Just in time for Halloween, legendary GUNS N’ ROSES guitarist Slash is bringing back his acclaimed Music Of Universal Studios Hollywood – Halloween Horror Nights collections with two brand-new limited-edition vinyl variants through Snakepit Records LLC and Deko Entertainment.
Following multiple sellouts in previous years, Music Of Universal Studios Hollywood – Halloween Horror Nights Vol. 1 and Vol. 2 return as exclusive vinyl-only releases featuring 21 original compositions written and recorded by Slash for the world-famous haunted attractions at Universal Studios Hollywood’s annual Halloween Horror Nights event.
For the past eight years, Slash has served as the musical architect behind many of Halloween Horror Nights’ most memorable haunted house experiences, creating immersive scores that enhance the atmosphere, suspense, and terror encountered by millions of guests each season. His compositions have become an integral part of the event, blending cinematic storytelling with his signature musical style to create unforgettable sonic landscapes.
Among the featured material is Slash’s score for 2024’s Universal Monsters: Eternal Bloodlines, which spotlighted an all-female gathering of iconic Universal Monsters including The Bride Of Frankenstein, Dracula’s Daughter, She-Wolf Of London, and the ancient Egyptian princess Anck-Su-Namun. Also represented is music from 2025’s Scarecrow: Music By Slash, a haunting tale of nature’s revenge where sinister scarecrows become agents of destruction against those who have wronged the land.
Approaching each haunted attraction much like a film composer approaches a motion picture, Slash crafts music scene by scene, building tension and atmosphere while guiding listeners through every terrifying twist and turn. The result is a collection of compositions that stand on their own as compelling instrumental works while perfectly capturing the spirit of Halloween Horror Nights.
Both albums are presented in deluxe gatefold packaging and are strictly limited to just 300 copies each. Vol. 1 is available on exclusive “Swamp Thing” Colored Vinyl, while Vol. 2 arrives on “Yellow Smoke” Colored Vinyl.
Whether experienced as a companion to the attractions or as the soundtrack to Halloween night, these limited-edition releases offer fans a unique opportunity to own a piece of the Halloween Horror Nights legacy created by one of rock’s most celebrated guitarists.
Music Of Universal Studios Hollywood – Halloween Horror Nights Vol. 1 and Vol. 2 are available exclusively through Deko Entertainment.
ABOUT SLASH Slash is one of the most influential guitarists in rock history, best known as the lead guitarist of GUNS N’ ROSES. Beyond his work as a performer and songwriter, he has established himself as an accomplished composer, creating original music for film, television, and themed entertainment projects. His ongoing collaboration with Universal Studios Hollywood’s Halloween Horror Nights has produced some of the event’s most memorable and immersive musical experiences.
Belgian death metallers CARNATION have unveiled a gripping music video for their brand-new track “Labyrinth of Silence”, the third single from the band’s upcoming studio album “Symphony In Flesh”, which will be out worldwide on October 16.
With “Labyrinth of Silence”, CARNATION reveal themselves at their most hypnotic and ambient. A haunting clean intro slowly descends into dark, atmospheric death metal, where immersive soundscapes and crushing riffs create a suffocating trance.
“‘Labyrinth of Silence’ stands out as a single because of its ability to completely pull the listener out of the moment and into its own world“, CARNATION comment. “There’s a strong sense of atmosphere throughout the track, driven by dreamy lead guitars layered over mid-tempo, heavy riffing and groovy drums. It gives the song a sense of space and flow, allowing it to unfold naturally and take the listener on a journey far away from reality.“
On a lyrical level, the song delves into the frustration of being unable to express yourself, feeling trapped within your own mind and fighting through inner darkness, as the band explains:
“Lyrically, the track is much more personal. The writing process itself was a cathartic experience, rooted in confronting inner struggles and their mental and physical repercussions.“
With “Symphony In Flesh”, CARNATION consciously reconnect with what made them stand out in the first place: tight songwriting, memorable riffs, and uncompromising intensity. At the same time, they elevate every aspect of their craft. The songwriting is more deliberate, the arrangements more dynamic, and the overall flow more cohesive than ever before.
