Danish progressive metal visionaries KINETIC return with a dark, cinematic music video for “Dyson,” the striking second single from their upcoming conceptual album, Liminal, slated for release via Eclipse Records on October 16, 2026. Directed by Marcus H. Levin, the music video serves as an immersive psychological journey, plunging viewers into a labyrinth of human isolation, self-induced paranoia, and fractured memories. Blending the atmospheric depth of bands like Tool, Deftones, and Pink Floyd, KINETIC establishes a gripping narrative where the boundaries between objective reality and internal perception completely dissolve. “Dyson” is the second of three music videos from the band’s debut full-length album Liminal, which will be released on October 16, 2026 via rock and metal record label Eclipse Records.
“We chose Dyson as a music video because it is one of the album’s most immediately accessible songs” explains keyboardist Marcus. “At times, the audience is immersed in the central character’s distorted perception of reality; at others they observe him from an external perspective. Throughout the video, the protagonist is persistently haunted by an unseen presence – a manifestation of his own paranoia, inner struggles and unresolved emotions rather than a physical threat. The result is a visual journey that blurs the line between reality and perception, reflecting the psychological themes at the heart of the song, which is that many of humanity’s greatest struggles and conflicts originate from within ourselves. The message is a reflection on whether we can overcome those internal conflicts, step outside our own perspectives, and learn to see ourselves and each other more objectively.”
The modern progressive metal landscape thrives on ambition, yet few emerging acts possess the audacity to anchor a debut full-length album to the literal measurement of cosmic civilization. Arriving on October 16, 2026, via Eclipse Records, Liminal represents a massive sonic leap forward from their well-received 2025 debut EP, Sentience. KINETIC has crafted a 106 minute masterwork that balances technical precision with expansive, atmospheric depth, signaling the arrival of a major new force in the international metal community. Liminal functions as a classic conceptual album, bound together by a coherent, overarching storyline that connects the first note of the opening track to the final fading echoes of the grand finale. Musically and lyrically, the band draws inspiration from the Kardashev Scale, a theoretical framework proposed by astrophysicist Nikolai Kardashev that measures the technological advancement of a civilization based on the amount of energy it can harness. Rather than conforming to predictable, verse-chorus modern song structures, KINETIC focuses heavily on cinematic arrangements and long-form compositions. This deliberate stylistic choice allows the music to evolve dynamically, ensuring that the sonic landscape mirrors the immense scientific and philosophical themes of the narrative. Liminal was produced, engineered, mixed & mastered by Frederik Uglebjerg (Galge, MØL, Trold, Isbjörg) and the album cover art was created by Lasse H. Görlitz & Marcus H. Levin. It is scheduled for release on October 16, 2026.
Liminal track listing 01. Beginnings 02. Evolution 03. New Frontiers 04. Type 0.75 05. Fermi 06. Progress to One 07. Dyson 08. Journey to the Stars 09. Digital Mind 10. 2 to Five 11. Omega
About KINETIC: Emerging from Kolding, Denmark, KINETIC bridges the gap between technical progressive metal and cinematic storytelling. Their new album Liminal takes listeners on an existential journey through space and time, marking the band’s official debut on the Eclipse Records roster and solidifying their place as a must-watch modern metal act. Kinetic is René Hougaard (lead vocals), David Thing (guitar, backing vocal), Christian Filskov Heitmann (bass), Marcus H. Levin (synth), and Rune Görlitz (drums).
Metal juggernauts Darkest Hour announce the release of their 11th studio album, Suffer Divine, on October 30, 2026. The band tapped producer Mark Lewis (Whitechapel, The Black Dahlia Murder, Cannibal Corpse) this time around. Across 11 ferocious tracks, Suffer Divine distills everything Darkest Hour loves about heavy music from force to spirit.
Today, the band releases the crushing and vengeful title track. Listen HERE.
Vocalist John Henry says, “Our first single and title track of the new album “Suffer Divine” is about justice and accountability. This one goes out to anyone who chooses to push and peddle hatred and division, to anyone who would break down others to feed their sadistic, insatiable ego.”
Darkest Hour’s music carries the passion, pressure, and purpose of hardcore with an unapologetic reverence for melodic riffs, death metal stomp, speed, and twin-guitar harmonies. The band’s forthcoming album Suffer Divine is a no-holds-barred, invigorated slab of aggression where hardcore urgency and emotional meaning behind every note continue to power their metal obsessions with tone, attack, and riffs.
