Finland’s fiercest export LOST SOCIETY are back with a vengeance. The band returns with their brand-new single, ‘Dead People Scare Me (But The Living Make Me Sick),’ a high-octane anthem destined to ignite moshpits across festivals all summer long.
With this explosive track, LOST SOCIETY kick off a bold new chapter in their career, diving headfirst into fresh sonic territory while retaining the raw energy and aggression fans have come to love. The single is the first taste of their upcoming full-length album, details of which will be revealed soon.
Accompanying the release is a riotous party video that perfectly captures the song’s chaotic spirit and tongue-in-cheek attitude — a perfect visual complement to the track’s adrenaline-pumping riffs and biting lyrics.
Frontman Samy Elbanna comments: “When we were kids, we often were scared by zombies, the grim reaper and whatever concept of death we felt we knew anything about – but as we grew up and were introduced to the real world, we would find out that there is nothing more terrifying than a person with a heartbeat and power. This track dives into universal themes that most of us think about constantly: fitting in, and questioning why we should fit in? We are brought up in institutions molding us to prepare for adulthood, and even in the 21st century, differing from the mass still makes people look down on you – and this song is an anthem for the downtrodden. No matter how ”mainstream” metal music is, it’s always marginal, and ”being touched by the devil” is a metaphor for all of the people out there who feel like they are doing something that differs from the mass, and they like it.”
Catch LOST SOCIETY on a European festival this summer: 25.06. ES Resurrection Fest 27.06. EST Tallinn Rock Festival 28.06. FI Provinssi 04.07. FI Rokki Raikaa 11.07. FI Metallivuori 19.07. FI Pomefest 30.07. DE Wacken Open Air 31.07. DE Helm Fest 08.08. ES Leyendas Del Rock 15.08. DE Summer Breeze 30.08. FI Nordis Live 08.11. FI Metalli Mössö XXL
German progressive death metal masters OBSCURA are thrilled to announce the third leg of their “A Sonication World Tour”, returning to South and Eastern Europe this September in support of their latest critically acclaimed album, A Sonication.
The upcoming European run will feature a powerhouse lineup of metal acts, including Greece’s premier thrashers and label mates Suicidal Angels, brutal death metal titans Hideous Divinity from Italy, and the legendary progressive death metal outfit Sadist, also hailing from Italy.
“We’re beyond excited to bring A Sonication back to South and Eastern Europe with such a fierce and diverse lineup,” says frontman Steffen Kummerer. “This tour will be one of the most intense legs of the entire world tour — we can’t wait to see you all in the pit!”
OBSCURA SUICIDAL ANGELS (12.09-24.09) HIDEOUS DIVINITY (27.09-02.10) SADIST 12.09. GER Jena – F-Haus 13.09. PL Warsaw – Hydrozagadka 14.09. CZ Ostrava – Barrak 15.09. SK Bratislava – Randal 16.09. HU Budapest – Barba Negra 17.09. RO Cluj – Form Space 18.09. RO Bucharest – Quantic Club 19.09. BUL Sofia – Joy Station 21.09. TUR Istanbul – Bosphorus Open Air 23.09. GR Thessaloniki – Block 33 24.09. GR Athens – Fuzz Club 26.09. SR Belgrade – Dorcol Platz 27.09. CRO Zagreb – Mochvara 28.09. SL Ljubljana – Orto Bar 29.09. IT Roncade – New Age 01.10. AT Salzburg – Rockhouse 02.10. AT Vienna – Viper Room
Gothenburg’s inimitable noise experimentalists Blessings have given another glimpse of their third album Blodsträngen (1st August, Pelagic Records) with new single ‘No Good Things’.
‘No Good Things’ pairs the filthiest bass sound you’ve ever heard with a shuffling, playful xylophone-like synth refrain and haunting baritone vocals before collapsing in on itself as underneath colossal guitar riffs and black metal blast beats.
The new album begins and ends in the same space: the rehearsal room.
In between these moments however, Blodsträngen knows no boundaries; it rampages through your inner sanctum, upending everything it can, razing everything you hold dear and drawing on the walls whilst panting, drooling and muttering to itself in strange tongues…
With all four members of Blessings already veterans of numerous bands and several distinct scenes throughout their native Sweden, the group came together with the idea of creating something wholly their own, rather than compromising to fit in elsewhere. The resultant sound is a cacophony of influences where nothing is sacred and no idea is thrown out; all that matters is all playing disgustingly loud music together in a room.
