Stockholm experimentalists GĂśsta Berlings Saga have unveiled new single ‘Ceremonial’, taken from their highly anticipated 7th studio album, Forever Now, out 6th June via Pelagic Records.Â
The band comment on the new single: â’Ceremonial’ is the eclectic final track of Forever Now. Itâs both lush and propulsive, highly electronic and with an ending that lingers. Eternal Rock. No more, no less. The video, directed by Martin Vogel, is 100% ceremonial VHS worship.”
A masterful collision of intricate songwriting, raw rock spontaneity and their signature disregard for genre limitations, Forever Now rests on no laurels; itâs a driving continuation of a journey that suggests, even after two decades and counting, the bandâs best work may still be ahead of them.
On the new album, the band continue: “Super stoked to soon unleash Forever Now upon the world. Itâs an album weâve put our heart, soul and every atom of our beings into. Written, recorded, mixed and produced by ourselves it fills us with great pride that even after 20+ years we still find joy, creativity and new ways to approach music. Forever Now is a journey in search of small fragments of eternity within the present moment – where time dissolves, and music becomes the gateway to the infinite.”
‘Ceremonial’ follows the release of standalone 19-minute single ‘Fragment I‘ – an expansion on Forever Now, which doesn’t actually appear on the album.
Forever Now track list:
1. Full Release 2. Through The Arches 3. Arrangements 4. Forever Now 5. The Sprig and the Birch 6. Fragment II 7. Ascension 8. Dog Years 9. Make of Your Heart a Stone 10. Ceremonial
GĂśsta Berlings Saga began in 2000 with a creative spark keenly felt between keyboardist David Lundberg and drummer Alexander Skepp. Taking formative inspiration from the â60s jazz fusion improvisations of fellow Swedes Hansson & Karlsson, GĂśsta Berlings Saga broadened their sonic palette with the addition of bassist Gabriel Tapper and guitarist Mathias Danielsson before the release of their debut album Tid Ăr Ljud in 2006. Danielsson subsequently left the project to be replaced by Einar Baldursson, contributing to the darker and more complex sound of 2009âs Detta Har Hänt, 2011âs Glue Works and 2016âs Sersophane.
The overt manipulation of sound and melody on this trio of early releases helped set GĂśsta Berlings Saga apart from the rest of the progressive pack, swerving easy clichĂŠ and navel gazing nostalgia in favour of a fervently forward-thinking ethos. Undoubtedly influenced by the greats of prog, art-rock, electronica and the avant-garde, GĂśsta Berlings Saga have remained thrillingly impervious to categorisation.
2017 saw another evolution within the band as Baldursson left to be replaced with Rasmus Booberg whilst percussionist and multi-instrumentalist Jesper Skarin also joined the ranks. Rejuvenated and revitalised, GĂśsta Berlings Sagaâs subsequent albums, ET EX (2018) and Konkret Music (2020), introduced a whole new audience to the bandâs idiosyncratic fearless experimentation, breakneck rock ânâ roll infused with even more found sound electronics and sonic obscura. Uncompromising and utterly distinct, these albums solidified the bandâs belief that staying true to their own artistic vision was always the only way forward.
Forever Now is 10 tracks of hand-crafted chaos that bear all the brilliance of GĂśsta Berlings Sagaâs 25 years of irreverent innovation. Entirely written, recorded, produced and mixed by the band for the very first time, the album sees synthesizers and arpeggiated guitars spiral ever higher, colliding with helter skelter percussion and pulse-racing drums on the way, whilst the bandâs innate trust in each other and in their music form the propulsive core of a perpetual energy engine five years in the making.
Although not established as a concept album as such, personal tragedies during the early writing process ultimately left their mark. For a time the band tried to separate their collective creativity from the events of their private lives but, rather than grief and darkness making their presence felt, GĂśsta Berlings Saga built this album on the pursuit of the eternal – a euphoric glimpse beyond time, where music becomes a bridge between the present and what was and will be, echoing connections that never fade.
GĂśsta Berlings Saga are: Jesper Skarin – Percussion Gabriel Tapper – Bass David Lundberg – Keys Rasmus Booberg – Guitars Alexander Skepp – Drums
Joe Lynn Turner needs no introduction. Long before he launched his solo career in 1985, his years fronting Ritchie Blackmoreâs Rainbow (Difficult To Cure, Straight Between The Eyes, Bent Out of Shape) established him among the most dynamic vocalists on the metal scene, an accolade that was only amplified by stints with Deep Purple (Slaves and Masters) and Yngwie Malmsteen (Odyssey).
