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  • Cirith Ungol – To Release Seventh LP Next Month

    US veteran heavy doomers Cirith Ungol have announced the release of their seventh full-length effort, All The Shadows, on October 30th via No Remorse Records. The 8-piece outing was engineered, mixed and mastered by Armand John Anthony. For a preview, give a spin to the first single-title track.
    Read more…
  • Velvet and Darkness: Why Gothic Fashion Loves Texture

    Velvet and Darkness: Why Gothic Fashion Loves Texture

    Few fabrics are more closely associated with Gothic fashion than velvet. Long before black lace, Victorian mourning dresses, and dark romantic aesthetics became staples of modern Gothic culture, velvet already possessed many of the qualities the Gothic imagination would eventually embrace.

    It absorbs light rather than reflecting it. It appears to shift between shadow and illumination. Its surface invites touch while concealing depth beneath its soft texture. Even before it became a fashion statement, velvet felt mysterious.

    This relationship between fabric and atmosphere helps explain why velvet remains one of Gothic fashion’s most enduring materials. Gothic culture has always been fascinated by contrasts: beauty and decay, life and death, visibility and concealment. Velvet expresses those tensions in physical form.

    Unlike smooth modern fabrics that emphasize clarity and precision, velvet creates ambiguity. Shadows gather within its folds. Colors appear deeper. Movement changes its appearance from one moment to the next.

    The fabric seems alive. For a subculture drawn to mystery, memory, melancholy, and emotional depth, such qualities proved irresistible. The story of velvet in Gothic fashion is therefore about more than clothing. It is a story about how texture became a language capable of expressing the darker dimensions of human experience.


    Velvet and Darkness Why Gothic Fashion Loves Texture
    Velvet and Darkness: Why Gothic Fashion Loves Texture

    From Royal Luxury to Gothic Symbol

    Velvet’s history began long before Gothic fashion existed.

    For centuries, the fabric served as a symbol of wealth, status, and exclusivity. Producing velvet required specialized techniques and expensive materials, making it accessible primarily to aristocrats, royalty, and religious institutions.

    Throughout medieval and Renaissance Europe, velvet appeared in royal garments, ceremonial robes, and church interiors. Its rich texture communicated importance before a single word was spoken.

    Yet velvet possessed another quality that distinguished it from many luxury fabrics.

    It interacted dramatically with light.

    Gold and silk often reflected illumination. Velvet seemed to absorb it. Shadows pooled within its folds, creating a sense of depth that could appear almost theatrical.

    This visual quality would later become central to its Gothic appeal.

    Long before Gothic fashion emerged, velvet already possessed an atmosphere of drama, mystery, and emotional intensity.


    Victorian Mourning and the Language of Grief

    The strongest connection between velvet and Gothic fashion emerged during the nineteenth century.

    Victorian mourning culture transformed clothing into a language of grief. Following the death of Prince Albert in 1861, Queen Victoria adopted prolonged mourning attire that influenced fashion throughout Britain and beyond.

    Black garments became symbols of remembrance, loss, and emotional devotion.

    Velvet played an important role within this visual language.

    Its heavy texture and deep coloration conveyed a sense of seriousness that lighter fabrics could not easily achieve. The material seemed to embody the emotional weight associated with mourning rituals.

    This connection left a lasting cultural imprint.

    Many visual elements that later became associated with Gothic fashion originated within Victorian mourning culture: black clothing, elaborate silhouettes, emotional symbolism, and an aesthetic fascination with memory and mortality.

    Velvet stood at the center of that tradition.

    The fabric became associated not merely with elegance but with the emotional depth that Gothic culture would later celebrate.


    Why Velvet Feels Different

    The enduring appeal of velvet cannot be explained through history alone.

    The fabric feels different from most materials people encounter in everyday life.

    Its texture encourages touch. Its surface changes appearance depending on movement and lighting. Colors appear richer because the raised fibers absorb and scatter light in unusual ways.

