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Jesse Fuentes has moved over to guitars.

The post Escuela Grind Welcome New Drummer Jake Sanders Amid Lineup Shuffles, Finish Recording Their Next Release appeared first on Theprp.com.

Stream “Illusion of Loss” HERE: https://youtu.be/RMUghEYe1UM

APOSTLE unveils their latest single, “Illusion of Loss,” a dynamic and emotionally charged composition that offers a glimpse into the band’s forthcoming full-length album, A Splinter in the Infinite Noumenon, arriving June 5, 2026 via Terminus Hate City.

“Illusion of Loss” begins with a sharp, brief breath before an angular and moody guitar and bass melody settles over a plodding, swinging half-time drum groove. Murice White‘s vocal cadence moves fluidly within the arrangement, locking into the rhythm as the song unfolds. A sudden, deliberate drop in intensity introduces an arpeggiated and introspective passage driven by a rolling snare, gradually building toward a release carried by a mid-tempo blast beat.

The track expands in scope as Murice’s tremolo-picked lead cuts through with urgency while his vocals rise in intensity. Michael’s bass provides a steady melodic anchor, shaping the mood beneath shifting textures. A discordant, arpeggiated lead slices through the mix while Evan’s drumming shifts into a driving double bass pattern that pushes the song forward before returning to a reprise of its opening movement. The closing moments feature a distorted spoken sample describing barely livable conditions in a city, extending the song’s thematic reach outward.

Stream “Illusion of Loss” HERE: https://youtu.be/RMUghEYe1UM

“Illusion of Loss” reflects on the fragility of life, the isolation that can accompany grief, and the internal changes that follow. The song draws from the experience of personal loss and the emotional weight that lingers in its wake. It considers how loss reshapes identity, how it brings forward buried parts of oneself, and how memory can guide purpose moving forward. The connection between individual grief and shared human experience remains central throughout.

Pre-order A Splinter in the Infinite Noumenon here: https://www.terminushatecity.com/product-page/preorder-apostle-a-splinter-in-the-infinite-noumenon-lp

The album title references Carl Jung’s description of humanity as a “splinter in the infinite deity,” framing the record as an exploration of spiritual duality, grief, and self-examination. Across six tracks and 27 minutes, the band move through themes of loss, mortality, internal conflict, and eventual healing. The record serves as both a meditation on the human condition and a deeply personal tribute shaped by grief and remembrance.

Produced, engineered, and mixed by Connor Ray at Sobek Sound and mastered by Erol Ulug at Bright Lights, A Splinter in the Infinite Noumenon presents APOSTLE in their most refined and expansive form.

APOSTLE:

Murice White – vocals, guitar
Michael Thomas – bass, vocals
Evan Price – drums

Connect with APOSTLE:

Bandcamp: https://apostlesucks.bandcamp.com

Store: https://www.terminushatecity.com

Instagram: http://www.instagram.com/apostlesucks

Facebook: http://www.facebook.com/apostlesux

Spotify: https://open.spotify.com/artist/67cjLOrbhdb2gFmS9OJKfS

YouTube: https://youtube.com/@terminushatecity

Source: C Squared Music

Formerly known as Wasserman, the agency that has changed its name to The Team put itself up for sale after its founder’s emails surfaced in the Epstein files.

Band:	Arcane Frost
Release:	Night’s Cavalry
Genre:	Black Metal
Country:	Germany (Wolfsburg)
Release Date:	3rd of January, 2026
Released via:	Bleeding Heart Nihilist Prod.
Mix & Master:	Goblin Sound Studio
Artwork:	Drowned Orange

Oh lord have I been waiting for this moment. It’s interesting how especially those bands I listened to when I started with Transcended Music Blog in 2019 were burnt into my long-term memory. This year also happened to partake the release of Black Metal combo Arcane Frost’s second EP Dragged Into The Void. Having been made aware of this band (as usual) by Nino, I drastically fell for their raw tone and also the fact that this band emerged from the surroundings of Lycanthropic Chants, a label I still highly favor. After that, years passed and I also talked with vocalist Dennis about the possible release of an Arcane Frost full-length, yet it always sounded like something everyone was interested in but it was terribly hard to grasp. However, at the end of 2025, times changed and we were finally hit with the first announcement of the release of Arcane Frost’s full-length debut – Night’s Cavalry! What a blessing!

