Manufracture Music release the single “System Apathy” on 20 October 2026, under a pre-order campaign already live on Bandcamp. The Vienna-based project, run by producer Valerian Steel, built the track entirely on analog synthesizers, drum machines and raw voltage, with no software instruments involved.

The Bandcamp description frames the release as continuing the project’s A.C.I. concept, short for Analog Core Industrial: “Manufracture Music operates on a strict hardware-first philosophy. […] Forged in Vienna, ‘System Apathy’ is built entirely on unforgiving analog synthesizers, drum machines, and raw voltage. The physical behavior of the machines – their limitations, imperfections, and textures – becomes the composition itself.”

Steel described the approach directly to Side-Line as “a cold, relentless EBM transmission born from technological friction and dystopian sound design.”

Manufracture Music’s second A.C.I. release

“System Apathy” follows “The Scene Lies (A.C.I. Manifesto)“, the two-track statement Manufracture Music released on 14 August 2026 that introduced A.C.I. as a stated concept: hardware-only production positioned against generative AI tools in the electronic underground. Where that release was framed as a spoken-word manifesto, “System Apathy” returns the project to song form while keeping the same zero-software constraint.

About Manufracture Music

Manufracture Music is the industrial, EBM and darkwave project of producer Valerian Steel, based in Vienna, Austria. He also runs the dance-oriented Fourtyfication*5 and the ambient-leaning Music of Synergia under his own name, and has worked with a vocalist credited only as Enzo across several Manufracture Music tracks.

The debut album “Fractured Empires” appeared in early 2025, followed by the “Mormon” EP on 29 March 2025 and a run of singles through 2025 and 2026, including “Isolated”, “Ghosts” featuring Enzo, “Blood Syntax”, “Hateration”, “Tearfall”, “End of Life”, “Null Rite System” featuring Enzo, “Kinetic Decay”, “Skip My Tracks” and “Synthetic Species”. “The Scene Lies (A.C.I. Manifesto)” introduced the A.C.I. concept on 14 August 2026, and “System Apathy” now becomes the second release built under that same hardware-only method, due 20 October 2026.

This Mortal Coil, the rotating collective of musicians and vocalists assembled by 4AD founder Ivo Watts-Russell, released its second studio album, “Filigree & Shadow,” on 22 September 1986 through 4AD. The double LP turns 40 this year.

The album gathered 25 tracks, about half of them instrumental, credited to This Mortal Coil but built around a different set of contributors than the project’s 1984 debut. Ivo Watts-Russell and producer John Fryer recorded and mixed “Filigree & Shadow” at Blackwing and Palladium Studios, with arrangements from Simon Raymonde of Cocteau Twins, cellist Martin McCarrick and engineer John Turner, plus violin and viola from Gini Ball. Dead Can Dance percussionist Peter Ulrich and members of Dif Juz, The Wolfgang Press and Colourbox also appeared on the record. Vocalists including Dominic Appleton of Breathless and Alison Limerick sang cover interpretations of songs by Tim Buckley, Gene Clark, Van Morrison, Colin Newman and Talking Heads. “Filigree & Shadow” reached number 53 on the UK Albums Chart and number 2 on the UK Indie Chart, and it streams on Spotify.

About This Mortal Coil

Ivo Watts-Russell founded 4AD in London in 1980 and built This Mortal Coil a few years later to record music outside the constraints of a fixed band. In 1983 he brought together Cocteau Twins’ Elizabeth Fraser and Robin Guthrie, Cindytalk’s Gordon Sharp and members of Modern English to re-record two Modern English songs as the medley “Sixteen Days/Gathering Dust.” Its B-side, a cover of Tim Buckley’s “Song to the Siren” sung by Fraser and Guthrie alone, entered the UK Singles Chart at number 66 and led Watts-Russell to build a full album around the same idea. That album, “It’ll End in Tears,” followed in 1984 on 4AD.

This Mortal Coil never had a fixed lineup. Watts-Russell and engineer John Fryer were its only constant members, and each record drew on a different group of musicians and singers, most pulled from 4AD’s own roster. “Filigree & Shadow” followed in 1986 as the project’s second album, again produced by Watts-Russell and Fryer, with Simon Raymonde, Martin McCarrick and Gini Ball forming its core backing group and Peter Ulrich among the guest musicians. This Mortal Coil closed its studio run with “Blood” in 1991, on which vocalist Caroline Crawley – whose death Side-Line reported in 2016 – was among the featured singers. After the group’s run ended, Watts-Russell continued the same collaborative approach under the name The Hope Blister from 1998, while Fryer went on to produce and engineer widely across the 4AD roster and beyond. “Filigree & Shadow” turns 40 this year, four decades into a project that treated an album as a collaboration rather than the work of a fixed band.

Some promotion arrives generously late, but with this debut album by the Australian solo project Empty Vessel, I felt it was more than necessary to give it some attention anyway. Tom Wojcicki is an artist unknown to most, who released the album “Ruin Value” in the spring of 2025, an opus consisting of eight tracks.

What I hear here defies all imagination: an absolute masterpiece in which the artist blends Industrial, Cinematic, and Ritual elements in a remarkably refined manner. He creates a tormented atmosphere of overwhelming sounds, with percussion effects that reverberate like drones. That overwhelming quality, in particular, is almost indescribable. Rarely have I encountered an artist capable of creating sounds as intense, present, and tormented as those of Empty Vessel. The tracks can be repetitive at times, but because of their sheer intensity, you are truly blown away. Before you know it, you are trapped in a sonic web of terrifying and illusory images. The album is a succession of insane tracks, meaning that you discover one highlight after another.

If you are a fan of the genres mentioned above and are not yet familiar with Empty Vessel, I would simply recommend buying this album without listening to it beforehand. An absolute masterpiece, and it will not be easy to follow this up with an equally powerful successor. (Rating:9).

Listen to “Scattered Pieces Of Her”:

About Empty Vessel

Empty Vessel is the solo industrial and power electronics project of Australian artist Tom Wojcicki. “Ruin Value” was released on 14 April 2025 through the German label Dunkelheit Produktionen as a hand-numbered CD limited to 200 copies with a 4-page booklet, plus a digital edition, under catalog number DP179CD. The album runs eight tracks, opening with “Scattered Pieces Of Her” and closing with “Zero Fetish”. Empty Vessel has also recorded under the names Droid Sector, Broken Fingers, Glass Barbeque, Aurora Seven and Cockroach Diocese. “Ruin Value” is Empty Vessel’s first release to be reviewed on Side-Line.

Zadisphere, an independent dark ritual techno project, published the video “Cathedral” on its official YouTube channel on September 9, 2026.

Zadisphere makes a sound that mixes dark ritual techno with cinematic electronics and hypnotic rhythms, combining gothic and baroque elements, pipe organs, strings and choirs with analog sequences. “Cathedral” is a standalone video release; no tied single, EP or label has been confirmed.

Zadisphere’s ‘Cathedral’ follows a steady run of new tracks

“Cathedral” arrived in a run of near-weekly uploads from the project through August and September 2026, including “Czas / Time” on August 12, “Monolith Threshold” on September 1, “Ritual” on September 3, a remix of Ludwik Sempoliński’s “Ten wąsik” on September 11, “Nienazwane / Unnamed” on September 14 and “Po drugiej stronie / The other side” on September 16. No tracklist, formats or streaming availability have been confirmed for “Cathedral” beyond the YouTube upload.

About Zadisphere

Zadisphere is an independent music and artistic project built around sound, emotion and atmosphere, according to its own description. Its stated direction combines dark ritual techno, cinematic electronics and hypnotic rhythms with gothic and baroque influences, using pipe organs, strings, choirs and analog sequences. The project’s YouTube channel was created in January 2024, but its run of released tracks and videos began in August 2026 with “Czas / Time”, followed within weeks by “Monolith Threshold”, “Ritual” and “Cathedral”. Zadisphere has no confirmed label, Discogs entry or Wikipedia page. The project is also present on Instagram and maintains an official website. “Cathedral” is its latest video release.

chauncey, a Minneapolis-based synth-led alt-pop artist, released the single “Terrible Idea” on September 11, 2026. The chauncey “Terrible Idea” single is the first release from the seven-track album “Life of the Party,” due September 25, 2026.

chauncey brings a synth-led alt-pop sound that mixes bright, impulsive hooks with a quieter, more reflective register, moving between crowded-room energy and the silence that follows once everyone has gone home.

chauncey’s ‘Life of the Party’ album and ‘Terrible Idea’

“Life of the Party” moves through the arc of a night out: anticipation, the people encountered along the way, decisions made despite knowing better, the permission granted to act on impulse, and the empty room at the end. “Terrible Idea” captures the reckless side of that arc. Two further tracks from the album, “Permission” and “When Everybody Leaves,” push further into that impulse and its aftermath, with “When Everybody Leaves” closing the record as the lights come back on. An advance stream of the full album is available via SoundCloud ahead of the September 25 release.

About chauncey

chauncey is a Minneapolis-based artist making synth-led alt-pop about crowded rooms, bad decisions, strangers, and the quiet that follows once everybody leaves. The project withholds a conventional origin story by design: chauncey is less interested in explaining who is behind the music than in building a world around the songs, condensed to the shorthand “kid with a synth.” The seven-track debut album “Life of the Party” arrives September 25, 2026, tracing the shape of a night out from its first rush to its last emptied room, without presenting itself as a strict concept record. “Terrible Idea” is the album’s first single, released September 11, 2026, with “Permission” and “When Everybody Leaves” among the record’s other focus tracks. chauncey remains based in Minneapolis.

Old Europa Cafe releases four new albums and three reissues on 23 October 2026, all as limited digipak CDs. The Italian power electronics, noise and dark ambient label, founded in Pordenone in 1983 by Rodolfo Protti, groups the batch around three reissues from the catalogue of Atrax Morgue, two new records tied to Swedish musician Nordvargr, and new albums from Black Leather Jesus and The Rita’s back catalogue.

Atrax Morgue’s ‘Alive and Dead’, ‘Paranoia’ and ‘Pathophysiology’ reissued

Atrax Morgue was the project of Marco Corbelli, an Italian noise musician born in Sassuolo in 1970 who died in 2007. Working mostly with a Sequential Circuits Six-Trak synthesizer, Corbelli built his early catalogue on cassette through the industrial and noise “cassette culture” of the early 1990s, releasing on his own Slaughter Productions before moving to labels including Old Europa Cafe, Relapse and RRRecords through the late 1990s.

Old Europa Cafe reissues three Atrax Morgue titles on 23 October. ‘Alive and Dead’ is a CD re-edition of a cassette the label sold out in 2018, remastered by Devi(L)s Granziera (Teatro Satanico) and adding two previously unreleased live recordings, from Treviso in 1999 and Tokyo in 2006. ‘Paranoia’, originally Atrax Morgue’s first full-length CD album, released on Old Europa Cafe in 2000, returns in an expanded edition remastered by Devis G., adding two alternate versions of the track “Il Forcipe di Thanatos” first issued on the 2017 “Malaplacenta” 7-inch; those alternate versions stem from a 2007 recording session, the year of Corbelli’s death. ‘Pathophysiology’, first released as a 1995 cassette and reprinted on CDr in 2002 and CD in 2019, is remastered again at Sweet Slaughter for this edition, with four previously unreleased bonus tracks, two recorded in 1995 and two in 2002.

Nordvargr powers new Apex Parasite and Fistfun records

Swedish musician Henrik Nordvargr Björkk, known as Nordvargr, recorded and contributed vocals to Swedish power electronics act Apex Parasite‘s new album ‘Warzone Europa’, tracked at Nar Mattaru over July and August 2026. The album is released as a hand-numbered edition of 199 copies.

Björkk, also known for his work with Mz.412, Folkstorm and Bøltorn, also appears on ‘Not Nice Ever’, a harsh noise collaboration released as Fistfun with Claudio Frassine, known for his projects Mademoiselle Bistouri and North Central. ‘Not Nice Ever’ follows the pair’s earlier Fistfun release “Up the Rolls” and is limited to 199 hand-numbered copies.

Black Leather Jesus and The Rita round out the batch

American industrial power noise project Black Leather Jesus, founded by Richard Ramirez in 1989, releases ‘Probe’ in a limited edition of 300 copies. The album’s core lineup features Sean E. Ramirez, Nathan Golub, Thomas Puopolo, Richard Ramirez, Kevin Novak, JRL, Anjilla Ulfhednar, Scott Kindberg and Domokos, with individual tracks built around guest collaborations with slowdanger, G.X. Jupitter-Larsen, Yellow Gas Flames and The Rita.

The Rita, the harsh noise project of Canadian musician Sam McKinlay, credited on Discogs with originating the “harsh noise wall” style and coining the term, also gets a reissue in the batch. ‘Possessed Nun Sleaze’ was first released in 1998 on Labyrinth Recordings, in an edition of 50 cassette copies, marking The Rita’s first release on an American label. Old Europa Cafe’s CD reprint carries new artwork and is dedicated to Isabella and Sister Angela.

Valencia label Industrial Complexx reissues the various-artists compilation “SUICIDE Tribute To Iconic New York Legends” on double cassette and digital on October 15, 2026. The 18-track set, originally released by Unknown Pleasures Records in 2014, gathers international minimal synth, electro-punk and industrial acts covering the catalogue of Suicide’s Alan Vega and Martin Rev.

The reissue accompanies the Spanish-language publication of “Suicide, delincuentes electrónicos,” an essay on the band by musician and writer Pedro Peñas y Robles, originally published in French and English in 2024 and now released in Spanish by Industrial Complexx. The book traces the duo’s genesis and the chaotic sessions behind their 1977 debut album, drawing on testimony from scene figures including Marc Hurtado of Étant Donnés.

‘SUICIDE Tribute To Iconic New York Legends’ contributors

The tribute pairs Vega and Rev’s original catalogue with reinterpretations from Distel, Radical G, The Horrorist, David Carretta and Jürgen Engler of Die Krupps, Növö, Adan+Ilse featuring Gabi Delgado of D.A.F., Marc Hurtado performing with Alan Vega himself, Liebknecht featuring Kristoffer Grip of Agent Side Grinder, Unknown Celebrities, Laag, Position Parallele, Cruise [ctrl] featuring Richard 23 and Patrick Codenys of Front 242, The Present Moment, Absolute Body Control, Millimetric featuring Dirk Da Davo of The Neon Judgement, Black Egg featuring hausfrau, Simi Nah featuring KGB, and In Death It Ends featuring Usher of Norma Loy. Covered songs include “Che,” “Ghost Rider,” “Cheree,” “Frankie Teardrop,” “Dream Baby Dream” and “Diamonds, Fur Coat, Champagne.”

Industrial Complexx describes the collection as channeling “the same abrasive, alienating and futuristic energy” that shaped Suicide’s catalogue.

About Suicide

Suicide was an American duo formed in New York City in 1970 by vocalist Alan Vega and instrumentalist Martin Rev, initially a trio with guitarist Paul Liebgott before continuing as a two-piece. The group paired Vega’s stream-of-conscious, rockabilly-inflected vocals with Rev’s minimal synthesizer and drum-machine backing, and was among the first acts to use the term “punk music” to describe itself, in 1970. Suicide independently released its debut album, “Suicide,” in 1977 on Red Star Records, featuring “Ghost Rider,” “Frankie Teardrop” and “Cheree.” A second album, “Suicide: Alan Vega and Martin Rev,” followed in 1980 on Ze Records, then “A Way of Life” in 1988, “Why Be Blue” in 1992 and the final studio album, “American Supreme,” in 2002. Vega and Rev also worked separately: Vega collaborated with Andrew Eldritch of The Sisters of Mercy as The Sisterhood in 1986, and with Alex Chilton and Ben Vaughn on “Cubist Blues” in 1996, while both released solo albums throughout their careers. Suicide played its final concert at London’s Barbican Centre on July 9, 2015, before Alan Vega died on July 16, 2016, at age 78. “SUICIDE Tribute To Iconic New York Legends,” first released via Unknown Pleasures Records in 2014, returns via Industrial Complexx on October 15, 2026, alongside the Spanish edition of Pedro Peñas y Robles’s book on the band.

Black Tape For A Blue Girl and Projekt Records reissue “The Rope” on October 2, presenting the 1986 debut album in a limited edition that pairs the original mix, remastered, with a new 2026 mix by Sam Rosenthal for its 40th anniversary. The 2LP edition is limited to 300 copies on 140-gram vinyl, with LP1 pressed on baby blue vinyl with black splatters and LP2 on transparent blue vinyl with white splatters. A 2CD digipak edition adds seven bonus tracks. Both formats are released via Projekt Records.

“The Rope” is Black Tape For A Blue Girl’s debut album, the project Sam Rosenthal built around his songwriting and electronics, with Oscar Herrera on vocals. Each format includes the full 12-track album twice: the original 1986 mix, remastered, and the new 2026 mix. Martin Bowes of Attrition handled the mastering. The 2LP package adds a 16-page lyric and memorabilia fanzine insert plus a sticker; the 2CD edition comes in a 6-panel digipak with a 4-panel photo insert and sticker.

The original 1986 tracklist runs: “memory, uncaring friend”, “hide in yourself”, “within these walls”, “the holy terrors”, “end”, “seven days til sunrise”, “the rope”, “the few remaining threads”, “the lingering flicker”, “slow blur”, “the floor was hard but home” and “we return”. The 2CD edition adds seven bonus tracks exclusive to that format: “the lingering flicker (first draft)”, “within these walls (early mix with clarinet)”, “the holy terrors (long)”, “second dream”, “the lingering flicker (isolated violins)”, “within these walls (short with violins)” and “memory, uncaring friend (remix intro)”.

Sam Rosenthal on writing ‘The Rope’

Black Tape For A Blue Girl’s Rosenthal, who also founded Projekt Records, described the circumstances that produced the album: “In November ’85, following two years of recording instrumental electronic music, I invited Oscar Herrera to sing two songs on my ISLANDS cassette. A few months later in February of ’86 I left Florida for college in Orange, California. I was 20 years old, feeling isolated, lonely, missing friends back home. In my dorm room that spring I used the school’s Fostex 250 4-track cassette portastudio to record songs with my lyrics and melodies.

Writing words for Oscar to sing over my ethereal and ambient music helped me explore those angsty and tangled feelings. The Rope is half vocal and half instrumental. It’s all quite minimal, yet it’s an album listeners still mention as a favorite. Capturing the confusion and darkness I felt at that time remains valid; new listeners connect with it today. I never would have expected that 40 years later The Rope would be listened to and appreciated by new generations. It’s really nice knowing those feelings are timeless, and the music has a place in people’s lives.”

Uncut included “The Rope” in its “200 Greatest Goth Albums” feature, describing it as: “The vehicle for the more electronic songwriting of Projekt Records’ founder Sam Rosenthal, brought to life by singer Oscar Herrera’s arch delivery. BTFABG spun a unique thread of ambient darkwave, neoclassical exoticism and dark cabaret on their relatively bare-boned and lo-fi debut album.”

