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Today, Denver-based symphonic black metal quartet STORMKEEP premiere the music video for “The Black Dragons Of Iswylm,” the centerpiece single from their highly anticipated sophomore album The Nocturnes Of Iswylm, out this Friday, June 12 via Vesperian. Watch “The Black Dragons Of Iswylm” at 18:00 CEST today here: https://youtu.be/y4Pntm7CLGg A Visual Statement Unlike Anything STORMKEEP Have Done BeforeThe video […]

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LA-based alt-pop and dark-rock artist Mothica (McKenzie Ellis) has officially released her new digital EP, Somewhere In Between (mothicorp’s lofi breakroom beats), via SharpTone Records. Recorded at Mothicorp Studios in collaboration with Nathan Miller (Icarus Moth), the 10-track collection features completely remixed, lofi reinterpretations alongside full instrumental counterparts of the five heavy, dynamic tracks found … Continue reading Mothica releases new lofi companion EP Somewhere In Between (mothicorp’s lofi breakroom beats)

German folk rock frontrunners SCHANDMAUL aim for the stars in a new lineup: the upcoming album, Sternensegler (Engl. “star sailor”), coming September 11, 2026 via Napalm Records, is their first album with Till Herence on vocals. The new singer already filled in during live shows starting in 2024 when Thomas Lindner had to step back from the microphone due […]

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Imminence sign to Sumerian Records, release new single, ‘The Sword That Never Bends’ was originally published on HM Magazine by Nao Glover.

Known for their signature blend of atmospheric heaviness and classical violin, Swedish band Imminence begin a major new chapter with their signing to Sumerian Records and the release of their new single, “The Sword That Never Bends.” Following the global breakthrough success of their latest album, The Black, the band now enters a new era — one that expands both their sonic […]

Imminence sign to Sumerian Records, release new single, ‘The Sword That Never Bends’ was originally published on HM Magazine by Nao Glover.

She also explains how the band "all kind of started a little bit together from scratch." Continue reading…

Critical Rise’s Still Hear Your Name is a polished melodic techno production that successfully combines emotional songwriting with strong dancefloor appeal. Built around expressive vocals, driving basslines, and cinematic atmospheres, the track balances introspection and momentum with confidence. The arrangement develops gradually, layering melodic elements and rhythmic intensity to create a compelling sense of progression. Its emotional core remains present throughout, while the production maintains the energy expected from contemporary melodic techno. Drawing inspiration from the genre’s leading names while establishing its own identity, Still Hear Your Name highlights Critical Rise’s talent for crafting immersive electronic music that resonates both in clubs and through focused listening.

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WICKED ONE Unleash Debut Single “Kneel Before Lucifer” In Metal Injection Premiere

A new force has emerged from the shadows of the extreme metal underground. WICKED ONE, a black metal project formed by a collective of acclaimed death metal veterans, has officially unveiled its debut single and music video, “Kneel Before Lucifer,” which premiered via Metal Injection on June 6, 2026.
Check it out here: https://metalinjection.net/av/video-premiere/premiere-new-black-metal-band-wicked-one-release-menacing-single-kneel-before-lucifer
Drawing from decades of experience across some of metal’s most respected acts, WICKED ONE unites musicians whose histories include work with Nile, The Black Dahlia Murder, Deeds of Flesh, Vital Remains, Arsis, Nevalra, Serpent of Gnosis, and more. The lineup features Scott Eames, known as “Wicked One,” on guitars, vocals, and songwriting, alongside drummer Darren Cesca (“Agares”) and bassist Maxwell Lavelle (“Malvernis”).
The band’s first offering, “Kneel Before Lucifer,” serves as the opening chapter of their forthcoming debut album, Burn Thy Offering . Released symbolically on 6/6/26, the track introduces listeners to WICKED ONE’s vision of uncompromising black metal, blending relentless aggression, sinister atmosphere, and anti-religious themes into a fierce sonic assault.
Metal Injection described the track as embracing “all things satanic,” featuring an ominous chorus alongside obliterating blast beats, crushing gutturals, and feral screams. The premiere also highlighted the band’s mission to bring a fresh yet authentic approach to extreme metal while remaining firmly rooted in black metal’s darkest traditions.
According to founder and songwriter Scott Eames, the project has been years in the making.


“I used to play the Wicked One character in a previous band. After having a blast playing the character for years and many tours, it felt like Wicked One deserved its own voice. WICKED ONE isn’t about reinventing the wheel. It’s about stripping everything down to something direct and unapologetic: scathing black metal that simply drips with hatred.”


Eames further explained why “Kneel Before Lucifer” was chosen as the band’s debut statement.


“‘Kneel Before Lucifer’ was chosen as the first single because it captures the core DNA of Wicked One. The atmosphere, the aggression, and the themes that define the entity. It simply drips with hatred. It serves as the first chapter and the gateway into this world.”


To bring the visual side of the project to life, WICKED ONE partnered with renowned production team Aimed & Framed, whose impressive portfolio includes work with Kerry King, Deicide, Suffocation, and Exodus. The resulting visual presentation delivers a dark and gothic aesthetic that complements the track’s menacing atmosphere.
The project’s visual identity extends beyond the music video. WICKED ONE’s logo was crafted by legendary Belgian illustrator Christophe Szpajdel, widely known throughout the metal community as the “Lord of the Logos” for his iconic work with bands such as Emperor, Old Man’s Child, Enthroned, and Borknagar.
While WICKED ONE is only now making its public debut, Eames revealed that the concept has existed in his creative world for years.


