Category: news

Prominent progressive metal label Sensory Records proudly announces the signing of LAZARUS EFFECT, the new solo project of former Symphony X bassist Thomas Miller.

“I’m very excited to announce, after years of contemplating and eventually writing and recording my first solo project, the signing to Sensory Records,” Miller writes. “After speaking and collaborating with Ken Golden, I’ve decided it’s the perfect team to launch the CD and start the promotions for a Fall 2026 release. I met Ken in 1998, while still in Symphony X, and always had it in the back of my mind that, if I did decide to record and release an album, he’d be at the top of the list.”

“I hope everyone is as excited as I am. Between recording with some of my old friends and bandmates to finding the perfect match in Sensory Records to give it the proper attention and promotional care I was hoping for. So, the new chapter has begun, and I’m looking forward to a prosperous future relationship with Sensory Records and re-connecting with the old fans as well as new ones. Stay tuned.”

Label owner Ken Golden states, “I was a fan of Symphony X early on and met Thomas back in 1998. Those Symphony X albums were part of my introduction into the world of progressive metal and instantly won me over. Thomas was a vital part of the band’s sound, and I feel that the LAZARUS EFFECT project is going to surprise and excite fans of Symphony X and Thomas’ brilliant bass work.”

Thomas Miller started his music career in central New Jersey and played in numerous cover and original bands influenced by progressive bands from the 1970s and 1980s. In 1986, he met Michael Romeo, a local progressive and classically influenced guitarist, whom he then recorded and played out in several bands with. In 1994, they formed Symphony X and recruited the rest of the band members to complete the lineup and sign with Japanese record label, Zero Records.

After international critical acclaim for their albums Symphony X, Damnation Game, The Divine Wings Of Tragedy, Twilight In Olympus, and A Prelude To The New Millenium, they did various tour dates in Japan, Europe, and NYC. Shortly afterwards, due to personal issues, Thomas stepped away from the band.

Continually writing and recording on various projects and honing his writing skills, Miller collaborated on a recording project with vocalist Hollywood How Portney in 2017, who had recorded with several local bands and labels including Megaforce Records. After interactions with fans over the years and realizing his chemistry with How, he decided to start writing for the LAZARUS EFFECT project.

He then asked Michael Romeo and Michael Pinnella to lend their recording talents to the project, and then Eric Rachel, producer of Symphony X’s first six albums, to mix and master the album. The result is music and lyrics inspired by majestic themes, progressive metal, and various musical overtones.

With the album fully complete, Thomas is now starting to promote the release of the album and working in collaboration with The Lasers Edge Group’s distribution and promotional team. The LAZARUS EFFECT debut is currently being finalized for release early this Fall. Expect additional details, previews of the album, and more to begin posting during the Summer.

https://www.lasercd.com

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Source: EARSPLIT PR

Watch the new live video for “The Arrival of Satan’s Empire”

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Flagman.

The post Flagman Announce August West Coast U.S. Tour appeared first on Theprp.com.

The song follows 2025’s “Black Matter Manifesto”

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Boundaries releases ‘May This Pain Never Leave’ from new album, ‘Yearning: The Unbeautiful After’ was originally published on HM Magazine by Nao Glover.

Today, Boundaries unveiled “May this pain never leave,” the latest preview of Yearning: the unbeautiful after (July 17, Sumerian Records), arriving alongside a blistering performance video. Directed by the band’s longtime photographer/videographer Sarah Holick, the video was filmed at The Webster Underground in their hometown of Hartford, Conn., where Boundaries thanked fans who attended the shoot with […]

Boundaries releases ‘May This Pain Never Leave’ from new album, ‘Yearning: The Unbeautiful After’ was originally published on HM Magazine by Nao Glover.

Saint Hinds.

The post Late Ex-Mastodon Guitarist/Vocalist Brent Hinds Honored At 2026 ‘Hellfest Open Air’ appeared first on Theprp.com.

Fernando Perdomo 2026 Deeper into the dusk, darkness-dwelling sound-director delves into dynamical detail of melodic diorama. For all the stylistic arcs of his annual album runs, has never been overtly conceptual in terms of multi-record spans, yet those who follow … Continue reading →

The post FERNANDO PERDOMO – Clouds 6 appeared first on DMME.net.

Debut album due in September

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Dream life slowly
slips away

Dead lights on and
here to stay 

Washington, D.C., is a city of monuments and tombs, where power forever rehearses its own afterlife amid broad avenues, pale columns, sealed chambers, and names cut deep into stone. Winter Sect’s new single Say Goodbye sounds native to that landscape, carrying the capital’s old civic unease into a room lined with black velvet, cracked mirrors, and dying lamps. The band formed in late 2023 from members of Beltway post-punk mainstays Sister Ex, then expanded into a quartet with keyboardist and vocalist Heather Wayward of Cyanbaal joining Claudia Neuman on bass and vocals, guitarist Anthony Piazza, and drummer Darryl J. Dardenne.