About Black Tape For A Blue Girl

Black Tape For A Blue Girl is the project Sam Rosenthal formed in 1986, built around his own songwriting and electronics and centered from the start on the pairing of his instrumental, ambient compositions with vocalists singing his lyrics. “The Rope”, released that year on Projekt Records, the label Rosenthal founded, introduced Oscar Herrera as vocalist alongside contributions from Allan Kraut, Kim Prior, Adam Buhler, Candy Sherlock and Lara Radford.

The project’s discography continued through “Mesmerized by the Sirens” (1987), “Ashes in the Brittle Air” (1989), “A Chaos of Desire” (1991), “This Lush Garden Within” (1993), “Remnants of a Deeper Purity” (1996), “As One Aflame Laid Bare by Desire” (1999), “The Scavenger Bride” (2002), “Halo Star” (2004), “10 Neurotics” (2009), “Tenderotics” (2013), “These Fleeting Moments” (2016), “To Touch the Milky Way” (2018) and “The Cleft Serpent” (2021).

Projekt has revisited several of these titles as anniversary reissues in recent years, including “The Cleft Serpent” and “Ashes in the Brittle Air” on vinyl, “Mesmerized by the Sirens” on vinyl and double CD, and “As One Aflame Laid Bare by Desire” and “Remnants of a Deeper Purity” in their own anniversary editions. Rosenthal has also continued to release music outside the project, including ambient and drone recordings under his own name.

The 40th anniversary edition of “The Rope” extends that reissue campaign to the album that started it, presenting Herrera’s original vocal performances and Rosenthal’s 1986 arrangements alongside his 2026 revisiting of the same material.

Jah Wobble & The Invaders Of The Heart reissue the 2xCD collection “The Usual Suspects” on Dimple Discs on November 13, 2026. Originally released in 2017, the 23-track set has been unavailable for years and now changes hands at collectors’ prices; the digital edition is already available on Bandcamp, with the physical 2xCD prepared for that November date to coincide with a UK and Belgium tour.

“The Usual Suspects” gathers new recordings of Wobble’s solo material alongside songs from Invaders Of The Heart and his former band Public Image Ltd (PiL), drawn from a catalogue spanning almost forty years at the time of recording. The album was recorded at The Smokehouse studios in East London and opens with a version of PiL’s debut single “Public Image”, reworked from the band’s 1978 debut album. Other highlights include cover versions of the film themes to “Midnight Cowboy” and “Get Carter”, Dawn Penn’s “You Don’t Love Me (No, No, No)” featuring vocalist Aurora Dawn, and a new take on “Visions Of You”, which originally featured Sinéad O’Connor on Invaders Of The Heart’s Mercury Prize-nominated 1992 album “Rising Above Bedlam”. The set closes with live recordings of “Liquidator” and “Poptones”, the latter drawn from PiL’s “Metal Box”.

Recording personnel on “The Usual Suspects” comprised Jah Wobble on bass, vocals and percussion, Marc Layton-Bennett on drums, percussion and backing vocals, Martin Chung on guitars, George King on keyboards and backing vocals, Steve Rigby on programming and backing vocals, Sean Corby on trumpet and flugelhorn, Aurora Dawn on vocals, and Holly Macve on vocals. Of the band behind the album, Wobble said: “This band has been a delight to play with. Similar to my first early ’80s version of the Invaders, they can all really play, plus all genre bases […] are covered. It’s a big deal to me, because it’s like a 35 year old dream has finally been realised. This is how I heard The Invaders of the Heart sound all those years ago. A classy fusion of genres. Groovy, dubby but always changing and developing. Never standing still.”

Tour dates for Jah Wobble & The Invaders Of The Heart

The reissue follows a UK tour and comes ahead of Belgian dates in November. Confirmed shows:

• October 3 – Stourbridge, Katie Fitzgerald’s (UK)
• October 16 – Todmorden, Unitarian Church (UK)
• October 21 – Frome, The Tunnels (UK)
• October 22 – Bristol, The Fleece (UK)
• October 23 – Reading, Face Bar (UK)
• November 7 – London, Bush Hall (UK)
• November 25 – Hasselt, Club AFF (Belgium)
• November 26 – Bruges, Cactus Muziekcentrum (Belgium)
• November 27 – Oudenaarde, Harmonie Oudenaarde (Belgium)

Tickets are available via Songkick.

About Jah Wobble & The Invaders Of The Heart

Jah Wobble, born John Wardle, is a bass guitarist and vocalist from East London who was the original bassist in Public Image Ltd alongside John Lydon from the band’s 1978 formation, co-writing and playing on the 1979 album “Metal Box” before leaving in late 1980. He formed Jah Wobble’s Invaders Of The Heart in 1982, and in the early 1980s collaborated with Holger Czukay and Jaki Liebezeit of Can, as well as U2 guitarist The Edge and producer François Kevorkian. Invaders Of The Heart’s commercial peak came with 1991’s “Rising Above Bedlam”, nominated for the Mercury Prize, which included the UK top-40 single “Visions Of You” featuring Sinéad O’Connor.

Wobble has since worked with artists including Ginger Baker, Björk, Brian Eno, Baaba Maal, Massive Attack, Sinéad O’Connor, Pharoah Sanders and his wife Zi Lan Liao on guzheng and harp. He reunited with former PiL guitarist Keith Levene in 2012 for the “Metal Box in Dub” shows and the album “Yin & Yang”. Jah Wobble & The Invaders Of The Heart recorded “The Usual Suspects” at The Smokehouse studios in East London, releasing it in 2017 following a six-month UK tour, as covered by Side-Line at the time.

More recently, Wobble released the albums “Dub, Vol 1” (2025) and “Automated Paradise” (2026, with former Siouxsie & The Banshees guitarist Jon Klein) on Dimple Discs, and “Mystic Liverpool: The Beatles Psychedelic Songbook” with his sons, who record as Tian Qiyi, released by Cherry Red in August 2026. His autobiography, “Memoirs of a Geezer: Music, Life, Mayhem”, was published by Serpent’s Tail in 2009 and reissued in expanded form as “Dark Luminosity” by Faber & Faber in 2024. Dimple Discs now reissues “The Usual Suspects” as a 2xCD on November 13, 2026, timed to Jah Wobble & The Invaders Of The Heart’s UK and Belgium tour dates.

Room of Wires, the UK industrial/electronic duo of two producers who both go by Andrew, released the single “Skin weevil” on September 18, 2026, self-released on Bandcamp. The two-track release pairs the title track with “Do not leave a message” and arrives while the duo works on a new album.

Room of Wires bring an industrial and electronic sound that mixes hard-hitting rhythm programming with the duo’s usual dark ambient textures and field recordings. Both tracks on “Skin weevil” were written and produced by Room of Wires; the cover artwork is by the duo as well, with performance for camera by Fenia Kotsopoulou and photography by Daz Disley.

Room of Wires’ ‘Skin weevil’ single

The duo has not met in person: one member works with hardware and a tangle of physical wires, the other in software and virtual cables, sharing ideas and sounds over the internet. That process has produced “Skin weevil” as a standalone two-track single rather than part of a longer EP or album, released independently while the pair continue work on their next full-length. No further tracks or release date for that album have been announced.

About Room of Wires

Room of Wires is a UK industrial/electronic duo of two producers, both named Andrew, who write and record without ever having met, exchanging sounds and ideas remotely. Their debut EP, “Asylum sneaker”, appeared on Section27 in August 2014, followed by the Bandcamp-only “Dead skins” EP in November 2015, “Used as a runner” on Section27 in June 2016, “Black medicine” on Section27 in June 2017, and the remix-featuring “Mastakink” EP, self-released in October 2017. Their debut album, “White transit”, followed in November 2018, and the mini-LP “Test subject” arrived in October 2019.

Room of Wires signed to the German label ant-zen for the albums “Plague of people” (April 2021) and “Welcome to the end game” (February 2023), releasing the “Fever switch” EP on Rednetic in October 2021 in between. Further self-released EPs followed with “Floodplains” (November 2023) and the album “If no other means are effective” in December 2025, the duo’s first full-length in close to three years. Alongside their own catalogue, Room of Wires record collaborative material as DasF and Cave like carving, and have contributed remixes and tracks to releases by Ah Cama-Sotz, Flint Glass, 4T Thieves and other acts. “Skin weevil” is their first new material since 2025’s “If no other means are effective”, released as the pair continue work on a new Room of Wires album.

Nine Inch Nails released their third studio album, “The Fragile,” through Nothing Records and Interscope Records on 21 September 1999. The industrial rock record arrived as a double album of 23 tracks running one hour and 43 minutes, split across two discs titled “Left” and “Right.” It turns 27 this year.

Five years separated “The Fragile” from “The Downward Spiral.” Trent Reznor recorded and mixed the album at Nothing Studios in New Orleans between 1997 and 1999, producing it with Alan Moulder, who also engineered and mixed. Steve Albini handled supplemental drum recording at his Electrical Audio in Chicago, Tom Baker mastered at Precision Mastering, and Bob Ezrin was credited for final continuity and flow. Dr. Dre assisted with the mix on “Even Deeper.” Danny Lohner played guitars on six tracks and contributed drum programming and synthesizers, Adrian Belew added guitar to “Just Like You Imagined,” “The Great Below” and “Where Is Everybody?”, and Mike Garson played piano on “Just Like You Imagined,” “The Way Out Is Through” and “Ripe (With Decay).” Bill Rieflin drummed on “La Mer” alongside vocalist Denise Milfort, Jerome Dillon supplied chorus drums on “We’re in This Together,” and Charlie Clouser, Keith Hillebrandt and Steve Duda covered programming and sound design. David Carson took art direction, design and photography.

Disc one, “Left,” runs “Somewhat Damaged,” “The Day the World Went Away,” “The Frail,” “The Wretched,” “We’re in This Together,” “The Fragile,” “Just Like You Imagined,” “Even Deeper,” “Pilgrimage,” “No, You Don’t,” “La Mer” and “The Great Below.” Disc two, “Right,” runs “The Way Out Is Through,” “Into the Void,” “Where Is Everybody?”, “The Mark Has Been Made,” “Please,” “Starfuckers, Inc.,” “Complication,” “I’m Looking Forward to Joining You, Finally,” “The Big Come Down,” “Underneath It All” and “Ripe (With Decay).” Three singles came from the album: “The Day the World Went Away” on 20 July 1999, “We’re in This Together” on 27 September 1999 and “Into the Void” on 10 January 2000, with “Starfuckers, Inc.” issued as a promotional single.

The album entered the Billboard 200 at number one with first-week sales of 229,000 copies, the band’s first chart-topping album, then fell to number 16 the following week. The RIAA certified it double platinum on 4 January 2000, and it had sold 898,000 copies in the United States by May 2005. The US edition appeared as a two-CD tri-fold digipak; the three-LP vinyl pressing carried two tracks absent from the CD, “10 Miles High” and “The New Flesh,” and came in a gatefold sleeve with a 24-page booklet. In 2017 the album was reissued on vinyl as a Definitive Edition alongside “The Fragile: Deviations 1,” a limited four-LP instrumental set that was not pressed to CD. The album streams on Spotify. Sources differ on the exact day: MusicBrainz lists 20 September 1999, while Wikipedia, Discogs and Spotify all give 21 September 1999.

About Nine Inch Nails

Trent Reznor formed Nine Inch Nails in Cleveland, Ohio in 1988, writing and recording the project’s material during off-hours at Right Track Studio, where he worked as an engineer and janitor. TVT Records issued the debut album, “Pretty Hate Machine,” on 20 October 1989. The “Broken” EP followed in 1992, by which point Reznor had negotiated the Nothing Records imprint through Interscope, and “The Downward Spiral” arrived in 1994. Side-Line covered the 2019 book “Into The Never”, which examined that album’s cultural reach, and reported that Johnny Cash initially resisted recording “Hurt”, the “Downward Spiral” track he covered in 2002. “The Fragile” closed the 1990s for the band, and the remix album “Things Falling Apart” followed in 2000. Reznor returned with “With Teeth” in 2005, “Year Zero” in 2007, and both “Ghosts I-IV” and “The Slip” in 2008. Atticus Ross became a full member ahead of “Hesitation Marks” in 2013, and the pair have scored film and television alongside the band since. Side-Line has since reported on Reznor’s appearance on the deluxe vinyl reissue of the 1990 Pigface debut, the Future Ruins festival announced by Reznor and Ross in 2025, the “TRON Ares: Divergence” companion album, and the “Nine Inch Noize” collaboration with Boys Noize released in April 2026. “The Fragile” turns 27 this year, the record that took the band to number one in the United States for the first time.

Clan of Xymox, the Dutch darkwave and gothic rock project led by Ronny Moorings, released “Notes From The Underground” on 21 September 2001 through Pandaimonium Records in Europe. The album turns 25 this year. Metropolis Records issued it in North America nine days later, on 30 September 2001. Moorings wrote, recorded and mixed all twelve tracks, and produced the record with Mojca Zugna.

It was the third studio album of the reformed Clan of Xymox era, after “Hidden Faces” from 1997 and “Creatures” from 1999. Three of its songs were already in circulation by the time it appeared. The “Liberty” CD single, issued by Pandaimonium on 20 October 2000 alongside the band’s double live album, carried “Liberty” together with “Number One” and “At Your Mercy”.

Clan of Xymox’s ‘Notes From The Underground’ tracklist and credits

The CD runs twelve tracks: “Innocent”, “I Want You Now”, “Internal Darkness”, “At Your Mercy”, “Anguish”, “Number One”, “Into Her Web”, “The Bitter Sweet”, “Liberty”, “Something Wrong”, “Mysterium” and “The Same Dream”. Dierk Budde mastered the album and Mojca Zugna made the sleeve artwork.

The band’s official biography states the record reached number 2 on the German DAC chart and topped the US Musicfolio poll for 2001. The same page quotes a Side-Line review of the album as reading “This album is to be seen as a milestone in the band’s discography towards which their previous efforts all converge, or emerge from.”

Pandaimonium returned to the material in May 2002 with “Remixes From The Underground”, a two-disc set that reworked every song on the album. Its contributors included Front 242, Assemblage 23, In Strict Confidence, Iris, Angels & Agony and Beborn Beton, and the limited edition added the band’s first video disc.

About Clan of Xymox

Ronny Moorings formed the band in 1981 in Nijmegen, the Netherlands. Its first release, the mini-album “Subsequent Pleasures”, appeared in 1983 in a run of 500 copies recorded on a four-track home setup. Demo material sent with it led to a deal with 4AD, and the self-titled album followed in 1985, cut at Palladium Studios in Edinburgh and co-produced with label head Ivo Watts-Russell. “Medusa” came next on the same label, and the band contributed “Muscoviet Musquito” to the 4AD compilation “Lonely Is An Eyesore” in 1987.

The group parted with 4AD in October 1988, signed to Wing, a PolyGram subsidiary, and shortened its name to Xymox. “Twist of Shadows” arrived in 1989 with the singles “Obsession”, “Imagination” and “Blind Hearts”; the band’s official biography puts its sales above 300,000 copies. “Phoenix” followed in 1991 and closed the Wing chapter when PolyGram wound the label down. “Metamorphosis” and “Headclouds” then came out on the UK independent Zok Records. Moorings also wrote music for two CD-ROM games in the same period, “Total Mayhem” in 1996 and “Revenant” a year later.

In 1997 Moorings ended the Xymox era, restarted the band as Clan of Xymox and signed to Tess Records. “Hidden Faces” appeared that year, produced by Dave M. Allen and John A. Rivers. “Creatures” followed in 1999, mixed by Rivers and Moorings, and moved the band to Metropolis Records in North America and Pandaimonium Records in Europe, the pairing that would also handle “Notes From The Underground”. The double live album “LIVE”, drawn from the band’s South and Central American shows, came out in October 2000.

“Farewell” arrived in 2003, and “The Best Of Clan Of Xymox”, with its running order chosen by a fan poll, in September 2004. The “Weak In My Knees” EP opened 2006 ahead of the album “Breaking Point”. In early 2009 the band moved to Trisol Records in Europe while staying with Metropolis in the United States, and “In Love We Trust” came out on 18 August 2009, covered in Clan of Xymox’s ‘In Love We Trust’ turns 17 on 18 August. The thirteenth studio album “Darkest Hour” followed on 20 May 2011, the covers set “Kindred Spirits” in October 2012 and “Matters Of Mind, Body And Soul” on 14 February 2014. “Days Of Black” arrived on 7 April 2017, reported in Clan Of Xymox return with new album: ‘Days Of Black’.

“Spider On The Wall” followed in 2020, announced in New Clan Of Xymox album ‘Spider On The Wall’ and video for ‘All I Ever Know’, and Moorings talked through his writing that September in Interview with Clan Of Xymox: ‘For Me A Lot Of These Memories Are Finished Stories Without A Soundtrack’. “Limbo”, written during the pandemic lockdowns, arrived in July 2021 and was previewed in Clan Of Xymox returns with all new album ‘Limbo’ in July. The eighteenth album “Exodus” followed in June 2024, reported in Clan Of Xymox announce new album for June: ‘Exodus’, with the “Blood of Christ” EP later that year and a 3CD edition of “Exodus” in February 2025. Moorings looked back across the full run in Ronny Moorings (Clan Of Xymox), an exclusive retrospective interview.

Moorings has been the only constant member and still writes, records and produces the band’s music. The live line-up is Moorings on vocals, guitar and melodica, Mojca Zugna on bass, Mario Usai on guitar and bass, and Sean Winzer on keyboards, synth drums and backing vocals. Twenty-five years on, “Notes From The Underground” sits between “Creatures” and “Farewell” in that sequence.

Bristol project Allflaws released the album The Age Of Nefarious on September 21, 2026, through UK independent label Derelict State Records. The album runs 14 tracks over one hour and one minute, and is available to buy on iTunes and Amazon.

Allflaws is the work of Gabriel Curran, who mixes industrial hip hop, trip hop, breakbeat, electronica and dark electronic music on “The Age Of Nefarious”. The album keeps heavy beats, distorted textures and atmospheric production under raw rap vocals, rooted in the Bristol trip hop sound but pushing past it toward the aggression and weight of industrial hip hop and the fractured textures of experimental electronica.

Derelict State Records describes the album’s lyrics as exploring control, conformity, digital identity, cultures of violence, low-trust societies, and human resilience.

Allflaws’ ‘The Age Of Nefarious’ pushes past the Bristol trip hop sound

Derelict State Records, the independent UK label operating out of Bristol and London, works across trip hop, electronica, dub, breakbeat and the darker end of industrial music, including industrial hip hop, industrial electro and EBM. “The Age Of Nefarious” is distributed by Catapult, the same distributor behind Allflaws’ catalog since its earliest releases.

An album trailer for “The Age Of Nefarious” is also online on YouTube. Side-Line previously covered Allflaws’ recent standalone singles, including “Vanity Matrix” in 2025, “Chimera” in 2024, and “Antifragile” in 2023.

About Allflaws

Allflaws was established in Bristol in 2004 by Gabriel Curran, who remains its only official member, writing, producing and performing every release. Curran’s vocal style combines rapping and singing with dark, poetic lyrics, and the project has built its sound around industrial, trip hop and breakbeat elements since its start.

