Edited by Anselm Anderson

 








Diva Satanica explains the story behind the track:
“I wrote the lyrics while being on my last tour in South America with another band. It was a very intense period of my life when I had to take some of the hardest decisions in my career, so it speaks about that. It was one of our faves since the beginning because it’s very different from what we’ve done so far: it’s pure evil but with lots of beautiful melodies.”



After joining forces with ROAR, “The Devil’s Own” serves as the first single of BLOODHUNTER’s upcoming new album, which will be released soon. 

Bloodhunter was formed in 2008 by guitarist Dani Arcos. The band has experienced several lineup changes over the years before lead vocalist Diva Satinica joined in 2012. To date, they have released three albums and one live recording. Additionally, the band has opened for acts such as Nightrage, Methedras, and Ancient Rites. Lead vocalist Diva Satinica was a contestant on the TV show The Voice, while guitarist Dani Arcos participated in the “100 Guitars from Hell” event, where he shared the stage with the late Alexi Laiho of Children of Bodom.

For More Info Visit:

Official Site: https://bloodhunter.rpm.link/sitePR
Facebook: https://bloodhunter.rpm.link/facebookPR
Instagram: https://bloodhunter.rpm.link/instagramPR
X: https://bloodhunter.rpm.link/twitterPR
TikTok: https://bloodhunter.rpm.link/tiktokPR
Spotify: https://bloodhunter.rpm.link/spotifyPR
Apple Music: https://bloodhunter.rpm.link/applePR




BLOODHUNTER is: 

Diva Satánica – Vocals
Dani Arcos – Guitar
G. Starless – Guitar
Adrián Perales – Drums
Fabián Tejeda – Bass




Visit RPM ROAR online:

Homepage: https://www.roar-records.de

Facebook: https://www.facebook.com/rpmroar

Instagram: https://www.instagram.com/rpm_roar/

TikTok: https://www.tiktok.com/@rpm_roar

X: https://x.com/rpmroar

YouTube: https://www.youtube.com/@ReigningPhoenixMusicOfficial
Spotify

Brazilian doomed death metallers Fossilization are back with their second album. Out via Everlasting Spew Records on February 13th.

Convulsive guitars and hammering drums spew into existence with no introduction nor warning. This is death metal ferocity that does not waste time. Guttural vocals add their spectral incantations atop the waves of visceral instruments for maximum extremity with a lurking, monolithic and charnel atmosphere enveloping the entirety of the band. Flaring dissonance contrasts the meaty hooks of slow, lumbering riffs and continues to add dynamics to the barbaric music; giving a strong first impression. Having really enjoyed the band’s body of work thus far, I have a lot of expectations from this record and I am curious to see if their streak of savagery will continue to appease my ravenous appetite for quality underground metal or will they drop the ball? From the blend of tremolo picking and blast-beats to the more creepy sections to full on hammering primitive violence; there are all of the hallmarks of some crushing death metal and the consistency of everyone’s performance is undeniable. This is a band who have spent a lot of time touring, released enough music and played together enough to hone their sound into what they envision. Certainly a ferocious first impression for “Advent of Wounds”.

Scalding sepulchral death metal continues to erupt with that fantastically executed blend of extremity and atmosphere while both sides of the coin hold the eldritch spirits in high regard and ensures no section loses its impact. Those more doomy moments give a strong juxtaposition to the blasting sections and yet feel no less intense, offering a sense of dread to the juggernaut of morbidity that the album is building. Fossilization are always pumping forth a maelstrom of tension and aggression that seems to change on a very precise basis to give a sense of volatility to the music while never being haphazard in doing so. The way a riff will jump into a spasming pattern further fuels the furnaces of disquiet that the record comfortably plays with. Definitely continuing from its predecessor, the blend of gloom, malice and eeriness is superbly balanced to concoct a fetid brew of death metal that will certainly appeal to most subterranean metal fans. Fossilization have built quite a name for themselves and earned a loyal underground following their their EP, split and debut LP; something I can see continuing to grow with this album and their equally noteworthy efforts taking their music on the road.

