On October 16, the highly anticipated third full-length record, “The Light that Keeps Us”, by Indianapolis melodic death-doom outfit MOTHER OF GRAVES will be released via Profound Lore Records. Today, the band has unveiled the second single from the upcoming album, titled “The Silent Weight of the Stars”.
Accompanying the release is a music video, directed & edited by David Jaggar, which you can watch here:
Vocalist Brandon Howe comments on the song’s lyrical themes: “‘The Silent Weight of the Stars’ is based around a languishing pursuit of meaning and respite in the arms of an estranged yet timeless love; seeking salvation from sorrow and encountering ghost-like and elusive moments of memory. It is a story of hope and yearning even under skies of one’s own defeat.“
Guitarist Chris Morrison on the track and video: “It all started with the main riff I couldn’t get out of my head, and we built ‘The Silent Weight of the Stars’ around that with the intention of balancing immediate hooks with an emotional weight. Between the guitar harmonies, some great playing from our rhythm section, and that intense section toward the end, the song builds a dynamic that we matched visually in the video. We moved into a more cinematic, narrative direction that allowed us to capture a bleak, dark, mysterious tone while keeping an underlying pulse of hope. It’s a song and visual pairing that we hope listeners will want to return to again and again.“
Tracklist:
Wingless Soul (feat. Dan Swanö)
Through the Pale Shade
The Light That Keeps Us
Eventide Angel
The Silent Weight of the Stars
A Moonlit Tryst
The Beggar’s Allegory
The Endless Climb
Following two years of meticulous crafting and the lasting impact left behind by their sophomore offering “The Periapt of Absence” – which claimed the #11 spot on Decibel Magazine’s Top 40 AOTY and tore through countless year-end lists – the death-doom titans return with their most fully realized offering yet. Here, it is evident that MOTHER OF GRAVES have no intention of slowing their evolution into fully realized territory as a quintet. The album is driven by the sharpened songwriting of guitarists Chris Morrison and Ben Sandman, the unrelenting foundation of bassist Corey Clark and drummer Don Curtis, and the expressive, poetic cadence of vocalist/keyboardist Brandon Howe.
Seamlessly forging the aggression and power of death metal with the melancholic and romantic edge of melodic doom, “The Light that Keeps Us” is crushing, hauntingly human, and a true showcase of the band’s authenticity in their expression and care for the genre. Each track serving as a hand to guide the listener through the introspective journey of mortality, sorrow, love and resilience. The band’s dynamic continues to grow under the production of guitarist Ben Sandman, whose work behind the console keeps personal touch prevalent within their music, stripping away the excess and amplifying the things that matter.
At the helm of visual depictions, fine artist Larisa Brechun perfectly captures the weight and depth of the music in her cover painting, providing evocative imagery to accompany the band’s bleak yet uplifting nature. It has become a standard throughout their years to recruit legend Dan Swano for his mastering expertise, but this time a greater gift presented itself as Dan proudly delivered guest vocals on the track “Wingless Soul”. A full circle moment in the band’s existence, as it gives the album that much more of a special and significant engraving within the world of death doom.
With “The Light that Keeps Us”, MOTHER OF GRAVES brings to you 8 tracks of despairing beauty laced in emotion and fierce purpose, marking yet another milestone in their promising career.
The album drops October 16th on Profound Lore Records and is available for pre-order HERE
MOTHER OF GRAVES are: Brandon Howe – Vocals/Keyboard Chris Morrison – Guitar Ben Sandman – Guitar Corey Clark – Bass Don Curtis – Drums
Fresh off crushing the stage in celebration of the 10th anniversary of their first JUNO Award winning album, Voice of the Void, the Canadian progressive metal band Anciients are polishing off one of their heaviest songs ahead of their first tour of Europe and the United Kingdom in more than a decade.
Today, Anciients are releasing a re-recorded version of “Humanist”. Originally recorded for the band’s debut EP, Snakebeard, in 2011, “Humanist” was later included as a bonus track on their beloved first full-length, 2013’s Heart of Oak. The 2026 re-recording features their current lineup, who won a JUNO Award in 2025 for their latest album, Beyond the Reach of the Sun, as well as backing vocals from former member Chris Dyck, who appeared on the original recording. More than a decade later, the song’s heavy, heady and heartfelt performance proves once more why Anciients are one of progressive metal’s must-watch bands.
