Explosive. Fierce. Unapologetic. Limberlost kicks off 2026 with a re-imagined version of their 2023 only released in Europe, fan-favorite anthem “Give it to Me”, transforming it into a modern rock powerhouse that hits harder than ever. Reborn from its original roots, this version fuses high-energy guitar riffs, thunderous drums, and powerhouse vocals that redefine the band’s signature sound.
“Give It to Me (Redux)” is a declaration of strength, passion, and pure rock ’n’ roll adrenaline — a sonic punch that dares listeners to take back their Power and Claim what’s theirs. With production that’s both cinematic and raw, it bridges classic rock intensity with a cutting-edge alternative edge, appealing to fans of Halestorm, Evanescence, Linkin Park, and The Pretty Reckless.
Lyrically, the song captures the hunger for authenticity and emotional connection in a world of noise and distraction — a cry for something real and uncompromising. Backed by their acclaimed new album Beautiful Scars, three SMR Top 50 singles, and 2 award winning videos with over a million views each, Limberlost proves once again that their fire only burns hotter with time.
Turn it up, feel the pulse, and demand it all — this is “Give It to Me” like you’ve never heard it before.
Limberlost is a powerhouse American rock band delivering a bold fusion of modern and classic rock with soaring vocals, electrifying guitar riffs, and thunderous rhythms. Known for their anthemic sound, raw energy, and emotionally charged storytelling, they create music that resonates with fans of classic rock legends and contemporary rock revivalists alike. Their songs capture themes of strength, resilience, and empowerment, making them a force in the rock scene. With a commanding stage presence and dynamic compositions, Limberlost is redefining female-fronted rock, bringing authenticity, passion, and rock authority to audiences worldwide.
Limberlost’s rise is backed by Paul Crosby Management, led by Paul Crosby, drummer of the multi-platinum rock band Saliva. His industry expertise and strategic vision have positioned the band for massive success in today’s rock landscape.
Limberlost is known for their captivating female led vocals. Leads Brittany Lauren and Sammie Gorham both classically trained and accomplished opera singers that bring their beauty, power and precision to cut through rock’s sometimes predictable expectations.
Adding to their momentum is the recent addition of Metal Hall of Fame bass player Steve Unger, known for his work with legendary bands Metal Church and Autograph. His veteran stage presence and technical prowess bring a new depth to Limberlost’s already dynamic sound, elevating their live performances and recording capabilities to the next level.
If that’s not enough the addition of Steve’s son Devon Unger on Lead Guitar. Not only can his melodies mesmerize, and his shredding solos make you want to scream “Hell Ya!” but he will have the ladies eating out of his hands.
Wrap it up with Anthony Ciarochi on Keys and Mike Burt (Founder) on drums. Two solid industry veterans that anchor the stage presence and the sound.
Swedish rockers Degreed are thrilled to announce the release of their new studio album “Curtain Calls”, out on April 10, 2026, via Frontiers Music Srl.
To give a taste of the new record, they share the first single and accompanying lyric video, “Broken Dreams”, available below.
Vocalist Robin Eriksson commented: “This song shows a darker and deeper side of Degreed. The lyrics are very personal for me. I wrote them about finding my way back to life after years of addiction”.
Talking about the new album, Eriksson stated: “This is truly one of the best albums we’ve ever made. Yes, it’s a cliche. Yes, a lot of bands say that about every new record they make. But I truly believe this is one of our best, if not THE best. I’ve never been as focused while making an album as I’ve been on this one”.
With “Curtain Calls”, Degreed deliver one of the strongest and most focused albums of their career. The band stays fully true to its established sound while refining it with precision: a powerful, contemporary production, technically solid performances, and – most importantly – an outstanding sense of melody and accessibility.
Produced by Mats Eriksson, the album strikes an excellent balance between technical craftsmanship and immediate listener appeal. The songs are energetic and polished, yet always approachable, showcasing a confident songwriting style that blends modern punch with classic melodic hard rock sensibilities.
