For the shoegaze and alternative metal fans, don’t sleep on ’em. Still a personal fav of the modern crop.
The post SLEEP CLUB Launch “Weight Of Ease” Music Video appeared first on Theprp.com.
For the shoegaze and alternative metal fans, don’t sleep on ’em. Still a personal fav of the modern crop.
The post SLEEP CLUB Launch “Weight Of Ease” Music Video appeared first on Theprp.com.
In the mid-2000s, there was no bigger band in hardcore than Hatebreed. Riding high on the cult success of their 1997 debut album, Satisfaction is the Death of Desire, and the wider success of their more metallic followups, Perseverance and The Rise of Brutality, Hatebreed caught the attention of Roadrunner Records, who signed them for their fourth album, Supremacy.
Arriving this week 20 years ago, Supremacy still holds a strong place in Hatebreed’s remarkably-consistent discography. At a time when many hardcore and metalcore bands found influence from the Swedish melodic death metal scene (Unearth, All That Remains and Killswitch Engage all released major albums the same year), Hatebreed dug deeper into their sound and released one of their heaviest albums.

Shortly after the release of the album, former guitarist Sean Martin explained Hatebreed’s philosophy:
“Regardless [of] what people say, we always stayed true to what we believe in. Stayed true to our fans and friends back home. We just stayed true to what we think Hatebreed should be, we don’t deviate from it. And I think that’s what people want.”
Hatebreed have always worn their influences on their sleeve: the hardcore punk base of Agnostic Front and the crossover attitude of Cro-Mags, the speed of Slayer and the groove of Sepultura. Those ingredients, paired with frontman Jamey Jasta’s drill sergeant vocal delivery, have always been Hatebreed’s calling card and it’s no different on Supremacy. The Connecticut hardcore band’s fourth album produced no major singles, though “Destroy Everything” and “To the Threshold” became major live staples. Instead, it’s like an affirmation that nothing has changed about Hatebreed’s philosophy.
In addition to releasing Supremacy on a major label, Jasta had become the host of MTV’s Headbanger’s Ball in 2003 and Hatebreed received a Grammy nomination in 2005, signaling their rising mainstream popularity. Despite those factors, Supremacy is straightforward and raw, with a renewed focus on the grooves and breakdowns (“Supremacy of Self,” “Destroy Everything,” “Mind Over All”). There’s less focus on the accessible side of the sound, which makes it one of the heaviest records in Hatebreed’s discography.
20 years removed from its release, Supremacy still feels like an essential 2000s hardcore record. There is real magic to its directness and Hatebreed’s consistent knack for finding new ways to maximize heaviness within those confines, a trait they’ve maintained into their fourth decade as a band.
In a press release at the time, Jasta said, “I wanted to tap into pure adrenaline — the speed, the brutality, the breakdowns. I wanted to make a crushing record that was going to have a memorable impact on people.”
Mission accomplished.
The post Retrospective: 20 Years of Hatebreed’s <i>Supremacy</i> appeared first on Decibel Magazine.
Silence hangs heavy within the vast, imposing confines of Liverpool Cathedral. Each clacking footstep on the marble floor feels like sacrilege as it echoes through the sacred space, the towering neo-gothic architecture seemingly scolding us for interrupting the peace. Once the silence has settled once more, Loathe guitarist Erik Bickerstaffe cranes back his neck. “I wonder which brick was the last one they placed,” he ponders in a hushed voice, scrutinising the walls with fascination.
By his side, frontman Kadeem France diligently joins the hunt. Given that the cathedral took well over 70 years to be constructed, the final fixture could be anywhere – it could be an element in the intricate vaulted ceiling, a pane in the stained glass windows. As the pair joke about the unfortunate possibility of the poor builder slipping off the roof after laying down the last piece, Erik points out the most important thing: “Well, at least they finished it.”
It’s a sentiment that feels especially appropriate considering Loathe’s own creative endeavours. Their second album, 2020’s I Let It In And It Took Everything, positioned the band in the vanguard of modern metal. They took a sharp left-turn with the following year’s surprise-released ambient album The Things They Believe, indicating a restless creative streak. And then? Nothing.
