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– October 14th, 2026 –

“Satanic Attack Live!” To Drop November 6th On Metal Blade Records + Band To Kick Off North American Tour With GWAR

Photo by Maurice Nunez

Watch/stream MIDNIGHT’s “Violence On Violence ” HERE

MIDNIGHT is pleased to present a visualizer for “Violence On Violence” live. The track comes off the band’s Satanic Attack Live! recording set for release on November 6th via Metal Blade Records.

Reigning in hell, screaming like a storm, MIDNIGHT‘s obscenely intense aural display of lust, filth, and sleaze ripped the Los Angeles faithful a new one at two sold-out shows on May 28th-29th, 2026. As part of MIDNIGHT‘s Satanic Royalty 15th Anniversary World Tour, the incendiary gigs at Hollywood venue Knucklehead were recorded in all their sweaty, filthy glory, resulting in Satanic Attack Live!.

“No ‘unleashed in the studio’ or ‘unalive!’ here,” founding bass/vocalist Athenar proclaims. “All the popcorn tempos, forgotten lyrics, and shit notes are there for your taste buds to savor. I would love to hear what kind of live album Steely Dan would record while wearing masks, leather, spikes, bullets, and chains in a 1000degree smokey club full of rabid maniacs throwing beer on your wah-wah pedal, knocking microphones into your teeth, clawing at your crotch, headbanging into your headstock, and generally doing what they should be doing at a MIDNIGHT concert! I wouldn’t have it any other way.”

Watch MIDNIGHT‘s “Violence On Violence” HERE.

Watch the band’s previously released “You Can’t Stop Steel” video HERE.

Recorded by Mark Borders with mixing/mastering done by Zach Rippy, Satanic Attack Live! captures ten tracks off 2011′s landmark Satanic Royalty LP – live and in the original album running order – plus five additional songs, including “Shock Til Blood,” “T.A.P.,” and “Fucking Speed And Darkness.”

Satanic Attack Live! will be released on CD and digital formats as well as vinyl with included poster in the following color variants:

Blue White Black A Side B Side (US)
180g Black (EU)
Blood Splatter (EU – Ltd. 350)

A Satanic Attack Live! LP + 7″ special edition vinyl (incl. poster) will also be available (EU + Band Exclusive – Ltd. 500).

Find pre-orders at: metalblade.com/midnight

Satanic Attack Live! Track Listing:
01. Unholy And Rotten
02. Evil Like A Knife
03. Satanic Royalty
04. You Can’t Stop Steel
05. Rip This Hell
06. Necromania
07. Black Damnation
08. Lust Filth And Sleaze
09. Violence On Violence
10. Savage Dominance
11. Holocausting Deafening
12. Shock Til Blood
13. T.A.P.
14. Fucking Speed And Darkness
15. F.O.A.L.

MIDNIGHT will support GWAR on their forthcoming North American tour. The journey runs from October 27th through December 12th. Additional support will be provided by Mac Sabbath as well as X-Cops and Atomic Rule on select dates. See all confirmed dates below.

