The post appeared first on INFRARED MAGAZINE.
– April 8th, 2026 –
Photo by Alex Haritakis
Watch/stream YOTH IRIA’s “Blessed Be He Who Enters” HERE
“Blessed Be He Who Enters” is the latest single from Hellenic black metal troop YOTH IRIA. The track comes by way of the band’s stellar third album, Gone With The Devil, set for worldwide release on May 8th through Metal Blade Records.
YOTH IRIA‘s trajectory has been on a steep ascent since crafty 2021 debut As The Flame Withers and 2024′s hypnotic Blazing Inferno, but there has audibly been a concerted determination to develop and expand in sinister new directions. “The creative workflow was similar to Blazing Inferno, yet we deliberately pushed ourselves to bring new elements into our music. We kept the immediacy of Blazing Inferno, the psychedelia of As The Flame Withers, and all the characteristics people expect from Hellenic black metal, while adding fresh sounds and atmospheres never before heard from YOTH IRIA.”
Predominantly stately tempos ensure the dark riffs, memorable melodies and flamboyant leads have space to breathe their fire, so that the blastbeats, when they come, devastate even more utterly. Flecks of Mediterranean folk and gothic cadences further expand the band’s sonic palate, while there are countless melodies so atavistically simple and primally satisfying they could be a thousand years old.
“YOTH IRIA is not a band bound by strict rules or prohibitions,” the Attica quartet declares. “Black metal is and will always be at the core of our sound, but around it revolves anything that carries the necessary darkness, mystique, and spiritual intensity. Of course, there are elements we would never include – not out of fear or dogma, but because they do not serve the daemon of the band. Our sound must retain melody, simplicity, drama, and a ritualistic character.“
Musically, inspiration is derived from “classic rock, heavy metal, and many extreme bands that we deeply admire,” while lyrical and attitudinal inspiration comes from an even more plentiful source. “Artistically, simply living in today’s world is enough to inspire dark music. We live in a strange, uncertain era – transitional, perhaps – toward something no one can predict if it will be better or worse. That tension alone fuels creativity.”
On “Blessed Be He Who Enters,” the band elaborates, “These lyrics stand for pride and strength in adversity, seeking freedom and higher knowledge. They defy all forms of tyranny – within families, relationships, schools, or any oppressive place. They speak for those who refuse to bow and walk with fire in their spirit. When we shape ourselves, we reshape the world around us.”
Watch YOTH IRIA‘s video for “Blessed Be He Who Enters” HERE.
Watch the band’s previously released video for “The Blind Eye Of Antichrist” HERE.
There’s a thrilling balance of ancient and modern, good and evil, harmony and dissonance on Gone With The Devil advancing YOTH IRIA as a hungry contender for extreme metal’s big leagues – an ever-improving unit with a glorious future. Appropriately, however, Gone With The Devil is best summed up with a line already coined by the band to describe their ongoing body of work: “Every note tells a story of rebirth, tradition, and the relentless pursuit of musical transcendence.“
YOTH IRIA’s Gone With The Devil will be released on CD (jewel case – US / digipak – EU) and digital formats as well as vinyl in the following color variants:
Red Electric Blue Melt (US)
180g Black (EU)
Oxblood Black Merged (EU – Ltd. 500)
Oxblood Blue Silver Merged (EU – Ltd. 250)
Gold Black Splatter (EU – Ltd. 250)
Find all pre-orders at: metalblade.com/yothiria
The daemonic avatar YOTH IRIA was first explicitly summoned on Rotting Christ‘s legendary debut Thy Mighty Contract in 1993. Bassist/lyricist Jim Mutilator formed that band as Black Church in 1984, before also becoming a founder member of cult Athenian BM heroes Varathron for their first five years. Renewing the otherworldly atmospheres and occult ravishment for a new era, YOTH IRIA functions almost as the third panel in an apocalyptic triptych of Hellenic black metal excellence.