Clearly, Turner knows a great guitarist when he hears one, and Marcus Nand is no exception. Born in Spain and a student of flamenco guitar along with blues and rock, Nand has incorporated his diverse influences on such projects as the Los Angeles-based metal band Freak Of Nature, which featured White Lion singer Mike Tramp, and the world music-influenced rock band Ziroq with famed David Bowie bassist Carmine Rojas!
His first solo album, 2024âs The Traveler, was described by Forgotten-Scroll.net as âa PERFECT albumâ for anyone enjoying âsweet, harmonious, exceptional rock music.â Foo Fighters keyboardist Rami Jaffee raves, âMarcus knows how to write a song that feels truly rock and at the same time, truly worldlyâ; Alice In Chainsâ Mike Inez continues, âHe is a great example of a dedicated musician carrying the torch of his genre well into the future.â
And still âRide Captain Ride,â the mighty fruit of this devastating partnership, leads both players into a whole new arena. According to the late songwriter Mike Pinera, the song was written âin about 15 minutes [and] we cut it right that day.â It lifted his band Blues Image to international fame and, with close to 25 million Spotify plays to its credit, it remains one of the greatest rock standards of all time.
And one of the greatest Yacht Rock classics as well, which is what makes Turner and Nandâs treatment of the song so fascinating, as it preludes one of Cleopatra Recordsâ most highly-anticipated albums of the year, Yacht Metal – Yacht Rock Goes Heavier & Louder.
Nand has always loved the number. âIâve been a big fan of Joe Lynn Turner for years, so getting the chance to play on this track was a real thrill. It was also a lot of fun to revisit âRide Captain Rideâ – such a classic! I wanted to stay true to the spirit of the original while giving it a heavier edge without losing what made it special in the first place.â
Turner continues, âIt was 1970 and âRide Captain Rideâ was the big song…it went to #4 on the Billboard Hot 100 chart but was forever engraved in our lives. I played it in my cover band a thousand times.
âIt was a real joy to do a new version for Cleopatra…a fun tune with a positive message…hope you enjoy it as much as I still do!â
Because, if you do, youâre going to love Yacht Metal, too. Featuring contributions from Thor, Vinnie Moore, BulletBoys, Cherie Currie, Uriah Heep veteran Mick Box, Megadethâs Chris Poland, Ross The Boss, Britt Lightning and another Rainbow alumnus Graham Bonnet, Yacht Metal is guaranteed to uproot everything you have ever thought you knew about both the genre and the songs that sail on it.  A line-up that also includes âTakinâ It To The Streets,â âJust The Two Of Usâ and âYou Can Do Magic.â
Well, Turner and Nand have already done some magic here, but just to whet the appetite further, hereâs Mike Pinera again, speaking about the super-weird coincidence that has also established âRide Captain Rideâ in the annals of rockâs most Fortean favorites.
He wrote the song on a Model 73 Rhodes piano, and the songâs opening rhyme riffed on that number⌠â73 men sailed out from the San Francisco BayâŚ.â
âNow, here is the weird thing that happened. It got released, it was in the Top Ten, #1 in a lot of regional markets, and my manager gets a call from the Pentagon, wanting to know how I, as the writer of those words, knew about the secret spy ship USS Pueblo? My manager goes âwhat are you talking about? I donât think Mike knows anything about that stuff. Ask him about the latest Gibson guitar and heâll know, but he doesnât know anything about secret spy ships.â Which I didnât.
âBut it turned out that I had written a song that coincided with an incident that had not yet happened; it took place after the song was released; and hereâs what made it so freaky. There were seventy-three men on board who sailed out from the San Francisco Bay on this secret spy mission that nobody was supposed to know about, and they got in trouble out there on the ocean, they were captured and taken prisoner. Seventy-three men sailed off into history. As far as I was concerned, those lyrics were free form flow of consciousness stuff, but then you get to the third verseâŚ
âAt one of my concerts years later, I met the radio guy from the USS Pueblo who told me something I didnât know about that third verse, that while they were actually being captured, it was during a massive storm and they couldnât get the word out that they needed help because the bad weather was blocking the radio transmission.â
But no one heard them callin’, no one came at all ‘Cause they were too busy watchin’ those old raindrops fall As THE storm was blowin’ out on the peaceful sea Seventy-three men sailed off to history
Connecticutâs own self deprecating, noise rock entity INTERCOURSE have signed with Brutal Panda and will release their fourth studio album in autumn 2025.
