. And when I heard him say that, I was like ‘Oh! That’s what I want this record to be.’ I want it to leave an impression.”

Helmed by the legendary J. Robbins, Cut A Silhouette begins with the frantic, impassioned rush of 'Split Lip' before charging into the urgent insistence of 'Crater'. The latter song, along with 'Mouthbreather', which immediately follows it, were both written with Frank Iero, though the My Chemical Romance guitarist doesn’t play on them. 'See You Soon', a gorgeous, lilting explosion of slow-motion power-pop, was co-written with Kemble Walters (Chevelle, Juliette And The Licks). He does play on that song, as does Adrian Borgeois, who adds some tender piano to the melancholy equation. J. Robbins also features on a number of the songs, as does Brooks Harlan, who plays in Jawbox with Robbins, as well as in War On Women, while Carlos Arévalo from Chicano Batman plays guitar on the hopeful fragility of 'Midnights'.

The result is pure, unadulterated Sparta. These days completed by bassist Matt Miller and drummer Neil Hennessy, the band have made a record that’s a culmination of the perfectly imperfect chemistry that flows between the three of them. The only thing on this record that shines as much as that chemistry between the trio is the community spirit that helped create it.

While you might expect 2022’s self-titled album to have been the one to bring Sparta home — after all, self-titled records are often made with that intention — that’s actually the role Ward has given Cut A Silhouette. But he admits that the previous record — one he says felt like it was made from disparate parts being brought together — was a necessary process to go through for this one to exist. “This feels like we're a fucking band again,” Ward says. “All three of us are in a room, we're all writing together, we're listening to each other; this is now a constructive creative process, and it's now the end of this era. Like, I made it through.”

Sparta are:
Jim Ward - guitar
Matt Miller - bass
Neil Hennessy - drums

Sparta online:

Official | Bandcamp |  Instagram | Facebook | Spotify | Apple Music

Cut A Silhouette track listing:

01 Split Lip
02 Crater
03 Mouthbreather
04 Daydream
05 See You Soon
06 Everything You Say
07 Without Your Hands
08 Midnights
09 Mystery Of Missing
10 Glimmer

Photo Credit: Katharina Sterl 

Following the massive success of their latest single 'Good Enough' (feat. CASKETS), which surpassed one million streams in record time, German metalcore outfit Rising Insane keep up the momentum: today, the band officially announce their brand-new studio album, DEATHRACE, set for release on 21st August via Long Branch Records.

Alongside the album announcement, Rising Insane have also unveiled the high-octane title track. "With 'DEATHRACE,' we realized very early on that we hadn’t just written a single for the album, but also the title track," the band share. "For one thing, the track has that energy we feel when we’re on stage celebrating with the crowd. On the other hand, the song describes the state of the world pretty accurately; alongside anger and despair, there’s also a call to stick together in these times."

Watch the video to 'DEATHRACE' here: https://youtu.be/OXlixMEd0cA

Pre-order the new album and stream the single here: https://risinginsane.lnk.to/deathrace

Since their debut, Rising Insane have evolved from a fierce independent quintet into a global heavy-hitter, amassing millions of streams across their previous catalogue. Their journey to the top has been defined by elite company, having shared stages with genre icons like Papa Roach, Of Mice & Men, and Stray From the Path, transforming them into an unstoppable live force.

This momentum is now reaching a fever pitch with their upcoming album, DEATHRACE. The record includes the standout track 'Good Enough' (feat. CASKETS), alongside the dark and mature 'Error' (feat. Steven Jones of Bleed From Within). Fans can also look forward to explosive new collaborations on the album with ACCVSED and David Schneider (The Butcher Sisters).

DEATHRACE marks the band’s most radical chapter yet, stripping away polished refinement in favour of raw power and primal riffs. It is a limit-breaking statement that finally pushes their sound to the absolute limit - Rising Insane have never stood still, but now they are finally flooring it.

Rising Insane are:
Aaron Steineker - Vocals
Sven Polizuk - Guitar
Ulf Hedenkamp - Bass
Florian Köchy - Guitar
Robert Kühling - Drums

Rising Insane are:
https://risinginsane.de
https://www.tiktok.com/@rising_insane
https://www.instagram.com/rising_insane
https://www.facebook.com/risinginsaneband

Tracklisting:

1 INTRO
2 DEATHRACE
3 COUNTDOWN
4 OUTRAGE
5 TRAUMATIZED
6 DARK FEAT. ACCVSED
7 NARCISSIST
8 DIRT
9 GREY FEAT. DAVID SCHNEIDER
10 ERROR FEAT. STEVEN JONES
11 GOOD ENOUGH FEAT. CASKETS

Essex-based punk duo The Meffs have unveiled their searing new single 'Disorder (Wake Up)', the second glimpse of their second album Business, coming 11th September via FLG. 