“Curtain Calls” positions itself as a very competitive release within the current melodic hard rock landscape: consistent, well-produced, and strongly audience-oriented, while fully preserving the band’s identity.
Degreed have been releasing critically acclaimed music since the start of their career with their first album “Life, Love, Loss” in 2010. Over the course of their career, the band has gone from strength to strength with every release, touring and gaining fans all over the world. Their sound mixes classic melodic and hard rock sounds with more contemporary influences, offering the fans a very personal, fresh and exciting mix of great rock music.
Due to the COVID-19 pandemic, the band wasn’t able to tour on the heels of the release of the album “Lost Generation” in 2019. The band released the song “The World We Knew”, their musical summation of the year 2020 (the song became “Track of the Week” at Classic Rock Magazine’s website a week after its release) and then in 2021, Degreed began working on what would ultimately become “Are You Ready”, released in 2022.
Degreed released “Public Address” in July 2023, followed by the EP “The Leftovers – Volume I”, in July 2025, diving deep into their vault of unreleased gems.
“Curtain Calls” Tracklist:
1. One Helluva Ride 2. Holding On To Yesterday 3. Believe 4. Guiding Light 5. My Blood 6. Curtain Calls 7. The Rambler 8. Matter Of The Heart 9. Broken Dreams 10. Promise Me
Line Up: Robin Eriksson – Bass/Vocals Mats Eriksson – Drums Mikael Blanc – Keyboards Daniel Johansson – Guitars
The wait is over! Zürich’s FUELED BY FEAR have unleashed their long-awaited new EP “Ordinary Evil”! Produced by Oscar Nilsson (The Halo Effect, The Haunted), bringing the characteristic Gothenburg metal sound to perfection at Bohus Studio. His extremely broad and uncompromisingly hard production gives Fueled By Fear their final edge – like the missing puzzle piece of their sound.
Mauro Galasso (Drums) on “Ordinary Evil”: “The title Ordinary Evil is inspired by Hannah Arendt’s book Eichmann in Jerusalem and her idea of the banality of evil. The realization that evil often doesn’t appear as an obvious monster, but emerges through conformity, thoughtlessness, and the abdication of personal responsibility. These thoughts feel disturbingly relevant today. Authoritarian tendencies, power figures, and oversimplification show how quickly history repeats itself when people stop thinking for themselves and find resistance too exhausting. This confrontation also shaped our work on the EP. During the creative process, we completely questioned ourselves musically and personally. What defines us? Where do we want to go? It was a process that forced us to let go of the familiar and approach things differently. There were moments when it would have been easier to give up rather than face this confrontation. This is exactly where Ordinary Evil comes in: Don’t give up. Keep going. Face the repetitions, defend your own path, and don’t let indifference win. It’s worth staying committed. Creatively, humanly, defiantly. Ordinary Evil is our statement for that”
Manuel Elber (Guitar) continues: “Imagine making a dough, only to discover that you don’t like the texture. You put it back into the fridge. The next day you add a little bit of this, a little bit of that, and after processing, your dough still sucks, but not so much to scrap it. So you put it back in the fridge, thinking about what to change. Then you try to learn all the insights a baker learns in a crash course. You add your dangerous half-assed knowledge you gained and surprisingly it starts to feel better. You keep going, learn, each time adding more to the dough and finally you have a bake-worthy consistency, so far from where you started, that it seems like magic. For context: “Ordinary Evil” took about four years to come to life. Scrapped more times than I can count. Cost us blood, sweat and tears, caused literal breakdowns, frequent questioning of the reason why we do this. But it shaped us as musicians, as a family, as a team. The amount of things we learned, technical, recording-wise, in persistence, in constructive criticism, is something no one can take from us. And as for all endeavours this heap of maniacs is tackling: it’s always evolving, always changing, following the heart with an open mind. This one, we’re especially proud of!”