MIDNIGHT Live w/ GWAR, Mac Sabbath, X-Cops:
10/27/2026 Jefferson Theater – Charlottesville, VA
10/28/2026 The Masquerade (Heaven) – Atlanta, GA
10/29/2026 FIVE – Jacksonville, FL
10/30/2026 Bad Astronaut – Houston, TX **
10/31/2026 The Lost Well – Austin, TX **
11/03/2026 Brass Mug – Tampa, FL **
11/04/2026 Revolution Ft. – Lauderdale, FL
11/05/2026 The Beacham – Orlando, FL
11/06/2026 House of Blues – Myrtle Beach, SC
11/07/2026 The Ramkat – Winston-Salem, NC
11/08/2026 Brooklyn Bowl – Nashville, TN
11/09/2026 The Hall – Little Rock, AR
11/10/2026 AM/FM – Dallas, TX
w/ GWAR, Mac Sabbath, Atomic Rule:
11/12/2026 Ogden Theater – Denver, CO
11/13/2026 Complex – Salt Lake City, UT
11/14/2026 Brooklyn Bowl – Las Vegas, NV
11/15/2026 Cargo Concert Hall – Reno, NV
11/17/2026 Marquee Theater – Tempe, AZ
11/18/2026 House of Blues – Anaheim, CA
11/19/2026 UC Theatre Taube Family Music Hall – Berkeley, CA
11/20/2026 Senator – Chico, CA
11/21/2026 Midtown Ballroom – Bend, OR
11/23/2026 Showbox Sodo – Seattle, WA
11/24/2026 Knitting Factory – Spokane, WA
11/25/2026 The Vogue Theatre – Vancouver, BC
11/27/2026 Midway Music Hall – Edmonton, AB
11/28/2026 Macewan Hall – Calgary, AB
11/30/2026 Burton Cummings Theater – Winnipeg, MB
12/02/2026 Bourbon – Lincoln, NE
w/ GWAR, Mac Sabbath, X-Cops:
12/03/2026 The Rave – Milwaukee, WI
12/04/2026 Crofoot – Pontiac, MI
12/05/2026 House of Blues – Cleveland, OH
12/06/2026 Roxian Theatre McKees – Rocks, PA
12/08/2026 9:30 Club – Washington, DC
12/09/2026 The Palladium – Worcester, MA
12/10/2026 Palladium Times Square – New York, NY
12/11/2026 The Fillmore Philadelphia – Philadelphia, PA
12/12/2026 The NorVa – Norfolk, VA
** MIDNIGHT headlining date

MIDNIGHT Recording Lineup:
Athenar – bass/vocals
DK Vagslay – guitars
Iron Possessor – drums

https://midnightofficial.com
https://www.facebook.com/midnightviolators
https://www.instagram.com/midnightviolators

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When Billie Joe Armstrong wrote Good Riddance (Time of Your Life) in 1993, he had no idea what to do with it. The song had originated from a Berkely house party (a “weird dudes with ponytails and an acoustic guitar kind of moment” as the singer described it to Rolling Stone) and it certainly didn’t fit with the music his band was making. Green Day were still working on their third album Dookie at that time – a ticking timebomb that would unexpectedly blow both them and punk rock in general all over the mainstream. Nor did it fit on follow-up Insomniac, which was a harder and darker reaction to that newfound success and everything that went along with it.

By the time they got round to fifth album Nimrod in 1997, however, the feeling was different. They were ready to try something new; to take a few risks and reach way beyond their comfort zone. “I thought people were probably gonna fucking hate it, you know?” Armstrong admitted recently, but they included the song nevertheless. It was far from the only departure on display but it was the most striking, as well as the one that best represented Green Day’s transitional state of mind.

Nimrod might not have been their most successful or iconic outing (step forward Dookie and American Idiot), but it was arguably their most pivotal. This was the moment when they fully realised the switch from 3-chord idiots lobbing out throwaway pop-punk gems about masturbation and smoking weed to a band with loftier ambitions and few limitations. Their popularity might later dip a little through Warning and the early years of the 21st Century but Nimrod gave them the base they needed to go on and try anything – rock operas and Broadway musicals included.

In order to understand how Green Day arrived at this crossroad, it helps to look back on the decade or so preceding it. When Billie Joe and bassist Mike Dirnt started playing together under the name Sweet Children in the late 80s, punk was a calling rather than a career plan.

Debut album 39/Smooth took $700 and two days to record. Second full-length Kerplunk built the momentum and saw the band courted by major labels, but even with the big money backing of Reprise, no one could have predicted the sheer scale of Dookie’s success. Falling into a Nirvana-shaped hole in a new alternative-hungry mainstream, they became the official Next Big Thing, whether they’d planned to or not.

“Someone said to me before a show the other night, ‘15,000 people at this arena – this is everything you ever dreamed of’,” Mike Dirnt related to Rolling Stone at the end of 1994. “I turned to him and said, ‘Correction. It’s everything I never dreamed of.’”

The band finished the Dookie touring cycle exhausted and burned out. They also found themselves banned from their spiritual home at Berkeley punk club 924 Gilman Street (some graffiti scrawled on the toilet wall at the time read ‘Billie Joe must die’) and labelled ‘sell-outs’ by many of their early fans, friends and peers.

