The mighty Gods of Tomorrow are back with their latest sonic assault, “Rise of an Empire.” This track hits like a battle cry forged in fire and forged to last. Fueled by crushing heavy riffs and an anthemic chorus, the song captures the fierce inner struggle as well as the defiant fight against the pressures of an unforgiving world.
Taken from their recently released album Gods Of Tomorrow via Wormholedeath, this track exemplifies the band’s signature sound: a perfect fusion of melodic hard rock and precise metal energy that hits hard and lingers long after the last note fades.
Born from the vision of guitarist Konstantinos, co-founder of Electrified, Gods of Tomorrow expands on the success of their 2022 debut, World on Fire. Konstantinos has gathered a powerful lineup — from the commanding vocals of Felipe Del Valle to the fierce rhythm section featuring Rainer Hemmelmann on bass, Cherubini on drums, and Thomy Gunn on guitars. Together, they blend heavy riffs, soaring melodies, and high-octane precision into a sound that embodies the spirit of rock and metal, crafted both for the stage and the heart.
Colombian black/death/grind force FLAGELO will see their ferocious debut EP “Insaciable” released worldwide on October 31st, 2025, through Nuclear Winter Records (CD and LP) and Night Terrors Records (MC).
Originally self-released by the band earlier this year, the record quickly carved its place as a raw and unrelenting slab of extreme metal. With its suffocating mix of grinding speed, cavernous doom and blackened atmosphere, “Insaciable” captures the essence of FLAGELO’s vision: primitive yet inventive, violent yet textured. Now given a full-scale release, the EP promises to drag a wider audience into the group’s vortex of visceral aggression, menacing soundscapes, and apocalyptic rage.
Tracklist:
1. Insaciable 2. Viral 3. Rey de Nada 4. Historia Animal 5. Eslabón
Hailing from Colombia, with members from a handful of projects from Cali’s ripe underground, purveyors of grinding black death FLAGELO began activities in 2022 as an exercise in visceral aggression and menacing atmosphere.
Their first collection of songs released in 2025 titled ”Insaciable” is a living, breathing slab of extreme sounds spanning blackened death, doom and grindcore. Melding inventive and atmospheric ideas into a primitive and straightforward approach that retains vile power and weight. All the while a barrage of bellowing voices and shrieks hurls misanthropic curses onto a self-annihilating world.
Ambitious and forward-looking, FLAGELO are already preparing the next chapter in their assault on the underground. With new material in the works and a confirmed slot at the 2026 edition of the Total Death Over Mexico Festival, the future looks certain to bring even more devastation.
FFO: Knelt Rote, Black Curse, Dead Congregation, Caustic Wound, Verberis
Line-up:
Francisco Gallego – Vocals Sebastián Osorio – Vocals, Guitars Miguel Méndez – Vocals, Guitars Luis Miguel Cuartas – Bass Juan José Moya – Drums
Acclaimed post-doom artist The Devil’s Trade has unveiled ‘The Sleep That Dragged You Away’, the powerful new single taken from his new album Nincs Szennyezetlen Szép, out 7th November via Pelagic Records.
The Devil’s Trade mastermind Dávid Makó comments: “‘The Sleep That Dragged You Away’ is the hardest and therefore the most liberating song of my life so far. It was my first experience of failure as a songwriter and singer. The writing process itself was a near nervous breakdown experience, and then I completely broke down during the recording. I had to withdraw and seriously consider the possibility of giving up. This song is closely connected to the prophecy in ‘Dear Mother’, heard on Those Miles…, which was released eleven years ago. It deals with one of the most defining childhood traumas of my life and the most defining trauma of my adult life so far. It has become a real cliché that music can have a therapeutic effect, and I usually avoid that term, but in this case, it is a truly cathartic processing every time I listen to or perform it.”
Catch The Devil’s Trade live: 07.10.25 – Pécs (HU) 22.10.26 – Album Release Show Budapest (HU)
Tracklisting:
1. The Sleep That Dragged You Away 2. Weltschmerz 3. All This Sadness 4. All This Sadness Will Be Gone 5. Your Pieces Scattered 6. Nincs Szennyezetlen Szép 7. Idegen Minden
Dávid Makó began The Devil’s Trade in 2014. His early solo work, often performed with only an acoustic guitar or banjo, quickly garnered attention for its emotional depth and stark beauty. Drawing on Appalachian folk, dark Americana, and Hungarian folk traditions, Makó‘s music has been praised for its haunting vocals, minimalist arrangements, and profound emotional honesty. Recently, and especially in this new release, elements of post-metal and doom have taken Makó‘s sound into new, exciting territory, whilst retaining his unique intimacy.
