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THE GHOULSTARS – Full album stream live now ahead of Friday release
Hear the horror-punk’s blockbuster debut album before it comes out this Friday “Imagine the vibes of Van Halen, Rob Zombie and surf punk all combined into something even more indebted to full-on fun” — New Noise THE GHOULSTARS, the Finnish horror punk supergroup, release their debut album The Dark Overlords of the Universe through Season of Mist tomorrow, […] -
Bladee Announces New Album Sulfur Surfer: Hear “Blondie”
If you’ll allow me to channel the spirit of David Letterman for a moment: Bladee, “Blondie.” “Blondie,” Bladee. (Yes, I am choosing to pronounce Bladee as “Bladey,” not as “Blade,” even though Blade is the correct pronunciation. He will always be Bladey to me, and if he didn’t want people to call him Bladey he…
The post Bladee Announces New Album <em>Sulfur Surfer</em>: Hear “Blondie” appeared first on Stereogum.
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Xenosis – Unleash New Track
“Sea Of Teeth”, the new advance single from progressive/tech death metal band Xenosis‘ soon-to-be-released studio record Hermetic Transmutation, has premiered online.
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REPENTANCE announce new album “Retaliate”; unleash crushing title track as first single!
Chicago metal outfit REPENTANCE has announced their upcoming third full-length album “Retaliate”, set for release on July 17th, 2026 via Noble Demon. Alongside the announcement, the band has unleashed the record’s title track as the first single, offering an intense glimpse into what promises to be their most hard-hitting and focused release to date. “Retaliate is a straight punch to […] -
E.G. Phillips Signals in the Dark Review
E.G. Phillips Signals in the Dark Review
The album begins with a fantastic noir atmosphere in “Empathy for the Night.” A saxophone greets you, creating a refined sense of mystery associated with the night. You can easily envision a city where neon lights reflect off the asphalt after a rainstorm. The vocals eventually emerge, providing an intimate and theatrical interpretation of the song.
The next track, “The Music I Still Adore,” carries a rich retro jazz vibe. It has elements that hark back to cabaret, enveloping the listener in a warm embrace of nostalgia. The instrumentation complements the vocal delivery, transporting the audience to a different era, where elegance and charm prevail.
“Dreamcatcher” introduces a female voice that is truly moving. This jazz piece takes you into a smoky New Orleans club, filled with energy and life. The melody wraps around you like a silky fabric, and the performance captures the essence of jazz music’s intimate nature.
Signals in the Dark – Sound and Atmosphere
Following this, “Please Don’t Make Me Come Back From The Moon” presents an interesting shift. This delicate yet playful song showcases the artist’s ability to evoke genuine emotions. The lyrics incorporate an ironic twist that adds depth and intrigue. It’s a song that balances lightness and thoughtful reflection, showcasing the artist’s versatility.
Next up is “Radio Silence Mode,” which begins with a more urgent rhythm. In this track, the visionary artist continues to deliver refined emotions that are infectious. The tempo invites listeners to engage deeper, enhancing the overall experience of the album.
The album then presents “Make Me a Latte,” which reveals the playful side of this music. Drawing from an Armstrong-like tradition, the track manages to engage listeners while ensuring they have fun. The lyrics bring a light-heartedness that contrasts well with the other tracks, exhibiting the artist’s range and nuanced understanding of jazz traditions.
Signals in the Dark – Performance and Production
E.G. Phillips embodies a blend of avant-garde and experimental styles without losing sight of jazz’s beauty. The music integrates songwriting elements and blues influences, creating a unique experience for listeners. Each track varies in emotion and rhythm but maintains a cohesive artistic vision.
“Signals in the Dark” showcases E.G. Phillips’s distinctive approach. With a mixture of intimate and theatrical performances, each song resonates with the listener. The album captures moments of both tenderness and liveliness, pushing the boundaries of traditional jazz while staying true to its roots.
E.G. Phillips’s ability to evoke imagery through sound stands out throughout the album. By combining retro vibes with modern sensibilities, the artist invites listeners on a journey. “Signals in the Dark” is an album that deserves attention for its creativity and emotional depth.
Listeners will find themselves immersed in the world E.G. Phillips has created. The intricate layers of sound and lyrics paint a vivid picture. This album is a delightful experience for anyone who appreciates jazz and its evolution.
