The title track to their upcoming sixteenth studio album is on the loose.

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Their first shows in those cities in over a decade or more.

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Including a hometown show.

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Bit of a ripper.

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Moonspell has released the official music video for “Cross Your Heart,” the opening track from the Portuguese dark metal band’s forthcoming studio album, Far From God. The release follows the positive reception of the album’s title track and single, and came in the wake of Moonspell‘s acclaimed live appearance at the Wave-Gotik-Treffen festival. Far From God is due July 3 via Napalm Records.

Where the title track explored tragic vampiric romance, “Cross Your Heart” turns its gaze toward the roads that connect and separate us. Blending the classic atmosphere of the band’s legendary Irreligious era with a modern and sharper edge, the song unfolds as a dark, melancholic anthem. Driven by brooding melodies, grounded riffing and emotional depth, the track pairs Moonspell frontman Fernando Ribeiro‘s unmistakable vocals with a reflection on mortality, memory and life spent in motion.

Ribeiro commented: “Reminiscent of Irreligious with a modern and dark twist, this gothic metal song tells us about the shrines that we can frequently find on the roads of all countries in the world and that are erected as a painful memory to those who departed in car and bike crashes, often too soon, every time too painfully. Like a band who made miles upon miles and a few crashes themselves, we are privileged observers of the daily and nightly life on the roads, the promised cities, the bitter disappointments, the anguish of a portable life. Before such powers we can only cross our heart and hope to live enough before our time does come.”

Born from five years of creative searching, doubt and ultimate rediscovery, Far From God marks a powerful return for the band: darker, sharper and emotionally unfiltered. Rather than bending to modern trends, Moonspell doubles down on identity and substance, presenting a bold statement of gothic metal in its purest form — dark, romantic, dramatic and unapologetically heavy.

The title track “Far From God” sets the tone with burning intensity. A hymn to tragic vampiric love, the song revives the mystique and romantic darkness that once defined the genre, with dense guitars, deep resonant vocals and dramatic dynamic shifts evoking a timeless gothic aesthetic.

Ribeiro previously commented on the title track: “I lost my faith and hope in vampires for quite a few years. They became the clowns of Hollywood, the cheap Halloween shop customs, the old and disgraceful Princes from the East. Until the film director Robert Eggers brought us Nosferatu in 2024 and I was immediately attracted back to that tragic, romantic character who Bram Stoker immortalized in his letters. I wrote ‘Far From God’ in just one breath and it’s our first song about vampiric love in ages. I confess I felt the urge of, together with Moonspell, saving the face of gothic metal which became hostage of semi-tuned operatic female vocalists, simpleton and crunchy guitar riffs; and of lyrical content that would make Dracula impale himself with a stake in his bloodless heart. This song is the essence of this album, its title, its video, its soul. And you can even feel the fire of daylight burning into yours and your lover’s skin.”

Thematically, Far From God moves through Baudelairian love, existential guilt and redemption, with vampires, werewolves and sacred symbolism serving as vehicles for genuine dark emotion: solemn, romantic and unfiltered. The album rejects artificial gloss in favor of fantasy grounded in sincerity.

Ribeiro said of creating the record: “To create Far From God, we had to wait for the muse. Again, she didn’t fail us and revealed herself in the most mysterious and beautiful ways to us. It took us five long years of hit and miss, of despairing to the point of thinking we didn’t have it anymore, and why should we at all create new music? But I’m glad we persisted. Far From God is a true crusade against the decline of the style in the past few years, a darkly crafted statement that Moonspell is here to stay and to claim our throne. No politics, no socials, no intervention, just sickly romantic love, vampires, werewolves so we can all die of beauty, in peace and elegance. Goth bless you.”

Far From God was produced with Jaime Gomez Arellano (Paradise Lost, Sólstafir, Ghost), who previously worked with Moonspell on 2021’s Hermitage. The album’s artwork was painted by Eliran Kantor.

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The Cramps are crawling back out of the vault. The legendary psychobilly, garage-punk, and rock ’n’ roll voodoo institution will release Gravest Gravy, a previously unreleased album recorded in October 1977 with Big Star’s Alex Chilton at Ardent Studios in Memphis. The album arrives August 21 via the newly revived Vengeance Records and will be available in multiple colored vinyl editions, on CD, and in digital formats.

The release also marks the launch of The Cramps Inc., a new company formed by Poison Ivy Rorschach, In the Red Records’ Larry Hardy, and film producer Jimmy Maslon. The venture will oversee the revival of Vengeance Records, official Cramps merchandise, and a slate of archival releases drawn from the band’s vaults.

Henry Rollins and Ian MacKaye, operating as RAM Prod., are working on behalf of The Cramps Inc. on tape maintenance, editing, mixing, mastering, lacquer cutting, and future release concepts. Rollins announced the project with a characteristically reverent dispatch:

“Out of an abundance of respect and affection for the Cramps, their amazing legacy, and their extraordinarily enthusiastic global fan base, we started work on all of this several months ago in relative secrecy.

Not only do we have a completely mind-blowing first release to kick things off, we have other projects in various states of completion that we will announce when the time is right. All of these are from source masters and previously unreleased. We will update you on upcoming releases.”