“When fuckin’ Dookie came out, we had no control over who liked it,” drummer Tre Cool told Kerrang! a few years after the fact. We had a bunch of super-livin’ marines going, ‘Yeah, cool, you’re my favourite fuckin’ band, bro’. We were playing too many Coliseum-style big shows.”

1995’s Insomniac kicked back against all of this, with a leaner edge and more than a lick of paranoia, but they were still playing the same big, impersonal shows. Reaching breaking point, they ditched the end of the Insomniac tour, taking time off to spend with newly expanding families and work towards the new album. When it was time to lay the tracks down the band decamped to Los Angeles, staying at infamous rock star hangout the Sunset Marquis Hotel. They might have been moving away from their punk roots in some respects but there was still plenty of chaos, with Mike running naked through hotel corridors and Tre hurling a TV from the windows.

The work was serious though and they set about it with a goal of transformation in mind and The Clash’s own transitional masterpiece London Calling serving as inspiration.

“When I look back now, on both Nimrod and Warning, we were pushing ourselves in a different direction,” Billie Joe told the NME recently. “Without those records there wouldn’t have been an American Idiot or a 21st Century Breakdown. It’s about trying to push things in a new direction all the time.”

When the album emerged on October 14 1997, it took a lot of people by surprise. Opener Nice Guys Finish Last kicked things off with a familiar Green Day bounce and there were several other standard pop-punk blasts spread across the 18 tracks of the standard issue album (some international versions came with bonus tracks). That still left plenty of room for experimentation though. Hitchin’ A Ride follows a brief stab of violin into a heavy psychobilly groove as Billie Joe sings jauntily about relapse – a subject he was becoming all too familiar with. Redundant and Worry Rock channelled the pop-rock of Buddy Holly and Elvis Costello, while King For A Day was a splendidly frenetic ska-punk ode to cross-dressing that would develop into a whole rabbit-infested routine at their shows.

Platypus (I Hate You) and particularly Take Back were some of the hardest songs they’d written and then at the other end of the scale was Good Riddance (Time of Your Life).

Billie Joe had written the song as an acoustic ballad about a girlfriend who moved to Ecuador. Producer Rob Cavallo added the sweeping strings and the song took on a life of its own. It appeared on the final episode of Seinfeld, which apparently means something if you’re American, and became one of those cultural touchstones that transcends popular music, never mind something as codified as punk rock.

“I was definitely not thinking about weddings and graduations when I wrote it,” the singer told Rolling Stone. He also recalled playing the song live for the first time, telling Krissy Teegerstrom’s Beyond + Back podcast: “I shotgunned two beers and then I went out and did it, and it worked. And people were really into it and singing along. It was like a breakthrough. As soon as you hit that breakthrough, instantly in your mind you start going ‘I can do this. What if I try playing it a little more country music? Or what if I tried using loops and stuff like that?’ Automatically it gives you confidence.”

Nimrod was not as successful as Dookie – very few albums in the ’90s were, to be fair – but it sold more than Insomniac, and Good Riddance (Time of Your Life) was a huge worldwide hit. More importantly, it laid the creative groundwork for Green Day to explore new avenues moving forward, providing the platform for every other gloriously OTT, or emotional and understated, moment to come.

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FOR IMMEDIATE RELEASE
GHOST PIPE UNVEILS NEW MUSIC VIDEO FOR “WANDERER” FROM UPCOMING ALBUM THE AWAKENING
Michigan Stoner/Doom Outfit Embarks on a Psychedelic Journey Through Ancient Forests, Mystical Encounters, and Heavy Riffs