We’ve not stopped working on this record, because we had to get it right
Kadeem France
The last five years have been a long wait for a record that, at times, seemed like it would never arrive. In 2022, the band cancelled a UK and European tour to “complete the recording process”, but it proved to be a false dawn. Three years later, a new single, the knotty, prog-facing Gifted Every Strength, raised hopes, only for things to go silent on the release front once again.
But what Erik admits has been “a long and tedious process” is finally over. Loathe’s fourth album, A Stranger To You, is finally here.
“We’ve not stopped working on this record, because we had to get it right,” says Kadeem as we leave the cathedral and into the blazing sun, heading towards the leafy cathedral graveyard, a beloved smoking and hangout spot throughout the band’s adolescence. “It’s been a cycle of writing songs, throwing them out and trying a different approach. It’s easy to shit out a half-decent song, but, if you don’t believe in it, it means nothing.”

Tellingly, the first words Kadeem whispers on A Stranger To You are: “Back to life”. They come at the start of Block Of Flats, a cement-block slab of industrial-edged noise.
Except Block Of Flats isn’t even the album’s opening song. That honour falls to piano-led piece Entrance, which features a spoken word passage courtesy of UK hip hop/R&B artist Bucki Sugar. How many other bands would herald their big comeback by letting someone else do it for them?
But then confounding expectations is the Loathe way. Anyone expecting the new album to be a re-run of I Let It In… will be in for a surprise. While its DNA remains fundamentally the same, the band have expanded their boundaries way beyond where they were before.
Loathe clearly haven’t been twiddling their thumbs in the years since they last put out an album. A Stranger To You sounds like the result of a lot of effort and thought: not just ‘how do we make a record?’, but ‘how do we make a record that’s significantly different to everything else out there?’.
If we tried to make something ‘palatable’, it would be sacrificing our intentions
Erik Bickerstaffe
A Stranger To You shifts effortless between styles and genres. Where Block Of Flats represents Loathe at their densest, Harder To Pretend is decked out with plush, velvety jazz interiors. Elsewhere, Fangs could be the soundtrack to a noirish speakeasy, The Ladder busts out an acoustic guitar to soundtrack a tale of broken hearts, and Gemini’s distorted electro is the musical equivalent of being sat with your head in your hands in the toilet of a hardcore techno club. Sonically, it may seem like they all exist in different worlds, but each is recognisably a Loathe song.
The sheer breadth of guests on the album is a measure of Loathe’s ambitions, too. The album also features collaboration with Code Orange’s Jami Morgan and Eric ‘Shade’ Balderose (in their guise as NOWHERE2RUN), UK post-hardcore buzz band Static Dress, New Zealand singer-songwriter Jordan Rakei and London musician, composer and artist Mansur Brown. This is a long, long way from I Let It In… part two.
“If we tried to make something ‘palatable’ and expected, it would be sacrificing our intentions,” Erik says. “If we can change someone’s perspective about music, that’s a job well done.”

A short while later, and we’re sitting on a hill, admiring the grandeur of the cathedral from a distance. Kadeem grew up here in Liverpool, in the working class area of Toxteth, while Erik is originally from St Helens, 10 miles away.
Absent today are bassist Feisal El-Khazragi and drummer Sean Radcliffe, though three of the four of them are represented on the album’s artfully abstract cover, which features a sun pendant belonging to Kadeem, a ring owned by Erik, and Feisal’s bracelet, all designed to act as a representation of each of them. The only hold-out is Sean.
“He didn’t like the idea, so he didn’t want anything on it,” says Kadeem. “Which is the most perfect representation of him.”
Given the amount of praise that was heaped on them in the wake of I Let It In And It Took Everything, you could forgive the members of Loathe for having a bit of an ego about them. But that’s not the case.
“In this band, we all individually have our own struggles with imposter syndrome,” admits Kadeem, who manages to be both charming and shy at the same time. “Not all the time, obviously. Y’know, we can be…” “Confident?” interjects Erik ironically, after a pregnant pause. Kadeem sheepishly admits he’s gotten a little more assured over the years. “But you’ve got to be confident,” Erik says. “Even if it’s naive, you’ve got to think you’re the shit.”
Kadeem jokingly puffs out his chest. “I try to project myself a bit more now. I don’t know if that’s ever a bit much, though…” “I don’t think you ever go over the line,” says Erik, reassuringly.