    This creates an experience that is both visual and tactile.

    Gothic fashion has always emphasized atmosphere over practicality. Velvet contributes to that atmosphere by engaging multiple senses simultaneously.

    The fabric creates depth where other materials create flatness.

    A black velvet garment communicates something very different from black satin, black cotton, or black leather. Texture alters emotional perception.

    The attraction is not simply historical.

    It is emotional.


    Shadow, Concealment, and the Gothic Imagination

    One reason velvet became so important to Gothic fashion is its unusual relationship with visibility.

    Most fabrics reveal their surfaces immediately. Velvet behaves differently. Its texture absorbs light, creating shadows that obscure details and alter perception. A black velvet garment can appear almost featureless in one moment and richly dimensional in the next.

    This quality aligns naturally with Gothic aesthetics.

    Gothic literature, art, and fashion rarely celebrate complete transparency. Instead, they often explore ambiguity, hidden meanings, and the tension between revelation and concealment. The unknown remains more compelling than the fully explained.

    Velvet expresses this principle visually.

    The fabric never presents itself all at once. Light uncovers certain details while allowing others to disappear into shadow. The viewer is encouraged to look more closely, yet the material continues withholding complete clarity.

    This interplay between visibility and obscurity helps explain why velvet feels inherently Gothic.

    The fabric transforms darkness into an active visual element rather than merely the absence of light.


    Velvet and the Beauty of Melancholy

    Gothic culture has long embraced emotions that many traditions attempt to avoid.

    Grief, nostalgia, longing, and melancholy frequently appear throughout Gothic literature, music, and fashion. Rather than treating these emotions as weaknesses, Gothic aesthetics often transform them into sources of reflection and beauty.

    Velvet became an ideal companion to this sensibility.

    Its visual weight creates an impression of seriousness and depth. Unlike brightly reflective fabrics associated with celebration or spectacle, velvet often conveys introspection. The material seems to slow the eye, encouraging contemplation rather than excitement.

    This emotional quality helps explain why velvet appears so frequently in Gothic photography, fashion editorials, and formal attire.

    The fabric contributes to a mood before any symbolism is added.

    A black velvet coat, dress, or cape carries an emotional resonance that extends beyond color alone. Texture becomes part of the message.

    The garment does not simply look dark.

    It feels reflective.


    Velvet and Lace: The Two Textures of Gothic Fashion

    No discussion of Gothic fashion would be complete without comparing velvet to lace.

    Both materials appear constantly within Gothic clothing, yet they communicate very different ideas.

    Lace emphasizes delicacy, transparency, and fragility. Its open patterns reveal as much as they conceal. The material often evokes Victorian elegance, romance, and the passage of time.

    Velvet operates in the opposite direction.

    It conceals rather than reveals. It absorbs rather than reflects. Where lace feels light and intricate, velvet feels substantial and immersive.

    Together, the two fabrics create one of Gothic fashion’s most enduring visual contrasts.

    Lace introduces vulnerability.

    Velvet introduces depth.

    One suggests transience.

    The other suggests permanence.

    One invites light through its surface.

    The other gathers shadows within it.

    Their combination allows Gothic fashion to balance opposing emotional forces, creating garments that feel simultaneously romantic and mysterious.

    This tension lies at the heart of Gothic aesthetics itself.


    From Victorian Mourning to Modern Gothic Style

    The influence of Victorian mourning culture never disappeared completely.

    During the late twentieth century, emerging Gothic subcultures rediscovered many of the visual traditions associated with nineteenth-century fashion. Black clothing, dramatic silhouettes, antique jewelry, lace, corsets, and velvet all returned within a new cultural context.

    The fabric proved remarkably adaptable.

    Velvet appeared in romantic Gothic styles, Victorian-inspired ensembles, dark formalwear, and contemporary interpretations of Gothic fashion. Although individual trends changed, the material’s symbolic associations remained largely intact.

    Designers also recognized its unique potential.

