Category: news

  • Into Darkness – Premiere New Single

    “Uranus”, the second single from Into Darkness‘ upcoming studio record Route To The Other Side, has surfaced online. Check it out.
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  • ETERNAL MOURN – Italian death-doom newcomers to release “Winds of Sorrow” EP

    Italian death-doom newcomers ETERNAL MOURN have signed with Terror From Hell Records for the release of their debut EP, “Winds of Sorrow”, scheduled for July 20th, 2026. Born from the collaboration between drummer Debla and guitarist/vocalist Gabriel (Black Oath, The Rite, Extirpation), and later completed by guitarist Eros (Extirpation, Funest) and bassist/vocalist Santo (Araphel, Demonomancy), ETERNAL MOURN emerged from a shared desire to channel feelings of melancholy, frustration, inner decay and […]

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  • Judicator – Guitarist Rejoins The Ranks

    US power metal representatives Judicator are pleased to announce that guitarist Alicia Cordisco has returned to the ranks after 6 years.
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  • HELLDRIFTER prepare to begin work on new material

    German melodic death metal band Helldrifter have confirmed that work on new material will begin after the summer. The announcement came through the band’s social media channels, where they revealed that a substantial amount of new music is already taking shape behind the scenes. While the writing process is still in its early stages, the […]

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  • Porches Shares Tribute Song To Late Baby’s All Right Owner Billy Jones

    Last year, Billy Jones, the co-founder and owner of the Brooklyn venue Baby’s All Right, passed away from glioblastoma at the age of 45. Jones booked and promoted live music in New York for many years, before and after the establishment of Baby’s, and he did a lot to boost the city’s indie rock scene. Porches leader Aaron Maine is one of the many people who was close to Jones, and he shared a new tribute song called “Angel” on Sunday, exactly one year after Jones’ passing.

    The post Porches Shares Tribute Song To Late Baby’s All Right Owner Billy Jones appeared first on Stereogum.

  • MERRIMACK cover Depeche Mode’s “Wrong”

    French black metal veterans strip Depeche Mode’s self-negation down to its darkest bones MERRIMACK, the French black metal band active since 1994, release a new single through Season of Mist: a cover of “Wrong,” written by Martin L. Gore and originally recorded by Depeche Mode for their 2009 album Sounds of the Universe. The track runs 2:59 […]

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  • Full Album Stream: Make – “Exegesis at the End of Time”

    Southern sludge/post-metal outfit Make are back after a 10-year absence and they’re back at playing weight, retooling and expanding their lineup for their fourth album, Exegesis at the End of Time. Arriving a decade after the last Make album, Exegesis sees new members John Crouch (drums) and Aaron Smithers (bass/synth/vocals) join the core duo of Scott Endres (guitar, vocals) and Spencer Lee (bass, guitar, vocals).

    The songs on Exegesis at the End of Time feel larger and more monumental than anything Make have crafted before, taking the highs of their last release (2016’s Pilgrimage of Loathing) and expanding them into larger, more flowing compositions. There are traces of Neurosis and Isis throughout Exegesis, plus influence from Rosetta, Rwake and their ilk.

    “After about a thousand wrenches got thrown in our works for a decade, somehow, we’re beyond thrilled to be back with another offering of hope and despair delicately balancing on the edge of a world rapidly being destroyed by a perverted ruling class who have no right to share the planet with the rest of us,” Endres tells Decibel, summarizing an idea he expands on in a Q&A, which you can read below.

    Exegesis at the End of Time is out June 12 on Accident Prone Records.

    10 years is a long time between records. What’s been up in the time since?

    Scott: It’s… complicated. We were treading water for a long time working on a twenty to twenty-five minute long song that had many different movements within it. So during that time we were either working on perfecting that song, or rehearsing a set for live performances. There was very little movement in getting anything else written or done. Then we finally had time booked at Lgt Biz with Kris Hilbert in Greensboro, NC, and a month or so before we were set to go record, our previous drummer had to back out for personal reasons.