Blodsträngen, which can be translated as ‘The Bloodline’ or ‘The Blood String’ is another bracing evolution of Blessings’ truly inimitable sound, pushing the band’s percussive and found-sound textural elements even further to embrace a wild sonic palette that blends modular synths with crushing guitar feedback and even the occasional cowbell.
It should come as no surprise that Blessings’ debut album, 2012’s Bittervatten,is abrasive, crusty and intriguingly in-your-face as the band barely manage to contain the barrage of influences from across the heavy spectrum. Years of near-constant touring and creative experimentation followed, and later came Biskopskniven in 2021; still deafeningly loud and defiantly confrontational, the album brought with it a sense of uneasy patience and seething restraint as the band trimmed the fat and found a new menace in machine-like repetition courtesy of drummer Mattias Rasmusson and synth player/percussionist Erik Skytt.
Each Blessings album to date includes a song by the name of ‘Strings of Red’, an unspoken narrative that charts the band’s unique journey through genre. As such, Blodsträngen opener and lead single ‘Strings of Red’ sets pulses racing with a loping percussive loop before the song abruptly explodes into a double-time thrash-metal dirge with Fredrik Karlsson’s gravel-soaked voice leading the charge and Johan G. Winther swiftly joining him. Before we know it though, the song turns on its heels again as a nightmarish, prog-like synth motif possesses the song and sends all into a downward spiral of equal parts euphoria and delirium.
Elsewhere, the likes of ‘No Good Things’ pairs the filthiest bass sound you’ve ever heard with a shuffling, playful xylophone-like synth refrain and haunting baritone vocals before collapsing in on itself as underneath colossal guitar riffs and black metal blast beats.
‘Alt Vi Kan Ge Ar Upp’ (All We Can Give Is Up) is as cutting, angular and cathartic as the song’s title suggests. A relentless 3/4 groove all but trips over itself as the growl of guitars builds to breaking point and the track spills into a half-time doom waltz with soaring bittersweet pipe organ melodies and a harrowed vocal lament colliding to briefly create something staggeringly beautiful before crumbling into its separate parts and melting away to nothing…
Blodsträngen is Blessings fine-tuning their deliberately dissonant sound whilst simultaneously casting their net wide for ever more left-field, experimental influences; a disparate collection of idiosyncrasies that the band somehow manage to pull into something cohesive, captivating and empowering. The band leave the messages and meanings behind their music open to interpretation as a means of sharing this attitude of openness with their audience because remember, when all is said and done, all that matters is all playing disgustingly loud music together in a room.
Side A 1. Raised On Graves 2. Strings of Red 3. Clean Side B 4. No Good Things 5. Alt Vi Kan Ge Ar Upp 6. Copper + Dirt 7. Through Veils of Glass and Silica
Blessings are:
Fredrik Karlsson Mattias Rasmusson Johan G. Winther Erik Skytt
Polish death metallers DEVILPRIEST will release their highly anticipated third album “Where I Am the Chalice, Be Thou the Blood” on June 27th 2025 via Nuclear Winter Records.
The first single “SNEGTH IER ARNES (The Words That Have Become the Effect)” is now streaming HERE.
Founded in 2015 by veterans of the Polish underground, DEVILPRIEST channels the spirit of early ’90s death metal, shrouded in a conceptual veil of occultism and ritual. Their sound is technical yet relentlessly barbaric, precise yet full of unpredictable tempo shifts – hypnotic, suffocating and deeply meditative.
With the third full-length album “Where I Am the Chalice, Be Thou the Blood”DEVILPRIEST continues the concept of satanic enlightenment explored in previous works. This time, however, it is a journey to the origin of the left-hand path, where surrounded with complete darkness the flame of life burns. Meditation on the unspoken words that became the effect or on how to achieve full control over body and mind by forging the irresistible and unrestrained will.
What made previous albums unique has been taken to a level of expression previously unheard. Multilayered structures full of hypnotic pulsation intertwined with incredibly fast blast beats and dense, dissonant riffing set in motion a wheel that breaks the bones of the compassionates.
Recorded in winter 2024/2025 in mysterious locations. Mixed and mastered at No Solace.