    Alexander McQueen frequently incorporated rich historical textures into collections that explored beauty, mortality, memory, and transformation. His celebrated collection Widows of Culloden drew upon Victorian influences and demonstrated how historical materials could retain their emotional power within contemporary fashion.

    The continuing presence of velvet reflects more than nostalgia.

    The fabric remains relevant because the emotions it evokes remain relevant. Themes of memory, mystery, longing, and self-expression continue attracting individuals drawn to Gothic culture.

    Velvet provides a tactile way of expressing those themes.


    Why Gothic Fashion Still Chooses Velvet

    Fashion trends change constantly.

    Few materials maintain cultural relevance for centuries.

    Velvet has survived because it offers something that many modern fabrics cannot easily reproduce. It combines historical associations, visual complexity, and emotional resonance in a single material.

    For Gothic fashion, this combination is invaluable.

    The subculture has never been concerned solely with appearance. Gothic style functions as a form of storytelling. Clothing communicates influences, emotions, memories, and personal identity. Materials become part of that narrative.

    Velvet carries centuries of cultural memory.

    Its connections to royalty, mourning rituals, Victorian aesthetics, and dark romanticism allow contemporary wearers to participate in a visual tradition that extends far beyond current fashion cycles.

    At the same time, the fabric remains remarkably adaptable.

    A velvet coat can evoke nineteenth-century elegance. A velvet jacket can feel modern and understated. A velvet dress can appear romantic, theatrical, or mysterious depending on its design.

    The material evolves without losing its identity.


    When Fabric Becomes Atmosphere

    The relationship between velvet and Gothic fashion ultimately extends beyond clothing.

    Velvet succeeds because it transforms texture into atmosphere.

    Throughout its history, the fabric accumulated associations with royalty, mourning, romance, mystery, and emotional intensity. Gothic culture inherited those meanings and reshaped them into a distinctive visual identity.

    Its attraction lies partly in history.

    Its attraction also lies in experience.

    Velvet changes the way light behaves. It softens outlines. It creates shadows where other fabrics create reflections. These physical qualities mirror many of the themes that define Gothic aesthetics: concealment, ambiguity, melancholy, and beauty emerging from darkness.

    The fabric also embodies the tensions that run throughout Gothic culture.

    Like the contrast between velvet and lace, it balances elegance with mystery, beauty with introspection, visibility with concealment. It invites attention while refusing complete clarity.

    That is why velvet continues appearing generation after generation.

    Not because it is fashionable.

    Because it feels Gothic.

    Few materials express the emotional depth of Gothic culture so naturally. The fabric does not simply cover the body. It creates a mood, shapes an atmosphere, and transforms texture into meaning.

    In the world of Gothic fashion, that achievement is timeless.


    Wear the Darkness

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    Edgar Allan Poe Gothic apparel and noir-inspired fashion from the Edgar Allan Poets store


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    Frequently Asked Questions

    Why is velvet associated with Gothic fashion?

    Velvet is associated with Gothic fashion because its deep texture, light-absorbing qualities, and historical connections to mourning, mystery, and elegance align closely with Gothic aesthetics.

    Did Victorian mourning culture influence Gothic fashion?

    Yes. Many elements of modern Gothic fashion, including black clothing, emotional symbolism, and the use of fabrics such as velvet and lace, have roots in Victorian mourning traditions.

    Why does velvet look darker than other fabrics?

    Velvet’s raised fibers absorb and scatter light differently from smoother materials, creating deeper shadows and richer colors.

    What is the difference between velvet and lace in Gothic fashion?

    Lace often emphasizes delicacy and transparency, while velvet emphasizes depth, concealment, and atmosphere. Together they create one of Gothic fashion’s most recognizable visual contrasts.

    Do contemporary Gothic designers still use velvet?

    Yes. Velvet remains a popular material in Gothic, Victorian-inspired, and dark romantic fashion because of its visual richness and strong historical associations.


