Canadian heavy rock band Famous Strangers has released their self-titled debut album. The record officially arrived on August 21 and introduces a sound that refuses to be confined to a single genre. Coinciding with the album launch, the group also shared a new behind-the-scenes music video for the track “Fire Inside.”
Operating out of Edmonton, the four-piece group blends heavy metal and hard rock with stripped-back blues elements. Thematic concepts across the new album explore resilience, self-discovery, and finding strength through life challenges. The single “Fire Inside” serves as an anthem of self-empowerment, celebrating the inner drive to realize personal potential.
Formed in 2023, Famous Strangers is the product of years of shared history within the Canadian music scene. The current lineup features lead vocalist Amanda Kiernan, guitarist Jeff Kittlitz, bassist Braden Sustrik, and drummer Brian Beejerson. The band recently supported the album release with a Western Canadian tour that concluded with two special hometown performances. The debut album is currently available to stream and download across all major digital platforms.
Traditional heavy metal band Crimson Steel has released a new single and accompanying music video titled “Bleed Into One” featuring guest vocals by James Rivera. The track serves as the latest preview from the group’s forthcoming full length album, Show No Fear, which is officially scheduled for release on October 2 via Heaven and Hell Records.
Operating out of Raleigh, North Carolina, the band leans heavily into gothic horror and vampiric mythology for this new release. “Bleed Into One” builds a dark atmosphere that highlights the dramatic vocal interplay between frontwoman Tina Langevin and guest singer James Rivera. The track introduces the overarching themes of fear and sacrifice that define the upcoming album, blending traditional heavy metal force with progressive minded arrangements.
The new record was produced by Wendy Brancaccio and recorded at Vintage Noise Studio alongside Bill Spears, with final mastering by Anthony Focx. Featuring cover artwork by Johnathan Gerardster, “Bleed Into One” is currently available to stream across all major digital platforms.
Finnish progressive rock band Kuumet has released a new single titled “Narcosis.” The track serves as the second preview from the group’s highly anticipated debut album, Nova, which is scheduled for release later this year.
Thematically, “Narcosis” explores the concept of modern dopamine addiction and the constant need for stimulation. Lyricist Jussi Moilanen explains that the track serves as a commentary on a society that utilizes screens, work, and material consumption as a way to avoid boredom and escape into a perpetually dreamlike state. Musically, the new release offers a dynamic listening experience by blending jazz influenced melodies and cinematic layers with massive walls of guitar.
Operating out of Oulu, Kuumet originally formed in 2019 following a tribute performance for a prominent Finnish progressive rock artist. The band was assembled by former Sentenced and The Abbey drummer Vesa Ranta and features musicians from various regional acts including The Aeon and Hietaketu. The group constructs their sound by drawing influence from sprawling 1970s rock bands and the heavy melodic rock movement of the 1990s, carefully avoiding indulgent gimmickry in favor of cinematic expression.
The forthcoming Nova album will conceptually explore the struggles of modern humanity, weaving together dystopian themes of addiction and death with glimpses of hope. “Narcosis” is currently available to stream across all major digital platforms as the band prepares for the full arrival of their debut record.
Oklahoma based alternative metal band Nova Riot has released their debut full length album, Blood, Lies & Lullabies. The new record officially arrived on August 21 via Eclipse Records.
Operating out of Durant, the trio describes their specific style as bubblegum alternative metal. The band focuses on bridging the gap between heavy underground aggression and accessible, highly melodic hooks, resulting in a high octane collision of grit and polish.
The debut features seven original songs, including tracks like “Midnight Coven Crush,” “Haunting Me,” and “Casket.” The release also boasts a notable guest vocal appearance from The Bunny The Bear on the song “The Altar.” Blood, Lies & Lullabies is currently available to stream and download across all major digital platforms.
Modern metal band Sicksense has released a haunting new single titled “A Moment Of Violence.” The track serves as the final preview from the group’s highly anticipated upcoming extended play, Funerals, which is officially scheduled for release on September 25.