    Before we could re-book any time, Kris left the studio and moved to NYC. Within months of that, COVID dropped. Then I got laid off. Then our previous drummer and I started a new project called Protozoa just to get out of isolation. Eventually we brought in Spencer and Aaron and it was us exploring more of our noise rock and post-hardcore roots. We did that for a minute until we had a falling out with our drummer. We then started MAKE back up and asked Aaron if he wanted to keep playing music with us, and John was the first person we reached out to for filling the drum slot. Then I got laid off again. We never really meant to have a hiatus. Life just really did a number on us and suddenly ten years had gone by.

    This album is the first time in quite a while that Make is a quartet. How did the additions of John and Aaron change the writing, recording and general sound?

    Scott: The two most significant changes were making room for a synthesizer and then Aaron taking on bass duties, which allowed Spencer to explore a vast sonic map on guitar. For the longest time, I was rhythm and lead, and the last time we were four I was doing most of the lead work, so it’s been really kind of liberating just being able to focus on the outlines and letting everybody else do the coloring (there are of course exceptions to this, we all contribute in various areas, but we also now kind of have the main corners we stick to). And what it did, in practical terms, is it allowed us to explore much more intensely the noise-rock side of our tastes… which is really where my heart of hearts is at, at the end of the day, ever since I was like 17 and heard Drive Like Jehu, because while I’m holding down the fort with Aaron and John, Spencer can just go apeshit. 

    Spencer: I’m really amazed at how much having Aaron and John has expanded what we are able to do as a band.  Like you said, we’ve been a three-piece for a long time, and I’ve always enjoyed the challenges of trying to create music that sounds “full” with a minimal instrumentation, but the expansion of sounds we can explore now is a huge breath of fresh air.  Our overall sound retains a lot of the elements we’ve always had, but I feel like we’re able to expand on those ideas much more effectively now and pull things out of the music that I’ve always wanted to hear.  

    My understanding of the record, which is titled Exegesis, is that it has a general theme influenced by various literary works. Can you expand on what that theme is and what influenced it?

    Scott: If there is an overarching theme that the title is hinting at, it’s about gaining knowledge and wisdom over the course of your life, or many lifetimes, only to reach the very end and find that there’s nobody left to hear it, or who’s willing to listen, because we’ve fucked things up that badly as a species, but I wouldn’t say the album exactly has a single concept or theme holding it together. As far as the various literary works, I’m a massive lit nerd, and I often get very excited about what I’m currently reading and want to incorporate it into my own art somehow. There’s a passage in Gravity’s Rainbow (“The real movement is not from death to any rebirth. It is from death to death-transfigured”) that struck me particularly because of how it could be reinterpreted from the specific way it’s meant in that book to explain the daily struggle that all of us are faced with every day. A struggle that we have to endure without help from anybody but ourselves and our communities. Our world is run by an oligarchy that has less than no interest in us, would rather be rid of us, so our struggle seems insurmountable. But, even so, we find the space and the means to create art, and experience joy, and love. We are experiencing death daily, but through our communities we get to experience death made more beautiful. This is why there is a change at the very end of the record that goes from a feeling of hopelessness to one of triumphant transcendence. That, at least, is the most important theme within the album, at least to me personally.

    Spencer: When I read, I tend to read political and social theory. I’m inspired by people who can interpret the pitfalls of the way we live and envision alternatives, and I love when theorists synthesize ideas out of combinations of other existing social theories. One of the things that was so exciting to me about the way this album came together is that, even though the texts we’re drawing inspiration from are wildly different, there’s a thread through all of them that really speaks to our worldview. The way those texts express their authors across so many different styles and periods of time reminds me that people have long understood what we can now express with hard data: that humans and Earth bear absolutely enormous potential, and that potential is constantly undermined by a drive for profit and power that will destroy us all.

    Your quote about the record notes the “perverted ruling class” and their negative impact on the world. Do you think it’s the obligation of artists to say something and try to give people a rallying point?

