Experimental multifaceted artist Otay:Onii has unveiled new single / video ‘Love From Survivors’. This is the second single taken from her new album Love is in the Sh*t, set for release on 8th May 2026 via Pelagic Records.
Otay:Onii comments on the new single: “Put Shělìzǐ 舍利子 back in our own mouth, teach ourselves how to shit like we shit for the first time. The shit carries our history and memory. Let them bloom, let them wither, let them bloom, let them wither, let them bloom, let them wither, let them.”
Otay:Onii’s music unfolds like a living organism – restless, curious, and constantly re-shaping itself. Her sound is driven by her enchanting voice that serves as texture, rhythm, and raw material, moving between breath, chant, incantation, and fractured lyricism. From the beginning of her work Otay:Onii has treated sound as a physical substance, sculpting it with an experimental instinct that resists genre boundaries.
Otay:Onii (Lane Shi) is a multifaceted artist originally from Haining, China. Her artistic practice spans across music, performance, installation, and film composition.
Performance works such as Unwrap! at the Ming Contemporary Art Museum exemplify her innovative concept of “bio instruments.” She has performed at Harvard University and at prestigious international festivals including SXSW, Roadburn Festival, CTM Festival, Fusion Festival, Creepy Teepee, Le Guess Who?, Fekete Zaj Festival, and Full of Lava Festival.
Otay:Onii has joined the opera performance ‘Sancta’ by Florentina Holzinger and was selected as a featured artist by the SHAPE+ Platform for 2024 – 25. Her work moves fluidly between humour and the poignant realities of contemporary zero-generation immigrants, offering rooted Eastern perspectives to Western audiences in an effort to bridge cultural divides.
Her acclaimed albums — NAG (2018), MíngMíng ٥٥ (2021), Dream Hacker (2023) and True Faith Ain’t Blind (2024) — defy conventional structures, foregrounding philosophies drawn from lived experience.
She describes her process as: “Solving a puzzle with another puzzle — one that cannot be seen or touched, only felt.”
Otay’s work has received recognition and accolades, including the bronze prize for “Best Female Vocalist” from Global Music Awards, and “Best Sound” from the Audiovisual Arts Industrial Incubator Awards.
Otay:Onii’s new album Love is in the Sh*t is a deeply intimate album that reaches a striking balance between control and chaos. Harnessing her ability to move from serenity to madness, Love is in the Sh*t is an exploration in representing trialing conscious states. Drawing-in and challenging the listener, the songs play with comfort and discomfort, deliciously crafting the sonic arc of the story so that intention is undeniably felt.
Otay:Onii comments on the album: “This album speaks to what we cannot escape – the noise, the weight, the mess from the world, from others, from our own minds and bodies, what is damaged is damaged, we cannot change that one bit. Yet within the agony, here comes our process to restore, and hold on to something. The burden becomes alchemy: transformed into passion, into what makes us feel alive, and living. By choosing what ignites us, we do not lose ourselves – and from that grounding, we are able to give more of ourselves to others.”
Track list: 1. Have You Ever 2. Love From Survivors 3. World Class Citizen 4. No Talent 5. The Plaice 6. Underdog Bark 7. Tears Won’t Tell
Otay:Onii is: Lane Shi – all lyrics, composition and performance
Everything Is Noise is hosting the exclusive full album premiere of “Plantae Arcanvs”, the new collaborative work between DEMONOLOGISTS and VAINORAS.
Set for international release on April 10th via Aesthetic Death, the album stands as a true meeting of distinct artistic visions, merging dark electronic textures with jazz-inflected doom and avantgarde experimentation.
Listeners can now experience the record in full ahead of its official release, exclusively through Everything Is Noise – an invitation to step into the hallucinatory world of “Plantae Arcanvs”.
DEMONOLOGISTS, a familiar and much-loved friend of Aesthetic Death, who are renowned for their version of blackened horror electronix.
Whilst VAINORAS, at first glance, comes from a seemingly contrsting musical direction – Terry Vainoras is an Australian multi-instrumentalist, both highly skilled and experienced. Known for his work with his doom band – Subterranean Disposition. In more recent years he has grown a reputation for his downtempo jazz-influenced doom-ridden loungecore – especially with VAINORAS and the Altar Of The Drill.
