Akron, Ohio sludge metal crew RADIAN continues to slam audiences across the US in support of their third album, Subterfuge, and is preparing to launch their East Coast Fall tour in two weeks.
Following shows with The Obsessed, Acid Bath, Midnight, and an extensive Midwest US tour this Spring, RADIAN will kick off the new tour in Pittsburgh on November 2nd. The band will tour down the East Coast to perform at the Tampa Doom & Gloom Fest III alongside Novembers Doom, Age Of Ruin, Temple Of The Fuzz Witch, and dozens of others before playing their way back home, with the tour ending in Louisville on November 18th.
RADIAN Fall Tour: 11/02/2026 Poetry Lounge – Pittsburgh, PA 11/03/2026 John And Peter’s – New Hope, PA 11/05/2026 Lucky 13 – Brooklyn, NY 11/06/2026 Fleetwoods – Asheville, NC 11/07/2026 Ground Zero – Spartanburg, SC 11/08/2026 Slim’s Downtown – Raleigh, NC 11/11/2026 Super Rad Arcade – Lynchburg, VA 11/12/2026 The Den – Winston Salem, NC 11/13/2026 Pizza Verdura Sincera – Atlanta, GA 11/14/2026 Tampa Doom & Gloom Fest @ Deviant Libation – Tampa, FL 11/15/2026 The Bark – Tallahassee, FL 11/17/2026 Frog Juice Boocherie – Knoxville, TN 11/18/2026 Mag Bar – Louisville, KY
Set in a reimagined, modern-day Egypt, one that never fell to Roman conquest, RADIAN’s Subterfuge tells the story of a man willing to do whatever it takes to protect his home, his people, and his culture from a cabal of overlords bent on erasure for personal gain. While rooted in a rewritten history, the album is riddled with comparisons to contemporary society: exploitation, manufactured collapse, and rebellion in the face of systems designed to consume rather than sustain.
Musically, Subterfuge showcases RADIAN at their most focused and unrelenting – beautifully oppressive, groove-laden sludge, sharpened by a narrative arc and delivered with the weight of lived experience. It is both a continuation of the group’s sonic identity and a declaration of renewal; a record that mirrors the band’s own journey, carrying their vision deeper into the underground with uncompromising force.
Subterfuge was recorded and engineered by Mike Burns, except for the bass which was recorded by Brian “BeZo” Zorich. The record was mixed by Sanford Parker at Hypercube (Voivod, Darkthrone, YOB), mastered by Collin Jordan at Boiler Room Mastering (Ministry, Eyehategod, Spirit Adrift), and completed with artwork by RADIAN with the art concept and layout by Derek Vaive.
Due to unfortunate circumstances outside of the band’s control, the physical release of Subterfuge (released digitally in March) will see its physical release independently via the band’s own El Burno Records as soon as they arrive from the pressing plant in the next couple of months.
photos by Mike Burns
Subterfuge is currently available digitally on Bandcamp HERE. Also watch the “Spiraling Ash” video HERE.
Chile has one of the finest death metal (and overall metal) scenes on the planet. Following their 2018 and 2019 demos, Deathwards present their debut album of total macabre savagery. Out via Sepulchral Voice Records on the 30th of October.
Ominous riffs savagely erupt with thrashing mania alongside an onslaught of bestial vocals and hammering drums. Everything is tied together by these cinematic and dark synths which do not detract from the rabid intensity of the record, rather adding even more menace to the overall mix. Primitive but tight, the vicious nature of Deathwards’ approach is executed in the true and classic manner while definitely putting their own personality across to give an original and unique flair to things. From the progressive and off-kilter bass lines to the intriguing structures, this is more than just an old-school death metal record, this is a record that dares to be different. The washed-out reverb on the solos has a really cool atmosphere that beautifully contrasts the death-thrashing nightmare at hand while some lethal tom fills kick us back into the groove. With the vocals belligerently snarling to the instrumental cacophony of hellish torment, this is very 80s sounding but in a way that hasn’t been done to death. “Realms of Sin” is off to a blasphemously strong start.