In celebration of the signing, the band have unveiled their new song ‘Running A Cemetery Without A License’.
Music for Aliens, Made by Mutants. INTERCOURSE formed in 2013 and have been annoying ever since. With the lofty (or pointless, depending on who you ask) goal of ditching the pretension of noise rock and fusing it with the immediacy of hardcore, theyâve managed a release a year since 2014. 2023âs Halo Castration Institute helped the band reach a new level of notoriety with positive reviews across the board. With the release of a last yearâs EP Egyptian Democracy, the band is sure to become the high watermark for annoying adults who dress like theyâre 17 and simply will not quit.
INTERCOURSE have played sold-out shows with the likes of Chat Pile, Deadguy, The Red Chord and The World is a Beautiful Place & I Am No Longer Afraid to Die. The quartet have been featured on notable websites Decibel, Lambgoat, New Noise Magazine and were recently featured on The Needle Dropâs top 15 EPs of 2024.
These JUNO Award winners have worn the horned crown as the most vile band in death metal since the mid-’90s. But with the latest single off their upcoming ninth album, Cryptopsy are making blasphemy sound fresh. “Malicious Needs” feeds into a human urge that is so revolting, so shameful, that it couldn’t be shown on YouTube. Still, even the censored version of the new video from An Insatiable Violence uncovers the evil obsessions that lie beneath our digital fantasies.  Â
The concept forAn Insatiable Violence came to Cryptopsy in a dream. A person spends all day building a machine, only for it to torture them through the night. As if that thought wasn’t malicious enough, this person likes being tortured. In fact, they like it so much that, come morning, they wake up feeling rejuvenated, eager to tweak their creation until it runs perfectly in their mind.
“When I woke up, I grabbed my phone and wrote down the words that would become the title of our new album”, says vocalist Matt McGachy. “Because, you know, we all have to have our phones with us all the time”.
While nightmarish, An Insatiable Violence feeds into our all-too-real obsession with social media. “It’s something that I don’t like about myself”, admits McGachy, who’s caught himself spending more and more time online since starting his Vox & Hops podcast. “I’m trying to break the cycle, but on those days where I’m just doom scrolling, I get so depressed”.
“Malicious Needs” is the final frenzied feeding on An Insatiable Violence, so it’s appropriate that the song’s video brings its dark fantasy to a truly crushing conclusion. Things start innocently enough. A bald-faced CEO of the not-at-all-nefarious-sounding “Neural System Corporation” takes pity on one of his cash-strapped underlings. But when this social media engineer gets a little too addicted to his boss’ hidden scheme, their office culture really goes to hell.
“The cold steel / sends shivers down my spine“, McGachy growls in sadistic pleasure. “I yearn for its touch. The malefaction divine“.
Though eerily prescient about our latest brain rotting obsession, An Insatiable Violence is influenced by the many mutations that have spawned Cryptopsy’s Hall of Fame discography. The cover art for their new album was created by the band’s late, great vocalist Martin Lacroix, who would scream in ear-piercing delight at the freshly dug depths of McGachy’s gutturals. “We did at least 140 shows since our last album. While performing None So Vile and Blasphemy Made Flesh, I exclusively did my false chord screams. When we did go into the studio for our new album, Chris would be like, ‘Deeper, you must go deeper!'”
Even the beating heart of Cryptopsy pumps out some unheard tricks of the trade on An Insatiable Violence. “Since our last album, I’ve developed techniques that make it easier for us to go even faster”, says Flo Mounier, who literally wrote the book on extreme metal drumming. “Malicious Needs” is cracked open by blast beats so raw and unnerving that they’re impossible to program. Producer/ architect of the fishhook riff Christian Donaldson and brutal bass technician Oli Pinnard lock into a thick, neck-breaking groove that’s scrambled by haywire hammer-ons and fret slaps. But as the song’s video reveals its stomach-turning twist, the band bust out a new finishing move, slithering to a crawl before soaring like a bat through blackened clouds of smoke.
“‘Malcious Needs’ is the last song that we wrote for An Insatiable Violence andright away, we were all completely enamored with it”, Cryptopsy says. “It has a very weird, mechanical, rhythmic ambiance, which was brought to life by the dystopian horror story that you see in the video”.