This album is a must-listen for those who seek new musical experiences.
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The post E.G. Phillips Signals in the Dark Review appeared first on Edgar Allan Poets – Noir Rock Band.
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Repentance – Third Full Length Due In July
Chicago-based metalcore representatives Repentance will release third long player, Retaliate, on July 17th, 2026 via Noble Demon. Alongside disclosed details, the band also shared the first streaming single “Retaliate”.
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Modern Witchcraft: Why the Witch Archetype Is Rising Again
Modern Witchcraft: Why the Witch Archetype Is Rising Again
The witch never disappeared—it waited. Beneath trends, beneath noise, beneath a world obsessed with speed, something older remained. Today, that presence is returning. Not as fear, but as identity. Modern witchcraft is not about spells—it is about reclaiming power, intuition, and self-definition.
From Fear to Identity
For centuries, society defined witches through accusation. Today, people define them by choice. This shift marks one of the most significant cultural transformations in modern times.
As explored in witches in history, the archetype was once shaped by fear and control. Now, it is being reclaimed as a symbol of independence and awareness.
The Rise of Personal Ritual
Modern witchcraft is deeply personal. It is not bound to rigid systems or institutions. Instead, it focuses on intention, ritual, and connection—whether that connection is to nature, emotion, or inner balance.
Candles, symbols, and quiet moments replace spectacle. The practice becomes less about performance and more about presence.
Aesthetic and Identity
The visual language of modern witchcraft blends seamlessly with gothic culture and gothic aesthetic. Dark clothing, minimal palettes, and symbolic accessories create an identity that feels timeless and contemporary.
Digital Age, Ancient Archetype
Modern witchcraft has gained visibility through social media. What was once hidden is now shared, discussed, and reinterpreted globally.
Yet the core remains unchanged. The witch archetype still represents autonomy. It still challenges systems of control. It still asks the same question: who defines power?
The Connection to Other Archetypes
The return of the witch mirrors the enduring presence of the vampire. As seen in why vampires never die, both archetypes exist at the edge of society—feared, desired, and misunderstood.
Even in gothic vampire fashion, the influence is visible. The same tension between elegance and darkness defines both identities.
The Sound of the Modern Witch
Modern witchcraft is not only visual—it is atmospheric. Music plays a crucial role in shaping that atmosphere, blending cinematic tones with emotional depth.
Listen to Edgar Allan Poets, The Noir Rock Band, inspired by Poe & Hitchcock
Why This Movement Matters Now
The rise of modern witchcraft reflects a broader cultural shift. People are seeking meaning beyond structure. They are looking inward rather than outward.
This is why modern witchcraft continues to grow—not as a trend, but as a response. A response to control, to noise, and to the need for something more personal.
Explore gothic art and apparel inspired by this aestheticExplore More
What was once feared is now chosen.
The post Modern Witchcraft: Why the Witch Archetype Is Rising Again appeared first on Edgar Allan Poets – Noir Rock Band.
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Video Premiere: Windswept – “Cenote”
Windswept is a black metal band from Wellington, New Zealand. The group came together in 2024 and sought to bring a raw black metal assault that still maintained a melodic sensibility and punk-inspired chaos. Two years later, Windswept now stands ready to unleash Howling in Baptismal Filth, and has provided Decibel with its video for “Cenote.” One thing that immediately jumps out about the song is the guitar work, which reminds me a lot of bands like Dark Fortress and Blodsrit — heavily distorted riffs that stay with you long after the first listen.
Here’s how the band’s lead singer, Rachel Collins, describes the song:
“Cenote” is a lament that explores guilt, identity, and self-destruction. The feeling of weaving a sophisticated web of lies, eventually becoming all-consuming and drowning in the responsibility and consequences of one’s ego. “Cenote” manifests as a raw ritualistic abstraction of fear, loss and nihilism.
And drummer Steve Francis adds an amusing anecdote about the video: “We shot the video with filmmaker Amber Beaton on a Sunday in the middle of a very busy hiking trail. The locals were definitely not expecting to be visually and sonically assaulted as they embarked on their peaceful hike!” Yes, I can imagine being a little started to see someone screaming with an axe in their hands while on my constitutional walk. But luckily enough, the song rips, so there’s definitely worse things to find in the woods.
