The dark electronic/aggrotech act Dawn Of Ashes (DOA) have released a new single entitled ‘Viral Decay’ today. The second track to be issued from forthcoming new album Anatomy Of Suffering, it captures the ugliness, exhaustion and isolation of inner decay while fully embracing the classic DOA sound – harsh synths, aggressive rhythms and oppressive atmospheres – and paying homage to their genre’s old-school brutality.
“‘Viral Decay’ is a confrontation with inner darkness; not a glorification of death, but a sonic descent into mental corrosion,” explains DOA founder and frontman Kristof Bathory. “It explores the slow mental collapse caused by overwhelming despair and suicidal ideation. Through visceral imagery and repetition, it portrays a mind infected by hopelessness, emotional numbness and self-destruction, exposing the brutal reality of living inside a breaking mind.”
‘Viral Decay’ follows the recent ‘Penumbra (feat. Suicide Commando)’, a powerful collaboration with the veteran Belgian artist Johan Van Roy. Both songs are available on ‘Anatomy Of Suffering’, a new album by DOA out on 20th March. A darker, heavier, and more focused chapter in the group’s evolution, it brings together raw atmosphere with precision production and features some notable collaborations.
The Moon and the Nightspirit reveal the new track ‘Odyssey Limen’ as the next advance single taken from their forthcoming album. Seed of the Formless has been chalked up for release on April 17, 2026.
The Moon and the Nightspirit comment: “The song ‘Odyssey Limen’ represents our new album’s most intense and dynamic peak – a relentless, metallic journey that mirrors the ultimate spiritual metamorphosis”, Ágnes Tóth states on behalf of the duo. “This track charts an inner cosmic voyage that culminates in the profound realisation of one’s true nature. It is the sonic embodiment of catharsis, where all form and doubt are shed in a final, explosive awakening – the most aggressive point on our path, capturing the moment of pure, unbound becoming.”
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With their eighth studio album Seed of the Formless, The Moon and the Nightspirit have reached a crossroads in their ever changing path. A deliberate and significant sonic mutation has created a leap in their stylistic evolution. While the Hungarian duo’s deep roots in ethereal folk remain audible, Seed of the Formless marks their conscious journey into the heavier realms of atmospheric post-metal.
The Hungarians’ embrace of electric guitars and vast synth soundscapes to channel what they describe as a more cosmic and visceral energy, as compared to the whispering of forest and meadows in their musical past, makes perfect sense at this stage of their sonic evolution. As The Moon and the Nightspirit navigate the space between shadow and luminescence, the parallel contrast between the acoustic and the electric as well as their subsequent amalgamation, they unlock the gates to a vast realm of new possibilities.
The Moon and the Nightspirit view their creative process as a spiritual practice. To them, music is not just written; it is channelled through meditation, connecting with nature, and the exploration of philosophical concepts about consciousness and the formless void. These are not just themes, but direct gateways to their compositions.
The Moon and the Nightspirit were founded in 2003 when Hungarian singer as well as piano and violin player Ágnes Tóth joined forces with guitarist and vocalist Mihály Szabó. Their original style has been variously located in the ethereal, pagan, and neofolk realm, which was emphasised by the use of instruments such as zither and woodwinds. A dose of melancholia, dreamlike and sometimes eerie soundscapes as well as lyrics revolving around fantastic, mythical, and shamanic themes quickly carved them their own niche and a dedicated following, starting with the debut full-length Of Dreams Forgotten and Fables Untold (2005) and growing with each following album until Aether (2020). There will always be those who oppose any change, but as true artists The Moon and the Nightspirit acted on their need to evolve further. The result is Seed of the Formless, which is drawing from atmospheric post-metal and ambient, while the duo’s soul remains intact: mystical, yearning, and eternally bound to the infinite!
MOON FAR AWAY impressively deploy their ability to write captivating acoustic songs with their new advance single ‘To Count Her Names’. The gothic folk duo’s new track is taken from their forthcoming new album Acou (‘Listen’), which is chalked up for release on March 13th, 2026.
MOON FAR AWAY comment: “A cold neo-folk hit in the best traditions of the genre — and the lyrical heart of the Acou album”, male vocalist and multi-instrumentalist Count Ash states. “Yes, grim folkers with long beards sometimes fall into sadness, too. This song features guitarist Roman Khomutsky from the famous Moscow black metal band Uratsakidogi.”