Watch the video, featuring Frank Turner, Itchy, Bad Cop Bad Cop and Booze & Glory, here: https://youtu.be/UELKa_7jc5A
Stream the single here: https://ffm.to/themeffs-disorder
Pre-order Business here: https://ffm.bio/businessalbum

The band comment: "We should be angry that we live in a world where people need to seek asylum, not angry at the people seeking asylum. The establishment want to cause division, they want us to argue between ourselves, because it takes eyes off of them. People are fighting for their rights and their lives, they're being displaced, and it's fucking tragic, yet the narrative is that it's those people's fault that you can't get a job or afford fuel. Wake up. We're not the enemy and nor are you."

The new single follows the news of The Meffs' support to Joan Jett And The Blackhearts on their first UK headline tour in 16 years. Dates: 

July 2 – Glasgow, O2 Academy
July 4 – Manchester, Academy
July 5 – Leeds, O2 Academy
July 7 – Wolverhampton, University Of Wolverhampton at the Civic Hall
July 8 – London, British Airways ARC

Despite a whirlwind 2025, which included supports with The Sex Pistols, The Undertones, selling out headline shows across the UK and Europe, Glastonbury, 2000trees, and Download Festival, Lily (guitar and vocals) and Lewis (drums) somehow managed to find the time to write and record 11 tracks of their most politically charged, hard-hitting music to date.

With producer Dan Weller at the helm, Business is a modern punk classic. Fan favourites like 'So Modern' (Keep Up)' are captured with all the energy and scuzziness from the band's live show, and title track 'Business' goes hard, taking taking aim at the challenges found within today's music industry.

There is no shortage of fast paced moments; 'Love To Lose' is the ideal hype song, while 'Fight' crams minutes of energy into one thirty second burst. Other highlights include 'Disorder (Wake Up)' - a commentary on the world as we know it; or 'Like Gravity', a journey of self-deprecation. On Business, The Meffs prove they are not a band to be pigeonholed. 

Since exploding onto the UK scene, The Meffs have built up a reputation as purveyors of frantic punk rock and an absolute must-see live sensation. A hugely impressive DIY outfit, they have already supported Alice Cooper, Kings of Leon at BST Hyde Park, Bearded Theory, Beautiful Days festival, and The Damned. The duo are also Music Venue Trust patrons and longtime supporters of grassroots venues - and are currently supporting Stiff Little Fingers across the UK.

Business will only see the band deliver their values to an ever-increasing circle - an unashamedly powerful record, political and astute, and begging to be played loud.

The Meffs are:
Lily Hopkins (vocals/guitar)
Lewis Copsey (drums/backing vocals)

Upcoming tour dates:

23/05/2026    Melkweg    Amsterdam    NL
30/05/2026    O2 Academy Islington    London    GB

04/06/2026    The LCR    Norwich    GB (supporting Levellers)
06/06/2026    North West Calling    Manchester Academy    Manchester    GB
11/06/2026    The Brook    Southampton    GB
13/06/2026    God Save The Kouign    Stade municipal    Penmarc'h    FR

18/07/2026    ParaBôle Festival    Bôle    Switzerland
31/07/2026    Docks Club    Hamburg    DE

01/08/2026    Fährmannsfest     Hannover    DE
05/08/2026    Bootleg Social    Blackpool    GB
11/08/2026    Punk Rock Holiday    Tolmin    Slovenia
21/08/2026    Parkenfestivalen    Bodø    Norway
22/08/2026    Pstereo Festival    Trondheim    Norway

05/09/2026    The Foundry Burn It Down    Torquay    GB

03/10/2026    North East Calling    Northumbria University    Newcastle upon Tyne    GB
10/10/2026    Cretin Hop Festival    La Boissière-de-Montaigu    FR

16/10/2026    Live Music Hall    Köln    DE (supporting Levellers)
17/10/2026    Muziekgieterij    Masstricht     NL (supporting Levellers)
20/10/2026    The Picturedome     Holmfirth    UK (supporting Levellers)
22/10/2026    Mandela Hall    Belfast    UK (supporting Levellers)
23/10/2026    Vicar Street    Dublin    IE (supporting Levellers)
24/10/2026    Barrowland Ballroom    Glasgow    UK (supporting Levellers)
29/10/2026    York Barbican    York    UK (supporting Levellers)
30/10/2026    Venue    Llandudno    UK (supporting Levellers)
08/11/2026    M.A.U.    Rostock    DE (supporting Levellers)
19/11/2026    Rock City    Nottingham    UK (supporting Levellers)
20/11/2026    The Prospect Building    Bristol    UK (supporting Levellers)

