With a sound that blends Southern rock grit, post-grunge intensity, hard rock power, and glam flair, Italian quartet WILL O’ DUSK continue to build anticipation for their debut album The Long Lasting Dusk, arriving on November 28th, 2025 via Diotima Records. Conceived as a visceral and cinematic journey, the record explores the fragile balance between destruction and renewal, solitude and belonging.
Following their debut single Crossroads, the band now unveil Heartbreak Dust — a darkly seductive new chapter and one of the pivotal moments of the album’s first act, The Descent. The track comes accompanied by a visually striking lyrics video, embodying the song’s mix of lust, pain, and transcendence.
“Heartbreak Dust is a danse macabre between lust, pain, and the weight of love’s collapse. Born to burn and bound to a golden cross, the song transforms suffering into ritual, where shadows, vows, and voices collide. Every scream in the chorus feeds the cycle until only dust remains — heartbreak inhaled and exhaled as fuel for survival,” explain the band. “It’s a desperate embrace of the darkest side of oneself — an acceptance of what is usually forced to remain hidden.”
The Long Lasting Dusk is conceived as a two-act journey. The first act, The Descent, explores the recognition of pain, the embrace of destruction, and the collapse into darkness. The second, Resurgence, rises from chaos toward resilience, light, and communion. From the brutal intensity of Lucifer’s Tears to the playful brightness of Slowmo and the communal closing hymn Last Drop, the album embraces the coexistence of shadow and brightness not as opposites, but as inseparable truths of the human experience.
The concept reflects the band’s own ethos: dusk as a place where contradictions meet — a moment suspended between good and evil, loss and rebirth. “Dusk is where light and shadow coexist,” says the band. “It’s not about erasing the dark, but about embracing both sides to truly find yourself.”
Musically, WILL O’ DUSK craft songs that are layered and haunting, yet immediate in their impact. Their sound is steeped in contrasts: intimacy and explosion, vulnerability and defiance, cinematic atmospheres and raw edges.
The lineup features Riccardo Maria Barchiesi (vocals), Danilo Casali (guitars), Stefano Grossi (bass), and Luca Gambazza (drums). Together, they create a sonic and emotional landscape where listeners are invited to move through darkness toward light — to find in dusk not just an ending, but the will to face a new dawn.
With The Long Lasting Dusk, WILL O’ DUSK offer more than a collection of songs: they deliver an odyssey of contradictions, crafted for the misfits and the dreamers who recognize themselves in twilight. It is an album about survival and communion, about confronting shadows without fear, and about finding beauty in imperfection.
In Poland, deep in the Podlasie forests, where the fog persists even during the day, HAKLA was born – a black metal duo whose music is raw, and the album’s lyrical layer is an uncompromising tale of the fall of man, the decay of values, and the end of everything familiar.
The project is led by Andrzej Popławski (HORE, Chmury Wiersze Burze, Patriarkh) and Błażej Kasprzak (Shadohm, Grime Blood).
Musically inspired by Scandinavian black metal, but also imbued with Slavic darkness and nihilism, HAKLA creates a musical landscape where sounds collide with trance rhythms and vocals reminiscent of the screams of a dying world. This music is filled with spiritual destruction and anger aimed at modern chaos.
Their debut album, “Pieśni Końca” is a merciless anthem heralding the end – a sonic ritual burning away the last remnants of hope. The recordings were made in a private studio in Białystok, between July and August 2025. Andrzej Popławski, who also created the cover art, handled the mixing and mastering. The album layout was created by Fabian Filiks (Devilish Impressions, Naumachia, Zørormr).
The album will be released on November 28th, 2025 in digital format and on CD by Via Nocturna (pre-order).
The single “Pieśni Końca” (eng. Songs of the End) is released today. It’s a final prayer uttered with gritted teeth, an echo of the dying fire that once smoldered in people’s hearts.
