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FOR IMMEDIATE RELEASE
BEYOND DEFIANCE UNLEASHES DEBUT ALBUM “UTOPIA” ON AUGUST 14

Swedish Melodic Death Metal Newcomers Channel the Spirit of Gothenburg with Crushing Riffs, Dynamic Melodies, and Relentless Aggression

FFO: Dark Tranquillity, Arch Enemy, Sylosis
Sweden’s newest force in melodic death metal, Beyond Defiance , is set to unleash its highly anticipated debut album, “Utopia,” on August 14, 2026 . Independently released, Utopia introduces a powerful new voice in modern melodic death metal, combining blistering aggression with soaring melodies, layered harmonies, and uncompromising intensity.
Founded in the spring of 2025 by Lars Karlsen , Torbjörn Andersson , and Sven Erik Fritiofsson , Beyond Defiance was built on a simple but ambitious vision: to create music that is brutally heavy while remaining melodic, dynamic, and emotionally engaging. Drawing inspiration from the legendary Gothenburg sound while incorporating elements of thrash and black metal, the band delivers an explosive debut that honors the genre’s roots while forging its own identity.
Utopia showcases crushing guitar work, ferocious growls, memorable melodic vocal passages, and atmospheric songwriting that balances brutality with depth. Every track reflects the band’s commitment to crafting songs that are both technically engaging and emotionally impactful.
Building anticipation ahead of the album release, Beyond Defiance will premiere the official music video for “Cry” on July 24 , followed by a second video for “Imposter” , arriving alongside the full album on August 14 .
Speaking about the production of the record, the band shared:


“The album was recorded at the band members’ own home studios, mixed and mastered by Sven Erik Fritiofsson under strict supervision from the other guys.”


Despite being independently produced, Utopia delivers a polished and powerful sound that rivals major label releases, capturing the energy and precision that melodic death metal fans demand.
Produced entirely by Beyond Defiance and mixed and mastered by Sven Erik Fritiofsson , Utopia represents the beginning of an exciting new chapter for a band poised to make its mark on the international metal scene.
Release Information

Artist: Beyond Defiance
Album: Utopia
Release Date: August 14, 2026
Genre: Melodic Death Metal
For Fans Of: Dark Tranquillity, Arch Enemy, Sylosis
Label: Independent
Production Credits

Produced by Beyond Defiance
Mixed & Mastered by Sven Erik Fritiofsson

Connect With Beyond Defiance

Website: https://www.beyonddefiance.com/
Facebook: https://www.facebook.com/beyonddefiance/
Instagram: https://www.instagram.com/beyond_defiance/
YouTube: https://www.youtube.com/@Beyonddefiance

Media Contact:
Sven Erik Fritiofsson
info@beyonddefiance.com

Anthology of Sombre Reflections is an expansive and comprehensive collection of the early and much-celebrated works of the Doom Gods, from the formative deathly rawness of the revered Towards the Sinister demo, God is Alone 7” tracks and subsequent debut album, As the Flower Withers, through to the gothic-tinged funereal seductive delights of 1996’s highlight, Like Gods of the Sun

With the addition of all-time genre classic opuses ‘Turn Loose the Swans’, and ‘The Angel and the Dark River’ also representing My Dying Bride’s much-loved early to mid-90’s period, the band’s three cult EPs are also featured in this deluxe eight-vinyl boxset, with each record presented on 180gm heavyweight black vinyl. The four studio albums themselves have also been treated to new half-speed masters courtesy of Air Studios.

Accompanying the audio is a 48-page book featuring photographs and artwork, plus new interviews with Andrew Craighan and Aaron Stainthorpe conducted in 2025 exploring some of the influences and thought-processes behind the creation of such cherished works of the 90s, as well as reflections of their output over this period.

Anthology of Sombre Reflections also contains 2 large posters depicting the ‘Turn Loose the Swans’ CD artwork image, plus the original poster included in ‘As the Flower Withers’. A selection of photo prints of the band from this era are also included.