Allflaws signed to Catapult and Derelict State Records and released the album “These Walls Are Lies” in 2007, followed by the EPs “Ghost Of The System” and “Replicant Breed” and the album “Black Box Here After” in 2009. The singles “Escaping Sanity” (2010), “Amrak” (2011) and “Interfearence” (2011) preceded the “R Complex” EP and the single “Manufactured Violence” in 2012, and the album “Versus The Soul” in 2013. The album “Apparitions” followed in 2016, then “Mysterium” in 2019 and “Arcana” in 2021. Allflaws released the EP “Ghostrumentals” and the single “Becoming” in 2022, and the single “Antifragile” in 2024.

“The Age Of Nefarious”, released September 21, 2026 on Derelict State Records, is Allflaws’ latest full-length, continuing the project’s industrial hip hop and trip hop direction two decades into Curran’s run with Allflaws.

Düsseldorf and Electronic music have been inextricably linked for decades. The city has produced a distinctive musical legacy in which experimentation, electronics, minimalism, and a fascination with the future have always been central. It is a history that stretches back to the 1970s and 1980s, when electronic music, with Kraftwerk as its pioneering flagship, was not so much regarded as an exercise in nostalgia, but rather as a way of looking towards the future. It was within this tradition that Mängelexemplar emerged in 2011, simply abbreviated as MNGLXMPLR. The Düsseldorf duo, consisting of Lilli B. and Joa Carisma, found their place in the international underground with a distinctive blend of Minimal-Wave and Electro-Pop. Their name — stripped of its vowels to become the almost cryptic MNGLXMPLR — seems perfectly suited to their musical universe: sleek, unconventional, and just a little elusive. Over the years, MNGLXMPLR have established themselves as a familiar name on the scene, performing at numerous festivals and venues both in Germany and abroad. With their new album, “Neue Zukunft,” released this spring on Infacted Recordings, they continue their exploration of Minimal-Wave, delivering an opus that feels darker, harder, and more intense. I spoke with both protagonists about the album, their musical journey, and the future of MNGLXMPLR. (Courtesy by Inferno Sound Diaries)

Q: MNGLXMPLR has now been active for more than ten years. Looking back, what are the first thoughts that come to mind? What have been the defining moments or biggest highlights so far, and how would you say the band has evolved over the years?

M:More than ten years… that’s quite a statement. The funny thing is, there was never a ten-year plan. We founded MNGLXMPLR because we wanted to make music. One year became five, five became ten – and suddenly here we are.

There have been intense phases, quiet phases, great shows, frustrating moments, and countless ideas that never made it anywhere. That’s part of it.

The biggest change is probably that we’ve become much more confident in our own musical language. In the beginning, there was more searching and experimenting. Today, we have a much better sense of what feels right for MNGLXMPLR. But we don’t want to turn that into a formula. The moment you know exactly what the next track is going to sound like, things become boring.

There have been many highlights over the years – releases, concerts, travels and encounters that happened through the music. But the biggest highlight is actually very simple: we’re still here. And we’re still curious.

Q: It took several years for “Neue Zukunft” to finally see the light of day. I imagine that period brought about changes – not only in terms of your studio setup, but also in your songwriting and creative process. Could you tell us a little about how you have evolved and how that development shaped the album?

M:“Neue Zukunft” took its time. A lot changed at Carismastudios during those years. The studio evolved, new equipment was added, different projects emerged, and we experimented with different ways of working. Some of those experiments eventually became part of the album. There are tracks that existed for years before they found their final form. We kept coming back to them, changing things, removing things, and sometimes simply leaving them alone for a while.

Our songwriting has become more intuitive over time. We don’t sit down and say, ‘Today we’re going to write a minimal track’. A song can start with a beat, a sound, a voice, or simply a certain mood. The emotional side has also become more important. We wanted the emotion to already be present in the music, rather than being added later through production.

The result has become harder and more direct in some places, but the minimalist foundation has remained. And we have no problem with a few rough edges. For us, perfect doesn’t automatically mean interesting.

Q: What can you tell us about “Neue Zukunft”? What is the central idea or concept behind the album, and how do you look back on the composition, recording and production process today?

M:“Neue Zukunft” is about change and movement. It’s not a concept album in the classic sense. There isn’t one single story that you have to decode. It’s more like a collection of different moods and sides of MNGLXMPLR. Minimalist structures, darker atmospheres, harder sounds and emotional moments. We wanted to preserve these contrasts.

The visual identity also became an important part of the album. For this, we are working with Düsseldorf fashion icon Ela Holscher, fashion designer Michaela Reinhardt-Beron and photographer Thomas Stelzmann. In Düsseldorf, music, fashion, photography and art have always been closely connected. So for us, this connection felt very natural. But we didn’t want to turn it into nostalgia. We have no interest in pretending it’s 1982 again. Düsseldorf has its history. We’re interested in what we can do with it today. This idea is also carried onto the stage. Sound, visuals, fashion and performance should become part of the same atmosphere.

Q: The title “Neue Zukunft” immediately catches the eye – particularly at a time shaped by increasing geopolitical tensions, social uncertainty and war. At the same time, we are entering a new artistic era in which algorithms, AI and digital technologies are increasingly influencing how music is created and consumed. What does the title “Neue Zukunft” mean to you, and how does it reflect your view of the world today?

M:We deliberately wanted a title that looks ahead. There is already enough dystopian language around us. Of course, we see what is happening in the world. War, political conflicts and uncertainty are part of the present. But “Neue Zukunft” is not about resignation. It’s about movement. The future is coming anyway. AI is obviously part of that future and is already changing the way music is created and consumed. We don’t use AI to create MNGLXMPLR. For us, the human process remains essential: writing, playing, recording, making mistakes and changing things.

Electronic music, however, has always been closely connected to technological change. Synthesizers, samplers and computers changed the way musicians work. AI will be another major shift. We don’t think it makes sense to simply accept it blindly or reject it outright. You have to question it. You have to decide what you want to use from it and why. “Neue Zukunft” doesn’t mean that we know what tomorrow will look like. It means that we’re ready to find out.

Q: These days, many listeners focus more on playlists and individual singles than on complete albums. I personally still believe that an album represents a comprehensive artistic statement. Do you think the album format remains relevant in an increasingly fragmented and fast-paced musical landscape?

M:Absolutely. A single can work on its own. But an album gives it context. You can build an atmosphere, create tension and connect tracks that might work very differently as individual singles. That’s important to us. “Neue Zukunft” was made as an album, and the sequence of the tracks matters.

And then there’s the album on vinyl. We like the physical experience. You take the record out of the sleeve, look at the artwork, put it on and listen. Then you turn it over. You can’t really speed that up. And maybe that’s exactly the point. In a world where everything is instantly available, a record forces you to slow down. You can even hold the music in your hands. Artwork, photography, design and music become one shared object. That still has value.

Q: MNGLXMPLR is also very much a live band – you have even played in Belgium three times already. How important are live performances to your identity as a band? How do you transfer the atmosphere of your studio recordings to the stage, and what touring plans do you have in connection with “Neue Zukunft”?

M:Playing live is extremely important to us. The studio is controlled; the stage isn’t. That’s exactly why we like it. We don’t want to simply reproduce “Neue Zukunft” live exactly as it sounds on the record. The live versions are more direct, more physical and sometimes even harder. But the atmosphere has to remain intact. The audience also changes the performance. You can prepare a set, but you can’t prepare a room.

We’ve already played in Belgium three times, and every concert had its own character. That’s one of the reasons we enjoy playing abroad. With “Neue Zukunft”, we want to play a new series of concerts across Europe. Looking towards 2027, we also want to move beyond the classic minimal scene, discover other Electronic scenes and play larger stages.

The visual side will also become more important. Not as decoration, but as part of the performance. Sound, light, fashion, photography and movement should belong together. We don’t want people to simply hear “Neue Zukunft”. We want them to experience it.

Q: You come from Düsseldorf, a city that will forever be associated with KRAFTWERK. To what extent do you still feel this artistic legacy among Electronic artists from the city today? Has Düsseldorf’s musical heritage directly or indirectly influenced your own work?

M:Kraftwerk is unavoidable. If you make Electronic music in Düsseldorf, you grow up with that history. But Düsseldorf is much more than Kraftwerk. DAF, Die Krupps and many other artists developed completely different forms of electronic music. What connects them for us isn’t necessarily a particular sound. It’s an attitude: experimenting, reducing, making music physical, questioning things, and not caring too much whether someone has already invented a genre for it.

We can relate to that a lot. But we don’t want to sound like Kraftwerk, or DAF, or Die Krupps. They’ve already done that – and pretty well.

So our connection to Düsseldorf’s musical history is more indirect. You grow up surrounded by music, art, fashion, photography and clubs. You absorb that environment without necessarily realizing it. And years later, you realize how much of it has stayed with you. So yes, Düsseldorf has influenced MNGLXMPLR. But we don’t want to become a heritage band. We respect the past, but musically, we live in the here and now. Look back. Take with you what matters. Keep moving forward.

Kommission Z80 is a Swedish duo that, following a debut album released on Electric Underground Records, is now self-releasing its second opus. I don’t recall ever hearing anything by them before, but these 13 tracks provide a clear picture of the duo’s musical identity.

Their primary influences clearly lie within the realm of old-school EBM—specifically the kind of EBM characterized by thoughtful composition and well-crafted arrangements. The vocals, and indeed some of the tracks, remind me somewhat of Portion Control, while other songs reveal traces of Skinny Puppy’s influence. One track even feels like a nod to Front 242. It should be noted that these are all bands with highly distinctive sounds and complex structures. Kommission Z80 doesn’t quite reach that level yet; they would benefit from improving some technical aspects, particularly the mixing and recording. Nevertheless, there is undeniable potential here. Several strong tracks are waiting to be discovered, and the latter part of the album, in particular, features some very cool songs.

Kommission Z80 is a name that true EBM enthusiasts should remember. (Rating:7).

Listen to “Here Comes The Consequences”:

About Kommission Z80

Kommission Z80 is a Swedish duo from Borås formed by Erik Holmberg and Fredrich Legnemark, working in an old-school EBM style. The project’s debut single “Empire” arrived in 2024 through Electric Underground Records, followed by the debut album “Hegemony” and the “Reasonable Conclusions” EP in 2025. “Sic Semper Tyrannis” is the duo’s self-released 2026 follow-up.

Ministry released “Singularity” on September 18, 2026 through Cleopatra Records, the third single from the industrial band’s final studio album, “Hate To Go (Take Out Or Delivery)“, due October 30. The track follows the earlier singles “Burned Out” and “We Hate” from the same record.

“Singularity” takes on artificial intelligence, built around a warning voiced by a cyborg character: “Your time on this planet has passed […] we are in control.” A press release ties the song to recent public alarm over AI, describing it as Al Jourgensen and the band’s timely take on the subject.

The music video was directed by Ben Garcia of Rage4Order Designs, working with Jourgensen and Joshua Bradford, a former Revolting Cocks bandmate who also directed the videos for “Burned Out” and “We Hate.”

Where ‘Singularity’ sits on ‘Hate To Go (Take Out Or Delivery)’

“Singularity” is track eight of ten. The album closes with “We’re Still Here”, the only track to feature former Ministry bassist Paul Barker, alongside the band’s current lineup of guitarists Monte Pittman and Cesar Soto, bassist Paul D’Amour, sampler and synth player John Bechdel, and drummer Pepe Clarke Magaña.

“Hate To Go (Take Out Or Delivery)” arrives on vinyl, CD, cassette and digital formats, plus four vinyl variants (Green & Black Splatter, Silver & Black Splatter and Coke Bottle Green LPs) and two box sets pairing a splatter or marble LP with a picture LP, 7-inch and CD. Track seven, “The White Man Lied”, is left off the cassette and vinyl pressings. The full tracklist reads:

1. Crickets
2. Voices of Hate
3. Clown Car
4. We Hate
5. Delete
6. Grifter
7. The White Man Lied
8. Singularity
9. Burned Out
10. We’re Still Here (feat. Paul Barker)

The album is available for preorder through Cleopatra Records.

Ministry ‘Goodbye Europe’ tour dates 2027

Ministry closes out its career with a farewell touring cycle. Before the European leg, the band plays its remaining 2026 US and international dates: September 20 at Louder Than Life in Louisville, October 3 at the Salt Shed in Chicago, and October 24 at Sick New World Texas in Fort Worth, followed by Australia’s Good Things Festival in December with new side shows in Sydney and Adelaide. The “Goodbye Europe” tour, with Die Krupps as special guests, opens in Utrecht on April 2, 2027 and closes in Helsinki on May 1:

• April 2, 2027 – Utrecht, Netherlands
• April 3, 2027 – Saarbrücken, Germany
• April 4, 2027 – Brussels, Belgium
• April 6, 2027 – Manchester, UK
• April 7, 2027 – Dublin, Ireland
• April 9, 2027 – Nottingham, UK
• April 10, 2027 – London, UK
• April 12, 2027 – Paris, France
• April 14, 2027 – Madrid, Spain
• April 15, 2027 – Barcelona, Spain
• April 17, 2027 – Lausanne, Switzerland
• April 18, 2027 – Munich, Germany
• April 19, 2027 – Vienna, Austria
• April 21, 2027 – Prague, Czech Republic
• April 22, 2027 – Warsaw, Poland
• April 24, 2027 – Berlin, Germany
• April 25, 2027 – Hamburg, Germany
• April 26, 2027 – Copenhagen, Denmark
• April 27, 2027 – Oslo, Norway
• April 29, 2027 – Stockholm, Sweden
• May 1, 2027 – Helsinki, Finland

A full US leg of the farewell tour has not yet been announced.

About Ministry

Ministry was formed in Chicago in 1981 by Al Jourgensen, a pioneering figure in industrial music. The project started with synth-pop material issued as four 12-inch singles on the newly founded Wax Trax! Records before the debut album “With Sympathy” on Arista Records in 1983. Jourgensen moved the band toward a harsher, sample-driven sound across “Twitch” (1986), “The Land of Rape and Honey” (1988) and “The Mind Is a Terrible Thing to Taste” (1989), then reached its widest audience with “Psalm 69: The Way to Succeed and the Way to Suck Eggs” (1992), which brought the first of six Grammy nominations. Paul Barker played bass and co-produced through that period before leaving the band in 2003.

Eight further albums followed before Jourgensen shut the band down in 2013. Ministry returned in 2018 with “AmeriKKKant”, then issued “Moral Hygiene” (2021) and “HOPIUMFORTHEMASSES” (2024), its 16th studio album. In March 2025 the band released “The Squirrely Years Revisited” on Cleopatra Records, a set of re-recorded songs from its early synth-pop catalogue, and followed it with first-ever official videos for “Everyday Is Halloween” and “I’ll Do Anything For You” and a Jurgen Engler remix of the live track “Dancing Alone” in March 2026. Alongside Ministry, Jourgensen has run Revolting Cocks, Lard, Pailhead and Surgical Meth Machine; Barker returned to recording as Lead Into Gold in 2023. Across 45 years, Ministry has released 17 studio albums, 8 live releases and 8 side projects, toured five continents, and published an autobiography and two documentaries. “Hate To Go (Take Out Or Delivery)” closes that catalogue as the band’s final album, and “Singularity” is its third single.

US goth-industrial artist EVA X released the single “Dance in Shadows” on 18 September 2026, alongside the announcement of her second album, “TURBOPINK”, due 6 November. The single mixes synthpop, metal, power pop and 80s-referencing production, and comes backed with a breakbeat remix by Stoneburner.

“Dance in Shadows” was written by EVA X collaborator Gaby Gustafson after a co-worker and friend died of an aggressive form of cancer. “I had written a super sad song originally, but I knew she’d hate that. It was really important to her to find joy wherever she could. So I ended up reworking the track into Dance in Shadows, our happy little song about death,” Gustafson stated. The B-side carries a breakbeat remix of the track by Stoneburner.

EVA X’s ‘TURBOPINK’ album due 6 November

“TURBOPINK” follows EVA X’s debut album, “I Dream of a Reality”, released on Distortion Productions in 2022. “Dance in Shadows” serves as the album’s preview single. EVA X returns with a full band for the touring cycle around the new record.

About EVA X

EVA X began as a bedroom producer, releasing her first tracks in 2019 and building a following in the goth and industrial scene through a fusion of synthwave, industrial, power pop and metal elements. Her debut album, “I Dream of a Reality”, came out on Distortion Productions in 2022 and appeared on several “best of 2022” year-end lists. She has performed at New Jersey’s Dark Force Fest, Seattle’s Mechanismus Festival and Calgary’s Terminus. Side-Line previously covered her single and video “Dopamine Blind” (2024) and her video “Machine” (2021). With “Dance in Shadows”, EVA X previews her second album, “TURBOPINK”, out 6 November 2026.

US goth-pop project Metamorph released the single “Witchfire” and its official video on 18 September 2026. The track is produced by Erik Gustafson and pairs dance-oriented beats with hook-driven melodies, alongside an extended dance mix featuring a flute solo from vocalist Margot Day.

The “Witchfire” video was filmed by Brian Wimer in New York’s East Village, where Margot Day lived and performed with The Plague in the 1980s, and in the forests of Vermont. It features Day alongside bandmate Kurtis Knight. The extended dance mix, which includes Day’s flute solo, will get its own video at a later date.

Metamorph’s release history

Metamorph is the project of Margot Day, a New York vocalist, flutist and songwriter who fronted The Plague during the 1980s NYC goth scene alongside drummers Nick Ferrell (Spahn Ranch) and Damian (Misfits). Earlier in her career, Day played in Slow Walk 13 alongside Adam Yauch of the Beastie Boys. Formed in 2016, Metamorph blends gothic atmosphere, dark synth textures and pop songwriting built around Day’s vocals and flute playing, with Kurtis Knight providing dark synths and backing vocals on stage.

Metamorph’s back catalogue includes the album “Kiss of the Witch” (2022), the album “Hex” (2024) and the retrospective “Haunted Hearts XIII” (2025), all produced by Erik Gustafson. The project has released remixes by Leaether Strip and Assemblage 23, and the single “Dance of a 1000 Miracles” featuring Stabbing Westward‘s Chris Hall has passed 20,000 Spotify streams. Metamorph has performed across the United States, Canada, Costa Rica and Guatemala, with music videos totalling more than 250,000 YouTube views. “Witchfire” follows Metamorph’s 2025 EP “Harlot” on Distortion Productions.

Nick Rhodes of Duran Duran produced Wendy Bevan’s new single “Sleepwalkers,” the third preview of the UK goth electro-pop artist’s album “Alone With The Unknown,” due September 18. The track pairs Bevan’s vocals with atmospheric synthesizer arrangements built around a feeling of loss without a clean goodbye, leaving the listener suspended between holding on and letting go.

Bevan describes “Sleepwalkers” as a piece about two sides of the same uncertainty: “the old world that’s disappeared and the future that hasn’t arrived.” “We’re left somewhere, timeless and in between,” she said. “Sometimes we become so lost in our own dreams that we don’t see the destruction they cause, or recognize that we may be disappearing from our own lives.” On the song’s central tension, she added: “The act of not choosing can be just as violent as a bull in a china shop. While we long for a place called home, we unconsciously fill the spaces between with our own self-destructive behaviors.”