Listening to them speak, it’s clear that a mutually supportive bond exists between the two of them, with Kadeem’s disarming humility and Erik’s unwavering self-assurance simultaneously balancing and complementing each other. It’s something that has kept them level-headed, even when interest in the band has been at its most intense.
“We’re hardly rockstars that wake up first thing in the morning and snort cocaine and fly around on private jets!” says Kadeem, who met Erik at Liverpool’s Hub festival in 2011, when they were both 14 years old. “I mean, we’re still working from Erik’s shed in his back garden.”
I mean, we’re still working from Erik’s shed in his back garden
Kadeem France
That self-contained, DIY aspect has helped get Loathe to where they are today. “You’re just as excited about music as when I first met you,” Kadeem says. “That’s what drew me to you. You went from being a real music boy to… a real music man.”
Erik snorts with laughter, but Kadeem continues. “Even back then, Erik made [Attack Attack!’s] Stick Stickly in under a minute on [digital music software] FL Studios, and I was amazed,” the singer recalls. “Did I?” says Erik. As Kadeem nods in confirmation, the even the guitarist looks impressed at his own achievements as a 14-year-old.
Of course, there’s been a lot of growth since then. “When I was younger, I felt very angry at the world,” Erik admits. “I had a ‘fuck everyone’ attitude, and a lot of music would be me putting all this resentment out there. I’ve definitely been more self-centred in the past. I was a bit selfish. As I’m getting older, I’m becoming more of a human in the world.”
Erik gestures towards his bandmate. “Kadeem’s always had an innate maternal nature, though – he’s very family-oriented, very considerate of everyone,” he says. “It’s an inspiration for me, in that sense.”
The relationship between the two of them has undoubtedly helped Loathe get through the new album’s lengthy gestation period. “This album is an accumulation of everything that has happened to us over the last six years,” Erik notes.
What exactly he’s talking about is unclear. Frustratingly, if there’s any drama involved, the pair aren’t giving it up. Instead, any struggles appear to be entirely creative.
“I think we were conscious of not wanting to fuck this record up, so there was this extreme sense of second guessing everything,” Erik admits, while Kadeem recalls the “overwhelming pressure” they felt after dropping Gifted Every Strength last year. They began to wonder if they should start to take onboard what fans wanted out of them, rather than just doing what they wanted. Erik says it was their friend, Static Dress frontman Olli Appleyard, who gave them the best bit of advice.
“Olli said to me: ‘You just need to live with the fact that it’ll take some people a year or two to understand. You’re thinking ahead, and people will catch up.’”

The day is progressing and we’re getting hungry. We decide to go for sushi. As we wander through the streets to find a restaurant, Kadeem and Erik point out various places of interest, such as the bar where Kadeem once accidentally set his hair on fire.
“I was working there and had to light all the candles,” he says. “On the CCTV you could see the flames all over my head!” Along the way, we bump into Loathe’s original bassist, Shayne Smith, who is keen to join us when he hears that sushi is on the menu. Shayne stepped away from the band in 2018, but he says he’s proud of his musical “brothers” for doing so well.
We arrive at the restaurant and settle in for an intimidatingly generous serving of sushi. Sake is ordered, and Kadeem ensures Hammer’s glass is kept topped up.
“We should start asking for sake on our rider,” he says. “We used to be too scared to ask for pistachios,” says Shayne, erupting with laughter.
Loathe have got a bit more confident with their dressing room requests these days. Their rider requires venues to supply them with a framed picture of Liverpool football legend Steven Gerrard.
As we eat, talk drifts back to the new album. A Stranger In Me is undoubtedly the product of a band in perpetual forward motion, but it’s potentially also not what people expect from them. Are they worried its sheer stylistic breadth might put people off?
“I really want people to go in and process this album from start to finish,” says Erik. “It’s like a recipe. If you just pick out the ginger and eat it on its own, you might hate it. But if you put it all together – like sushi – it changes everything. It’s the same with genres – you might think you hate a certain sound, but, once you’ve tried it as part of a bigger piece, you might love it.”
He knows he doesn’t need to justify what Loathe have done with A Stranger To You. The time and effort were worth it – it’s an album that underlines their uniqueness and willingness to push forwards on their own terms and no one else’s. Loathe, just like Liverpool cathedral and its 70-year gestation period, are proof that great things come to those who wait.