There is a crushing mix of classic sounds such as Canada’s Infernal Majesty, American titans like Dark Angel and South American masters Vulcano mixed with this overall Voivod-ian oddness that I find to be balanced in a way that I have not heard before. Not to say they stray far from classic death/thrash, they just do it with a bit of originality. The production is unforgiving, giving that rusted sawtooth attack that a record like this needs. I really love it when a band has those cool tom fills (think classic Necrodeath) which sort of tip you from one onslaught into the next. Deathwards have mastered this ancient morbid approach where the devil is in the details. Blending these classic approaches with some violent blackened madness, dissonance and chaos, there is no denying this is a chaotic record but in a way that feels extremely well thought out. The amount of interesting dynamics and cool touches is truly impressive. Let’s keep dwelling in the realms of sin…
Alongside their insane and unforgiving approach to extreme music, there is an anthemic quality to some of these songs which you cannot resist pounding your fist to. This perfectly balances with the unhinged moments of mania throughout that will have you in awe at how such beastly and inhuman sounds can be forged into metallic artillery. The experimental touches are used just enough to set Deathwards apart from the crowd without alienating you from the otherwise very classic approach. It’s rare to hear a band pull off being traditional and ground-breaking but I think the concoction we are hearing here walks the line very nicely. Staying fierce throughout, you will not be disappointed at the visceral array of tracks Deathwards have on offer here. A truly impressive and remarkable full-length debut that I expect will stand the test of time and be found in many underground maniacs’ record collections. Not for the false, timid or weak!
If you adore that short but volatile period of the 80s when death and thrash metal collided to give us a ton of unique and timeless records than remain essential today, Deathwards certainly capture the spirit of those times but in their own refreshing and sinister manner. Estranged, violent, dark, barbaric. “Realms of Sin” is an unwieldy cut of wild and morbid metal that will certainly appeal to the die-hard traditionalists who preferred the times when metal was not bound by modern standards and impositions of futile micro-genres. This is simply a strong and ripping album that speaks for itself and stands on its own feet. Listen, support, or be destroyed by the tormentors!
The best modern goth songs are the ones that proved the genre didn’t end when the 80s did. Our classics list runs from 1979 to 1995, the years of Bauhaus, the Sisters and the Cure. This one picks up exactly where that left off and covers the thirty years since: the decade when goth got heavy enough for MTV, the decade it went underground and electronic, and the decade a trio from Minsk put a Russian-language post-punk song on TikTok and sold out American theaters. Thirteen songs, ranked, each with the story of why it’s here, and every one embedded so you can argue with the order while you listen.
What Changed After 1995
The first list ends in 1995 for a reason. That’s the year Marilyn Manson covered Eurythmics and Switchblade Symphony released their debut, and between them they mark a fork in the road. One path ran through industrial: drum machines, distortion, Trent Reznor’s production, and a generation of bands who put goth imagery on alternative radio and the Billboard charts. The other ran through darkwave: cheaper synths, colder rooms, and a scene that stayed small until streaming found it.
Gothic metal grew up alongside both, with Type O Negative carrying the romance and the doom at once. By the 2010s the sound had thinned to bass, drum machine and a single voice, and by 2020 the internet had turned a Belarusian trio into the most-heard goth-adjacent act of the century. This list covers all of it. If a song is here, it either defined a moment or outlived one.
Godhead were the only band Marilyn Manson ever signed to his Posthuman label, and ‘The Reckoning’ was the lead single that announced it. The album it fronted, 2000 Years Of Human Error, arrived in January 2001 with Manson as executive producer, Twiggy Ramirez and Manson himself guesting, and a second-stage slot at Ozzfest 2001 to follow.
The song itself is the moment industrial rock and goth stopped pretending to be different scenes: a mechanical pulse, a chorus built for a club with a fog machine, and Jason Miller’s baritone doing the brooding. It peaked low on the Billboard 200 and sold over a hundred thousand copies, which for a goth-industrial record in the nu-metal year of 2001 was a result. It opens this list because it’s the sound of the overlap, and the overlap is where modern goth starts.
12. Twin Tribes – “Tren Al Sur” (2025)
The newest song on the list is a cover of a Chilean new wave hit. Twin Tribes, the Brownsville, Texas duo of Luis Navarro and Joel Niño Jr., released ‘Tren Al Sur’ on their 2025 Ecos EP alongside a version of La Unión’s ‘Lobo Hombre En París’: two Spanish-language classics from 1990 and 1984, reworked as darkwave.
The original, by Los Prisioneros, is a train ride south through Chile set to synth-pop. Twin Tribes keep the melody and swap the sunshine for a chorus-drenched bass line and drum-machine snap that could have come off a 1986 4AD record. It works because the band grew up on both: border-town goths raised on rock en español and the Sisters Of Mercy. It’s here as proof that in 2025 the most interesting goth in America is coming out of South Texas, in Spanish, and that darkwave is now a language rather than a decade.