    The post Velvet and Darkness: Why Gothic Fashion Loves Texture appeared first on Edgar Allan Poets – Noir Rock Band.

  • “We were looking to help Norway burn some more churches.” Glass wounds, grief, and a broken back: The brutal creation of Slipknot’s Iowa

    It’s no exaggeration to say that Slipknot’s Iowa changed the metal landscape. Twenty-five years on from its release, it’s impossible not to see Gojira playing the Olympics, Knocked Loose popping up on late-night TV or Bring Me The Horizon becoming a chart-topping, arena-filling act without tracing it all to the Iowan nine-piece’s own second album, still the most extreme record to top the UK charts.

    Reuniting with Ross Robinson – no stranger to landscape-altering releases thanks to his work on Korn’s debut and Sepultura’s Roots – they increased the intensity and made their extreme metal allegiances even more obvious, yet still continued to thrive in the mainstream. To celebrate 25 years of this landmark release, Hammer sat down with Ross to explore the story behind how the album was made.

    A divider for Metal Hammer

    After the success of Slipknot, was there ever a discussion about whether going heavier for album #2 was a good idea?

    “I’ve never done a record with an intention of hits or thinking about what the listener is going to do. That’s just not part of the equation. It was just, ‘How can we go deeper?’ Roadrunner really wanted another Spit It Out, but we were looking to help Norway burn some more churches. We wanted to join that extreme metal club!”

    What made Slipknot different to the other bands you’d worked with previously?

    “I just connected so much with their music – I wasn’t doing Korn or Limp Bizkit anymore, I’d disconnected from that world. But then here come Slipknot that’s something totally fresh. Later you’d get all the copy bands, your Papa Roaches or whatever, everybody was blazing on top of the charts and taking over, and I was out. Slipknot were the answer to all of that, partially because they were so isolated from it all.

    Success was hard on those innocent Beavises

    Ross Robinson

    “At the time for me, I felt like I was stepping back into my 80s thrash roots. They were pretty much the only band using double-bass [drums] at that point who weren’t in the underground. But it was the ferocity, too – they were more ferocious than anybody else. Nobody on planet Earth could step up to that level. They had this extreme voice as a unit.”

    The band have talked about how much tension there was between them all around the time of Iowa. Did you see much of that?

    “I did get a complaint from Paul [Gray, bassist] or maybe Joey [Jordison, drummer] at one point before we recorded, where they were like, ‘We’re just not getting along. We’re gonna break up.’ So I flew out to them. Corey [Taylor, frontman] took me out and was showing me Stone Sour stuff. It was like, ‘Erm, this is cool… but it’s not Slipknot.’

    “That transition from having this vision from nothing, to it becoming so extreme as far as success and everything goes… Nobody goes to school for it, there’s no education for how to deal with everybody suddenly kissing your butt no matter what you do or say. Girls that would never have looked at you, suddenly paying you all this attention… it’s very confusing. It was tough on these innocent Beavises!”

    Were there any flare-ups in the studio? Were you called on to mediate?

    “It could be tough. Some of the guys would be doing so much, while others had to wait around for ages to do anything. There was some anxiety in that. That’s all part of that confusion surrounding a monster that big. I’m older than them a little bit and I think they trusted my experience. But as somebody who didn’t want anything from them beyond making some great music, I could just be honest with them and say what I felt.”

    What part of recording sticks out most to you?

    “I remember that the title track, Iowa, came from this jam. They came in one day with these bottles of [buzz-inducing cold medication] NyQuil – the only time anybody was actually under the influence in the studio. They wanted me to drink it but I had to work, so I was like, ‘Fuck that shit!’

    “They pounded that bottle and we went into this room in Sound City where Fleetwood Mac recorded, Nevermind was made and whatever. There’s a side room that’s supposed to be haunted, all mouldy and shitty, covered in this carpet. I stuffed the whole band in there, opened the door so we could get some room mic and just talked about ideas.