Thematically, the new song explores heavy concepts surrounding mortality, grief, and the struggle of enduring conflicting personal beliefs with a higher power. The band explains that the track tackles the emotional frustration of losing loved ones and questions the irony of suffering in life despite the promise of divine love.
Musically, “A Moment Of Violence” serves as the closing track on the new EP and takes a different sonic approach than their previous material. Opening as a moody ballad, the composition features vocalist Vicky playing piano alongside atmospheric thunderstorm sounds and orchestral arrangements, including violin performed by bassist Rich. The solemn track eventually builds into a massive full-band breakdown to close out the record.
Fans can stream the new single now and pre-order the upcoming Funerals EP via the link below as the band prepares for the official September launch.
FOR IMMEDIATE RELEASE
DREAD WITCH Unleash a Cinematic Descent Into Darkness With New Doom Metal Album CULT
Danish doom metal force DREAD WITCH will release their crushing second album, CULT , on October 31, 2026 via DHU Records and Gateway Music
Danish doom metal outfit DREAD WITCH are preparing to unleash CULT , their second full-length album and a darker, heavier and more cinematic evolution of the band’s sound. Set for release on October 31, 2026 , CULT is a 36-minute descent into an occult nightmare built from colossal riffs, crushing drums, ritualistic vocals and an immense wall of sound.
Formed in Denmark in 2023 by former members of Scamp, Horned Almighty, Stone Cadaver and The World State , DREAD WITCH came together with one simple mission: create exceedingly heavy and dark doom metal inspired by horror literature, cult cinema and bands such as Pink Floyd and Triptykon .
With CULT , that vision has been pushed even further into the darkness.
The album unfolds like a horror movie translated into sound. From the unsettling opening instrumental “Born Again,” where the cries of a bawling infant collide with dissonant guitars, to the monumental eight-minute closing journey “Omen of Oblivion,” DREAD WITCH create a bleak and immersive universe inhabited by serpents, witches, human sacrifices and unspeakable horrors.
The title track, “Cult,” drives the listener deeper with bone-shattering riffs and dark psychedelic textures, while “The Summoning” introduces occult chanting, sinister lyrics and an eerie atmospheric passage before erupting into a crushingly groove-heavy finale.
The pace picks up on “Cyclops,” the album’s shortest and most aggressive track, delivering an in-your-face barrage of riffs built for serious headbanging. “Altar” brings another dimension to the record with a guest appearance from Sofia Schmidt of Ethereal Kingdoms , who takes on the role of the Dread Witch herself in a performance that is both technically impressive and deeply unsettling.
Then comes “Marrow,” where up-tempo death metal phrasing and staccato riffs collide with the unexpected sound of a didgeridoo, creating what feels like an infernal freight train barreling straight into the abyss.
Instrumental “Vesexuff” serves as an ominous prelude to the album’s epic finale, “Omen of Oblivion,” completing a journey through dark landscapes of monumental riffs, powerful vocals and oppressive atmosphere.
At the center of the sonic assault is an immense wall of sound created from three low-tuned guitars, distorted bass, crushing drums, ritualistic vocals and ambient textures . The result is doom metal that is massive without sacrificing dynamics, atmosphere or detail.
CULT was engineered, produced, mixed and mastered by legendary Danish producer Tue Madsen , whose extensive credits include Meshuggah, Baest, Moonspell, The Haunted and Belphegor , among many others. The album was recorded at Antfarm Studios , with artwork created by Deliriavision and layout by Andreas Cadaver .
DREAD WITCH previously established their reputation with their 2023 debut, Tower of the Severed Serpent , which Deathrattle Podcast praised for its “riffs of gravitational force and neutronium density.” The band has continued to develop that crushing foundation on CULT , creating what is arguably an even more immersive and sinister statement.
DREAD WITCH creates Boschian landscapes of doom that, as RockHard Italy said, “capture the listener in a magnetic whirlpool that is difficult to escape.”
With CULT , there may be no escape at all.