11. Skinny Puppy – “Candle” (1996)
The Process was recorded under the worst conditions of Skinny Puppy’s career and released, in February 1996, six months after keyboardist Dwayne Goettel died of a heroin overdose. The band had already broken up by the time it came out. ‘Candle’ is the song on it that sounds like grief rather than anger.
Nivek Ogre, who had spent a decade shredding his voice over the harshest electronics in Vancouver, sings this one almost cleanly over a melody that wouldn’t have been out of place on a Cure record. It is Skinny Puppy’s most goth moment, and it exists because of loss. The band reformed in 2004 and toured until their farewell run in 2023, but ‘Candle’ remains the one that fans who don’t otherwise listen to Skinny Puppy know, and the one that proves industrial’s hardest band could write a hymn when it had to.
10. Nine Inch Nails – “The Perfect Drug” (1997)
Trent Reznor wrote ‘The Perfect Drug’ for David Lynch’s Lost Highway, released it as a single in 1997, and then more or less disowned it: Nine Inch Nails didn’t play it live until 2018, twenty-one years later. That reluctance is part of why it’s here. It’s the most goth song Reznor ever made, and he seems to know it.
The track is drum and bass at its most frantic underneath, and pure Victorian melodrama on top: obsession, the lover as narcotic, a chorus that climbs and never resolves. Mark Romanek’s video, Reznor in a frock coat wandering a mansion full of absinthe and topiary, is the closest thing the 90s produced to a goth short film with a nine-figure budget. It’s the entry on this list most likely to be argued about, and the one that most clearly connects the industrial 90s back to the Romantic 1890s.
9. Razed In Black – “Oh My Goth!” (2001)
Razed In Black is essentially one man, Romell Regulacion, who started the project in ʻEwa Beach, Hawaii in 1994 and signed to Cleopatra Records a year later. ‘Oh My Goth!’ arrived as the title track of a 2001 EP and immediately became the song every goth-industrial club night in America played at 1 a.m.
It’s EBM built for a dancefloor, a stomping four-on-the-floor kick under synths that sound like they were programmed in a bunker, and it’s funny: a song by a goth, for goths, about goths, that knows exactly how ridiculous the scene looks from outside and loves it anyway. It turned up on Cleopatra’s This Is Goth compilation and a string of trance remixes, and for a whole generation of American club kids it was the first song they heard that treated the subculture as something to dance to rather than mope through.
8. Orgy – “Blue Monday” (1998)
Orgy’s ‘Blue Monday’ is the New Order song rebuilt as a machine. Released on Candyass in 1998 through Jonathan Davis’s Elementree label, the cover went to No. 4 on the Modern Rock chart and No. 56 on the Hot 100, and sent the album platinum. For about eighteen months Jay Gordon’s silver eye make-up was on every alternative station in the country.
What makes it goth rather than just nu-metal with a synth is the restraint: the band kept New Order’s funereal pace and that lurching, half-time drum pattern, then wrapped it in down-tuned guitar and a vocal that sounds like it’s being delivered through a pane of glass. It is the most commercially successful song on this list by a distance, and it’s the moment the goth look stopped being a club uniform and became an MTV one.
7. Molchat Doma – “Sudno (Boris Ryzhy)” (2018)
Three men from Minsk, Belarus, released an album called Etazhi on a small German label in September 2018, and an unofficial YouTube upload quietly found two million listeners. Then, in the first months of 2020, TikTok found ‘Sudno,’ and a Russian-language post-punk song about a bathtub became the soundtrack to hundreds of thousands of videos. It reached No. 2 on Spotify’s global Viral 50; Sacred Bones signed the band; and when venues reopened, Molchat Doma were selling out theaters across the US to crowds who couldn’t understand a word.
The lyric is a poem by Boris Ryzhy, who died in 2001 at twenty-six. The music is coldwave in its purest form: a drum machine, a bass line, one guitar and Egor Shkutko’s flat, exhausted baritone. Nothing on this list has been heard by more people. It’s at seven because it changed who listens to this music, not just how it sounds.