Nincs Szennyezetlen Szép, translated as “there is no uncontaminated beauty”, is a record forged in grief and the unflinching confession. Fans of The Devil’s Trade will immediately recognise Makó’s signature elements: the deep, rugged baritone, the uncanny ability to transmit raw emotion and melodies drenched in melancholia. With his fifth studio album however, Makó reclaims the heaviness of his early years, pushing his sound into new, atmospheric territory. “Nincs Szennyezetlen Szép is much darker and heavier and more complex than anything I have done”, says Makó.
Working within a larger, more dynamic canvas, Makó‘s confessional power is met with metal-wrought anguish, reborn as an intimate, haunting journey toward authenticity. Nincs Szennyezetlen Szép is an elegy to his late mother. “Between the death of my mother and the birth of my son we only had two weeks” explains Makó, and this complexity of emotion is felt in every beat and breath of the album. Survival, suffering, isolation, the endless human turmoil that hangs over our shared and personal grief. All this is expressed defiantly, through a voice that is devastatingly vulnerable and resilient.
While The Devil’s Trade remains a deeply personal, largely self-driven project, Nincs Szennyezetlen Szép also reflects the input of key collaborators. “Just like with (previous album) Vidékek vannak idebenn, my old friend Gaspar Binder helped me write and record the drums and I wrote and played everything else. Szabolcs Szűcs, our local legend engineered the album and my best friend Márton Szabó helped us as a producer, or I love to use the term: musical conscience. This time I dared to ask another friend of mine, Nikita Kampard (Der Weg Einer Freiheit) to be the mastering engineer and it makes me so grateful that he said yes”, states Makó.
Nincs Szennyezetlen Szép is not an easy listen, nor was it meant to be. It is a sincerely painful document of mourning and the myriad of emotions that grip us, from bitter rage to catatonic sadness. It is a testament to the resilience found in surviving and continuing through all, a reminder that “there is no uncontaminated beauty”.
Belgian black metal institution ENTHRONED open a new chapter with the release of their latest single, “Raviasamin”, taken from the upcoming album Ashspawn. Conceived across six years of ritual creation, the record emerges as both autopsy and resurrection: a descent into spiritual death followed by sublimation into rebirth.
Raviasamin functions as a gateway into this metaphysical architecture. At once chant and curse, the track traverses frostbitten riffing, serpentine invocations, and violent rhythmic surges. Its four and a half minutes embody Enthroned’s doctrine: blinding velocity counterbalanced by sculpted mid-tempo marches, guitars oscillating between jagged dissonance and choir-like resonance, and drums fracturing time with both blast-driven intensity and processional weight.
Lyrically, Raviasamin summons arcane forces: serpents, shattered silence, the “backwards tree.” These images tie directly into Ashspawn’s conceptual core of ritual negation and transformation, framing the song as a linguistic and sonic weapon designed to unsettle and reforge rather than merely entertain.
The accompanying video extends these esoteric themes into the visual realm. Conceived as an intersection between reality and digital unreality, the film was constructed entirely without generative tools. Every element—robes, carvings, statues—was first hand-drawn, sculpted, or designed, then scanned and meticulously reconstructed within Unreal Engine. Central figures include a 3D rendering of Belial, drawn from Jose Gabriel Alegria Sambogal’s album artwork, and a hand-drawn qlippothic tree, brought to life through digital animation. The result is a visual ritual: a passage through shadows where material craft and digital sorcery converge.
With the release of their twelfth full-length Ashspawn, ENTHRONED mark a new chapter in their three-decade reign of ritualistic black metal. Conceived across six years of deliberate creation, the album emerges as both an autopsy and a resurrection: a descent into spiritual death followed by the sublimation of rebirth. Written in close collaboration with occult author Gilles de Laval, Ashspawn channels arcane praxis, metaphysical calculus, and esoteric mapping into a work that is as much ritual invocation as it is music. It is the culmination of Enthroned’s uncompromising vision: a weapon of transformation forged in fire and darkness.