“Going into this album, we wanted to reconnect with our roots. Not just musically, but in the way we present the band. At the same time, we pushed ourselves to write tighter, stronger songs and to bring everything – sound and visuals – to a higher level. This is the most complete version of CARNATION so far“, the band states.
Tracklist: 01. Blackmouth 02. Flesh-Eating Frenzy 03. Symphony in Flesh 04. Kingdom of Dreams 05. Labyrinth of Silence 06. Towards Death 07. Twisted Visions 08. Boundless Pathways 09. Legacy of the Forefathers
Recorded, mixed, and mastered by Yarne Heylen at Project Zero Studio / Y-Productions, with album artwork by Peter Sallai, “Symphony In Flesh” will be out onOctober 16, self-released by the band, and is available for pre-order HERE
The band comment: “This song is about being processed in a slaughterhouse run by cows. Probably unbearable. So is the song.”
Formed in Lille, France, Love Sex Machine have spent more than a decade developing one of the most recognisable strains of contemporary sludge. From their earliest recordings the band established an approach built around weight, repetition and confrontation, stripping heavy music down to its most physical components while retaining a distinct sense of brutal humour. Love Sex Machine continue to expand through sludge, post-metal, post-hardcore and blackened extremity as a band with zero interest in restraint or convention.
Uncompromising, darkly humorous and physically overwhelming, Love Sex Machine‘s new album Thriving is “…uglier, more direct and more violent than anything we’ve done.“ Though routed in a violent approach to sludge, the band constantly distort that foundation through the angular precision of modern metal, the tension of post-hardcore and the colder, more hostile colours of black metal. The songs arrive and sustain such density and repetition that their massive depth of sound is unapologetically abrasive; rattling listeners to the core and giving direct access to the human shadow in all its vile glory.
Short and brutally immediate compositions give Thriving a particularly urgent character, whilst each song stands unique in the onslaught of ear-drums and curdling flesh. The result is music that is filthy yet precise, punishing yet strangely catchy, ugly yet meticulously constructed. Love Sex Machine make heaviness itself the organising principle, and then find increasingly inventive ways to make it stampede over all expectations and sensibilities.
Tracklisting: 1. Yellow Is Dead 2. Borrow The Will 3. The Herd 4. Dig 5. Holy Filth 6. Awaken 7. Born Erased 8. Polymorphism 9. Ultrasatan 10. Amputation 11. Thriving
Love Sex Machine are: Xavier – Drums and Backing Vocals JB – Guitar and Backing Vocals Laurent – Bass and Backing Vocals Yves – Guitar, Lead Vocals and Mix
VLAD IN TEARS release the new single “Domani chissà” today. The song is taken from the double-album “Undead”, wich will be released on December 4th at Metalville
“Domani chissà” is a dark rock love song about when the fire between two people fades, but the thought of it still remains somewhere in the distance. A bittersweet reflection on letting go, lingering memories, and the possibility that tomorrow, who knows, something might still remain.
20 YEARS OF DARK REBIRTH
To celebrate 20 years of VLAD IN TEARS the band proudly presents “Undead”, a powerful double album that honors their past while embracing the future.
CD One is a brand-new studio album, showcasing the band’s bold new direction: darker, more melodic, and more passionate than ever before. Featuring all-new songs, “Undead” captures the essence of who VLAD IN TEARS are today and marks the beginning of an exciting new chapter.
CD Two is a special anniversary bonus collection featuring the band’s most iconic songs from the past, completely re-recorded and rearranged in their new signature style. A fresh interpretation of the songs that shaped the band’s journey, it serves as the ultimate soundtrack to celebrate 20 years of VLAD IN TEARS.
More than a double album, “Undead” is a rebirth—a bridge between where VLAD IN TEARS began and where they are headed next.
“Undead” marks the beginning of a new era: darker, stronger, and more alive than ever.