After a career spanning over thirty-five years, from UK underground upstarts and outliers, to major success on the international stage – including tours with UK icons Iron Maiden and genre legends Dio – My Dying Bride have themselves become a firmly established pillar of metal history with a refined and influential brand of Death/Doom metal. With enduring popularity across subsequent decades, My Dying Bride remains a productive and captivating vessel for tragedy and despair, with their studio output spanning fourteen full-length albums to date.

As part of the Peaceville Three, along with fellow countrymen Paradise Lost and Anathema, My Dying Bride truly became a primary force in highlighting Britain as an epicentre of this Doom revolution of the time, creating a highly distinguishable sound assisted by the inclusion of violin & a more poetic approach to the delivery of morbid and salacious topics, lending an additional air of eccentricity and eloquence to the darkness.

Pre-order Anthology of Sombre Reflections here.

The post PEACEVILLE Announces MY DYING BRIDE “Anthology Of Sombre Reflections” Deluxe Boxset appeared first on Sonic Perspectives.

Getdown Services just get it. They get that music can be funny and sad. It can be a way to vent about your shitty pub job or the latest depressive episode, or how you love crisps, quiche and a good night’s rest. “Cha Cha Slide,” the latest single from their forthcoming album Massive Champion, might be one of their strongest songs yet. Not only does the accompanying visual embrace the Minions revolution and nod to the artistic genius of WordArt fonts from the ’90s, but the song itself captures the scary isolation and routine of the child mind that never leaves us.

The post Getdown Services – “Cha Cha Slide” appeared first on Stereogum.

Tech death is a saturated field crowded with artists determined to out-noodle each other. It can be great fun, but the density of artists that overpopulate the scene often make it difficult to find something interesting or novel. As cookie-cutter album after cookie-cutter album whooshes overhead, a curious little gem by Québécois one-man tech death act Volubilis¹ caught my periphery. Entitled Theasterion, Volubilis’ debut LP entered development prior to the band’s own establishment. Mastermind Miguel Marcheterre-Pina penned content that would end up a part of Theasterion as early as 2016 (earliest known use of the Volubilis name is registered in 2023). That’s a long time for a debut to percolate, but does such an extended incubation period result in stronger spawn?

Theasterion is an exemplary argument in favor of “quality over quantity,” boasting 33 minutes of the most fun and exciting straight-up technical death metal I’ve heard all year so far. Imagine if Equipoise was much more minimalist (“Ashes & Embers,” “Unukhalai Supernova”), but infused First Fragment’s epic sweeps (“Homo Cumulus”), Obscura’s and Nawabs of Destruction’s dramatic melodicism (“Le Flamboiement Stellaire,” “The Prism”), and Scumbag’s vicious groove (“Theasterion,” “Unukhalai Supernova”), and you have the overarching breadth of Volubilis’ sound. Compelling songwriting backed by a crystalline but not overly polished mix allows these various traits to meld in colorful synchronicity, creating a cohesive and effortless listening experience that is as boisterous as it is rewarding to revisit.

To scaffold his riff-laden, exuberant compositions, Marcheterre-Pina wisely recruited talent from across the Canadian metal scene with a meticulous ear. I in particular appreciate that nobody in his lineup is a household name in the tech scene,² but everyone performs here as if their careers depended on it. André Dubien absolutely destroys his mic with an explosive combination of monstrous roars and screeching high rasps. Jacob Collins’ percussive attack is multifaceted and energetic, exhibiting an infectious predilection for machine-gun double-bass runs (“Le Flamboiement Stellaire”). Shawn Hillman acquits himself with aplomb on the low end as well, his bass noodling and compact counterpoint contrasting wonderfully with Marcheterre-Pina’s crushing riffs and oscillating lead work (“Theasterion”). Guest guitar solos from Alexis Rioux fit right at home on tracks one and three, camouflaging themselves inside of their respective songs while sparkling and shimmering with bright tones and expressive phrases. So too do Michelle Gao’s strings on the closing track, adding a lushness that feels appropriate to elevate Theasterion’s final moments.

