Everybody’s favourite beatdown tradesmen Pintglass have returned with an ode to getting away from it all and catching some sun with their blistering new track.
Titled ‘Geeza Holiday’, it is a thoroughly British affair, showcasing what it means to head over to Mallorca or Ibiza or Tenerife or Benidorm for some sun, sea and Stellas. Delivered with the tongue firmly in the cheek and with riffs and breakdowns as sharp as knives, it’s the sort of fun that heavy music needs.
Belligerant, bold and brilliantly crafted. It’s pure Pintglass.
It’s the first track from the band since their football anthem ‘STELLA F.C.’ dropped last year, which is also absolutely unstoppable.
AFI were encouraged to collaborate with rap megastar 50 Cent in the mid-2000s.
Talking in the new issue of Metal Hammer, the Platinum-selling goth/punk band’s singer Davey Havok says that their A&R suggested the idea as a way to get the attention of Jimmy Iovine, the head of their then-label.
“We had signed to Dreamworks, but they sold it to Interscope. Bummer,” Havok recalls.
“Our A&R guy was hellbent on trying to get Jimmy Iovine – who had expressly claimed in the press that rock is dead – to pay attention to AFI, and so it was suggested that we collab with Jimmy’s great love at the time, which was 50 Cent.”
He adds: “I have nothing against 50 Cent, but what does that even mean?!”
Havok claims that this wasn’t the only desperate idea around that time, despite the band having just made their commercial breakthrough with their 2003 Dreamworks debut Sing The Sorrow.
“Even worse was this was the era when ringtones were the new technology craze,” he continues. “I love this man [their then-A&R] and I still see him once a month at the least, but this motherfucker says to me, ‘What if you were to be the first band to write a ringtone album?’”
AFI, formed by Havok and drummer Adam Carson in 1991, signed to Dreamworks in 2002. Sing The Sorrow lifted them from the punk underground to the American mainstream, reaching number five on the Billboard 200 charts before going Platinum in the US and Canada and Gold in Australia.
Their 2006 album, Decemberunderground, consolidated their success, topping the Billboard chart and going Platinum in the US, Canada and Australia. The album’s lead single, Miss Murder, was a radio hit that reached number 24 on the Billboard Hot 100. However, in the Hammer interview, Havok says, “It breaks my heart that Miss Murder will always represent us.”
“I don’t dislike Miss Murder, it’s a pretty good song!” he explains. “But never, even when we wrote it, did I think that it was the greatest song. I even voted to not put it on the record, but that experience really proved to me that it was all about marketing, because everything after Decemberunderground is better than Decemberunderground. I have campaigned to keep it off the setlist and recently succeeded.”
AFI are now signed to Boston independent label Run For Cover and released their 12th album, Silver Bleeds The Black Sun…, in October. It received positive reviews, including four-and-a-half stars from Metal Hammer’s Stephen Hill, who called it “their best album in over a decade”.
AFI will tour Europe next month and play their first UK shows since 2017. From September to November, they’ll play across North America. See dates and get tickets via their website.
Read the full Havok interview in the new issue of Hammer. It features electro-metal party-starters Electric Callboy on the cover, as well as an interview with super-producer Ross Robinson about 25 years of Slipknot’s Iowa and our report back from an escape room with zombie-metal sensations Dominum. Order your copy now and get it delivered directly to your door.
When we first heard Analog Dance’srecent single Fall Apart, the song seemed built from passion and pressure: a rigid beat marking the perimeter, bright synthesizers narrowing the available space, and Jonny Castle’s baritone holding its composure while the dancefloor threatens to bend and buckle from its seductive groove. Within Analog Dance’s second album, Mind The Fall, that steamy pressure becomes one element in a larger design. Across eleven tracks and just under forty-five minutes, the London darkwave project turns collapse, concealment, desire, and performance into sensual dark electronic pop, with guitar supplying warmth or frost at carefully chosen moments.
Mind The Fall, released July 22 through Poland’s Bat-Cave Productions, follows the project’s 2024 debut, Stranger Minds. Written and recorded in isolation in a wooden cabin in Argentina, the album carries the concentration that distance can bring. Its songs feel secluded and interior, while broad drum machines, elastic bass sequences, and clean guitar lines give them considerable physical force. The production is fuller and more exact than before, though the closeness of a private recording remains central to its appeal.