    “They started jamming and there was this vibe and presence that was the foundation for the whole album. I’m pretty sure that the version you hear on the record is exactly how it went down at the time – we recorded it in one take. What metal band on planet Earth jams like a jazz band on record?”

    Corey’s said he ended up rolling around naked on the floor, cutting himself with glass, recording that. How true is that?

    “I remember he did that on vocal overdubs, but I can’t remember if it was Iowa specifically that he did it for. He had to strip his soul all the way. I do remember seeing him naked a lot. We’d get all woo-woo around the lyrics, go deep into the meaning and the tone of everything, so I’d have chills by the time I hit record.

    Joey said my broken back was the best thing that happened for them

    Ross Robinson

    The dude is a clear vessel for whatever comes through him – I called him ‘the bulletproof neck’, because he had this big, thick fucking neck that never quit on him no matter how much he put it through.”

    While the album was being recorded you broke your back in a motocross accident. Is it true you only took one day off and then just came back in?

    “Yeah.”

    Wasn’t there a point where you thought, ‘Fuck it, somebody else can do this’?

    “No, that’d be impossible. It was actually really good for the record because the guys were being taken out in Hollywood, hanging out with all these big stars and shit. When I broke my back and showed up anyway, it put a very next-level diligence into those guys. Joey said to me later, ‘It was the greatest thing that ever happened to us.’ It was really tough – I’d get home and just lie there watching The Big Lebowski until I passed out. I was in so much pain, but I’d get to the studio and it’d be, ‘Let’s get it the fuck on!’”

    What was the hardest part of doing that?

    “I remember we spent almost a month just getting the drums edited. We were razor-blading and pasting these bits of tape because there weren’t computer tools to do that. So I’d be there marking every tom, kick and snare on the record, which was a big job in itself because of how Joey plays. My secret was to cut these little slivers out, so it almost sounded rushed and even more extreme. I was doing that on a fresh broken back, then by the time we got to guitars I was finally able to sit down properly again.”

    Why pick People = Shit as the first proper song on the album? It’s hardly easing people in gently.

    “Well, the whole ‘Here we go again, motherfucker!’ thing was Corey’s genius. There’s always this thing inside of me that wants to compete with anything they can do at a live show. I always wanted to capture them at their deepest, most full-tilt slam so they couldn’t just easily top the record. The easiest way to do that was to make it almost violent, with shit flying through the air and having fun making chaos.

    “We weren’t going, ‘Let’s make this sound good.’ Fuck that! Does it give you chills? Does it make you laugh or cry, do you get scared? I wanted people to worry they were going to die listening to this record!”

    What was the most difficult part to record?

    “Vocal overdubs could be tough. The bar was set so high with the band slamming together – when you’re that extreme, it gets difficult, especially when you’re on your own and trying to get back into the zone. There was a lot going on with Corey at the time too – he’d be going out pretty much every night and had this little fanbase of people he hung out with.

    You wanna feel Joey and Paul? Press play. It’s right there.

    Ross Robinson

    “Weirdly, the easiest one to get in the zone was when Sid’s [Wilson, turntables] grandfather passed away, and I’d asked him to do some overdubs for the background of People = Shit. He was so distraught, sad, hurt and was just crying. I was like, ‘You’re doing backgrounds today’ and he nailed it.”

    Isn’t he also doing that on (515) too?

    “They’re actually outtakes of the backgrounds we recorded for People = Shit. It’s the sound of true unfiltered grief, but also the sound of pure love.”

    What impact did it have on the metal scene at the time?

    “I didn’t really get time to appreciate it, because I was making other records. I was out of the loop when it comes to statistics. I’d just get the occasional email like, ‘Hey, buddy!’ It’s crazy to me how big it is now, though – I think it’s bigger now than it was when it was actually released. I miss Joey and Paul so much, so those guys getting to live on through that is a dream.”

    Twenty-five years on, what do you consider to be the legacy of Iowa?

