Blog

  • DIMMU BORGIR’s SILENOZ Explains 8-Year Wait For Band’s New Album: “I Feel Like Great Things Shouldn’t Be Easily Achieved”

    Dimmu Borgir guitarist Sven “Silenoz” Kopperud spoke with KillerTube about the band’s upcoming album Grand Serpent Rising, due May 22 via Nuclear Blast Records — eight years after 2018’s Eonian. Asked whether the serpent imagery of shedding skin and renewal reflects what Dimmu Borgir went through over that stretch, Silenoz said (transcribed by Blabbermouth): “We’ve had to shed quite a lot, as usual, maybe more than previously. But it’s all a good thing. I feel like great things shouldn’t be easily achieved. It should include a lot of sacrifice, and that’s what we feel like we have done with this record. And it just sucks that it took us eight years to have it out. But there you go. I’d rather have quality over quantity any day. So, whenever we feel ready to release it upon the world, that’s when we do it.”

    On the challenge of cutting material from the album, Silenoz said: “It can be challenging. It’s like if you have worked on a musical part for like weeks and months, and it doesn’t find its way into a song for whatever reason, and it’s still a great piece of music that doesn’t make it to the album — it happens more than once. And it’s part of being an artist. You have to write for what’s best for the songs. You cannot force things in there just to have a piece of the pie extra. That doesn’t work for the overall picture.”

    “I think we’ve gotten a lot better at doing it the way we do it on this album, the last few times, because, yeah, it just feels the flow is there a bit more, I think, and we try not to analyze it to death. I think that’s also very important, that you do spontaneous things and you take things as they come,” he added.

    On whether external expectations shaped the songwriting process, Silenoz elaborated, “If you do something and you don’t expect a reward for it, that’s usually when the great things come. If you try to force things to you, then that’s just going to go further away from you. Obviously, we don’t mind the ‘thumbs up’ and people coming to our shows — this is what we do for a living — but we would still do it at whatever level we are at, ’cause it’s part of you. And if we did it for other reasons, we would have an album out every year.”

    Grand Serpent Rising was recorded in Gothenburg with producer Fredrik Nordström, who also worked with the band on Puritanical Euphoric Misanthropia and Death Cult Armageddon.

    When Grand Serpent Rising was first announced in late March, Silenoz commented on the eight-year gap: “No question: quality must always trump quantity. We eventually set deadlines, but in the early stages of a new album, there are no schedules at all. Rushing means nothing to us. The most powerful blackened art simply can’t be forced without losing its essence.”

    “It can easily become an endless process. Whatever you create, you constantly feel it could be improved — that’s the artist’s curse, and that’s why you eventually move on to make another album. But with every record, a point finally comes when everything feels exactly right. And that’s when it’s time to let it go.”

    On the album title: “It fits perfectly. Dimmu Borgir is a leviathan of a band on a grand scale, and we are rising once again. While the serpent represents evil to some, for us it symbolizes something else: renewal, growth, knowledge, and liberation. Shedding our skin, so to speak. And let’s not forget that February 2026 marks the end of the Year Of The Snake, roughly the same moment this album was completed.”

    Grand Serpent Rising is a full-band effort featuring Daray (drums), Victor Brandt (bass), Gerlioz (keyboards), and Damage (guitars). Thematically, the record traces a spiritual arc — transformation, ego dissolution, and awakening — drawing on esoteric traditions and alchemical self-transformation.

    “Within every human being lie dormant divine centers, the chakras, whose awakening may take countless lifetimes through natural evolution,” Silenoz explained. “Yet once the soul reaches sufficient maturity, this process can be accelerated. Through disciplined self-training and deep meditation, the sacred force may rise within a single lifetime, activating each center in turn.”

    Dimmu Borgir will tour North America in August with Hypocrisy and Suffocation.

    The post DIMMU BORGIR’s SILENOZ Explains 8-Year Wait For Band’s New Album: “I Feel Like Great Things Shouldn’t Be Easily Achieved” appeared first on Sonic Perspectives.

  • The Visible Heaven — An Interview with Doc Hammer and Lisa Stockton-Wilson of Requiem In White

    In the early 1990s, there were few bands that were as revered as Requiem In White. Formed in 1985 in Boston, MA by guitarist Eric Hammer, vocalist Lisa Houle, and bassist Christopher Walsh, the trio cut their teeth in the local scene for a few years, recording three demo cassettes with keyboardist Catherine Carney and a mix of live and programmed drums. Soon after, the band relocated to New York City and released their first vinyl record, a six track eponymous mini-LP, followed quickly by the Prides Unhappy End cassette EP.

    By this point, the band found their home amongst New York’s budding gothic rock scene and earned a large cult fanbase of fans and DJs, many of which were head over heels for Requiem In White’s otherworldly sound, which featured pummeling rhythms, feedback-drenched guitar squalls, and soaring, operatic vocals that left unsuspecting listeners in awe. The band was a welcome breath of fresh air amongst a sea of electronic EBM and goth bands, and grew their following with high profile opening gigs with Type O Negative, Biohazard, and Sex Gang Children. By this point in time, the band had added live drummer Javier Madariaga, who also recorded on the band’s lone full-length album, 1995’s Of the Want Infinite.