6. Marilyn Manson – “Sweet Dreams (Are Made of This)” (1995)
The Eurythmics cover on Smells Like Children, produced with Trent Reznor and released in October 1995, is the song that made Marilyn Manson a household name a year before Antichrist Superstar. It did it by slowing Annie Lennox’s synth-pop to a crawl, replacing the hook with a guitar that sounds like it’s being dragged across a floor, and handing the whole thing to a singer who treats the lyric as a threat.
Dean Karr’s video, Manson in a tutu on a pig, Manson on stilts, Manson in a bathtub, was on MTV around the clock. For every kid in a mall in 1996 who had never heard of Bauhaus, this was goth: the make-up, the menace, the sense that the song was about them. It’s placed here, above the chart hits and below the scene classics, because it was both at once.
5. Lebanon Hanover – “Gallowdance” (2013)
If ‘Sudno’ is the 2020s’ accidental anthem, ‘Gallowdance’ is the 2010s’ deliberate one. Lebanon Hanover, the duo of Larissa Iceglass and William Maybelline, released it on Tomb For Two in 2013, and it became the defining song of the darkwave revival: a bass line you can hum, a drum machine that never speeds up, and a vocal that sounds like it was recorded in an unheated flat, which it may have been.
The song’s second life came through the internet’s ‘doomer’ subculture, where it soundtracked a thousand grey, rain-streaked videos of people staring out of windows. The band have mixed feelings about that. The song doesn’t care. It’s the purest piece of minimal-wave on the list, the one that proves you need almost nothing to make this music, and the one most responsible for every darkwave duo that formed between 2014 and now.
4. The 69 Eyes – “Gothic Girl” (2000)
Finland’s self-styled Helsinki Vampires spent the 90s as a glam-sleaze band before Blessed Be, in 2000, turned them into the biggest goth rock act in Northern Europe. ‘Gothic Girl’ is the song that did it: a Sisters Of Mercy bass line, a Billy Idol chorus, and Jyrki 69’s baritone pitched somewhere between Andrew Eldritch and Elvis.
It’s a love song to the scene as much as to a girl, and that’s why it stuck. The 69 Eyes understood that goth rock was always partly rock and roll theater, and they played it that way: leather, sunglasses indoors, a chorus you can sing with a drink in your hand. In a decade when most goth bands were either going industrial or going underground, they went to the charts in Finland and the clubs everywhere else. Twenty-five years on it’s still the song that fills the floor.
3. Fields Of The Nephilim – “Requiem XIII 33” (2005)
Carl McCoy spent fifteen years after Elizium releasing almost nothing under the Nephilim name. Mourning Sun, in 2005, was the real return, and ‘Requiem XIII-33’ is its centerpiece: eleven minutes that open on a desert wind and end somewhere close to doom metal, with McCoy’s voice lower and rougher than it had been in 1990.
It’s on this list, and this high, because it did something no other 80s goth band managed. It came back heavier, not nostalgic. The production is modern, the guitars are tuned down, and the sense of ritual that always separated the Nephilim from their peers is intact. Fans of the gothic metal albums that followed in the 2000s can hear the blueprint here. Most reunion records are a victory lap. This one is a sermon.
2. Switchblade Symphony – “Dissolve” (1995)
Tina Root and Susan Wallace released Serpentine Gallery on Cleopatra in 1995, and ‘Dissolve’ was the track that announced an entirely different idea of what goth could be. No guitar heroics, no baritone: sampled strings, a trip-hop drum loop, and Root’s voice floating somewhere between a lullaby and a warning.
It’s the song that connects the Cocteau Twins side of the 80s to the darkwave that would dominate the 2010s, and it did it from San Francisco at the exact moment the rest of the American scene was turning industrial. Switchblade Symphony only lasted three albums; Wallace died in 2024. ‘Dissolve’ is still the most beautiful thing Cleopatra ever released, and the reason half the duos on the modern darkwave circuit have a woman at the front and a sampler at the back.
1. Type O Negative – “Love You To Death” (1996)
The first list ends with Bauhaus. This one ends with a love song from Brooklyn, and the argument for it is simple: no song of the last thirty years carries more of what goth is about, the romance and the funeral, the organ and the riff, than ‘Love You To Death.’
October Rust, released by Roadrunner in August 1996, went gold in the US on the strength of it. Peter Steele wrote a seven-minute devotional, gave it a chorus built on the word ‘yes,’ and sang it in a voice so low it feels like a hand on the back of your neck. Kenny Hickey’s guitars sit under the keyboards like a tide. There’s no irony anywhere in it, which, from a band that named a song ‘I Like Goils,’ is the point. Steele meant it.
