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“If melancholy would be translated in terms of music, it definitely should be called Winterfylleth.” – Rock Tribune (BE) “The most mature and technically strongest WINTERFYLLETH album to date—awe-inspiring, suspenseful, and sublime.” – Legacy (DE) With “Echoes In The After”, UK black metal legends WINTERFYLLETH unveil the second single from their upcoming album, The Unyielding Season, out March 27, 2026 via […]

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Earlier today, Deeper Graves released the third album in its post-punk discography and its first album in four years, Pull Me Toward The Dark. The brainchild of ex-Nachmytsium/ex-Wolvhammer guitarist and Disorder Recordings owner Jeff Wilson, it serves as a sort of deeply personal portal into his work as an artist. And we’ve got the exclusive track-by-track breakdown straight from the source.

To make this feel almost like a director’s cut documentary, we’ve included each song along with each of Wilson’s recollections so can listen to a track while you read about what went into it. Think of it like a commentary track.

But that’s enough of my jibber-jabber. Here’s Deep Graves’ track-by-track breakdown of Pull Me Toward The Dark.

Misunderstood

This track was more/less an intro to the album and titled this because I thought most people would just assume I’d tag it at the beginning of No Time. It didn’t really need it’s own track number, but the other song was already bounced and to be blunt, I was too lazy to do it again. Seven songs looks better than six too, no?

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No Time for Love

I had a cat die a couple years ago, we went through a lot of medical stuff that didn’t really help at all. This one is partially me talking to my cat, partially telling myself to not get attached to another animal like that one. I’m obviously failing at the last part.

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Over My Shoulder

I’m just a moody, bipolar, horrible person to deal with a lot of the time. My temperament can change on a dime over nothing at all. This is just kind of an improv, off the cuff internal dialogue that turned into lyrics. As with “No Time”, these lyrics were written about two minutes before I put down the scratch vocal. I’m much more interested in the cadence than the content.

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All These Years

I never really cared about writing verses for this project. I always figured I could fill the space with guitar or synth. I’ve always liked a good hook and although this song is pretty old, it’s still got that anthemic kind of singalong thing I dig about non-metal stuff, so it made the cut.

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Where Do We Go From Here

This song was a leftover from another project that didn’t make that record. I felt like the first two albums were pretty heavy on the slow, dirgey type songs, so this one needed some more upbeat vibes. The chorus was in my head for an extended period of time, but again, verse lyrics came very spontaneously and jotted down just before the initial vocal tracking.

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The Truth

Just enough electro, just enough guitar, just enough to fit on the album. This one started out as an improvised sort of jam session. Initially, it was about twice as long as the final cut. Still just enough of a hook at the end to keep it interesting. This one has been around for awhile as well, I could’ve written a new song, but felt this needed some attention too. It worked out in the end.

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Pull Me Toward the Dark

I’m predictable at this point. Slow, depressing closer. Same one trick pony for 20 years. Why change now?

The post Exclusive: Deeper Graves Breaks Down ‘Pull Me Toward The Dark’ Track By Track appeared first on MetalSucks.

Post-metal luminaries don blackened veil while peeling back the layers of our accursed history Featuring Sakis Tolis of Rotting Christ UNVERKALT have always been drawn to the edge. Since emerging from Greece’s underground catacombs in 2017, the five-piece post-metal band have balanced boundless atmosphere with suffocating heaviness. But now, on their upcoming third album and first […]

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They’ve also announced an April 03rd show.

The post Breaking In A Sequence Readying New Album “Inanimate” appeared first on Theprp.com.

Greek symphonic extreme metal practitioners W.E.B. are pleased to present their live video of “Morphine For Saints” from Darkness Alive, their first ever live album, released last week via Metal Blade Records. W.E.B.‘s music has earned high praise for its “drama, extremity and bloodthirst in equal parts… energetic and unhinged.” The formidable symphonic extreme metal lineup is best […]

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What Is Tron Ares: Divergence And Why Did Nine Inch Nails Release It Now?

It’s a 20-track companion release to last year’s Tron Ares soundtrack, collecting unreleased material and bold remixes from major electronic artists.

TL;DR

• Nine Inch Nails surprise-release Tron Ares: Divergence on February 27
• Companion piece to the GRAMMY-winning Tron Ares soundtrack
• Includes unreleased tracks plus remixes by Arca, Boys Noize, Mark Pritchard, Chilly Gonzales and more
• Features multiple reinterpretations of “As Alive As You Need Me To Be”
• Expands Trent Reznor and Atticus Ross’ cinematic industrial universe

No rollout. No teaser campaign. No cryptic countdown.

Nine Inch Nails just hit publish.

Tron Ares: Divergence arrives as a full 20-track companion to last year’s Tron Ares soundtrack — the project that marked the band’s first major release in several years and earned a GRAMMY Award for Best Rock Song with “As Alive As You Need Me To Be.”

But this isn’t a simple remix EP.