“What began as a persona slowly took on a life of its own, appearing in different artwork, concepts, and projects. Over time, it became clear that Wicked One was never meant to remain just a character. It demanded its own world, its own voice, and ultimately its own music.”


The debut release has already generated strong interest among fans, with teaser footage accumulating more than 44,000 views prior to the video’s official premiere. Additional singles and music videos have already been completed and are scheduled for release in the coming months as WICKED ONE builds momentum toward the full unveiling of Burn Thy Offering .
With future albums already in development and plans for worldwide live performances, WICKED ONE is positioning itself as a long-term creative endeavor rather than a one-off side project. For Eames, “Kneel Before Lucifer” represents a defining moment.


“For me, ‘Kneel Before Lucifer’ is more than simply the first song release. It’s the moment Wicked One crosses the threshold, and the world gets to hear Wicked One in full form, staring back.”


Watch the official music video for “Kneel Before Lucifer” here:

“We are beyond grateful and can’t wait to unleash these tracks on the world!”

The post Hatebreed Sign With BLKIIBLK, Ninth Studio Album Due This Fall appeared first on Theprp.com.

The book includes fascinating stories about the Kansas star's early encounters with Jim Morrison, Jerry Garcia and Janis Joplin. Continue reading…

I initially stumbled across Germany’s Maladie last year with the fifth installment of their Symptoms EP series and immediately fell for their sax-forward, avant-garde black metal. A quick glimpse through Maladie’s back catalog revealed how late I was to the game. Formed in 2009, the band has already released seven full-lengths and five EPs since 2012. Now, eighth LP The Dance of Tragedies is upon us, continuing Maladie’s magnificently nutty approach to black metal by braiding strands of diverse aural fabrics into a singular tapestry that’s far-reaching, fascinating, and fancifully fun. Yet we mustn’t take for granted that just because a band does many things well, they’ve avoided pitfalls along the way. Does Maladie juke major missteps during The Dance of Tragedies?

My first time through The Dance of Tragedies was both exactly what I anticipated from Maladie and an abrupt detonation of my expectations. The outfit’s signature sound persists, finding Hauke Peters slinging the sax with soulful swagger while the rest of the band skitters between full-on black metal fury (the end of “Vortex of Monotony”), AOR tunefulness (“Behind All Suns”), and brief flashes of electronica (“Embrace Our Curse”). The brooding intensity rife throughout Symptoms V subsides on The Dance of Tragedies, dispensing understated moments of levity that delightfully buoy the music in sharp contrast with Maladie’s typically self-serious style.¹ This direction surprised me, and though it took several listens to fully digest the album, the result is beautifully refreshing.

As usual, performances across The Dance of Tragedies captivate with titillating zeal. The multi-pronged vocal attack cuts with a serrated edge via emotive cleans, dry barks, and some of the phlegmiest rasps I’ve heard this side of Stenched (“Vortex of Monotony”). Shared by Alexander Wenz and Déhà, the primary vocals inhabit unconventional stylings alongside traditional ones. “Vortex of Monotony” features several variants, including a hip-hop flavored spoken word in the latter half, while “The Dance of Tragedies” runs a marathon of deliveries that keeps The Dance of Tragedies handsomely off-kilter. Björn Köppler plays jack-of-all-trades, supplying chameleonic drums alongside sundry keys and strings, while Déhà contributes even more keys in addition to singing.² Köppler and Alex Spalvieri share guitar duties, mostly strumming in tasteful restraint while sporadically unfettering a few bars of unbridled shredding (“Too Old to Die”) before yielding the spotlight to other instruments. In totality, The Dance of Tragedies enthralls with an assortment of performances that pulse with intrigue and vivacity, transporting listeners to a vibrant world all Maladie’s own.

Not uncommon for Maladie, The Dance of Tragedies clears the seventy-minute mark without feeling overlong. Sections of lengthier tracks, particularly “The Unknowable” and “On Inaccessible Paths, Pt. II,” dabble in passages that extend to the brink of their charm, yet never run out of gas. I credit this to Maladie’s exploration of atmosphere as they allow rippling riffs and melodies to play out like a stone cast into the middle of a lake, where the ensuing furrows stretch across the smooth horizon until they run their course. Bolstering the momentum of The Dance of Tragedies is the vast array of sounds the band conjures. The refrain played midway through “The Unknowable” reminds me of Mossgiver’s “The Cleansing Waters,” “Behind All Suns” summons comparisons to Hail Spirit Noir, and “Embrace Our Curse” and “On Inaccessible Paths, Pt. I” recall Pensées Nocturnes and Arcturus. Through it all, Maladie never ceases to sound like themselves, grazing other bands as reference points while never jeopardizing their own unmistakable identity.

There’s something about The Dance of Tragedies that ineffably connects with me on an emotional level. Despite the gravity Maladie typically instills in their compositions, The Dance frolics in the face of Tragedies and injects a dimension of playfulness and hope that leaves me spellbound each and every spin. This is an album that works best when absorbed in a single session, and though time is precious, Maladie rewards listeners with utter diversity, meticulously crafting a vibrant musical experience. Swelling strings, electrifying sax, dynamic pacing, and stirring songwriting unite for an absolute blast of avant-garde metal. While it might be weird enough not to appeal to everyone, when it hits, The Dance of Tragedies shakes the room with thunderous abandon. So break out your dancing shoes and get ready to boogie—Maladie has the cure for what ails you.

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Rating: Great
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Apostasy Records
Websites: Bandcamp | Facebook
Releases Worldwide: May 29th, 2026

The post Maladie – The Dance of Tragedies Review appeared first on Angry Metal Guy.