In a 2024 interview, Jonny described Analog Dance as an alter ego created to express emotions that words alone could not carry. He also traced the project’s name to the tactile appeal of analog equipment and the ability of synthesizers to stir feeling and movement. Mind The Fall gives that idea its clearest form yet: the machines set bodies in motion, while his voice reveals the cost of maintaining control.
The titles supply their own vocabulary. Wires and screens suggest mediation; masks and shows invoke presentation; decay, rot, and falling apart name what lies beneath. Even “A Clean Version of Hell” turns damage into something polished enough for display. These phrases create a thread across the record, and the music follows suit, pairing immaculate surfaces with uneasy motion underneath.
“Ghost on a Wire” opens with low, fluttering synthesizers that carry a faintly occult charge, followed by a broad drum-machine strike and a simple rising-and-falling guitar figure. Jonny’s baritone enters deep, lush, and close, drawing the ear toward the center of the mix. The melody is economical enough to lodge after one pass, while the production gives every layer room to register. As an opener, it introduces the album’s governing attraction: machine precision warmed by a voice carrying unmistakable appetite.
“A Clean Version of Hell” begins in metal and glass, patiently arranging hard-edged effects and cool high-register tones before a heavy ’80s drum pattern and rounded melodic bass take command. Crystalline guitar phrases hang above the rhythm as Jonny brings deep new-wave romance to the center. The title’s contradiction—hell sanitized, pain made presentable—anticipates the record’s later concern with screens, masks, and performance, while the music could easily accompany the most intimate scene in an unmade late-night thriller.
“Fall Apart” gains additional meaning from its place in the sequence. The severe elegance remains: a rigid beat draws the room, the synthesizers constrict it, and unease passes from bass to percussion to the open space around the vocal. Its supple club gait occasionally recalls Boy Harsher’s more sensual turns, though Jonny’s elongated phrasing and the clean post-punk guitar keep the song firmly within Analog Dance’s own language. Positioned between “A Clean Version of Hell” and “Behind the Screen,” the lead single becomes the album’s hinge, connecting polished catastrophe to private longing.
“Behind the Screen” fades in gradually, assembling drums, bell-like chimes, and broad, glassy pads in measured layers. The mood brings to mind a romantic scene from 2011’s Drive, with city light sliding across a windshield as a high guitar line curls upward through smoke. Jonny holds his notes longer here, allowing earnest tenderness to replace some of the album’s usual reserve. The result produces a quiet rush of serotonin, spacious and enveloping, with each element entering at precisely the right moment.
“Five-Star Mask” starts with rippling synthesizers that recall S U R V I V E scoring one of Stranger Things’ dreamier passages. A single DX7-like digital preset flashes past—before the full dance beat settles in. Drums and bass carry the weight as a supple synthwave melody continues below Jonny’s low, sultry vocal. Glinting guitar and a buoyant ascending-and-descending motif complete an intimate midtempo dance, made for two people moving together while the surrounding room recedes.
“Intimate Decay” lowers the temperature with wavering upper-register tones and a deep electronic hum, then suspends the arrangement for a breath before a rubbery bass sequence begins. Cold jolts repeat, the drums shudder, and a brief baroque figure rises and falls before Analog Dance’s favored high-register guitar enters. Jonny sustains his phrases above the accumulating layers until the texture feels nearly physical. The title’s pairing of closeness and decomposition could stand as the album’s thesis, and the track renders that friction with particular tenderness.
“Same War Within” opens on gauzy pads, pinpoint synth notes, and a heavy kick before claps and a rippling bass line steer it toward Italo disco. Guitar serves as an accent at first, leaving generous space around the low vocal. A little over a minute in, the arrangement changes its balance: a burbling figure settles below the mix, the voice drops out, and the guitar takes melodic command before the two rejoin over a cool pad. That sequence of handoffs is among the album’s smartest structural moves, creating development through control rather than grandstanding.
“Scenic Crime” eases the pace with subdued synthesizers, a measured drum pattern, and a bass backbone that keeps the song moving. A modest, immediately hummable keyboard melody appears, and the guitar soon traces its outline. The feeling is wistful, suspended somewhere between pleasure and loss, as Jonny’s smooth delivery settles over low melodic undertones and small electronic flourishes drift through the margins. Its emotional ambiguity gives the track its pull; the view is lovely, though something unresolved remains just beyond the frame.