    “Fearlessness. They jumped into the unknown and did the exact opposite of what a bean-counter would want them to do, but still got multi-platinum status with this record. We were treading new water with this, but it gave me the same excitement thrash did in the 80s.”

    Why are we still talking about it today?

    “When you’ve got a band slamming as hard as they possibly fucking can, not giving a damn about mistakes or perfection, it creates a living, beating heartbeat that has something infinite to say, no matter how many times you’ve heard it. Mystical things happen – you’ll hear something different every time you hear it, because none of that stuff was planned out.

    “Before we did this interview, I played a couple of tracks and it’s still so alive – a living, breathing force. It holds the essence of my friends’ lifeforce, you know? If you want to know if life can last forever, or you wanna feel Joey and Paul? Press play. It’s right there. It’s so beautiful.”

  • Burning Man Sees Fourth Death In Four Years, Festival Gate Closed Again Due To Weather

    A Burning Man attendee has died, marking the festival’s fourth death in four years. The man passed away on Friday (Sept. 4) after a medical emergency, and no foul play is suspected. Last year’s homicide remains unsolved. In addition, the gate into and out of Black Rock City was closed on Thursday (Sept. 3) because of strong winds and whiteout conditions, and again today due to rain.

    The post Burning Man Sees Fourth Death In Four Years, Festival Gate Closed Again Due To Weather appeared first on Stereogum.

  • 21 Things Every ’70s Living Room Had (You Forgot These)

    Gather 'round the TV console, admire the wood paneling, and marvel at everything that made '70s living rooms the place to be. Continue reading…
  • KISS Just Recorded A New Song, And Paul Stanley Spent 5 Years Arguing Against It

    kiss-gene-and-paul-2026

    I spent twenty-five years on commercial rock radio, and in all that time I never once had to justify playing KISS. You drop “Detroit Rock City” into a Friday drive-home shift and the phones light up. So I’ve watched the last five years of Paul Stanley explaining why the band shouldn’t make new music with a certain amount of frustration — because I’ve always thought he was wrong about it.

    Turns out he might have changed his mind.

    Tommy Thayer has confirmed to Guitar World that KISS new music exists, and that it’s already recorded. His words: they did record a great new song that Paul wrote, and that’s probably about as much as he can say right now.

    Which is not much. But it’s the first hard confirmation from inside the band that the thing has actually been committed to tape — and it lines up with something Gene Simmons let slip four months ago.

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    What Thayer actually said

    The full quote is short. They recorded a great new song that Paul wrote, and that’s about as much as he can tell you right now.

    Then he added the part that matters more.

    KISS have always believed in making things an event, he said. So whatever new music comes, it has to feel special and have a reason for existing. You don’t make another KISS record just because you’re supposed to make another KISS record.

    Read that again, because it’s a direct answer to five years of questions the band has been dodging. He’s not saying “no album.” He’s saying the album needs a reason. And the reason, I think, already exists — we’ll get to it.

    Gene got there first, incidentally. Back in May he told KISSbySienna that KISS were in the studio, that they’d just recorded a new song Paul wrote, that he couldn’t say more, and that it would be coming out at some point.

    Two members, four months apart, same song. That’s not a rumor any more.

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    Now here’s why this is a story

    Paul Stanley has spent half a decade telling anyone who asked that there was no point in KISS making new music. Not hedging — arguing it, at length, with reasons.

    In March 2021 he told USA Today he didn’t see a reason for it. His case: when classic bands put out new albums, the records get looked at, listened to, and thrown away, because they don’t have the age that comes with something being a time capsule attached to a certain period of your life.

    Then the line that stuck with me. Turn off the sound on any classic band’s concert video, he said, and he’ll tell you every single time they’re playing a new song — because the audience sits down.

    He wasn’t finished. There isn’t a real reward in it, he said. There’s much more reward in changing lanes. He rated “Modern Day Delilah” and “Hell Or Hallelujah” as good as anything he’d written, and it hadn’t mattered, because new wine hasn’t aged. His conclusion: he’d rather not try to roll a stone up the hill.