Another monolith of decaying death metal from Fossilization. Continuing to harness rabid fury, ghostly doom and moments of unwieldy tension; this is a fearsome offering indeed. Consuming all in their inferno of darkness, the void of macabre music will swallow you once opened and the relatively short but certainly not lacking record will have you possessed for its duration. Pre-existing fans will certainly enjoy this new opus and newcomers will likely find a death metal band that grips them. With exciting pacing, extremely tight musicianship and a deathlike atmosphere from start to end; “Advent of Wounds” is another triumph from this Brazilian outfit. Walking in the footsteps of Dead Congregation, Cruciamentum and the like but with a flare of their own; this duo continues to conquer.

In Flames are adding a handful of U.S. headlining dates in May, scheduled around their festival appearances at Welcome To Rockville and Sonic Temple. Select shows will feature support from Thrown, Distant, and Upon Stone. Check out the itinerary below.

If you want early access, there’s a presale running on Thursday, January 22, from 10:00 a.m. ET until 10:00 p.m. ET. You’ll need the presale code “FOREGONE” when prompted. General on-sale follows Friday, January 23, at 10:00 a.m. local time.

• 05/09 — Little Rock, AR @ The Hall (Upon Stone only)
• 05/10 — Kansas City, MO @ VooDoo At Harrah’s Kansas City (Upon Stone only)
• 05/12 — Milwaukee, WI @ The Rave (with Thrown and Distant)
• 05/13 — E. Moline, IL @ The Rust Belt (with Thrown and Distant)
• 5/4 — Indianapolis, IN @ Egyptian Room @ Old National Centre (with Thrown and Distant)
• 05/15 — London, ON @ London Music Hall (with Thrown and Distant)
• 0516 — Albany, NY @ Empire Live (with Thrown and Distant)

On the lineup side, In Flames made a key change behind the kit last year. In May, the band split with drummer Tanner Wayne, ending his seven-year run. For live dates, Jon Rice stepped in temporarily — a familiar name to extreme metal and heavy rock fans thanks to his work with Behemoth, Uncle Acid & The Deadbeats, The Red Chord, Job For A Cowboy, and Scorpion Child.

The post IN FLAMES Announces Headlining 2026 U.S. Tour Dates In May appeared first on Sonic Perspectives.

– January 21st, 2026 –

New Video / Single Now Playing + Pre-Orders Available

Photo by Tim Hubbard

Watch / stream MONSTROSITY’s “The Colossal Rage” HERE

Emerging from the shadowy depths of the extreme metal underground, MONSTROSITY reasserts their unrelenting dominance with their latest opus, Screams From Beneath The Surface, set to drop on March 13th on Metal Blade Records.

This ferocious release -their first in seven years – showcases the band’s signature blend of aggression, technical precision, and intensity. Led by drummer, founder, and primary songwriter Lee Harrison, MONSTROSITY is reinvigorated with a formidable lineup: long-tenured guitarist Matt Barnes, the triumphant return of original bassist Mark Van Erp, and vocalist Ed Webb (ex-Massacre), whose guttural, visceral delivery injects electrifying new energy into the band’s sound. Screams From Beneath The Surface not only solidifies MONSTROSITY‘s hallmark death metal ferocity but also pushes the genre’s boundaries, forging a path that is both innovative and true to their roots.

The album, containing ten tracks of uncompromising death metal, exemplifies the insurgent spirit MONSTROSITY has long been celebrated for. Standout songs like “Banished To The Skies” and “The Atrophied” deliver a masterclass in blending bone-crushing riffs, intricate drumming, and vivid, visceral lyrical imagery that sears into the listener’s psyche. Meanwhile, tracks such as “The Dark Aura” and “Fortunes Engraved In Blood” showcase the band’s ability to evolve, introducing fresh sonic dimensions while maintaining the savage intensity that defines their legacy. Each composition is evidence of MONSTROSITY‘s technical prowess and their refusal to compromise, cementing their status as pioneers of the genre.

Screams From Beneath The Surface was crafted with meticulous attention to detail, reflecting Harrison’s monstrous vision and the band’s seamless chemistry. The recording process spanned multiple studios to achieve sonic perfection. Drums, bass, and mixing were handled at Audiohammer Studios under the expert guidance of producer Jason Suecof (The Black Dahlia Murder, Deicide, Job For A Cowboy), while vocals, guitars, and mastering took place at the legendary Morrisound Studios, where MONSTROSITY reunited with revered producer Jim Morris (Iced Earth, Warrant, Savatage), alongside Mark Prator and BJ Ramone. This combination of cutting-edge and classic production techniques ensure a punishing sound that is honoring the band’s storied history while embracing modern death metal’s evolution. The album’s striking cover art, created by artist Timbul Cahyono, is a wholly organic creation, free from AI or computer-generated renderings, embodying the raw, authentic spirit of MONSTROSITY‘s music.