It’s a reconfiguration.

Get Your 2026 Nine Inch Nails Tickets Here

Not A Deluxe Edition — A Mutation

Where the original Tron Ares score leaned cinematic and immersive, Divergence fractures that world open.

The album opens with the explosive “Converge,” setting the tone immediately. From there, the project swings between unreleased atmospheric instrumentals and radical reinterpretations from some of electronic music’s most forward-thinking names.

Arca delivers a haunting, destabilized take on the GRAMMY-winning centerpiece. Boys Noize contributes a three-track remix assault — reworking “A Question Of Trust,” “Ghost In The Machine,” and “What Have You Done?” into harder, club-driven mutations.

Mark Pritchard reshapes “I Know You Can Feel It.” Chilly Gonzales twists “100% Expendable.” Danny L Harle brings unexpected lift to “Who Wants To Live Forever?” featuring Judeline.

This isn’t nostalgia.

It’s deconstruction.

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The Reznor And Ross Blueprint Still Holds

Trent Reznor and Atticus Ross have built a second career in cinematic scoring that rivals their industrial legacy.

The original Tron Ares soundtrack proved they could step back into the spotlight without losing edge. Winning a GRAMMY for “As Alive As You Need Me To Be” only reinforced that their songwriting instincts remain intact — even inside a digital dystopia.

Divergence feels like them handing the blueprints to the next generation of sonic architects.

Lanark Artefax, Jack Dangers, Pixel Grip, The Dare, Schwefelgelb and Working Men’s Club all contribute, each bending the source material in unpredictable directions.

The result is industrial, electronic and cinematic — but also restless.

If you’ve been paying attention to how heavy music and electronic culture are colliding again lately, this fits that shift perfectly.

Full Tracklist

• Converge
• I Know You Can Feel It (Mark Pritchard remix)
• Godmode
• A Question Of Trust (Boys Noize remix)
• Operand
• Zero State
• Empathetic Response (Lanark Artefax remix)
• 100% Expendable (Chilly Gonzales remix)
• Who Wants To Live Forever? (Danny L Harle remix) (feat. Judeline)
• Infiltrator (Jack Dangers remix)
• A Framework
• Ghost In The Machine (Boys Noize remix)
• What Have You Done? (Boys Noize remix)
• As Alive As You Need Me To Be (Pixel Grip remix)
• The First Betrayal
• I Know You Can Feel It (Working Men’s Club remix)
• Shadow Over Me (The Dare remix)
• Terminal
• Forked Reality (Schwefelgelb remix)
• As Alive As You Need Me To Be (Arca remix)

Why This Drop Matters

Nine Inch Nails don’t operate on hype cycles anymore.

When they release something, it’s intentional.

This surprise drop signals movement — not just in film scoring, but in how Reznor and Ross are positioning the Nine Inch Nails identity going forward.

Is this a bridge toward another full band release?

Or is this the new blueprint — cinematic industrial that lives between worlds?

Either way, the machine is running again.

Check This Out – Top 13 Goth Rock Songs Ranked (1979-1995): The Definitive Anthems of the Shadow Era

 

FAQ

What is Tron Ares: Divergence?
A 20-track companion release to the Tron Ares soundtrack featuring unreleased tracks and remixes.

Did Nine Inch Nails win a GRAMMY for Tron Ares?
Yes. “As Alive As You Need Me To Be” won a GRAMMY Award for Best Rock Song.

Who remixed tracks on Divergence?
Arca, Boys Noize, Mark Pritchard, Chilly Gonzales, Danny L Harle, Lanark Artefax and others.

Is this a new Nine Inch Nails album?
No. It’s an expansion of the Tron Ares soundtrack.

Band Bio

Nine Inch Nails, founded by Trent Reznor in 1988, became one of the defining forces in industrial rock. In recent years, Reznor and longtime collaborator Atticus Ross have built an acclaimed film scoring career, earning multiple Academy Awards and GRAMMYs. Their work blends industrial textures, cinematic composition and electronic experimentation.

The post Nine Inch Nails Just Dropped a New Album Without Warning appeared first on Loaded Radio.

PinkPantheress is about to be named Producer Of The Year at Saturday’s BRIT Awards. Ahead of that honor, here’s another: Her Fancy That heater “Illegal” has been remixed by her fellow British production great, Four Tet. Kieran Hebden’s crisp, uptempo rework is built for the club, so throw it on next time you want to…

The post PinkPantheress – “Illegal (Four Tet Remix)” appeared first on Stereogum.