If the performances aren’t argument enough in support of Theasterion’s claim to greatness, the songwriting alone carries. Every track has something of substance to take home, and while a couple of items shine more brightly than others (especially “Theasterion” and “Homo Cumulus”), none feel lackluster by comparison in any category. Smart editing across the runtime allows a per-song average that totals above five minutes to feel justified, and the high-octane pace maintained throughout even the longest tracks (“Theasterion,” “Unukhalai Supernova” at 6-and-a-half minutes each) shrinks time around them. Mid-song transitions involving piano, acoustic reprisals of Marcheterre-Pina’s leads, and tumbling percussive fills smooth the canyons carved by deeply layered meltdowns and punishing swings (“Ashes & Embers”). Every decision made to construct, perform, and engineer Theasterion seems tailored to deliver the most bang for the buck. This, in turn, leaves very little opportunity for flaws to creep in.

With enough spins, though, a couple of flaws do creep. The primary of these is the abrupt manner in which some songs end. While none are wholly disruptive, and the subsequent launch of neighboring tracks routinely offers a thematic through-line to help hold Theasterion aloft, a bit of extra silence—or a gentler fade-out on occasion—would soften these overly sharp departures. Secondly, while I do enjoy Theasterion’s mix and master, I think moving André’s vocals back a half step would balance things out a bit more without threatening his well-earned spotlight. Otherwise, there’s very little to complain about here. Volubilis came out swinging with a killer underground tech-death debut. You best move out of their way lest you get your face smashed.

---

Rating: Great!
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Self Released
Website: Bandcamp
Releases Worldwide: July 10th, 2026

The post Volubilis – Theasterion Review appeared first on Angry Metal Guy.

(written by Islander) Not for the first time, an extreme metal band has used excerpts from The Passion of Joan of Arc to illustrate one of their songs. This time it is the Croatian black/death metal band Defiant, who commemorated their 20th year of existence in 2025 with the release of their fifth album, Mammon […]

The post AN NCS VIDEO PREMIERE: DEFIANT — “CAESARS MESSIAH” appeared first on NO CLEAN SINGING.

FOR IMMEDIATE RELEASE
NORCVLT Announces New Single “Celestial Tearfall”

Indigenous Atmospheric Black Metal project continues the journey toward sophomore full-length album
Southern California (Occupied Tongva & Chumash Territories) – NORCVLT returns with a powerful new offering, “Celestial Tearfall,” set for release on July 9, 2026 via Red Nebula.
Born from isolation, identity, and spiritual resonance, NORCVLT continues to carve its own path through the underground with a sound that fuses cold atmospheric black metal, ritualistic ambience, and emotionally charged intensity rooted in Indigenous perspective.
“Celestial Tearfall” serves as the second single from the forthcoming sophomore full-length album, further expanding the project’s evolving sonic mythology while deepening its thematic core.
Sound and Direction

“Celestial Tearfall” drifts through vast atmospheric landscapes while maintaining the sharp edge of modern black metal. The track leans into a cinematic and emotional pull, echoing the frostbitten grandeur of artists such as Uada , Yaotl Mictlan , Grima , and Agalloch while remaining firmly grounded in NORCVLT’s own distinct spiritual and narrative vision.
This is black metal that feels both ancient and forward-moving, like something carried through wind, memory, and time itself.
Artist Statement

“Celestial Tearfall” is the second single track release from the forthcoming sophomore album debuting later this year.
Truly excited to share this next single with you all as we continue to step further into the grander journey ahead. Ta’bintió.
As blackness fades… ancient splendor pours forth.
Creative Credits

