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NYC’s rising thrash force Another Demon has announced the official re‑release of their debut EP As Above So Below, out now as of April 18th, 2026, via Ragebreed Records, with global digital distribution through Earache Records. Originally issued independently, the EP now returns with expanded reach and renewed momentum, cementing the band’s fast‑growing presence in the modern thrash landscape.

The re‑release also spotlights a major highlight from the original EP: a guest appearance by legendary guitarist James Murphy (Testament, Death, Obituary) on the track “Drawn and Quartered.” Murphy’s contribution adds a historic stamp of extreme metal pedigree to the band’s already razor‑sharp sound.

Another Demon describes their sonic identity in five words: Powerful, Fast, Aggressive, Thrashing, Evil. The band believes the EP’s wider release will resonate strongly with new listeners:

“Those who haven’t heard it yet will feel instantly familiar with what we do, and instantly want more,” comments guitarist Frank Tosi.

Crafted through years of dormant ideas and revived creative drive, As Above So Below blends classic thrash roots with atmospheric tension, horror‑driven storytelling, and a modern edge. The band’s goal is to give fans a listening experience that connects both on the surface and on a deeper, more cathartic level.

The six tracks on As Above So Below form a cohesive descent into horror, dystopia, and spiritual unraveling, each offering a different facet of the band’s dark, aggressive vision. From the frantic Evil Dead inspired chaos of “Reduced to Ash” to the crushing crisis‑of‑faith intensity of “Deaf Gods,” the EP moves through relentless riff‑driven aggression with “Skull Vessel” before hitting its standout moment, “Drawn and Quartered,” featuring a blistering guest performance from metal icon James Murphy.

Track Listing:
1. Reduced To Ash – 3:13
2. Deaf Gods – 3:05
3. Skull Vessel – 1:49
4. Drawn and Quartered ft. James Murphy (Testament, Death, Obituary) – 5:42
5. War March – 5:44
6. As Above So Below – 5:45
EP Length: 25:20

The atmosphere shifts into ominous, cinematic territory with “War March,” a ritualistic march into looming destruction, before the title track As Above So Below ties the record together through themes of duality, chaos, and spiritual inversion.

Add to your Spotify Playlist – https://open.spotify.com/artist/3kNaNyl0Lcp2NffXJUwjT6?si=SbY0-uwdTE6jlNyjTIRDJA

Formed in 2023, Another Demon is built from decades of collective experience across the NY/NJ/CT heavy‑music scene. Max Capshaw (Bass/Vocals) is known for his work with Sick of It All, H2O, Murphy’s Law, Burn, and more.

Single Stream – “Drawn and Quartered” ft. James Murphy (Testament, Death, Obituary) – https://www.youtube.com/watch?v=F7m8elmZ2H8

Max brings a hardcore pedigree and commanding vocal presence. Frank Tosi (Lead Guitar) is the primary songwriter for the EP, shaping the band’s tight, riff‑forward thrash identity. Jun Takeshita (Lead Guitar) blends 80s thrash with Japanese punk/metal intensity, expanding the band’s melodic and technical range. Dave English (Drums), the engine of the band, delivers precision, power, and dynamic rhythmic control.

“The more we’ve played together, the deeper our musical bond has grown. We’ve become a unit that knows how to read each other extremely well,” adds Tosi.

With the EP’s global re‑release, Another Demon is preparing to push further into the U.S. metal circuit. Their next full‑length album is already in development, promising an even broader and more collaborative expression of the band’s identity.

“We write these songs to satisfy our personal tastes and hope the fans appreciate that. The full‑length will show even more of our mutual personality and the best of our brand,” says Tosi.

Recommended for fans of Slayer, Testament, Exodus, Overkill, and Immortal, As Above So Below is available on the following platforms.

EP Band Line Up:
Max Capshaw – Vocals / Bass
Frank Tosi – Lead Guitars
Jun Takeshita – Lead Guitars
Frank Vaturina – Session Drums

Live Band Line Up:
Max Capshaw – Vocals
Frank Tosi – Lead Guitars
Jun Takeshita – Lead Guitars
Fred Romer – Bass Guitar
Dave English – Drums

Bandcamp – https://anotherdemon.bandcamp.com/album/as-above-so-below

Ragebreed Online Store – https://www.ragebreedstore.net/

Show Dates:
April 18 – Hudson Valley Thrash Bash – Rock Fantasy – Middletown, NY (EP Release Show)

More info: https://linktr.ee/another_demon_official

Source: ASHER MEDIA RELATIONS

Space Oddity would introduce the wider world to David Bowie

A few weeks ago, Cruel Force launched their new album, “Haneda”, the latest release from the German metal band. Founded in south-west Germany in 2008, the band’s debut album was called “The Rise of Satanic Might”. After releasing two more albums, “Haneda” marks the band’s fourth release. Pushing the pedal to the metal, with ’80s… Continue Reading →

Lynch .

The post Lynch Mob’s new live record ‘The Final Ride – Live’ available on May 29th first appeared on Sleaze Roxx.