Feast your eyes on the new vileness from Cryptopsy.
The video for “Malicious Needs” was directed by Gornoss.
Cast Romain Gonçalves â John (main character) đ¸ @romaingoncalves_act HervĂŠ Laget â The CEO đ¸ @objectif_foto AndrĂŠa Deronzier â Andrea (the secretary) đ¸ @andrea_deronzier Aude Ly â Aude (office colleague) đ¸ @aude_visuel Renan âUlcerâ Garriguenc â Renan (colleague) đ¸ @ulcer.me Paco âRKâ Charry â Paco (colleague) đ¸ @paco_rk Antonio Santolino â Antonio (colleague)
With the support of Metropole Toulon Provence MĂŠditerranĂŠe Jonathan Martin â Development Officer Barbara Occhini â Project Officer Laurence Goniot â Head of Filming Office
Tracklist 1. The Nimis Adoration (4:10) 2. Until There’s Nothing Left (3:59)Â [WATCH] 3. Dead Eyes Replete (3:57) 4. Fools Last Acclaim (3:26) 5. The Art of Emptiness (4:16) 6. Our Great Deception (4:21) 7. Embrace the Nihility (3:50) 8. Malicious Needs (5:52)Â [WATCH] Total runtime 32:04
“Martin did None So Live, but he never really got to do a proper album”, Cryptopsy says about the artwork for their new album. “His art is amazing. The two pieces of his that we used for An Insatiable Violence are incredible. His family was super excited about it, too. We are honored to have him be an even bigger part of Cryptopsy’s lore”.   Â
Cryptopsy are giving their hungry fans overseas an early helping of An Insatiable Violence. They’re currently playing songs off their new album while touring Europe alongside Decapitated, Warbringer and Carnation.
“Europe, get ready!”, Cryptopsy says. “This tour is bringing relentless energy, crushing riffs and unforgettable nights”
Infernal Bloodshed Over Europe 2025 May 13 – Lille, FR @ The Black Lab May 14 – Enschede, NL @ Metropool May 15 – Munich, DE @ Backstage May 16 – Aarau, CH @ KiFF May 17 – Lindau, DE @ Vaudeville May 18 – Vienna, AT @ Szene May 19 – Budapest, HU @ DĂźrer Kert May 20 Prague, CZ @ Fuchs2 May 21 – Schweinfurt, DE @ Stattbahnhof May 22 – Dresden, DE @ Blauer Salon May 23 – Krakow, PL @ Hype Park May 24 – Warsaw, PL @ Proxima May 26 – Berlin, DE @ Hole44 May 27 – Aarhus, DK @ Voxhall May 28 – Hamburg, DE @ Logo May 29 – Vechta, DE @ Gulfhaus May 30 – Dortmund, DE @ Junkyard May 31 – Sint-Niklaas, BE @ Casino June 1 – Paris, FR @ La Machine June 2 – Esch Sur Alzette, LU @ Kulturfabrik June 3 – Frankfurt, DE @ Das Bett June 4 – Karlsruhe, DE @ Substage June 5 – Milan, IT @ Legend Club June 6 – Bologna, IT @ Locomotiv June 7 – Lyon, FR @ Lions Metal Fest June 8 – Maastricht, NL @ South of Heaven *Decapitated Only
Metalheads who are chomping at the bit for An Insatiable Violence can further their appetite by revisiting Cryptopsy’s hallowed catalogue. Since signing with Season of Mist in 2024, the band have reissued their 1993 demo Ungentle Exhumation, the widely-worshiped None So Vile, their triumphant self-titled and The Book of Suffering Tome I + II, which is now available for the first time on one combined LP.  Â
More than 30 years into their storied career, Montreal death metal innovators Cryptopsy return with their ninth studio album, An Insatiable Violence, set for release on June 20, 2025 on Season of Mist.
Revered in extreme metal circles for such groundbreaking classics as 1994âs Blasphemy Made Flesh and the 1996 magnum opus None So Vile, Cryptopsy find yet another gear on An Insatiable Violence, which further solidifies the bandâs place in the upper echelon of death metal. Coming out of the pandemic, the band dedicated themselves to staying on top of their game more than ever before, with the intention of consistently putting out a new record every two years. That started with 2023âs acclaimed As Gomorrah Burns, and continues 21 months later with An Insatiable Violence.