Daniel Zopfi (Guitar) adds: “Ordinary Evil was written out of frustration, anger, and watching the same systems fail us over and over again. It’s about how cruelty gets normalized, how power hides behind routine, and how people learn to live with injustice as long as it’s quiet enough. This EP isn’t subtle and it’s not meant to be comfortable. It’s confrontational by necessity. These songs come from a place of distrust toward empty promises, authority without accountability, and a world that keeps demanding silence and obedience. It’s loud, raw, and uncompromising, fueled by everything we’re done ignoring: the hypocrisy, the violence beneath the surface, and our own complicity in letting it happen. This is us calling it out, refusing to soften the message, and turning that anger into sound exactly as we feel it right now.”
On the EP artwork Mauro Galasso shared: “The cover of Ordinary Evil visually captures the central idea of the EP: Hannah Arendt’s realization that evil often doesn’t appear as an obvious monster, but hides behind an ordinary facade. The ancient bust, whose surface crumbles to reveal a demonic face, is deliberately chosen. Ancient busts are a core element of my visual language as an artist, but here an additional layer emerged: They represent history and human patterns that repeat themselves. The monumental decays and releases what has been repressed. We had various approaches that were either conceptually too complex or didn’t properly convey the message. When I returned to my own visual language, it became clear: The rawness, the epic quality, and the bold impact of this visual language reflect exactly the musical identity we developed with this EP. The series was planned from the beginning. With each release, the facade crumbles further until the true face is fully visible at the end. A visual evolution that runs parallel to the EP. That my own style represents the band best has confirmed me as a graphic designer and as the drummer of Fueled By Fear: We have taken the right creative path.”
With their new EP, Fueled By Fear deliver their most mature and uncompromising work to date. The five tracks move between dark groove steamrollers and melodically dense anthems – harder, more powerful, and more forceful than all previous productions. The band has sharpened their sound: hardness meets groove, tempo meets aggression, while melodic passages merge with modern pressure. The result is songs with enormous chorus quality and real singalong potential – dark, but irresistibly catchy.
BIO: FUELED BY FEAR from Zurich have been combining the intensity of metalcore with the melodic depth of melodic death metal since 2011. The band manages to merge melodic passages with grooving rhythms into a sound that can both strike brutally and touch emotionally. Support performances for In Flames, Sepultura, and even Pantera underscore their international relevance. Their debut “Two By Eight” reached #5 on the Swedish rock charts and #22 in Switzerland. Fueled By Fear stands for authentic metal without filters!
For Fans Of: Heaven Shall Burn, In Flames, Caliban, Darkest Hour, At the Gates, The Haunted, Bleed From Within
Line-up: Vocals: Marco Böhlen Guitar: Manuel Elber Guitar: Daniel Zopfi Bass: Josh De Souza Drums: Mauro Galasso
RICK WAKEMAN has recorded with some of the greatest legends in rock history – David Bowie, Lou Reed, Cat Stevens, Al Stewart… Yes, of course, Elton John, and both Black Sabbath and Ozzy Osbourne.
His latest excursion, however, might well be the heaviest record he has ever performed on. “Dice And Thunder,” the latest single by all-star metal/prog aggregation Nuclear Messiah, sees Wakeman join forces with Megadeth maestro Chris Poland, Steve Di Giorgio (Testament), Rainbow frontman Ronnie Romero, Ron “Bumblefoot” Thal (Bumblefoot), and Fred Aching (Dead Groove, Kings of Thrash, BulletBoys), for three minutes of blistering, seething mayhem.
A sonic detonation that could crack the sky, “Dice and Thunder” is a driving skull-splitter – and with Poland’s screaming guitar to the fore, how could it not be?
But Wakeman’s keys give as good as they get, igniting the carnage with a portentous overture, and embedding themselves so deep inside the performance that, even as his organ leads the track to its fade, you should be cueing it up to blaze again.