    Scott: After George W. Bush invaded Afghanistan, Howard Zinn gave a lecture at Mass Art in Boston, where I was living at the time. And he had this great quote about this very thing, where he was addressing artists specifically, that was something like “As artists you do not need to do more than create art. You are doing enough just by giving yourself in this way, and giving people items of value. BUT! As artists, you are all uniquely positioned to speak up and speak out against injustice because you inherently have platforms, your work is a conversation with an audience, so don’t lose sight of that.”

    I’m massively paraphrasing, but that’s a good way of looking at it. Using a word like “obligation” seems a little extreme to me on the one hand, but on the other… I am personally disappointed when I don’t hear from artists I respect about issues such as the genocide in Gaza. Personally disappointed that they’re not using their platform, and simultaneously disappointed that they either don’t care, or they’re too cowardly to do the right thing. I just hesitate to say “obligated” because I don’t like the idea of an audience demanding anything from the artists they follow.

    Spencer: I agree with Scott here, and want to add that there are a lot of different ways to make “political” art.  I think artists should be allowed to make art that is expressly apolitical, but I think that most genuine art is “political” in the sense that it provides a perspective on the human experience, which can motivate people to question their circumstances.  There’s also a huge spectrum of art that is political, and I think artists should be free to explore that without having to worry about whether they’re making their politics obvious enough.  Every word I wrote for this album is political to me, but someone who doesn’t know me might not hear it in every song.  I feel like we’re the frogs in the boiling water, and the more of us who realize it, the better the odds of finding a way out of the pot.  My hope is that my horror with our circumstances resonates with my fellow frogs.

    What comes next for Make, now that you have a new lineup and record?

    Scott: We’re still writing new material, we’re still trying to hit the road when we can and when the world will have us… hopefully this record reminds people we exist so that gets a little easier. And the plan is to just keep writing, playing shows and making records. There’s absolutely no way the world kicks our ass in the same way that keeps us down for another ten years! Hopefully we’re back in the studio in the next year or so. That’s my personal goal.

    Spencer: I’m really excited to keep expanding on what we do.  Exploring sound with these guys is a blast.

    The post Full Album Stream: Make – “Exegesis at the End of Time” appeared first on Decibel Magazine.

  • Why Black Clothing Became Central to Gothic Fashion

    Why Black Clothing Became Central to Gothic Fashion

    A solitary figure disappears beneath rain-soaked streetlights while black velvet absorbs the final reflections of the city night. Wet pavement mirrors distant neon signs as cigarette smoke drifts slowly beneath cathedral shadows. Gothic fashion rarely seeks attention through brightness or excess. Instead, it creates emotional atmosphere through shadow, restraint, mystery, elegance, and psychological presence.

    Black clothing became central to Gothic fashion not simply because it looks dark, but because it transforms emotion into visual atmosphere before a single word is spoken.

    Within Gothic culture, black became more than color.

    It became emotional language.

    Cinematic Gothic fashion scene featuring a woman in elegant black Victorian-inspired clothing beneath rainy noir city lights and dark atmospheric streets.

    Black clothing became the emotional language of Gothic fashion through shadow, elegance, Romanticism, and cinematic atmosphere.

    From Victorian mourning to noir cinema, black clothing became the visual soul of Gothic identity.

    The connection between black clothing and Gothic fashion stretches across literature, Romanticism, music, psychology, cinema, Victorian mourning culture, post-punk, and emotional symbolism. Over time, black evolved into a visual expression of introspection, emotional complexity, individuality, romantic melancholy, mystery, and artistic identity.

    “Gothic fashion does not fear darkness because darkness allows hidden emotions to become visible.”

    One reason black became central to Gothic fashion is its emotional symbolism. Unlike bright colors associated with stimulation, performance, or visibility, black often communicates introspection, emotional restraint, silence, mystery, distance, elegance, and psychological depth.