For fans of: Morbid Angel, Vital Remains, Azarath, Lvcifyre
Tracklist:
01 – He Is In Me 02 – Dragon of Blasphemy 03 – Unwavering In the Left Hand Path 04 – SNEGTH IER ARNES (The Words That Have Become the Effect) 05 – Channeling Into the Peerless Transgressiveness 06 – The Enmity Against the Grace 07 – The Prayer of Hell
Line-up:
Necro Docre – drums T.H. – guitars, vocals Passage de Rais – bass M. Prelati – guitars
US progressive metal pioneers TRANSCENDENCE are set to make a triumphant return with their first album in 22 years, “Nothing Etched in Stone – Pt. I”, scheduled for release on June 27th, 2025, via Cosmic Fire Records. Alongside the album announcement, the band has unveiled an official video for their powerful new single, “The Edge Awaits”, which is available to watch now.
The official video for “The Edge Awaits” offers a haunting visual complement to the single’s introspective lyrics and soaring melodies, inviting listeners into the emotional core of the album’s concept.
Vocalist Brian says about the new single: “‘The Edge Awaits’ might just be my favorite track on the new album. I was going through a personal tragedy of my own at the time this was recorded and you can hear the emotional sense of loss in my vocal performance“.
John Howser (keys, piano) comments: “‘The Edge Awaits’ origins come from exploring what hides in the dark corners of the mind. While there are certainly nods to Nietzsche and Lovecraft for their views on The Abyss, for me it is about embracing the primal dark we all have inside and how we channel our emotions and actions from it“.
Tracklist:
Discovery
Take Control
One Fear
Shades of Winter
Last Solstice
Infect the Nations
The Edge Awaits
Voices in the Dark
Lost… Dream
In… Time
Ruins… Before the Dawn
Open the Sky (CD bonus track)
“Nothing Etched in Stone” is an ambitious 19-song concept album, split into two parts, with Pt. I arriving on June 27th, 2025, and Pt. II slated for 2026. The album weaves a poignant narrative of an artist’s journey through passion, loss, and redemption. The story follows an artist who discovers his creative “stone” and pursues it relentlessly, drawing inspiration from “the edge” near his home. A devastating loss, linked to a global crisis orchestrated by rogue agencies, shatters his world, dimming his creativity and peace. Grappling with grief, he escapes to a foreign land, briefly reigniting his art but spiraling into addiction and obsession. Upon reflecting on his work, he foresees loneliness and returns home, questioning whether his dreams held him back while glimpsing a transcendent future.
The album marks a significant chapter for TRANSCENDENCE, following their recent signing to Cosmic Fire Records, as announced earlier this year. The band’s latest single, “The Edge Awaits”, showcased their signature blend of intricate instrumentation and emotive storytelling, setting the stage for “Nothing Etched in Stone”.
Recorded, produced, and mixed by Bart Rose at Fort Worth Sound, with mastering by Derek Taylor (Eniac Requiem), “Nothing Etched in Stone” captures TRANSCENDENCE’s evolution while staying true to their progressive metal roots. The album features a new vocal powerhouse, Brian Dixon (Resonance Theory, X Opus), who stepped in after the departure of original vocalist Greg Drew. Dixon was recommended by Travis Wills (Crimson Glory), who was unable to join due to prior commitments but recognized Dixon’s ability to carry the band’s vision forward.
Vocalist Brian states: “As a huge fan of the prior Transcendence releases, it really has been a fully rewarding experience to not only get to know and love the guys, but also immerse myself into the new material. Make no mistake, recording two albums worth of material was not a small or easy task, but it has been very fulfilling in so many ways. I couldn’t be more proud of the the final product and prog fans worldwide should rejoice in the fact that a capable band is still releasing the classic sounds of our favorite influences”.
Guitarist Jeff comments: “Excited to be teamed up with Cosmic Fire Records, a company that truly seems to understand the nuances of the ever changing music industry. From a guitar standpoint, there were a ton of tracks that went into the making of this album, so I’m really happy that the material will see the light of day and have the opportunity to be shared with the world”.
Bass player Kirk explains: “Recording ‘NEIS’ was a slow and methodical process. We learned a lot from Bart (producer & engineer) about how to make this album sonically the best that we could”. Kirk added: “Our past recordings had more of a raw and live feel to them. A good time capsule to represent our beginnings”.