Whether Type O Negative are a goth band or a gothic metal band is a debate for the comments. Peter Steele died in 2010, the band ended with him, and the song outgrew both. Kenny Hickey talked about those years on The Loaded Radio Podcast recently, and the short version is that they knew what they had. So do we. No. 1.
Honorable Mention: KMFDM – “Anarchy” (1997)
Not goth, and Sascha Konietzko would tell you so, but ‘Anarchy,’ from 1997’s Symbols, was on every goth-industrial dancefloor in America for a decade, and the scene adopted it whether KMFDM liked it or not. A stomping beat, a Marilyn Manson-sized chorus and a political snarl: the sound of the 90s club night at 1 a.m., just before ‘Oh My Goth!’ came on.
The best modern goth songs 1995–2025, ranked: Type O Negative’s ‘Love You To Death’ at No. 1, Switchblade Symphony’s ‘Dissolve’ at 2, Fields Of The Nephilim’s ‘Requiem XIII-33’ at 3.
The list covers three eras: the industrial-goth 90s (Manson, Nine Inch Nails, Orgy, Skinny Puppy), the club decade (The 69 Eyes, Razed In Black, Godhead), and the darkwave revival (Lebanon Hanover, Molchat Doma, Twin Tribes).
Most-heard song on the list: Molchat Doma’s ‘Sudno,’ a Russian-language post-punk track from Minsk that went viral on TikTok in 2020 and reached No. 2 on Spotify’s global Viral 50.
Newest entry: Twin Tribes’ 2025 cover of Los Prisioneros’ ‘Tren Al Sur,’ darkwave from South Texas in Spanish.
The companion list, the best goth rock songs 1979–1995, is linked below.
FAQ
What is modern goth music?
Modern goth covers the sounds the genre split into after the mid-1990s: industrial-influenced goth rock (Marilyn Manson, Nine Inch Nails, Orgy), gothic metal (Type O Negative, Fields Of The Nephilim’s later work), and darkwave or coldwave, the minimal synth-and-bass style of Lebanon Hanover, Molchat Doma and Twin Tribes that drove the genre’s 2010s and 2020s revival.
Is Type O Negative a goth band?
Type O Negative are usually filed under gothic metal or doom metal, but their imagery, humor and romanticism put them at the center of any goth conversation. ‘Love You To Death,’ from 1996’s gold-certified October Rust, is the most widely loved goth song of the last thirty years, which is why it tops this list.
What is the most popular modern goth song?
By reach, Molchat Doma’s ‘Sudno (Boris Ryzhy).’ Released on the 2018 album Etazhi, the Russian-language track went viral on TikTok in early 2020, reached No. 2 on Spotify’s global Viral 50, and turned a trio from Minsk into a theater-level touring act in the United States.
Who are Twin Tribes?
Twin Tribes are a darkwave duo from Brownsville, Texas: Luis Navarro and Joel Niño Jr. Their 2025 Ecos EP reworks two Spanish-language classics, Los Prisioneros’ ‘Tren Al Sur’ and La Unión’s ‘Lobo Hombre En París,’ as gothic synth-driven darkwave, and ‘Tren Al Sur’ is the newest song on this list.
What is the difference between goth rock and darkwave?
Goth rock is guitar-led, built on the post-punk template of Bauhaus, the Sisters Of Mercy and the Cure. Darkwave strips that back to synthesizers, drum machines and bass, with a colder, more electronic feel; it grew out of 1980s European acts and returned in the 2010s through bands like Lebanon Hanover and Molchat Doma. Many modern bands sit between the two.
Finished here? Start at the beginning: the best goth rock songs 1979–1995, the thirteen classics this list was built to follow. And tell us in the comments which song from the last thirty years we left out.
Dominum has covered Michael Jackson‘s “Thriller,” pairing the pop staple with horror imagery and big choruses. The result is a metal anthem that suits a band already living in the zombie business.
The cover follows Night Is Calling, the band’s latest album, which came out July 3 through Napalm Records and landed in the top 10 of the German charts. The 2024 predecessor, The Dead Don’t Die, did the same. Frontman and mastermind Felix Heldt, known as Dr. Dead, has since taken his undead crew to major European stages. That crew is made up of guitarist Tommy Kemp, bassist Patient 0 and drummer Victor Hilltop. The band has toured with Bruce Dickinson, Avantasia, Battle Beast and Peyton Parrish, and has held its own at festivals as well as on its own headline shows.