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Some of the richest music is also the hardest to categorise. With their fifth full-length Acou, MOON FAR AWAY embark on a musical exploration of the magical nature of sound. The band from the sub-arctic city of Arkhangelsk in Russia’s north is studying the mythological cycle of the universe by assigning certain sounds and musical styles that range from the archaic and folklore to liturgical, classical, and even experimental music to each stage of its existence.
MOON FAR AWAY were inspired by the finding that the world begins and ends in many ancient legends with a sound – from the utterance of a word to actual music or even the big bang of science. On Acou, which means ‘listen!’ in Greek, the word (lógos) and music (mousĭkḗ) are as fundamental to the fabric of the universe as the classical elements of earth, fire, water, and air.
MOON FAR AWAY have occasionally been referred to as “the heart of Russian gothic folk” or “The Russian Dead Can Dance£””, which are notions that still ring true regarding Acou. Their music appears to be both light and even dreamy on the surface, yet at the same time it comes with a dignity, gravitas and passionate seriousness that set these songs apart from simple pop; despite sounding captivating and melodic.
MOON FAR AWAY have already released four studio albums, a live album, several singles, and numerous collaborations since their inception in 1994. The band from the old Russian harbour city on the White Sea shore has also performed at multiple festivals across Europe. MOON FAR AWAY are taking their inspiration from the folklore and unique ancient heritage of their native lands in the North of Russia.
The North is obviously an area of harsh climatic conditions but also of intense human creativity that found its expression in rich poetry, music, visual culture, and wooden architecture. Unlike central Russia, there was no slavery in the North and to this day, this wide region preserves a most interesting and unique cultural heritage with roots reaching back into pre-Christian time.
MOON FAR AWAY have dedicated themselves to the preservation of local traditions, both musically and culturally. By combining traditional European culture with the soundscapes of the Russian North, and influences from classic to neofolk as well as modern technology, the music of MOON FAR AWAY offers a unique artistic expression where the East meets the West.
With Acou, MOON FAR AWAY present their richest and most complete album so far that will find old and new friends from a wide range of stylistic preferences that certainly include fans of DEAD CAN DANCE, ALCEST, WARDRUNA, and many others – although the unique band from Russia’s North does sound different from all of those mentioned above. There is only one way to find out: "Acou"! Listen!
Prague goth rockers, CATHEDRAL IN FLAMES have unveiled their new single & sylish video for the track, ‘Push The Fire’.
‘Push The Fire’ is a metaphorical story about picking up women. On the surface, it’s vampire kitsch; underneath, it’s classic seduction wrapped in promises of eternal love, right up to and beyond the grave. The seduction doesn’t really work out, though, so both of our heroes get angrier and angrier, and they end up more and more blood-soaked.
The initial inspiration came during long spring walks around the South Bohemian fish ponds when, above the melting ice there was nothing to see but raw, damp fog and flocks of crows. Musically, ‘Push The Fire’ is a return to the roots: a straightforward, fast goth rock’n’roll song with a chorus that hits you straight in the face. The bridge is a conspiratorial wink toward the band, The Mission and their single, ‘Severina’.
‘Push The Fire’ is a fast, rhythmically-pulsing track driven by Gatsby’s bass and Barney’s tribal drumming and features a soaring chorus adorned with Ambra’s vocal acrobatics and Phil’s trademark growl. The sound was produced and mixed by Brett Carruthers of the Canadian band, The Birthday Massacre.
Tampa-based death rock/goth artist SINISTER SHADOWS is proud to announce that his self-titled debut album will be available as CD and digital release on March 26th via The Doorway To label.
‘Sinister Shadows’ was created out of the love of death rock and goth rock from the Eighties and Nineties – bands like Bauhaus, The Cure, Sisters of Mercy, The Mission, and Nick Cave.
SINISTER SHADOWS‘ mastermind, Ryan Michalski (Idiot Robot, Ryan Cosmonaught), ran a video magazine called The Gothic Box in Tampa Florida years ago and went to such venues as The Orpheum and The Castle. SINISTER SHADOWS wants to bring back the darkness, romance and flair that has been long missed of this sound and movement.
Today you can have a foretaste of what you might expect from the album with ‘No one home but me,’ here available as a lyric video:
US dream-pop duo Magic Wands have released a brand new single, ‘Wishing Well’. With an insistent rhythm and swirling guitars, plus a vocal that adds to its hazy atmosphere, the song sounds like an immediate post-punk meets shoegaze classic.