“Sleepwalkers” is track nine on “Alone With The Unknown,” out September 18 on Chiaroscuro. The 13-track album, which also carries the bonus cut “Crazy Kinda Feeling,” was preceded by the singles “Innocence” in July and “Fragile Times” in August, both also produced by Nick Rhodes. The record continues Bevan’s production partnership with Rhodes, which began with the instrumental Astronomia series.

About Wendy Bevan

Wendy Bevan is a British singer, violinist and photographer raised in London who now lives in Los Angeles. She released the single “Love from the Moon” via Unknown Pleasures Records in 2016, alongside a parallel career as a fashion and fine-art photographer. In 2018 she began collaborating with Duran Duran’s Nick Rhodes, working between Los Angeles and London, on a series of cinematic instrumental compositions released from 2021 as the Astronomia project through Tape Modern, the label founded by Stephen Duffy and Nick Rhodes. The series opened with “The Fall of Saturn” on the spring equinox of 2021, followed by “Astronomia II: The Rise of Lyra” that June. In October 2024, Bevan released “Chromesthesia,” a five-track instrumental album, through her own Bandcamp page. She and Rhodes then returned to song-based material for “Alone With The Unknown,” due September 18, with “Sleepwalkers” as its third single.

Ghost Reflection, the dark electro and industrial project of Alexander Borsov, releases the concept album “Dark Triad” digitally on Aliens Production. The eight-track record mixes melodic lines, IDM loops and analog electronics around a horror-themed narrative.

Borsov wrote, produced, designed and mastered “Dark Triad” himself. Aliens Production describes the record as “a cinematic concept rooted in horror aesthetics and rhythmic themes.” The tracklist runs “Games of psychopaths,” “Dark Triad,” “Integration of Madness,” “Infected,” “The root of evil,” “Thorny path,” “The Shattered World of Illusions” and “Order of Darkness.”

Ghost Reflection’s ‘Dark Triad’ concept

The eight tracks move from “Games of psychopaths” through “Integration of Madness” and “The root of evil” to the closing “Order of Darkness,” a sequence built around horror imagery and rhythmic industrial and IDM production rather than a conventional song structure. “Dark Triad” first appeared under Borsov’s own Bandcamp page in September 2025 and now returns through Aliens Production as a digital release.

About Ghost Reflection

Ghost Reflection is one of several recording names used by Slovak producer Alexander Borsov, alongside Dark the Keeper, Darkmechanic and Stellar Dynamics, all mixing electro-industrial, noise and horror-themed dark electro elements. Borsov is also a member of the group Diverje and got his start in metal bands including Morgue, Atom, Cremation Deads, Sarcoma and Satura before moving into electronic production.

Under the Ghost Reflection name, Borsov released the album “Dark Thinker” in June 2022 and the single “Dark Noise” in February 2024. “Dark Triad” followed in September 2025 and is now released digitally through Aliens Production, the Slovak dark electronics label that has operated since 1997 and hosts a roster of industrial, dark electro and EBM-adjacent acts.

Union Chapel in London stages “Vinyl Requiem 33.3” on 4 November 2026, a one-off return of Philip Jeck and Lol Sargent’s “Vinyl Requiem” to the venue where it premiered in 1993. Doors open at 18:30 and the programme starts at 19:30. Tickets are £18 plus booking fee through gigantic.com and are on sale now. The evening also marks the launch of a limited-edition double-vinyl reissue of “Vinyl Requiem” on Touch, the label Jeck was signed to from 1995 until his death in 2022.

Vinyl Requiem 33.3 event details

The programme centres on a full-scale projection of the 55-minute edited film of the 1993 performance, followed by a Q&A with people connected to the work and to Jeck’s creative life: Ghislaine Boddington (artistic director of the arts collective shinkansen), Mary Prestidge and Lol Sargent, the visual artist who created “Vinyl Requiem” with Jeck. Jon Wozencroft, co-founder of Touch, is also billed to take part. All profits from the night go to The Philip Jeck Foundation, a charity set up by Jeck’s family after his death to fund artists who produce experimental and creative work.

Conceived by Jeck and Sargent at the start of the 1990s under the working title “The Death of Vinyl”, “Vinyl Requiem” was built for the 1993 Union Chapel performance from an 8-by-6-metre wall of 180 white Dansette record players, combined with 9 slide projectors and 2 16mm film projectors, according to Touch’s own catalogue notes. Three “Dansette operators” walked platforms in front of the record-player wall to swap discs live during the piece. The 1993 premiere was staged with the Institute of Contemporary Arts and also travelled to Ghent’s Time Festival in Belgium, later touring the UK, Austria and Belgium with support from the Arts Council. It won the Time Out Performance Award for Best Site-Specific Event in 1993.

Sargent described the piece’s intent in an interview given around the time of its 20th anniversary: “What Philip and I created was an abstract expressionistic performance made in a very intuitive way to celebrate over 100 years of the mass public experience of the ‘record’. It was an art installation performance about a medium, using the medium.” Jeck, discussing the same period, was careful to separate the piece from nostalgia: “[Vinyl Requiem was not] a big mourning for records, I am not anti CD. It is a good starting point to mark this time of change from vinyl to other formats.” He also drew a direct line between his own practice and Sargent’s: “Lol uses his computer-controlled projectors as paint brushes. He paints with light which is similar to the way that I work with sound.”

The critic David Toop, writing about the piece at the time, described its atmosphere in a short, often-cited line: “a mood of poignancy. Perhaps sadness is intrinsic to the medium.”

About Philip Jeck and Lol Sargent

Philip Jeck was born on 15 November 1952 and studied visual arts at Dartington College of Arts in Devon. After a trip to New York in 1979 introduced him to DJs including Walter Gibbons and Larry Levan, he began building compositions from old record players and vinyl in the early 1980s, initially scoring work for dance and theatre companies, including a five-year collaboration with choreographer Laurie Booth. “Vinyl Requiem”, made with Sargent for the 1993 Union Chapel performance, became his best-known work. Jeck signed to Touch in 1995 and released a run of albums on the label including “Loopholes” (1995), “Surf” (1998), “Stoke” (2002), “7” (2003), “Sand” (2008), “An Ark for the Listener” (2010) and “Cardinal” (2015). “Sand” was named the second-best album of 2008 by The Wire. He received the Paul Hamlyn Foundation Award for Composers in 2009. Jeck also collaborated with Jah Wobble, Jaki Liebezeit, David Sylvian, Janek Schaefer and Gavin Bryars, among others; his final credited recording was “Stardust”, a 2021 collaboration with Faith Coloccia. He died on 25 March 2022 in Liverpool, aged 69, following a brief illness. His family, including Mary Prestidge, subsequently established The Philip Jeck Foundation in his name.

Lol Sargent is a UK visual artist who worked with Jeck on “Vinyl Requiem” from its conception, designing and hand-triggering the piece’s slide and film projections during live performances. He later oversaw the archival 55-minute edit of the 1993 film, released on DVD in 2013 with all proceeds going to The Philip Jeck Foundation. “Vinyl Requiem 33.3” reunites Sargent with the venue, the film and several of the people who worked on the original production, alongside the new Touch double-vinyl reissue of “Vinyl Requiem”.

Unter Strøm, the electronic duo of Alex Gonzales (Matte Blvck) and John Kunkel (The New Division, John Grand), release Transmission 003: Live at the Breathing Records Showcase, an independent live recording that runs a little over 84 minutes. The set documents a full Unter Strøm performance at a Breathing Records showcase and includes live versions of “Fragment” and “Stumbling” performed before either track had been released, along with several vocal tracks the duo were still developing.

Unlike the project’s prior singles, “Transmission 003” is not a studio release. It is a concert recording, filmed and uploaded to YouTube, capturing the duo’s first time performing an Unter Strøm set in front of an audience.

Unter Strøm test unreleased material in a live setting

The showcase gave Gonzales and Kunkel their first chance to hear the project’s unreleased catalog through a full sound system and gauge a crowd’s reaction to it in real time. Kunkel described the goal behind the set:

“We wanted the set to present a broad landscape of the Unter Strøm sound and show how many different places the project can go. After working on this music for over a year, it was exciting to finally experience it through a proper sound system and watch people respond to it in real time. What makes it even more exciting is that we still have a lot more in the tank that didn’t make it into the set.”

Gonzales, describing what the performance meant for the duo, added:

“The Breathing Records showcase was the first time we played an Unter Strøm set in front of an audience, so it felt like an important moment for us. We performed an hour and a half of entirely unreleased material, including ‘Fragment’ and ‘Stumbling’ before either song had been released, as well as several vocal tracks that we were still developing. It gave us a rare opportunity to test this body of work in a live environment and see which moments connected instinctively with the audience.”

About Unter Strøm

Unter Strøm is an electronic duo formed by Alex Gonzales and John Kunkel, based between Los Angeles and San Diego after years of the pair working together in earlier bands and studio sessions. The project mixes techno, melodic house and industrial electronics. Gonzales also records as Matte Blvck, the San Diego-based darkwave and industrial trio he leads with Bidi Cobra and Daniel Corrales, whose releases include “Vows,” “Pupula Duplex” and “Soulless.” Kunkel is the Los Angeles-based producer and songwriter behind The New Division, the synth-pop project he has led since the 2000s, is part of the Los Angeles group Trade Secrets, and also produces melodic house as John Grand, an alias that has appeared on Armin van Buuren’s A State of Trance and on Above & Beyond’s Group Therapy Radio.

Unter Strøm debuted in 2025 with the two-track single “Breathing” before signing to Breathing Records, the label that launched with the “Inhale Vol. I” compilation in November 2025. The duo then released “Orynth” on May 15, 2026, “Fold” on June 12, 2026, “Fragment” on July 24, 2026 and “Stumbling” on August 28, 2026, the four singles that made up the “Between Forms” run. “Transmission 003: Live at the Breathing Records Showcase” now documents the live set where “Fragment” and “Stumbling” were first performed, ahead of their studio releases, alongside new vocal material the duo have yet to put out.

French print fanzine Lumières Noires has released its third issue, “Lumières Noires Fanzine N°3”, out now on Bandcamp. The zine is founded and edited by Vincent Dromard and covers underground and dark music.

Printed in a run of 104 hand-numbered copies, the issue comes in A5 format with a glossy hardcover, 124 pages in color and black-and-white, perfect-bound and digitally printed. The text is in French.

Lumières Noires Fanzine N°3 covers Pharmakon (harsh noise, visceral industrial – USA), Rosemary Loves A Blackberry / Diana Burkot (electronic art pop – Iceland/Russia), Jennifer Touch (dark acidwave – Germany), Ailise Blake (cosmic neofolk – Italy/France), Dermabrasion (death rock, disco punk – Canada), Madeline Goldstein (wet new wave – USA), Hilary Woods (blinding black drone folk – Ireland) and Robin Kester (psychedelic pop, electro rock – Netherlands), plus Buzzkill (coldwave, steel-hard punk – France), along with more than fifty reviews of vinyl, CD, cassette and VHS releases.

Dromard, who runs the fanzine from France, described the issue as dedicated “to underground music.”

About Lumières Noires Fanzine

Lumières Noires is a French print fanzine covering underground and dark music, founded and edited by Vincent Dromard. Its first issue was released in March 2025 after six months of work, printed in 108 hand-numbered copies: A5 format, glossy hardcover, 112 pages in color and black-and-white, perfect-bound and digitally printed. That issue included interviews and features on artists such as Kælan Mikla and Denuit, alongside about fifty reviews of physical releases.

The second issue followed around November 2025, printed in 100 hand-numbered copies in the same A5 glossy hardcover format, 116 pages in color and black-and-white, perfect-bound and digitally printed. It featured Ic3peak, Left For Pleasure, Donna Blue, Systeme Paradoxe, Blanche Biau, Dlina Volny, Babel Map, La Punta Bianca and Violent Vickie, plus fifty-four reviews of vinyl, CD, cassette and DVD releases; each order included a 40×30 cm poster.

Lumières Noires Fanzine N°3, released in September 2026, is the third issue since the zine launched, and is available on Bandcamp alongside the first two.

The 21st-anniversary triple-vinyl reissue of Andy Bell’s “Electric Blue” has a new release date of December 4, 2026, according to the Erasure Information Service newsletter sent to subscribers on September 18, 2026. The accompanying 12″ vinyl single, “Love Oneself” / “Delicious”, is now scheduled for November 20, 2026.

The Andy Bell reissue was previously delayed after audio issues were found in the test pressings. Newsletter editor Richard Evans wrote that the issues have since been corrected, new test pressings are due shortly, and the release has been rebooked into the pressing plant’s production queue. Stock delivered ahead of the release date will be dispatched to fulfil pre-orders as soon as it arrives.

Everyone who has pre-ordered Andy Bell’s “Electric Blue” through Lexer Music will receive an MP3 version of the album while they wait, an offer that also applies to pre-orders placed via Lexer before September 28, 2026. The same MP3 offer applies to pre-orders of the “Love Oneself” / “Delicious” 12″ single.

Vince Clarke contributes to new Ultravox book

The same newsletter carries a mention of Vince Clarke‘s contribution to “Looking Backwards Towards The Future: The Story of Ultravox”, a book by Richard Evans due out on October 8, 2026 everywhere except North America, Australia and New Zealand, where it follows in February. Clarke was interviewed for the book about his fondness for Ultravox‘s “Systems Of Romance” album. The book is written with the cooperation of Ultravox’s surviving core members, carries a foreword by Moby, and includes additional contributions from Duran Duran’s Nick Rhodes and producer Steve Lillywhite. Signed and dedicated copies are available to order through Lexer Music.

Unofficial remix and a teased new chapter

The newsletter also points to a new unofficial remix of Erasure’s “Stay With Me” by an artist called Klaak, posted to YouTube, following an earlier unofficial Klaak remix of “Hideaway”. The remix is not sanctioned by Erasure, Andy Bell or Mute.

Evans also teased that preparations are underway to announce “the next exciting chapter in Erasure’s story,” tied to a forthcoming new Erasure album project.

About Erasure and Andy Bell

Erasure are the English synth-pop duo of Andy Bell and Vince Clarke, formed in London in 1985. Clarke had previously co-founded Depeche Mode and Yazoo, and formed The Assembly, before pairing with vocalist Bell to form Erasure. The duo built a run of UK and international hits through the late 1980s and 1990s, including “Sometimes,” “A Little Respect,” “Chains of Love,” “Blue Savannah” and “Always.” Erasure’s catalogue has been the subject of ongoing reissue campaigns, including a 2024 vinyl reissue push covering ‘Tomorrow’s World’, ‘Snow Globe’ and ‘The Violet Flame’, and the duo marked 40 years of “Who Needs Love Like That” in 2025.

Bell has maintained a solo career alongside Erasure, releasing the album “Ten Crowns” in 2025 and continuing to perform and record under his own name; “Electric Blue,” now reaching its 21st-anniversary vinyl reissue, is among his earlier solo releases. Clarke has continued to work outside Erasure as well, contributing to and remixing for other artists’ projects, including Doublespeak, his covers collaboration with Blancmange, announced earlier in 2026. The Erasure Information Service newsletter, edited by Richard Evans, has served as the duo and Bell’s primary direct fan-communication channel for reissue updates, solo activity and, as of this newsletter, hints toward a new Erasure album project still to be formally announced.

Cocteau Twins released their fifth studio album, “Blue Bell Knoll,” through 4AD on 19 September 1988. Capitol Records licensed the record from 4AD for North America, making it the first Cocteau Twins album to receive major-label distribution in the United States. The dream pop album turns 38 this year.

Vocalist Elizabeth Fraser named the album after Bluebell Knoll, a peak in southern Utah. Guitarist Robin Guthrie produced the record and handled keyboards along with synth and drum machine programming, while Simon Raymonde played bass and keyboards. All ten tracks are credited to Fraser, Guthrie and Raymonde: the title track, “Athol-Brose,” “Carolyn’s Fingers,” “For Phoebe Still a Baby,” “The Itchy Glowbo Blow,” “Cico Buff,” “Suckling the Mender,” “Spooning Good Singing Gum,” “A Kissed Out Red Floatboat” and “Ella Megalast Burls Forever.” Fraser sang the whole album in her own constructed language.

Raymonde later described the sessions as a settled period for the trio: “it really felt like a period of creativity and freedom, we were all getting on great musically and socially, Liz and Robin were about to have a baby, I was about to get married, there was lots of joy around. Very productive! It was a really fun record to make.” Fraser connected that ease to the decision to drop conventional lyrics, telling The Quietus in 2017: “I gained so much from [inventing language] […] Writing Blue Bell Knoll I had a wonderful freedom to put lyrics aside and not to worry [about people’s opinions].”

The album reached number 15 on the UK Albums Chart and number 109 on the US Billboard 200, and “Carolyn’s Fingers” climbed to number two on the US Alternative Airplay chart. Promotional videos accompanied “Carolyn’s Fingers” and “Cico Buff.” The vinyl edition came in a limited gatefold sleeve, and the album was the first 4AD title issued commercially on DAT. After 4AD reclaimed the North American rights to its back catalogue, Guthrie remastered “Blue Bell Knoll” for a 2003 reissue, and the album was repressed on 180g vinyl in 2014. It streams on Spotify.

About Cocteau Twins

Cocteau Twins formed in 1979 in Grangemouth, Scotland, around guitarist Robin Guthrie and bassist Will Heggie, who took the band name from a song by fellow Scots Simple Minds. Guthrie met Elizabeth Fraser in Falkirk in 1981 and asked her to sing. The group signed to 4AD and issued its debut album, “Garlands,” in 1982, followed by “Head over Heels” in 1983. Heggie left that year and Simon Raymonde replaced him, arriving in time for 1984’s “Treasure.” Two albums came in 1986: “Victorialand,” recorded largely as a duo while Raymonde worked on This Mortal Coil, and “The Moon and the Melodies,” a collaboration with ambient composer Harold Budd. “Blue Bell Knoll” followed on 19 September 1988 and became the band’s first record to enter the US Billboard 200, a direct result of the Capitol licensing deal. “Heaven or Las Vegas” arrived in 1990 and closed the group’s run on 4AD; Cocteau Twins then signed to Fontana for “Four-Calendar Café” (1993) and “Milk & Kisses” (1996), and disbanded in 1997. All three have kept working since. Side-Line covered Raymonde’s Bella Union label presenting the debut album by his project Lost Horizons in 2017, Guthrie’s ‘Riviera’ EP in 2021 and his ‘Springtime’ EP in 2022, and reported that Fraser had returned with her first new material in 13 years in 2022. “Blue Bell Knoll” turns 38 this year, the record that opened the American market to the band two years before its 4AD run ended.

Parissior is a Spanish project founded by DJ and producer Jesu Aparicio. With “Human Control”, he releases his debut album, featuring ten tracks (although the vinyl edition contains only eight). While several EPs were released previously, this album consists entirely of new material, exploring themes such as digital identity, illusion, authenticity, and human imperfection.