A thunderous all-star concept set, the full Nuclear Messiah album is called Black Flame – and how appropriate is that? The God of Hellfire himself, Arthur Brown, starred on Nuclear Messiah’s first single, a cover of Lucifer’s Friend’s classic “Ride The Sky,” before Christmas (watch it at https://youtu.be/yEaLCjdy2hk); and the new year opened with the incendiary title track, “Black Flame” itself (https://www.youtube.com/watch?v=1Mnhk1b_xxo&list=RD1Mnhk1b_xxo&start_radio=1).
Like that track, “Dice and Thunder” is a Chris Poland original and, for anyone schooled in the art of Megadeth’s most combustible albums, you can already guess what that means.
The heart of Nuclear Messiah, Poland’s melodic fluidity, experimental phrasing, and sheer command of tone, have inspired generations. From Megadeth’s Peace Sells… But Who’s Buying? to his work in OHM and Damn the Machine, Poland’s guitar sound remains one of the most distinctive in modern music.
“Chris isn’t just a guitarist — he’s a spirit of sound,” says Brian Perera, Cleopatra’s founder and the album’s executive producer. “Nuclear Messiah was built around his brilliance and brought to life by an army of legends who share his passion and precision.”
Poland isn’t the only Megadeath-er in sight, either. Elsewhere on the album, we hear from Marty Friedman, David Ellefson, Shawn Drover, Glen Drover (guitar) and Chris Adler (drums), alongside 30 more metal and prog legends, truly the greatest – and heaviest – ensemble ever gathered for one single project.
Black Flame itself is released on April 24. For now, roll the dice and crash with the thunder, because Nuclear Messiah demand nothing less.
Brutal death metal rising stars STABBING are celebrating the release of their latest full-length, ‘Eon of Obscenity,’ which is now available worldwide via Century Media Records! In honor of the band’s onslaught today, they are now sharing a visualizer for their latest single, “Nauseating Composition,” which features guest vocals by SUFFOCATION’s own Ricky Myers!
The band comments, “We’re glad to have Ricky be apart of this song and album with us, so huge thanks to him as well as everyone else for the support! We hope you all dig the new stuff!”
STABBING does not merely define the term “Brutal Death Metal,” they exceed it. The Houston Texas newcomers have plundered the crypts of claustrophobia and darkness, only to surface with ‘Eon of Obscenity,’ STABBING’s Century Media debut and a benchmark for modern death metal.
‘Eon of Obscenity’ is due on January 30, 2026 via Century Media Records and can now be ordered, streamed and/or downloaded HERE.
STABBING does not merely define the term, “Brutal Death Metal” – they exceed it. The Houston Texas foursome has plundered the crypts of claustrophobia and darkness, only to surface with Eon of Obscenity, STABBING’s Century Media debut and a benchmark for modern death metal. “It’s just more extreme,” says vocalist Bridget Lynch, when asked to define the band’s infernal sub-genre, Brutal Death Metal (AKA B.D.M.). “It’s everything that’s extreme about death metal, just taken a little bit further. The vocals. The drums. The riffs. It’s just faster and more boundary pushing.”
When STABBING came together in 2021, the goals were simple. “We were really just having fun and wanted to emulate the style of the bands we really liked,” says Lynch. “Old school 90’s and early 2000’s brutal death metal bands like. Disgorge, Deeds of Flesh, stuff like that.” Coming from local bands and projects including guitarist Marvin Ruiz’s Nephilim Grinder and Dysmetria with Lynch dabbling in area grindcore outfits, from their first demo and 2021’s Ravenous
Psychotic Onslaught EP, it was clear that STABBING was immediately pushing boundaries. On the road they distinguished themselves, giving tour mates including Defeated Sanity more than a run for their money. Not only was STABBING a bloody, clear-cut step above most, they wrapped it all in songs and blistering live performances that were as memorable as they were bellicose and brutal.