The Meffs online:
https://www.facebook.com/Themeffsuk
https://www.instagram.com/themeffsuk

Track list:

1. Dreamin'
2. What A Nightmare
3. Where Did It All Go Wrong?
4. Business
5. Law
6. Fight
7. Disorder (Wake Up)
8. Love To Lose
9. So Modern (Keep Up)
10. God Complex
11. Like Gravity 

Photo Credit: Alex Pace

Symphonic black metal quartet STORMKEEP have unveiled 'Imperious Sanguine Eroticism', the second single from their upcoming album The Nocturnes Of Iswylm, out 29th May via Vesperian.

Watch the visualiser here: https://youtu.be/8GM3d2QWWLQ

Pre-order for The Nocturnes Of Iswylm launch today with a wide range of formats, here: https://tr.ee/vesperian_stormkeep

“The grasp of her talons brings gloam to the light”

Founded in Denver, Colorado in 2017, STORMKEEP have become one of the spearheads of contemporary symphonic black metal. From the beginning, the band’s work has been defined by a clear sense of identity: melodic, atmospheric, and rooted in the genre’s classic tradition, while shaped by their own fantasy-driven world and narrative approach.

Their first official release, the Galdrum EP, arrived in 2020 and quickly established STORMKEEP as a band with a distinctive vision. One year later, their debut album Tales Of Othertime expanded that world further, earning the band strong recognition within the international black metal underground and placing them among the most notable new names in the field.

Now signed to Vesperian, STORMKEEP return with their second full-length album, The Nocturnes Of Iswylm. Continuing the story first opened on Tales Of Othertime, the record further develops the band’s self-described black metal symphonia: a blend of grandeur, medieval atmosphere, and fantastical storytelling, carried by precise songwriting and a strong sense of place.

Produced by the band together with Michael Zech, known for his work with SECRETS OF THE MOON, DARK FORTRESS, and THE RUINS OF BEVERAST, and mastered by Arthur Rizk, whose credits include BLOOD INCANTATION, POWER TRIP, and WORM, The Nocturnes Of Iswylm presents STORMKEEP’s vision with clarity and depth. The cover artwork was created by Simon Bisley, whose unmistakable visual language adds another striking layer to the world of the album. Additional extensive artwork was created by Valnoir, known for his work with ULVER, PARADISE LOST, AMORPHIS, and more.

Following the late March release of the first single, 'Carnal Tapestries Of Nailtorn Flesh', STORMKEEP have now also released the second single, 'Imperious Sanguine Eroticism'. It offers another view into The Nocturnes Of Iswylm and underlines the band’s position at the forefront of modern symphonic black metal: traditional in spirit, carefully crafted, and fully committed to the world they have built.

Album formats:

Download/streaming
Standard CD in Jewelcase
Limited CD Box incl. Digipak, double-sided poster, 4 photo cards and 20-page booklet with additional art
Tape (300 copies) – only available through mailorder, Bandcamp and the Vesperian webstore
LP with booklet with extensive artwork in the following vinyl variants:
Black
Violet (500 copies) – exclusive for Europe
Dark-green ripple (700 copies) – exclusive for Europe
Green (500 copies) – exclusive for North America
Blue marble (700 copies) – exclusive for North America
Color-in-color (300 copies) – exclusive for Bandcamp Europe and the Vesperian webstore
Galaxy 2 color (300 copies) – exclusive for Bandcamp North America

STORMKEEP are:
Otheyn Vermithrax: Vocals, guitar, keyboards, drums
Apokteino: Guitar
Nebula Husk: Bass
Lord Dahthar: Keyboards

Vesperian online:
www.vesperian.world 
www.instagram.com/vesperian.world 
www.youtube.com/@Vesperian.watchers 

Photo Credit: Robert John

German heavy metal legends ACCEPT celebrate 50 years of pure power, by bringing together metal's A-list musicians for a landmark release. Teutonic Titans 1976-2026 stands as a definitive statement of the band’s legacy, forged in steel and driven by unmistakable riffs. Arriving 4th September via Napalm Records, the album delivers some of the most iconic songs ever written in heavy music.