    At the peak of their powers, Requiem In White parted ways. Bassist Christopher Walsh (now going by Christopher David) formed goth rock project Judith, who released three full-length albums. David also recorded briefly with Black Tape for a Blue Girl and has sadly since passed away in 2013. Houle and Hammer, married at this point in time, broke off to record a ritualistic, dark classical and folk-inspired LP under the name The NCS, shortly after forming Mors Syphilitica, a beloved project that continued Requiem In White’s prowess, expanding to include mandolins and other string instruments alongside their trademark operatic sound. The duo found their home on Sacrum Torch and Projekt Records, and would continue recording together for three full-length records, disbanding in the early 2000s.

    Now going by Doc, Hammer began working on television show The Venture Brothers with Jackson Publick (aka Christopher McCulloch), simultaneously fronting post-punk/dream pop/synth pop-inspired project Weep, who continue to record to date, with their last album appearing in 2025. He would also play guitar in Pageant Girls, a four-piece band who released their debut album in 2021. Lisa Hammer, now known as Lisa Stockton-Wilson, is heavily involved in film as an actress, director, editor, and writer. She has also recorded with projects such as Radiana, Fashion Bird Danger Danger, and has released a solo album, Dakini, on Projekt in 2009.

    Over the years, Requiem In White’s releases have become highly sought-after collector’s items, fetching high prices on the market. However, just last year, The Circle Music released Hymnal of Remembrance, a double LP/single CD compilation which collects the band’s second and third demo tapes alongside 1995’s Of the Want Infinite, bringing the band’s most seminal works back into print for a new generation.

    Even more unexpectedly, the label announced a new LP of material from the band, the first new music from the project in over thirty years. Titled The Visible Heaven and due out on May 21st, the new LP features eight tracks that pick back up seamlessly from where the band left off, rekindling the flame and stepping back into focus. Stockton-Wilson’s voice is as powerful and mesmerizing as it ever was, while Hammer’s music and lyrics drive the band forward in in time. Two singles from the album have been released, the thunderous title track and the swirling, epic closing track “Reckless in Misery,” both which prove that the band hasn’t lost a shred of their beauty and edge over the years.

    “Requiem in White returned not to take back her throne, but to show people that her chair was beautiful,” says Doc Hammer. “To right the wrongs of her past and give her an album that sounds like what she truly was. To show her fans that they backed a beautiful horse! A horse that won’t win a race, but she’ll look good racing, and you will never see a horse like that again.”

    He continued: “I wanted it to sound like we went into a great studio in 1994, recorded great tracks, and mixed a great album… the album we always wanted to make. It’s guitar, drums, bass, vocals and a little organ, just like Requiem was back in the day.

    “When some bands reunite and make new music, they don’t really pick up where they left off. They’re thinking as a creator, and not really respecting the band as a fan does. They bring into the new stuff all the baggage of the contemporary idiom. That, as a fan, is kinda gross. I don’t wanna hear my favorite niche goth band come back and sound like fucking Doja Cat. I want them to sound like they used to. That’s what I would want as a fan. So I decided to just get back to the artistic place I was in the 90s. I wasn’t trying to make a new record sound old, I was truly back in my old band writing like I used to. It’s real. The band never left, it simply fell asleep for a bit.”

    A few weeks ago, we had the chance to catch up with Doc Hammer and Lisa Stockton-Wilson to discuss the new LP, the duo’s lengthy musical history, the local Boston scene where they came to prominence, the infinite joys of Placebo and Black Sabbath, and much much more. Instead of printing this one and cherry picking the juicy bits, we all decided to run the nearly unedited full interview, where we all catch up as old friends are wont to do for over two hours… Enjoy!

    Follow Requiem In White

    The post The Visible Heaven — An Interview with Doc Hammer and Lisa Stockton-Wilson of Requiem In White appeared first on Post-Punk.com.

  • Release Round Up – May 1st 2026

    Release Round Up – May 1st, 2026

    Every week there is a tidal wave of new music released unto the world. Each Friday we’ll round up some of the best new music available, some we’ve reviewed, some we haven’t, but all worth checking out!

    Theres a lot of new heavy music hitting the airwaves this week, everything from black metal, death metal, gothic metal, Stoner rock, doom, thrash metal and even some of your traditional heavy metal!

    Here’s what we think you should check out today!

    ALBUM OF THE WEEK 

    UK metal crew Cage Fight release their sophomore album ‘Exuvia’ via Spinefarm Records.

    “shows a band can still rage and snort but can do so while addressing adult themes and challenging accepted norms.”

    Read out full review here.

    Hailing from Casta Rica’s fertile scene, Candarian unleash ‘Trepanación’ via Memento Mori/Me Saco Un Ojo.

    “a fiery and blistering experience”

    Read our full review here.

    Russian death metal force, Grond, release ‘The Temple’ via Xtreem Music.