In advance of the record’s release, today the band unleashes first single, “The Colossal Rage.” The track hits hard and gets right to the point. This straightforward song delivers a barrage of riffs with a monstrous attitude. New MONSTROSITY vocalist, Ed Webb, unleashes a punishing performance including some monumental screams. ‘A pedestal for a king to rise‘ indeed. Van Erp’s bass relentlessly pummels throughout, complemented by Barnes’ impressive lead guitar work. Harrison wrote the original themes for the song and collaborated with Barnes to elevate it to the next level. The lyrics are unforgiving and dominating, sparing no living creature. Fully intended to roll over the listener like a bulldozer.

Watch MONSTROSITY‘s video for “The Colossal Rage,” directed by Thomas Crane of Kill Devil Films, HERE.

With Screams From Beneath The Surface, the band not only upholds the brutal tradition established by their previous works but also charts bold new territory, delivering a release that is as innovative as it is devastating.

Screams From Beneath The Surface will be released on CD and digital formats as well as vinyl in the following color variants:

Gray marble vinyl (US Exclusive)
Orange smoke vinyl (US Exclusive)
180g Black
Luminous Orange Marbled
Silver Black Splatter
Lilac Blackdust

Find pre-orders at: metalblade.com/monstrosity

Screams From Beneath The Surface Track Listing:
1. Banished To The Skies
2. The Colossal Rage
3. The Atrophied
4. Spiral
5. Fortunes Engraved In Blood
6. Vapors
7. The Thorns
8. Blood Works
9. The Dark Aura
10. Veil Of Disillusion

MONSTROSITY:
Ed Webb – vocals
Matt Barnes – guitars
Mark Van Erp – bass
Lee Harrison – drums

https://www.monstrosity.us
https://www.facebook.com/MonstrosityOfficial
https://www.instagram.com/monstrosityflorida
https://www.conquestmusic.com

Buy iTunes Artist Page Artist News

Tunisian–French metal innovators Myrath today release their new single “Soul of My Soul,” a deeply emotional and intimate song about love, loss, and the bond that survives beyond time and absence.

Rather than mourning what is gone, the band explores memory as something eternal — a presence that lingers in every breath, every silence, every corner of the mind. Blending heartfelt melodies with Myrath‘s signature cinematic power, “Soul of My Soul” unfolds as a moving and beautifully crafted piece that feels both fragile and infinite.

“If you thought that 2024’s Karma was a big step up in their theatrical desires, just wait until the jaw-dropping brilliance of Wilderness Of Mirrors launches itself into the public domain! Put simply, and without wishing to be overly melodramatic, this is the most ambitious, most complete and most engaging set that Myrath have produced to date!” 

Wilderness of Mirrors will be released on March 27 and features 10 brand-new, emotionally charged tracks that continue Myrath‘s evolution of blending oriental influences with progressive and power metal. Fans can expect a journey through fantasy and reality, from haunting melodies to thunderous riffs and cinematic arrangements.

To celebrate the release, Myrath will embark on a major European tour starting in April 2026, bringing Wilderness of Mirrors to fans across 16 countries.

With millions of views on their cinematic music videos, critically acclaimed albums, and performances at festivals such as Hellfest, Wacken, and Sweden Rock, Myrath continue to captivate audiences worldwide. Wilderness of Mirrors represents the band at their most dynamic and authentic, a milestone in their journey toward becoming one of metal’s most unique acts.

Pre-orders for Wilderness of Mirrors and tickets for the European tour are available now. Don’t miss the next chapter in Myrath‘s epic musical journey.

The post MYRATH Stream New Single “Soul of My Soul”, From Upcoming Album “Wilderness Of Mirrors” appeared first on Sonic Perspectives.

Exodus have announced their 12th studio album, the follow-up to their highest charting record ever and Napalm Records debut, Goliath, out March 20, 2026.

Today, the band reveals the massive opening track “3111” – the sinister single strikes dissonant chords before careening into breakneck thrash intensity. This album standout showcases Exodus‘ ever-increasingly dynamic approach, even decades into their historic reign. The music video was censored by YouTube due to the brutality; it will be released in its entirety at a later time and place.