DREAD WITCH – CULT
Release Date: October 31, 2026 Labels: DHU Records / Bottomless Pit / Gateway Music Formats: Digital / CD / LP Genre: Doom / Death Metal For Fans Of: Conan, Triptykon, Devin Townsend
DREAD WITCH
Mikael Rise – Lead Vocals & Guitar Dennis Larsen – Drums Andreas Cadaver – Guitar Leifur Nielsen – Bass & Vocals Jesper Kragh – Lead Guitar
Credits
Recorded at Antfarm Studios Produced, Mixed & Mastered by Tue Madsen Artwork by Deliriavision Layout by Andreas Cadaver Music & Lyrics by Andreas Cadaver
Discography
Tower of the Severed Serpent – 2023 CULT – 2026
The official “Cult” music video was directed by DREAD WITCH and edited by Leifur Nielsen.
EPK, logos and additional band materials: https://linktr.ee/dreadwitch
DREAD WITCH’s CULT arrives October 31, 2026. Enter the darkness. Join the cult.
No generative AI was used in the making of CULT.
Check out the video:
Melbourne alternative duo Mystic Tea Party has released a brand new single and accompanying music video titled “Flame.” The track serves as a direct preview for the upcoming debut album from the group, which is scheduled to be released later this year.
Operating as an independent project, the band builds their sound by pulling inspiration from a diverse blend of 1990s and early 2000s alt rock, trip hop, and electronica.
“Flame” is currently available to stream online alongside its official visual release as the duo prepares for the arrival of their debut record.
UK alternative rock and pop punk band RiotWeekend has released a brand new single titled “Harry.” The track officially arrived across all major digital streaming platforms on August 21 and marks the return of the four piece group with fresh material following their debut extended play released nearly four years prior.
Blending energetic pop punk with heavy guitar riffs and soaring vocal melodies, the new track carries a deeply personal narrative. Frontwoman and bassist Holly Nunn explains that the song was written about watching a close friend struggle with personal demons, capturing the helpless feeling of waiting for someone to be ready to accept help while promising to remain by their side through the darkest moments.
Operating out of Guildford, the quartet draws sonic inspiration from prominent acts like Green Day, Simple Plan, and Paramore. The new single was recorded at Blackberry Studios, with guitarist Tomma Moulard handling both recording and mixing duties before sending the track to Pete Maher for mastering. Featuring Rab McGowan on guitar and Salvatore Bertolone on drums, RiotWeekend continues to deliver high energy music designed to translate perfectly to their lively stage performances.
FOR IMMEDIATE RELEASE
NEMESIS Unleashes New Wave of Thrash Metal With Sophomore Album Eye for an Eye
Houston, Texas thrash metal force NEMESIS is set to unleash its highly anticipated sophomore album, Eye for an Eye , in late summer/early fall 2026.
For Fans Of: Megadeth, Slayer, Metallica
Houston, Texas has a long history of producing bands that know how to bring the heat, and NEMESIS is carrying that tradition forward with a vicious brand of thrash metal built on relentless riffs, breakneck tempos, razor-sharp musicianship, and pure pit-ready aggression.
Formed by Nick Broussard, Reagan Burkhardt, Ezra Terry, and Alex Fullerton , NEMESIS draws heavily from the classic 1980s thrash movement, taking inspiration from genre-defining acts including Megadeth, Metallica, Slayer, Anthrax, Forbidden, and Exodus , while delivering the sound with a modern underground intensity.
The band’s sophomore album, Eye for an Eye , follows their 2023 debut, False Reality , which introduced listeners to the band’s raw and uncompromising attack through tracks including Aggressor , Slave of Mistakes , State of Pain , and Escape . The album earned attention for channeling the fury of Slayer and the early bite of Metallica while establishing NEMESIS as a force to watch within the American thrash underground.
Now, NEMESIS is coming back harder.
Eye for an Eye features the singles “Hell’s Last Kiss,” “Governed With Fear,” and “Eternally Lost,” three unhinged blasts of thrash that showcase a band operating at full power. The album is co-produced by NEMESIS and legendary producer Randy Burns , with Burns handling mixing and mastering. Steve Simpson of Subhuman Recordings provides drum engineering.