“…highly addictive.” – Deaf Forever
“Gone With The Devil is a Hellenic black metal feast – an album that seizes me with its impressive melodies, occult atmosphere, sonic power, and depth, refusing to let go. Fans should absolutely take a closer look at YOTH IRIA – an unexpectedly fabulous band.” – Break Out Germany
“Within the music, one hears and feels sentiments of intense rebellion, sincere adoration for the Fallen Angel, surges of pure heroism (‘The End Of The Known Civilization’), and sweeping melodies that often sound like a sonic reflection of a true Greek tragedy…” – Rock Tribune Benelux
YOTH IRIA:
HE – vocals
Jim Mutilator – bass
Nikolas Perlepe – guitar
Naberius – guitar
Bill “Vongaar” Stavrianidis – drums
https://yothiria.com
https://www.facebook.com/yothiriaofficial
https://www.instagram.com/yoth.iria
https://www.youtube.com/@yothiria
https://www.tiktok.com/@yothiriaofficialpage
Anyone familiar with Italian symphonic death metal troupe Fleshgod Apocalypse knows of their flair for the dramatic. In favor of your typical black band t-shirts, jeans and sneakers, the players don tattered yet extravagant 19th-century garb, appearing as awakened spirits of some desolate European theater. Alongside their blistering guitar leads and pummeling double kicks sits a grand piano and, on occasion, a whole friggin’ orchestral string section. And accompanying lead vocalist Francesco Paoli’s tried-and-true gutturals is soprano—and today’s player character—Veronica Bordacchini, who provides both her voice and visage to 2024’s Opera. Experiencing them live feels less like a show in a club and more like a night at the… well, you get it.
But when the curtain has closed for the evening, Bordacchini prefers to remain more low-key, describing herself as “extremely shy” and “a silly goose.” Despite this, she can’t help but light up while discussing her lifelong passion of gaming. A dedicated PC gamer since the ’90s (save for her love of one Nintendo console in particular), the singer has managed to balance her life between the physical and digital worlds, even as she continues to pour an eye-watering number of hours into her favorite title. And just as the pandemic brought live music to an unceremonious halt, playing video games and singing on Twitch helped to keep Bordacchini connected to audience. Before she takes the stage once again on her upcoming North American trek with Avatar and friends of the column Frozen Soul, the soprano steps foot in the Kill Feed arcade to sing the praises of Skyrim, BioShock and much more.
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The post KILL FEED 082: Veronica Bordacchini of FLESHGOD APOCALYPSE Keeps Gaming Seriously Silly appeared first on Decibel Magazine.
(written by Islander) We’ve been avidly following the evolving adventures of Cognizance for quite a while now. When Willowtip Records released the band’s Phantazein album in early 2024, our DGR wrote: “[W]hile Cognizance have remained a sleek and ultra-precise machine for over a decade since the release of their first full length – after having […]
The post AN NCS VIDEO PREMIERE: COGNIZANCE — “THE ZONE” appeared first on NO CLEAN SINGING.
The bottom of this year’s Coachella poster promotes “the bunker debut of Radiohead KID A MNESIA.” That’s not a stealth Radiohead concert; Ed O’Brien recently informed us the band will be doing 20 shows per year starting in 2027. Rather, it’s an art installation involving the KID A MNESIA film.
The post Radiohead Are Taking Their Coachella Bunker Art Installation On Tour appeared first on Stereogum.
Between falling down onstage, modeling for Skims, and performing at the Grammys, Post Malone has still had enough time to make new music — a double album of new music, in fact! During his set at Indianapolis’ March Madness Music Festival on Saturday, Posty told the crowd: “Ladies and gentlemen, we are currently working on two albums. It just so happens — I’ve been doing this for maybe 11 years. And I have kind of run out of shit to say, but I think we made some really cool shit, so I’m really excited for y’all crazy motherfuckers to hear it. There’s gonna be a fuckton of songs, so hopefully there’s something for everybody there.”
The post Post Malone Teases New Double Album appeared first on Stereogum.