On April 30th internationally, BlackSeed Productions is proud to present The Great Observer‘s striking debut album, Loss of Transcendence, on CD and vinyl LP formats. Driven by a shared longing for boundless expression, Daniele Z. (guitar and vocals, ex-Night Gaunt) and Luca E. (drums and vocals, ex-Demonomancy and ex-Thulsa Doom) came together in a rehearsal room in Rome in […]

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I’ve kicked off this year with a good old-fashioned death binge. My putrid immersion has taken me around the world so far: first to Chile, then across the Pacific to Australia, and now back across continents to Sweden. Next up is Stockholm-based duo Harrowed. Consisting of dual-threat drummer and vocalist Adam Lindmark (ex-Morbus Chron) and guitarist/bassist Tobias Alpadie (VAK and former live guitarist for Tribulation), the pair linked up through a past project to pay homage to the SweDeath sounds of olde. With only a demo and a split to their name, their debut album, The Eternal Hunger, unleashes Harrowed’s fetid disposition upon the world with a fresh edge, proving these Swedes are more than just HM-2 clones.

But rest easy—no HM-2 pedals were harmed in the making of The Eternal Hunger. Instead, Harrowed delivers enough primitive-drenched filth to satisfy any SweDeath devotee craving the crunch. Alpadie’s serrated tremolos and lacerating riffs cut like rotary blades, while Lindmark’s feverish blasts and tribal tom rolls drench highlights like “Blood Covenant” and “The Cold of A Thousand Snows” in a heavy layer of cavernous abrasion, tearing through the speakers with surgical precision. The Stockholm sound’s hardcore punk DNA is also front and center, as the duo rips through tracks like “Ultra Terrene Phantasmagoria,” “Bayonet,” and “The Reins” with high-octane skank beats and wailing dirges. Lindmark’s vocals are a caustic mix of barbaric regurgitations, adding formaldehyde-infused dressing on Harrowed’s cadaver sandwich. Tied together by a punchy production that preserves the weight of the muddy sound of yore while also maintaining a modern, nimble edge, every disgusting note on The Eternal Hunger lands with maximum impact.

The Eternal Hunger channels the spirit of ’90s-era Entombed, yet Harrowed also weaponizes influences from far beyond Swedish borders. The duo frequently abandons standard old-school formulas to explore a diverse palette of unbridled savagery. On “Blood Covenant,” Lindmark’s stampeding, guttural-punctuated rhythms and turbulent transitions coalesce with Alpadie’s blazing fretwork, leaning closer to classic thrash than typical SweDeath. Pivoting from there, “Ultra Terrene Phantasmagoria” and “The Cold of A Thousand Snows” embrace a blackened speed identity where icy tremolos, demented double-bass attacks, and progressive ride patterns imbue a sinister edge outside typical HM-2 purism. Harrowed also pulls from the American scene. “The Eternal Hunger” mirrors the swampy, gore-soaked roots of early Autopsy and Death, while the haunting, clean arpeggios driving the title track and “The Haunter” resurrect Slayer’s “Seasons in the Abyss.” Strategic moments of suspense, where the duo strips away the distorted crust in favor of suspenseful intros and bridges, only make the final blows feel more devastating as hammering half-time grooves (“Blood Covenant”) and esoteric patterns (“Formaldehyde Dreaming,” “The Reins”) work well to keep the listener off-balance.

While Harrowed’s varied songwriting is largely airtight, certain songs reveal minor cracks. “The Reins” suffers from a disjointed bridge that briefly stalls the track’s momentum, though Lindmark’s technical drumming and visceral vocal attack do well to anchor the chaos. There are also occasional moments when tracks feel like retreads, suggesting Harrowed may have hit the bottom of their bag of tricks. “Formaldehyde Dreaming,” for instance, relies on a riff set strikingly similar to those found in “Bayonet” and “The Cold of A Thousand Snows,” while the clean intro of “The Eternal Hunger” echoes “The Haunter.” Furthermore, the title track’s brooding build-up fails to deliver a proportional payoff, indicating the track would have benefited from more editing. Despite these slip-ups, however, The Eternal Hunger remains 36 minutes of grime-soaked efficiency that favors memorable songwriting over high-concept filler.

Harrowed successfully pays homage to the Swedish spirit without merely exhuming its grave. By channeling a wide-reaching spectrum of influences and pushing them through a modern SweDeath filter, they’ve created a record that is easy to like and refuses to grow stale. Much of The Eternal Hunger’s success stems from Harrowed’s balanced and varied songwriting, with Lindmark and Alpadie both pulling their weight equally to flex their creative muscle and produce material that sounds both familiar and surprisingly fresh. A debut with this much power is impressive, especially coming from only two people. If this is what the new wave of SweDeath sounds like, I’m on board—and you should be too.

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Rating: Very Good!
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Dying Victims Productions
Websites: dyingvictimsproductions.bandcamp.com/album/the-eternal-hunger | facebook.com/harroweddeathmetal
Releases Worldwide: February 27th, 2026

The post Harrowed – The Eternal Hunger Review appeared first on Angry Metal Guy.

The song was previously a hidden bonus track on the Australian CD release of “As The Kingdom Drowns”.

The post Psycroptic Digitally Release Their Cover Of Little River Band’s “Falling” appeared first on Theprp.com.