The first offering from that effort is a monster: Gravest Gravy, a 12-track document of the band’s primordial lineup — Lux Interior on vocals, Poison Ivy on guitar, Bryan Gregory on guitar, and Nick Knox on drums — captured at the moment their sound was still oozing into form.

Those 1977 Ardent sessions produced the Cramps’ first two Vengeance Records singles: “Surfin’ Bird” b/w “The Way I Walk” and “Human Fly” b/w “Domino,” both issued in 1978. The following year, those tracks were collected with “Lonesome Town” for the five-song Gravest Hits EP, a transmission from a haunted jukebox that helped set the template for the band’s stripped-down collision of rockabilly, surf, garage rock, trash culture, and B-movie deviance.

But there was more on the tape.

According to the announcement, Lux and Ivy revisited the unreleased Ardent material in the late 1980s, with plans to release an album called Gravest Gravy. They mixed several tracks at Present Time Recorders in North Hollywood in June 1989, while Chilton mixed several more in Memphis. The album had a title, artwork by the late Stephanie Chernikowski, and a clear intent — then, for reasons now lost to time, it was shelved.

The tapes eventually resurfaced on seven quarter-inch reels. Six were generated by Lux and Ivy, and one by Chilton. Brian Kehew transferred the reels, which were reportedly in pristine condition, and Rollins and MacKaye combed through the multiple mixes to select the final versions. MacKaye and Don Zientara made EQ and level adjustments at Inner Ear Studios in Arlington, Virginia, and Pete Lyman mastered the album at Infrasonic Sound in Nashville.

“Gravest Gravy is an absolute treasure.” Rollin’s adds: “You get a performance of Hungry by Paul Revere and the Raiders, released in 1966, which found itself in the band’s early set lists, but soon dropped out. To make it even more interesting, Alex Chilton jumps in on organ. Another early Cramps cover, Problem Child, written by Sam Phillips, is on the record. The band used to do an absolutely rippin’ version of the 1958 Jimmy Lloyd track, Rocket In My Pocket at some of their early shows. There’s a great version of it on Gravest Gravy.

Also really cool are the songs that found official release on the band’s second album, Psychedelic Jungle, with Kid Congo Powers taking over the spot vacated by Bryan. These tracks would be Jungle Hop (also with Alex Chilton on organ) by Kip Tyler, released in 1958, The Natives Are Restless (with different lyrics), Can’t Find My Mind and Rockin’ Bones released in 1959 by the Blond Bomber himself, Ronnie Dawson. The approach to these versions is much different than on Psychedelic, and it’s never a bad thing to have more Bryan Gregory to listen to.”

Shared along with the announcement is a new Jason Willis-created video for “TV Set,” the song originally intended as the Cramps’ first A-side.

Watch it below.

Formed in 1976 around the unholy chemistry of Lux Interior and Poison Ivy, the Cramps remain one of American punk’s most singular acts. They emerged from the CBGB-era New York underground but never fit neatly alongside their peers, instead forging a feverish language of their own: fuzzed-out guitar, primitive drums, no-bass menace, old rock ’n’ roll records, monster-movie camp, pin-up sleaze, and a record-collector’s devotion to forgotten American weirdness.

The band’s first full-length album, Songs the Lord Taught Us, followed in 1980, again with Chilton producing. Their discography continued through cult landmarks such as Psychedelic Jungle, A Date With Elvis, Stay Sick!, Look Mom No Head!, and Big Beat From Badsville. Their final studio album, Fiends of Dope Island, was released in 2003 on Vengeance Records, followed by the 2004 archival compilation How to Make a Monster. The Cramps effectively ended following Lux Interior’s death in 2009.

The newly revived Vengeance Records campaign will also include reissues of Gravest Hits, Smell of Female, A Date With Elvis, RockinnreelininAucklandNewZealand, Stay Sick!, Look Mom No Head!, Big Beat From Badsville, Fiends of Dope Island, and How to Make a Monster.

See the Gravest Gravy tracklist below, and pre-order the album here.

Gravest Gravy Tracklist

1. TV Set
2. Weekend on Mars
3. Twist & Shout
4. Jungle Hop
5. Can’t Hardly Stand It
6. Hungry
7. The Natives Are Restless
8. Domino
9. Can’t Find My Mind
10. Rockin’ Bones
11. Problem Child
12. Rocket in My Pocket

Follow The Cramps:

• WEBSITE
• INSTAGRAM
• FACEBOOK
• LINKTREE

Featured Photo by David Godlis

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Part of the Black Arts Movement of the 1960s, he went on to reclaim a leading musician of the psychedelic era as a distinctly African American artist.

Earlier today, it was announced that the United States Of America was celebrating its 250th birthday with a series of concerts this summer. The lineup for the Great American State Fair included Morris Day And The Time, but the Minneapolis funk veterans have already dropped off the bill.

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Melbourne-based Dylan Young is the mind behind Way Dynamic, the latest signee to vaunted American indie label Jagjaguwar. Last fall, Way Dynamic released Massive Shoe, an album that broke through to streaming success in our nightmare landscape on the strength of easygoing ’60s and ’70s-inspired songcraft. The label will give Massive Shoe its first proper…

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