âWe had to write the majority of An Insatiable Violence while on the Death to All tour, which was something weâd never done beforeâ, vocalist Matt McGachy says. âFlo [Mounier, drums] and Chris [Donaldson, guitar] really put their hats on. It was a featâ.
âEver since COVID our focus is clearer, a lot of work gets done faster, and we push each other to get it done.â, Mounier says.
In addition to featuring some of the fastest passages Cryptopsy has ever recorded â keen listeners will even hear the odd gravity blast from Mounier, a rarity from the virtuoso drummer â the controlled chaos of their signature sound is offset by well-timed passages that ease off the gas pedal enough to allow listeners to come up for some air. That dynamic rage on An Insatiable Violence in turn makes the more aggressive moments hit even harder, which is immediately noticeable on the harrowing âUntil Thereâs Nothing Leftâ and the chugging closing track âMalicious Needsâ. Olivier Pinard anchors âFools Last Acclaimâ with stunning authority (keeping pace with Mounier is an unenviable task) while Donaldson offsets gnarly, atonal riffs with melodic passages throughout the record. âItâs a continuation of As Gomorrah Burns,” McGachy says, âWe really wanted to make a groovy record, and we think weâve done it.â
It seems as though nothing is scarier than real life right now, and An Insatiable Violence is a commentary on todayâs society as though filtered through the transgressive, countercultural perspectives of J.G. Ballard and David Cronenberg.
âIt all came to me in a dream in August 2023,â elaborates McGachy. âI woke up, I took my phone, and I wrote down the title of the record. It’s about a person that wakes up every day and fixes a machine. Tinkers with it, tries to make it better all day long, sweating in the sun, and then at night, they strap themself into this machine and the machine tortures them, and they love it. Then they wake up the next day and fix it again to make it more efficient, to keep harnessing it, and then just keep doing it over and over again.
While fantastically twisted, An Insatiable Violence mirrors our toxic relationship with social media. âWeâre continuously trying to feed this algorithm of the machine while itâs totally tearing us apart socially and psychologicallyâ, McGachy continues. ââThe Nimis Adorationâ is about mukbang, these Korean people that eat too much food on the Internet. Piles and piles of food. A poor girl died on a live camâ.
At the center of the album is the mind-boggling percussion skill of Mounier, arguably the most imposing Canadian drummer not named Peart, who dominates such standout tracks as âDead Eyes Repleteâ, âFools Last Acclaimâ, and âEmbrace the Nihilityâ. âI look at Flo as an Olympic athlete,â says McGachy. âI want to push this guy to go a lot faster than Cryptopsyâs previous releases. We have so much more to give, and I wanted just drain it all out of him while heâs still at the top of his game, because he is. Heâs crushing.â
âI mix up a lot of a physical activity, like resistance training into the drumming,â Mounier says. âI recently developed new techniques that make it easier to go even faster, so I tried to push that on this album. My focus is now more on dynamics and the touch of the snare, a certain snap of the snare, a rim shot on the snare, the toms, a light touch or a hard touch. Live, I can really let go, you know, give the sound guy a hard time,â he adds with a laugh.
For McGachy, who has always boasted a powerful, guttural death growl, the rigors of touring have enabled him to evolve as a vocalist, and he turns in a revelatory performance on An Insatiable Violence. In addition to ear-scraping screams that rival George âCorpsegrinderâ Fisher, McGachy unleashes the deepest, filthiest death growls of his career. âGomorrah was the first album that I recorded with my full false chord scream, which is something that I’d only just touched on The Book of Suffering: Tome II in little sections,â he says. âWe did at least 140 shows since Gomorrah. I exclusively did my false chords during all the songs that we performed on None So Vile and Blasphemy Made Flesh. And then, when we did go into the studio for An Insatiable Violence, Chris would be like, âDeeper, you must go deeper!ââ
Another fearsome vocalist from Cryptopsyâs lore pops back into the booth on An Insatiable Violence. âWhen we were recording the vocals for âEmbrace the Nihilityâ, Chris had the idea of ending the song with the same vocal pattern as the end of ‘…and Then It Passes’â, McGachy remembers. âWe figured if we were going to rip ourselves off, then we may as well get the real thing. We were honored that Mike DiSalvo accepted. We are all huge fans of Cryptopsyâs DiSalvo era. His vocals on this album are an ultra Easter egg for our fansâ.