“Beautiful Rot” opens with distorted, icy electronics, then answers them with a rapid drum barrage and a muscular dance bass line, making this one of the record’s fastest selections. A buoyant sequence and clear bell tones prepare the entrance of Jonny’s baritone and a clean, chiming guitar, while his quicker vocal phrasing swoops around the percussion. The song turns the album’s central contradiction into movement, placing elegance and deterioration in the same body. Its speed and melodic abundance make it a late-record peak.
“The Plastic Show” rides a cycling electronic sequence that remains in place while resonant chimes, low-register strings, and a cleaner guitar line accumulate around it. Jonny initially sounds more detached than he did on “Beautiful Rot,” but his delivery gathers pressure as the song proceeds. Frustration remains contained within the measured arrangement, creating the sense of somebody trying to keep up appearances while emotion presses against the surface. As the record’s clearest invocation of artificial display, it brings the album’s concern with performance into plain view.
“Selling the Show” closes the album by fading into broad pads and skittering drums, immediately establishing a cinematic new-wave atmosphere. Metallic bass enters with a melodic bounce, the pace gathers, and Jonny’s voice guides the song through several cleanly placed breaks. Familiar burbling synthesizers and a luminous guitar line return, but the final vocal passages are compressed into a distant, radio-like signal. That treatment leaves the confession mediated and receding, as though private feeling has finally been packaged for transmission.
Taken together, Mind The Fall draws openly from the memory of ’80s post-punk, darkwave, synthpop, synthwave, and film music, using those reference points as a working vocabulary. Analog Dance’s identity remains distinct: a low voice with considerable tenderness, forceful electronic drums, lucid guitar, and synthesizers that can suggest glass, smoke, metal, or silk. The album is sensual, emotionally exposed, and highly danceable, with pacing that gives desire and anxiety equal weight.
Where Stranger Minds established the dimensions of Jonny’s private world, Mind The Fall brings its architecture into sharper focus. Recurring textures connect the songs, the titles deepen one another, and “Fall Apart” now reads as the center of an album preoccupied with the effort required to remain intact. It is Analog Dance’s most cohesive release so far, a record whose immaculate finish cannot conceal the strain moving underneath.
Mind The Fall was released July 22 through Bat-Cave Productions and is available now on all streaming platforms. The physical CD edition can be ordered directly from the label, while the label’s Bandcamp offers a digital edition. Analog Dance credits Crimeframefor recording, production, mixing, and mastering, Rusty Pilgrim for artwork, and Synth Wizrd for design.
Listen to Mind the Fall below or via Spotify and order it here.
After spending time in local groups such as The Reasons Why, White Clover and Proto-Kaw, Kerry Livgren (guitar), Steve Walsh (vocals/keyboards), Robby Steinhardt (vocals/violin), Phil Ehart (drums), Dave Hope (bass) and Rich Williams (guitar) came together as the established Kansas line-up in 1973.
It was pretty evident that this Midwestern US rock band were different from the rest. No other US band throughout the 70s flirted with prog rock like Kansas did. Early Journey were more fusion; Styx, despite initial prog flourishes, had succumbed to balladry and Lady by 1973; Starcastle were always a bit more pomp rock.
In 1974, debut album Kansas hinted at where the band were headed. Then, with Song For America and Masque, they spread their prog wings with lengthy musical suites that combined melodic rock, orchestral arrangements and odd time signatures. 1976’s extraordinary Leftoverture really made its mark, via the US hit Carry On Wayward Son.
The momentum continued with Point Of Know Return and its hit single Dust In The Wind, and by 1978 the band were one of America’s major concert draws. But it didn’t last. As the likes of Journey, Styx and Foreigner embraced AOR, Kansas seemed to be falling behind. Audio-Visions, in 1980, was more AOR in direction and, with Livgren and Hope having converted to Christianity, more religious lyrically.
It was too much for Walsh, who quit. He was replaced by Christian singer John Elefante for Vinyl Confessions and the aptly titled Drastic Measures. Kansas disbanded on New Year’s Eve 1983 at the end of a tour. Walsh, Williams and Ehart regrouped in 1985 with guitarist Steve Morse and bassist Billy Greer for the impressive Power, but the subsequent In The Spirit Of Things was a flop.
By the early 90s Kansas were a low-key outfit as alternative music held sway. An unstable line-up and lacklustre live albums did little to improve things. Then when the original members reunited for 2000’s excellent Somewhere To Elsewhere it was the closest they’d come to recapturing their signature sound of the 70s. More line-up changes followed, and two more albums appeared: 2016’s well-received The Prelude Implicit, and 2020’s expansive The Absence of Presence.