Guitarist Mike Schleibaum says, “This album is so special to us. We’ve had the support of an amazing team at the label, the incredibly talented Mark Lewis, and each other as we have navigated the process that gave birth to Suffer Divine. The result is one blistering album. It’s full of rage, thrash, and aggression but also feels musically dense. Sonically, this is an album born out of love for things like melodic death metal.
Conceptually, the album touches on the idea that you can derive self-worth (and some value) from your own suffering. In fact, the creation of this album was the personification of that actual act. There is so much rage, anger, and pain put into this record, yet at the same time it holds in itself so much hope. It’s equal parts hope, rage, and empathy.”
Pre-save Suffer Divine album & stream the single HERE.
Suffer Divine Tracklist:
All Cruelty Springs From Weakness Gods of Decay No Conquered Hearts Salvation Suffer Divine Warrior Vile Angel The Unforgiving Hand Tribalist Everyday Horrors A Story of Redemption
Darkest Hour will also perform as direct support for Fear Factory on U.S. dates this fall, kicking off on November 12 in Springfield, MO, and wrapping with two dates in Los Angeles at The Whiskey A Go Go on Nov 28 and 29.
Solo Tour Dates:
11/10 No Class Cleveland, OH 11/11 Hoosier Dome Indianapolis, IN
Darkest Hour & Fear Factory Tour
11/12 The Regency Live Springfield, MO 11/13 Wave Wichita, KS 11/14 Oriental Theater Denver, CO 11/15 Black Sheep Co. Springs, CO 11/17 Pub Station Billings, MT 11/18 The Newberry Great Falls, MT 11/20 El Corazon Seattle, WA 11/21 The Hawthorne Theatre Portland, OR 11/22 Shrine Social Club Boise, ID 11/24 Strummers Fresno, CA 11/25 House of Blues San Diego, CA 11/27 The Glass House Pomona, CA 11/28 The Whisky A Go Go Los Angeles, CA 11/29 The Whisky A Go Go Los Angeles, CA
Darkest Hour is: John Henry (lead vocals) Mike Schleibaum (rhythm guitar) Nico Santora (lead guitar) Aaron Deal (bass) Travis Orbin (drums)
After three decades of defining the intersection of melodic death metal and hardcore, Darkest Hour continues to deliver music as vital as it is visceral. Darkest Hour clawed their way out of the DMV area in 1995. Throughout the ensuing years, they tallied tens of millions of streams and quietly built a diehard fan base. Circling the globe, they packed hundreds of shows and touched down on every continent, save Antarctica. Along the way, they notably notched five Top 3 debuts on the Billboard Heatseekers Albums Chart. 2017’s Godless Prophets& the Migrant Flora marked the group’s third #1 bow on the latter in addition to crashing the Top 10 of the Top Vinyl Albums Chart.
Austin Powerhouse Guitarist and Songwriter gets Unapologetically Honest About Desire on the Second Single from her Forthcoming Judge & Jury Records Album
Coming off her tour with Yungblud, Emily Wolfe returns with “Power,” a new single that continues her pursuit of rawness, honesty, and authenticity. The track marks Wolfe’s second single from her forthcoming new album due out this year through Judge & Jury Records.
“What do we all really want? If you strip everything away, what is it? Power. Sex. Honey. Flesh. Primal. The most fundamental human desires. I think everybody wants those things, they just don’t always say it out loud. That song is me saying it out loud.” shares Wolfe.
It is a refreshingly unapologetic answer and an especially bold one coming from a woman in rock who has never been interested in playing it safe.
While desire is often softened, hidden, or wrapped in euphemism, Wolfe confronts it head-on. “Power” is about stripping away the expectations, shame, and self-censorship that can keep people from saying what they truly want. The result is a song that embraces desire as something primal, human, sensual, and powerful.
For Wolfe, the four words are more than a provocative hook. They represent the raw, fundamental urges that exist beneath everything else. The need to want. The need to feel. The need to possess power and to claim ownership over your own desires.
Emily Wolfe is an Austin-based singer, songwriter, and powerhouse guitarist who has spent 13+ years building a reputation as one of rock’s most self-sufficient forces. With millions of streams, major media recognition from The Wall Street Journal, MTV, Guitar Player, Paste, and American Songwriter, and a Spotify smash in “Atta Blues” surpassing 2 million streams, her reach continues to grow.