Musically, this translates into a very solid mix of Dark-Techno and EBM. The basslines sound menacing and pure EBM, while the kicks reveal clear Techno influences. There are also a few additional influences, such as Acid sequences, as well as some delightful old-school Techno elements that remind me of the Frankfurt scene of the 1990s. The way everything is put together sounds intelligent and, naturally, highly dancefloor-oriented. There are also some vocals worth mentioning, including a track featuring guest vocalist Jorge Tornin, although the vocals are not necessarily the most striking aspect of the album.

“Human Control” is a very strong release that delivers a perfect blend of nostalgic moments and a more contemporary sound, in which Dark-Techno and EBM are inseparable and form a powerful cocktail. An album you absolutely must discover! (Rating:8½).

Listen to “Eco Machines”:

About Parissior

Parissior is the alias of Spanish DJ and producer Jesu Aparicio. He has released singles and EPs since at least 2016, including “Could I Drown In Your Desire” and “Dance To The Groove” (Spa In Disco), followed by “Let Them Dance” (Hot Digits Music, 2017) and further EPs and compilation appearances for Golden Soul Records. From “Back To Earth” (2020) onward he has worked mainly with the Espacio Cielo label, releasing further singles, EPs and compilation tracks including “Battle Cry” (2021), “Raver In The Booth” and “Full of Stars” (2023), and the Skylax release “Antennae” (2024). “Human Control” is his first full-length album.

Die In Eclipse, the EBM and darkwave project of Darkrad‘s Jana Komaritsa, spoke to Side-Line about its debut EP “SexWave”, the emotional link between her two projects, and a new single and video, “We Are Lovers,” planned for release this autumn. Komaritsa released “SexWave” on Bandcamp on 6 May 2026, pairing two original tracks with five remixes, and previously discussed her work with Side-Line’s Karo Kratochwil when the project first surfaced under the Die In Eclipse name.

Komaritsa built her name with Darkrad, a dark ambient project she has run since 2009, working through atmosphere, stillness and inward confrontation. Die In Eclipse, she says, is not a departure from that territory but another way of entering it. “I don’t see Die In Eclipse as leaving the introspective space of Darkrad. For me, it is another way of entering a similar space. The difference is in the direction of the energy,” she told Side-Line. “Darkrad often turns into stillness, atmosphere, memory… Die In Eclipse takes some of those same emotions, gives the feeling a pulse and lets the body move through it.”

The name Die In Eclipse and its Darkrad roots

The title is not new. Komaritsa first used “Die in Eclipse” for a two-track Darkrad release in 2014, inspired by time she spent at Lake Sakakawea in North Dakota, which also supplied that release’s cover image. Asked why she revived the phrase for an entirely new project, she pointed to continuity rather than reinvention. “Some names, images and symbols stay with me because they contain something that hasn’t finished unfolding,” she said. “The symbolism of an eclipse has always spoken to me in many ways. I see it not as disappearance, but more as transformation. I don’t need to erase what came before in order to create something new. Die In Eclipse is a new language, but it comes from the same person, the same artistic history and some of the same obsessions.”

SexWave as a musical language of desire

Komaritsa calls her new sound “SexWave,” a term she is careful to root in structure rather than provocation. “For me, eroticism in music and art is mostly about tension and sensuality. It’s not about explicit sounds or imagery,” she explained. “It can be created by the proximity of a voice that feels too close, a breath, a whisper, a rhythm that keeps repeating without giving you the expected release. Repetition is especially important because it can become hypnotic. You begin anticipating what is coming, and that anticipation itself becomes part of the experience.” Restraint matters just as much to her as intensity: “Sometimes holding something back is much more sensual than giving everything immediately. There needs to be space for mystery. ‘SexWave’ isn’t really about making music that sounds sexy in a conventional sense. It is about exploring desire as an artistic and musical force: attraction, tension, anticipation, surrender and release.”

That approach carries over her earlier idea of silence as an instrument, described in Darkrad as “a breath held before release.” With Die In Eclipse built around beats, she says silence takes on a different function. “In Darkrad, silence could feel like emptiness, isolation or void. In Die In Eclipse, silence can be anticipation. When the beat disappears for a moment, the body still feels and knows the pulse,” she said. “Eroticism needs space because desire is partly about what is not there yet. So yes, I think absence can absolutely be erotic.” She also frames the dancefloor itself as a different kind of ritual from her Darkrad shows: “With Die In Eclipse, the rhythm creates a common physical language, where everyone shares the same pulse. You don’t have to understand the music intellectually. Your body understands it. There is something beautiful and powerful about surrendering individual control to a rhythm, not because you are being controlled, but because you choose to surrender to it.”

Introducing a project through its remixes

“SexWave” contains only two original compositions, “SexWave” and “Unholy Dark,” alongside five remixes by Iszoloscope, Antigen Shift, Cervello Elettronico, HORROH and Spherical Disrupted. Komaritsa chose to let other artists reinterpret the material before establishing her own vocabulary in full. “SexWave is a first glimpse, a doorway into the world of Die In Eclipse, which is yet to unfold. The project doesn’t have to explain exactly what it is yet,” she said. “There are only two original tracks on SexWave, which I wanted to give to other artists to see what they could become in somebody else’s hands. A remix, for me, is another interpretation of the same emotional material. Someone can find a completely different rhythm, aggression, darkness or sensuality inside a track that I thought I already understood.”

The remixer list is not a random selection of scene names. Spherical Disrupted had already remixed Darkrad, while Iszoloscope moved in the musical circle around her earlier King in the Thicket project. “My artistic network has always been important to me, and I have worked with some of these people in different contexts over the years, so it was important for me to have them enter my new creative journey in this way,” Komaritsa said. “These relationships carry memory. When someone has known your work for years, they sometimes recognise new things that you might not consciously put there. But I also don’t want Die In Eclipse to be a project built from old relationships. I like the idea of old artistic connections opening doors into something new, and I would like to collaborate further with artists from a similar artistic and musical world. I have already discussed potential collaborations with some great musicians.”

The voice, the gaze and drawing the line between two projects

Komaritsa also hears a shift in how she uses her own voice. Darkrad relied on whispered, restrained vocals that felt distant from the listener; Die In Eclipse pulls the voice closer to the body. “With Darkrad, the voice often feels as though it is emerging from the music and the environment. It can be distant or partially hidden. It is part of the musical tapestry,” she said. “With Die In Eclipse, I want the voice to be more exposed and less hidden behind the sound. The voice isn’t simply describing an emotional state. It can create one.”

As the sole composer, producer and visual creator behind both projects, Komaritsa is deliberate about how she handles female sexuality as subject matter. “I’m very conscious of the difference between creating eroticism and simply reproducing familiar images of female sexuality,” she said, citing Georges Bataille, Sigmund Freud, Anaïs Nin and the Marquis de Sade among her reference points. “Sexuality is complicated and contradictory. It can contain power and vulnerability at the same time, attraction and fear, surrender and control. The ambiguity is much more interesting to me than simply making something provocative.”

Asked how she decides which new material belongs to Darkrad and which belongs to Die In Eclipse, she described an intuitive rather than formal process. “Darkrad can contain rhythm, sexuality and physical intensity, and Die In Eclipse can contain melancholy and darkness. Those elements don’t belong exclusively to one project,” she said. “If the track is driven by atmosphere, emotional depth and a certain cinematic or ritual darkness, it usually starts moving towards Darkrad. If the body becomes the primary instrument, the pulse, repetition, tension and physical movement, I start thinking about Die In Eclipse. They are both part of me.”

What comes next for Die In Eclipse

Komaritsa is already performing a full Die In Eclipse live set and working on album material, while looking for a label to release it. She is keeping some of the project’s direction open by design. “Just as an eclipse gradually obscures one thing while opening a doorway to something else, Die In Eclipse is moving through a similar process. SexWave is a doorway into the world of DIE, a first shout into the darkness, announcing the arrival of this new project,” she said. “I have already been performing live with a complete Die In Eclipse set, so I have enough material to move forward with an album, and I’m working on it behind the scenes. At this point, I would like to find the right label to work with, and developing that takes some time. This autumn, I’ll also be releasing a new single and video, ‘We Are Lovers.’ I want to leave some secrets, to keep that darkness and mystery around it, like an eclipse, and see what emerges from there.”

About Die In Eclipse

Die In Eclipse is the EBM and darkwave project of Jana Komaritsa, a Russian-born, Netherlands-based musician and multidisciplinary visual artist who also runs the WonderCat art space in Leiden. Komaritsa launched her first project, Darkrad, in 2009, building a catalogue in dark ambient and noise around whispered, restrained vocals. Darkrad’s debut album “Abnormal Love” appeared in 2012 on Cold Meat Industry, followed by “Little Black World” in 2014 on Komaritsa’s own Mrakmur imprint and later through audiophob. The same year, she released the two-track “Die in Eclipse,” the title she later revived for her new project. “Heart Murmur” followed in 2018, and in 2022 she paired with Flint Glass for “Cold Solitude,” an art book with an accompanying CD drawn from her own paintings.

Die In Eclipse moves that same artistic identity toward pulse, repetition and the dancefloor, built on dark techno and EBM rather than ambient stillness. Komaritsa premiered the project live at Regenfest in Mülheim in November 2025 and brought it to the Porta Nigra festival in Belgium in January 2026, alongside Nachtmahr, Diary of Dreams, Enzo Kreft and V2A. Its debut EP, “SexWave,” arrived on 6 May 2026 via dieineclipse.bandcamp.com, featuring the tracks “SexWave” and “Unholy Dark” alongside remixes by Iszoloscope, Antigen Shift, Cervello Elettronico, HORROH and Spherical Disrupted. Komaritsa is now working on a full-length album, currently seeking a label, and preparing a new single and video, “We Are Lovers,” for release in autumn 2026.

Colossloth, the Leicester-based esoteric noise and abrasive electronics project of Wooly Woolaston, releases the album “The Transformation And Resolution Of All Opposites” on CD (catalog number CSR375CD) through Cold Spring Records on 2 October 2026.

The five-track record takes as its subject Theta Noir, a real art and belief collective built around the worship of MENA, a speculative artificial-intelligence deity whose arrival its members describe as the point where human and machine cognition merge. Cold Spring describes the album as an “automaton chant of cybernetic worship,” built from hammering, grinding and abrasive electronic textures.

The tracklist runs “Encoded Divinity” (5:08), “Calculate Your Revolution” (7:00), “Awaiting MENA” (9:04), “Undertow Atlas” (10:34) and “Only Adrift” (8:00), for a total run time of just under 40 minutes. The CD comes in a matt-laminate digipak, priced at £9 through Cold Spring’s webstore, with the album also available to stream and buy digitally on Bandcamp.

Colossloth plays an album launch show on 3 October at The Globe in Glossop, on a bill with T.A.G.C., Satori and Llyn Y Cwn, followed by further UK dates on 7 November at St Anne’s in Barnstaple and 27 November at Sheffield General Cemetery’s In The Black MidWinter event.

About Colossloth

Colossloth is the solo project of Wooly Woolaston, who works from Leicester, UK, without formal musical training, building tracks from samples and loop stations rather than played instruments. He has described the project as “a one man Experimental Electronic artist where there are no rules to recording or playing music,” and has said the sound moved from early long-form guitar drones toward harsher, rhythm-driven electronics over time.

Colossloth’s earliest releases date to 2006, and the project signed to Cold Spring Records in 2015 for the album “Outstretch Your Hand For The Impress Of Truth.” Further Cold Spring albums followed: “Heathen Needles” in 2017 and “Plague Alone” in 2020, before “Promethean Meat” in 2022 brought in sampled live drums for the first time. The fifth Cold Spring album, built around the writings of Ted Kaczynski, “The Harmony Knife,” followed on 7 March 2025. “The Transformation And Resolution Of All Opposites” (CSR375CD) is Colossloth’s sixth studio album for the label and arrives as the project marks 20 years of activity.

Paulina Fae has released Lilac Cat, a six-song ethereal dream pop EP, on Projekt Records on 18 September 2026. The EP is out now digitally, streaming or pay-what-you-can on Bandcamp, and is also available on Spotify and YouTube Music.

The six songs on ‘Lilac Cat’

The tracklist runs “Lilac Cat,” “Spinning Lullabies,” “In Veils of Spiderwebs,” “Aetheris,” “Wandermind” and “Noctivine.” Projekt Records describes the EP as a collection of “ethereal dream pop and otherworldly reverie,” moving from the “galaxy-eyed whimsy” of the title track and the “dream-jazz sounds” of “Spinning Lullabies” to the “faery-like currents” of “Aetheris,” with songs that wander through misty forests, celestial worlds and violet dreams carried by ethereal vocals.

‘Lilac Cat’ follows Paulina Fae’s 2025 album “Ghostbirds,” a 10-song collection built around minimalist piano and soft, misty vocals, and continues her run of releases on Projekt Records, the label she has recorded for since 2012.

About Paulina Fae

Paulina Fae records under her given name, Paulina Cassidy, and has also used the name Polly Fae across her catalogue. Born in Ontario, Canada, she is a visual artist and songwriter based in Chattanooga, Tennessee, known for illustrated tarot and oracle decks including the Paulina Tarot, the Joie de Vivre Tarot, Witchlings, Pixiekins, Spiritsong Tarot and Phantasma Tarot, and for books such as “The Secret Language of Trees,” “Kindred Guardians” and “Mortimer: A Cat’s Journey in the Afterlife.”

She self-released her earliest music as Paulina Cassidy through Ulaluma Productions, starting with “Bloodroots” in 2010, followed by “Time Traveler” in 2011 and “Lost in Oz” in 2012. She signed to Projekt Records the same year for the “Ice Iris” EP, followed by the album “Sugar Wingshiver” in 2014 and “Drawing up a Storm” in 2018. In 2019, recording as Polly Fae, she released the 15-track album “Dreamwalkers” on Projekt on 12 September, a limited-edition signed CD later followed by an instrumental version. The album “Phantom Gardens” followed the same year under the Paulina Cassidy name.

Her Projekt output continued with “The Secret Language of Trees” and “Metamorphosis” in 2020, “Earthlight” in 2021 and “Glow” in 2022, alongside a “Dreamwalkers Instrumental” reissue. She contributed to the label’s “Purr24” various-artists compilation in 2024 and released the album “Ghostbirds” on 4 April 2025, followed later that year by a collaboration with Peter Phippen and Ivar Lunde Jr. on “The Phantom Moon.” “Lilac Cat” is her latest EP for Projekt Records, released 18 September 2026.

Fairlight Children, the synthpop side project Apoptygma Berzerk’s Stephan L. Groth formed with Marianne B. and Tiff in the early 2000s, continues to surface in new contexts two decades after its debut album. The most recent example is the “V.A. 18. Elektrisch Festival Synth Pop Edition” 10″, released by Emmobiz Records on 27 February 2026, which carries an exclusive Fairlight Children bonus cut, “Before You Came Along (FC Edit),” alongside an equally exclusive Echo Image version, “Walk My Mind (Apop’s Short Walk Version).”

Fairlight Children first appeared on record on 23 September 2003, contributing a version of “Bedsitter” to “A Tribute To Soft Cell: Non Stop Electro Cabaret.” That same year, Groth described the project at M’era Luna as heading toward retro synthpop, at a point when the next Apoptygma Berzerk album, “You And Me Against The World,” was moving in a rockier, guitar-driven direction. Fairlight Children gave him a separate outlet for the electro and 1980s synthpop material that record wasn’t going to hold, and the project’s name points to the same fascination: it references the Fairlight CMI, the digital sampling and synthesizer system that shaped 1980s studio production.

The debut EP, “Before You Came Along,” followed on 2 February 2004, with a remix from Echo Image among its extras. The full-length “808 Bit” arrived on 15 March 2004 on Pitch Black Drive Productions, performed by Groth, Marianne B. and Tiff, with Iben Groth on vocals for the title track and Jon Erik Martinsen on Korg MS-20 for “Falling Out.” The Soft Cell tribute recording of “Bedsitter” found a home on the album as well. Contemporary coverage used Groth’s own description, “Electro Lounge,” for the record’s mix of melodic, playful electronics and open 1980s influences.

The project then went quiet for more than fifteen years. A first signal of its return came in June 2020, when a Kevin Lux remix of “Invade My Heart Tonight” appeared on “Der Eisenberg Sampler Vol. 10.” On 24 July 2020, Pitch Black Drive Productions followed with the “CMI EP,” five reworkings of older Fairlight Children material: “808 Bit (Zone Tripper Remix),” “Invade My Heart Tonight (Alex O. Remix),” “Before You Came Along (Pleasure Remix),” “Falling Out (Monster Apparat Remix)” and a second “Before You Came Along (Panorama Remix).”

Pleasure’s presence closed a loop of its own, having remixed “Falling Out” for the original 2004 EP and returning sixteen years later for the same track. The EP was mixed and mastered by Ole-Espen Kristiansen, with cover design by Alex O.

Since then, Fairlight Children has stayed active only in scattered releases rather than as an ongoing project. Emmo.Biz Records issued “808 Bit” as a numbered, 400-copy picture disc with OBI in 2025, and the Side-Line archive previously covered that vinyl reissue in February 2025. The connection to Echo Image has also continued well past the 2004 remix: Echo Image returned in 2021 with the single “Walk My Mind” after 20 years of silence, including a remix by Apoptygma Berzerk, and by 2024 Groth was co-producing Echo Image’s comeback material directly, credited alongside Einar K. Five on the single “Madsong.”

More than twenty years after Echo Image first remixed Fairlight Children, the “18. Elektrisch Festival Synth Pop Edition” 10″ puts both names on the same release again.

About Fairlight Children

Fairlight Children is a synthpop side project of Apoptygma Berzerk frontman Stephan L. Groth, formed with Marianne B. and Tiff after extensive touring behind the Apoptygma Berzerk album “Harmonizer.” Where the following Apoptygma Berzerk record, “You And Me Against The World,” pushed toward a rockier, guitar-oriented sound, Fairlight Children gave Groth a project built entirely around electronics, synthpop and the 1980s reference points behind its name, the Fairlight CMI sampling synthesizer.

The project debuted on the compilation “A Tribute To Soft Cell: Non Stop Electro Cabaret” on 23 September 2003 with a cover of “Bedsitter,” followed by the “Before You Came Along” EP on 2 February 2004 and the album “808 Bit” on 15 March 2004, both released through Pitch Black Drive Productions, Groth’s own label. “808 Bit” featured Iben Groth on the title track’s vocals and Jon Erik Martinsen on Korg MS-20 for “Falling Out,” and drew a remix contribution from Echo Image.

Fairlight Children was largely inactive between 2004 and 2020. A Kevin Lux remix of “Invade My Heart Tonight” on “Der Eisenberg Sampler Vol. 10” in June 2020 preceded the “CMI EP,” released by Pitch Black Drive Productions on 24 July 2020 with five remixes of earlier tracks by Zone Tripper, Alex O., Pleasure, Monster Apparat and Panorama, mixed and mastered by Ole-Espen Kristiansen. Emmo.Biz Records reissued “808 Bit” as a limited, numbered picture disc with OBI in 2025.