    On the 2021 Kiss Kruise he put it even more bluntly — why would we need a new KISS album?

    Gene was no better. He’d said he wasn’t incentivised to release another record unless the way music gets consumed changed, and compared it to a plumber spending a day fixing your house and then being told thank you instead of being paid.

    That is not a band on the fence. That is a band who’d worked out an argument and were sticking to it.

    And now one of them has written a song and the other one has recorded it.

    KISS-50-years

    The bit nobody’s connecting

    Here’s where I think it turns, and it’s sitting in a Pollstar interview from April that almost nobody picked up.

    Gene told Pollstar that “new” KISS songs will feature in the avatar-based KISS show — the Pophouse Entertainment production tentatively scheduled to launch in Las Vegas in 2028. When the writer pushed him on what “new” meant, he was specific: written by us. We have songs done.

    Pophouse is the Sweden-based investment firm co-founded by ABBA’s Björn Ulvaeus, and the KISS show will be their first major move into the American market. If you’ve seen what they built for ABBA Voyage in London, you know the scale.

    Now go back to what Stanley said on the KISS Kruise in November: he only writes when there’s a project — and he’s been writing.

    There’s the project.

    This song almost certainly isn’t the first single from a new KISS album. It’s material for a show that doesn’t open for another two years, written by a man who spent five years saying he wouldn’t write for a record because records don’t reward you any more.

    An avatar show that runs for a decade in Vegas rewards you differently. Stanley’s original argument was never that he’d run out of songs. It was that there was no return on putting them out the old way.

    So he found a new way.

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    Am I bothered by that? No.

    Some people are going to read “songs written for the avatar show” as a downgrade. I don’t.

    Stanley’s 2021 complaint was that new material dies on contact because audiences don’t attach to it. He’s right about that — I’ve watched it happen from behind a mixing desk more times than I can count. You play the new single, the phones stay quiet, and the moment “Rock And Roll All Nite” comes on the request line goes.

    An avatar show is a completely different proposition. There are no hits to compete with, because there’s no “back to the hits” moment — the whole thing is a constructed experience. A new song in that context isn’t the bit people sit down for. It’s part of the architecture.

    Whether it’s any good is a separate question and one nobody can answer yet. But the reasoning is sound, and it’s the first genuinely interesting creative decision KISS have made in a decade.

    Where the band actually is right now

    Worth laying out, because the picture has changed a lot in two years.

    The End Of The Road tour was five years and 250 dates, finishing with two nights at Madison Square Garden. That was supposed to be it for touring.

    In November 2025 they came back for KISS Kruise: Landlocked In Vegas at Virgin Hotels — an hour-long acoustic set on the 14th, then an 85-minute electric show the following night. It was their first unmasked electric concert on land in thirty years. Bruce Kulick joined them for “Lick It Up” and “Rock And Roll All Nite.”

    Ace Frehley died on October 16, 2025, at the age of 74, weeks after a fall at his home. The 2026 Vegas event, running November 13–15, will include an all-star tribute to him.

    That event has also expanded considerably — artist panels, Q&As, a look-alike contest, KISS karaoke, “Ask Doc” sessions with manager Doc McGhee, meet-and-greets, late-night DJs, interactive exhibits, and a “Future Of KISS” panel. Two more unmasked shows.

    Which tells you something on its own. A band who announced a farewell tour, completed it, and are now running a three-day annual event with a panel called “Future Of KISS” is not a band who have finished.

    What Stanley said the music would sound like

    He gave TMZ a genuine answer on this in November, and it’s more useful than most “what will it sound like” answers.

    Something classic, he said, but everything has to have a beat. You’ve got to be able to dance to it, but it should still be rock.

    On the lyrics: freedom, self-empowerment, enjoying life. That doesn’t change, he said. It doesn’t matter how old you are — you’re supposed to enjoy your life, you’re supposed to do things your way.