Burns’ legendary production credits include work with metal heavyweights such as Megadeth and Kreator , making his involvement with Eye for an Eye a particularly fitting collaboration for a band deeply rooted in the classic thrash tradition.
The band’s live reputation has become just as formidable as its recorded output. NEMESIS has shared stages with legendary acts including Armored Saint, Metal Church, Fueled By Fire, Eyehategod, Goatwhore, and ACCEPT , winning over both younger metalheads and longtime thrash veterans with dynamic performances that combine old-school nostalgia with a fresh, aggressive edge.
That momentum helped NEMESIS reach the national finals of the Wacken Metal Battle USA Championship , while also earning the distinction of being crowned Texas State Champions .
As JC of JC’s Kick Ass Rock Show puts it:
“NEMESIS is truly the NWOT (New Wave of Thrash).”
The band’s tightly locked musicianship has also earned praise from Vim Feugo of Metal Music Archives, who described NEMESIS as being “so tight, that when they play, you can’t slip a credit card between them.”
With Eye for an Eye , NEMESIS is proving that thrash metal isn’t a relic of the past. The riffs are still sharp, the tempos are still vicious, and the pit is still waiting.
NEMESIS isn’t just a band. It’s a thrash uprising.
Eye for an Eye
NEMESIS Release: Late Summer / Early Fall 2026 Genre: Thrash Metal Label: Independent / Self-Released
Watch the Official Video for “Hell’s Last Kiss”
Production Credits: Co-Produced by NEMESIS & Randy Burns Mixing & Mastering: Randy Burns Drum Engineering: Steve Simpson Management: Self Managed
For as madly as I love it, there are still phrases that I do not use often when describing a death metal release. Seldom do I find myself reaching for the Cannibal Corpse LPs and thinking “Christ, look at the emotional depth on “Entrails Ripped From A Virgin’s Cunt”. Which Isn’t to say that death metal can’t or doesn’t provoke emotions – clearly it does – and there are exceptions to the rule, but it would be fair to say that death metal generally is heavier in the musical sense than it is in terms of milking your tear ducts dry. That’s not a bad thing per se – it’s a feature of the genre, you wouldn’t complain that your fridge doesn’t double check your parachute or manage a budget. But it does mean that when a death metal album does successfully traverse more emotionally complex territory it’s worth remarking on. So when Gorod spend the time lining up firing angles to launch arrows right into your heartstrings…I think that’s worthy of significant praise. “Forgiveness” speaks to me of regret, knowing that you could have done better for your children, spared them sorrow in the years to come. I don’t think you have to be a parent to connect with themes around wishing you had been perfect for your kids – we’ve all let someone down before – but as a parent, shit if this didn’t spear an uncomfortable part of me. The sombre instrumentation of it, the way it builds and builds, flowing into these stark if gorgeous crescendos was spellbinding on a first listen and only grew more impressive over repeat listens. There’s melancholy to it, rage, complex tapping patterns mapped to the complications of the feelings themselves. It feels like a more deathly incarnation of “Wait” by prog outfit Pain of Salvation – an equally splendid yet maudlin and reflective track that tackles different but nonetheless discomfiting themes. And Gorod do this repeatedly too; never forgetting that they are at heart a tech death band and using that extreme metal weight to propel a bleak fury into songs that ache with pathos.
In the context of death metal that needs pointing out, but in the context of Gorod, perhaps less so. They’re esteemed as one of the best bands active within their genre niche, and tech death has (relatively) often been more comfortable exploring it’s more cerebral side than have other subgenres such as, say, brutal death – last time I checked, Devourment didn’t write “Babykiller” in order to muse over abortion rights. So lets adopt an unhealthy, emotionally stunted “boys don’t cry” frame of mind and ask how the album is purely as a collection of moving parts, riffs, blasts, growls, etc. So. How is it?
Fucking sublime.