Reviewed by Eric Clifford
Resurrected play a cancerous strain of deathgrind with comorbidities from Cannibal Corpse to Carcass to Aborted, and if that sounds like a good time to you then it’s probably because it is. Fat riffs like over-ripe cysts, the coarse fuzz of wire wool scraped over raw wounds. This is very comfortable territory for me; the blast and groove, the commitment to revolting, tasteless heaviness, the gurgle of the grime through the slaughterhouse grate. And you will notice that Cannibal Corpse influence by the way; “Sanity is Lost” is the spitting image of a latter day Corpsegrinder cut that would’ve slipped, noctambulant and murderous, onto “Evisceration Plague” with ease. It’s the intricate but offensively heavy chug riffs with the quick-time hi-hat shimmering away over a kick-snare pattern that hits like a life sentence, only to drop with a heaving lurch into a drooling, inbred Uruk-Hai of a thrash riff. In other places Resurrected opt for a crippling slam salvo (“Decomposed”), kick drums firing away with ankle-snapping vigour. Powerchord hatchets slice into backbones of writhing tremolo lines; Exhumed among a hundred others have trodden this path before, but, well, “If it isn’t broken” remains an axiom for a reason.
I’m not sure I’d consider it a flaw exactly, but what Resurrected bring to the table isn’t exactly the most original thing you might ever wish to consume. That’s not a dealbreaker for me because if every album I heard from now until the sun burned cold sounded like Cannibal Corpse and “Symphonies of Sickness” era Carcass, I would die happy. But it does mean that if you’re less lovestruck by deathgrind than I am then you’ll likely find less to enjoy than did I. It’s also not just other bands that they sound nervously close to – some riffs also seem a bit too similar for comfort with…other riffs that the band are playing mere songs distant. It’s a fair enough riff they have on “Forever Damned” at 1.36 – a jaunty lick centring around a pull-off onto an open string, but you’ll hear the like scattered here and there across the rest of the release (1.38 of “Echoes of Creation” for one example, 0.51 on “Into Mighty Death” for another) – never as wearing as repetition might imply, but noticeable nonetheless. Perhaps it was a necessary sacrifice in order to pen the sorts of spontaneous human combustion riffs they also have in the holster; “Echoes of Creation” opens with a riff designed to stress test bomb shelter ceilings – again, not a startlingly novel riff, two open string palm mutes into a power chord that ascends or descends with each iteration, but fuck if it doesn’t hit like rapid-onset food poisoning. There’s something of an apropos theme going on here, and someone with a sharper wit than mine could probably make a pithy quip about a band called Resurrected playing the same riffs we’ve been hearing since the late 80’s, but when it’s this much fun, who am I to argue with the path they’ve picked?
The bass is a throaty rumble, minotaur brawn hitched to a fretboard chugging away like someone strung it with overhead pylon cables that the bassist has to rambunctiously twat with a hammer to play. The snare halberds through the mix in a way I find instantly gratifying; you do sometimes get releases wherein the drummer is blasting his ass off only to find himself buried somewhere in the overall mire of sound. I want snare hits to go through me like a vindaloo fired from a railgun, so it’s an inestimable delight to report that not once was a solitary decibel shaved from the drum performance. They even pull off something I’m generally sceptical of – a cover. Malevolent Creation’s “Infernal Desire” makes for an undeniably effective climax that fits into the album’s repertoire seamlessly. I might even prefer it to the original, but that could more be a result of me having barely listened to Malevolent Creation before. I should probably do something about that, but if and when I do, it will be as a result of Resurrected doing them sterling justice as a capstone for their own efforts – regardless of how much I feel as though bowing out on a cover version risks overshadowing your own work with someone else’s.
“Perpetual” was, on the whole, a blast. It’s the sort of joyously antisocial yet familiar racket that your gran thinks all heavy metal sounds like, and by rights it ought to leave any slavering genre fanboy (me, in fewer words) rapturous. This stuff never gets old, and in forty years when i’m drooling away in a nursing home forgotten by my relatives it’ll doubtless still prompt bouts of geriatric neck trauma from me. If you’re less enamoured with this stuff it won’t convert you, but for those of you who have acquired the taste for this breed of rotteness it will doubtless leave a grin plastered on your mug that you could measure in miles.