“Plantae Arcanvs” is a collaboration in the true sense of the word.
VAINORAS brings voice, guitar and tenor saxophone that is at times melodic, yet other times dissonant and squalling to the dark sprawling DEMONOLOGISTS world of sound.
Amidst it all is a subtle eeriness, a lysergic glow – which perfectly fits the album concept, Plamtae Arcanvs being a compendium of poisonous, hallucinogenic plants
This is a rare album – two artists combining and creating something as great as the sum of their parts. An album with an organic and seamless feel – as if this union was intact for years. It represents everything that is wonderful about collaboration and exploring boundaries of dark and underground music
Check this out with an open mind – or, even better, through the psychotropic eyes of the Plantae Arcanvs
CRIPPLED BLACK PHOENIX are releasing “Vampire Grave”, the third and final advanced single from the UK macabre rock band’s upcoming album Sceaduhelm. The song is one of the album’s most immediately compelling, built around a central image of chosen decay and the kind of intimacy that survives only by abandoning the living world entirely. It features Louisville, Kentucky’s Ryan Patterson of the band’s Fotocrime, Coliseum and Mirrorless.
Sceaduhelm comes out April 17th via Season of Mist.
Written by Justin Greaves with lyrics by Ryan Patterson, “Vampire Grave” frames disillusionment not as crisis but as conclusion. Patterson’s lyric follows a narrator who has quietly stopped arguing with the terms of existence and arrived, without drama, at an alternative: immortality in death alongside another person, in a grave of their own choosing. The vampire conceit is not deployed for atmosphere alone. It carries a genuine emotional logic, the sense that if there are no winners in life, then permanent withdrawal becomes the only rational act of devotion. The phrase “bloodsick and depraved” sets the register early, and the song does not soften from there.
Patterson, who has collaborated with Justin Greaves and Crippled Black Phoenix across several projects, speaks to the immediacy of the song’s central image: “‘Vampire Grave’ was the first song we did together for this album; Justin sent me the music with that working title and I immediately imagined two immortal lovers, blood junkies on an eternal death trip. It’s a barn-burner of a song driven by Justin’s drums and guitar, and perfectly completed by Belinda’s creepy and beautiful backing vocals. It’s one of my favorite vocal performances and I’m excited for people to hear it.”
Belinda Kordic joins Patterson on backing vocals, her presence lending the song a layered intimacy that runs deeper than mere arrangement. The song also features percussion from Robin Tow and synths from Lucy Marshall, building a density that distinguishes it from some of the album’s starker, more skeletal compositions. The result is a song that remains entirely within Sceaduhelm‘s emotional territory while offering a stronger immediate grip than much of the surrounding material.
CRIPPLED BLACK PHOENIX are approaching a new threshold with Sceaduhelm, an album that withdraws from outward spectacle and turns instead toward interior collapse, exhaustion, and moral attrition. Severe, restrained, and emotionally exposed, the record presents itself not as a dramatic statement but as a slow accumulation of unease. Where earlier works often grappled with collective trauma or historical violence, Sceaduhelm listens to what lingers afterward: fatigue, memory, complicity, and the quiet weight of survival. The result is a unified emotional landscape rather than a narrative concept, marked by repetition, patience, and unresolved tension.
Crippled Black Phoenix was formed in 2004 by multi-instrumentalist and songwriter Justin Greaves, initially conceived as a fluid musical project rather than a fixed band. Emerging from Greaves’ post-Iron Monkey creative reset, the project was built around collaboration, instability, and a refusal of rigid identity. From the outset, Crippled Black Phoenix positioned itself as a voice for the marginalised and dispossessed, whether human or animal, individual or collective. This ethical undercurrent has remained constant throughout the project’s evolution, shaped in close creative partnership with vocalist and lyricist Belinda Kordic, whose role has extended far beyond performance into the wider artistic and conceptual framework of the band.