“Humanist’ was the first song we recorded as a band”, recalls Anciients’ vocalist and guitarist Kenny Cook. “After hearing the sonic improvements that came with re-recording ‘Built to Die’ last year, we wanted to give ‘Humanist’ the same treatment”.
“The song represents a wild dream”, Cook continues. “Musically, ‘Humanist’ is one of our heaviest, though we chuck a little bit of everything into the composition”.
Catch Anciients this month on their European and UK headline tour.
Anciients 2026 Ascent of the Fallen Ones Headline European/UK Tour
September 26 – Leeuwarden, NL @ Into the Void [TICKETS] September 27 – Cologne, DE @ Euroblast [TICKETS] September 29 – Copenhagen, DK @ Stengade [TICKETS] October 1 – London, UK @ The Black Heart [TICKETS] October 2 – Nottingham, UK @ The Mist Rolling Inn [TICKETS] October 3 – Manchester, UK @ The Lodge [TICKETS] October 4 – Bristol, UK @ The Croft [TICKETS] October 6 – Southampton, UK @ Joiners [TICKETS] October 7 – Brighton, UK @ Dust [TICKETS] October 10 – Nijmegen, NL @ Soulcrusher [TICKETS]
October 12 – Toulouse, FR @ Le Rex [TICKETS] October 13 – Barcelona, ES @ Razzmatazz 3 [TICKETS] October 14 – Madrid, ES @ Rockville [TICKETS] October 15 – Bragança, PT @ JP Rock Cafe [TICKETS]
October 17 – Porto, PT @ Auditório CCOP
Anciients’ award-winning discography is available now on Season of Mist.
Tracklist 1. Forbidden Sanctuary (8:16) 2. Despoiled (5:19) 3. Is It Your God (7:07) [WATCH] 4. Melt the Crown (7:08) [WATCH] 5. Cloak of the Vast and Black (6:20) [WATCH] 6. Celestial Tyrant (5:52) 7.Beyond Our Minds (4:12) 8. The Torch (4:13) 9. Candescence (4:10) 10. In the Absence of Wisdom (6:35) [WATCH]
It’s been a rough handful of years for British Columbia-based extremity-laced progressive rockers, Anciients. When the quartet unleashed their Voice of the Void album in 2016, the world appeared to be their oyster and things seemed ripe for the picking. They were coming off the success of their Heart of Oak debut from 2013, its ascendancy due in large part to a collective uptick in interest for involved, forward-thinking music. The public had moved beyond toe-dipping and tire-kicking, and were instead doing headfirst dives into exploring the likes of Opeth, Mastodon, Baroness, The Ocean, Intronaut and others who originally hailed from the extreme music underground, but had since grown, matured and scrubbed behind their ears to include heaping and healthy chunks from the outskirts of their record collections and influence pools.
The Band That Auto-Correct Loves to Fuck With™ shared stages with everyone from High on Fire and Goatwhore to Boris and Lamb of God, were in the midst of a European tour when they discovered they were JUNO Award (Canadian Grammy equivalent) winners in the heavy metal/hard rock category. The world was ready to accept Anciients into its welcoming arms. Anciients was gearing up to employ takeover methods, specifically their brand of thunderous rhythms and labyrinthine riffing bolstered by a road warrior mentality. And then, the momentum petered out and the band seemingly fell off the face of the earth.
Today, Anciients are ready and poised to resume their spirited quest for heavy metal paramountcy. There’s no doubt the band is back and with a stunning and beautiful collection of ten songs on offer in the form of new and third album, Beyond the Reach of the Sun, they are positioning to reestablish themselves as a dominant force for those who love windmilling their tresses around thoughtful tempo changes, complex harmonic layers and driving power chord shifting. But what the hell happened and where did they disappear to?
“Basically,” explains guitarist/vocalist Kenny Cook, “right before Voice of the Void was recorded, my wife had our first kid. She ended up having heart complications and almost passed away from it. We recorded the last record and once it came out, I was kind of just focusing on her, dealing with her health issues and keeping that in check. I wasn’t at the stage where I could be gone for half a year, especially with a new kid. Long story short, she’s happy and healthy now, but dealing with family issues was the main priority. It was a bit of a road.”