Still a major touring draw in the US – albeit accompanied by a bewildering number of further lineup adjustments – Kansas remain 70s America’s finest progressive exponents.
Probably the most successful Kansas album ever – having sold more than five million copies since its release – helped hugely by Carry On Wayward Son being a massive hit worldwide. That track’s commercial leaning was somewhat misrepresentative of the Kansas that recorded it, though.
Its FM radio success in the States suggested Kansas were another melodic rock outfit like Foreigner, when in fact they had far more progressive roots. What Leftoverture did was temper their earlier prog flourishes with a slightly harder edge. But the likes of Magnum Opus and Cheyenne Anthem, though, were as pompous as you’d expect.
A good indication of the US music scene in the 70s is that as the punk wars raged in Britain, across the Atlantic Kansas’s pomp-laden prog rock was ruling the roost.
The follow-up to the massively successful Leftoverture was Point Of Know Return, another slice of intuitively melodic rock that again spawned a huge hit single, in this case the emotive Dust In The Wind (more recently used in a series of Butlins TV ads). The opening title track and Portrait (He Knew) upped the pomp quotient, while Livgren’s highly personal closer Hopelessly Human showed an increasingly spiritual slant.
Having called it a day after 1983’s Drastic Measures, Ehart, Walsh and Williams resurrected Kansas in 1985, with bassist Billy Greer and guitarist Steve Morse. A new deal with MCA saw the release of Power, without a doubt the strongest Kansas album since ’77’s Point Of Know Return.
In the hair metal-friendly 80s, the band did indulge some syrupy balladry (All I Wanted was a modest hit). However, there were still elements of the band’s progressive past in both Tomb 19 and Musicatto, while Silhouettes In Disguise, Secret Service and the title track were strong melodic rockers. Kansas’s finest hour in the 80s.
On the back of their 1974 debut, Kansas’s second album went a long way to establishing the band’s progressive credentials. Indeed the 10-minute-plus title track has long been considered the band’s signature tune.
What Song For America does superbly is blend the heavier side of the band with their strong musicality – songs such as Lamplight Symphony and Incomudro – Hymn To The Atman show that the band certainly had the ideas to compete with their flourishing UK prog counterparts. It was also their first album to feature cover art from frequent collaborator Peter Lloyd.
Released later the same year as Song For America, and displaying the kind of serial work ethic that fired the likes of Yes and ELP in the early 70s, Masque is very much a transitional album for Kansas, pitching in between the unbridled excesses of Song For America and the more measured Leftoverture.
This was mainly the result of their label at the time, Kirshner Records, who began to apply pressure for the band to come up with a hit single. None was initially forthcoming, and it is again the lengthier songs on the album that stand out, not least Icarus – Borne On Wings Of Steel and the epic The Pinnacle.
Although not quite as successful as the preceding two Kansas albums, Monolith nevertheless hit the US Top 10. The title refers to the Sioux word ‘Kansa’, from whence the band’s home state took its name. Native American culture had long played a part in the band’s music, and, taken from Monolith, Kerry Livgren’s excellent People Of The South Wind was a hit.
Kansas began the album tour by performing the entire record, but end up performing none of it, believing – wrongly, as it happened – that fans did not like their new work. For Kansas, a wind of change was just around the corner.
Although Kansas never actually called it quits after their 80s endeavours, they certainly stumbled awkwardly throughout the 90s, with various personnel and ever-diminishing returns. All that changed when the band’s original line-up regrouped for Somewhere To Elsewhere.
Despite Kerry Livgren and Dave Hope’s Christian devotion, which split the band originally, and the former writing all 11 songs, this is a secular album chock-full of earnest prog and hard rock that recalls their Song For America era, even opening with Icarus II. It’s notable that more recent Kansas line-ups have not recorded a new studio album since.
Although with 1986’s Power Kansas had resurrected their career somewhat, by the time of the follow-up their label (often ridiculed as the Music Cemetery Of America) had largely lost interest in the band.
A pity, as In The Spirit Of Things was seen by many as the band attempting to recapture their early blend of hard rock and prog, down to the conceptual nature of the album (about a flood wiping out the real Kansas town of Neosho Falls). In fact MCA’s main input on the record was forcing the band’s hand by getting outside writers to write a few (out-of-place) ballads in the hope of getting a quick hit. They failed.
Of the final three albums released by Kansas during their original incarnation, the first, Audio-Visions is the best, retaining stronger links with the classic Kansas sound than either Vinyl Confessions or Drastic Measures, and having less of the overt Christian imagery that guitarist Kerry Livgren was introducing.