Pre-order: https://lnk.to/Accept-TeutonicTitans/napalmrecords
 
Led by guitarist Wolf Hoffmann, the longtime architect of ACCEPT’s sound, the band is joined by a staggering 50 guests across 19 reimagined versions of their biggest tracks. Teutonic Titans 1976-2026 is ACCEPT’s most ambitious and star-studded release to date, reaching far beyond their country’s borders. Featuring the biggest names in heavy music paying tribute to the German icons, the record cements the band’s standing on the global stage.

This is more than an album; it is a manifesto of metal. Pre-orders are now available in various exclusive formats.
  
Wolf Hoffmann about Teutonic Titans 1976-2026:
“There is no better way to celebrate this 50-year anniversary than to have our musical peers, friends, and inspirations come together with us to record these classic ACCEPT songs, which I am honored and proud to share with the world. I hope everyone enjoys this very special record as much as we all enjoyed making it.”

Chronologically progressing through albums from their formative years, from I’m a Rebel (1980) to Eat the Heat (1989), ACCEPT present their songs with an all-new, all-star lineup, alongside the signature voice of Mark Tornillo and Wolf Hoffmann’s unmistakable riffs. By enlisting a Who’s Who of metal, no two songs on Teutonic Titans 1976-2026 are the same. Every track features a different combination of vocals, guitars, bass, and drums, giving each classic a fresh edge.
 
Tobias Forge delivers a commanding performance on the track 'Save Us' (I’m a Rebel, 1980), joined by Ray Luzier on drums. Phil Anselmo, Kirk Hammett, and Mikkey Dee tear through the speed metal classic 'Fast As A Shark' (Restless and Wild, 1982). 'Balls to the Wall' surges with the powerful range of Metal God Rob Halford, alongside the guitar work of Matthias Jabs, while the reimagined 'Love Child' is elevated by Billy Corgan and David Ellefson (both songs from Balls to the Wall, 1983).
 
Other guest stars on ACCEPT’s extraordinary release include K. K. Downing, Bobby Blitz, Hansi Kürsch, Chris Jericho, Ralf Scheepers, Billy Sheehan, Ola Englund, and Jeff Loomis. The album also features a re-recording of 'Hellhammer' (Eat the Heat, 1989), performed by ACCEPT’s current lineup: Wolf Hoffmann, bassist Martin Motnik, guitarist Philip Shouse and drummer Christopher Williams, joined by Jason McMaster on vocals.
 

ACCEPTare:
Wolf Hoffmann – guitar
Mark Tornillo – vocals
Philip Shouse – guitar
Martin Motnik – bass
Christopher Williams – drums

WatchACCEPTin the UK:

27.08.26 UK - Wolverhampton / KK’s Steel Mill
28.08.26 UK - London / Indigo at The O2

ACCEPT online:
FACEBOOK
INSTAGRAM
TWITTER
VK
TIKTOK
NAPALM RECORDS

Tracklisting: 

1. Fast as a Shark
2. Balls to the Wall
3. Aiming High
4. Run If You Can
5. Hellhammer
6. Metal Heart
7. Losers and Winners
8. Save Us
9. Up to the Limit
10. Wrong Is Right
11. Starlight
12. Fight It Back
13. Love Child
14. Breaker
15. Demon’s Night
16. T.V. War
17. London Leatherboys
18. Monsterman
19. Restless and Wild

Photo Credit: Ellen Hemström and Oskar Nilsson

Swedish post-rock duo Oh Hiroshima have unveiled their evocative new single ‘Meridian’, the latest glimpse into their forthcoming album And the Dead Tree Gives No Shelter, due for release on 5th June via Pelagic Records. Alongside the announcement, the band have confirmed a run of European tour dates this autumn in celebration of the new record.

Watch the video for 'Meridian' here: https://youtu.be/l8SDNlgj-eI

Pre-order And the Dead Tree Gives No Shelter here: https://orcd.co/ohhiroshima-atdtgns

Speaking on the track, the band share: "We pulled a lot from our post-rock roots for this track while still retaining the intensity of our more recent work. To us, it feels like a distillation of our journey as a band, where our past and present collide."

On And the Dead Tree Gives No Shelter, Oh Hiroshima further refine their hallmark interplay of restraint and release, as delicate, shimmering guitars gradually give way to towering crescendos. Steeped in existential weight and a sense of modern disillusionment, the record traces a path through despair and meaning, carried by an undercurrent of quiet resilience.