The post Album Review: Resurrected – Perpetual appeared first on The Razor's Edge.
MONO Announces 13th Studio Album ‘Snowdrop’ / Expands World Tour
Snowdrop is the band’s first album made with Brad Wood (Touché Amore, The Smashing Pumpkins), following the passing of longtime collaborator and friend, Steve Albini. Snowdrop is out June 12, 2026 (Temporary Residence).
MONO’s “Winter Daphne” Statement
“The language of flowers for the Winter Daphne is ‘the final surge of life’, ‘glory’ and ‘eternity’.
In the looming moment of the final parting, life erupted with a sense of pride. Our shared memories surged back like a revolving lantern. Then, a stillness slowly arrived and you transformed into light, departing peacefully for heaven.”
Chosen for both his familiarity with MONO’s creative and technical working process – as well as his decades-long friendship with Steve Albini – Brad Wood entered Albini’s storied Electrical Audio studios in September 2025 to record what would become Snowdrop. Once again working with Chicago-based conductor and orchestral musical director, Chad McCullough, MONO enlisted a 10-piece orchestra as well as an 8-piece choir for the eight massive pieces that make up Snowdrop. With the band performing and Wood recording in the same hallowed space where most of MONO’s records had been made in their quarter-century history, the songs on Snowdrop carry an extra weight. Mixed by Wood at his Seagrass home studio in Los Angeles, the album is equally intimate and enveloping.
Where there could easily be a pall hanging over Snowdrop, there is instead an extraordinary air of gratitude. Rather than steep in heartache, there is a poignant appreciation for the resonance of life well-spent with a dear friend – and the yearning for what may come. Snowdrop is the sound of a band turning shock and sadness into hope and wonder – and finding renewed focus in the freedom of unknowing.
TRACK LISTING:
1. Snowdrop
2. Winter Daphne
3. Gerbera
4. Statice
5. Herdera
6. Shion
7. Bells of Ireland
8. Farewell to Spring
ASIA 2026
Jul 3, 2026 / JP Tokyo / Spotify O-East
Jul 5, 2026 / JP Osaka / Yogibo Holy Mountain
Jul 10, 2026 / KR Seoul / Sangsang Madang
Jul 11, 2026 / TW Taipei / Sub Live
Jul 12, 2026 / HK Hong Kong / TIDES
Jul 14, 2026 / SG Singapore / Annexe Studio
EUROPE 2027
Jan 30, 2027 / DE Berlin / Metropol
Jan 31, 2027 / DE Dresden / Beatpol
Feb 1, 2027 / DE Munich / Strom
Feb 3, 2027 / CH Bern / Dachstock
Feb 4, 2027 / FR Lyon / Marché Gare
Feb 6, 2027 / ES Barcelona / Sala Apolo
Feb 7, 2027 / ES Valencia / Sala Jerusalem
Feb 8, 2027 / ES Madrid / Sala But
Feb 10, 2027 / PT Lisbon / Lisboa ao Vivo
Feb 11, 2027 / PT Porto / Mouco
Feb 13, 2027 / ES San Sebastian / Dabadaba Club
Feb 14, 2027 / FR Mérignac / Le Krakatoa
Feb 15, 2027 / FR Nantes / Stereolux
Feb 16, 2027 / FR Paris / Cabaret Sauvage
Feb 17, 2027 / NL Utrecht / TivoliVredenburg
Feb 18, 2027 / BE Brussels / Le Botanique
Feb 20, 2027 / UK London / Electric Ballroom
AUSTRALIA 2027
Apr 22, 2027 / AU Brisbane / The Tivoli
Apr 23, 2027 / AU Sydney / Manning Bar
Apr 24, 2027 / AU Melbourne / Max Watts
Apr 25, 2027 / AU Adelaide / The Gov
Apr 27, 2027 / AU Perth / The Rechabite