Formed in 1993 in Namur, Belgium, Enthroned arose from the ashes of the blackened underground, quickly asserting themselves as one of the most relentless voices of European black metal. Their debut, Prophecies of Pagan Fire (1995), established the band’s reputation for feral speed, occult imagery, and unflinching dedication to the Left Hand Path. Less than a year after their formation, they signed their first record deal, making an immediate impact on the international scene.
Tragedy struck early in their journey when founding drummer Cernunnos took his own life in 1997, shortly after the recording of their sophomore album. Using his preserved rehearsal tracks, the band pressed forward with Towards the Skullthrone of Satan (1997), transforming grief into fury and ensuring Enthroned’s continuation as a vessel of uncompromising black metal. This resilience became a defining trait: through numerous line-up changes, the band’s spirit never wavered, anchored by a vision that was ritualistic rather than trend driven.
Over the following decades, Enthroned’s discography expanded into a formidable catalogue. Albums such as Armoured Bestial Hell (2001) and Carnage in Worlds Beyond (2003) pushed their sound into ever more violent and atmospheric territories. The mid-2000s witnessed a period of reinvention, with Tetra Karcist (2007) and Pentagrammaton (2010) deepening their exploration of occult philosophy and esoteric symbolism. Obsidium (2012) and Sovereigns (2014) continued this evolution, balancing ferocious aggression with ritual atmospheres. By the time of Cold Black Suns (2019), their debut for Season of Mist, Enthroned had crystallized a reputation as one of black metal’s most enduring institutions: a band that both honoured the origins of the genre and transcended them with an intellectual, ritualistic dimension.
Now, in 2025, Ashspawn stands as Enthroned’s most ambitious and personal statement to date. Musically, it embodies a total unity of vision: ferocious blast beats, oppressive mid-tempos, and progressive structures collapse into one another, laced with solos that veer from Morbid Angel-like madness to Judas Priest-inspired virtuosity. Lyrically, it operates as a metaphysical architecture, its verses designed not merely to be heard but to infect and transform. Tracks such as “Raviasamin,” “Ashspawn,” and “Ashen Advocacy” reveal its dual nature: violent catharsis intertwined with crushing introspection, a tribunal where the self is broken and reforged.
More than three decades after their inception, Enthroned remain steadfast in their purpose: not to replicate the past, but to realign with the forces that birthed them. Ashspawn is the testimony of this alignment, a ritual weapon that rejects nostalgia and compromise. It is a resurrection of spirit through suffering, a reaffirmation of Enthroned’s place among black metal’s most visionary entities.
Production Credits: Recorded at Ophiussa Studio, London, UK. Produced by Menthor. Mixed by Stefano Santi at SPVN Studio, Milan, Italy. Mastered by Phil Bashford at The Hive, London, UK.
Avant-garde doom co-conspirators BELL WITCH and AERIAL RUIN continue their fifteen-year collaboration on “Stygian Bough Vol. II” this fall. Today, they tease this long-awaited follow-up of their critically lauded first partnership, 2020’s “Stygian Bough Vol. I”.
Helmed by Dylan Desmond, Jesse Shreibman and Erik Moggridge, the alliance has teased the impending release of “Stygian Bough Vol. II”, with the first taste of new music in the video filmed and edited by Bobby Cochran.
Commenting on the teaser, Desmond says: “Bobby Cochran expertly used Sergei Parajanov’s ‘The Color of Pomegranates’ as a muse for this trailer that perfectly captures the dreamlike qualities of the music.”
Additionally, the bands will unite to perform the new record, “Stygian Bough Vol. II”, on a European tour to take place in January/February 2026 with support from 40 WATT SUN. Tickets go on sale Thursday, September 25th at 10:00AM Local Time.
Desmondadds about the tour: “We’re very excited to finally perform Stygian Bough Volume II live!”
Additional information regarding “Stygian Bough Vol. II” will be revealed in the coming months.