Beyond her original music, Wolfe continues to showcase why she’s regarded as one of rock’s most exciting modern guitarists. Recently, she joined Musora Studios for its popular Covers Challenge, where she arrived with no idea what she’d be playing. After first reimagining Billie Eilish’s “Ocean Eyes” in her own style, Wolfe was given a surprise challenge: transform the song as if it had been written by one of her biggest influences, Black Sabbath. Building a vintage-inspired guitar tone from scratch, she teamed up with a brand-new rhythm section and turned the dreamy pop ballad into a riff-heavy performance worthy of Tony Iommi. The video has already surpassed 2.2 million views and over 163,000 likes, giving fans another look at the creativity and musicianship that continues to set Wolfe apart.
A proud Gibson partner with two signature guitar models to her name, Emily shares Epiphone signature status with Adam Jones of TOOL who personally invited her to open for TOOL after Jones became a fan of her work. Her latest single “Lips,” produced by Gavin Brown and featuring Jesse Hughes of Eagles of Death Metal, is the first taste of her forthcoming album.
She has released three studio albums, toured internationally, and shared stages with TOOL, The Gaslight Anthem, YUNGBLUD,and more. This September she’ll be supporting Frank Turner on tour and his Lost Evenings IX festival, as well as The Toadies on another run in October.
Sept 15: New Haven, CT @ Toad’s Place Sept 16: Buffalo, NY @ Town Ballroom Sept 18: Atlantic City, NJ @ Circus Maximus Theater Sept 19: Millvale, PA @ Mr. Smalls Theatre, Funhouse & Café Sept 21: Columbia, MO @ The Blue Note Sept 27: Lost Evenings IX 2026: Dallas, TX w/ Frank Turner, …And You Will Know Us By The Trail Of Dead
Supporting Toadies
Oct. 8: Tucson, AZ @ Rialto Theatre Oct. 9: El Paso, TX @ Lowbrow Palace Oct. 10: Lubbock, TX @ The Garden Oct. 14: Jacksonville, FL @ FIVE Oct. 15: Fort Lauderdale, FL @ Revolution Live Oct. 16: Orlando, FL @ House of Blues Oct. 17: St Petersburg, FL @ Jannus Live
If you happened to be around the Cat Club in New York City anytime around the mid-1980s, chances are you remember King Flux, and with very good reason.
They were a fabulous band, of course. But they also felt like a personal secret, shared between the members of a dedicated audience, but unknown to anyone else.
No record labels were pushing them in all manner of directions, no management hassling them to write “a hit.” King Flux just got up and played their music, blew the crowd away, and that would be it until the next time they played. Frontman Richie Stotts describes them as “a mom and pop organization,” and he’s right.
“Following the devastation of losing my gig with the Plasmatics,” he explains, “it didn’t take long to feel a sense of freedom. There was no management anymore. No financing from a record label. And yet, it seemed so organic just creating music and relying on the assistance of friends who came together to get the word out. It was like a mini King Flux compound of people building sets, designing logos, postering the city and getting the word out without Instagram.”
And the Cat Club, a two level bar on E 13th, equipped with its very own cage dancers, was their home from home.
King Flux never made a record during their lifetime. Of course the band received offers from record labels – plenty of them, in fact. They turned them all down… or rather, as Richie puts it, he turned them down. “Mr. Smarty Pants Stotts didn’t think they were big enough,” he says with a possibly rueful laugh.
But they recorded a lot of material and now, a full 40 years on, Richie has cracked open the vault, for a forthcoming album of hard riffing rock’n’roll and, released today as a limited edition 7-inch single, alongside all digital platforms, a single of “Reign Of The Insane,” one of the key numbers in the band’s period live show.
“‘Reign Of The Insane’ was a lot of fun to write,” recalls Richie.. “I pulled lyrical inspiration from a bunch of different places, including Ronald Reagan’s famous over-use of the phrase ‘Back in the saddle again.’ For the rap section, I went straight to the headlines of the New York Post and worked some of that tabloid insanity into the lyrics.
“One line in particular was inspired by the headline: ‘Rock star’s wife beats murder rap.’