VLAD IN TEARS ARE UNDEAD
CD1 01. Black Shadows 02. Delusional Shells 03. Dance with Me 04. Domani Chissà 05. Una Distanza Che Non C’è 06. Never Fear the Pain 07. Too Far from Your Light 08. I’m Driving Mad 09. If I Lose You I Lose Myself 10. Lady Night 11. You’re Like a Heavy Rain 12. Sole e Luna 13. The Last to Love Me 14. Within Your Ocean
CD2 01. Woods of Madness 02. See Through the Darkness 03. Dark Theorem 04. As Snow We’d Fall 05. Forbidden Dream 06. You’ll Come Back to Me 07. Circus on the Moon 08. Here Comes the Rain 09. A Song to Say Goodnight 10. Mary 11. Redemption 12. Pretending 13. We’ll Never Die 14. How Do You Know 15. Sorrow 16. Still Here 17. The Devil Won’t Take Me Home 18. Vlad in Tears
UNDEAD TOUR 03.12.2026 DE Siegburg Kubana 04.12.2026 DE Krefeld Kufa 09.12.2026 DE München Backstage 10.12.2026 DE Göttingen Exil 11.12.2026 DE Rüsselsheim Das Rind 12.12.2026 DE Osnabrück Bastard Club
LINE UP CHRISTIAN MICONI – vocals ALESSIO MICONI – lead guitars PUNEETE VOHRA – guitars DARIO MICONI – bass FRANCESCO COSMA – drums
LILLIAN AXE has checked in with an update on their long-awaited forthcoming new studio album, which will be released on BraveWords Records in early 2027. The long-running New Orleans, Louisiana-based band, which rose to fame with such albums like Lillian Axe, Love + War, Poetic Justice and Psychoschizophrenia, has also announced that their new bass player is Keith Long.
Lillian Axe leader Steve Blaze talks about their new bass player: “When the situation arose that we would need to be getting a new bass player, I went to my trusted circle of friends. I had four different people tell me about Keith. Keith has been a well respected player in the Texas area for years. I had heard his name before, but never really looked any deeper because we weren’t in this situation. He came to the first rehearsal andkilled it. He is such a pro. In every aspect, from attitude to preparation to experience, he was amazing. We are very happy to have him as part of the family.”
Steve continues with an update on the new album: “We are finally in the mixing mode! After spending the last year and a half recording our new album, we are in the final home stretch. It has been a remarkably creative process, once again exploring and going beyond our boundaries. The band was so focused and transfixed on what we were creating. Once again, we went far outside the box, as we did with From Womb to Tomb.
We are almost finished with the artwork, and we are enthralled with the way everything is morphing. We are very happy about our new label, BraveWords Records, and are looking forward to this release. I feel we have taken that next leap into the next phase of our journey, and I feel we captured the epic power we were searching for—even more so than we thought we could. I am very proud of these guys.”
About LILLIAN AXE:
Lillian Axe is a million-selling dramatic hard rock band orchestrating a comeback with their latest album “From Womb To Tomb” and extensive tour dates which included their return to Europe for the first time in years. The album reached number 28 on the Billboard on the Hard Rock Album chart and has been touted as the band’s magnum opus. In 2010, they became the first-ever hard rock act inducted into the Louisiana Music Hall of Fame. In November, 2021, Steve Blaze was inducted for the second time for his individual accomplishments as a guitarist and songwriter, which include multiple TV and film soundtracks and appearances, sessions for major artists, and nine years as guitarist for legendary rockers Angel. In 2017, Lillian Axe was awarded the Jackson Indie Music Ikon Award for their musical contribution to the Mississippi music scene for the last 30 years. Since releasing their debut album in 1988, the band has toured with icons such as Alice Cooper, RATT, Accept and many others, as well as rocking hundreds of thousands of fans worldwide at major festivals such as Sweden Rock, Firefest, M3 and Rocklahoma.
Over the past three decades, Green Carnation have never shied away from making grand and gloomy statements. The Norwegian prog bards reached crushing new peaks and delved into the deepest, darkest and most personal depths of the band’s storied career during the first two chapters of A Dark Poem. Now, they are putting an exclamation point on their critically-acclaimed album trilogywith its bold and uncompromising conclusion, A Dark Poem, Part III:The Messiah Complex.
“For Green Carnation, The Messiah Complex is not simply the end of a trilogy”, Echoes and Dust writes. “It is the final piece of the puzzle, and one that leaves a lasting shadow long after the music stops”.