GRAND RAPIDS, MI | Grand Rapids, Michigan stoner/doom metal outfit Ghost Pipe has released a new music video for “Wanderer,” a track from the band’s forthcoming full-length album, The Awakening , arriving November 20, 2026, through Black Doomba Records.
Blending crushing stoner rock grooves, psychedelic textures, doom metal heaviness, and an atmosphere steeped in mystery, “Wanderer” takes listeners deep into an ancient woodland where strange encounters and otherworldly possibilities await. The song unfolds like a dark folk tale, introducing a mysterious traveler with a raven on his shoulder, a hidden cottage among the trees, and a late-night encounter that leaves behind more questions than answers.
For fans of Acid Bath, Monster Magnet, and Monolord , Ghost Pipe delivers a sound that balances massive fuzz-driven riffs with an expansive psychedelic sensibility. On “Wanderer,” the band leans into the power of storytelling, building a vivid world where the natural and supernatural blur together beneath a thick haze of distortion.
The song’s lyrics follow a chance meeting with an enigmatic wanderer beneath ancient oak trees. As a storm approaches, the two find shelter in a secluded cottage, where a fire is lit, food is prepared, and a pipe is packed. By morning, the stranger has vanished, leaving behind a single raven feather beneath an ancient tree.
Whether the encounter was a dream, a supernatural visitation, or something far stranger is left open to interpretation. Like the best tales passed down through generations, “Wanderer” thrives on atmosphere, imagination, and the lingering feeling that not everything in this world can be easily explained.
The new music video brings another dimension to the track, complementing its mysterious narrative and connecting listeners to the larger world Ghost Pipe is creating with The Awakening .
More than a collection of heavy songs, The Awakening explores introspection, transformation, and the pursuit of knowledge hidden beneath the surface. The album invites listeners to confront the unknown, look inward, and discover what might be waiting in the shadows.
“ The Awakening is a journey beneath the surface, into the dark roots of the self,” the band explains. “It asks you to open your mind, confront what lies hidden within, and face the parts of yourself that are easier to leave in the shadows.”
That philosophy runs throughout the album, weaving together darkness, transformation, and the strange spaces between the known and unknown. With “Wanderer,” Ghost Pipe explores those themes through a tale that feels both ancient and timeless, pairing heavy music with the enduring mystery of a story told around a fire.
The album was recorded and mixed by Joel Ferguson of The Verve Pipe at Planet Sunday Studio and mastered by Carl Saff at Saff Mastering , whose credits include mastering and remastering work for artists such as Elder. The album artwork was created by Nathan Galusa , with photography by Jessica Taboada .
Ghost Pipe features Allen Milbourne on vocals and effects, Travis Federau on guitar and vocals, Wyatt Federau on guitar and samples, Georg Rumpf on bass and synthesizer, and Simon Hill on drums. Together, the five-piece crafts a dense, immersive sound that draws from stoner rock, heavy psych, sludge, doom metal, and doomgaze.
With the release of the “Wanderer” music video, Ghost Pipe offers another glimpse into the strange and compelling world of The Awakening . The path ahead winds through shadowed forests, psychedelic landscapes, and the deeper reaches of the human experience.
Sometimes, the strangest encounters leave the smallest traces. Sometimes, all that remains is a feather beneath an ancient tree.
Check out the video: 

The wanderer has passed through. The awakening is coming.
GHOST PIPE – THE AWAKENING

New Music Video: “Wanderer” | Out Now
Album Pre-Sale: October 30, 2026
Global Album Release: November 20, 2026
Label: Black Doomba Records
Genre: Stoner/Doom Metal
For Fans Of: Acid Bath, Monster Magnet, Monolord
PRODUCTION CREDITS

Recorded and Mixed By: Joel Ferguson at Planet Sunday Studio
Mastered By: Carl Saff at Saff Mastering
Album Artwork: Nathan Galusa
Photography: Jessica Taboada
Released By: Black Doomba Records
GHOST PIPE LINEUP

Allen Milbourne – Vocals, Effects
Travis Federau – Guitar, Vocals
Wyatt Federau – Guitar, Samples
Georg Rumpf – Bass, Synthesizer
Simon Hill – Drums
All music by Ghost Pipe.
Wanderer (single from ‘The Awakening’) by Ghost Pipe

Contact: 
https://www.instagram.com/ghostpipe1/
https://ghostpiperocks.bandcamp.com/track/wanderer-2
https://www.facebook.com/GhostPipe1/


Contact

Travis Federau
Ghost Pipe
federaut@yahoo.com

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Charlotte Wessels, the former Delain vocalist, and her band, now dubbed The Obsession, will release their second full-length, full-band studio album, Mute Swan Empire, on February 5th, 2027 via Napalm Records. The album arrives just in time for Charlotte Wessels‘ first-ever headlining tour across Europe, kicking off on February 4th, 2027, in Sint-Niklaas, Belgium, one day prior to the album release.
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Dutch artist CHARLOTTE WESSELS and her band, now dubbed The Obsession, will release their second full-length, full-band studio album, Mute Swan Empire, on February 5, 2027, via Napalm Records. It’s a character-driven concept album in which each of its 15 tracks inhabits an archetype that emerges at the end of the Anthropocene, exploring how different people respond to climate breakdown, social injustice, and the collapse of familiar futures.