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Ryder .

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Here I am, here I am, here I am missing you again

Longing rarely arrives alone. It drags its little entourage with it: memory, mischief, ritual, repetition, the strange compulsion to go out anyway and let the night hold what daylight cannot. Child of Night, the Columbus and New York City-based dark electronic duo of John and Niabi, understands that pull well on “Old Moons,” the second single from their forthcoming LP Conspiracy, due May 15, 2026. Out April 17, the track turns romantic desolation into something communal and faintly absurd, a song about absence and ache that still makes room for bright lights, red cups, sequins, and the half-delirious fellowship of karaoke.

Following their 2021 debut, The Walls At Dawn, Child of Night continue to refine their strain of post-punk, darkwave, and synthpop with a sharp instinct for atmosphere and a punkish sense of play. You can hear echoes of Automelodi, Lust for Youth, Boy Harsher, Nuovo Testamento, and Chris & Cosey in their palette, but “Old Moons” has its own after-hours chemistry. The song carries those sleek 1980s-tinted new wave and synthwave tones with a cool, heart-bruised poise, while the vocals ache with retro desire. The gaps between the synth lines, drum hits, and vocal phrases give the song a delicious sense of space, the kind that practically invites a microphone in hand and a little theatrical overcommitment. It has the mood of the cast of Drive wandering into a karaoke bar instead of confronting their troubles directly, trading stoic silence for neon confession.

Lyrically, “Old Moons” circles grief as a season without end. Time keeps moving, rain turns to snow, grasses yellow, new moons come and go, and still the missing person never returns. The refrain lands with blunt force: “Here I am…missing you again.” Yet the song never collapses under its own sadness. It keeps going, keeps showing up, keeps singing through the void. That friction between emotional heaviness and the will to carry on gives the track its pulse.

That same push and pull shapes the video, directed, filmed, edited, and photographed by Alice Teeple. “The concept was ‘What about a bunch of friends doing karaoke?’” John says. Niabi pushes it further: “But a little Lynchian, inching towards fun/absurd.” Speaking about the early conversations with Teeple, Niabi recalls: “When I was talking with Alice, who shot our music video, her initial thoughts on the concept were, I think, intrigued. She was like, ‘This is so fun and unusual and kind of goofy,’ and I was like, ‘Yeah, why zig when you can zag?’”

That instinct to zag gives the clip its charm. “And I think that’s what makes this music video different,” Niabi continues. “Here we were embracing quirk, fun, joy and grief, sharing with immediacy this moment in time. We are riding the line crossing over into that dark place where you don’t want to go but because you are emotionally so down, you do, and it’s really hard to explain how dark it is, but you are still trying to carry on.” That may be the most precise description of “Old Moons” possible: a song and video poised between emotional collapse and collective release, where silliness becomes survival and performance becomes a way of keeping despair from swallowing the room whole.

The clip opens with a striking title card set against the familiar postcard view of Chureito Pagoda and Mount Fuji, a dreamy false dawn that gives way to the very real geography of downtown Manhattan after dark. From there, the video slips into Chinatown and the surrounding streets, tracing stairwells, subway platforms, neon signs, crowded corners, and glowing side streets strung with warm lights. Teeple lingers on the neighborhood’s texture: the blue-and-red Welcome to Chinatown sign, weathered storefronts, old signage, and the blur of pedestrians and traffic moving through the night like pieces of a shared hallucination.

Inside, the action settles into a richly patterned karaoke room dressed in red-and-gold wallpaper, tufted benches, marble tables, and plastic cups catching the low light. Child of Night performs in close-up beneath an amber glow, while elsewhere the singer appears before a red curtain in a silver sequined dress, all bruised cabaret glamour and downtown longing. Friends gather, pass microphones, applaud from their tables, laugh mid-song, drink, dance, and lean into the kind of warm, chaotic intimacy only the right room can produce. The vibe is playful, but never weightless; even at its most convivial, the video keeps one foot near the precipice.

Teeple gives equal attention to the night’s incidental magic. There is Niabi roaming the street with sparklers in hand like a one-woman procession; the melancholy geometry of subway corridors and station platforms; roller skaters slicing down a narrow hallway under red lights and framed posters; John in his sunglasses crooning into a microphone; a small dog tucked in someone’s arms; partygoers clapping along as if the room itself were willing everyone forward. The result feels like a love letter to urban nightlife in all its tenderness, tackiness, theatricality, and human heat, a pocket diary of people making meaning together beneath the old moons.

Watch the video for Old Moons below:

Listen to Old Moons and its remix by Kiss of the Whip below, and order here.

Child of Night have previously shared bills with Hallows, Kiss of the Whip, and Milliken Chamber, and will tour the U.S. in summer 2026 in support of Conspiracy.

Follow Child of Night:

• Facebook
• Instagram
• Bandcamp
• YouTube

The post “Here I Am Missing You Again” — Child of Night Turn Synth-Pop Longing into Karaoke Catharsis in Video for “Old Moons” appeared first on Post-Punk.com.