“We decided to go hard with the leadoff single, ‘3111’. The song is about the narco killings in Juarez, and ‘3111’ is the estimated number of murders for 2010 alone,” the band says.

Pre-order the album here.

Emerging hungrier than ever in 2026, with Goliath, Exodus reinforces their eternal foothold at the top of thrash metal’s hierarchy with 10 of their most diverse, anthemic emissions to date. Further fueled by the widely embraced return of iconic late-era frontman Rob Dukes – first appearing on 2005’s Shovel Headed Kill Machine – the album boasts what the band describes as the performance of his life.

Goliath is Exodus’ most collaborative record in their four-decade-plus history, featuring songs written by several band members and guest contributions from Peter Tägtgren (Hypocrisy, Pain) and violinist Katie Jacoby.

“Are we excited for this record? That’s an understatement. We put everything we had into this record (and it’s 80 percent complete follow-up, but we’ll save that conversation for another day!), and it’s one of our proudest accomplishments. Wildly collaborative, the most band-centric album to date, with four songs written by Lee, lyrics by Gary, Rob, Lee, and Tom, and just killer all the way around. The time to let the monster loose is coming! Bow Down!,” the band added.

Produced by Exodus, mixed and mastered by Mark Lewis (Whitechapel, Nile, Undeath), Goliath beams with the explosive authenticity that has set Exodus eons apart from their peers since the release of their debut, 1985’s groundbreaking thrash blueprint Bonded By Blood. 40 years later, Exodus remains steadfast in their refusal to settle for the safety of mediocrity, fearing nothing and no one, and continues to forge their trademark just as resolutely as they did in their inception.

The post EXODUS Announce New Studio Album “Goliath”, Stream First Single “3111” appeared first on Sonic Perspectives.

Legendary metal pioneers SEPULTURA have announced their final ‘Celebrating Life Through Death‘ North American tour, marking the end of an era. After more than 4 decades, 14 gold records, and tours across 80 countries and diverse cultures, SEPULTURA has become one of the most influential metal bands of our time, serving as Brazil’s emissary to the rest of the world. 

Hailing from Belo Horizonte, the quartet will spread Brazil’s colours and rhythms for a final time. This farewell run will feature an explosive lineup, including special guests, Thrash legends EXODUS, hardcore heavyweights BIOHAZARD, and newcomers TRIBAL GAZE, promising a powerful celebration across North America.

Kicking off on April 29 in Montclair, NJ, the ‘Celebrating Life Through Death‘ tour will visit major cities across the U.S. and Canada, including Montreal, Detroit, Chicago, Denver, and Los Angeles, before concluding on May 29 at The Wiltern in Los Angeles. Along the way, Sepultura will also perform at major festivals, including Welcome to Rockville and Sonic Temple.

Tickets will go on sale on January 23rd at 10:00 local time and VIP packages are on sale now from www.sepultura.com.br/tour.

SEPULTURA – Celebrating Life Through Death North American Tour 2026 
With EXODUS, BIOHAZARD, TRIBAL GAZE

04.29  US   Montclair, NJ @ The Wellmont Theater
05.01  CAN Montreal, QC @ MTELUS
05.02  CAN London, ON @ London Music Hall
05.04  US   Detroit, MI @ Royal Oak Music Theatre
05.05  US   Louisville, KY @ Old Forester’s Paristown Hall
05.06  US   Nashville, TN @ Brooklyn Bowl 
05.07  US   Atlanta, GA @ The Masquarade 
05.08  US   New Orleans, LA @ The Civic Theatre
05.10  US   Daytona Beach, FL @ Welcome To Rockville*
05.11  US   Charleston, SC @ Music Farm
05.12  US   Greensboro, NC @ Piedmont Hall
05.13  US   Reading, PA @ Reverb
05.15  US   Chicago, IL @ Ramova Theatre
05.16  US   Columbus, OH @ Sonic Temple*
05.17  US   Milwaukee, WI @ The Rave  
05.19  US   Des Moines, IA @ Val Air Ballroom
05.21  US   Denver, CO @ The Ogden Theatre
05.22  US   Salt Lake City, UT @ The Depot 
05.23  US   Boise, ID @ Shrine Social Club
05.25  US   Las Vegas, NV @ House Of Blues 
05.26  US   San Diego, CA @ The Observatory North Park 
05.28  US   Berkeley, CA @ UC Theatre
05.29  US   Los Angeles, CA @ The Wiltern

*Festival Date

The post SEPULTURA Announces Their Final North American Tour with Exodus, Biohazard & Tribal Gaze appeared first on Go Venue Magazine.