The band’s early releases established a reputation for long-form compositions, cinematic pacing, and emotional gravity. Albums such as A Love of Shared Disasters and The Resurrectionists introduced a sound rooted in repetition and slow transformation, drawing as much from post-rock and folk traditions as from metal’s sense of weight and endurance. With I, Vigilante in 2012, Crippled Black Phoenix reached a wider audience, refining their songwriting into more direct structures without abandoning their commitment to atmosphere and tension. The album remains a reference point within their catalogue, both for its accessibility and its bleak emotional clarity.
Subsequent releases resisted consolidation. White Light Generator and Bronze expanded the band’s textural range, incorporating harsher dynamics, sharper political commentary, and a more confrontational production approach. Great Escape functioned as both retrospective and re-contextualization, drawing together material from various sessions into a fractured but revealing whole. Throughout this period, the band’s identity remained deliberately unstable, with shifting lineups and an ongoing refusal to settle into a predictable formula.
In 2020, Ellengæst marked another pivot. Built around the use of multiple guest vocalists alongside Kordic, the album explored themes of death, memory, and historical residue, earning recognition for its cohesion and emotional impact. Rather than treating guest contributions as novelty, Crippled Black Phoenix used contrasting voices to deepen the album’s sense of dislocation and grief. The pandemic-era context further sharpened the record’s introspective tone, even as live activity was forced into suspension.
That inward momentum continued with Banefyre, a record concerned explicitly with persecution, inequality, and the violence inflicted on those deemed different by society. Drawing on historical and symbolic imagery, the album balanced outrage with ritual, placing acts of oppression within a broader continuum of human cruelty. Its production embraced rawness and abrasion, reinforcing the band’s long-standing commitment to evolution over repetition. Banefyre reaffirmed Crippled Black Phoenix as a project unwilling to offer comfort or resolution, even as it expanded their sonic and thematic reach.
Sceaduhelm emerges from this lineage as a narrowing of focus rather than a departure. Written primarily between 2023 and 2025, the album developed through uncertainty, self-questioning, and prolonged doubt. The process was deliberately fluid, allowing compositions to remain open and emotionally vulnerable until late in production. Justin Greaves remains the sole composer of the music, with lyrics written after the fact and assigned to voices according to emotional fit rather than hierarchy. Belinda Kordic, Ryan Patterson, and Justin Storms share vocal duties, each occupying a distinct but aligned psychological register.
As with previous releases, Justin Greaves remains the sole composer of the music, each composition emerging from his own emotional and creative impulse. The lyrical dimension is separate and equally personal. The words and themes are written by the vocalists themselves, each lyricist expressing their own feelings, experiences, and perspectives rather than interpreting someone else’s narrative. Belinda Kordic, Ryan Patterson, and Justin Storms each author their own texts, bringing distinct emotional viewpoints into the material.
Lyrically and thematically, Sceaduhelm is preoccupied with exhaustion as a condition rather than a moment, with time framed not as a healer but as an eroding force. Songs address burnout, grief, surveillance, institutional violence, and damaged intimacy, often blurring the line between the personal and the political. Musically, the album favours restraint over release, employing repetition, minimalism, and slow escalation to sustain tension without catharsis. Recorded across multiple locations and mixed with deliberate austerity, the record resists warmth, clarity serving discomfort rather than solace.
Within Crippled Black Phoenix’s wider catalogue, Sceaduhelm does not seek to resolve previous narratives or replicate past high points. Instead, it documents a moment of exposure and endurance, listening closely to what remains when spectacle fades and outrage exhausts itself. It stands as a severe, human record, concerned less with declaration than with persistence, and affirms once more the band’s refusal to stand still, soften its gaze, or offer easy answers.
Following the success of their recently released album, ‘Severed Heart City,’ viral sensationsGREYWIND are excited to release a new version of the standout single, “Waterfall.”
Having garnered viral success in the build-up to the album release, the single “Waterfall” saw GREYWIND more than double their overall streams, as well as boost their monthly Spotify listeners by more than 100k. To celebrate all the success, the band is now sharing an acoustic version of “Waterfall” featuring Nick Thomas of The Spill Canvas.