Through these different characters, the former DELAIN vocalist forms a fractured portrait of humanity, revealing the many ways we confront collapse — with denial, rage, faith, withdrawal, hope, vengeance, and everything in between — all woven into a sonic multiverse that defies genre-categorization.

The album arrives just in time for CHARLOTTE WESSELS’ first-ever headlining tour across Europe and the UK, kicking off on February 4, 2027, in Sint-Niklaas, Belgium, one day prior to the album release.

CHARLOTTE WESSELS about the album:
“I didn’t set out to write a concept record from the start, but somewhere along the way, I began to realise that all the latest songs I’d written were connected. Each of them seemed to embody a different response to the world we’re living in: Denial, complicity, withdrawal, blind obedience, selective empathy, but also hope and connection, and so on. I started to recognize these recurring themes and archetypes, and eventually realised they were all part of a much bigger story. I found myself wanting to follow this thread as far as it would take me, exploring the concept through the music first, and eventually through the artwork and imagery, too. 

“That discovery became the foundation for Mute Swan Empire. What fascinates me is how easy it is to recognize these responses in others, and how much harder it can be to recognise them in ourselves. I didn’t want an album that simply points fingers or offers easy answers. I wanted to explore the contradictions, the uncomfortable grey areas, and the possibility that we can change. 

“Musically, the same freedom to follow wherever a song leads has resulted in a record that moves between some of the heaviest music we’ve made and moments of vulnerability. Despite how varied the record is, I think we’ve never sounded more together like a band. Everyone brings something distinct to the music, and I’m really proud of what happens when all those elements come together.”

Pre-order your copy of Mute Swan Empire NOW:

The title Mute Swan Empire draws on the myth of the swan song: The belief that a swan sings its most beautiful song just before death. Throughout history, individuals, cultures, and civilizations have had their own swan songs — final moments of beauty, meaning, or grandeur before fading away. On Mute Swan Empire, CHARLOTTE WESSELS asks: “What if we don’t get one? What if we’ve pushed ourselves so close to ecological and social collapse that we’ve lost, or no longer deserve, that final act of grace? Will the swan remain silent?”

Musically, the album continues the exploration of the space between heavy music and alternative influences, bringing together intricate arrangements, expansive atmospheres, powerful vocal performances and the band at its strongest. The musicians she first brought together for The Obsession have since taken on its name, growing into a close-knit live band through the past years of touring. That shared experience, combined with a more intensive production process with Joost van den Broek at Sandlane Studios, and Timo Somers on top of his game joining in on the arrangements, has helped the band’s collective identity takes centre stage, giving the album a more cohesive sound, without sacrificing its dynamic range, moving between powerful, hard-hitting passages, and moments of striking intimacy.

MUTE SWAN EMPIRE TRACK LISTING: 
“Incubus”
“In Leta Via”
“Tempest”
“After Us The Flood”
“Good Girl (If You’re Ready To Die)”
“The Hermit Song”
“Emergency Kit”
“One Day They Will Come For You”
“Weeping Madonna”
“This Is Not An Opinion”
“The Villain”
“Let The Music Decide”
“Incantations”
“Starling”
“Bells Of Lynn”

Mute Swan Empire will be available in the following physical formats:

2-LP Gatefold (Marbled Oxblood Red/Black) — Napalm Shop Exclusive

2-LP Gatefold + Shirt Bundle — Napalm Shop Exclusive

1-CD Digisleeve + Shirt Bundle — Napalm Shop Exclusive

1-CD Earbook — Napalm Shop Exclusive

2-LP Gatefold (Swan White) — Patreon Exclusive, only available via Charlotte’s Webshop

2-LP Gatefold, incl. Lyric Sheet

1-CD Digisleeve

Mute Swan Empire is driven not only by the current state of the world but also by human responses to it and by how deeply entrenched some people can become in those. In addition, Charlotte drew inspiration from books, poetry, film, and literature, and the record incorporates words by two medieval mystics, Hildegard von Bingen (“In Leta Via”) and Julian of Norwich (“The Hermit Song”), as well as text from the Dutch “Denk Vooruit” campaign on “Emergency Kit.”