Dr. Dead explained the reasoning behind the cover, saying, “Let’s be honest for a second: before Michael Jacksoncame along, zombies had a serious image problem. They were extras in cheap B-movies, hanging around on terrible diets and taking a shotgun blast to the face by minute twenty. No rights, no lobby.
“Then, in 1983, a man in a red leather jacket showed the world that this valuable part of our society had more to offer. Suddenly they were dancing on MTV. Prime time. Michael Jackson did more for the undead than any politician ever has. So we owe him one.
“And since a thank-you card felt a bit boring, we’re paying him back our way: by spicing up this masterpiece a bit. Just for your information: our security on the Night Is Calling Tour has been briefed. Anyone caught moving forward during ‘Thriller’ is officially cleared as dinner.”
Night Is Calling opens the next chapter in the band’s dark, theatrical world. The group keeps its focus on melodic, theatrical modern metal, fronted by the dark charisma of Dr. Dead and his zombies, and the Living Dead Squad keeps growing.
Dr. Dead said of the album, “They grow up so fast. Ugh. It makes me sick. And now I feel it myself: my zombies have grown up. Our creation… has grown up too. But unlike the pitiful rest, we don’t mourn our childhood. No. We revel in who we are. Being a child, being an adult—what does that even mean?
“Anyway, the world lies at our feet, and we can do whatever we damn well please. Believe me from firsthand experience: an army of zombies makes everything a hell of a lot easier… and way more fun with every bit of trouble getting the punch it deserves. We have the power to reshape our world. And oh, we do.
“Night is Calling – this is our outlet. Stronger melodies, heavier riffs, sharper, unflinching lyrics—honesty as our deadliest weapon. We are who we are. And you… you’re in this whether you like it or not. The undead are on the march, more relentless than ever. Join us immediately, willingly… or a little later when we come to your neighborhood. Either way… we’ll be seeing you. Dr. Dead.”
Heldt produced the album, and Jacob Hansen handled the mix. The record leans into heavier riffs, bigger choruses and a cinematic feel. Opener “The Circus Is In Town” drops listeners into the band’s twisted carnival, while “Doctor Doctor” and “Dark Melodies” bring the hooks for festival crowds. The title track, “Night Is Calling,” features Battle Beast.
Night Is Calling is available in the following formats:
2 LP Vinyl Deluxe Box incl Gatefold Splattered Dark Night Blue / Translucent Vinyl and Bonus album Vinyl Live at Wacken 2025 (exclusively available via Napalm Records Mailorder) (strictly limited)
1 LP Gatefold Vinyl Glow In The Dark (exclusively available via Napalm Records Mailorder) (strictly limited)
2 CD, 36 pages Earbook incl. Bonus album Live at Wacken 2025 (exclusively available via Napalm Records Mailorder) (strictly limited)
1 LP Gatefold Vinyl Aquamarine (exclusively available via OPEN Mailorder) (strictly limited)
1 LP Gatefold Vinyl Black
2x 1CD Jewelcase in O-Card incl Bonus CD Live at Wacken 2025
Digital Album
The headline tour behind Night Is Calling begins in late November. The Night Flight Orchestra and Edge Of Paradise are along for the ride, and the run covers Europe and the UK until shortly before Christmas.
Apple Corps has announced a major overhaul for TheBeatles Story, the Liverpool attraction that has been running for years. In 2028, it will leave its current spot at Albert Dock for the former St Johns Market inside St Johns Shopping Centre, directly across from Lime Street station. The new 100,000-square-foot site is more than four times the size of the existing one.
The St Johns Beacon, the second tallest building in Liverpool, will also get a Yellow Submarine themed viewing experience with a 360-degree panorama of the city, taking in the spots where pop history was made. The Beacon can be visited on its own, or fans can buy a bundle that covers both attractions.
This move puts TheBeatles Story in the hands of Apple Corps, the company founded in 1968 to look after The Beatles‘ creative and business affairs. It will be the first official fan experience the company has run in Liverpool. Apple Corps takes over operations at the current location in 2027, then relocates the attraction to St Johns in 2028. It will be only the second permanent Beatles experience operated by Apple Corps, after the one coming to 3 Savile Row in London, which is due to open at the end of 2027.