Oh Hiroshima have built a reputation for transforming introspection into vast, cinematic sound. The Swedish band has spent the better part of the last decade refining a musical language that balances fragility with overwhelming emotional force. Their music exists in the space where atmosphere, melody and gradual intensity converge, where hushed textures evolve patiently into towering waves of sound. With each release, the group has deepened their identity as one of the genre’s most evocative and emotionally resonant voices.

And the Dead Tree Gives No Shelter continues Oh Hiroshima’s pursuit to refine the balance between vulnerability and power. At the core of their sound lies a delicate interplay between restraint and release. Their compositions carefully cultivate tension, letting each layer unfold organically: chiming guitars, distant reverberations, and minimal rhythmic pulses that feel suspended in air, all contrast against the heavily drenched power they can unleash. Whether the passage be titanic or still, Oh Hiroshima establish a sense of openness and emotional ambiguity, allowing listeners to settle into the sonic landscape as the music works its slow ascent.

Commenting on the album, the band state: “The album title And the Dead Tree Gives No Shelter is taken from T. S. Eliot’s epic poem The Waste Land. For this album, the dead tree works as a metaphor for ways of living that drain the world of meaning and offer no real way of navigating the hardships of life. We are living in a time when it has become harder and harder to imagine a bright future. This leaves many of us with a deep sense of hopelessness that easily breeds cynicism and apathy. In that state it becomes easy to shut the world out and give up any attempts at meaningful interaction with the world around us. A destructive cycle follows, as this leaves us with no way of sheltering ourselves from our initial despair at the state of things. But these songs also aim to paint something meaningful and hopeful. A form of idealisation not rooted in naivety but in realism, because we need ideals to gather enough strength to leave the shelterless dead trees of our lives behind.” 

Oh Hiroshima consistently demonstrate a growing confidence in exploring the edges of their sound. Backed by special guests, a whole array of instrumentation and a growing pallet for wider experimentation, And the Dead Tree Gives No Shelter evokes Oh Hiroshima’s unique emotional landscape, each composition a relentlessly captivating journey that inspires reflection and release. Every motif, choice and touch contribute to the shifting terrains that gradually unfold into luminous intensity. By blending harmonics, immersive production and a deeply intuitive sense of pacing, Oh Hiroshima have crafted an album that is woven with intimacy and expansively felt.

“We tracked the foundation of the record (drums, bass and electric guitars) at Studio Gröndahl with Karl Daniel Lidén (Swarm of the Sun), who has worked with many really good bands before, he took great care in the drum setup and recording, and we’re especially happy with how that turned out, adds vocalist Jakob Hemström. The rest of the album was recorded in Örebro by me and my brother, with a little help from some friends of the band. Production-wise this is our most ambitious record by far because of the number of instruments and musicians that contributed. Ten additional musicians were involved this time around. Magnus Lindberg mixed and mastered the album. It’s the third time in a row. He’s great to work with, has a great résumé, and always delivers quality work.”

Catch the band live on the following dates and atPelagic Fest in August, with more dates to be announced soon. Tickets availablehere. 

May 22 - Jaz - Rostock (DE) 
May 23 - Wave-Gotik-Treffen - Leipzig (DE) 
May 24 - Speicher - Husum (DE) 
Jul 31 - Fekete Zaj (HU) 
Aug 29 - Pelagic Fest, NL 
Sep 09 - Gothenburg, Monument (SE)
Oct 15 - Warsaw, Potok (PL) 
Oct 16 - Poznan, Pod Minoga (PL) 
Oct 17 - Chorzow, Lesniczowka (PL) 
Oct 18 - Budapest, Turbina (HU) 
Oct 19 - Vienna, Viper Room (AT) 
Oct 20 - Prague, Strahov 007 (CZ) *
Oct 21 - Mainz, Club Schon Schon (DE) *
Oct 22 - Waregem, CC De Shakel (BE) *
Oct 23 - Paris, Petit Bain (FR) *
Oct 24 - Haarlem, Patronaat (NL) *
Oct 25 - Hamburg, MS Stubnitz (DE) *

* withBarrens 

Oh Hiroshima are:

Jakob Hemström: Guitar, Bass and Vocals
Oskar Nilsson: Drums and Percussion

For more information:

INSTAGRAM • FACEBOOK • BANDCAMP • PELAGIC ARTIST PAGE

And the Dead Tree Gives No Shelter track list:

1. Servant of All
2. Meridian
3. Angelos
4. Skeleton Key
5. Tree of Life
6. Broken Sunlight
7. Ivory Tower
8. Exit Cloud