“The lyric came to me when I was a guest of a guest at a wedding one summer,” explains vocalist Dexy Valentine. “There was an obvious sense of excitement at the event, but I didn’t really know anyone there so I snuck off outside and sat by a wishing well fountain and started writing on a napkin. When we came up with the music for this song I thought these words would fit perfectly.”
Co-written and produced by Dexy with her partner Chris Valentine, ‘Wishing Well’ is the title song of an EP scheduled for late April. It follows the January release of ‘Sacred Mirrors’, a collaborative single with Psychedelic Furs guitarist John Ashton.
Këkht Aräkh will release Morning Star on March 27th, and the album finds him arriving at a truer, more refined version of himself. Recorded between Berlin and Stockholm, the album emerges from a period of intense personal and artistic growth, blending aggressive black metal passages with textured, immersive soundscapes that feel both intimate and vast. The lo-fi warmth of the tape Portastudio imbues the record with a tangible, analog immediacy, lending grit and character to every note while allowing drifting, melancholic melodies to linger.
Since its origins in Mykolaiv, Ukraine, Dmitry (a.k.a. Crying Orc), the sole mastermind behind the Këkht Aräkh project, has consistently sought to carve a distinctive path within black metal. Tracing back to 2014, his early experiments exposed the gaps he felt in the genre, culminating with his debut under the Këkht Aräkh moniker, Through the Branches to Eternity EP (2018), Night & Love (2018) and Pale Swordsman (2021), later reissued by Sacred Bones Records. Across these releases, Dmitry, now based in Berlin, established a signature contrast between ferocious, visceral black metal and delicate, introspective ballads: a dynamic that reaches new depth on Morning Star.
On the new single ‘Eternal martyr’, Këkht Aräkh partners with Bladee, who added vocals and co-wrote lyrics. The collaboration may seem unlikely at first, yet it reveals an intuitive chemistry. Both artists share a commitment to world-building, emotional directness and carving a singular path outside their respective genres. Despite their different genres, Dmitry has long admired Bladee’s introspective lyrical style and saw how it could translate into black metal without disrupting the genre. Bladee’s own interest in black metal created a natural space for collaboration, and the project grew organically from their shared fascination with bridging their musical worlds.
About the track, Dmitry says, “Despite its simplicity, this song feels like an interesting musical and cultural experiment, a fusion of two worlds, or a bridge between them. On this track, and the record as a whole, I’m hoping to offer a new perspective for black metal: renewed, reframed for the present moment, more integrated in the modern music scene, but strongly faithful to the genre’s roots.
“I’m very grateful to Bladee for exploring this idea with me, bringing his unique vibe and making this beautiful collab happen, that makes perfect sense in the end.”
SUNN O))) share the new track ‘Butch’s Guns,’ another standout from the band’s forthcoming eponymous album. The new song is available today on all streaming services.
Also today, SUNN O))) is announcing new summer headlining shows in the EU and UK beginning Tuesday, June 23rd in Zurich, CH at Rote Fabrik and currently running through Monday, July 6th + Tuesday, July 7th in Berlin, DE for a two-night stand at Silent Green Betonhalle. The tour will include stops in Belgium (Antwerp), the Netherlands (Amsterdam), Germany (Köln), and the UK (Bristol, Brighton, Liverpool, Leeds, Birmingham, and London). Additional live dates to be announced soon.
Tickets for the majority of these June and July shows go on sale Friday, February 20th at 10 am CET. Please find a current list of dates below.
SUNN O))) recently added shows to the band’s upcoming 2026 North American headline tour in support of the album. The tour will now include stops in San Francisco, Los Angeles, Dallas, New York, Denver, Boise, Seattle, and Portland (OR). Tickets for the North American shows below are on sale now.