The relationship between Edgar Allan Poe and Charles Baudelaire is one of the most important cultural bridges between American and European literature. It is a story of recognition, translation, and transformation that helped shape modern gothic and symbolist poetry.

How Poe Inspired Baudelaire and Les Fleurs du mal

When Baudelaire first encountered Poe’s work in the 1840s, he immediately felt a deep affinity. Poe was largely misunderstood and underappreciated in his own country, often dismissed as a writer of morbid tales. Baudelaire, however, saw something else: a rigorous artistic mind obsessed with beauty, musicality, melancholy, and the darker mechanisms of the human psyche. He famously claimed that Poe expressed ideas and emotions he himself had long felt but never fully articulated.

Driven by this connection, Baudelaire became Poe’s most important advocate in Europe. He translated Poe’s poems, short stories, and critical essays into French with exceptional care and literary sensitivity. These translations introduced Poe to a wide European audience and established his reputation as a major literary figure. In many ways, Europe discovered Poe through Baudelaire’s voice.

Poe’s influence is especially visible in Les Fleurs du mal. While Baudelaire did not copy Poe’s themes or narrative structures, he absorbed his aesthetic philosophy. Both writers believed that beauty could emerge from darkness, decay, and suffering. Both rejected moralistic poetry in favor of art that confronts obsession, death, desire, and inner conflict. This shared vision marked a decisive break from traditional romanticism and opened the path to symbolism and modern gothic literature.

Through Baudelaire, Poe’s shadow spread across Europe, influencing generations of poets and writers. Their connection remains a defining moment in literary history, where one writer not only translated another, but transformed his legacy into a foundation for modern poetry.

Listen to Edgar Allan Poets

The post How Poe Inspired Baudelaire and Les Fleurs du mal appeared first on Edgar Allan Poets – Noir Rock Band.

Symphonic Live from Yes first became available in 2002 as a DVD release. It was later released as a 14-song double CD set. Then it came to glorious Blu-ray. For 2026, there’s a special edition reissue of Symphonic Live that includes the Blu-ray and two CDs, along with a booklet, poster and five art cards. It’s also available for the first time on vinyl as a four LP set pressed on 180-gram vinyl and mastered at half-speed. This is definitely the ultimate Symphonic Live package to have.

Featuring the core quartet of Jon Anderson, Steve Howe, Chris Squire and Alan White (along with non-member Tom Brislin on keyboards) and the auspicious European Festival Orchestra, Yes hit the road behind their 2001 studio album Magnification, playing in Amsterdam along the way. With such a colorful orchestra in an equally colorful city, it must have seemed only fitting that show should be filmed and recorded.

After an opening “Overture” from the orchestra, we are taken into “Close To The Edge,” and though it’s always great hearing this Yes classic, other than an amazing vocal turn from Anderson, this first Yes/orchestra mix isn’t all that special. At times, the orchestra actually drags a bit except in some sections. “Long Distance Runaround” follows with a nice opening that really doesn’t develop beyond the usual arrangement, though it features some spot-on perfect Squire moments.

When it comes to the songs from Magnification, Howe really steps it up on “Don’t Go.” The orchestral collaboration really comes together on “In The Presence Of.” It’s everything you want from a Yes orchestral mix — Anderson’s vocals leading it all and White playing odd time signatures that never get cluttered. He really was a great drummer. A rare performance of the 1976 epic “Gates Of Delirium” is followed by a Steve Howe guitar solo. Again, this is where the orchestra shines, never competing with Yes, but never taking a back seat either. You can understand why Anderson sounds so good; he is backed up by a wall of sound unlike any he’s used to live, especially for a song as dramatic as “Gates.” All those crashing spikes, the river of tension, the ‘war’ that we’ve always imagined in this classic from Relayer are brought out under Wilhelm Keitel’s baton. “In The Presence Of” and “Gates Of Delirium” are reason enough alone to own this set.

“Starship Trooper” finds Anderson in great form, along with some sparkling guitar work from Howe. Both he and White are high up in the mix on these recordings, while the orchestra is more muted. “Magnification” is next, featuring some splendid Howe slide work. “And You and I” has Anderson’s soaring vocals and the orchestra coming in at the halfway mark — the brass is especially noticeable — and the first real expressive solo from Brislin.