STABBING’s reckoning moment came in November 2023, as first band on for the “Ancient
Unholy Rising Tour” with co-headliners Incantation and band favorites, Suffocation. Not only had STABBING’s lineup begun to solidify with then newly joined bassist Matt Day, but when
Suffocation vocalist Ricky Meyers had fallen ill and had to miss a string of shows, it was Lynch who stepped in to save the day. STABBING’s vocalist simply took the stage with the New York death metal legends and gave the absent Meyers a run for his guttural money. “That was one of the coolest things I’ve ever gotten to do,” states Bridget. “Suffocation was one of the first death metal bands I ever got into as a fan, so jumping onstage and blasting through maybe six songs was a crazy moment. I was terrified when they asked!”
It was also on that tour that the band also caught the ear of Century Media Records who inked the band several months later. With a string of shows in 2023 and 2024 including landmark appearances at the celebrated Maryland Deathfest and Milwaukee Metalfest, as well as a U.S. tour with 200 Stab Wounds, Ruiz (who also plays with Texas Brutal Death Metal, OG’s Devourment) started putting together riffs that would serve as the foundation of Eon of Obscenity. Compared to Stabbing’s more primal origins, Eon of Obscenity. is a clearcut next step that elevates not only the band, but the genre itself. From the outset of opener, “Rotting Eternal” straight into “Inhuman Torture Chamber”, which showcases Lynch’s inhuman vocal prowess and ability to shift gears from the guttural to something chittering that barely registers as human, STABBING have taken their brutal arts to new heights. Even the album’s instrumental inclusion, “Ruminations” shows an unexpected technicality as riffs and time-signatures coalesce in unexpected ways.
Recorded at Houston’s Southwing Audio by engineer Ben Gott with Chris Kritikos mixing and mastering, the production of Eon of Obscenity is as strident as the music itself. It’s eleven tracks that are as raw as they are extreme. “It feels more refined,” says the vocalist. “The album shows the potential of what the band started as. It’s not overly produced. There’s not a lot of effects or over-editing. We wanted to keep the raw sound that the classic bands had. We wanted to go for that, for something very honest and very us.” The album title itself also ties into Eon of Obscenity being not merely a second album from STABBING but a massive step forward.
“It’s representative of this being a new era for the band,” Lynch states. “An improvement of the STABBING sound and us as musicians. On the last album [2022’s Extirpated Mortal Process], I wasn’t really happy with what I did vocally,” she admits, “And I really wanted to really improve.
One of my favorite songs on the album is called ‘Reborn to Kill Once More’, which sums up how good and how strong we feel about the band and the album now.”
Being one of the rare female voices in modern death metal isn’t lost on Bridget. She’s quick to admit that she approaches lyrics and delivery in a way that differs from most. “When I was in high school, first getting into brutal death metal, I discovered the band, Cerebral Bore” she recounts. “When I saw that they had a female singer, I was like, ‘What the hell?’ I was like, I have to be that! I had to emulate her. I was so inspired. My hope is that when people, particularly younger girls hear STABBING for the first time, we have that same effect on them.
“It’s pretty obvious that metal, in general, has been pretty male dominated,” Lynch states. “I won’t really entertain the misogyny of brutal death metal in what we do, for obvious reasons. I try to turn it around. One of our older songs is about the first female serial killer I ever read about, Aileen Wournos. If you look at other female-led death metal bands like Castrator or Emasculator, they also try to turn the tables and present things from a different perspective.”
With Eon of Obscenity, the Texas four-piece have delivered on everything their earlier releases and live shows have hinted at. B.D.M. has an unmistakably brutal new voice and it is STABBING. “I never expected it, there is a new wave of slam bands and brutal death metal bands,” says Bridget. “But I never thought people would think of us as an important band to that or any other scene! We have younger bands come up to us all the time and say, ‘Your first demo really inspired us,’ and that blows my mind. I never thought my brutal death metal band would have that kind of impact.”