    Within Gothic culture, clothing frequently reflects emotional atmosphere rather than temporary trends. Black fabric absorbs light instead of reflecting it aggressively, creating softer silhouettes, emotional ambiguity, and cinematic shadow.

    Bright fashion often projects outward.

    Black fashion absorbs inward.

    This emotional subtlety allows Gothic fashion to feel psychologically immersive rather than visually loud.

    Many people attracted to Gothic aesthetics describe black clothing as emotionally calming because it reduces visual noise while creating a stronger sense of emotional atmosphere and identity.

    Inside Gothic fashion, black frequently functions like silence inside music or shadow inside cinema. It creates emotional stillness within visually noisy environments.

    Modern culture constantly pushes brightness, stimulation, visibility, performance, and endless visual movement. Gothic fashion moves in the opposite direction.

    Black clothing slows visual experience down again.

    The absence of bright distraction allows texture, silhouette, emotional atmosphere, and psychological presence to become more meaningful.

    Velvet absorbs light softly while silver jewelry reflects cold highlights like distant moonlight against wet pavement. Lace creates fragile shadow patterns across skin while long coats and layered fabrics generate cinematic movement beneath city rain and flickering neon reflections.

    Gothic fashion does not seek constant visibility.

    It creates atmosphere through restraint.

    Victorian mourning culture strongly influenced Gothic fashion long before post-punk transformed the aesthetic musically during the late 1970s and early 1980s.

    During the Victorian era, black clothing became associated with grief, remembrance, emotional ritual, romantic tragedy, introspection, and psychological depth. Mourning attire carried emotional meaning rather than functioning purely as decoration.

    This relationship between melancholy and beauty deeply shaped Gothic aesthetics later.

    Lace gloves, velvet coats, corsets, silver jewelry, dark veils, high collars, candlelit portraits, and cathedral-inspired silhouettes eventually merged with post-punk culture, creating the visual language still associated with Gothic fashion today.

    Romanticism also strongly influenced Gothic aesthetics through emotional intensity, moonlit ruins, tragic beauty, emotional isolation, dramatic landscapes, and fascination with the sublime.

    The aesthetic survived because it transformed emotional fragility, memory, longing, and sadness into visual elegance rather than emotional weakness.

    Classic noir cinema helped shape the emotional power of black clothing inside Gothic culture. Film noir relied heavily on silhouettes, smoke, dim corridors, rain-covered streets, hidden identity, neon reflections, emotional tension, and psychological mystery.

    Black clothing naturally amplified these cinematic elements.

    A dark silhouette beneath flickering neon instantly creates psychological tension because shadow partially conceals identity while intensifying emotional atmosphere.

    This explains why Gothic fashion frequently feels cinematic. Much like noir films, Gothic aesthetics rely on emotional suggestion rather than direct explanation.

    The viewer senses emotional complexity before understanding it rationally.

    Gothic fashion also became deeply connected to nighttime atmosphere. Empty streets, neon reflections, moonlight, rain, abandoned train stations, sleepless cities, dim clubs, and emotional solitude all became part of Gothic visual identity.

    Black clothing visually belongs to the night.

    The color feels naturally connected to shadow, silence, introspection, and emotional distance. Under dim lighting, black fabric becomes atmospheric rather than purely visual.

    This connection to nighttime explains why Gothic fashion often feels emotionally immersive rather than trend-driven.

    The aesthetic behaves like atmosphere itself.

    Modern Gothic fashion evolved heavily from post-punk and early Gothic rock scenes during the late 1970s and early 1980s. Bands such as Bauhaus, Siouxsie and the Banshees, The Cure, Sisters of Mercy, and Clan of Xymox combined atmospheric music with dark visual identity.

    Black clothing became central because it visually reflected the emotional atmosphere already present inside the music itself.

    Cold synthesizers, delayed guitars, emotional restraint, poetic melancholy, and cinematic darkness translated naturally into dark clothing, silver accessories, leather jackets, lace fabrics, Victorian textures, and dramatic silhouettes.