“Ritual,” like “Gates,” is another one that works well with the orchestra and features yet again another blistering performance from White. At nearly 30 minutes, this is the centerpiece of the disc and one of the standout tracks on Symphonic Live. The set ends with “I’ve Seen All Good People,” “Owner Of A Lonely Heart” and “Roundabout.” Anderson floats on “People,” while “Heart” kind of lies flat, sorry to say, though Howe gives it his best, with maybe the most rockin’ playing on these two discs. “Roundabout” has Anderson sounding like it’s 1973 and Yessongs is playing at midnight.

The Blu-ray includes two bonus features: The Dreamtime documentary, which chronicles Yes in the studio, recording Magnification, and preparing for the subsequent tour. Band interviews, a glimpse into their then-new website, which leads to interviews with fans. A music video for the lone Magnification single “Don’t Go” – essentially a film collage of Yes in concert – rounds out the selection of extras.

As a whole, when Symphonic Live is good, it is very good, with the orchestra complementing the band on songs like “In The Presence Of,” “Gates Of Delirium,” and “Ritual.” There’s a strong contention that this period marked the group’s last attempt at doing something truly different and challenging by recording and touring with an orchestra. Certainly, the short-lived combination of Anderson, Howe, Squire and White we see and hear on Symphonic Live deserves props for living up to the high standards of progressive rock.

~ Ralph Greco, Jr. and Shawn Perry

Purchase Symphonic Live

Good Day Noir Family,
5th PROJEKT step onto the stage with “Oblivion (Live)” and show that this band understands how to turn a room into a shared emotional space.

Oblivion (Live) is 5th PROJEKT’s Single Out Now

Even though it is a live recording, the mix feels precise and full of subtle detail, and yet the energy never feels restrained.

An airy guitar arpeggio opens the piece and gently pulls you in, while the drums arrive with a steady, almost ceremonial pulse. That rhythm does not dominate; it supports the atmosphere and lets the song breathe. Then the female vocal enters, and suddenly the entire mood shifts into something deeply immersive.

Her timbre carries shades of Tori Amos and Sinéad O’Connor, and yet it remains clearly her own. The way she bends notes and holds certain phrases creates a hypnotic tension that stays with you long after each line ends. What truly gives “Oblivion (Live)” its identity is the way the band plays with harmony. Slight dissonances appear at just the right moments, and because of that the music sometimes feels unstable in a beautiful way. Those moments even hint at Alice in Chains, while softer passages drift closer to Mazzy Star, yet 5th PROJEKT never lose their own voice.

Moreover, the live setting adds a layer of urgency. You can feel the musicians listening to one another, reacting in real time, and shaping the song as it unfolds. The nocturnal and slightly spooky bridge shows this clearly, as the groove loosens and then tightens again before launching into a soaring guitar solo. Those long, sharp notes stretch across the space and spark the imagination, as if the sound itself starts to glow.

The band knows when to pull back and when to push forward, and that contrast keeps the mood fluid. The track never becomes predictable. It moves like a slow tide, sometimes calm and sometimes restless, yet always guided by intention.

What makes “Oblivion (Live)” special is the way it balances precision and raw feeling. The clarity of the instruments gives every note purpose, while the live energy adds warmth and risk. Anyone who loves alternative music with depth, drama, and real presence will find plenty to admire here.

Oblivion (Live) is 5th PROJEKT’s Single Out Now!

Hypnotic!

Oblivion (Live) is 5th PROJEKT’s Single Out Now

5th PROJEKT is a Toronto-based psychedelic art-rock band blending dark trip-hop, gothic textures, and hypnotic grooves. Known for immersive, ritual-like live performances, their music balances atmosphere and intensity, drawing listeners into a moody, introspective space.

The band has received strong Canadian college radio support, award nominations from the Ontario IMAs, Toronto IMAs, and Orange County Music Awards, and has performed at festivals such as NXNE, Canadian Music Week, and Indie Week, alongside tours across Eastern Canada.

Find 5th PROJEKT Here:

Spotify
Instagram

Discover New Bands Click Here

The post Oblivion (Live) is 5th PROJEKT’s Single Out Now appeared first on Edgar Allan Poets – Noir Rock Band.