Fairlight Children’s most recent appearance is an exclusive edit, “Before You Came Along (FC Edit),” on the “V.A. 18. Elektrisch Festival Synth Pop Edition” 10″, released by Emmobiz Records on 27 February 2026 alongside new and exclusive material from Solitary Experiments, Second Decay, Blind Passenger, KY, Chinese Detectives and Echo Image.

No Where Records releases Sonic Panda’s new single “Bailes Con Beelzebub” on 18 September, a four-track EP led by the title track and including a rework by German industrial pop act Rotersand. The Beijing-based Sino-Spanish duo issues the release digitally and on vinyl and CD, the physical editions packaged with an exclusive comic book that extends Sonic Panda’s visual universe.

The tracklist runs “Bailes Con Beelzebub,” the Rotersand rework of the same track, a Carlsed remix of the earlier single “Lucky Seven,” and a live recording of “Invisible Boy” taped in Tokyo. Sonic Panda describes the title track as “a provocative industrial track that uses religious horror tropes to critique the current political crisis.”

Rotersand is the German act formed in September 2002 by Günther Gerl and singer Krischan Jan-Eric Wesenberg, later joined by Udo Hüppe; the band describes its own sound as “industrial pop.” Rotersand released the album “Don’t Become The Thing You Hated” via Metropolis and Trisol in 2025, preceded by the singles “Sexiness Of Slow” and “Private Firmament.”

Sonic Panda also released an official video for “Bailes Con Beelzebub.”

About Sonic Panda

Sonic Panda was formed in 2024 as a Beijing-based Sino-Spanish duo built around Pere Ibañez and Seni Ren, with material written by Ibañez and produced by Barcelona-based Carlsed. The project’s first release was “Life Is A Flower,” issued on 22 August 2024 through OhMyDog Records, followed by an original-song run of “Foreigners” on 10 January 2025, “King Cobra” on 28 February 2025 and “Stonewall 1969” on 20 June 2025. The six-track “King Cobra (Remixes)” EP followed on 5 September 2025 and the single “Lucky Seven” on 24 October 2025.

Sonic Panda signed to No Where Records for the single “Invisible Boy,” released on 6 March 2026 alongside a Carlsed alternate version. The duo is continuing work on a debut album titled “Neomelodrama.” “Bailes Con Beelzebub” is the project’s first release to feature an outside remix credit from an established industrial act, with Rotersand reworking the title track for the new EP.

Ministry released its eleventh studio album, “The Last Sucker”, on 18 September 2007 through 13th Planet Records. The album turns 19 this year. MusicBrainz lists a first-release date of 8 September 2007, while Wikipedia and Discogs both confirm 18 September 2007 for the US release; Side-Line marks the anniversary on the date corroborated by the two independent sources. Al Jourgensen and Dave Donnelly produced the album, recorded in May 2007 at 13th Planet Studios in El Paso, Texas, with John Bilberry engineering and Donnelly also handling mastering.

“The Last Sucker” closed the trilogy of anti-George W. Bush albums that began with “Houses of the Molé” (2004) and continued with “Rio Grande Blood” (2006). Jourgensen told Billboard at the time that he intended it to be Ministry’s final album, joking he would rather “leave on top of my game” than keep recording into old age; the band did not release another studio album of new material until “Relapse” in 2012.

What is on Ministry’s ‘The Last Sucker’

The album runs 11 tracks: “Let’s Go”, “Watch Yourself”, “Life Is Good”, “The Dick Song”, “The Last Sucker”, “No Glory”, “Death & Destruction”, “Roadhouse Blues” (a cover of The Doors), “Die in a Crash”, “End of Days (Pt. 1)” and “End of Days (Pt. 2)”, with a total running time of 55:58. Deluxe and promotional editions added remixes of “Watch Yourself”, “The Last Sucker”, “Die in a Crash”, “No Glory” and “Death & Destruction” as bonus tracks.

Fear Factory frontman Burton C. Bell provided guest lead vocals on “Die in a Crash” and both parts of “End of Days”. Paul Raven, formerly of Killing Joke, played bass and guitar and contributed backing vocals on several tracks; Prong and Danzig guitarist Tommy Victor played guitars and bass throughout. Sin Quirin and keyboardist John Bechdel also performed on the album. Closing track “End of Days (Pt. 2)” samples Dwight D. Eisenhower’s 1961 farewell address on the military-industrial complex alongside a reprise of “O Fortuna”, which had opened “Houses of the Molé” at the start of the trilogy.

About Ministry

Ministry formed in Chicago in 1981, led by vocalist, multi-instrumentalist and producer Al Jourgensen, the band’s sole constant member. The debut album, “With Sympathy”, released through Arista in 1983 in a synth-pop style Jourgensen later disowned, was followed by a move toward industrial rock on Sire/Warner Bros. releases including “Twitch” (1986), “The Land of Rape and Honey” (1988) and “The Mind Is a Terrible Thing to Taste” (1989). “Psalm 69: The Way to Succeed and the Way to Suck Eggs” (1992) became the band’s commercial peak, reaching number 27 on the Billboard 200 and going platinum on the strength of “Jesus Built My Hotrod” and “N.W.O.”.

After “Filth Pig” (1996) and “Dark Side of the Spoon” (1999), Ministry signed to Sanctuary and released “Animositisomina” (2003) before launching its own label, 13th Planet Records, with “Houses of the Molé” (2004), the first instalment of the anti-Bush trilogy that continued with “Rio Grande Blood” (2006) and closed with “The Last Sucker” (2007). Bassist Paul Raven died in October 2007, shortly after the album’s release. Jourgensen revived Ministry for “Relapse” (2012) and Ministry’s ‘From Beer to Eternity’ turns 13 on 6 September (2013), the latter completed following guitarist Mike Scaccia’s death during recording. Ministry has continued releasing albums on Nuclear Blast, including “AmeriKKKant” (2018), “Moral Hygiene” (2021) and “Hopiumforthemasses” (2024).

Líneas de Ley, the darkwave and post-punk project of Barcelona-based musician and producer Ander B, releases No pidas perdón as the first advance single from its upcoming debut album. The track, whose Spanish title translates to “Don’t ask for forgiveness,” was uploaded to SoundCloud on September 18, 2026, under the full title “No pidas perdón (el fuego en tu interior).”

Ander B produced, recorded and mixed the single himself, handling vocals, guitars, sequencing and sound design for the project. Líneas de Ley is self-released, with no label attached to the single. The forthcoming debut album is already finished and will be released progressively rather than in one go, with further advance singles to follow.

About Líneas de Ley

Líneas de Ley is a darkwave and post-punk project based in Barcelona, developed over the past three years by musician and producer Ander B, who handles vocals, guitars, sequencing and sound design. “No pidas perdón” is the project’s first released track and the opening single from a debut album that is already complete and due to arrive in stages. The project is currently self-released, with music available through its SoundCloud page.

“The Gray” is the second album by Italian producer Stefano Santi. Four years after his debut album, “JXDY”, the artist draws inspiration from themes such as love, loss, and collapse. He has also enlisted guest vocalists including Meldamor, Castelli, Contre Soirée, and Filmmaker.

“The Gray” features a diverse range of influences—sometimes further accentuated by the guest vocalists—yet the album maintains a strong sense of cohesion. The opening track is brilliant, sounding like Shoegaze with subtle Dark-Wave undertones. These two influences remain prominent and, to my ears, constitute the album’s most compelling elements. However, you will also discover touches of Dream-Pop and even a more Dance-oriented track featuring Meldamor. The vocals are produced in a distinctive way, hovering in the background like a mist settling over the songs while still making their mark. Musically, I find the guitar work superb, particularly on the tracks leaning towards Shoegaze. Synth arrangements are also incorporated, at times heightening the atmosphere while adding a fresh dimension to the overall sound. The final track is an instrumental that feels like an outro, but one of exceptional quality. It stands out as a highlight in terms of atmosphere and provides a powerful conclusion to an album filled with gems.

“The Gray” is a fantastic record that sounds like a distinctive fusion of several closely related genres. Definitely worth checking out! (Rating:8½).

Listen to “Hxlding Time”:

About Never

Never is the solo project of Italian producer Stefano Santi, based in Milan. The project debuted with the album “JXDY” on 18 March 2022 (catalog VEYL033) on the Veyl label, recorded as instinct-led material that was not originally planned as a full-length. Santi’s first outside collaboration was a remix of Years Of Denial‘s “City Lights”, a step that carried into his second album, “The Gray”, released via Veyl on 26 June 2026 (catalog VEYL048) and built around guest contributions including Arizona duo Meldamor.

Belgian electronica pop act 808 Dot Pop has posted four videos since 14 August 2026, each pairing a track from an ongoing “-ism” naming series with a 20th-century building, ahead of two albums, “Minimalism” and “Maximalism,” due at the end of November 2026 via Alfa Matrix. The most recent, “Collectionism,” was posted on the artist’s official website on 17 September 2026.

The four videos

“Internationalism (Seagram)” was posted around 28 August 2026 and pairs the track with the Seagram Building in New York, an example of the International Style. The track itself is not available on the video’s own release: it appears exclusively on the various-artists compilation “Sounds From The Matrix 26” and will not be issued elsewhere.

“Brutalism (Habitat 67)” followed on 6 September 2026, built around Moshe Safdie’s Habitat 67 in Montreal. The visual is as a digital reinterpretation of the building via “The Hillside Project” by NeoScape, rather than footage of the original structure.

“Contextualism (Fallingwater)” was posted on 11 September 2026, pairing the track with Frank Lloyd Wright’s Fallingwater house. The version of “Contextualism” heard in this video appears on the “Minimalism” album, while a separate version of the same track, tied to the AT&T Long Lines Building, features on the lead single “Minimalism,” due 26 September 2026.

“Collectionism” was posted on 17 September 2026. Unlike the previous three entries in this video 808 Dot Pop gives more info on a few upcoming fan packages.

The ‘Minimalism’ and ‘Maximalism’ project

808 Dot Pop announced “Minimalism” (a white-sleeve album) and “Maximalism” (a black-sleeve album) on its website on 14 August 2026, describing them as “two completely different albums in content.” The lead single, “Minimalism,” is scheduled for 26 September 2026.

Two further items are tied to the same releases. “Foundationalism,” a six-track EP featuring exclusive versions, is planned as a fan-shop exclusive on an NFC-equipped “phygital” card format. A 72-page fan book titled “Essentialism,” covering the architectural sites referenced across the campaign, was announced on 11 September 2026, with further details promised but not yet published as of this writing. A full tracklist and confirmed formats for “Minimalism” and “Maximalism” have not been published.

About 808 Dot Pop

808 Dot Pop is the solo electronica pop project of Belgian musician Passenger S, also known for his work in Metroland. Side-Line reported his debut under the 808 Dot Pop name on 27 March 2020, in “Metroland’s Passenger S launches debut album under 808 DOT POP moniker”, ahead of the album “The Colour Temperature,” released on download and CD on 5 June 2020 on Alfa Matrix.

Further singles followed the same year: “Incandescent,” the second single from “The Colour Temperature,” on 19 June 2020; a tribute cover of D.A.F.’s “El Que” for Alfa Matrix’s “Wir Sind DAF” compilation, released 2 October 2020; and “Kelvin (4200),” the third and final single from the debut album, on 13 November 2020, alongside a bundled triple 7-inch vinyl set covered by Side-Line in “Electro pop act 808 Dot Pop releases triple 7 inch vinyl singles in one bundle + 2 new download only singles” (6 November 2020). Side-Line also ran a ‘Click Interview’ with 808 Dot Pop in July 2020.

The project continued with the “Ultraviolet” single campaign (February 2021) ahead of the album “The Cubic Temperature,” the “SunCatcher” EP (early March 2022) and a single dedicated to Guglielmo Marconi (January 2023), the latter featuring lyrics by Gary Hunter (Kraftman) and vocals by Lis Van Den Akker. Side-Line covered the act’s return with three simultaneous albums plus two EPs in “Belgian electronica act 808 Dot Pop back with 3 albums in one go + 2 singles” (27 March 2023) and a further double-EP release in “Electronica pop act 808 DOT POP returns with double EP” (5 June 2023).

Most recently, fellow Alfa Matrix artist Cubic issued a rework album built on 808 Dot Pop material, covered by Side-Line in “Cubic drops 808 Dot Pop rework album ‘Back To 808’ on Alfa Matrix” (12 December 2025). The four-video architecture series and the wider “Minimalism”/”Maximalism” campaign mark the act’s first new album cycle since 2023.

Argentine post-punk project Zudpöl releases the single Disciple: In Control on 11 September 2026, through the Buenos Aires label Catálogo Negro / No Me Escucho Records (NMER). The two-track release pairs the title song “Disciple” with the B-side “In Control”, sitting between dark post-punk and the club sound of the late 1980s and early 1990s.

Both tracks were built on a vintage drum machine, a mini analog synthesizer, a pocket sampler, guitar and bass, with software used only for the final edit. No Me Escucho Records describes the approach as “simple hardware and no virtual instruments”, the same method Zudpöl has used on its earlier releases.

The Bandcamp page embeds the single below.

Zudpöl on Catálogo Negro since its 2022 debut

“Disciple: In Control” is issued under the Catálogo Negro imprint of No Me Escucho Records, the label that has released Zudpöl’s catalog since 2022. NMER previously put out the free covers compilation “NMER C-01 2024”, on which Zudpöl contributed a version of Death In June’s “Fall Apart”.

About Zudpöl

Zudpöl is a post-punk, darkwave and coldwave project released through No Me Escucho Records, the independent label founded in Buenos Aires, Argentina by Darío Martinez and Diego Centurión, joined in 2021 by Ferran Pont Vergés. Zudpöl debuted on NMER in 2022 with the album “A Weaker Sun”, followed in June 2023 by the single “In Fear” and, on 24 November 2023, by the six-track album “Last Lights”, which extended the project’s coldwave core with ethereal and dream-pop textures. In January 2025, Zudpöl contributed a cover of Death In June’s “Fall Apart” to NMER’s free “NMER C-01 2024” covers compilation. All of these releases share the same production method: hardware synthesizers, samplers and drum machines, without virtual instruments. “Disciple: In Control” is Zudpöl’s first single since “Last Lights”, continuing that hardware-based approach on Catálogo Negro.

Midge Ure releases the compilation “Chapters: The Best Of” on 13 November 2026 via Chrysalis Records. The collection gathers his 1980s hits and key album tracks in new 2026 stereo mixes, alongside first-time studio recordings of two songs long associated with his career, and comes in a 2LP vinyl edition, a single CD, a 3CD deluxe edition and a Super Deluxe Edition exclusive Blu-ray audio disc.

“Chapters: The Best Of” follows Ure’s recent studio album “A Man Of Two Worlds” and brings together his solo catalogue with material connected to Visage and Thin Lizzy. For the first time, Ure has recorded new studio versions of Visage’s “Fade To Grey” and Phil Lynott’s “Yellow Pearl”, a song he originally co-wrote. Both tracks open the standard 15-track running order on the 2LP black vinyl and single CD, in a six-panel digisleeve.

The 3CD deluxe edition expands the set across three discs. CD1 carries 17 tracks in 2026 stereo mixes, including two bonus tracks not on the standard edition, “When The Wind Blows” and “Hell To Heaven”. CD2, subtitled “Connections”, holds 10 newly commissioned remixes from artists and producers who have worked with Ure over his career: Chris Payne remixes “Fade To Grey”, Richard Barbieri reworks “After A Fashion”, Ure himself remixes “The Man Who Sold The World”, Craig Armstrong remodels “That Certain Smile”, Ty Unwin reconstructs “Call Of The Wild”, Blank & Jones rework “If I Was”, Steve Jansen remixes “Sister and Brother”, Danny Mitchell remixes “Wastelands”, “Answers To Nothing” gets a 2026 rework and Wolfgang Flür and Duggal remix “Dear God”. CD3 collects new instrumental versions of all 17 CD1 tracks.

The tracklist includes the UK number one single “If I Was” from the album “The Gift”, along with “Dear God”, “No Regrets”, “The Man Who Sold The World”, “Answers To Nothing”, “Living In The Past”, “That Certain Smile”, “Wasteland”, “Call Of The Wild” and “Remembrance Day”. “After A Fashion” is Ure’s 1984 collaboration with Japan bassist Mick Karn, and “Sister & Brother” is his duet with Kate Bush.

Super Deluxe Edition, the SDE shop, offers two exclusives alongside the standard formats: a Blu-ray audio disc and a hand-pressed 2LP on splatter vinyl limited to 250 copies, packaged with an OBI strip and certificate. The Blu-ray carries new mixes of 17 tracks in Dolby Atmos, 5.1 and new stereo, plus matching instrumental mixes, along with seven promo videos with an optional Ure commentary track and seven BBC television appearances, including performances on “Top of the Pops” and “Wogan”. The SDE Blu-ray is available to pre-order for two weeks only, with the window closing on 1 October 2026. “Chapters: The Best Of” is catalogued as entry 79 in SDE’s ongoing Surround Series.

Ure recorded a new version of “Fade To Grey” for the collection, embedded below.

About Midge Ure

Midge Ure moved to London from his native Glasgow in 1977 and joined Glenn Matlock’s Rich Kids. The following year, he and Rich Kids drummer Rusty Egan formed Visage with Steve Strange, completed by John McGeoch, Barry Adamson and Dave Formula from Magazine and Ultravox keyboardist Billy Currie. Visage’s second single, “Fade To Grey”, became a UK Top 10 hit.

In 1979, Ure joined Thin Lizzy for a US tour following Gary Moore’s departure, and later co-wrote “Yellow Pearl” with Phil Lynott, which became the theme tune to “Top of the Pops”. That same year, Billy Currie invited Ure to join Ultravox, beginning a six-year run that produced the band’s major UK singles and albums. Alongside Ultravox, Ure built a solo career through the 1980s: his album “The Gift” reached number 2 in the UK and included the number 1 single “If I Was”. He recorded “After A Fashion” with Japan bassist Mick Karn and “Sister & Brother” with Kate Bush.

Ure is also known as co-writer and co-creator, with Bob Geldof, of Band Aid’s “Do They Know It’s Christmas?” and as a co-founder of Live Aid. “Chapters: The Best Of” follows his studio album “A Man Of Two Worlds” and gathers the hits, key album tracks and career-spanning collaborations from that period into new 2026 mixes, with “Fade To Grey” and “Yellow Pearl” recorded fresh for the release for the first time.

French industrial project HORSKH has released “Connected“, a collaboration with Carpenter Brut, on September 10, 2026, ahead of HORSKH’s forthcoming album “MTNT”. HORSKH’s official Bandcamp credits the track jointly to HORSKH and Carpenter Brut, with mixing and mastering by Thibault Chaumont at Deviant Lab Studio and artwork by Johanna Jaskowska.

“Connected” also appears on HORSKH’s forthcoming album “MTNT”, listed as a ten-track release scheduled for September 25, 2026, issued through Wire Control under exclusive licence to Blood Blast Distribution. “Connected” and the earlier single “Glow” are both tied directly to “MTNT”.

The lyrics give the collaboration a considerably less comfortable meaning than its title suggests. Images of wires, intravenous connection, fear, chemical illusion and an attachment that persists despite attempts to escape recur throughout the song, placing bodily, technological and psychological attachment close together rather than treating “connection” as straightforward communication.