“One Day They Will Come For You” is inspired by Martin Niemöller’s post-war confessional prose piece “First They Came For The Communists,” while “Bells Of Lynn” was inspired by and incorporates fragments of the poem of the same name by Henry Wadsworth Longfellow.

Charlotte’s work on Mute Swan Empire had already begun before she finished her previous record, The Obsession (2024). Since 2020, she has released a new song every month through her Patreon page, and her favorite tracks eventually make it onto her public albums. The earliest song to appear on Mute Swan Empire in a rearranged form is “Incantations,” which was originally released on Patreon in March 2024. Compared to CHARLOTTE WESSELS’ previous release, Mute Swan Empire features a more band-focused sound. The album was produced by Charlotte and Joost van den Broek at Sandlane Recording Facilities, where it was also mixed. In addition to Charlotte and The Obsession, the album also features Elianne Anemaat on cello on several tracks, as well as orchestral and additional keyboard arrangements by Vikram Shankar.

Mute Swan Empire is a work of art that serves as both a wake-up call and a dreamlike experience. With her truly unique artistic vision, CHARLOTTE WESSELS has created the most remarkable music of her career to date, proving why she deserves to be recognized as one of the most outstanding artists in today’s heavier music scene!

CHARLOTTE WESSELS’ THE OBSESSION LIVE 2026/2027:

In February 2027, CHARLOTTE WESSELS will take The Obsession on their very first headline tour, spanning major cities across Europe and the United Kingdom, with Melissa Bonny, vocalist of modern metal outfit AD INFINITUM, joining as support. The tour will kick off on February 4, 2027, in Sint-Niklaas, Belgium, and conclude on February 27, 2027, in CHARLOTTE WESSELS’ hometown of Utrecht, the Netherlands. Before that, CHARLOTTE WESSELS and The Obsession will head to Brazil and Argentina in December.

The full list of dates can be found below. Be sure to grab your tickets and VIP upgrades quickly here.        

TOUR DATES:
12/12 — São Paulo, Brazil — Liberation Festival
12/15 — Buenos Aires, Argentina — El Teatrito

MUTE SWAN EMPIRE TOUR:
WITH MELISSA BONNY (EXCEPT ESSEN):
2/4 — Sint-Niklaas, Belgium — Casino
2/5 — London, UK — Islington Assembly Hall
2/6 — Glasgow, UK — Slay
2/7 — Manchester, UK — Club Academy
2/9 — Paris, France — La Machine Du Moulin Rouge
2/10 — Zurich, Switzerland — Papiersaal
2/12 — Milan, Italy — Legend Club
2/13 — Munich, Germany — Backstage Halle
2/14 — Zlín, Czech Republic — Masters of Rock Cafe
2/15 — Vienna, Austria — Szene Wien
2/17 — Budapest, Hungary — Barba Negra
2/18 — Krakow, Poland — Hype Park
2/19 — Leipzig, Germany — Werk 2
2/20 — Hamburg, Germany — Gruenspan
2/21 — Copenhagen, Denmark — Pumpehuset
2/23 — Berlin, Germany — Lido
2/25 — Aschaffenburg, Germany — Colos-Saal
2/26 — Essen, Germany — Weststadthalle
2/27 — Utrecht, Netherlands — TivoliVredenburg Ronda

CHARLOTTE WESSELS’ THE OBSESSION ARE:
Charlotte Wessels — Vocals, Keys
Timo Somers — Guitars + Backing Vocals*
Joey Marin de Boer — Drums
Otto Schimmelpenninck van der Oije — Bass Guitar*
Nina Van Beelen — Keys + Backing Vocals

*Note: on Mute Swan Empire, Bass guitar was performed by Timo Somers

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