Deathcore outfit expands spring schedule with new stops in St. Paul and Greenville outside their upcoming trek with Lorna Shore.

The post SIGNS OF THE SWARM Add Headlining Dates Amid Spring Tour With LORNA SHORE appeared first on Metal Injection.

In a post-Beatles world, these bands came out on top. Continue reading…

“It’s kind of Tomas’s legacy,” says Jonas Björler as At The Gates prepare to release their final album with the late frontman.

The post JONAS BJÖRLER On The Future Of AT THE GATES: "We Are Not Sure About Anything Right Now" appeared first on Metal Injection.

Tributes from fellow songwriters Elton John, Carole King and more. Continue reading…

Last year, Tobias Jesso Jr. made an album with his former gardener. Now, Juliana Hatfield is sharing a surprise record she made with her contractor. It’s called Bets, and it arrives on the heels of December’s Lightning Might Strike. On Instagram, the Boston alt-rock veteran wrote: new surprise release alert! before i made my last…

The post Juliana Hatfield Shares Surprise Album She Made With Her Contractor appeared first on Stereogum.

A look back at his best contributions as a cornerstone in three hitmaking bands – the Babys, Bad English and Journey. Continue reading…

Atmospheric post-black metal is quite the concept. Both titular subgenres span wide varieties of inspirations, levels of aggression, and affinities for emotion. Done well, they are gateways to catharsis and emotional storytelling. So I was intrigued when Rituel : Initiation caught my eye. This is the debut full-length release from Swiss post-black metal band De l’Abîme Naît l’Aube, recommended, or so I’m told, for fans of Alcest and Heilung. You never quite know what you’re going to get with a debut, but I was eager enough from the concept to want more. On paper, Rituel : Initiation could go anywhere.

Fortunately, the first few minutes of Rituel : Initiation act as an interesting microcosm for its whole: “Une Pleine Absence” lulls you in slowly with heavy atmosphere, wordless sighs, throat singing (I believe from lead vocalist Sébastien Defabiani), and acoustic passages, slowly building in intensity. It does this so effectively, in fact, that when the guitars do arrive, they feel overly jagged, loud, and harsh. I signed up for a post-black metal album—I expected loud. But De l’Abîme Naît l’Aube do somber atmosphere very well, and they do post and black metal well, but it’s interesting how the two can be at odds with each other in this style. Ten minutes later, this moment is forgotten, and the guitars sound as natural as anything else. “Une Pleine Absence” is still going, incorporating tremolos and depressive shrieks as a heavier atmospheric element, and you know well what to expect over the rest of Rituel : Initiation.

This intersection of rough-around-the-edges post metal, black metal aggression, and atmospheric melancholy seems to define both Rituel : Initiation and De l’Abîme Naît l’Aube. “Le Vertige d’une Descendance” is similar to the intro in that it starts slowly and gives bassist Valerian Burki a moment to shine. It leans more post than black, with some strong riffs that give the song groove and, if you’ll forgive a technical term, head-nod factor. “Un Sanctuaire de Cendres” is much more blackened than post, but when Fantine Schütz’s clean singing soars through the gloom, it’s a genuinely touching moment. Tremolos towards the end from guitarists Dominique Blanc and Kilian Caddoux counterbalance nicely with Valentin Boada’s frantic drumming, and here, the intersections work very well.

If I were to criticize one thing about Rituel : Initiation, it’s that the blended styles don’t allow for a ton of memorability. There are great moments throughout the five tracks—I’ve mentioned a few already, and want to highlight the slow march riffing around the midpoint of “Un Sanctuaire de Cendres” as well. But generally, Rituel : Initiation does not feel very strongly structured as an album. Songs, all but one over eleven minutes long, move from one idea to the next coherently and naturally, but in such a way as to evade hooks or moments of particular catchiness or impact. I always enjoy listening, but after the fifty-three minutes are done, I don’t have much impression of specific songs I liked; rather, it’s moments here and there that I know were early or late in the session. This makes sense of the style De l’Abîme Naît l’Aube play, but it also gives the impression of a dense album that I perhaps still need to spend more time with to truly crack.