“Above all else (and like its predecessors), The Messiah Complex showcases that Green Carnation aren’t slowing down after roughly 25 years”, The Prog Report writes, “rather, they continue to rank among today’s most reliable, idiosyncratic, and gratifying progressive metal masters”.
“It’s beautiful, ethereal, and so atmospheric that your thoughts drift away from everything and everyone”, writes Scream Magazine, who named A Dark Poem, Part III: The Messiah Complex the Album of the Month for September. “The common thread running through the whole trilogy is intelligent compositions, and the ability to create a varied and entertaining universe for the listeners”.
A Dark Poem, Part III: The Messiah Complexwas released yesterday Friday, September 4 on Season of Mist, and you can hear the entire album – including its epic orchestral finale – by listening to the full album stream on the Season of Mist YouTube channel.
“A Dark Poem is by far our biggest achievement since Light of Day, Day of Darkness”, Green Carnation vocalist Kjetil Nordhus. “Our new album trilogy returns to the epic storytelling that put us on the map back in 2001. While the reception to Part I and Part II has been overwhelmingly positive for us, we do believe that Part III saves the best for last”.
“The intention behind A Dark Poem was to build a completely new musical universe”, Green Carnation bassist and primary lyricist Stein Roger Sordal says. “While the direction revealed itself as the creative journey unfolded, The Messiah Complex was carefully planned with a clear vision for where we wanted the story to end. Our goal was for all three parts to stand on their own, but Part III brings them all together into a unified whole”.
Had Green Carnation never returned from hiatus during the mid-2000s, the band would always be remembered for completing one of the most ambitious individual epics in metal’s historic archives. However, there was one tale – or three, to be exact – that eluded them until now.
While Part I and Part II of A Dark Poem left fans and critics more than satisfied with high praise from Loudwire, Metal Hammer, Blabbermouth and other major publications, Part III arrives as the trilogy’s missing key. Whereas The Shores of Melancholia and Sanguis showcased Green Carnation’s command of metal, rock and folk, The Messiah Complex ties together the story of Arthur Rimbaud’s Ophelia with rich strokes of prog. The album’s cup overflows with riffs that evoke King Crimson’s majesty and the ghostly reverence of Opeth with every rhythmic maze-like twist and turn. Just don’t get too lost in the pitch-perfect chorus of lead single “Unconditional Artificial Chemistry”.
The collective anxiety over encroaching technology, power-hungry leaders and social division that stirred below the surface of Part I and Part II surges to a head on The Messiah Complex. “The urge to believe / Must be human”, vocalist Kjetil Nordhus wonders amidst the album’s miraculous title track, which PROG Magazine named a Track of the Week. The divide runs so deep that it almost appears impassable on “Broken Souls, Common Enemies” were it not for a guitar solo that is, without a doubt, one of the highest of high points in the trilogy’s arc.
Of course, no final chapter would be complete without an epic finale. In keeping with the prevailing mood of Green Carnation’s discography, Part III of A Dark Poem does not end happily. But The Messiah Complex truly saves the best for last. In classic prog fashion, its orchestral suite is the veteran journeyman at their boldest. Over the course of 16 minutes, the band ties the story of Arthur Rimbaud’s Ophelia together by weaving in themes from across the trilogy with help of the Kristiansand Symphony Orchestra and Opera Choir. To the very last dark and doomy note, the results are resounding.
With A Dark Poem, Part III: The Messiah Complex, Green Carnation finish a masterpiece that stands alongside Light of Day, Day of Darkness as the defining statement of their storied career.
A Dark Poem – Orchestral Suite (16:47) Full runtime: 38:31
Catch Green Carnation during their upcoming hometown shows and European summer festival dates.
During their headlining show in September at the Kilden Performing Arts Centre, the band will perform A Dark Poem in its entirety for the first and final time. Already, fans from 18 different countries have purchased tickets for this once-in-a-lifetime event.
