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Xasthur reveal the third and final advance single, “Running From Silence”, from their forthcoming studio album Open To Misinterpretation. This self-recorded exploration of Dark American Folk is scheduled for release on October 2, 2026.
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Hands in the sky and then we die

Our hearts have joined the thousand

We take a step into the night

Opening our eyes brings a new dawn 

The Goth subculture has survived for nearly half a century partly because every few years somebody remembers that death can be absurd. Strip away that humour and the genre starts resembling a homeowners’ association for people with excellent boots: approved haircuts, approved records, approved photographs taken beside approved statues in approved cemeteries. Then Comes Silence have enough mileage behind them to recognize the danger. Remaker Redeemer finds the Stockholm trio Alex Svenson, Jonas Fransson, and Hugo Zombie treating the graveyard as a playground again.

Then Comes Silence fortunately remembers that a black shirt is still a shirt. The album itself is conceived as a diptych, with “Requiem” representing darkness and “Ballroom” representing light. “Everything exists in contrast,” the band says.

Remaker Redeemer introduces the “Ballroom” half of the band’s forthcoming Requiem Ballroom, due November 20. The band explains that the song “is about new life, being reborn with old sins washed away. A kind of cleansing, a fresh start, and the feeling of beginning again. The choice of instruments and sounds on this track was also a way to explore something a bit different this time.”

Svenson’s bass plants every movement firmly beneath the feet, while Fransson’s drums drive the song with a dark, danceable force reminiscent of Killing Joke’s Night Time era. Svenson’s grave, commanding vocals strengthen the comparison, while Zombie’s guitar cuts through with a bright, sharp edge. There is genuine pleasure in the performance, closer to liberation than solemn contemplation, which suits a song concerned with starting over. Rebirth here apparently requires amplification, eyeliner, and several people dressed as failed medical experiments.

The song’s lyrics treat death as a passage toward renewal, moving from surrender and darkness toward another existence. Closed eyes, raised hands, joined hearts, and the arrival of dawn suggest a collective transformation, while the repeated call to a remaker and redeemer turns rebirth into an act of cleansing: old sins washed away, one life surrendered, and another beginning on the other side.

The video makes the album’s concept pleasantly mischievous. Renewal takes place among monsters. Cleansing occurs in a room full of freaks. Life returns while death watches from the front row. Directed by Damon Zurawski of Future Legends Films, the video places the band before a congregation of ghouls, Droogs, demons, grotesques, and evil babies. Yes, evil babies that look like escapees from the bargain bin of some forbidden 1970s horror shop, which immediately gives the clip more personality than another five minutes of serious men staring into industrial fog.

Zurawski photographs the performance beautifully while allowing the absurdity to breathe. Svenson holds court on bass and vocals with severe composure while Fransson hammers away behind him and Zombie sends guitar across the room in sharp strokes. Around them, the assembled creatures stare, convulse, leer, and generally behave like the clientele of a nightclub whose liquor license was issued by Satan.

Watch the video for Remaker Redeemer below:

Rock music periodically develops the delusion that dignity equals importance, an especially fatal mistake for any subculture born from makeup, theatrical clothing, cheap smoke machines, horror films, and teenagers trying to scandalize their parents. The original punk impulse understood spectacle as provocation. Somewhere along the road, certain corners of underground culture began treating their uniforms with the solemnity of military dress.

That final joke may be the best one. Subcultures survive through mutation, bad taste, risk, exaggeration, and people willing to make fools of themselves in public. Then Comes Silence understands that preservation without mischief eventually becomes embalming. Remaker Redeemer puts the corpse back on its feet, gives it a bass guitar, and lets the evil babies dance.

Then Comes Silence are currently on tour in mainland Europe. Find more info and tickets for all upcoming shows here.