TRACKLIST:
01. Pieśni Końca 02. Popioły 03. To my 04. Na własne podobieństwo 05. Pod ziemią 06. Ave Nihil 07. Rdzawy sierp 08. Szli tak jakby zwyciężyli
US progressive metal innovators Spiral Fracture unleash their third single & video “Burning”, alongside a compelling lyric video. The track comes from their eagerly awaited album Grace in Decay, due via Wormholedeath.
“Burning” is a revenge anthem forged from grief and loss. The track explores the transformation of sorrow into fiery resolve, blending crushing riffs, pounding drums, and soaring vocals into a narrative of poetic brutality. It’s metal with depth, a song that lingers in the mind and strikes at the core of human emotion.
Spiral Fracture is a progressive metal band that bridges the past and future of the genre. Their sound blends thunderous drums, soul-shaking bass, and atmospheric guitar textures with the soaring clarity of a classically trained alto vocalist. Inspired by the Fibonacci spiral, their music mirrors the fractures of modern society through a fusion of prog, rock, death, black, and power metal. Featuring David Givens (guitar), Brian Fisher (drums), Brian Tanner (bass), and Javier Ramos (vocals), the band creates a precise yet primal sonic tapestry. Now managed by Extreme Management Group, Spiral Fracture is set to expand their reach and connect with listeners worldwide.
Icelandic composer Gísli Gunnarsson celebrates the release of his new album Úr Öskunni’, released on November 7th via By Norse Music. Alongside the launch of the record, a music video for the song “Glókolla” is being premiered. Gísli Gunnarsson hosted a special, open-to-all concert in Gríndavik, Iceland in collaboration with Iceland Airwaves yesterday, on November 8. Find more details of the event here.
‘Úr Öskunni’, translates to “From the Ashes,” is a deeply personal work born out of destruction. The emotional weight of the evacuation, the loss of home, and the psychological toll of this period became the canvas of the new full-length. The album is out today via By Norse on all digital streaming platforms and on physical audio carriers HERE.
To mark the occaision, the contemporary artist is also premiering a music video for the song “Glókolla”, filmed and directed by Nicolas Ipiña. Gísli shares about the track:
“My girlfriend at the time was with me in Grindavík when the evacuation happened, which was incredibly traumatic. Having her there, supporting me through all of it, meant more than I could put into words. I’d been telling her about how we call blonde children ‘Glókollar’ in Iceland, after the little goldcrest birds, and I started calling her ‘Glókolla’ as a kind of nickname as she is blonde. That name, and everything it came to mean, became the heart of the song.”
Hailing from the atmospheric landscapes of Iceland, Gísli Gunnarsson is a visionary composer and multi-instrumentalist whose work blurs genre boundaries—merging cinematic modern classical with the raw intensity of post-rock, black metal, and shoegaze.
It was the volcanic eruptions in his hometown of Grindavík that left the deepest mark on his new album ‘Úr Öskunni’. The forced evacuation, the destruction of his home, and the psychological aftermath of months of earthquakes and instability became the canvas of the new full-length. Music, during this time, became more than expression—it became refuge.
Whether confronting grief or escaping it, Gísli Gunnarsson crafts sonic experiences that serve as a diary—never explicitly literal, but always deeply felt. This approach became central to his latest body of work, shaped by profound personal upheaval.
“Heima”, was written shortly after Gísli was forced to relocate to a remote summerhouse provided by the Red Cross.
“Isolation and trauma were starting to set in. The message and emotions behind the song are simply the grief and yearning for home,” he explains.
A quiet elegy to familiarity, “Heima” evokes the grief and disorientation of losing a lifelong anchor point—place, identity, and safety.
Offering a more hopeful tone, “Glókolla”, is named after a term of endearment for bright-haired children, it was inspired by the overwhelming support Gísli received from loved ones and the broader Icelandic community.