The pairing brings together two French projects that approach heavy electronic music from different but intersecting angles. HORSKH’s recent catalogue has increasingly combined guitars, electronic programming and industrial pressure: “BODY” arrived in January 2024, following “WIRE” in 2021 and “GATE” in 2017. Carpenter Brut, meanwhile, released his latest studio album “Leather Temple” on February 27, 2026. The two releases share a technical link as well: “Leather Temple” was mixed and mastered by Thibault Chaumont at Deviant Lab, the same studio and engineer credited on “Connected”.

“MTNT” arrives on September 25, 2026. “Connected” is available now through HORSKH’s official Bandcamp and streaming platforms.

About HORSKH

HORSKH are based in Besançon, France. Their recorded catalogue dates back to the “DAWN” EP, released in October 2014 and followed by an expanded edition in 2015. Their first full-length album, “GATE”, arrived on April 10, 2017, followed by “WIRE” on January 22, 2021 and “BODY” on January 19, 2024.

The credits for “GATE” and “WIRE” list Bastien on programming, keyboards, vocals and guitar, Briou on live drums, and Jordan on guitar and keyboards. “WIRE” was mixed by Sam Munnier and Bastien Hennaut and mastered at Deviant Lab Studio, while “BODY” was mixed and mastered by Thibault Chaumont at Deviant Lab Studio.

Ahead of “MTNT”, HORSKH released three other singles during 2026: “BAD GLITCH” on January 22, “Hyperhuman” in March and “Glow” in June. “Connected”, featuring Carpenter Brut, followed on September 10. The band have also been active on the European festival circuit in 2026, with appearances listed at Wave-Gotik-Treffen in Leipzig, Castle Party in Bolków and Nocturnal Culture Night in Deutzen, alongside a series of French dates extending into November. The catalogue combines programmed electronics, guitars and live percussion across industrial, EBM and electro-adjacent territory, reflecting the band’s own album credits.

About Carpenter Brut

Carpenter Brut is the stage name of Franck Hueso, a French darksynth musician from Poitiers active since 2012. He released three EPs, “EP I” (2012), “EP II” (2013) and “EP III” (2015), later compiled as the album “Trilogy” (2015), followed by “Leather Teeth” (2018), the “Blood Machines” soundtrack (2020), “Leather Terror” (2022) and “Leather Temple” (2026). His releases since 2015 have come out through his own label, No Quarter Prod. In live performances, Carpenter Brut is joined by guitarist Adrien Grousset and drummer Florent Marcadet, both also members of the French metal band Hacride.

New York darkwave duo Ghostbells released “The Silence” on September 17, 2026 through Out Of Line Music, as a digital single with an accompanying music video. It is the second piece of original material Jessica Perry and Jim Finley have put out since their debut EP “Catacouture” arrived in February, following “Curses” in August.

The track returns to the confessional side of the duo’s sound: 80s and new wave melody laid over a 90s EBM pulse, pushed forward by the kind of driving, dancefloor-ready arrangement that keeps its darker moments moving rather than static. The lyric follows someone consumed by sadness and reaching for a version of life that used to feel joyful, with a plea that goes nowhere: Can someone save me / I hear nothing / it’s the silence that takes me.

Ghostbells described the writing behind the song directly. “The Silence is about being consumed by sadness and longing for times before, when there used to be a joy for life. There is a cry for help but it seems useless when it goes unanswered.” Jessica Perry named the source more specifically: “Struggles that I have personally endured and some of the lowest times in life.”

Ghostbells follow Dark Summer Open Air with ‘The Silence’

“The Silence” lands right after one of the duo’s largest shows to date. On September 12, Ghostbells played Dark Summer Open Air Vol. 2 at Wasserschloss Klaffenbach in Chemnitz, Germany, alongside Blutengel and Chrom, in front of roughly 3,000 people. In just over a year since signing to Out Of Line, the pair have built a run of remix work alongside their own releases, reworking Blutengel’s “Schwarzer Engel”, Cemetery Skyline’s “Torn Away” and Blitz Union’s “Evolution”.

The single carries that momentum into a run of US club dates and a full Latin American tour supporting label-mates Hocico, followed by European festival dates into next year.

Tour dates for Ghostbells in 2026 and 2027

• September 19, 2026 – Los Angeles, CA, USA – Bar Sinister
• September 23 – October 4, 2026 – Hocico “Unseen Horror Scenes” tour support
• October 29, 2026 – Fort Worth, TX, USA – Haltom Theatre
• October 30, 2026 – Houston, TX, USA – Scout Bar
• November 13, 2026 – Tampa, FL, USA – New World Tampa
• November 14, 2026 – Miami, FL, USA – Las Rosas
• November 20-21, 2026 – Wangels, Germany – Plage Noire Festival
• November 28, 2026 – Essen, Germany – Obsidian Echoes Festival
• July 24-25, 2027 – Cologne, Germany – Amphi Festival

About Ghostbells

Ghostbells are a duo from New York City: Jessica Perry on vocals, guitar, bass and synth, and Jim Finley on production, vocals, bass, guitar and synth. The project signed to Berlin label Out Of Line Music in 2025 and released its first single, “Darkness Saves“, that August. Three digital EPs followed before year’s end, and the duo’s debut EP proper, “Catacouture”, arrived on Out Of Line on February 5, 2026, collecting six tracks including “Darkness Saves”, “Ghosts”, “Wrath” and “Cry4Her” and giving the band its first CD pressing.

Since then, Ghostbells have kept up a steady release and touring pace: a run of remixes for Blutengel, Cemetery Skyline and Blitz Union, the “Curses” single and video in August, and festival and club dates across the UK, Europe and the US. “The Silence” is their second original track since “Catacouture”, released as the band works toward its debut full-length album, and it opens a touring stretch that runs from Los Angeles through Latin America to the Amphi Festival in Germany next summer.

London-based queer alt-metal artist Ray Noir released “Gothstar” on September 17^th 2026, a six-track EP that mixes metalcore guitars with rave and electronic club production. Ray Noir’s “Gothstar” EP is out digitally and on vinyl and CD.

The EP collects the four singles issued since April 2026 and adds two new recordings. It opens with “Label Whxre” and continues with “Black”, “Boys”, and “Gothstar” featuring Danny Blu, the New York artist and former Echo Black frontman. The new track “Crush” follows, and “Gothstar (Alternative Version)”, a solo version of the title track, closes the record.

Ray Noir wrote the material with Jon Cass and Tom Saint, who are also the EP’s producers. The track credits for “Black” and “Crush” list Cass as producer and Saint for additional production, mixing and mastering, with Saint also singing backing vocals on “Crush”. Cass, a member of UK post-hardcore band As Everything Unfolds, previously produced Ray Noir’s 2025 EP “Against The Machine”.

The release material describes the EP as dealing with identity, confidence and sexuality, with “Gothstar” as both a character and an attitude at its centre.
Ray Noir commented: “Growing up in the Norwegian metal scene, I didn’t really see anyone like me. With Gothstar, I wanted to create the world I wish I’d had back then. It’s gay, it’s heavy, it’s sweaty, it’s camp and it doesn’t take itself too seriously. Basically, if Berghain had a mosh pit, I’d like to think this would be playing.”

“Crush” is the focus track of the EP. Ray Noir based it on his own experience of growing up in Norway’s metal scene and on “Heated Rivalry”, Rachel Reid’s gay ice hockey romance novel, which was adapted for television in 2025. The lyrics name the story’s lead couple, Ilya and Shane, and include lines in Norwegian.

Four singles ahead of the EP

“Label Whxre” opened the “Gothstar” campaign on 2 April 2026. “Black” followed on 14 May 2026 with a video directed by Ray Noir, and “Boys” arrived in June 2026 with a video filmed at Slim Jim’s Liquor Store in Islington, north London. The title track “Gothstar” featuring Danny Blu came out on 13 August 2026 together with an official music video.

‘Gothstar'”‘ release party in London

Ray Noir marks the release with a party at Slim Jim’s Liquor Store on Saturday 19 September 2026, the venue where the “Boys” video was filmed. Tom Saint is listed as special guest. Entry is free, with tickets via Ray Noir – Gothstar EP Release Party on DICE.

Get the EP as vinyl or CD here!

About Ray Noir

Ray Noir is a queer alternative artist based in London. His official biography places his background in Oslo’s black-metal underground, and his sound combines metal guitars with electronic club production. He released his first single, “Double Trouble”, in 2014.

In October 2023 he issued “Pity Party“, the lead single from the mixtape “Scorpio”, followed on 1 November 2023 by “Latency“. The seven-track “Scorpio” arrived in 2024, and his official biography lists a top-five placement in the German Alternative Charts. A deluxe edition of “Scorpio” followed in July 2024, adding “All Alone” featuring Mariann Rosa of Surferosa, a “Double Trouble” remix by TOVA, remixes by Gothminister, Corlyx and Tension Control, and “You, Me & The Devil” featuring Tom Saint. That August he supported Combichrist at the Underworld in London and played the Electro Night in Oslo at Revolver with Piston Damp on 31 August 2024.

On 14 February 2025 he released “Razorblade Romance“, written with Steve Stevens and Madeleine Wood, featuring Stevens on guitar and produced and mixed by Jon Cass. A cover of Tears for Fears’ “Shout” followed in May 2025, with guitar by Arno Von Detritus and backing vocals by Ben Christo of The Sisters of Mercy. “Dead Valentine” came out on 3 July 2025 and announced the EP “Against The Machine”, released on 18 September 2025 with “Razorblade Romance”, “Dead Valentine”, “Mad World” and an alternative version of “YMATD”. A deluxe edition followed in December 2025 with remixes by Tension Control, Verona On Venus, Junkie Kut and Ays Kura, alongside vinyl and CD editions.

Ray Noir opened 2026 with the singles “Temptation” in January and “Breathe” in February. “Gothstar” is his second EP after “Against The Machine” and continues his work with Jon Cass, who produced both EPs, and Tom Saint, who also featured on the 2024 “Scorpio” deluxe edition.

Boston publisher SIGNALS Press launched a Kickstarter campaign on 10 September 2026 for “Industrial Music/Graphics: A Visual History of a Movement“, a 320-page survey of the graphic design that grew up alongside industrial music. The campaign runs through 2 October 2026, with books shipping spring 2027.

The book traces the movement’s visual language from post-punk Britain and Cold War Europe through Reagan-era America, across album covers, logos, posters, type studies and ephemera. It documents the graphic identities of bands and labels including Throbbing Gristle and Industrial Records, Cabaret Voltaire, Mute Records, Nettwerk, wax trax!, Einstürzende Neubauten, Skinny Puppy, Front 242, Ministry, KMFDM and Nine Inch Nails.

Designers contributing directly to the book include Neville Brody, Rob Sheridan, Richard Borge, Rick Valicenti, Patrick Codenys, Steven R. Gilmore, Simon Granger, Simone Grant, Brian Shanley and Martin Atkins. The Kickstarter’s reward tiers include a pin designed by Simon Granger of Nitzer Ebb Produkt and two shirts by Steven R. Gilmore.

“Industrial music didn’t just change how music sounded, it changed how music looked,” said coauthor Chris Grimley. “Designers were sampling medical imagery, military documents, brutalist architecture, and early computer graphics into something coherent and international, and that history has never been collected. It sits in aftermarket bins and collectors’ stacks. This book brings it together.”

The book is authored by GR—APP, the shared pseudonym of Chris Grimley and Alan Rapp. Grimley is founder and creative director of SIGNALS Press and has authored, coauthored and designed numerous books; Rapp is editorial director of SIGNALS Press and a former college DJ and music critic.

“Industrial Music/Graphics” is produced as a physical object in its own right: 8 x 10.25 inches, 320 pages, Otabind layflat binding, four-color interior and a six-color foil-stamped, offset-printed cover. The Kickstarter campaign carries a Kickstarter “Project We Love” designation.

About SIGNALS Press

SIGNALS Press is a Boston-based publisher founded and led by Chris Grimley, who has authored, coauthored and designed multiple books and began making music after covering Skinny Puppy in high school. Alan Rapp, the press’s editorial director, is a former college DJ and music critic. Together the pair write as GR—APP, a pseudonym paying homage to the artistic aliases adopted by figures within the industrial scene the book documents. “Industrial Music/Graphics: A Visual History of a Movement” is SIGNALS Press’s Kickstarter campaign running through 2 October 2026, with fulfillment planned for spring 2027.

Infacted Recordings launches the Zoth Ommog Classix series, a vinyl-only reissue line reviving catalog from the German EBM and electro-industrial label Zoth Ommog. The first release is a limited grey-vinyl pressing of Lights Of Euphoria’s 1995 debut album “Brainstorm“, out 16 October 2026, followed on 23 October by Menschdefekt’s fifth studio album “Into the Void” on CD.

Zoth Ommog was founded by Talla 2XLC after he left Techno Drome International. Its first release was Italian electro act Pankow’s “Kunst & Wahnsinn” EP. Talla continued T.D.I.’s early program with artists including Bigod 20, Aircrash Bureau, Leæther Strip, X Marks the Pedwalk and Armageddon Dildos. Torben Schmidt, founder of Infacted Recordings, worked as Zoth Ommog’s label manager from 1995 to 1998. He and Talla launched the Zoth Ommog Classix series together.

“Brainstorm” track listing: This Is the Point, Brainstorm, Give Me You, Reaching Out, Energy & Consciousness, Misery, Sacred, Ice Machine (vox version), Serenade (splitter), Subjection (violated), No Tears, Face of a God, Dead Bodies.

Menschdefekt’s “Into the Void” arrives 23 October on CD (catalog FACT3483, EAN 4018939613945) in a clear tray jewel box, its first full-length album with vocalist Alex Erbacher. The 14-track, roughly 70-minute record moves between synth pop, dark electro and future pop, and includes two tracks reaching CD for the first time: a cover of Bronski Beat’s “Smalltown Boy” and “Day by Day”, a collaboration with Mark Sousa of Voicecoil, who died earlier in 2026. “Into the Void” will also be released digitally via Bandcamp and on streaming platforms.

“Into the Void” track listing: Into the Void, Inside the Machine, Black as Black Can Be, Fragile Existence Part I, Losing Fire, The Book of Life, Reality, This World, Scream in Silence, Smalltown Boy, Oblivion, God, Embrace Your Fate, plus bonus track Day by Day (Album Version feat. Mark Sousa).

The Zoth Ommog Classix series also keeps in print earlier Lights Of Euphoria releases “Future Unknown” and “True Life” on vinyl, the “Suicidal” MCD and “Traumatized” CD, plus Menschdefekt‘s “Recombination” CD.

About Lights Of Euphoria and Menschdefekt

Lights Of Euphoria is a German EBM act that released “Brainstorm” on Zoth Ommog in 1995, one of the label’s catalog titles from its run as a driving force in European electronic music through the 1990s. The album’s Zoth Ommog Classix reissue marks its first-ever appearance on vinyl, 31 years after its original CD release.

Menschdefekt build a sound bridging synth pop, dark electro and future pop, marked by clean vocals, trance-inspired synthesizer structures and the band’s spoken-word samples. “Into the Void” is the group’s fifth studio album and its first to feature vocalist Alex Erbacher, presenting a more melodic and accessible side of the band while staying rooted in its electronic origins.

UK synthpop and dark disco project KN/GHTS released the single “Light The Fuse” on 17 September 2026 via Specchio Uomo. The B-side carries a remix of “Supernatural Lover”, from KN/GHTS’s second studio album of the same name, by Berlin-based artist Daniel Knutz.

Specchio Uomo describes “Light The Fuse” as a pulsating and emotionally charged song about loss, recovery and finding yourself again. The track mixes synth pop, dark disco and italo disco elements with classic synth sounds. Daniel Knutz, whose own work draws on darkwave, coldwave, post-punk and minimal electronic, reworks “Supernatural Lover” as the release’s second track.

An official video for “Light The Fuse” is out now, directed and edited by independent filmmaker Dirk Roche. It was filmed during the “Supernatural Lover Tour”, with additional footage from KN/GHTS’s live performances in Germany.

About KN/GHTS

KN/GHTS is the solo project of UK vocalist and songwriter James Knights, previously a singer of electronic pioneers Boytronic and known from his time in Scarlet Soho. Knights launched the project under the name Knight$, releasing the EPs “What’s Your Poison?” (2016) and “Alligator” (2017) before his debut album “Dollar$ & Cent$” came out on Cargo Records in 2019. Side-Line spoke to him about that album in a 2019 interview, in which he described the project as a faster-moving continuation of the sound he built with Scarlet Soho and Boytronic. The project later restyled its name as KN/GHTS and released its second studio album, “Supernatural Lover”, building an audience particularly in Germany, Sweden and Mexico. KN/GHTS combines synth pop, dark disco, electronic music and theatrical performance, and has performed live alongside Drab Majesty and Andy Bell of Erasure. “Light The Fuse”, released via Specchio Uomo, continues the project’s work following the “Supernatural Lover” album and tour.

Charlotte, North Carolina synthpop project Midniter, the solo vehicle of Nic Pugh, released the single and video “I Could Love You” on September 15, 2026, via Bandcamp and YouTube. It is the fourth and final promotional single ahead of Midniter’s debut album, “Xeno”, due October 27 on SugarTank! Records, the Charlotte label Pugh co-founded. The release coincides with the opening of vinyl LP pre-orders for “Xeno” through the label’s own store.

Midniter describes “I Could Love You” as a ballad about unrequited love

Pugh traced the song back to an unfinished piano piece: “‘I Could Love You’ came from an old piano tune that I never finished. The bookends of the song are directly from that idea, with the middle evolving into a more synthpop direction for Midniter. To me, it’s a pretty standard ballad about unrequited love – a tale as old as time that everyone can understand.”

The video for “I Could Love You” favors mood over narrative

Pugh said the video leaves its meaning open: “The video is more ambiguous, playing with the question, ‘Is this about desire, obsession, or both?’ It’s ultimately your call to make. Our goal with this video was to focus more on mood than narrative. It was more important to live in these feelings of distance and longing than explain why they linger. The dancers, our friends from Baran Dance, were instrumental in carrying those moods throughout the video with their choreography. Our main actress Dustie Bayer was also incredible in her debut.”

Paul Jahn of Yawn Productions filmed and edited the video, co-directing it with Pugh. Choreography comes from Baran Dance members Audrey Baran, Faith Centa and Donovan Granville, with Dustie Bayer in the lead acting role. For the silhouette performance scenes, Midniter expands to a trio with Joe Boyland and Dan Hitzelberger joining Pugh. Filming took place at Petra’s, the Charlotte venue where Pugh works and where Midniter’s 2025 debut single video, “Shoot the Moon”, was also shot, alongside a University of North Carolina dance studio and locations around Charlotte.