Adding to that bit of Anciients camp turmoil, guitarist/co-vocalist/co-founding member, Chris Dyck and the band parted ways in January of 2017. This left a gaping lineup hole at an inopportune juncture in the band’s timeline. Not only did Cook have to deal with the absence of his long-term song and lyric writing partner, but Dyck was also someone he had been splitting vocal duties with since the pair formed the band in 2009. And then, while helping his wife with her recovery, raising their new born and “because we wanted to raise our son in a small town environment,” the Cook family uprooted to Columbia-Shuswap four hours east of the Vancouver area, where drummer Mike Hannay, Brock MacInnes (Dyck’s replacement) and brand spanking new bassist Rory O’Brien still reside.
“We knew Brock from other bands he’d been in and we knew he’d be a great fit,” explains Cook. “He actually filled in for Chris on a tour we did back in 2015. As far as the vocals, I just found myself picking up the slack on both ends. It felt somewhat natural, it was definitely different. Doing the lyrics myself for the first time was somewhat daunting, but it was also something done out of necessity. But even when Chris was in the band I handled 80-90% of the vocals anyway, so it didn’t change all that much.”
Then, that whole COVID-19 thing you probably heard about once or twice hit in 2020 and put another restraining bolt on Anciients’ activity, especially touring as the Canadians found themselves dealing with stricter travel restrictions and mandates than many other countries; most notably, not being able to cross the border for almost two years. Once the dust settled, Cook had to adjust to being the lone vocalist and how that impacted the material he was writing while navigating being creative with distance between Anciients’ members for the first time. Not a biggie, as in-person writing sessions are more of a rarity these days, but because of the time elapsed since Voices of the Void, things/interests/influences changed and the band ended up scrapping half of an album’s worth of material and starting fresh. When they put their heads down at the end of 2021 with the focus being Beyond the Reach of the Sun, what was revealed a year later was more streamlined and slithery, more chest-thumpingly direct, more epic and triumphant sounding. Riffs come in explosive layered packets. Leads, harmonies and melodies are more on par with wind-tussled mountain tops instead of sweaty bar shows and the band moves with finely honed, martial accuracy as conducted by Hannay’s rocket-in-the-pocket staccato swing and accents.
Songs like “The Torch” blaze with the shirtless glisten of ‘70s stadium rock power. “Cloak of the Vast and Black” swirls and whirls with a combination of hardcore intensity, grunge groove and expansive six-string parries. “In the Absence of Wisdom” is a hurricane-sized maelstrom of classic and prog rock elevated to grandiosity by a return to their growling sludge/death early years as the song/album concludes. The album’s first single, “Melt the Crown” mixes cues from legendary fellow hosers Rush and Harlequin, turn-of-the-millennium post-metal and the most psychedelic corners of the Rise Above Records roster.
“The new record has a lot more of our rock side,” Cook offers, “and leans towards those elements of our sound and personalities, whereas Voice of the Void was pretty crushing all the way through. With the new material we’ve tried to add more dynamics to the music and give the songs more room to breathe.”
Album opener “Forbidden Sanctuary” is the soundtrack to exploration, of new worlds and sonic arrangement as sine-wave guitars pull from vintage Mercyful Fate covens and Krautrock communes with synths opening up novel textural avenues, as they do on the ethereal wispiness and space rock/sci-fi soundscapes of the instrumental “Candescence.” Beyond the Reach of the Sunsees synths and keyboards making their first appearance on an Anciients record and were played by producer/mixer Jesse Gander and Justin Hagberg at the former’s Rain City Recorders studio. In addition to augmenting the album with his skill on the black and whites, Hagberg — a member of the recently reunited 3 Inches of Blood — also helped Anciients navigate a significant last-minute hurdle, one that threatened to pull the reins back on their comeback roar.
“We lost our bass player literally a month before we were going in to record and were kind of up shit’s creek. Justin also plays in a band called Ritual Dictates with Rory and is the one who brought his name up.”
O’Brien, a former member of Vancouver’s Bushwhacker, was absolutely interested when approached by Anciients.
“We got lucky and he saved our asses at the last minute.”