Visitors can expect a multi-hour walk through the world that produced The Beatles, starting with post-war Liverpool, then the Hamburg years, Beatlemania and global fame. The attraction will mix immersive technology, original artifacts and rebuilt sets, with stops at The Cavern, Abbey Road, Shea Stadium and Savile Row, among others. Some of these locations will be built with sets and props from Sam Mendes‘ upcoming film The Beatles: A Four-Film Cinematic Event, which Sony will release in cinemas worldwide in April 2028. The Liverpool opening will land shortly after that release.
The attraction also comes with a charitable component. A portion of every ticket sold goes to The Apple Corps Liverpool Trust, set up to give financial support and opportunities to emerging Liverpool artists and local cultural projects. More details on the trust will come later.
Apple Corps CEO Tom Greene said, “Liverpool birthed the greatest band in history and today we are announcing a new experience in the city that does justice to that legacy. Just like Graceland or Dollywood, it’s fitting that TheBeatles will have a world class destination for fans to visit in the centre of the city where the story started. It marks a new chapter in Apple Corp‘s history and we can’t wait for people to see what we’ve been working on.”
Paul McCartney said, “I find it incredible and humbling that people are still interested in our story and it’s very exciting to me that TheBeatles Story and The Beacon are being transformed in such an exciting way in the heart of Liverpool city. I love Liverpool. It’s part of who I am, it’s part of who TheBeatles are.
“If you’d told us this was going to happen when we were hanging out and getting started, we’d never have believed it. The extraordinary plans the Apple Corps team have shown me for TheBeatles Story take me right back to that journey, from Liverpool to the world and back home again. It couldn’t have happened without Liverpool and I can’t wait for people to be able to step into our story and share the experience.”
Ringo Starr said, “When we grew up in the Dingle, we never thought we’d be on a plane, much less all the places this long, long road took us. I was blessed from the moment I first held a drum at 13 years old, and from then on it’s been my dream to be a drummer.
“I remember it all so well, on Saturdays Roy (Trafford) and I would spend many great hours at the Bodega and then the Cavern. I have such great memories of the first band I was in – me, Eddie, and Roy were all working in the factory when we started a skiffle group. Who would have thought where the story went from there – leading to me joining the Beatles.
“Liverpool was, and still is, music city. And now we are expanding TheBeatles Story Experience in Liverpool – how far out. The beat goes on. I also love that proceeds from every ticket will go back to support new Liverpool artists. It is great to be part of this – deep down I am still a scouser – I love what Apple (Corps) and Liverpool are doing. Peace and love, Ringo.”
Liverpool City Region Mayor Steve Rotheram welcomed the news, saying, “The Beatles belong to the world – but Liverpool will always be home. Their music changed popular culture forever and carried the name of our city to every corner of the globe, so it feels absolutely right that the definitive Beatles experience should be here, in the place where it all began.
“People already travel halfway around the globe to visit the birthplace of four lads that shook the earth. These plans take that extraordinary pull to another level – creating a world-class destination that will give millions more fans a reason to make the pilgrimage to their spiritual home and experience the city, its music and its culture for themselves.
“And I love that this won’t just be harking back. Every ticket sold will go towards ensuring that the band’s extraordinary story is kept alive and passed on to generations still to come, helping the next generation of Liverpool artists start writing stories of their own. That feels very Liverpool: fiercely proud of where we’ve come from but always looking to what comes next.”
Prime Minister Andy Burnham said, “The Beatles are one of the greatest examples of what Britain can give to the world. Four young men from Liverpool changed music and popular culture forever – and, more than sixty years later, their story is still a source of enormous pride for this city and for our whole country.
“This is the kind of ambition I want to see more of across Britain: backing the things our great cities do best and turning that global reputation into jobs, opportunity and growth. This will be a world-class addition to Liverpool and another showcase for British music and creativity on the international stage.
“But the best legacy we can give The Beatles is to make sure theirs isn’t the last great British success story to begin this way. Talent exists in every part of our country; opportunity still doesn’t. I want the next generation of young artists, wherever they grow up, to believe there is a route from their bedroom, rehearsal room or local venue to the very top of the world. The fact that this project will help open those doors makes it even more special.”
A Liverpool-led partnership made the announcement possible. Apple Corps worked closely with Liverpool City Council and the Liverpool City Region Combined Authority, with backing from central government, on preparing the site and surrounding public space, the delivery plan, and ways to maximize local social and economic benefits. That group will now ramp up its efforts to deliver the attraction.