• Sep 11 Baroeg Open Air Rotterdam, Netherlands
• Sep 11 Zuiderpark Rotterdam, Netherlands
• Sep 12 Deux Ours Liège, Belgium
• Sep 13 Brewklyn Rennes, France
• Sep 14 Le Chinois Montreuil, France
• Sep 15 Cold Crash Nantes, France
• Sep 16 Rock ‘n Eat Lyon, France
• Sep 16 Rock N Eat Live Lyon, France
• Sep 17 Le Molotov Marseille, France
• Sep 18 Teatro Q77 Turin, Italy
• Sep 19 Improve Castelfranco Veneto, Italy
• Sep 20 Subzero Prague, Czech Republic
• Oct 24 Kollektivet Livet Stockholm, Sweden
• Jan 10 Kulttempel Oberhausen, Germany
• Jan 14 Lux Hannover, Germany
• Jan 15 Track Aarhus, Denmark
• Jan 16 Hotel Cecil Copenhagen, Denmark
• Jul 2 Eastside Karlsbad, Germany

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The post “Step into the Night” — Then Comes Silence Celebrates Rebirth in Video for “Remaker Redeemer” appeared first on Post-Punk.com.

Next month, on October 30th, atmospheric black metal one-man band Trolldom will release third long player dubbed Tronen. The 6-piece outing was mixed and mastered at The Empty Hall by S.D.S. Check out also the first and only single, “Etter Falla…”, via Bandcamp below.
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Steven Wilson was in a storm of change when he prepared his first solo tour in 2011. Having recently put Porcupine Tree on the backburner, he’d moved out of London back to his home town. He’d also received a crash course in music production by remastering King Crimson’s catalogue. All that fed in to his second solo album Grace For Drowning, as he told Prog before the tour began.

Over the past three years Steven Wilson has been remastering King Crimson’s catalogue. His exposure to the band’s tapes – and the forensic insight into their music that provides – has had a profound effect on him. “I cannot emphasise how much I’ve learned doing the Crimson records,” he says.

“What I thought I understood about them I really didn’t. The albums aren’t very layered. There’s something about the tone of the instruments and the interaction of the players that gives this wonderfully warm full sound that still has a lot of space around it.”

When Wilson was learning his trade in the late 80s, more was more. If you wanted a guitar riff, you’d multi-track the guitar five times. “The thing is you lose a lot of the character of the instrument and performance,” he says. “When Robert Fripp’s playing on those early Crimson records, it’s one guitar single-tracked – but it sounds monolithic. I tried to bring that to this record; stripping things down, not multi-tracking for the sake of it.”

Big, heavy guitars are noticeably rare on Grace For Drowning. “The heaviest music is produced by things like choirs and woodwind, and how the chords are voiced,” he says. “One of the heaviest things is the main riff of Raider II, which begins with two baritone saxophones double-tracked. It’s pure 21st Century Schizoid Man.”

He fully intends to carry his lessons into his future recordings. “It’s almost like I’ve unlearned something. I made records by layering and layering, but I’ve come to appreciate the tone of the instruments; the music gets to breathe more and you get more the character.”

Wilson’s lyrics, and his trademark thin voice, are just a little heartbreaking on the album. No Part Of Me In You is about a relationship gone sour; Postcard’s character sings: ‘The fire in my eyes has gone out.’ Elvis Costello once remarked that he doesn’t write songs when he’s happy, because he’s too busy being happy. “I’m exactly the same,” WIlson says. “You’re exercising that part of your personality in the writing, in order that your more well-adjusted positive elements can prevail in your everyday life.

“One of the most beautiful things in the world when you’re sad is to listen to a song that lets you understand you’re not alone feeling that way – we’re all part of the same human consciousness.”

The album features some notable players, and a very special guest on Deform To Form A Star. “I met Steve Hackett last year. I’ve never been a big Genesis fan, but I’m a huge fan of his first solo albums: Spectral Mornings, Voyage Of The Acolyte, Please Don’t Touch, Defector. He said those records came from his love of – guess who – Crimson and Van der Graaf! I was already in the process of writing Grace For Drowning and those two bands are touchstones for me, so having Steve on the record made perfect sense.

We hooked up for dinner, and I asked why he doesn’t play Shadow Of The Hierophant live. He said he would if I guested on it. So I did, at Shepherds Bush Empire in November. That was scary!”