GREYWIND vocalist Steph O’Sullivan comments:
“We’re so excited to have Nick Thomas from The Spill Canvas on the acoustic version of ‘Waterfall.’ It’s been so exciting to hear how another vocalist interpreted the track, and we were blown away by what Nick brought to it. We couldn’t have imagined a more perfect feature on one of our songs!”
The moody world of GREYWIND‘s recently release album, ‘Severed Heart City,’ incorporates singles like “Swerve,” which travelled substantially on social media and received recognition from the likes of BBC Radio 1Introducing Rock and Rock Sound, as have several other anthemic cuts from the record. GREYWIND have seen multiple ‘Severed Heart City’ tracks appearing on the Kerrang! Chart, as well as receiving spins on Kerrang! Radio, with “Acid Rain” making the K! Nights playlist.
Produced, engineered and mixed by Sam Guaiana (Neck Deep, Silverstein, Holding Absence), ‘Severed Heart City’ wears GREYWIND’s classic emo influences firmly on its metaphorical sleeve. It’s no surprise to hear that they’re inspired by emo pop originators like Jimmy Eat World, Fall Out Boy and My Chemical Romance, with the duo’s flair for the dramatic and knack for an earworm melody resulting in an album filled to the rafters with anthems. These are songs you can imagine ringing out from the biggest of stages and being sung back at the band by rapt audiences the world over. Envelop yourself in GREYWIND’s ‘Severed Heart City.’
After a highly successful UK tour run supporting Waterparks, GREYWIND is excited to be hitting the road again started on April 7th in Nashville, TN as special guests on the Emo Orchestra Tour with The Spill Canvas. The tour will stretch across the entire United States before concluding in Montgomery, AL on May 16th. For a full list of dates, please see below.
GREYWIND Live:
Supporting Emo Orchestra with The Spill Canvas April 8 – Cincinnati, OH @ Taft Theatre April 9 – Bloomington, IL @ Castle Theatre April 10 – Fort Wayne, IN @ Piere’s April 11 – Pontiac, MI @ The Crofoot April 12 – Buffalo, NY @ Town Ballroom April 14 – Albany, NY @ The Egg April 16 – Sayreville, NJ @Starland Ballroom April 17 – Springfield, MA @ MGM Springfield April 18 – Providence, RI @ Uptown Theater April 19 – Wilmington, DE @ The Queen April 21 – Birmingham, AL @ Iron City Bham April 23 – San Antonio, TX @ The Aztec Theatre April 24 – Austin, TX @ The Paramount Theatre April 25 – Houston, TX @ Mainland Music Hall April 26 – Dallas, TX @ Granada Theater April 28 – Tempe, AZ @ Marquee Theatre April 29 – Cerritos, CA @ Lyric Theater at Cerritos Center for he Performing Arts April 30 – San Francisco, CA @ August Hall May 1 – Los Angeles, CA @ The Novo May 2 – Las Vegas, NV @ The Strat May 4 – Albuquerque, NM @ El Rey Theater May 5 – Colorado Springs, CO @ The Black Sheep May 6 – Englewood, CO @ Gothic Theatre May 8 – Madison, WI @ Barrymore Theatre May 9 – Sheboygan, WI @ Stefanie H. Weill Center for the Performing Arts May 10 – Chicago, IL @ Ramova Theatre May 11 – Louisville, KY @ Mercury Ballroom May 12 – Indianapolis, IN @ HI-FI Annex May 14 – Atlanta, GA @ Center Stage Theater May 15 – Biloxi, MS @ Beau Rivage Resort & Casino May 16 – Montgomery, AL @ Montgomery Performing Arts Centre
US brutal death metal force EMBRYONIC AUTOPSY return with their highly anticipated new full-length album “Rise Of The Mutated”, set for release on June 5th, 2026 via Massacre Records.
Serving as the final chapter in the band’s conceptual trilogy, the album completes a storyline that began with “Prophecies Of The Conjoined” (2022) and continued through “Origins Of The Deformed” (2024), expanding the narrative of alien intervention, genetic manipulation and the rise of hybrid lifeforms reclaiming their dominance.