Line-Up: Matt Day – Bass Guitar Aron Hetsko – Drums Bridget Lynch – Lead Vocalist Marvin Ruiz – Guitar
Special Guest: Guest vocals by Ricky Myers (SUFFOCATION) on “Nauseating Composition”
Cover Artist: Rudi Yanto
Credits: Recorded at Houston’s Southwing Audio by engineer Ben Gott Mixed and mastered by Chris Kritikos
Completing the final “Fourth Chapter” of the comprehensive catalogue re-issue campaign for Dan Swanö fronted Death Metallers EDGE OF SANITY as well as Prog/Hardrock outfit NIGHTINGALE, it’s now time to announce the pre-sale start for EDGE SANITY’s “Cryptic” album as well as the “Elegy – Chapter II” compilation, both out April 3rd, 2026 via Century Media Records worldwide.
Next to a careful full remastering treatment by Dan Swanö himself for all of the recordings, these two releases again come with plenty of bonus material and in the following formats:
EDGE OF SANITY – “Cryptic (Re-issue)”
Ltd. Deluxe 2CD Jewelcase in O-Card (Incl. 8 album tracks on 1st disc and 10 bonus tracks on 2nd disc)
Dark green LP (180g vinyl, 8 tracks)
Digital Album (Remaster, 8 tracks)
Note: The 1997 death metal album featuring then new vocalist Roberth Karlsson (Scar Symmetry, Pan.Thy.Monium, Facebreaker, Darkified), replacing Dan Swanö. Available for the first time ever on vinyl.
EDGE OF SANITY – “Elegy – Chapter II (Demos Comp.)”
Ltd. Deluxe 2CD Jewelcase in O-Card (19 tracks / 73 minutes on 1st disc and 18 trcaks / 74 minutes on 2nd disc as bonus)
Gatefold 2LP (180g black vinyl, 19 tracks)
Digital Album (Remaster, 19 tracks)
Note: Compilation of mainly previously unreleased EDGE OF SANITY rarities (pre-production demos, remixes, rehearsal/live-cuts, previous bonus tracks or alternate song versions, etc.) created between albums from 1990 until 2003, as well as a string of newly prepared instrumentals of the group’s most popular compositions as special bonus. Available with classy hand-drawn cover by visual artist Mark Rudolph (Carcass, Undeath).
Available as digital audio single today, you can also check out EDGE OF SANITY’s “Uncontroll Me (Remaster 2026)”, taken from the “Cryptic (Re-issue)” album, in a video clip here:
Dan Swanö commented about “Cryptic (Re-issue)” as follows: “This album is so much better than I thought! Since I was out of the band before they started working on these songs, there was only one song I had heard in its entirety before and some odd snippets of some tunes from it over the years. Since the guys were fine with me remastering it, I had to hear it so many times over a short period that I knew every note at the end of it and I must say that I like this version of EDGE OF SANITY more than what “the other guys” wrote for “Infernal”, where I just threw my vocal on top of what they had written, most of it first takes, and that was that. This is really potent writing from the guys, and you can hear that they really rolled up their sleeved and created the best version of what they believed to be what EDGE OF SANITY was all about. Changing singers is never easy for a band, but there are those times like this, when it works out…and the band is revitalized and reborn into something different, but still very potent. I find it sad that the guys never got to make more records with this line-up. We were lucky to get a hold of the original 1/4” master tapes and had them transferred at 96k/24b for a killer vinyl version. The first ever for this album. The original CD release was also made a bit too loud for its own good, in its original mastering, and now it can breathe again and the most expensive production ever for the band can be heard in all its glory. And I know it might be a strange thing to say, but it might well be the best sounding EDGE OF SANITY album, recorded and mixed by the legend Ronny Lahti! The bonus CD has some cool unreleased alternate mixes that we found on the tapes and there’s a pretty around the edges sounding, yet awesome live recording of their gig at the Motala Metal Festival in 1999.”