Arcane Frost is a Black Metal combo hailing from Wolfsburg that surfaced with the release of their first EP Cosmic Winter via underground tape label Low Fidelity Assaults. With their debut release, Arcane Frost showcased raw Black Metal in strong reminiscence of the early 2nd Wave, building heavily on iteration and mesmerizing, atmospheric sounds. With their aforementioned follow-up Dragged Into The Void in 2019, the sound of the band evolved, broadcasting a slightly more refined tone with further progress regarding the songwriting. From that point on, I’d be bold enough to say that a larger share especially from the local scene was eagerly waiting for another follow-up – hoping this was gonna be their full-length debut. 

On the 3rd of January, Arcane Frost’s full-length debut Night’s Cavalry then was dropped via Bleeding Heart Nihilist Productions. With the pre-released single “Swarming Rats” alone, it only needed a few seconds into the track to find out that pretty much everything this band does found an immense polish. When entering the album with “Eldritch Bulwark,” it only needs a brief moment to prove this point. Going by the overall tone that is conveyed alone, Arcane Frost’s sound progressed massively. The entire album can probably be divided into two (or three) segments. The first three tracks rather roam about in the spheres that listeners might have been expecting when going by the previous releases of the band. However, the mid-field of this album then takes a turn towards a different direction of Black Metal, leaning towards the framework of Suicidal Depressive Black Metal while still upholding the overarching tone of the album. Towards the end of the album, we return to the sound that introduced us to the album. 

This, however, is just a categorization on a macro-level that does not state anything in further detail about the finesse of these tracks. The first track “Eldritch Bulwark” is pure energy. This is an aspect that also convinced me quickly when listening to the entire album – the musical energy that is brought across is pure force. Jumping back and forth between highly memorable tremolo melody lines and crushing riffs, the listener is run down right from the beginning. In order to not get lost in a blur with this massive impact, the sound is often brought to a halt for shorter doomy sequences, only to bolt back in when returning to the melody. This does however not occur according to a recurring pattern. Especially the structuring of the songs makes sure that the listeners won’t lose interest. The comparably shorter length of the tracks (approximately 5 minutes) then serves as a major factor to emphasize the ties towards Punk that Arcane Frost also communicates politically. At some instances, it is also possible to hear some tendencies of the drums merging with clearer Punk patterns.

On the third track “Passing The Lynchgate,” we initially get the impression that the sound that was present on the first two tracks will continue throughout the entire album. However, towards the second half of this track, slower passages appear that are also carried by a riffing that moves towards the framework of Depressive Suicidal Black Metal. Don’t get me wrong, we’re not fully diving into this genre, there is no U-turn. First of all, this progression is introduced organically on the aforementioned track, which also smoothes the transition towards “Gallows” – which is in my opinion a standout track on this album. I think many long-term fans of Arcane Frost expected this album to turn out just as the first three tracks. What came as a surprise, though, was the turn this album takes then. This also perfectly showcased the amount of progression this band went through while working on this album for six years. Right out of nowhere, we bring this sledgehammer of a release to a halt and come back with guitar melodies that will get stuck in your head for weeks. This simple yet haunting riff that carries “Gallows” is just amazing. Here and there, we also get the clear allusion that this tie towards DSBM is not by accident when the vocals also occasionally switch into shrieking. This spirit is then also continued on the following track “A Glacier Soaked in Blood” that also follows the aforementioned pattern, yet this is another slight aspect that sheds some light on the Punk origins of this band when the recurring shout of “A Glacier Soaked in Blood” literally invites you to shout along with Arcane Frost (and of course the “no hope, no future on “Withering Decay – man, I like this stuff).

After this descent into the spheres of depressing soundscapes, the album finishes off by returning to the strong energy that introduced the listener during the first few tracks. Heating up when diving in, then breaking the listeners on devastating sonical spheres and then turning back towards driving force. Seems to be a formula that works quite well.

Since especially the raw tone of this band was a factor that also marked their key-phrase of “haunting black metal,” it was extraordinarily interesting to find out where Arcane Frost were going to record their full-length debut. Choosing Goblin Sound Studio was a pretty damn good decision. If there is one person that is capable of capturing this tone, it certainly is Andy Rosczyk. Especially the positioning of the drums in the mix during the mid-part of this album is something that is simply spot-on. While the descent towards DSBM takes place, there still are blast beat sequences. However, when compared to the compelling energy on the initial tracks, these sequences do not urge the same rush and underline the staggering force of these tracks. Minor elements that might be missed but if those are not taken into account, they might alter the impact of entire tracks. In order to deliver the full package, the cover artwork was done by Drowned Orange who probably is also a name to some that take closer looks at album artworks. This round package is then delivered by underground Black Metal (and beyond) label Bleeding Heart Nihilist Productions on limited 12” black vinyl, which is just the perfect home for Arcane Frost.