A Stranger To You is out now on Sharptone
A black suit can communicate power. A Gothic suit communicates something more elusive. The silhouette often begins with the language of traditional tailoring: structured shoulders, fitted waists, long coats, sharp lapels, and carefully balanced proportions. Yet certain details immediately separate it from conventional formalwear. Velvet absorbs light differently than wool. Silver buttons replace anonymous hardware. High collars recall Victorian portraits. Long frock coats suggest another century entirely. The garment feels familiar. It also feels haunted.
That tension explains why the Gothic suit has survived far longer than most fashion trends. It combines refinement with mystery, authority with melancholy, and social elegance with subtle rebellion. The wearer appears disciplined and composed while simultaneously suggesting hidden depths that remain difficult to define. This aesthetic did not emerge from modern Goth culture.
Its roots extend deep into the nineteenth century, where mourning rituals, Romantic literature, and changing attitudes toward death transformed black clothing into something more than fashion. Darkness became a visual language capable of expressing grief, introspection, memory, and individuality. The Gothic suit inherited that language. More than a century later, it still speaks fluently.
The story begins with grief.
When Prince Albert died in 1861, Queen Victoria entered a period of mourning that lasted for the remaining forty years of her life. Photographs and portraits repeatedly depicted her dressed in black, transforming mourning attire into one of the defining visual symbols of the Victorian era.
Her influence extended far beyond the monarchy.
Victorian etiquette manuals devoted extensive attention to mourning dress. Publications such as Cassell’s Household Guide specified which fabrics could be worn, how long mourning should last, and how clothing ought to reflect emotional seriousness. Black silk, crepe, and wool became associated not merely with loss but with dignity, discipline, and social respectability.
This distinction is important.
Victorian mourning did not present darkness as chaos. It presented darkness as order. The clothing was carefully regulated, meticulously structured, and socially meaningful. Black became elegant because it communicated restraint rather than excess.
The Gothic suit inherits precisely this quality.
Its darkness feels deliberate. Every line appears controlled. The effect is not theatrical despair but composed seriousness, a visual reminder that elegance and melancholy have shared a long history.
Victorian mourning gave black clothing cultural authority.
Romantic literature gave it charisma.
Few figures shaped nineteenth-century ideas of masculine elegance more profoundly than Lord Byron. Contemporary portraits frequently depict him wearing dark formal clothing while gazing away from the viewer, his expression distant and reflective. Readers became fascinated not only with his poetry but with the image he projected.
The Byronic hero soon became one of literature’s defining archetypes.
Intelligent. Charismatic. Independent. Burdened by secrets.
Characters inspired by Byron often appeared isolated from society while remaining irresistibly attractive to it. Their power came from emotional complexity rather than physical strength.
The Gothic suit preserves that symbolism.
A sharply tailored black coat suggests introspection in a way brighter clothing rarely can. The wearer appears self-possessed yet slightly removed, participating in society without entirely belonging to it. The effect is subtle, but literature conditioned generations of readers to recognize it.
Black clothing no longer signified only mourning.
It began suggesting mystery.
Bram Stoker understood that monsters become more fascinating when they look well-mannered.
When Jonathan Harker first encounters Count Dracula in the 1897 novel, he does not meet a snarling beast. He meets an aristocrat. Dracula’s appearance communicates education, wealth, and refinement long before the supernatural elements emerge.
That choice transformed Gothic style.
The Count’s power depends partly upon contrast. His elegance conceals his true nature. Readers encounter a figure who appears composed on the surface while hiding something profoundly unsettling underneath.
The Gothic suit continues drawing strength from the same principle.
It does not reject formal elegance. It weaponizes it.
A long black coat, dark waistcoat, silver accessories, and immaculate tailoring create an image that feels trustworthy at first glance. The details slowly complicate that impression. The garment suggests that refinement and danger can occupy the same space.
That is why the style remains compelling.
The Gothic suit is not simply dark clothing.
It is formalwear carrying a secret.
The Gothic suit succeeds because it creates a contradiction the human mind finds difficult to ignore.
Formal clothing traditionally communicates stability, competence, and social acceptance. Dark Gothic aesthetics suggest mystery, melancholy, and distance. When these visual languages merge, the result becomes psychologically intriguing.
Consider two identical suits.