All instruments, composition, recording, mixing, mastering, and production were handled by NORCVLT.
Artwork by G.C. Logan (@oswta.okwali).
Management: NORCVLT / Red Nebula.
Listen and Pre-Save

Pre-save “Celestial Tearfall” here:
https://distrokid.com/hyperfollow/norcvlt/celestial-tearfall/


NORCVLT continues to push deeper into its own mythos with every release, building something that feels less like a project and more like a living current moving through the underground.
Check out the video: 


Connect: 
https://linktr.ee/norcvltofficial
https://open.spotify.com/album/2jUSFOGt5SvCFA1yDVxXXX
Contact
Tñuu Dau / The Black Rain
norcvltofficial@gmail.com

When Fred Armisen and Carrie Brownstein announced plans for an IFC sketch comedy show called Portlandia way back in 2010, the idea seemed slightly far-fetched. The two had already been baking online shorts as ThunderAnt for a few years, but Brownstein was still primarily a musician, even though Sleater-Kinney were on hiatus at the time. Also, could Portland culture and its endless ’90s dream really support that much comedy? Well, it turned out, yeah. Portlandia lasted for eight seasons and 77 episodes. Now, Armisen and Brownstein are taking us back with a brand new Portlandia rewatch podcast.

The post Fred Armisen & Carrie Brownstein Announce <em>Portlandia</em> Rewatch Podcast appeared first on Stereogum.

The Rolling Stones have spoken about the experience of recording their forthcoming album Foreign Tongues, and expressed their love, respect and admiration for their late friend and bandmate Charlie Watts, who makes a posthumous appearance on the record.

Although Watts passed, aged 80, away in 2021, his drumming – taped at one of his final studio sessions with the group he joined in 1963 – powers new album track Hit Me In The Head, and his old friends suggest that his spirit hovered over their most recent sessions with producer Andrew Watt at London’s Metropolis studios.

In a new interview with Apple Music’s Zane Lowe, Mick Jagger, Keith Richards and Ronnie Wood pay tribute to American producer Watt for his passion and enthusiasm for the project, and acknowledge his pivotal role in encouraging their band to play and record songs together in one room, unshackled from the rigid structures imposed by modern digital recording.

“Everyone has their own idea of the basic structure,” explains guitarist Wood, “but as long as it came back to that, it’s fine. You could do anything you wanted.”

“If the only thing you’re fighting is the room and the song, you’re okay,” adds fellow guitarist Keith Richards, “as long as you’re not fighting each other. It was fun to make. Everybody was right on it, [including] Steve Jordan and Darryl Jones, the ‘new’ rhythm section. I’m sure Charlie Watts was beaming down on us, so I feel good about that.”

When Zane Lowe tells Ronnie Wood that he finds it “moving” hearing Charlie Watts on the record, the guitarist reveals that the band have still got “a few beats of his in the bag”, recorded in Paris, for potential future use.

Mick Jagger tells Lowe that the drum track for Hit Me In The Head was actually recorded with producer Don Was at Henson Studios in Los Angeles, during pre-production for the band’s 2023 album Hackney Diamonds.

“If I ask you what did you love about the way Charlie plays drums, what would you say?” Lowe asks the singer.

“Whatever style he played always had swing,” Jagger replies. “It wasn’t like a loud powerful drummer, he was a more subtle, he was a jazz drummer really, that played rock very well… Steve’s very loud in the room compared to Charlie.”

“The albums are getting more and more energetic, punchy, and we’re still raising the bar,” says Ronnie Wood. “That’s the evolution of the band. you know, it’s got that new youth and the new kick in it. Maybe Charlie is overlooking us and giving us some more inspiration.”

You can watch the full Apple Music interview below.

Philadelphia blackened crust punk outfit Devil Master have released a brand-new single, titled “You Worms’ Vain Delusions,” alongside the announcement of their fourth studio album, Bloody Dreams.
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The metal icon promises he won't bite if fans say hi to him in public. Continue reading…