In addition to the effusive praise As Gomorrah Burns received from within the metal scene, the 2023 album achieved a first for Cryptopsy: earning them their first ever JUNO Award in 2024 for Metal/Hard Music Album of the Year. âWe had little-to-no expectations of winningâ says McGachy. âWe didnât even go to the ceremonies because we were on tour in Europe with Atheist. On the day we found out that we won, we had a crazy 18-hour drive from Derby to Germany, plus a ferry ride. But we still partied for 48 hours. Flo bought an expensive bottle of champagneâ.
Cryptopsy recognize that not every death metal band sticks around long enough to win a Canadian Grammy 30 years into their career. The cover art for An Insatiable Violence was created by the late, great vocalist Martin Lacroix. “The album artwork has got to be one of the most important things to us!â, the band says. âMartin Lacroix was one of our vocalists, one of our great friends and one of the nicest people that anyone could have the privilege to meet. We really wish he was here with us to share this moment. His perfect smile would say it all! Rest in peace brother”.
With Cryptopsyâs latest career renaissance showing no signs of slowing down, the recent accolades are only the beginning. An Insatiable Violence reaches a new peak in a career loaded with them.
Lineup Flo Mounier – Drums Matt McGachy – Vocals Christian Donaldson – Guitar Oli Pinard – Bass
Recording, Mixing & Mastering Studio Christian Donaldsonâs Studio
Production, Sound & Mixing Engineer Christian Donaldson
Guest Musicians Mike DiSalvo performs vocals on “Embrace the Nihility”
The Burbs are back â and theyâre not holding back. The Bells Beach trio known for their grunge-tinged, pop-hooked intensity deliver a raw, gut-punch of a track with ‘Thereâs No Time For Presents.’ Recorded at Sing Sing Studios with producer Aaron Dobos, the song channels dark, confessional storytelling into a visceral acoustic landscape, punctuated by the eerie, knife-sharp percussion of a pocketknife slicing through paper.Â
Fuelled by muted guitars and a rhythm section that simmers beneath Brook Mckeonâs haunting vocal delivery, the track builds from a melancholic pulse to a climactic chorus. The lyrics cut deep, reflecting on moments of powerlessness and the weight of failing those we love. âWhat a nice weight to get off your chest / All it took was a pocketknife and a pressâ â itâs a line that lingers, haunting in its simplicity, devastating in its impact.Â
Following their explosive debut demo album Sunlight Spills Across The Swimming Pool and radio success with Ladder To The Moon and Skin and Bones, The Burbs are solidifying their place as one of Australiaâs most electrifying new acts. ‘Thereâs No Time For Presents’ is out now â a blistering reminder that sometimes the rawest wounds leave the deepest marks.
The Burbs are an Australian rock trio from Bells Beach, Victoria, who have quickly become one of the most exciting new acts on the Australian music scene. Formed in 2016, the band comprises Danny Valitutti, Peri Brown, and Brook Mckeon. Known for their energetic live shows and dynamic sound, The Burbs have gained a reputation for their unique blend of pop melodies, grunge attitudes, and dark, reflective lyricism. Their music resonates with a rebellious spirit, embodying the essence of Australian rock.
With their growing popularity and critical acclaim, The Burbs are fast becoming âhot propertyâ in the Australian music scene. Their melodic sound and energetic performances have garnered them a dedicated and growing fanbase and increasing recognition nationally.
Polish death metal legends VADER are pleased to celebrate the 25th Anniversary of their classic “Litany” album, which originally came out on Metal Blade Records in 2000 with a special vinyl reissue edition.
The original 11 tracks / 31 minutes of “Litany” come newly re-mastered for vinyl by Wojtek Wieslawski / Hertz Recording Studio and the LP also includes a 16-page booklet with new liner-notes by band leader, guitarist and vocalist Peter Wiwczarek.
The “Litany (25th Anniversary Reissue)” LP will be available in the following variants and limitations from Metal Blade Records on June 6th, 2025:
180g black vinyl LP (Unlimited)
Clear violet marbled vinyl LP (Unlimited)
Clear gold splatter vinyl LP (Limited to 500x copies)
Blue black splatter vinyl LP (Limited to 200x copies, Band-Edition)
Golden brown marbled vinyl LP (Limited to 400x copies, USA)
Vader’s Peter Wiwczarek commented in the liner notes as follows about “Litany”: “‘Litany’ was definitely our fastest and most brutal album ever recordedâŚThis year the album celebrates its quarter-century and we want to remind you of the power of these brutal riffs. The album returns to the stages in full form. Many of the songs haven’t been played since the 2000-2001 promotional tour. Some of them have never been played. I invite you to the world of ‘Litany’! RememberâŚyou enter here at your own risk!”