Green Carnation 2026 + 2027 Show Dates September 12 – Kristiansand, Norway @ Kilden Performing Arts Centre [TICKETS]# September 25 – Bucuresti, Romania @ Bucharest Prog Day II [TICKETS] September 26 – Barcelona, Spain @ Be Prog! My Friend [TICKETS] May 1, 2027 – Kopervik, Norway @ Karmøygeddon [TICKETS] June 11, 2027 – Technikum, Munich @ Prog Metal Mania [TICKETS]
#Performing A Dark Poem, Part I-III
Since their very first journey into the night more than 25 years ago, Green Carnation have never shied away from a challenge. However, from the beginning, there was one tale – or three, to be exact – that eluded them. Until now. After reaching crushing new peaks and delving into the deepest, darkest and most personal depths of their career during its first two parts, the prog bards are bringing their critically-acclaimed album trilogy to a bold conclusion on A Dark Poem, Part III: The Messiah Complex.
“A Dark Poem is by far our biggest achievement since Light of Day, Day of Darkness”, Green Carnation vocalist Kjetil Nordhus says. “Our new album trilogy returns to the epic storytelling that put us on the map back in 2001. While the reception to Part I and Part II has been overwhelmingly positive for us, we do believe that Part III saves the best for last. The Messiah Complex ties the whole story together with our most ambitious statement to date”.
“The intention behind A Dark Poem was to build a completely new musical universe”, Green Carnation bassist and primary lyricist Stein Roger Sordal says. “While the direction revealed itself as the creative journey unfolded, The Messiah Complex was carefully planned with a clear vision for where we wanted the story to end. Our goal was for all three parts to stand on their own, but Part III brings them all together into a unified whole”.
Founded in the early ‘90s by Emperor’s original bassist Tchort, Green Carnation amassed a cult following behind critical acclaim for Light of Day, Day of Darkness, an album containing a single hour-long song that still resonates as one of the most ambitious epics in metal’s archives. Current members Bjørn Harstad (guitar) and Endre Kirkesola (keyboard, producer), along with Nordhus and Sordal, were already in place by 2001. But whether it was the gothic crush of A Blessing in Disguise or pitch-black hard rock of The Quiet Offspring, Green Carnation continued branching out through the mid-2000s. Even before going on hiatus in 2007, they still flashed a flare for the dramatic by performing their acoustic verses underneath a mountain dam.
“Green Carnation use Leaves of Yesteryear to prove once again they are titans of the craft”, Metal Injection wrote about the band’s 2020 comeback album, which welcomed drummer Jonathan Pérez.
The idea for penning A Dark Poem after Arthur Rimbaud’s dreamy ode to Sheakpeare’s tragic Ophelia steams all the way back to Green Carnation’s earliest reflections of life and death. But when Part I of A Dark Poem was unfurled in 2025, right away, it was clear that the Norwegians had completed their masterpiece. While clouded by a gloomy worldview, The Shores of Melancholia reached newfound peaks of heaviness, swept out to sea by Floydian whirlpools and second wave black metal courtesy of Enslaved vocalist Grutle Kjellson. The album washed onto year-end lists at Loudwire , Angry Metal Guy and other major publications.
“Epic in both scope and sound, the latter being the band’s rich, melodic take on the genre best described as Rainbow’s Rising if it were a prog album”, PROG wrote. “Part I works as an entity in its own right while also leaving the listener desperate to hear the next installments”.
If Part I of A Dark Poem set sail from a familiar place of melancholy, then Part IIfound Green Carnation fighting to stay afloat against the storm raging in their mind’s eye. The heaviness from The Shores of Melancholia continued to age like a fine wine on Sanguis. Over the course of nine minutes, the title track vowed to forgive and forget familial wreckage, only for a traumatic memory to come flooding back during its doomy coda. But the album revealed the band at their most raw and intimate with ballads that unfolded like the grace of a wilted flower. In a rare appearance, Sordal stepped in front of the mic on aching centerpiece “Loneliness Untold, Loneliness Unfold” for the first time since “The Burden Is Mine…Alone”.
“Green Carnation have added another superbly realized song cycle to their catalogue, and the third part of this trilogy cannot arrive soon enough” wrote Blabbermouth.upon the release of Sanguis in April 2026. “Just be prepared to shed a tear or ten”.