Let’s be honest, this album delivers amazing tracks from front to back. I relistened this album countless times and every time I came back, I fell in love again. Looking back at the first four months, this year has already delivered numerous surprises and amazing releases and Night’s Cavalry certainly needs a mention. 

Complete with a music video.

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Homelessness charity Centrepoint drops Sharon Osbourne as celebrity ambassador after her apparent support for far right movement

Christina’s Trip deliver a punchy dose of distortion pop with F.B.A.T., a track that thrives on its raw edges and off-kilter charm. Fuzzy guitars and lo-fi textures collide with catchy melodic lines, creating a sound that feels both abrasive and instantly engaging.

There’s a playful unpredictability running through the track, as noisy bursts and shifting dynamics keep things lively without losing focus. Beneath the grit lies a sharp pop sensibility, giving F.B.A.T. its addictive pull. It’s a bold, unpolished gem that captures the band’s DIY spirit while embracing a distinctly modern indie attitude.

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Today, German black metallers Atronos reveal the new track “Geisterflug.” The track is the second to be revealed from the band’s highly anticipated third album, Gram, set for international release on April 30th via Purity Through Fire on CD and A5 digipak formats; the vinyl version will follow later this year. Hear Atronos‘ “Geisterflug” in its entirety HERE at Purity Through Fire‘s official YouTube channel. It’s been three long years […]

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Italian Downtempo Deathcore band GRAVERY are set to unleash their newest EP, Purified in Blood. This four song maelstrom of violent and aggressive pummel follows the band’s critically-acclaimed debut Everything That Is Born Must Die. Prepare yourselves for a relentless decent into darkness that refuses to let up. This is evident with the EP’s lead single, “Icon of Sin.” Watch […]

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One of the cool things about being active in the festival circuit is comparing how bands handle performing under such divergent circumstances. The ongoing Scandinavian Heavy Arts tour featuring Swedish greats Dark Tranquillity and Soen, with support from Andorra’s Persefone descended upon Texas recently, and the Austin date marked the third time we’ve seen all three of these ProgPower USA alumni since the 2026 edition of the 70,000 Tons of Metal cruise set sail this past January. To say we weren’t excited to see these three incredible bands performing together again would have been more than just a venial sin.

The realities of life have apparently kept Persefone bassist Tony Coy away from touring outside of Europe – despite this being my fifth time seeing them live, I’ve never had the pleasure of seeing him on stage with his bandmates. This was also our first time seeing them perform without keyboardist/ singer Miguel Espinosa, leaving the band as a quartet for this tour, with Coy and Espinosa’s instrumental parts supplied by backing tracks. Persefone have long opted to perform “Living Waves” with guest singer/ Cynic mastermind Paul Masvidal’s vocal contributions piped in, and as disorienting as this practice can feel – especially from a band that now has two formidable clean singers – Persefone’s performance of their entire set, and this song in particular, is simply mesmeric.

Though it’s not uncommon to see death metal bands behaving with giddy joy while playing, Persefone often supplies the inverse: ferocious performance of stupefyingly complex techdeath with lyrics so uplifting that even non-New Age/ TM types can appreciate their content with no lack of love and devotion. New-ish frontman Daniel Flys did a damn fine job of delivering Espinosa’s vocal parts in “Living Waves,” but fucking crushed it during that final clean verse in “The Great Reality:” “I open my heart, my whole being/ I let the light pass through my fears and shadows/ my inner child, my deepest emotions.” This is fucking death metal?

One of the many highlights of Persefone’s more recent performances is seeing guitarist Filipe Baldaia hopping off the stage and joining the circle pit during that Goliath of a song, and much to our relief, he did not trip and nearly fall face-first into the crowd like happened during their first 70k set this year. The band also chose not to pipe in Espinosa’s singing during this song, and omitted the clean vocals entirely save for the aforementioned parts Flys delivered, concluding the monstrous but far too brief set with oddly appropriate hand gestures directed towards the ravenous audience. Seeing such a perplexing band – this is techdeath for the yoga crowd, for fuck’s sake – receive such a warm response offers hope that metal in general is evolving favorably.