“That was a reference to Gail Collins Pappalardi, the wife of Mountain bassist Felix Pappalardi, who was charged with second-degree murder after shooting and killing Felix in 1983. She was ultimately acquitted. The shooting took place in the same building—Waterside Plaza—that my brother Wayne was living in at the time.
Norwegian hard rock force AUDREY HORNE unleashes a hard-hitting new single with “Achilles”, the title track of the band’s upcoming 8th studio album, out this Friday, September 4, 2026, via Napalm Records! Roaring guitars meet impactful rhythms, all topped with powerfully captivating vocals. The band showcases the more progressive side of its sound on this ambitious single, arriving with a lyric video, and the strong sonic contrasts support the lyrics. Following the release of Achilles, AUDREY HORNE is set to head out on a European headline tour next month.
AUDREY HORNE on “Achilles”: “‘Achilles’ is a song about the ‘us vs. them’ situation in today’s increasingly polarized world. It is also the title track from our new album and shows a bit more progressive side of the band. When we started recording the album, this song stood out immediately as a perfect opening track, and it has an energetic drive that will fit us perfectly on stage as well. We hope you guys like it as much as we do. Peace and love, AUDREY HORNE.”
AUDREY HORNE‘s latest studio albums Blackout (2018) and Devil’s Bell (2022) received critical praise internationally, and the band was even awarded a Spellemannprisen (Norwegian equivalent to a Grammy) for their 2005 debut album. With previous international tours both as headliners and together with bands such as Papa Roach and Backyard Babies, as well as support slots for AC/DC and Mötley Crüe, AUDREY HORNE are one of Norway’s most interesting rock exports.
The new album features 11 multi-faceted tracks, ranging from high-energy, heavy rock pieces to more melodic and progressive songs, leaving no questions about the songwriting capabilities of this five-piece, which consists of vocalist Toschie, guitarists Ice Dale (Enslaved) and Thomas Tofthagen, bassist Espen Lien and drummer Kjetil Greve.
Following the hard-hitting title track “Achilles”, more hit material is delivered through songs like “God Damn Beautiful”: This groovy Thin Lizzy -inspired track brings bass player Espen Lien to center stage on lead vocals. The band stays true to its sound on the high-energy rock’n’roll number “Insanity” that features a catchy chorus and twin guitars – and a gripping storyline inspired by the classic Iron Maiden tune “Hallowed be thy name”! Closing track “New Star Falling” wraps the album up beautifully, showcasing the melodic side of AUDREY HORNE‘s sound.
With Achilles, AUDREY HORNE return with an atmospheric heavy rock album that combines classic ‘70s and ‘80s influences with lyrical themes spanning escapism to commentary on the instability of the world we live in. It’s a perfect fit for both rock radio and live stages!
Achilles tracklisting: 1 Achilles 2 In The Eye Of The Hurricane 3 Vampires 4 God Damn Beautiful 5 Pretty Little Lies 6 Prodrome 7 Insanity 8 Hell Is Eternity 9 Six Feet In The Ground 10 Running Through The Night 11 New Star Falling
AUDREY HORNE Live 2026 08.10.26 DE – Cologne / Gebäude 9 09.10.26 DE – Essen / Turock 10.10.26 DE – Münster / Sputnik Café 11.10.26 DE – Hamburg / Bahnhof Pauli 13.10.26 NL – Leiden / Nobel 14.10.26 NL – Eindhoven / Effenaar 15.10.26 BE – Kortrijk / CVC Club 16.10.26 FR – Paris / Nouveau Casino 17.10.26 FR – Grenoble / L’Austra Rocks 18.10.26 CH – Zurich / Plaza 20.10.26 DE – Munich / Backstage Halle 21.10.26 DE – Bamberg / Live Club 22.10.26 DE – Frankfurt / Das Bett 23.10.26 DE – Dresden / Puschkin Club 24.10.26 DE – Berlin / Hole 44 04.12.26 NO – Kopervik / Ovenpå 05.12.26 NO – Bergen / USF Verftet
While they’ve remained relatively silent over the past six years, Theodor Bastard refuse to stay still. Amidst the shadows of the pandemic, war and invasive technology, the world music pioneers have been searching for a way out of the darkness that’s descended over our reality. The path that they discovered on their upcoming eighth studio album didn’t lead back to their home in the forest of Karelia, but away from it, into the coldness of the city, a collapsing civilization, and ultimately, rebirth.