It was also the last Kansas album to feature Walsh, who quit over the religious leanings. He was replaced for two albums by the less emphatic John Elefante. Audio-Visions is mainstream melodic rock – the kind of thing Kansas had been falsely accused of indulging in during the 70s. Strange how things turn out.
The second and final album from Kansas with John Elefante on board is, without a doubt, the one that sounds the farthest away from the band’s original musical intentions. Although the band members had too much integrity for it to have been made in an AOR-by-numbers kind of way, it certainly comes close to sounding like it was.
While the overt Christian sentiments (by now Livgren and bassist Dave Hope held sway in the band) merely come across as cloying, the new direction split the band’s audience and irritated the critics. It was their worst album – although Always Never The Same and Freaks Of Nature were close behind.
Arenal are a Chilean band from Valparaiso who released two interesting albums between 2007 and 2011. They were able to combine many different elements to build up a fascinating sound, full of electric and acoustic passages, melodic atmospheres, neo-prog sounds, fusion passages and even a light touch of metal prog. This song is the title track from their debut album and you’ll find in it almost everything I listed above.
This debut album is an instrumental prog hidden gem, IMHO.
Such a diverse palette never prevents the track’s coherence, fluidity and enjoyability, allowing on the contrary a deeper and richer texture. The way jazzy and classical themes merge in this instrumental piece of music is surprising and very, very welcome to me. The whole band is technically gifted, but a special mention goes to guitarist Sandro Fernández and keyboardist Daniel Nanjari, providing the core sound of Arenal.
A professional music video should support the song’s mood, rhythm, lyrics, and artist identity.
Clear planning, strong lighting, focused visuals, and precise editing often matter more than a large budget.
Let’s talk about it in greater detail.
Choose a Clear Concept
A focused concept gives every scene a clear creative direction
Select a performance, narrative, abstract, or hybrid format based on the song.
Performance videos focus on the artist singing, playing, or dancing. Narrative videos tell a story. Abstract videos rely on color, movement, symbols, texture, and mood. Hybrid videos combine these formats.
Once the format is selected, identify the people needed to bring the concept to life.
Artists planning narrative scenes, choreography, or fashion-focused visuals can use a Zodel modeling agency alternative to find models who match the video’s style, location, and production needs.
Build the concept around one strong element, such as a location, object, symbol, action, costume, or lighting setup. Repeating that element helps connect separate scenes.
Visual metaphors can strengthen the lyrics without showing them literally. Empty rooms, distant framing, or blocked views can suggest isolation more effectively than obvious storytelling.
Keep the concept simple enough to execute well. One focused idea usually looks stronger than several unrelated ideas.
Plan the Visual Style
Choose a limited color palette, one or two fonts, and a clear visual mood before filming.
Use two to four main colors across lighting, wardrobe, props, locations, set pieces, and graphics. Possible moods include cinematic, gritty, playful, minimal, raw, retro, futuristic, or abstract.
Create a storyboard for key frames, movement, lighting, and transitions. Pair it with a shot list that includes:
shot size
camera angle
movement
lens
frame rate
location
performer
props
technical requirements
Fast editing requires more coverage. Record wide shots, medium shots, close-ups, detail shots, moving shots, and static shots.
Use other music videos as references for lighting, framing, color, wardrobe, or editing. Adapt those ideas to the artist instead of copying them.
Prepare the Production
Careful preparation reduces delays and keeps creative decisions under control during filming
Set a budget that covers the full production, including:
crew
performers
equipment
locations
permits
props
costumes
transportation
meals
insurance
post-production
Scout each location for light, space, sound, power, parking, safety, and filming permissions. Visit at the same time of day planned for the shoot when possible.
Rehearse at the location to test performance blocking, camera movement, lighting, playback, costume movement, and lip-sync.
Plan green-screen scenes, graphics, animation, and visual effects before filming. Some effects require specific framing, lighting, tracking markers, or camera movement.
Secure music rights, location permissions, and performer release forms. Artwork, logos, products, and recognizable people may also require clearance.
Capture Strong Footage
Record several complete performance takes at different distances and angles.
Wide shots show movement and location. Medium shots balance performance and expression. Close-ups capture emotion, eye contact, and lip movement.
Match camera movement to the song. Handheld footage can add urgency. Slow push-ins can increase tension. Smooth tracking can support choreography. Static shots can create control or stillness.