The Empire will soon host the sole UK date of his very first solo tour. It’ll be 12 months since Porcupine Tree sold out the Royal Albert Hall on the last night of their tour for The Incident, so the venue seems a little modest. “In this business brand name is everything,” Wilson says. “I’m not naïve enough to believe that everyone who buys a Porcupine Tree album will know the names of all the members of the band.

“A larger minority for us do, perhaps, but 80 per cent of people buy records because they heard a song on the radio they like, or they saw it in their local HMV. They have no idea who’s in the band. Just ask Roger Waters – he found out the hard way when he left Pink Floyd!”

He continues: “I don’t expect to reach everyone Porcupine Tree reaches. This is a tentative dip in the water. It’s such a huge financial risk for me; I have to employ a crew and a band, and I’m going out with a big multimedia show.

“I guess I’m overcompensating for the fact some people might think this is a side project. It’s isn’t – it’s as epic as anything I’ve done with any of my bands, and it took the longest time. I’m very proud of the album, and the fact that I’m taking it out on the road too. In so many ways this is my biggest endeavour.”

Robert Fripp was at the first playback of Grace For Drowning, at Air Studios. Did he pick up on his band’s influence on it? “No!” Wilson relishes the irony. “Everyone else I played it to picked up on the Crimson, Lizard element. The only person who didn’t was Robert Fripp! He told me that it sounded like me.

“I think I’ve got to the point in my career where it doesn’t matter what I do or how much I think I’m ripping something off; it’ll still ultimately sound like me. I hope that’s true.”

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One of those songs drew inspiration from a Darkthrone record.

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Mötley Crüe has announced a special 45th-anniversary limited edition box set of its landmark debut album, Too Fast For Love, due Oct. 30 via BMG. The announcement is accompanied by the first-ever streaming release of a previously unreleased demo, “Nobody Knows What It’s Like To Be Lonely,” recorded in March 1981.

One of the finest debut albums in hard rock history, Too Fast For Love was originally self-released in November 1981 in a pressing of just 900 LPs on the band’s own Leathür Records imprint. Fueled by the Crüe’s explosive live shows, the album quickly became a sought-after underground release, and Elektra Records signed the band less than six months later. A retooled tracklist and remixed, remastered version were issued in August 1982, with lead single “Live Wire” hitting airwaves alongside the recently launched MTV — giving many hard rock fans their first introduction to the Crüe. Too Fast For Love went on to be certified platinum in the U.S. and gold in Canada, charting at No. 77 in the U.S. and No. 17 on the U.K. Rock & Metal chart.

Too Fast for Love 45th Anniversary Deluxe Edition Contents:

• 1LP black vinyl — remastered 1981 Leathür Records 10-track version
• 1LP black vinyl — remastered 1982 Elektra Records 9-track version
• 2LP black vinyl — rare live recordings from legendary Perkins Palace performances, 1982
• 1LP black vinyl — first-ever studio session, March 1981
• 100-page hardcover book featuring rare and previously unpublished early photographs
• Replica original demo cassette
• Replica original 7-inch single
• CD — 1981 Leathür Records 10-track version
• Replica poster
• Lyric book

An ultra-limited version with additional elements, hand-numbered in a run of 250 copies, is available exclusively at the Crüeseum. Standard editions of Too Fast For Love will be available on CD and LP, including physical retail exclusives at Walmart, independent retail, Amazon and Revolver. For the first time ever, the 1981 Leathür Records version will be available on streaming services.

Mötley Crüe is currently on The Return Of Carnival Of Sins tour, its first full tour in three years, spanning 33 cities across North America with support from Extreme and Tesla. The Live Nation-produced trek — celebrating the 20th anniversary of the band’s groundbreaking 2005–2006 “Carnival Of Sins” tour as well as the band’s 45th anniversary — launched July 17 in Burgettstown, Pennsylvania, and runs through the end of September. The band has pledged $1 from every ticket sold to ASAP! (After School Arts Program) through the Mötley Crüe Giveback Initiative to fund hands-on arts programs for young people.