John Howser (keys, piano) shares: “This record represents everything I’ve wanted to say as a musician. I’ve always gravitated to the album format of one cohesive story, and each song is a piece of the puzzle. Funny, but some of them really take on different”.
Derrek (drums) claims: “‘Nothing Etched in Stone’ has been a journey forged in creativity, vision and pure sonic exploration. Writing, creating the instrumental sections, recording and mixing pushed us into uncharted territory. This is the result of real collaboration, intent and raw ability. I hope our creation takes our listeners on an incredible journey of their own”. Continues Derrek: “I came in after the debut album was released. I had just 3 weeks to master the full set as we were set to open for the legendary Geoff Tate. I stayed true to the original tracks and it was a trial by fire, but it solidified my place in Transcendence”.
You can pre-order & pre-save “Nothing Etched in Stone Pt. I” at THIS LOCATION
“Nothing Etched in Stone – Pt. I” is poised to reaffirm TRANSCENDENCE’s place among prog metal’s elite, delivering a sonic journey that is as thought-provoking as it is musically intricate. Stay tuned for more updates, including tracklists, pre-order details, and news on Pt. II in 2026.
About TRANSCENDENCE:
TRANSCENDENCE was formed in the late ‘90s in the Dallas/Ft. Worth area by Kirk Wood (Bass), Jeff Ford (Guitar), Greg Drew (Vocals), John Von Rosenberg (Drums), and John Howser (Keyboards).
“The Meridian Project” was released in 2001 and quickly sprang to #1 on MP3.com for both the album and the song “Alpha Omega”. John Von Roseneberg left the group immediately after “The Meridian Project” release and was very capably replaced by Derrek Edwards.
During that time they also released a three track EP titled “3 Stones” (2003).
TRANSCENDENCE spent the next 14 years opening for the likes of Dream Theater, Geoff Tate, and countless other national acts in their home town.
TRANSCENDENCE has been a cornerstone of the US progressive metal scene since their formation. Known for their intricate compositions and emotionally charged performances, the band has garnered a dedicated following over the decades. With “Nothing Etched in Stone”, Transcendence continues to push boundaries, blending technical prowess with profound storytelling.
TRANSCENDENCE are: Brian Dixon – Vocals, vocal harmonies Jeff Ford – Guitars Kirk Wood – Bass, vocal harmonies John Howser – Keys, piano Derrek Edwards – Drums
In the years since his emergence with 1977’s cult classic You Think You Really Know Me, iconic underground hero Gary Wilson’s outsider pop sensibility has spawned a devout following that includes the likes of Beck (who name-checks Wilson on “Where It’s At”) and hip hop collective Odd Future!
Now, with his latest album Come On,Mary due to street on June 13, the Endicott, NY, legend unveils the title track as both his new single and a positively trippy video, both telling the story of Mary herself.
And what a story it is! “Mary lived not far from Endicott,” explains Wilson. “In a place called outer space. In the summer Mary would take the bus and visit me. I still dream of Mary”.
Come On, Mary itself packs 11 all original new songs, each one furthering Wilson’s trademark blurring of the line between the bizarre and the heartfelt, and offering some of his more strangely catchy and emotional songs to date!
And Mary herself is a tangible presence throughout the song cycle, from “Alone in Endicott” to “Mary, Won’t You Dance For Me,” and on to the magnificent finale “I Woke Up Into A Thousand Dreams.”
Wilson is already getting ready for the album’s release; on May 2, he played a packed out show at Teragram as a special guest of Ariel Pink; and you can hear him being interviewed by Gianna Geller (https://www.giannagianna.net/) for her radio show on May 24.
He’ll also be appearing at a showing of the Case Esparros film The Absence Of Milk In The Mouths Of The Lost” at the Frida Cinema in Santa Anna on May 28. Wilson himself stars in the movie, as the milkman.
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Kimmo Kuusniemi’s ASA unveil the long-overdue release of "Collective Failure" + first music video for title-track! Check it out and stay tuned for more news! Click image to watch the video
Kimmo Kuusniemi’s SARCOFAGUS return with a Historic 2010 Concert Video Premiere on YouTube! Click image to watch the video
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Visionary artist KIMMO KUUSNIEMI's ANCIENT STREAMING ASSEMBLY (ASA) have released “Aurora Nuclearis”, a powerful 12-minute audiovisual experience, dedicated to the Late Keyboardist Esa Kotilainen. - Click image to watch the video
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