With “Rise Of The Mutated”, EMBRYONIC AUTOPSY push their vision to its most extreme and fully realized form. Musically, the album delivers a relentless assault of old school brutal death metal, combining blistering speed, crushing grooves and uncompromising intensity with the raw, visceral energy that defined the genre in its early ‘90s peak. At the same time, the band sharpen their songwriting approach, creating a record that is both savage and cohesive, balancing chaos and precision with devastating effect.
Driven by the creative core of vocalist Tim King (SOiL, Oppressor) and guitarist Scott Roberts (ex-Otep), the band once again channel their shared fascination with extraterrestrial mythology into a grotesque and cinematic sonic experience. Lyrically, the album dives deeper into themes of mutation, hybridization and biological horror, painting a disturbing yet compelling vision of a world overtaken by its own corrupted evolution.
The album also features a series of high-profile guest appearances, reinforcing its connection to the legacy of death metal. Legendary guitarist James Murphy (Death, Obituary) returns with multiple lead performances, alongside Terrance Hobbs of Suffocation, adding further weight and authenticity to an already crushing record.
Produced and mixed by Scott Roberts and mastered by Ulrich Wild (Pantera, Dethklok) at Wilderness Studios, “Rise Of The Mutated” delivers a powerful and organic production that captures both the brutality and clarity essential to the band’s sound. The result is an album that feels equally rooted in tradition and driven by a modern, uncompromising edge.
More details about the album, including track previews and additional content, will be revealed soon.
In support of the new release, EMBRYONIC AUTOPSY will join forces with death metal legends Six Feet Under for an extensive European tour in June 2026, bringing their devastating live performance to stages across the continent.
EMBRYONIC AUTOPSY live:
03.06.2026 PL – Gdansk, Mystic Festival 04.06.2026 DE – Berlin, Frannz 05.06.2026 NL – Maastricht, Pitfest 06.06.2026 DE – Cologne, Gebaeude 9 07.06.2026 DE – Saarbrucken, The Garage 09.06.2026 HR – Zagreb, Boogaloo 10.06.2026 SK – Kosice, Colloseum 12.06.2026 A – Nickelsdorf, Nova Rock 13.06.2026 HU – Budapest, A38 14.06.2026 SL – Ljubljana, Orto Bar 16.06.2026 DE – Memmingen, Kaminwerk 17.06.2026 DE – Munich, Backstage Halle 19.06.2026 DE- Aschaffenburg, Colos-Saal 20.06.2026 BE – Dessel, Graspop Festival 21.06.2026 FR – Clisson, Hellfest 23.06.2026 DE – Hamburg, GERMANY, Logo 24.06.2026 DK- Copenhagen, Copenhell 26.06.2026 CZ – Spálené Poříčí, Basinfire Festival 27.06.2026 CH – Hauteville, Abyss Festival
EMBRYONIC AUTOPSY are: Tim King – vocals Scott Roberts – guitars Kenxi Dupey – bass Marco Fimbres – drums
No Clean Singing is hosting the exclusive full album premiere of “Beneath”, the long-awaited new opus from GOATPSALM.
Set for international release on April 10th via Aesthetic Death, the record marks a decisive return after a decade of silence, offering a deep immersion into the band’s evolving ritualistic sound.
Embrace the ritual and stream “Beneath” at THIS LOCATION.
It has been a full decade since GOATPSALM‘s last full length, the highly acclaimed “Downstream” – a decade plighted by personal issues, creative block and…..just life.
Whilst, at times, it seemed that a new GOATPSALM album might never arrive. Through sheer stubborn determination it is here – and is more than worth the wait.
The band have constantly evolved – moving from the industrial electroambient of “Sonic Desterilization of Light” (2012), the blackened chaos of “Erset La Tari” (2012), or the funeral ambient doom leanings of “Downstream” (2016).
“Beneath” is no exception, crafting their strongest material to date within an obscure ritual trance. Forging an album that is built from their past but evolves into new sounds – falling somewhere within sounds of ethnic, ritual, trance-like doom metal.
But, be certain, GOATPSALM have a unique sound and approach – servants to nobody.
Embrace the ritual.
Tracklist:
1- Veve Of Smoke And Rum 2- Heart Of Damballah Wedo 3- Spit Soil 4- Kalbas Whispers Of Death 5- Exequies
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
Click image to watch the video
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