Today, Theodor Bastard are announcing their new album ▽ (pronounced V) with a thrilling music video for its bewitching lead single. While it reconnects with their roots in electronic music, “Sverkay” is a sure sign that the band are bound for dark new horizons.
“This album might never have happened”, Theodor Bastard producer, multi-instrumentalist and founding member Fedor Svolotch says. “So much has surrounded us during recent years: the pandemic, war, division, fear, anxiety over technology, and a sense that reality itself is becoming darker and more unstable. We have felt so much anger, pain, confusion and disappointment both in ourselves and in the world around us. All these emotions were gathering inside us, changing, darkening, searching for a form, until they eventually transformed into the unexpected on ▽”.
Watch the music video for “Sverkay”:
The video for “Sverkay” was directed by Fedor Svolotchand stars Yana Veva. Theodor Bastard built the spaceship that appears in the video by hand. They also created the video’s practical and visual effects themselves. The concept for the spacesuit was created by Yana Veva and made by TomHem Studio.
Additional video credits Screenwriters – Fedor Svolotch & Yana Veva Director of Photography – Oleg Makoseev Additional Camera – Vyacheslav Salikov Film Editor – Fedor Svolotch Gaffer & Assistant Director – Taras Frolov Storyboard Artist – Yana Veva Spacesuit Concept Art – Yana Veva Spacesuit Fabrication – TomHem Studio Spaceship Control Panel Fabrication – Andy Vladych Spaceship Cockpit Concept – Alexey Kalinovskiy Set Design and Construction – Alexey Kalinovskiy & Kusas Props Master – Alexey Kalinovskiy Practical Effects – Alexey Kalinovskiy & Kusas Visual Effects – Maria Starostina & Fedor Svolotch Colorist – Vyacheslav Salikov
▽ reflects just how much has changed since the world last heard from Theodor Bastard in April 2020. While the band are still recognized internationally for blending ritual folk, electronics and world music, on their new album, they’ve re-embraced their early electronic impulses because that’s now how modern life feels: cold, sharp, tense.
“Our sound changed because the world changed”, Svolotch explains. “We had to destroy our own habits and expectations to make ▽. We wanted to start again, as if the band has no past, no safe place, no ready-made formula. As a result, this album is not a continuation of what came before. It’s a different door”.
Long-time fans of Theodor Bastard were pleasantly surprised late last year when the pulse-pounding analog synths of “Nebo” first appeared in the award-winning Russian crime drama The Method. But the latest single from
▽ is a giant leap from the softer, more earthly textures of the band’s recent studio ventures. Like a spaceship, “Sverkay” rumbles with distorted bass before it’s suspended high above the earth by a trap-like beat.
“Вдох – выдох (Inhale – Exhale)”, sings bewitching vocalist Yana Veva as she glimpses what’s to come from our dangerous endgame with war, technology and social division.
“I know people probably expected another Northern ethnic album from us”, Svolotch says. “Oftentimes, once bands find their niche, they stay there. But this has never been our path and now is not the time for beautiful genre obedience.
“▽ represents our vision of what’s going on in the world today” he continues. “Instead of flights into space, instead of discovering the vast mysterious inside ourselves, once again, humanity is busy destroying itself. This album is our attempt to find a way out of that cycle, to understand what is happening, and to feel for some kind of perspective”.
Theodor Bastard refuse to stay still. In the years since their last studio venture, 2020’s Volch’ya Yagoda, the world music pioneers were searching for a way out of the darkness that’s descended over our reality. The path that they discovered didn’t lead back to their home in the harsh northern forest region of Karelia but away from it, into the coldness of the city and a collapsing civilization. By reconnecting with their electronic roots, Theodor Bastard are reborn on ▽.
“Our sound changed because the world changed”, producer, multi-instrumentalist and founding member Fedor Svolotch says. “We had to destroy our own habits and expectations to make ▽. We wanted to start again, as if the band has no past, no safe place, no ready-made formula. As a result, this album is not a continuation of what came before. It’s a different door”.
Svolotch founded Theodor Bastard in 1995. What started as a solo project grew during the 2000s into what’s now a seven-member band that includes vocalist and multi-instrumentalist Yana Veva, keyboardist Alexey Kalinovskiy, drummer Andy Vladich, vocalist Ekaterina Dolmatova, percussionist Kusas and cellist Vyacheslav Salikov. Blending the lines between ritual folk, electronic and world music has gained them international recognition. They’ve toured and performed at major festivals across Europe, including Fusion, Castlefest and Dark Bombastic Evening.