    “a grand return to form for the band”

    Read our full review here.

    Fulci release a vinyl edition of EP ‘Risorsero dalla Tomba e Fu… L’Apocalisse!’ via 20 Buck Spin.

    “speaks to Fulci’s desire to push boundaries and demonstrate what death metal can and should be!”

    Read our full review here.

    Italian trio Sconfitta fluidly blend various niche musical genres on ‘Essere Nessuno’.

    “It’s abrasive in nature but wrapped around some subtle notes juxtaposing their uncompromising styles”

    Read our full review here.

    Devenial Verdict celebrate twenty years with ‘Old Blood – Fresh Wounds’ via Transcending Obscurity Records.

    “these guys deserve your time.”

    Read our full review here.

    Venom’s Cronos, Rage and Dante release the bands sixteenth studio ‘Into Oblivion’ via Noise/BMG.

    “plenty of that old school Venom sound”

    Read our full review here.

    Chicago’s savage trio Lair of the Minotaur deliver the merciless ‘I HAIL I’ via The Grind-House Records.

    “completely uncompromising album chock full of filthy riffs, disgusting vocals and pummelling rhythms.”

    Read our full review here.

    Uncle Hauk drops a record moves through post-punk, alternative rock, metal, jazz, and hard rock on ‘Lose Your Illusions’

    “plenty of tempo changes and he’s constantly leaving you second guessing as to which direction he’s off to next”

    Read our full review here.

    Minnesotan punk trio Ultrabomb release sophomore album ‘The Bridges That We Burn’ via DC-Jam Records/Virgin Music.

    “from the sunny and upbeat, through to the dark and dissonant”

    Read our full review here.

    Grammy nominated metal icons Sevendust return with fifteenth album ‘One’ released via Napalm Records.

    “shows a band growing into a beast and heightens anticipation for their first UK headline tour in eight years”

    Read our full review here.

    And thats just the tip of the iceberg! Other releases today we think you should check out include…

    Rock

    Dodgy – Hello Beautiful (Flip Flop Records)
    Heave Blood & Die – Burnout Codes [DELUXE] (Arduous Records)
    Kissing Kaos – To Your Limit (Mighty Music)
    The Dead Daisies – Live Plus Five (The Dead Daies Ltd Pty)

    Heavy Metal

    Antirope – Bring Me To Zero (Eclipse Records)
    Nikk Fail – Eresia [EP] (Independent)
    Sevendust – One (Napalm Records)
    Shadow Master / Mystic Storm – The Power / Wandering Time [SPLIT MINI ALBUM] (Shadow Kingdom)
    Sins of Shadows – The Last Frontier (Independent)
    Spell – Wretched Heart (Bad Omens Records)
    Strega – Mors Mortiys Morte (Masked Dead Records)

    Black Metal

    Ashen Horde – The Harvest (Independent)
    Devenial Verdict – Old Blood – Fresh Wounds (Transcending Obscurity Records)
    Eveale – Enter The Woodland Realm (Hypaethral Records)
    Fyrdsman – The Free Man (Independent)
    Wandar – Tiefe Erde (Vendetta Records)

    Death Metal / Death-Doom / Grindcore

    Aeonik – The Roamer of Heaven and Hell (Fetzner Death)
    Cognizance – In Light, No Shape (Willowtip Records)
    Hrob – Brána Chladu (Memento Mori / Night Terrors)
    Infected Dead – Invicta (Independent)
    MANØVER – Insurrection (Fucking Kill Records)
    The Great Observer – Loss of Transcendence (BlackSeed)

    Doom / Stoner Rock / Sludge / Psych

    -(16)- – Forgeries Vol. 1, 1972 – 1984 (Heavy Psych Sounds)
    Brüle – Beltane (Independent)

    … and the rest!

    Beyond The Veil – Oblivion (WormholeDeath Records) Prog Metal
    Detach The Islands – Concrete Jungle (Tomb Tree Tapes) Hardcore/Mathcore
    In Malice’s Wake – The Prfound Darkness (Independent) Thrash Metal
    Silo – Haze (Easy Life Records) Post-Hardcore
    Steve Austin – Marked Cards and Loaded Dice (SuperNova Records) Country/Bluegrass
    Vansind – Hævnen (Mighty Music) Folk Metal

    For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.

    The post Release Round Up – May 1st 2026 appeared first on The Razor's Edge.

  • An Unreleased Type O Negative Song Has Been Unearthed

    Drummer Johnny Kelly has uncovered a Type O Negative song that hasn't been released and reveals his intentions with it. Continue reading…
  • TheBoyShadow (Ex-Loathe) Debut “Bliss Being” Music Video

    TheBoyShadow‘s new single “Bliss Being” has come into view via the below official music video. Connor Sweeney, former guitarist/vocalist for British alternative metal outfit Loathe, fronts this outfit, who recently signed with Roadrunner Records. This song marks the second track to be shared thus far from the fledgling band, who received a proper introduction last…

    The post TheBoyShadow (Ex-Loathe) Debut “Bliss Being” Music Video appeared first on Theprp.com.