North America, March/April 2026
Mon. Mar. 30 – San Francisco, CA – Regency Ballroom Tue. Mar. 31 – Los Angeles, CA – The United Theater on Broadway Wed. Apr. 01 – Phoenix, AZ – The Van Buren Fri. Apr. 03 – Dallas, TX – Trees Lounge Sat. Apr. 04 – Austin, TX – Emo’s Sun. Apr. 05 – Houston, TX – White Oak Music Hall Mon. Apr. 06 - New Orleans, LA – Civic Theatre Tue. Apr. 07 – Atlanta, GA – The Goat Farm Thu. Apr. 09 - Columbus, OH – The Bluestone Fri. Apr. 10 – Washington, DC – The Lincoln Theatre Sat. Apr. 11 – Philadelphia, PA – Union Transfer Sun. Apr. 12 – New York, NY – The Town Hall Mon. Apr. 13 – Montreal, QC – Le National Tue. Apr. 14 – Toronto, ON – 131 McCormack Thu. Apr. 16 – Chicago, IL – Salt Shed Sat. Apr. 18 - Iowa City, IA – Englert Theatre Sun. Apr. 19 – Omaha, NE – The Waiting Room Mon. Apr. 20 – Denver, CO – Ogden Theatre Wed. Apr. 22 – Boise, ID – Shrine Social Club Fri. Apr. 24 – Seattle, WA – Showbox (So Do) Sat. Apr. 25 – Portland, OR – Roseland
UK/EU, June/July 2026 – Just Announced
Tue. Jun. 23 – Zurich, CH – Rote Fabrik Wed. Jun. 24 – Antwerp, BE – Trix Thu. Jun. 25 – Amsterdam, NL – Paradiso Fri. Jun. 26 – Koln, DE – Essigfabrik Sun. Jun. 28 – Bristol, UK – Prospect Building Mon. Jun. 29 – Brighton, UK – Corn Exchange Tue. Jun. 30 – Liverpool, UK – The Dome Wed. Jul. 01 – Leeds, UK - Project House Thu. Jul. 02 – Birmingham, UK – 02 Institute Fri. Jul. 03 – London, UK – Troxy Mon. Jul. 06 – Berlin, DE – Silent Green Betonhalle Tue. Jul. 07 – Berlin, DE – Silent Green Betonhalle
Ambient electronic producer break_fold has announced his forthcoming EP Tracker, and shares its lead single ‘Carrying On’. Set for release on 1st May via analog horizons in partnership with Launchpad+ / EMI North, Tracker continues Tim Hann’s deeply personal exploration of family, memory and identity through immersive and innovative sound design.
Built on cyclical synth motifs, undulating low frequencies and delicately splintered percussive elements, new single ‘Carrying On’ captures the emotional push and pull of childhood mischief and reconciliation. Playful and melodic, the track unfolds gradually in movements that range from shimmering calm to distorted tension, before eventually finding resolution once more; mirroring the rhythms of sibling life.
“’Carrying On’ is a reference to what my parents used to say to me and my brother when we were getting a bit hard to handle when we were kids,” explains Tim. “It’s a phrase that has stuck with me from a really formative age. The structure of the song represents the cycle of me and my brother playing together; from playing well, to being told off, to playing well together again. I was thinking about when my brother and I used to play and how it started out fun and invariably sometimes got out of hand. My parents would step in, calm things down, and then it would start all over again.”
Throughout the track, glitchy ambient textures and delicate arpeggiated themes are offset by moments of grit and disruption, reinforcing break_fold’s gift for translating personal history into dynamic electronic compositions.
Listen here:
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Tracker serves as a companion piece to break_fold’s previous EP release Planner. Where Planner reflected Tim’s father’s work-focused alter-ego, Tracker turns to another of his Dad’s self-appointed nicknames: “The Tracker EP is a reference to my Dad, who gave himself nicknames that others in the family then started using,” Tim explains. “‘Tracker’ is a reference to his persona when on holiday or away from work. If we were on holiday and were trying to find a place of interest, he’d be in Tracker mode. Planner is when my Dad was at work.” As with ‘Carrying On’ and previous single ‘Pet’, across the EP break_fold ties together nods to family sayings, misheard phrases, and the small but defining details of growing up in the North East of England in the 1990s.
For Tim, both Planner and Tracker serve as time capsules; deeply personal yet universally resonant snapshots of childhood, family dynamics and regional identity. Operating from his Bradford studio, break_fold has steadily carved out a distinctive space within the UK’s underground electronic landscape since debuting in 2017. With three albums and several EP releases already under his belt, the Hartlepool-raised producer’s work balances what he describes as “pessimism and optimism in equal measure.” Support from BBC 6 Music and tastemaker outlets has marked him as one of the North’s most compelling ambient electronic voices. Tracker is out 1st May 2026 via analog horizons & Launchpad+ / EMI North
Aural Aggravation 