Cook stepped up to the challenge of being the sole lyricist to drape Beyond the Reach of the Sun in deeply personal expressions of the inner turmoil, fear and isolation he’d experienced in himself and saw in others over the past few years. There were moments where he didn’t know whether loved ones were going to pull through and what life was going to look like were tragedy come to pass. Mental health and people living life without being able to see any light at the end of the tunnel became a very prevalent theme to tracks like “Despoiled” and “Beyond Our Minds.” And while the line that became the album’s title is taken from a David Attenborough-narrated Planet Earth documentary, it speaks more to the coming and going of despondency when one doesn’t know how dark the darkness is going to get, as in “Is It Your God,” which pulls from the manifestation of grief and how it can shatter belief systems. “That one is a little more personal to me and my situation,” Cook says somberly. “I had a good friend of mine from when I was younger pass away from cancer. His mother was super-religious and there were ideas taken from her questioning how could something like that happen to her when she had such a strong faith.”
The title and themes of stripped away hope and piled on anguish and tumult were parlayed into the album’s spectacular cover art. Created by Adam Burke (Nightjar Illustrations), the drawing is part-pulp novel cover, part-Franzetta landscape, part-sci-fi movie poster and all a vast illustration one can easily lose themselves in while the record spins in the background.
“We gave him the concept and basic outline of how we wanted the cover to look and he took it to a whole new dimension. It turned out pretty wild!”
With all being said and done, Anciients have returned! They stand ready to ascend the prog metal ladder and get back to doing what they do best with a weighty and dense, but wholly accessible, album. It’s a collection of ten songs that possesses the ability to have those furiously banging heads also tapping into their power of self-reflection and contemplation to ponder the finality of existence, the value of life and their place in the universe.
“Totally! We’re going to take as many of the opportunities that come to us. The hiatus is over and I think with the new members and everyone being on the same page we’re ready to get out there as soon as possible. We missed out on a huge block after the last record, so we’ve got to make up for lost time. Now that everyone is happy and healthy, we plan to hit it hard.”
It’s 50 years since punk rock first arose from the streets of London to mortify great swathes of polite British society. 50 years since The Damned, the Vibrators and the Sex Pistols released their debut singles. And 50 years since all three of them, plus The Clash, The Buzzcocks, Subway Sect, Chris Spedding, Stinky Toys and – playing their first ever show – Siouxsie & The Banshees gathered across two nights in a basement club on London’s Oxford Street to show the world what punk rock was really all about.
The audience was equally noteworthy. Sid Vicious was there, both in the crowd and onstage with the Banshees, Gaye Advert and TV Smith, Paul Weller, Shane McGowan, Chrissie Hynde, Jah Wobble, Colin Newman, Kevin Haskins and David J…. And, over the next couple of years, all of them would join the onstage performers in releasing some of the most trail-blazing singles of the late 1970s.
Cleopatra Records has long been conscious of the significance of the two evenings – it is 30 years now since the label released the Banshees’ tribute album Reflections in the Looking Glass, showcasing the very best of the 90s gothic scene that Siouxsie and co. themselves inspired.
The Vibrators have released some half dozen albums on the label over the years, showcasing both old and new material, ncluding the Punk – The Early Years collection, on which they pay their own musical tributes to at least some of the bands on the festival bill, and reunite too with guitarist Chris Spedding, with whom they recorded their very first single.
And you can catch Spedding on Cleopatra, too, as his mercurial guitar playing tears up Joyland – a star-studded collection that draws in musicians from throughout his career – including the Pistols’ Glen Matlock!
“I produced the three-song demo that got [the {Pistols] their deal with EMI,” says Spedding. “I’ve since done several projects with Glen over the years… so I’m glad Glen was able to play on a track for me.”
The Clash are remembered on covers collections by fellow first wave punkers Eater (Duplication) and Scottish invaders The Skids (Songs From A Haunted Ballroom), while Eater (who we spotlighted in the last installment of Cleopatra’s Punk 50 celebrations) also tackle the Buzzcocks, the Damned and the Pistols.
Who, in turn, are represented in the Cleopatra catalog by the aforementioned Sid Vicious – bassist for the Pistols following the departure of Glen Matlock, and destined, across what remained of his tragically short life, to release two of the very last truly classic punk singles of all, Eddie Cochran’s “Something Else” and Frank Sinatra’s “My Way.” Relive ‘em both on Sid’s 1979 live album Jack Boots and Dirty Looks.
As for The Damned, their first appearance on Cleopatra was back in 1993, barely two years after the label was founded, and they’ve been popping up in the catalog ever since. But we cannot forget Not Of This Earth, the 1996 album that saw the band join forces with Alan Lee Shaw, whose band The Maniacs released the eternal classic “Chelsea 77”; and Fiendish Shadows, a 1985 live album that made its vinyl debut just a couple of years back as Live At Woolwich Coronet.