With eight studio albums, three video game soundtracks, two live albums, a compilation of remixes and syncs in major films and television shows, Theodor Bastard have also received international acclaim. The band have won a Russian World Music Award, a Golden Gargoyle, an International Acoustic Music Award and multiple LIT Music Awards. Their previous album, 2020’s Volch’ya Yagoda, won the St. Petersburg Best Album award in the Mood category. Its take on the Russian lullaby “Volchok” was a finalist in the World category for the John Lennon Songwriting Contest.
“[…] their music comes directly from heaven”, Essentially Pop wrote in praise of the album’s single “Les”.
Folk N Rock agreed. “[…] a well-crafted album and deserves a listen if you are a fan of folk or trip-hop electronic music”.
“Theodor Bastard’s prolific catalogue of music is only getting better with age and experience”, wrote Indie Pulse Music.
▽ reflects just how much has changed since the world last heard from Theodor Bastard. While still widely recognized internationally as leaders for ritual folk and world music, the band have re-embraced their early electronic impulses. Long-time fans were pleasantly surprised when the pulse-pounding analog synths of “Nebo” first appeared in the award-winning Russian crime drama The Method. “We did not want to make another comfortable northern ethnic album just because that’s what some people might expect from us”, Svolotch says. “▽ is electronic, nervous, physical and wounded because this is how the world feels now”.
The album’s lead single is a sure sign that Theodor Bastard are bound for dark new horizons. Like a space shuttle, “Sverkay” rumbles with distorted bass before it’s suspended high above the earth by a trap-like beat. “Вдох – выдох (Inhale – Exhale)”, sings a bewitching Veva as she glimpses what’s to come from our dangerous endgame with war, technology and social division.
“This is not the time for beautiful genre obedience”, Svolotch says. “The world is full of violence, exhaustion, stupidity and fear. Instead of flights into space, instead of discovering the inner abysses within ourselves, humanity is once again busy with destruction, cruelty and self-hypnosis”.
To a world that’s mired in its own deadly trance, ▽ arrives like a much-needed slap across the face. The album was created during a long and trying period for Theodor Bastard. It offers little comfort; its anger, confusion and disappointment are hurled at the outside world, which through our own actions, is tipping over the edge. The aggressive “Vedma” surges with black cosmic energy, as if summoning the apocalypse. “Ditya” questions the nature of our creation amidst a hybrid of electronic dance music, gospel and the blues. But the band aren’t without hope. At their core, the ritual spirit remains. “Ostavlyaem” dances as light as a feather, only to transcend this earth for a place amongst the stars.
“Across ▽, darkwave, indietronica, post-punk and neo-psychedelia are not used as genre references. They are fused into a single world, where ritual presence and the physicality of live sound coexist”, Svolotch concludes. “It is unmistakably Theodor Bastard, but in a state of renewal, where the band’s recognizable identity becomes a starting point for transformation rather than a limit”.
With ▽, Theodor Bastard return with dark electronics for dark times.
Recording Lineup Yana Veva – Vocals, Lyrics, Vocal arrangements, Synthesizers, Keyboards Fedor Svolotch – Arrangements, Guitars, Bass guitar, Synthesizers, Analog synthesizers, Keyboards, Drum programming, Sound design, Sound production, Mixing Christine Kazarian – Harp Vyacheslav Salikov – Cello / Strings Kusas – Percussion, Bells, Metallophone, Marimba, Jaw harp Ekaterina Dolmatova – Backing vocals Eli H – Bass guitar Alexey Kalinovskiy – Keyboards, Synthesizer, Lap slide guitar Vyacheslav Nikiforov – Drums Sergey Smirnov – Drums Maria Starostina – Flute, Backing vocals Maxim Kostyunin – Guitar Gale Dorothy – Vocals on Molnii i Svist
Production Credits Producer – Fedor Svolotch Sound Engineer – Fedor Svolotch Mixing Engineer – Fedor Svolotch Mastering Engineer – Boris Istomin Recording Studio – Theo Records Mastering Studio – Knob Studio
Cover Artwork Fedor Svolotch
Artwork / Layout Designer Yana Veva & Fedor Svolotch
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