STYGIAN BOUGH European Tour Dates:
26.01.2026 – Warsaw, PL – Voodoo 27.01.2026 – Wroclaw, PL – Łącznik 28.01.2026 – Brno, CZ – Kabinet Muz 29.01.2026 – Vienna, AT – Arena 30.01.2026 – Munich, DE – Feierwerk 31.01.2026 – Dresden, DE – Club Pushkin 01.02.2026 – Munster, DE – Sputnikhalle 03.02.2026 – Paris, FR – Backstage By The Mill 05.02.2026 – London, UK – The Dome 06.02.2026 – Newcastle, UK – Cluny 07.02.2026 – Glasgow, UK – Stereo 08.02.2026 – Sheffield, UK – Corporation 09.02.2026 – Manchester, UK – Rebellion 10.02.2026 – Birmingham, UK – Hare & Hounds 12.02.2026 – Brussels, BE – Magasin 4 13.02.2026 – Nijmegen, NL – Doornroosje 14.02.2026 – Hannover, DE – Cafe Glocksee
About STYGIAN BOUGH:
In our human minds, according to the Law of Contagious Magic as described in ‘The Golden Bough’ by anthropologist James Frazer, contact between two objects creates an inseparable thread between them. A gift from a dead friend forever holds this magic like a scar reflecting a wound. Similarly, a piece of food that touches the floor is suddenly abject and rotten. Pairing this notion with the Law of Similarity Magic, as described by Frazer, where an object resembling another can share its power, a musical notion can be understood to serve as an unbodied conduit of such magics; an emotional contact between the music and audience wherein such sorcery threads an inseparable seam that, for a time, resemble each other.
Aptly named in reference to the aforementioned book, Stygian Bough, the collaboration between Bell Witch (Dylan Desmond, Jesse Shreibman) and Aerial Ruin (Erik Moggridge) enlivens its unbodied presence resembling both projects as a conduit in its own separate entity.
The partnership at the center of Stygian Bough is over in a decade in the making, growing from Moggridge’s recurring contributions to the Bell Witch catalog. Their initial collusion occurring on the debut Bell Witch album Longing (2012) following which, Moggridge would return to guest on both Four Phantoms (2015) and Mirror Reaper (2017).
Stygian Bough Volume I was released in 2020, Volume II is imminent.
BELL WITCH & AERIAL RUIN are: Dylan Desmond Jesse Shreibman Erik Moggridge
Sweden’s high-voltage rock outfit Satan Takes A Holiday return with a brand-new single, Gettin’ Away with Murder — a scorching reinterpretation of a forgotten gem by Australian glam rock band Baby Grande, active between 1975–1977. With their signature fusion of garage grit, punk urgency, and heavy grooves, the band breathes new life into this obscure track, transforming it into something raw, magnetic, and undeniably their own.
Adding to the firepower is none other than Nicke Andersson (The Hellacopters, Imperial State Electric, Death Breath, Entombed), who delivers a blistering guest guitar solo — a stamp of rock’n’roll authority that makes the track impossible to ignore. The band shares the story behind the cover:
“We’re all life long crate-diggers and once in a while you come across something as special as Australia’s Baby Grande and this lost banger. To be able to do it justice we reached out to the biggest connoisseur of lost rock gems we know, Nicke Andersson (the Hellacopters, Entombed etc). His reply was swift and enthusiastic and within 24 hours the song was completed by a blistering guitar solo — so undeniably Nick Royale — and we couldn’t be happier with the result.”
Gettin’ Away with Murder follows the band’s bold take on You’re the One That I Want and marks the next glimpse of their upcoming covers album Covering Our Tracks, due in 2026.
With a reputation as one of Sweden’s most electrifying live acts and a track record of support from BBC 6 Music (including Iggy Pop), Sweden’s P3 and Bandit Rock, and praise from Classic Rock, Louder Sound, and Rock Hard, Satan Takes A Holiday continue to push boundaries and celebrate rock’s wild, untamed spirit
Catch Satan Takes A Holiday on tour in Sweden and Finland this fall:
26.9 Göteborg, Hängmattan 27.9 Falkenberg, Tryckhallen 1.10 Helsinki, On the Rocks 2.10 Hämeenlinna, Suistoklubi 3.10 Pietarsaari, Black Sheep 4.10 Kouvola, House Of Rock
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
Metal Shock Finland (World Assault ) 