Soen followed with a stirring set of their own, metaphorically setting the venue ablaze with their unique, moody take on progressive metal that outdoes much of the output drummer Martin Lopez’s former band has delivered since he left nearly two decades ago. Guitarist Cody Lee Ford and frontman Yannis Papadopoulos lookalike Joel Ekelöff took full advantage of the downstage riser to tower over their adoring audience, with Ford looking like the guitar hero he is when doing so. Soen has historically delivered stellar performances with ease, grace, and finesse, and they’d be damned if Ekelöff catching what seems to be a common cold will somehow interfere with that directive. Ekelöff typically sings like a fucking god, and while on this evening he merely sang like a demigod, his performance was otherwise unaffected.

Much of Soen’s set featured jarring graphics and animations on the screen that served as their backdrop, but we were not prepared for what was in store for “Primal.” Primed with Charlie Chaplin’s “let us all unite” monologue from The Great Dictator, this explicitly antifascist anthem benefited mightily from their live-inspired graphics projected behind, making this rallying cry of a song the call to action it is. This point was driven home when Ekelöff raised a fist while delivering the line “we are breaking every chain.” Chills, dude. Fucking chills.

Dark Tranquillity has spent much of the last year commemorating the twentieth and thirtieth anniversaries of their landmark albums Character and The Gallery, usually dedicating a third of each of their sets to these two albums. It’s obviously not possible for a band with a discography as sprawling as Dark Tranquillity’s to represent each of their thirteen albums within a single 90-minute set, so to set aside such large chunks of set time to just two decades-old records leaves precious little time for other albums. But Dark Tranquillity also has enough strong material – not a single one of their albums is less than “very good” – to fill their entire set with the excellence that has long been their hallmark. Absolute pros both on stage and in the studio, the Kings of Gothenburg have made a habit of keeping their sets varied so that fans don’t ever get sick of hearing the same old thing, regardless of its greatness.

We’d heard murmurs on the patio that frontman/ bandleader/ Mayor of 70k Mikael Stanne had been nursing a hangover, and a full table of us worried aloud that this might inhibit his legendary dexterity on stage. The first seconds of “Punish My Heaven” assuaged these concerns – if it was indeed true that Stanne was under the weather, there was no detectable sign of that. Stanne and the band he’s assembled are nothing less than death metal rock stars, and are apparently incapable of staying in the same spot for more than three microseconds. So powerful is Stanne’s roar that we could actually still hear him from the back of the club when his mic briefly went out during “The Emptiness From Which I Fed.” “Lethe” followed, after which the band began their triad of character tunes with Stanne half-jokingly wondering if they’d learned anything during the ten years between these beastly records.

If Damage Done was itself a new build for a band reinventing itself, Character was the fully morphed organism realizing its own power. “The New Build” was greeted with the sort of enthusiasm bands of this stature demand, and that fervor didn’t wane an iota when “My Negation” and “Lost to Apathy” followed, as evidenced by both the pits that broke out and the approving smiles on the band’s faces. The post-transitional material that followed the more experimental Projector and Haven has not only aged beautifully, it also remains some of the greatest death metal ever made.

Dark Tranquillity rounded out their set with a selection of songs from Fiction as well as some more recent fare, like “Phantom Days” and “Atoma,” during which I seized the rubber chicken mounted on the scooter some goofy dude with dreadlocks and a broken leg (who had accidentally kicked me where it hurts most) was using, and summarily choked it. I suppose there’s no better way to encapsulate the Dark Tranquillity live experience: they deliver the sort of intensity that brings out the off-color but ultimately wholesome goofiness from a crowd that loves its music loud, its fun questionable, and its moshers protective of the children at the edge of the pit.

Stanne capped the evening succinctly at the evening’s conclusion by uttering two simple words while the madding crowd demanded more over the dulcet tones of Yes’s “Owner of a Lonely Heart” signaling the set’s endtime, and it was lost to no one at Come and Take It Live that night that these two words were the guiding principle that has made Dark Tranquillity the most consistently excellent band in metal: “Be awesome.”

The post CONCERT REVIEW: DARK TRANQUILLITY, SOEN & PERSEFONE Tear Through Texas – Techdeath Yoga, Antifascist Anthems & Gothenburg’s Finest Melodeath appeared first on Sonic Perspectives.