One is light grey with conventional buttons and a standard business silhouette. The other is black velvet with peaked lapels, silver hardware, and a long tailored coat. Both garments are formal. Both communicate discipline. Yet they create entirely different emotional responses.
The first feels predictable.
The second invites questions.
This is the source of the Gothic suit’s power. It preserves the authority associated with traditional tailoring while introducing uncertainty. The wearer appears composed, but not entirely accessible. Refined, but not ordinary.
The style creates narrative.
People instinctively wonder who this person is, what experiences shaped them, and what remains hidden beneath the carefully constructed exterior.
Many discussions of Gothic fashion invoke Carl Jung’s concept of the Shadow, but they rarely explain what the connection actually means.
For Jung, the Shadow was not simply darkness or evil. It represented the aspects of personality people suppress because they conflict with their public identity. Ambition, anger, vulnerability, desire, grief, and countless other emotions often remain hidden beneath socially acceptable behavior.
Most clothing reinforces the public self.
The Gothic suit complicates it.
Traditional business attire projects reliability and control. Gothic tailoring preserves those qualities while introducing visual elements associated with mystery, mortality, Romanticism, and emotional depth. The result acknowledges parts of human experience that conventional formalwear often ignores.
This is how the Shadow becomes visible.
Not through shocking imagery or theatrical costumes, but through subtle disruption. Black velvet absorbs light differently than ordinary fabric. Antique-style buttons evoke history. Long coats recall literary figures associated with isolation and introspection. These details suggest emotional complexity without explicitly describing it.
The wearer remains socially recognizable.
Yet the image hints at dimensions that cannot be fully explained.
That tension between public identity and hidden interiority lies at the heart of both Jungian psychology and Gothic fashion.
No literary figure captures the symbolism of the Gothic suit more effectively than Dorian Gray.
Oscar Wilde’s novel revolves around a simple but devastating idea. Dorian remains young, beautiful, and socially admired while a hidden portrait records every act of corruption, cruelty, and moral decay. The public image remains immaculate. The truth exists elsewhere.
The portrait is not merely a supernatural device.
It is a visual representation of the split between appearance and reality.
This division appears repeatedly throughout Gothic culture. Elegant surfaces conceal troubling depths. Respectability hides obsession. Beauty coexists with decay. The Gothic imagination is fascinated by what remains hidden beneath refinement.
Dorian’s clothing plays an important role in this symbolism.
Throughout the novel he moves comfortably through London’s elite social circles. His appearance remains sophisticated and desirable. Nothing in his presentation reveals the moral collapse occurring behind closed doors. The contrast makes the story disturbing because readers understand that elegance provides no guarantee of virtue.
The Gothic suit inherits this psychological tension.
Unlike horror costumes that openly announce danger, it operates through suggestion. A sharply tailored black suit does not communicate corruption, but it does evoke the possibility that appearances may be incomplete. The garment encourages the same question that drives Wilde’s novel.
What remains hidden?
The question itself becomes part of the attraction.
Few contemporary designers understood the dramatic potential of dark formalwear better than Alexander McQueen.
His collections repeatedly explored themes of death, memory, beauty, and historical trauma without abandoning precision tailoring. The garments often appeared elegant first and unsettling second.
One of the strongest examples is Widows of Culloden (2006).
Inspired by the aftermath of the Battle of Culloden and the destruction of Highland culture, the collection presented black garments that felt simultaneously mournful and majestic. Lace, velvet, fitted jackets, and dark silhouettes transformed historical grief into visual poetry.
The connection to Victorian mourning culture becomes impossible to miss.
Both traditions understand that black clothing can communicate far more than sadness. It can express memory, resilience, dignity, and emotional depth. The darkness carries meaning because it refers to something larger than fashion itself.
McQueen’s work demonstrates why Gothic tailoring remains relevant.
The style does not survive because it looks dramatic.
It survives because it turns history, literature, and psychology into something visible.
Most fashion trends depend on novelty.
The Gothic suit depends on ideas that never disappear.
Fashion changes because tastes change. Hemlines rise and fall. Colors drift in and out of popularity. Entire aesthetics dominate a decade and then vanish. Yet the Gothic suit continues to return, not because it follows trends, but because it addresses themes that remain permanently relevant to human experience.
Mortality.
Memory.
Identity.
Mystery.