The band’s sepulchral goth ballad Say Goodbye moves with cathedral patience and barroom blood. Piazza’s central figure circles like a thought you cannot sleep away, while Wayward’s keyboards spread a cold phosphorescence beneath the rhythm section. Dardenne keeps the procession heavy without turning it stiff, and Neuman sings as though the ceiling has opened onto some terminal blue void. Her voice carries force, ache, and grandeur in the same breath, placing Winter Sect near the severe romanticism of Nox Novacula, Strange Boutique, Octavian Winters, and Child of Night.

The song began during the pandemic, when Piazza found himself returning obsessively to three notes. “It was weird, I was all stressed out and these three notes became a kind of mantra for me, I kept seeing this desolate landscape in my mind, I played it every day.” That repetition remains embedded in the finished track as psychic pressure, a small musical cell worried raw until it opens into a broad field of dread.

Piazza describes the lyrics with equal candor: “Total stream of conscience as far as the lyrics go, just evocative of the feeling I had back then when things were bleak. I think it’s about death and rebirth in a way” That ambiguity gives the song its blood supply. A figure fades with the sun, dreams collapse, skies twist, eyes go vacant, and the repeated farewell becomes a grim spell spoken until language loses shape.

The chorus looks brutally simple on the page, yet Neuman loads each return with a different shade of exhaustion. By the third pass, those two words feel chipped from a gravestone somebody has dragged across town by hand.

Winter Sect understands that gothic rock lives or dies by conviction. Say Goodbye carries theatrical scale, while the emotion stays close enough to bruise. The arrangement rises carefully, each instrument adding weight without smothering the central wound. By the final refrain, resignation has become release, and the desolate landscape Piazza saw during lockdown feels populated by everyone who watched a former life dissolve and wondered what, if anything, might crawl from the wreckage with its teeth intact and eyes open.

Listen to Say Goodbye below and order the single here.

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The post “I See You Fading With The Sun” — DC Goth Rockers Winter Sect Share Sepulchral Single “Say Goodbye” appeared first on Post-Punk.com.

We’ll break the world
Then build it new
Remind them all
With words we knew

Blokkontroll’s debut, Odin Na Odin, comes from Kyiv with the blunt geometry of a bunker map and the physical impatience of a body already in motion. The solo project’s idea of each release as another Blok could have become tidy mythology, yet on this album, the concept feels practical, almost architectural: pressure placed upon pressure until a wall takes shape, until rhythm becomes shelter, weapon, and route.

Its EBM is stripped to load-bearing parts. Drum machines advance with locomotive discipline, bass lines grind forward in locked angles, and synthesizers enter as machinery under strain, steel nerves pulled tight across empty rooms. The record has the air of a field recording taken during a blackout evacuation, where language has been bent by repetition and command, where the voice keeps returning because departure has become the only available grammar. Reverb and delay widen the room, then make that room feel less safe, turning every phrase into evidence from a system entering failure.

Kult sharpens the album’s central impulse: leave, begin again, move before doubt can grow roots. The lyrics’ collective charge avoids simple uplift; its promise of breaking and rebuilding carries the severity of people who have learned that renewal may require damage. Across Odin Na Odin, that tension gives the vocals a peculiar authority. They sound like something that issued from someone close enough to fear to recognize it, close enough to action to spend no energy decorating it.

Comparisons to Nitzer Ebb, Skinny Puppy, Front Line Assembly, and DAF make sense, though Blokkontroll’s language is narrower, drier, and more claustrophobic. The record gives repetition an abrasive force, using loops as walls against which the listener measures impact. Where many contemporary industrial records chase club release, Odin Na Odin keeps the floor under surveillance. Its movement is strict, the pleasure severe, the hooks buried in commands and metallic breath.

Blokkontroll demonstrates that minimalism in this form feels enforced, severe, and functional. The tracks compact, compress, and seal, pulling every element towards a hard center. By the end, Odin Na Odin has mapped escape as a condition rather than a destination, turning personal rupture into a cold communal engine. It has weight, direction, and a frightening sense of use.

For a debut, it feels alarmingly complete, a slab of industrial body music laid with care, anger, and exacting force in the dark.

Listen to Odin Na Odin below and order the album here.

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The post “The Horizon is Visible” — Kyiv’s Blokkontroll Unleashes the Industrial EBM Machinery of Debut LP “Odin Na Odin” appeared first on Post-Punk.com.