While Part I and Part II left fans and critics more than satisfied, Part III arrives as the missing key to A Dark Poem. Whereas The Shores of Melancholia and Sanguis showcased Green Carnation’s command of metal, rock and folk, The Messiah Complex ties together the story of Arthur Rimbaud’s Ophelia with rich strokes of prog. The album’s cup overflows with riffs that evoke King Crimson’s majesty and the ghostly reverence of Opeth with every rhythmic maze-like twist and turn, though don’t get too lost in the pitch-perfect chorus of lead single “Unconditional Artificial Chemistry”.
“The world is moving with such frightening speed. You get the feeling like we’re no longer in control”, Nordhus says. “As individuals, we can’t really cope with everything that’s going horribly wrong”.
The collective anxiety over encroaching technology, power-hungry leaders and social division that stirred below the surface of Part I and Part II surges to a head on The Messiah Complex. “The urge to believe / Must be human”, Nordhus wonders amidst the title track’s endless mysteries. “Whether it’s religion, money or the media, we use things in order to justify our bad habits and get what we want” he grimly surmises. The divide runs so deep that it almost appears impassable on “Broken Souls, Common Enemies” were it not for a guitar solo that is, without a doubt, one of the highest of high points in the trilogy’s arc.
“Originally, that solo was quite different. You can hear our original idea on the bonus LP that comes with the box set for A Dark Poem”, Nordhus teases. “Luckily, we found the perfect place for it to just build and build”.
Of course, no final chapter would be complete without an epic finale. In keeping with the prevailing gloom and doom of Green Carnation’s discography, Part III of A Dark Poem does not end happily. But in classic prog fashion, the closing orchestral suite to The Messiah Complex is the veteran journeyman at their boldest. Over 16 minutes, the band weaves in themes from across the trilogy with returning flautist Ingrid Ose and her colleagues in the Kristiansand Symphony Orchestra and Opera Choir. To the very last dark and doomy note, the results are resounding.
“For quite some time, I have been exploring the idea of setting Arthur Ribaud’s poems to music”, Sordal says. “For A Dark Poem, I chose to use Rimbaud’s interpretation of Ophelia, Shakespeare’s tragic character, as a source of inspiration, rather than directly adapting them – until the title track. Listeners will recognize Ophelia, whether through oneself or our society”.
“Everyone we’ve talked to is surprised by what we chose to do with the orchestra”, Nordhus says. “It’s a bold statement. But from the moment we started our journey into this trilogy, everyone in the band agreed that we were not going to accept any compromises. To end A Dark Poem with an orchestra and all its capabilities is a very proggy thing to do, like the great bands did back in the late ‘60s”.
With A Dark Poem, Part III: The Messiah Complex, Green Carnation finish a masterpiece that stands alongside Light of Day, Day of Darkness as the defining statement of their storied career.
Recording lineup Kjetil Nordhus – Vocals Stein Roger Sordal – Bass, Rhythm Guitars, Lead Guitars, Keyboards Bjørn Harstad – Lead Guitars, Effects Endre Kirkesola – Keyboards, Synthesizers, Organs, Effects Jonathan Alejandro Perez – Drums
Guest musicians Ingrid Ose – Flute on “Broken Souls, Common Enemies” Kristiansand Symphony Orchestra and Opera Choir on “A Dark Poem – Orchestral Suite”
Live lineup Kjetil Nordhus – Vocals Stein Roger Sordal – Bass Tchort – Guitars Bjørn Harstad – Guitars Trond Breen – Guitars Endre Kirkesola – Keyboards
Recording & Mixing Studio dUb Studio Mastering Studio Rorysound Studios
Production Credits Producers – Endre Kirkesola, Stein Roger Sordal, Kjetil Nordhus Mixing & Sound Engineer – Endre Kirkesola Mixing Assistant — Bjørn Harstad Mastering Engineer — Lawrence Mackrory
Credits for “A Dark Poem – Orchestral Suite” Recorded at Kilden Performing Arts Centre in Kristiansand, Norway Performed by the Kristiansand Symphony Orchestra and Kristiansand Opera Choir Symphone Orchestra Conductor – Alexander Hanson Choir Preparation and Conductor – Anne Haugland Balsnes Mixing & Sound Engineer – Simen Endresen Hefte Mastering Studio – Rorysound Studios Mastering Engineer – Lawrence Mackrory
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