These concerns shaped Victorian mourning culture. They shaped Gothic literature. They continue shaping modern dark fashion. The Gothic suit survives because it provides a visual language for expressing them without saying a word.
A black frock coat in 1890 and a tailored Gothic jacket in 2026 belong to different worlds.
Yet both communicate a similar emotional atmosphere.
The wearer appears thoughtful rather than cheerful, introspective rather than performative. The garment suggests that some experiences deserve contemplation rather than celebration.
Not every black suit is a Gothic suit.
The distinction often lies in details rather than color alone.
Traditional business tailoring prioritizes neutrality. The goal is professionalism without distraction. Gothic tailoring pursues atmosphere. Designers frequently emphasize longer silhouettes, sharper lapels, fitted waists, military influences, Victorian references, and fabrics that interact dramatically with light.
Velvet remains particularly important.
Unlike ordinary wool, velvet absorbs and reflects light unevenly. The surface appears almost alive as the wearer moves. Brocade introduces historical texture. Antique silver buttons suggest age and craftsmanship. High collars draw attention to the face while subtly recalling nineteenth-century portraiture.
These choices create visual depth.
A conventional suit asks to be seen.
A Gothic suit invites interpretation.
The garment feels connected to stories, memories, and cultural references that extend beyond fashion itself.
Many forms of rebellion reject tradition completely.
The Gothic suit takes a more sophisticated approach.
It borrows the visual language of authority and quietly alters its meaning. The structure remains formal. The tailoring remains disciplined. The wearer still appears refined. Yet the atmosphere changes. Elements associated with mourning, Romanticism, Gothic fiction, and historical dress introduce a subtle resistance to conventional expectations.
This helps explain why the style appeals to people far beyond the Gothic subculture.
The suit offers individuality without abandoning elegance. It allows someone to stand apart without appearing careless. The rebellion remains controlled, expressed through symbolism rather than confrontation.
Dracula embodies this principle.
So does Dorian Gray.
So do many of McQueen’s most memorable designs.
The most compelling Gothic figures rarely reject sophistication.
They redefine it.
The history of the Gothic suit is ultimately the history of a cultural transformation.
Victorian mourning turned black clothing into a symbol of dignity and emotional seriousness. Romantic literature transformed melancholy into an attractive ideal. Gothic fiction introduced elegant characters whose refinement concealed hidden depths. Modern designers carried those influences into contemporary fashion.
The result is more than a style.
It is a visual philosophy.
The Gothic suit suggests that elegance does not require brightness, that beauty can coexist with sorrow, and that mystery often proves more compelling than transparency. Through careful tailoring, historical references, and symbolic depth, the garment transforms ideas usually associated with darkness into something unexpectedly sophisticated.
That is why the style continues to resonate.
It speaks to a part of human experience that fashion often ignores. Not the desire to appear happy, successful, or fashionable, but the desire to acknowledge complexity. The awareness that life contains grief as well as joy, memory as well as novelty, shadow as well as light.
The Gothic suit does not hide those truths.
It wears them well.
If The Gothic Suit: Why Darkness Looks Elegant speaks to your darker imagination, explore the Edgar Allan Poets store. Our Gothic-inspired apparel celebrates Victorian aesthetics, dark fashion, literature, mystery, and the beauty hidden within shadow.
Continue the atmosphere behind The Gothic Suit: Why Darkness Looks Elegant through the official Edgar Allan Poets playlist, where Gothic beauty, mystery, and cinematic storytelling meet in sound.
Black carries centuries of cultural associations with mourning, dignity, authority, mystery, and introspection. Gothic fashion inherited these meanings from Victorian mourning culture and Romantic literature.
Gothic suits often incorporate historical tailoring details, velvet or brocade fabrics, antique-inspired hardware, longer silhouettes, Victorian influences, and symbolic elements that create atmosphere rather than simple formality.
Victorian mourning established black clothing as a visual symbol of dignity, emotional seriousness, and restraint. Gothic fashion later transformed these associations into an enduring aesthetic.
Characters such as Dracula and Dorian Gray demonstrate how elegant clothing can conceal deeper psychological or moral complexities, making formal dark attire a powerful storytelling device.
Because it combines elegance, individuality, history, and symbolism in a way few garments can. The style addresses themes of identity, memory, beauty, and mortality that remain relevant across generations.