Liverpool City Council leader Liam Robinson said, “This announcement is another hugely exciting chapter. It gives us the opportunity not only to create an incredible new home for TheBeatles Story, but to kick-start the regeneration of an important gateway into our city centre, attracting visitors from across the world and creating opportunities for our city and the wider UK economy.
“And I’m particularly excited about what this can mean for the next generation. Liverpool has never been short of talent. Talent is everywhere, but opportunity isn’t, which is why The Apple Corps Liverpool Trust matters The success of this attraction can directly help open doors for emerging Liverpool artists.
“My sincere thanks go to Tom Greene, the Apple board and The Beatles‘ families for continuing to believe in Liverpool and for helping us create something worthy of the city where this remarkable story began. I can’t wait to see the final experience.”
Apple Corps was founded in 1968 to oversee The Beatles‘ creative and business interests. It began as an outlet for the band’s own recordings and for artists the members brought to the label, and has since expanded into music, publishing, merchandise, electronic media and film. With the 3 Savile Row experience set for 2027 and the Mendes film arriving in 2028, the company says it has entered a new phase focused on bringing The Beatles‘ music to new generations of fans.
FOR IMMEDIATE RELEASE
ËVIL SÍNNER SIGNS WITH CDN RECORDS
Old-School Heavy Metal Outfit Brings Loud, Rude, and Aggressive Metal to the CDN Records Roster
Old-school heavy metal is alive and kicking, and Ëvil Sínner is ready to make some noise. The band has officially signed with CDN Records, marking a new chapter for the rising underground metal act as it continues to build momentum with its no-frills approach to traditional heavy metal.
Describing its sound as “loud, rude, and aggressive,” Ëvil Sínner draws inspiration from the raw power and attitude of classic heavy metal and hard rock. With influences including Ted Nugent, Wild Dogs, Street Toyz, Dokken, and Exciter, the band delivers a sound rooted in the spirit of the genre’s golden era while bringing its own intensity to the modern underground.
FROM DIY DEMO TO THE UNDERGROUND METAL SCENE
Ëvil Sínner’s story began in the summer of 2024, when drummer and former lead vocalist JaCorien Lester independently released Power Surge, a six-song demo that introduced the band’s raw production, traditional metal foundations, and unapologetically old-school attitude.
The demo quickly began attracting attention throughout the underground heavy metal scene. As word spread, the project started receiving live performance offers and interest from record labels across the United States and Europe.
An early milestone came when the band was offered a support slot for Void at Culture Shock in Atlanta, Georgia, during one of the band’s Southern tours. Around the same time, Lester invited friend Remington Hill to join the group as bassist and lead vocalist, helping move the project toward its next phase.
The search for guitarists eventually brought Yechiel Romero into the fold, who later introduced Rodrigo Salazar. Together, the musicians helped establish the foundation of Ëvil Sínner and develop the band’s identity within the underground heavy metal community. As the project continued to evolve, so did its lineup, leading to the band’s current configuration.
Now signed to CDN Records, Ëvil Sínner is positioned to take its brand of traditional heavy metal to a wider audience while staying true to the raw energy and attitude that started it all.
NO SHORTCUTS. NO COMPROMISES. JUST HEAVY METAL.
For listeners who grew up on classic heavy metal, ripping guitars, hard-hitting rhythms, and the rebellious attitude that made the genre legendary, Ëvil Sínner delivers a reminder that the old-school spirit never went away.
With its roots firmly planted in traditional metal and its sights set on the next chapter, Ëvil Sínner is ready to turn up the volume and bring its sound to more stages and listeners.
Welcome to the roster, Ëvil Sínner!
[jrEmbed module=”jrYouTube” youtube_id=”PYKSBGnc4kQ”]
ABOUT ËVIL SÍNNER
Ëvil Sínner is an old-school heavy metal band formed in 2024, known for its loud, aggressive sound and dedication to traditional heavy metal. Drawing influence from classic heavy metal and hard rock, the band combines a raw underground attitude with the musical spirit of the genre’s foundational acts.
MORE INFORMATION
Official CDN Records Artist Page: https://cdnrecords.com/artists/evil-sinner/
For Fans Of: Ted Nugent, Wild Dogs, Street Toyz, Dokken, Exciter
Media & Press Inquiries: zach@metaldevastationradio.com