Psycroptic dropped an album in July, so lord knows, Gorod needed to pull their A-game in terms of riffs. To stick with “Forgiveness” a minute, at 4.38 it drops into a groovy tech riff that hits like a soviet nuclear test, whereas “Devise” kicks things off with the best riff In Flames never wrote. Stunning guitar work lurks like Pennywise behind every corner, luxurious solos pouring off the fretboard with the iridescent flex of oil on a river, and the bass punches endless grooves into being with this warm, ceaselessly gratifying string-thud. At the risk of overstating the claim though, this isn’t the “If we’re breathing we’re blasting” brain liquefaction of, say, Origin or Braindrill. Even at their most vituperative Gorod never slung that type of firepower about. And even with that said, this is much more restrained than much of their own back catalogue, more attuned perhaps to it’s prog side than it is it’s tech side. The band were fraternising with samba rhythms as far back as their 2nd album “Leading Vision” in 2006 and slightly sedate textures were dotted about 2023’s “The Orb”, but nonetheless basically their whole discography is a complete blastfest by comparison.
The tradeoff for this distinct mellowing is a greater focus on mood and atmosphere, with the crescendo of “Remains” containing some of the most soulful, beautiful harmonies they’ve ever penned. “Regret” is much more liberal with the clean vocals much more than in years past (competently enough, even if they’re not challenging Akercocke’s Jason for all round vocal excellence) and rolls back the distortion to more civilised levels than on prior works. Percussive not-quite-clean licks airlifted from Tool’s shed and flighty jazz drums characterise lengthy portions of it for the first half before the talons unsheathe inch by inch through the latter sections. It remains deeply technical music both in composition and performance, less so than prior album’s unmedicated supersonic fret shiatsu stylings, but still a deep, complex, considered release informed as much by influences outside metal as it is by influences within it. Flickers of Radiohead’s sparse, damaged beauty dancing through “Ember”. Lap steel (I think) takes a break from gracing prog royalty Yes’ “Relayer” album to swoop like unchained quetzalcoatlus spirits over “Crimson” and “Ignite”, and I would be shocked if it turned out that drummer Karol Diers wasn’t almost problematically into jazz, such is the versatility and showmanship he packs into a frankly jaw dropping showcase the whole album through.
My undignified gushing aside, there are flaws here and there. Some tracks – “Regret” primarily – do grow long in the tooth, and placing “Regret” immediately after “Forgiveness” (the 2nd longest track) doesn’t help, as much as anything because “Forgiveness” rather outshines it. “Regret” has this whimsical, swinging sing-song feel to it’s first passages that I struggled to connect with, and it’s last section from about 5.40 on is instrumentally very cool, though it feels a shade tacked on when an opening for a satisfying conclusion to the song presented itself right before it. If “Forgiveness” feels to unfold like a tapestry then “Regret” seems to develop a bit more awkwardly to me at least, even if I can’t fault the performances that bring it to life. Perhaps that is thematically appropriate, but nonetheless it did impede enjoyment of tge song for me personally.
The in-a-nutshell breakdown then is: Gorod are undeniably less overtly tech death this time around – dalliances in their softer side elsewhere in their back catalogue notwithstanding, this is by far the most pensive thing they’ve ever done. While they do still have ammo left in the magazine, “The Ember Gone” on the whole is far heavier in emotional terms than in terms of speed or distortion. Parts of it are genuinely gorgeous, and for all it casts fonder eyes towards prog tropes than death metal ones it remains masterfully technical, with mountain ranges of evolutions and crescendos climbing from the canvas it paints over the course of forty three enthralling minutes. Gorod have obviously always been good, but never in quite so (relatively) delicate and vulnerable a fashion as they are here. And that might give some of you pause. I myself don’t think it’s their best either because I miss the more enraged playing of their back catalogue and some songs drag on a bit longer than their ideas seem capable of supporting. Taken on it’s own terms though, it’s impossible to deny the craft on display. I suggest refining your expectations: approach without the hope of a trip to the warp 9 blasturbation station, engage with it as it is not as what you might’ve desired from a Gorod release, and if after that you still find yourself unmoved by it, I can only recommend checking yourself for a pulse.