Prioritize believable performance. Genuine facial expression and body language often matter more than perfect choreography.
Use lens choice to shape the image. Wider lenses increase energy and space. Longer lenses isolate the performer and compress the background.
Use higher frame rates only when slow motion supports the song. Hair, fabric, smoke, water, and choreography often work well in slow motion.
Maintain accurate lip-sync by playing the final master track during every performance take. Ask the artist to sing at full intensity so facial movement looks natural.
Give lighting careful attention. Control direction, softness, contrast, color, and exposure. Avoid relying only on overhead room lighting, which can create dark eye sockets and flat images.
Edit to the Music
Effective editing follows the song’s rhythm and emotion rather than cutting mechanically to every beat
Synchronize every performance angle with the final audio track before editing.
Cut on beats, lyrics, musical changes, and emotional turning points. Avoid cutting on every beat, since constant rhythm can make the edit feel mechanical.
Change pacing across the song. Verses may use longer shots, while choruses and drops may use faster edits, stronger movement, or wider coverage.
Connect performance and narrative footage through matching movement, color, framing, symbols, or lighting.
Create seamless loops for visualizers and short social clips by matching the final frame with the opening frame.
Organize strong moments during editing so they can be reused in teasers, lyric clips, vertical videos, thumbnails, and countdown posts.
Use Effects Carefully
Correct exposure, white balance, contrast, and skin tones before applying stylized effects.
Add graphics, text, filters, and transitions only when they support the music. Subtle options include:
slow zooms
light grain
gentle pulses
controlled distortion
restrained glow
simple text movement
Keep artist names, song titles, and lyrics readable on small screens. Use clear fonts, strong contrast, and enough spacing.
Test every graphic on a phone before export. Text that looks clear on a large monitor may be difficult to read on mobile screens.
Avoid excessive transitions, overlays, flashes, and animated elements. Too many effects can distract viewers and weaken strong footage.
Prepare for Release
Multiple formats and careful quality checks help the video perform consistently across different platforms
Export a high-resolution master before creating platform-specific versions.
Check resolution, aspect ratio, frame rate, audio settings, file format, and delivery requirements for each platform or broadcaster.
Prepare horizontal, square, and vertical versions. Reframe shots manually to protect faces, instruments, text, and important action.
Use a strong chorus, drop, lyric, or performance moment for promotional clips. Opening seconds should contain immediate movement, emotion, sound, or visual contrast.
Reuse colors, fonts, still frames, costumes, props, locations, and behind-the-scenes footage across thumbnails, teasers, countdown posts, and release graphics.
Confirm that music, footage, artwork, locations, products, and performances are cleared before publishing.
Watch every final version on several devices. Check audio sync, cropping, captions, spelling, text placement, image quality, and compression.
Summary
Professional music videos begin with careful attention to the song. A focused concept, consistent style, strong lighting, authentic performance, and music-led editing create polished visuals without relying on excessive effects or an oversized budget.
Every choice should support the track’s rhythm, emotion, lyrics, and artist identity. Final visuals should feel inseparable from the song.
Italian
modern metal act SOULS OF DIOTIMA are back to shock and delight fans
with the surprise release of their brand-new single “Revenge”, taken
from their highly anticipated fifth studio album, “Arcade”, set for
release on October 2nd via Diotima Records.
Arcade marks a major
milestone for the band, representing a bold and decisive stylistic
evolution toward a deeply personal and experimental modern metalcore
sound. This sonic journey was kicked off by the previous single Run Away
(released on June 5th and currently performing exceptionally well –
watch the official video : https://youtu.be/3Y2aimEFloI), which showcased the record’s nu-metal side.
With
“Revenge”, Souls of Diotima push boundaries even further, revealing the
fiercest metalcore face of the album. The track is a raw cry of pain
and retaliation, driven by razor-sharp riffs, powerful screams, and the
signature melodic touch that defines the band’s unique identity.
But are there more surprises in store before Arcade officially drops on October 2nd? Stay tuned!
In
the meantime, the band is gearing up to bring their explosive live
performance to European stages right as the album hits the streets.
Check out the first confirmed tour dates below :
– OCTOBER 2ND | Le Stock – Mennecy, France (with special guests: Solitude Within + Corvius) – OCTOBER 3RD | Release Party @ Club Hell – Diest, Belgium (with special guest: Solitude Within) – OCTOBER 4TH | Popei – Eindhoven, Netherlands (Early show, starting at 3 PM! With special guest: Solitude Within)