Just recently VADER released a music video for a brand new single called “Unbending’, which will be the official anthem of Poland’s renowned Mystic Festival this year. It’s also the closing track of VADER’s upcoming new EP Humanihility, set to be released on May 30th, via Nuclear Blast. Pre-order here: https://vader.bfan.link/humanihility
Five years after the much-lauded 12th studio album Solitude In Madness, VADER return with 3 brand-new tracks once again produced by Scott Atkins at Grindstone Studio, UK. Featuring excellent artwork by Marcelo Vasco (Slayer, Testament, Dark Funeral), this EP marks the first recording as a quintet with guitarist Mauser returning to the group and new drummer Michael alongside vocalist/guitarist Peter, bassist Hal and third guitarist Spider.
Artwork by Marcelo Vasco Arts
Humanihility offers scorching new songs that prove to be vicious, thrash-laden anthems perfectly blending old-school thrash with VADER’s unique straight-forward fury and neckbreaking tempos. Each of the songs was created by a different band member, giving them a more personal style.
The only physical edition will be a limited 12” (red vinyl, 700 copies).
Humanihility Tracklist
Genocide Designed
Rampage
Unbending (Mystic Festival Anthem 2025)
Watch the video for ‘Unbending’, by Robert Gasperowicz:
Vader – Live 2025 in Europe:
07.06.2025 GdaĹsk (Poland) – Mystic Fest (“Litany” show premiere!) 15.06.2025 Leeuwarden (The Netherlands) – Into The Grave 19.06.2025 Zdunska Wola (Poland) – Alternatywna ZduĹska Wola 20.06.2025 Legnica (Poland) – SpiĹźarnia 21.06.2025 TarnĂłw (Poland) – Przepraszam 26.06.2025 SpĂĄlenĂŠho PoĹĂÄĂ (Czech Republic) – Basinfirefest 28.06.2025 Viveiro (Spain) – Resurrection Fest 03.07.2025 Friesack (Germany) – Under The Black Sun Open Air 04.07.2025 Ballenstedt (Germany) – RockHarz Fest 11.07.2025 Torgau (Germany) – In Flammen Open Air 12.07.2025 SkÄpe (Poland) – Rockokop Fest 13.07.2025 SĹupsk (Poland) – Motor Rock Pub 09.08.2025 Kortrijk (Belgium) – Alcatraz Fest 15.08.2025 Ĺťilina (Slovakia) – Blasphemy Fest 16.08.2025 DinkelsbĂźhl (Germany) – Summer Breeze Open Air 22.08.2025 Spital Am Semmering (Austria) – Kaltenbach Open Air 29.08.2025 Ĺyski (Poland) – Lyski Rock Festival 30.08.2025 ZamoĹÄ (Poland) – ZamoĹÄ 31.08.2025 Barczewo (Poland) – Skarbiec Kultury Europejskiej
Summer Festival in 2025:
05 June – Stykkisholmur, ISL – Satan Festival 07 June – Gdansk, POL – Mystic Festival 15 June – Leeuwarden, HOL – Into The Grave Festival 19 June – Zdunska Wola, POL – Alternatywna Zdunska Wola 26 June – Spalene Borici, CZ – Basinfire Fest 28 June – Viveiro/Lugo, SP – Resurrection Fest 03 July – Friesack, DE – Under The Black Sun Fest 04 July – Ballenstedt, DE – Rockharz Festival 11 July – Torgau/Entenfang, DE – In Flammen Festival 12 July – Skepe, POL – Rockokop Festival 09 August – Kotrijk, BE – Alcatraz Festival 15 August – Slnecke Skaly (Zilina), SK – Blasphemy Festival 16 August – Dinkelsbuehl, DE – Summer Breeze Festival 22 August – Spital Am Semmering, A – Kaltenbach Open Art.Fest 29 August – Lyski, POL – Lyski Rock Festival
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VADER released their 16th studio album âSolitude In Madnessâ on May 1st 2020 via Nuclear Blast.
Kimmo Kuusniemiâs 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 Kuusniemiâs 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 âAurora Nuclearisâ, a powerful 12-minute audiovisual experience, dedicated to the Late Keyboardist Esa Kotilainen. - Click image to watch the video
Click image to watch the video
Metal Shock Finland (World Assault )