The tour follows a Las Vegas residency at Dolby Live at Park MGM that ran from Sept. 12 through Oct. 3, 2025 — initially postponed after frontman Vince Neil suffered a series of strokes, culminating in a major stroke on Christmas night 2024 that left him unable to get out of bed when he woke up the following day.

Too Fast for Love 45th Anniversary is available to pre-order here.

The post MÖTLEY CRÜE Announce “Too Fast For Love” 45th-Anniversary Deluxe Box Set & Shares Unreleased 1981 Demo “Nobody Knows What It’s Like To Be Lonely” appeared first on Sonic Perspectives.

Blackened deathcore outfit Ov Sulfur are celebrating the 25th anniversary of Slayer’s landmark 2001 album God Hates Us All by releasing their own rendition of the record’s blistering track “Disciple.”
The cover is available now via streaming platforms, with an accompanying official video available on YouTube.
Guitarist Chase Wilson commented: “‘God Hates Us All’ has always been one of my favourite Slayer records. I’m stoked we got to put our spin on one of the sickest songs on it!”
Vocalist Ricky Hoover added: “I was excited when the guys decided to do a Slayer cover, as it allowed me to see if I could hit Tom Araya style vocals. He’s a unique, stand-out voice in metal, and it was fun to see if I could add his signature melodic shouting to my repertoire.”
The cover arrives during a busy year for Ov Sulfur, who released their latest full-length album, Endless, earlier this year. The record sees the band continuing to push beyond their deathcore foundation, incorporating black metal elements and a greater emphasis on melody without sacrificing the band’s extreme approach.
Endless was praised by MetalSucks, which described the album as “heavy, dark, complex,” while Blabbermouth called it “a confident and classy stride forward.”
The band has previously released videos for several tracks from Endless, including “Forlorn,” “Vast Eternal,” “Seed,” “Evermore” and “Wither.” The latter marked the band’s first song to feature exclusively clean singing.
Ov Sulfur recently completed a North American tour with DevilDriver and will make their European debut this November and December as co-direct support for Mental Cruelty, alongside Extermination Dismemberment, Acranius and Sun Eater on select dates.
OV SULFUR LINE-UP:

Ricky Hoover – vocals
Chase Wilson – guitars, vocals
Leviathvn – drums
Josh Bearden – bass
Christian Becker – guitars
OV SULFUR EUROPEAN TOUR DATES:

Nov. 27 – Rotterdam, Netherlands – Baroeg *
Nov. 28 – Köln, Germany – Club Volta *
Nov. 29 – Nijmegen, Netherlands – Doornrosje *
Nov. 30 – Birmingham, UK – Asylum *
Dec. 2 – Manchester, UK – Academy 3 *
Dec. 3 – London, UK – Downstairs At The Dome *
Dec. 4 – Paris, France – Glazart *
Dec. 5 – Antwerp, Belgium – Zappa *
Dec. 6 – Hamburg, Germany – Bahnhof Pauli ^
Dec. 7 – Copenhagen, Denmark – Hotel Cecil ^
Dec. 8 – Stockholm, Sweden – Kollektivet Livet ^
Dec. 10 – Jyväskylä, Finland – Lutakko ^
Dec. 11 – Helsinki, Finland – Ääniwalli ^
Dec. 13 – Gothenburg, Sweden – Monument ^
Dec. 14 – Berlin, Germany – Hole 44 ^
Dec. 15 – Prague, Czech Republic – Rock Café ^
Dec. 16 – Frankfurt, Germany – Das Bett * ^
Dec. 17 – München, Germany – Backstage ^
Dec. 18 – Aarau, Switzerland – KIFF ^
Dec. 19 – Schweinfurt, Germany – Alter Stattbahnhof ^
Dec. 20 – Karlsruhe, Germany – Substage ^
^ = with Acranius
= with Sun Eater
Ov Sulfur’s cover of Slayer’s “Disciple” is available now, while Endless can be streamed and purchased in its entirety through the band’s official channels.

Photo credit: Anabel DFlux