Check out the song and video below. Howling in Baptismal Filth comes out on May 29 via Northern Void Records, you can find preorder information here. You can also follow the band directly at their Bandcamp page.
The post Video Premiere: Windswept – “Cenote” appeared first on Decibel Magazine.
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Glitz and Boycotts at Eurovision
The song contest has camp, glitter and pyrotechnics. And, this year, protests over Israel’s participation. -
Tyrannus – Mournhold Review
UK antifascist blackened death/thrash trio Tyrannus caught my attention with the be-castled cover art for their upcoming sophomore record, Mournhold. Having never listened to them prior, I gravitated towards the promise of yet another robust hybrid of styles and sounds. With bands like Antiverse and Skeletonwitch to call on as points of comparison, Tyrannus all but guarantee my appreciation. This is the kind of genre-blending that I crave on an hourly basis. Does Mournhold have the goods to satisfy my voracious needs?Lead single “Reignfall” demonstrates that Tyrannus aren’t fucking around, boasting an adrenaline-fueled cataclysm of riffs, shreds, pummels, and roars. It is an ideal case study for what Mournhold captures, ensaring the icy raze of black, the fiery vitriol of thrash, and the swaggering aggression of death in one fell swoop. Separated from those superficial attributes, it embodies the Platonic ideal of a great metal track. And so, Tyrannus publish their infernal formula, and Mournhold’s multifaceted application of that formula brews excitement and fun at every turn. Tightly packed into 40 minutes, seven tracks tear through a blunderbuss of cool ideas, hooky motifs, and fun deviations from the expected.
Most surprising of these diversions is center cut “Flesh Eternal,” which recalls the gothic swing of Tribulation if they took the ashen path to black/thrash. A really cool song on its own, “Flesh Eternal” more importantly cements Tyrannus as versatile songwriters and shrewd album composers. It resolves the aggressive black metal scorch of the first three songs—the best of which (“Orbus Non Suffict,” “Seizing Stars”) fulfill the gap left by Skeletonwitch after Serpents Unleashed. At the same time, it sets up the second act, beautifully bisecting Mournhold’s story with something a little more rock-oriented as a palette cleanser. That brief reprieve allows me to properly prepare myself for “Reignfall.” A barnburner of devilish nature, “Reignfall” Hellrips my face clean off with speed-metal riffs, righteous dive-bomb solos, and downright ignorant grooves charred by black metal rasps. A second twist that I hoped for but dared not expect, Mournhold’s back half transitions to altogether darker and moodier spaces than the front. “Slower” and longer form compositions (“Mournhold,” “Back to Grey”) reside in those spaces, creating an expanded stage for Tyrannus’ final ideas to land and settle.
This arrangement allows listeners to bask in more instrumental noodling and melodic storytelling as Mournhold comes to a close, but the risk of drag creeps in. “Mournhold” is certainly thrashy and aggressive enough in its second half to offset that inertia, but at six-and-a-half minutes, it rubs against bloat with a cocky smirk. Closer “Back to Grey” toys that line even more salaciously, teasing attention spans to their limit at nearly eight minutes. Luckily, its classic heavy metal gallop and olde-timey meloblack charm make it hard to hate. Like many tight runtimes, though, 40 minutes suffers more noticeably when any one song overstays its welcome; Mournhold’s final couplet gently cross that threshold. Cutting a minute from each—perhaps fewer repetitions of a riff here, and trimming an intro or bridge there—would make them stronger and thus improve the whole in kind.
Mournhold doesn’t need much improving, though, to be an unqualified success. It’s a rip-roaring fun time, with a youthful personality as exuberant as it is infectious. Tyrannus improved in every aspect on the promise of their debut, refining their voice into something highly recognizable and alluring. If this is just the beginning for Tyrannus, I tremble to think of what they might accomplish on future records. That’s a later Ken problem. For now, I’m content and gunning to storm castles and slay eldritch monsters for an eternity with Mournhold. Join me!
Rating: Great!
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: True Cult Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 15th, 2026The post Tyrannus – Mournhold Review appeared first on Angry Metal Guy.