    Fashion and atmosphere became emotionally inseparable.

    One reason Gothic fashion remains visually powerful is its relationship with elegance and restraint. The strongest Gothic aesthetics rarely feel chaotic or visually excessive.

    Instead, black creates emotional precision.

    By removing unnecessary distraction, the aesthetic allows silhouette, texture, atmosphere, and emotional expression to become more refined.

    Black clothing often feels sophisticated because it creates unity between shadow, fabric, posture, lighting, and emotional atmosphere simultaneously.

    This emotional control separates Gothic fashion from costume aesthetics focused purely on shock value or visual exaggeration.

    For many people inside Gothic culture, black clothing also functions psychologically. The color often creates emotional distance from mainstream social expectations centered around visibility, constant positivity, overstimulation, and social performance.

    Black clothing can feel emotionally protective.

    Not because it hides personality, but because it allows introspection, emotional control, silence, and psychological privacy within visually overwhelming environments.

    In a culture dominated by hyper-visibility and endless stimulation, black clothing can feel like quiet resistance.

    This emotional protection explains why many people continue wearing Gothic fashion long after discovering the music itself. The aesthetic becomes psychologically integrated into personal identity rather than remaining temporary experimentation.

    Modern culture increasingly prioritizes speed, visual overload, trend cycles, hyper-visibility, and endless digital stimulation. Gothic fashion survives because it offers emotional contrast.

    The aesthetic slows visual experience down again.

    Black clothing creates atmosphere, emotional restraint, mystery, elegance, and psychological stillness inside visually overwhelming environments.

    Modern darkwave artists, atmospheric post-punk bands, cinematic alternative musicians, and noir-inspired projects continue evolving Gothic fashion today through minimalist silhouettes, Victorian textures, silver jewelry, layered fabrics, dramatic shadows, and cinematic emotional identity.

    Projects such as Edgar Allan Poets continue merging noir atmosphere, Gothic emotionality, cinematic darkness, and poetic symbolism through both music and visual aesthetics.

    Explore Gothic-inspired apparel, Edgar Allan Poe designs, noir aesthetics, and cinematic dark fashion inside the official Edgar Allan Poets Noir Store.


    Edgar Allan Poe gothic t-shirts featuring The Raven, The Tell-Tale Heart, and dark literary quote apparel in a noir gothic fashion banner.

    Black clothing continues defining Gothic fashion because it transforms emotion into visual atmosphere. The color communicates mystery, introspection, romantic melancholy, silence, timelessness, emotional depth, and psychological complexity without requiring explanation.

    Long after trends disappear beneath artificial light, black remains emotionally powerful because shadow itself continues carrying psychological meaning inside human imagination.

    In a world obsessed with visibility, Gothic fashion still finds beauty inside shadow.

    Even beneath modern neon cities and digital culture, the silhouette still survives beneath the night.

    Receive Gothic articles, noir-inspired music, dark fashion, atmospheric cinema, playlists, and psychological darkness directly inside your inbox.

    Explore Gothic music, cinematic darkness, noir rock, emotional atmosphere, and immersive soundscapes through the official Edgar Allan Poets playlist.

    Black clothing became central to Gothic fashion because it symbolizes mystery, emotional depth, introspection, elegance, romantic melancholy, psychological atmosphere, and emotional restraint.

    Yes. Victorian mourning culture strongly influenced Gothic fashion through black clothing, lace fabrics, emotional symbolism, romantic melancholy, ritualized elegance, and psychological introspection.

    Gothic fashion feels cinematic because it draws heavily from noir cinema, silhouettes, atmospheric lighting, shadows, emotional tension, mystery, and nighttime urban atmosphere.

    Black clothing often communicates emotional restraint, mystery, introspection, timelessness, silence, elegance, and psychological depth while reducing visual overstimulation.

    The post Why Black Clothing Became Central to Gothic Fashion appeared first on Edgar Allan Poets – Noir Rock Band.