And it closes (or near enough) with “New Rose,” the song that opened (or near enough!) the band’s 100 Cub set, a full half a century ago this very month.
Meanwhile, punk’s 50 year celebration charges on, and Cleopatra Records joins the party with a catalog brimming with first wave punk rock giants.
From The Damned to Johnny Thunders & The Heartbreakers, and ex-RunawayCherie Currie to the Dead Boys (whose own latest release, the live Time Warp Baby was released on June 12); from The Members and The Vibrators to 999, and The Skids, brilliant new releases and precious archive treasures alike have lit up the shelves, and every month through 2026, Cleopatra Records will be spotlighting a fresh classic from the catalog.
Last time around it was Eater’s Duplication. Next month… hmm. Wait and see. But this month, we raise a glass to the 100 Club festival, not only for what it represented back then, but also for all that it unleashed thereafter. Of course we can’t go back in time to witness the real thing. But Cleopatra Records can certainly give you a taste of what it was like!
Ancient ritual meets crushing doom as Italian Mystic Doom trio MAISON DIEU unveil “Dio ci vuole nudi”, the first single from their debut album Città Nascosta, out October 23 via Octopus Rising / Argonauta Records.
Opening with the hypnotic sound of the tagelharpa, an ancient Scandinavian instrument, “Dio ci vuole nudi” initially inhabits a suspended, almost dreamlike space. Then the spell breaks. Heavy guitars, visceral doom and Ester’s magnetic vocals drag the song into darker territory, where psychedelic heaviness and ritualistic folk collide.
The accompanying official video follows the same transformation, moving from sunlit landscapes, white garments and slow, almost folkloric gestures into fire, blue light, tribal markings and an increasingly intense ritual.
At its core, “Dio ci vuole nudi” is about stripping away everything artificial and returning to something primal: the earth, the body and the spiritual instinct buried beneath it all.
With influences ranging from Chelsea Wolfe, Wardruna and Nytt Land to Messa, Acid King and Black Sabbath, Maison Dieu are carving out their own peculiar corner of the doom underground.
Città Nascosta will be released on CD and Digital on October 23, 2026 via Octopus Rising / Argonauta Records.
Tracklist:
Caligramma Bella Damina Città Nascosta Resta Dio Ci Vuole Nudi River Uroboro Loba Angry Clement
Taiwan’s biggest metal band CHTHONIC and Finnish artist Mariska have released a surprising collaboration “Näin Määrättiin”. Listen to the single on Spotify. The track also marks the first time ever that Mariska has appeared on an extreme metal song.
While the new song was inspired by the final words written by Taiwanese political prisoners to their loved ones before their execution, vocalist Freddy Lim discovered that, despite the historical differences between the two countries, Finland’s history also contains similarly heartbreaking stories of separation, loss and survival.
As Freddy researched the subject further, he made a surprising discovery: during the Winter War, stories of Finnish resistance were frequently reported in Taiwan Minpao, the first newspaper founded by Taiwanese people. At the time, Finland’s struggle against overwhelming odds provided inspiration and encouragement to Taiwanese readers. Many of those readers would later become political prisoners in the late 1940s.
The idea that people on opposite sides of the world could share the same emotions and struggles – and even inspire one another – deeply moved Freddy. Around the same time, he met Mariska and became interested in her artistry and poetic approach to songwriting.
“This takes me back to my good old punk hardcore days – it’s a really interesting experience!” says Mariska. “When I first heard CHTHONIC, their powerful music and videos made a deep impression on me. So when they contacted me and suggested a collaboration, I agreed almost immediately.”
“I hope listeners can feel the sadness in the song, but also find comfort in it. Death is something we all have to face sooner or later, and none of us can avoid it.”
The band’s other key songwriter and guitarist Jesse Ulas Liu adds:
“I think this is CHTHONIC’s first love song. It’s a love song filled with conflicting emotions – grief, guilt, regret, despair and hopelessness. Although you can still hear the style that is characteristic of CHTHONIC, we have also brought in many new elements. I hope our fans will find it refreshing.”
During the songwriting process, bassist Doris Yeh once again refined the original demo by Freddy and Jesse and helped shape the song, in much the same way as she has done with the band’s most recent releases.