    Read that back against “I Was Made For Lovin’ You” and tell me it’s a departure. It isn’t. It’s the same band that has been writing about exactly that since 1974, which for a group who helped define what a rock band could be as a spectacle is precisely right.

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    The last time they did this

    KISS haven’t released a full album of new music since Monster in 2012, which sold 56,000 copies in its first US week and entered the Billboard 200 at number three.

    Before it, Sonic Boom in October 2009 opened with 108,000 units and hit number two — the highest chart position of the band’s entire career.

    Sit with that. A band who’d been going for thirty-five years put out their best-charting album in 2009, and Stanley’s takeaway three years later was that there was no reward in it.

    That’s the part I’ve never agreed with. Both those records are better than their reputations, and “Modern Day Delilah” and “Hell Or Hallelujah” hold up next to anything from the seventies catalogue. Stanley said as much himself and then used it as evidence against making more.

    Fourteen years on, he’s written another one anyway.

    Paul-Stanley-KISS-2024

    TL;DR

    • What’s confirmed: Tommy Thayer told Guitar World that KISS have recorded a new song written by Paul Stanley. He would not elaborate further.
    • It’s not the first time it’s been mentioned: Gene Simmons said in May that KISS were in the studio and had recorded a new Paul Stanley song.
    • Thayer’s framing: KISS have always made things an event, so new music has to feel special and have a reason for existing — you don’t make a KISS record just because you’re supposed to.
    • The likely destination: Simmons told Pollstar in April that new KISS songs will feature in the Pophouse-backed avatar show, tentatively opening in Las Vegas in 2028.
    • Why that matters: Stanley said in November that he only writes when there’s a project, and that he’d been writing.
    • The reversal: in 2021 Stanley repeatedly argued there was no reason and no reward in new KISS music, saying he’d rather not roll a stone up the hill.
    • Last album: Monster (2012), which entered the Billboard 200 at number three. Sonic Boom (2009) remains their highest-charting record at number two.

    FAQ

    Is KISS making new music?

    Yes. Guitarist Tommy Thayer confirmed to Guitar World that the band have recorded a new song written by Paul Stanley. Gene Simmons had previously stated in May 2026 that KISS were in the studio and had recorded a new Stanley composition. No release date or title has been announced.

    Is KISS making a new album?

    No album has been announced. Thayer has said that any new KISS music has to feel special and have a reason for existing, rather than being made out of obligation. Simmons has indicated that new songs will feature in the band’s forthcoming avatar show rather than necessarily arriving as a conventional album.

    What is the KISS avatar show?

    A digital avatar-based KISS production being developed by Pophouse Entertainment, the Sweden-based music investment firm co-founded by ABBA’s Björn Ulvaeus. It is tentatively scheduled to launch in Las Vegas in 2028 and will be Pophouse’s first major venture into the US market. Simmons has confirmed new KISS songs will feature in it.

    When was the last KISS album?

    Monster, released in 2012. It sold 56,000 copies in its first week in the United States and entered the Billboard 200 at number three. The band’s previous album, 2009’s Sonic Boom, opened with 108,000 units at number two — their highest chart position ever.

    Are KISS still performing?

    Yes. After completing the five-year, 250-date End Of The Road tour, the band returned in November 2025 for KISS Kruise: Landlocked In Vegas at Virgin Hotels Las Vegas, playing their first unmasked electric concert on land in thirty years. The 2026 edition runs November 13–15 and will include an all-star tribute to Ace Frehley, who died in October 2025.

    Five years of Paul Stanley explaining why KISS shouldn’t make new music, and now there’s a song. Was he right the first time, or is this exactly what the band needed? Tell me below. And keep it locked on the Loaded Radio streamfollow Loaded Radio for daily rock and metal news.

    The post KISS Just Recorded A New Song, And Paul Stanley Spent 5 Years Arguing Against It appeared first on Loaded Radio.

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