“My girlfriend at the time was the initial spark for this song. I had been calling her Glókolla because of her blonde hair—it’s a word we often use fondly. But it became something much bigger. Iceland really came together to support the people of Grindavík, and this song reflects that collective love.”
“Andlitin í Berginu” (The Faces in the Rock), dives deep into Icelandic folklore.
“Like many Icelanders, I see trolls in the lava fields. There were two trolls in particular on top of Þorbjörn, a mountain near Grindavík. I called them the King and the Servant. I grew up hiking there and loved them.”
Both formations collapsed during the earthquakes, a loss Gísli processed through music. The track imagines the world from their ancient gaze—stoic witnesses to the land’s shifting fury, now silenced.
With ‘Úr Öskunni’, Gísli also shifts his approach to music as a solo composer whereas he has previously become known for his collaborative works. In 2023, the artist released the collaborative album Mementos, a series of emotionally resonant musical snapshots that earned acclaim for their depth and intimacy. Featuring contributions from Georg Holm (Sigur Rós), Mat McNerney (Hexvessel, Grave Pleasures), and Laufey Soffía (Kælan Mikla), the album was named to Bandcamp’s New & Notable list.
Following Mementos, Gísli collaborated with one of his formative influences—Alcest. Their joint 2024 single, “Wings of Glass”, featured Neige and Winterhalter, paving the way for Gísli’s contributions to Alcest’s Les Chants de l’Aurore, where he provided choral vocals, arrangements, and production elements.
Whether collaborating with revered artists or composing in solitude amid volcanic trauma, Gísli Gunnarsson’s music is shaped by landscape, loss, and love—an evolving reflection of the forces, both natural and emotional, that continue to define him.
After more than three decades at the forefront of progressive metal, Swedish icons Opeth are bringing their monumental live experience to Italy for two exclusive summer dates in 2026.
July 10 – Pompei – Anfiteatro Degli Scavi July 11 – Bologna – Sequoie Music Park
Following the announcement of select appearances across Europe (Halifax-UK, Dublin-Ireland, Rättvik-Sweden), these Italian shows promise to be among the most striking moments of Opeth’s upcoming tour cycle, set against two evocative Italian backdrops. From the ancient ruins of Pompei’s Anfiteatro Degli Scavi to the open-air stage of Bologna’s green, vibrant Parco delle Caserme Rosse, home to the acclaimed Sequoie Music Park, fans can expect an immersive performance that spans Opeth’s storied catalogue, from timeless classics to selections from their latest album “The Last Will and Testament”.
Recent winners of the Swedish Grammy Award 2025, Opeth continue to redefine the boundaries of progressive music with their trademark blend of darkness, beauty, and technical mastery. Each performance is a journey and these Italian dates are set to be nothing short of extraordinary.
Joining them as special guests will be the acclaimed cosmic death metal visionaries Blood Incantation from Denver, Colorado, making this a night of unparalleled atmosphere and musical transcendence.
Tickets go on sale Monday, November 10 at 11:00 AM CET.
See also: 01.08.2026 UK Halifax – The Piece Hall 02.08.2026 IR Dublin – Bord Gáis Energy Theatre 29.08.2026 SE Rättvik – Dalhalla
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. The band is now unleashing the unrelenting performance video for “Inhuman Torture Chamber,” the vicious first single from the offering, which can be found, below.
STABBING explains the real-life horror story that inspired the single, “‘Inhuman TortureChamber’ was written in regards to the horrific murder of Sylvia Likens. Since gore and torture are common themes in death metal, I try to write songs about real events I’ve read about. They are usually stories that left a negative affect on me.”
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 Guests: Guest vocals by Ricky Myers (SUFFOCATION) on “Nauseating Composition”
Credits: Recorded at Houston’s Southwing Audio by engineer Ben Gott Mixed and mastered by Chris Kritikos
Chief Shock Video
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
Ads
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
Click image to watch the video
Metal Shock Finland (World Assault ) 