Still, I like what De l’Abîme Naît l’Aube are doing here. Cold, regal, aggressive, anguished, and balanced on a knife’s edge—there’s some good metal here! As “Une Absolute Prèsence” builds to the album’s climactic end, I can’t help but be impressed. I wouldn’t have hated more editing—there’s a lot of metal here too—but too much of a good thing isn’t a bad thing. Rituel : Initiation is, in my mind, an exciting debut, the kind that speaks of genuine potential. Color me intrigued.

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Rating: 3.0/5.0
DR: 7 | Format Reviewed: 192 kbps mp3
Label: Hypnotic Dirge Records
Websites: danapostmetal.bandcamp.com | facebook.com/dana.postmetal
Releases Worldwide: February 13th, 2026

The post De l’Abîme Naît l’Aube – Rituel : Initiation Review appeared first on Angry Metal Guy.

The soundtrack to ex-Sepultura frontman Max Cavalera’s life

Fernando Perdomo 2026 Looking at the skies for a longer time, American composer ventures towards a wondrously worrisome variety of moods. It’s so simple to surmise that serializing of his output, as “Waves” suggested, gives an easy way out of … Continue reading →

The post FERNANDO PERDOMO – Clouds 2 appeared first on DMME.net.

Good Day Noir Family,
With a title like Gaia Algorithmica, Beyond Signal, he clearly signals his intent. Even before pressing play, you sense you’re about to encounter something unusual and forward-thinking.

Gaia Algorithmica is Beyond Signal’s Album Out Now

The track names alone suggest a project built around ideas rather than formulas. 

The opener, “The Hypernormal,” confirms that suspicion. The production leans into an experimental direction that briefly recalls Depeche Mode, filtered through the eccentric lens of Beck and the angular unpredictability of Primus. However, those references only serve as coordinates. Beyond Signal moves in a more avant-garde orbit. The textures feel mechanical yet organic, rigid yet strangely fluid. The rhythmic tension keeps you alert, as if the song itself were questioning the structures it inhabits.

Then comes “All in Hand.” Here, the record tilts toward rock, even flirting with grunge. The chord progression carries a faint 90s echo, but there’s also a gothic undercurrent that deepens the atmosphere. The melodic line circles your mind with hypnotic persistence. The vocal delivery feels raw without losing control. It’s a track that bridges eras while refusing nostalgia.

“Questions” strengthens the alternative rock identity of the album. It adds a nocturnal and dystopian tone that runs throughout the project. The guitars pulse rather than explode. The mood grows darker. Still, the structure remains tight. The tension never drifts into chaos.

On “I Used to Know What Love Was,” the energy pulls back. The arrangement becomes more minimal and less guitar-driven. The hypnotic quality intensifies, and the lyrics cut sharply. They challenge the listener rather than comfort them. The restraint in the instrumentation allows every word to land with weight.

“Kirchner (All That Is Solid Melts into Air)” stands out for its peculiar elegance. There’s something distinctly British in its compositional spirit, touched with that subtle UK irreverence that twists seriousness into irony. The gothic hue returns, though never in an obvious way.

“Monetise Me (Hegemony)” closes the journey on a psychedelic note. The track expands and fractures at the same time. It feels like stepping inside a digital dream that refuses clear resolution. By the end, Gaia Algorithmica reveals itself as a singular, immersive trip that pushes beyond genre boundaries and invites repeated listening.

Gaia Algorithmica is Beyond Signal‘s Album Out Now!

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Visionary!

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Gaia Algorithmica is Beyond Signal’s Album Out Now

Thomas of Beyond Signal is a lone-wolf empath driven by a search for existential authenticity and transcendental creativity. He believes creativity and neurodivergence are essential to what makes us human—qualities too often overlooked. Seeing the world through a singular lens, he has often felt out of step with others, yet has come to understand that uniqueness is not a flaw but a strength to be honored. While he recognizes the comfort of familiarity and the role of conformity, Thomas champions individuality as vital to our collective survival. For him, the more we try to fit in, the more we risk losing the rare essence of who we truly are.

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Find Gaia Algorithmica Here:

Spotify
Instagram

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