The post The Gothic Suit: Darkness and Formal Elegance appeared first on Edgar Allan Poets – Noir Rock Band.
Words: Sam Jones
Its that time of year again when people across the world ready themselves for Denmark’s most heinous and ruthless extreme metal event of the year.
Split amongst four days at an Old Pumphouse in the middle of Copenhagen’s historic city centre, Kill-Town Death Fest is revered amongst the international metal festival scene and after attending for the first time last year myself, i can happily attest to that too.
You want heavy hitters? They’ve got you covered with Rottrevore, Cenotaph, Funebrarum, Massacre performing a one-off Mantas set. It’s worth noting many bands performing here are exclusives for the whole year or haven’t played Europe in a multitude of years. Get your tickets! This is not an event to be missed!
But you can’t talk about Kill-Town and the impetus it places on rising acts: Filth, Phenocryst, Seraphic Entombment, Putridarium. A slew of rotting and hungry acts eager to take the stage and show the Danes, and by extension the rest of the world here, what they’re made of. Though Kill-Town grabs stellar headlining acts, its great to see how many upcoming bands its more than happy to accommodate.
But then you have bands people salivate over seeing. You’ve got Civerous playing Maze Envy in full, Father Befouled grace the putrid stage with an exclusive twentieth anniversary set, Of Feather And Bone will bring all the unbridled fury their performances have garnered, Morbific and Cryptworm too! The legendary Abhorrence also make a rare live performance too, this is not something to be lightly missed!
And then they throw in names like Snet, Skepticism, Murder Squad, Fossilization, Degraved, Warp Chamber, Rothadas, Dead Void, Shrieking Demons, Disembodiment, Larvae. If there’s one festival you’re spoilt for choice on with bands, its Kill Town Death Fest.
The great additional bonus is all the people you’ll interact and have a great time with. People from all over the world not merely Europe alone. There are bars. There’s band merch. An untouchable atmosphere. A microcosm of extreme metal hidden in Copenhagen’s distinct heart.
It’s four days of nothing but a downright celebration of extreme metal, especially with Sunday’s metal market bringing a plethora of rare vinyls, other merchandises and incredible people to meet. Never has death metal been so friendly and inviting.
And never has it been so worth picking up a ticket.
So, come along and see what Kill Town is all about.
See you September 3rd – 6th. – Grab you tickets HERE

For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.
The post Festival Preview: Kill-Town Death Fest 2026 appeared first on The Razor's Edge.
Dark metal band Lacrimas Profundere released their new single and video for the song “Nevermore” today. The song is also included on the upcoming studio album Lay Me Down O Silent Fear.
Guitar player Oliver Nikols Schmid says: “‘Nevermore’ was one of the last songs written for the album. Our singer Julian immediately loved the music, which in parts reminded him of Type O Negative. I, on the other hand, initially thought it was more of a B-side. Then he came up with this catchy vocal melody, almost reminiscent of my old heroes, Bon Jovi, but I was still unsure. We agreed to put the song through a few live tests — something we had never done before. Well, what can I say? Even though nobody had ever heard the song before, people immediately started singing along at the top of their lungs. And even after the song ended, the entire venue kept chanting ‘NE-VER-MORE, NE-VER-MORE’ for minutes. That was the moment I knew: This is it! In a way, this is our ‘As I Die,’ which originally wasn’t even supposed to make it onto Paradise Lost‘s Shades of God album, but ultimately became their breakthrough. That’s exactly what we’re hoping for now.”
Lay Me Down O Silent Fear will be released on September 25 through Steamhammer worldwide. Pre-orders are available here, in the following configurations:

The post LACRIMAS PROFUNDERE Shares “Nevemore” Video From Upcoming Album “Lay Me Down O Silent Fear” appeared first on Sonic Perspectives.
Wisconsin fuzz-pop artist Graham Hunt made his name with no-budget home recordings, but he went bigger with his forthcoming LP American Pyramid, recording most of it with an eight-piece band at Minnesota’s stories Pachyderm Studios. We’ve already posted the early singles “Waiting For You To Come Home,” “Riverboat Blues,” and “Getting Older.” With the LP dropping later this week, Hunt shares one more advance song today.
The post Graham Hunt – “Guardian Angel’s Arms” appeared first on Stereogum.