“We no longer rush to release music the way we used to. Now we finally have the opportunity to work carefully on each song, one at a time. I really appreciate that we are still able to make music together, so I wanted to think carefully about every detail,” says Doris Yeh, adding that she also discovered a surprising connection with Mariska through her well-known song “Terveisin Doris.”
The members of CHTHONIC are currently literally spread across opposite sides of the world, with Freddy and Doris living in Helsinki while the rest of the band are based in Taipei.
“Freddy still sends messages on every possible communication platform!” laughs Dani. “It still feels like he’s right here with us. But that’s a good thing. That attitude keeps us moving forward and inspires us to create new music.”
The music video for “Näin Määrättiin” premiered at the Air Guitar World Championships, as well as at the Oulu Music Video Festival in Finland.
Belgian cinematic space-art rock project Jesus Cringe has released “Ultra Modern Society”, the sixth single from the highly anticipated debut album, forthcoming via Epictronic Records.
One of the album’s most confrontational tracks, “Ultra Modern Society” blends the cinematic grandeur of progressive rock with the raw intensity of alternative metal. Drawing sonic inspiration from the emotional scale of Muse and the weight of Stone Sour, the song expands its palette with electronic textures, orchestral arrangements, and immersive sound design, evoking a futuristic dystopia collapsing under its own contradictions.
Released on September 14, the Feast of the Exaltation of the Holy Cross, the song reflects the paradox of modern existence: while the Cross represents a path toward liberation through self-sacrifice, contemporary society increasingly offers the illusion of freedom while quietly shaping our identities, desires, and dreams.
Lyrically, the song explores the tensionbetween individual consciousness and algorithmic society. Images of censorship, simulated realities, surveillance, and singularity merge into a stream of fragmented thoughts where euphoria and panic become indistinguishable. Rather than delivering a political manifesto, “Ultra Modern Society” captures the psychological state of living in an age where every opinion is amplified, every desire is monetized, and every imagination risks being filtered before it can exist. The recurring pleas to “censor me” and the invocation of “Big Brother” reveal a paradoxical longing for both freedom and control.
Musically, “Ultra Modern Society” constantly subverts expectations. As a defining element of Jesus Cringe’s sound, traditional guitar and bass roles are replaced by expressive violin and saxophone, creating a sonic landscape that feels both organic and alien. Industrial drumming, layered electronics, and a dense tapestry of synthesizers propel the listener through an epic, cinematic journey where every element reinforces the song’s dystopian atmosphere. Rather than simply accompanying the lyrics, the production embodies the collision between humanity and technology, blurring the line between acoustic performance and machine-driven intensity.
At its core, “Ultra Modern Society” asks a simple yet unsettling question: what becomes of humanity when imagination itself is curated? It is less a critique of technology than a warning against surrendering our capacity to dream. In a world obsessed with optimization and conformity, the song argues that the most radical act may simply be to preserve the freedom to imagine differently.
Jesus Cringe will bring its distinctive sound to the stage with the following upcoming live performances:
November 20 — B21, Brussels, Belgium – Guests TBC December 4 — Grillen, Colmar, France – With Twelve Diversions and Adam Doppler
Jesus Cringe is a Belgian cinematic space-art rock project, rebuilt from the foundations of 22 for Silicon Alone. The project is built around philosophical storytelling and strong visual identities, and takes a deliberately unconventional approach to instrumentation — replacing the standard guitar/bass setup with violin and baritone saxophone. The result is a sound that sits outside any obvious genre bracket, drawing from avant-garde rock, pre-rock traditions, and sci-fi cinema.
The project signed to Epictronic Records in early 2023. Their debut album unfolds as a large-scale narrative work — part dystopian fable, part personal confession — and has generated coverage in Metal Shock Finland, Tinnitist, MHF Magazine, Headbangers News, and Prog Rock Journal, alongside airplay on Unsigned Radio UK, WTSQ FM, Nu Rock Radio, Diverse World Music Radio, and Rockers and Other Animals.
THE ROCK ALCHEMIST – Italian Rock Band from Turin with a strong sonic identity that blends modern rock with progressive, hard, alternative, and pop elements!
Kimmo Kuusniemi’s SARCOFAGUS return with a Historic 2010 Concert Video Premiere on YouTube! Click image to watch the video
Metal Shock Finland (World Assault ) 