Roberth Karlsson, EDGE OF SANITY vocalist on “Cryptic”, had the following to add: “Almost 30 years ago, after intense rehearsals, we recorded the EDGE OF SANITY “Cryptic” in Stockholm during a couple of weeks in the summer. Serious recordings every day and partying in the evenings. It feels so good to release this sound-updated album once again, and finally on vinyl!”.
Dan Swanö additionally checked in about the “Elegy – Chapter II (Demos Comp.)” release as follows: ““Elegy – Chapter II” is a feast for the die-hard EDGE OF SANITY fan. Where “Elegy – Chapter I” focused on the early demos, this one is covering the entire career of the band. There are previously unreleased remixes of “Black Tears” and “Blood Colored”. 2024 remixes of “Murder. Dividead” and “I Wanna Go Home”. The pre-production of the “The Spectral Sorrows” album and the 1992 remix of “When all is Said” was transferred from their original masters at 96kHz/24 bit for a maximum fidelity LP master. The 1992 re-recordings of “The Dead”, “Angel of Distress” and “Blood of My Enemies” can also be found here, straight from the master DAT. The Bonus CD contains some really cool stuff that I didn’t even know existed when we started working on these re-issues. Somewhere in the back of my mind I knew there was a recording of “Immortal Souls” from our very first rehearsal as a five piece. I checked every cassette I had (and found lots of other cool stuff…), but that version was gone. I got in touch with a guy from the U.K. that I know bought the “Euthanasia” demo from me, and not only did he still have the demo, with the version I was looking for on it, there was one more track on there! My jaw dropped when I heard “The Day of Maturity” for the first time in 36 years! There’s some other very lo-fi but magical sounding stuff on here: A Rehearsal version of “Jesus Cries” that I found on an old cassette and when I asked an old friend if had the very first demo of “When all is Said” (that I sadly never found…) instead he found two live tracks from our first ever gig in Stockholm. I had no idea that gig was even recorded! So, you’ve got “Everlasting” and “Immortal Souls in crushing live versions! A super early, previously unreleased demo of “Lost”. An unreleased “video edit” of the 1992 remix of “When all is Said”. The Cryptic Death cover “Kill the Police” in a shorter, more grinding version and as if that one wasn’t necro-sounding enough, there’s the “written-while-it-was-being-played” track “Belgium in Hell” from…well, you guessed it…Belgium. You can read all about that fantastic trip along with memories from our first gig in March 1990 to the final gig I made with the band in June 1996 and all the ones in between throughout the massive booklet! There are also tons of unseen photos in the booklet and on the Gatefold of the LP. There are also lengthy liner notes about all the songs and lyrics for all the tracks on the LP and CD1. And of course, the instrumentals! A total of eight instrumental versions, perfect for every death metal karaoke night! And it’s all topped off with an excellent cover artwork by Mark Rudolph, which has details from all other album covers blended into one! I would like to take this opportunity to thank everyone involved in making this re-issue campaign such a magical journey…I hope you enjoyed listening and reading as much as I did tweaking and typing?!”.
Previously announced, a definitive version of the ground-breaking first solo album “Moontower” by DAN SWANÖ, originally released in 1999, will also be out on March 6th, 2026 via Century Media Records as Ltd. Deluxe 2CD Jewelcase in O-Card (Incl. the original 8 tracks / 43 min. on 1st disc and 16 bonus tracks / 71 min. on 2nd disc), Transparent light blue vinyl LP (180g, 8 tracks) and Digital Album (Remaster, 8 tracks). You can check out the new single “Uncreation (Remaster 2026)” in a visualizer created by Costin Chioreanu / Twighlight13Media here: https://youtu.be/Ken5QNe8Ew0
Stay tuned for further news regarding the upcoming re-issue title of this final chapter of the catalogue re-issue campaign to follow soon…
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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