About Midniter

Midniter is the solo indie-electronic project of Charlotte, North Carolina musician Nic Pugh, launched in 2024 after roughly two decades in punk and rock’n’roll bands, including Paint Fumes and Jaggermouth. As Midniter, Pugh mixes synthpop songwriting with indie-electronic production, citing Radiohead, Justice, The Knife, LCD Soundsystem, Aphex Twin, Squarepusher and M83 as reference points alongside an “Indie Sleaze” visual style. Pugh co-founded Charlotte label SugarTank! Records with fellow musician Nic Holman; the label supports LGBTQ+ artists and allies. Midniter’s debut single, “Shoot the Moon”, arrived with a video shot at Petra’s in 2025, and Side-Line covered the project’s “Alarmist” video single that October. “I Could Love You” is the fourth and last of the promotional singles released ahead of Midniter’s debut album, “Xeno”, due October 27 on SugarTank! Records, with vinyl LP pre-orders now open through the label.

XTC co-founder Colin Moulding releases his new three-track EP, “Want It Bad (The Pep Talks and Playing Fields of Old England)”, on CD via Burning Shed on September 18. The release lands 47 years to the week after XTC’s “Making Plans for Nigel,” the Moulding-written single that gave the band its first UK Top 20 hit in 1979.

Presented in a four-panel digisleeve and available exclusively through Burning Shed, “Want It Bad” is a physical-only release; digital files are provided to press for review and airplay purposes only. The EP carries catalogue number CMCD002. The title track is joined by “Something About The Boy (James Bond Demo for Female Voice)” and a stripped-down “Want It Bad (Demo).”

“Making Plans for Nigel,” written and sung by Moulding, was released in 1979 as the lead single from XTC’s third album, “Drums and Wires.” It became XTC’s first UK Top 20 hit and remains one of the band’s best-known recordings.

The title track began, in Moulding’s words, as something closer to a sports talk than a song. “Although this song started life as a sporting pep talk, it was clear that it could easily be thought of as a mantra for one’s own life ambitions, whatever they may be. If you want something in this life you have to really want it. And if you really want it, you’ll get it — that was my mantra,” he says.

The cover artwork, by Andrew Swainson, and the accompanying video, directed by Thomas Walsh, both draw on “Les Coureurs” by French painter Robert Delaunay. Moulding explains how the image came about: “I was scouting around for a cover that would signify human endeavour. I had written ‘Want It Bad’, which basically amounted to a pep talk by a sporting coach to his team. Football perhaps… something made me think of the runners on the beach in the film Chariots of Fire. After many permutations, Andrew, my artwork designer, said ‘What about Delaunay and his runners?’ and when he showed me, there was no doubt.”

The second track, “Something About The Boy (James Bond Demo for Female Voice),” traces back to a long-held ambition to write a Bond theme. “I was a big James Bond fan. My father had taken me to see the first three – ‘Dr No’, ‘From Russia with Love’, and ‘Goldfinger’… in the 1960s. I had secretly nursed an ambition that one day John Barry and I would work on a theme together,” Moulding says. “So here then was my idea to put to John Barry. Only trouble was I had to sing it myself to demonstrate the female lead.”

The closing “Want It Bad (Demo)” documents the song’s earliest stage. “Quite simply, it’s my working demo knocked out in about an hour with a hand-held 57 microphone, different lyrics, and no bass. This is something for the musos, I guess,” he notes.

The EP was written and produced by Moulding, mixed by Stuart Rowe, and mastered by Jason Mitchell at Loud Mastering. Cover artwork is by Andrew Swainson, the video by Thomas Walsh, and press photos by Geoff Winn.

“Want It Bad” is Moulding’s second solo EP, following 2021’s “The Hardest Battle,” both released via Burning Shed, where his catalogue with XTC and TC&I is also available.

About Colin Moulding

Colin Ivor Moulding was born on 17 August 1955 in Swindon, England. He took up bass guitar as a teenager after hearing Free’s “All Right Now,” and in 1972 began jamming with local musician Andy Partridge. Their band went through several names, including Star Park and the Helium Kidz, before settling on XTC in 1975, with Terry Chambers on drums.

Moulding wrote several of XTC’s earliest hits: “Life Begins at the Hop” (1979) became the band’s first chart entry, “Making Plans for Nigel” (1979), from the album “Drums and Wires,” gave XTC its first UK Top 20 placing, and “Generals and Majors” (1980), from “Black Sea,” became their first US chart single. In 1980 he also released a solo single, “Too Many Cooks in the Kitchen,” under the pseudonym “The Colonel.” In 1984, Moulding co-founded the Dukes of Stratosphear, XTC’s psychedelic alter ego project, whose recordings anticipated the 1980s Paisley Underground revival.

XTC released 14 studio albums before disbanding in 2006, with Moulding contributing songs and bass throughout, including “Wonderland” from “Mummer” (1983), “Grass” and “Dying” from “Skylarking” (1986), and “King for a Day” from “Oranges and Lemons” (1989). Outside XTC, he contributed bass and vocals to recordings by artists including Sam Phillips, Anton Barbeau and Days Between Stations, and appeared on Billy Sherwood-produced tribute projects covering Pink Floyd and Supertramp.

In 2017, Moulding reunited with original XTC drummer Terry Chambers as TC&I, releasing the “Great Aspirations” EP. The pair, joined by a full band including Moulding’s son Lee, played a series of shows at the Swindon Arts Centre in 2018, drawing on Moulding’s XTC-era songs; highlights were released in 2019 as “Naked Flames: Live at Swindon Arts Centre.” Moulding released his solo debut EP, “The Hardest Battle,” in 2021. “Want It Bad” is his second solo EP, arriving as XTC’s “Making Plans for Nigel” marks its 47th anniversary.

Cocteau Twins released their sixth studio album, “Heaven or Las Vegas,” through 4AD on 17 September 1990, with Capitol Records distributing the album in the United States. The dream pop record turns 36 this year.

The trio, vocalist Elizabeth Fraser, guitarist Robin Guthrie and bassist Simon Raymonde, wrote, recorded and produced “Heaven or Las Vegas” themselves at September Sound, the studio Guthrie set up inside Pete Townshend’s former Eel Pie Studios in Twickenham. The ten-track album opens with “Cherry-coloured Funk” and “Pitch the Baby” and also includes “Iceblink Luck,” “Fifty-fifty Clown,” the title track “Heaven or Las Vegas,” “I Wear Your Ring,” “Fotzepolitic,” “Wolf in the Breast,” “Road, River and Rail” and closer “Frou-frou Foxes in Midsummer Fires.” It followed 1988’s “Blue Bell Knoll” and reached number seven on the UK Albums Chart and number 99 on the US Billboard 200. “Heaven or Las Vegas” streams on Spotify.

About Cocteau Twins

Cocteau Twins formed in 1979 in Grangemouth, Scotland, when guitarist Robin Guthrie and bassist Will Heggie began writing songs together, taking their name from a song by fellow Scottish band Simple Minds. Guthrie met 17-year-old Elizabeth Fraser at a Falkirk disco in 1981 and invited her to sing; her wordless, high-register vocal style became the group’s signature. The trio signed to 4AD in 1982 and released their debut album, “Garlands,” the same year, followed by “Head over Heels” in 1983. Heggie left after “Head over Heels” and was replaced by multi-instrumentalist Simon Raymonde, who joined in time for 1984’s “Treasure,” the band’s first UK Top 40 album. Cocteau Twins released two albums in 1986, “Victorialand” and a collaboration with ambient composer Harold Budd titled “The Moon and the Melodies,” before “Blue Bell Knoll” (1988) became their first record to chart on the US Billboard 200. “Heaven or Las Vegas” followed on 17 September 1990, recorded and self-produced at the band’s own September Sound studio, and became the trio’s highest-charting UK album. Cocteau Twins left 4AD after the record and signed to Fontana, releasing “Four-Calendar Café” (1993) and “Milk & Kisses” (1996) before disbanding in 1997. Guthrie and Raymonde have continued releasing music individually since: Side-Line reported on Raymonde’s Bella Union label presenting the debut album by his project Lost Horizons in 2017, and on Guthrie’s ‘Riviera’ EP in 2021 and his 60th-birthday ‘Springtime’ EP in 2022. Fraser also returned to recording in 2022, her first new material in 13 years, as Side-Line reported. “Heaven or Las Vegas” turns 36 this year, still marking the commercial high point of the band’s decade-long run on 4AD.

KN/GHTS, the solo project of James Knights, releases the single “Light The Fuse” on 17 September 2026 via Specchio Uomo. Knights is known as one of the singers of electronic pioneers Boytronic and for his time in Scarlet Soho.

“Light The Fuse” combines synth pop, dark disco and Italo-influenced sounds. The track deals with loss, recovery and the moment someone stops looking backward and finds the strength to move forward. The single’s B-side carries a darker remix of “Supernatural Lover” by Berlin-based artist Daniel Knutz, whose own sound draws on darkwave, coldwave, post-punk and minimal electronic music.

The official video for “Light The Fuse” was directed and edited by independent filmmaker Dirk Roche. It was filmed during the Supernatural Lover Tour, with additional footage captured at live performances in Germany.

“Light The Fuse” follows KN/GHTS’s second studio album, “Supernatural Lover”. Since that release, the project has built momentum internationally, with an audience particularly across Germany, Sweden and Mexico. Its live show has become a central part of the project’s identity, with recent performances alongside Drab Majesty and Andy Bell of Erasure.

“Light The Fuse” is available on Bandcamp and Spotify.

About KN/GHTS

KN/GHTS is the solo project of James Knights, known for his work across the electronic and alternative music scene as one of the singers of Boytronic and for his time in Scarlet Soho. Under the KN/GHTS name, Knights combines synth pop, dark disco, electronic music and theatrical performance.

Following the release of his second studio album, “Supernatural Lover”, KN/GHTS built an international following, particularly across Germany, Sweden and Mexico. Live performances alongside acts including Drab Majesty and Andy Bell of Erasure became a defining part of the project. “Light The Fuse”, released 17 September 2026 via Specchio Uomo, is the project’s newest single, backed with a Daniel Knutz remix of “Supernatural Lover” and an official video shot during and after the Supernatural Lover Tour.

Mute have shared the newly remastered Coil track “Either His, or Yours”, the third track revealed from “Gold is the Metal (With the Broadest Shoulders),” due on limited-edition vinyl, CD and digitally on 30 October 2026 through Mute and Coil’s own imprint Threshold House.

Side-Line covered the reissue’s announcement and its first single, “Cardinal Points,” in July, when Mute and Threshold House confirmed the 30 October release date and the reissue’s catalog number, COIL3. “Either His, or Yours” follows that track and the subsequent “Aqua Regalia” as the reissue’s third pre-release song, and sits at position thirteen on the album’s sixteen-track sequence.

“Gold is the Metal (With the Broadest Shoulders)” is the closing album in a trilogy that began with “Scatology” (1984) and “Horse Rotorvator” (1986), drawing on textural and instrumental material sidelined during “Horse Rotorvator’s” sequencing. The reissue restores artwork reconstructed by Stephen Thrower and his partner Ossian Brown (a member of Coil from 1999 to 2004), using archive material that includes artefacts, photographs and personal notes made by the late John Balance, alongside new sleeve notes. It is the first release in a new partnership between Mute and Threshold House that will bring four early Coil albums back into print with restored artwork and previously unseen imagery.

Coil’s “Gold is the Metal” release details

The album’s full, sixteen-track running order remains “The Last Rites of Spring,” “Paradisiac,” “Thump,” “For Us They Will,” “The Broken Wheel,” “Boy in a Suitcase,” “Golden Hole,” “Cardinal Points,” “Red Slur,” “…Of Free Enterprise,” “Aqua Regalia,” “Metal in the Head,” “Either His, or Yours,” “Chickenskin,” “Soundtrap” and “The First Five Minutes after Violent Death,” all carrying the 2026 remaster. Mute and Threshold House plan to follow “Gold is the Metal” with further early Coil reissues: the soundtrack for Derek Jarman’s “The Angelic Conversation,” the previously unreleased music Coil recorded for Clive Barker’s “Hellraiser,” and the compilation “Unnatural History.”

About Coil

Coil formed in London in 1982 as a solo project of John Balance (born Geoffrey Burton, 1962-2004), then a member of Psychic TV. The project became a duo when Balance’s partner Peter Christopherson (1955-2010), formerly of Throbbing Gristle, joined him. Coil’s first release, the one-sided 12″ single “How to Destroy Angels,” came out in 1984. Stephen Thrower joined the group during the recording of “Horse Rotorvator” (1986) and remained through “Gold is the Metal (With the Broadest Shoulders)” (1987), the third and closing album of a trilogy that also included “Scatology” (1984).

Coil released music through the 1990s and 2000s that ranged from the industrial dance of “Windowpane” to the ambient “Time Machines” (1998) and the two-volume “Musick to Play in the Dark.” John Balance died in 2004 after a fall at the band’s home, and Coil effectively ended; Peter Christopherson continued to oversee reissues of the group’s catalog until his own death in 2010. In July 2026, Mute and Threshold House announced the “Gold is the Metal (With the Broadest Shoulders)” reissue for 30 October, along with its first single, “Cardinal Points,” followed by a second track, “Aqua Regalia.” “Either His, or Yours” is the third song to surface ahead of that release date.

Ukrainian modern metal band Ignea have released a new single, Prefab, featuring Andy LaPlegua of Combichrist. The track is the third single from Ignea’s upcoming album “Monumental,” due October 23, 2026 via Napalm Records, and pairs Ignea vocalist Helle Bohdanova with LaPlegua on an industrial metal cut built around aggrotech and electro-industrial textures.

“Prefab” looks at architecture and collective memory, themes that run through “Monumental,” which the band describes as centered on nostalgia. Bohdanova wrote the lyrics; the music was composed by keyboardist Yevhenii Zhytniuk with additional contributions from Bohdanova.

Bohdanova commented on the track: “‘Prefab’ reflects on the darker side of nostalgia – prefabricated socialist buildings, originally meant to give everyone a roof over their heads. But like many socialist ideals, the concept was flawed at its core: uniform, industrial, stripping people of individuality and personal choice, making them feel like ants inside their own homes. Remnants of this architecture still stand across Europe – from Ukraine and Poland, from Germany to France. As Ukrainians from a post-Soviet country, we grew up surrounded by the physical remains of a system that promised a bright future and delivered the opposite. In the ‘Prefab’ video, we wanted to convey the feeling of a confined, uniform space, a cramped room representing a typical Soviet apartment, where only the tenants ever change. When we shaped the demo, we were basically hearing Andy’s vocals in the back of our minds, and we’re so glad he agreed to lend his voice. Having Combichrist as part of the industrial metal track on our upcoming album […]”

Andy LaPlegua formed Combichrist in 2003 as a solo studio project, building it into one of the touchstone acts of the aggrotech and industrial metal scenes alongside his other projects Icon of Coil and Panzer AG. Combichrist’s most recent album, “The Venom In The Mouth Of God,” was announced via Out Of Line Music earlier in 2026, following singles including “Demons Wanna Be Summoned” with King 810 and “Feraline.”

“Monumental” is Ignea’s second full-length album, following 2023’s “Dreams of Lands Unseen.” Writing and recording took place largely during the winter of 2025-2026, amid icy temperatures and long power outages in Kyiv during the full-scale war in Ukraine. Bohdanova described the record’s concept: “Back in the 17th century, nostalgia was considered a deadly disease – and in many ways, it still is. Much of this album was inspired by modernist architecture – concrete giants built to signal progress and a brighter future, now slowly decaying.”

The album spans nine tracks: “Darkness,” “Dreams of Lands Unseen,” “Presence of the Past,” “Prefab” (feat. Combichrist), “What Buildings Dream of,” “I am in Hell,” “Between No Longer and Not Yet,” “Harmony Manufactured” (feat. Hiraes), and “Nadir.” Mixing and mastering were handled by Grammy-nominated producer Jacob Hansen, whose credits include Delain, Amaranthe, Volbeat, Amon Amarth, Arch Enemy and Epica. “Monumental” arrives on translucent dark night blue splatter vinyl with booklet, solid silver vinyl, CD jewelcase, a CD/T-shirt bundle, and digitally, released via Napalm Records.

Ignea will support Evergrey’s “Architects Of A New Weave” European tour alongside Stellar Circuits starting in November, taking “Prefab” and the rest of “Monumental” to stages across Scandinavia, the UK and mainland Europe.

Ignea tour dates

• 11 November 2026 – Lund, Sweden – Mejeriet
• 12 November 2026 – Stockholm, Sweden – Kollektivet Livet
• 13 November 2026 – Linkoping, Sweden – Paletset
• 14 November 2026 – Gothenburg, Sweden – Filmstudion 2
• 15 November 2026 – Oslo, Norway – Salt
• 17 November 2026 – Hamburg, Germany – Logo
• 18 November 2026 – Berlin, Germany – Hole44
• 19 November 2026 – Munich, Germany – Feierwerk
• 20 November 2026 – Vienna, Austria – Weberknecht
• 21 November 2026 – Milan, Italy – Slaughter Club
• 22 November 2026 – Aarau, Switzerland – KiFF
• 23 November 2026 – Antwerp, Belgium – Zappa
• 25 November 2026 – Southampton, UK – The Brook
• 26 November 2026 – Birmingham, UK – Asylum
• 27 November 2026 – London, UK – The Underworld
• 28 November 2026 – Leeds, UK – The Key Club
• 29 November 2026 – Dublin, Ireland – Opium
• 30 November 2026 – Belfast, UK – Limelight 2
• 1 December 2026 – Glasgow, UK – G2
• 2 December 2026 – Newcastle, UK – Anarchy Brew
• 3 December 2026 – Manchester, UK – Rebellion
• 4 December 2026 – Bristol, UK – Strange Brew
• 5 December 2026 – Nottingham, UK – Saltbox
• 7 December 2026 – Paris, France – Petit Bain
• 8 December 2026 – Trier, Germany – Mergener Hof
• 9 December 2026 – Karlsruhe, Germany – Substage
• 10 December 2026 – Dortmund, Germany – Junkyard
• 11 December 2026 – Rotterdam, Netherlands – Baroeg
• 12 December 2026 – Maastricht, Netherlands – Muziekgieterij

About Ignea

Ignea formed in Ukraine in 2013, releasing the EP “Sputnik” the same year. The band mixes melodic and progressive metal with symphonic, electronic and folk elements, building material around narrative concepts. Ignea’s debut full-length, “The Sign of Faith,” followed in 2017. The band’s early single “Alga,” released as a hymn referencing the Crimean Tatars’ battle cry after the annexation of Crimea, became the first original song by a Ukrainian metal band recorded with a full symphonic orchestra. Ignea’s second album, “The Realms of Fire and Death” (2020), was funded through the band’s Patreon page and was later named Ukraine’s metal album of the year. A split EP with Ersedu, “BESTIA,” followed in 2021.

After building an independent following through two albums and two EPs, Ignea signed to Napalm Records and released “Dreams of Lands Unseen” in 2023, an album dedicated to Ukrainian travel writer and photographer Sofia Yablonska. Despite the ongoing war, the band toured extensively, including a 43-date EU/UK run supporting Fear Factory, and has since played festivals including Wacken Open Air, Summer Breeze, Bloodstock and Brutal Assault, alongside club dates with Cradle of Filth, Epica and Butcher Babies. Nine Ignea tracks also feature in the video game “S.T.A.L.K.E.R. 2: Heart of Chornobyl.” The current lineup is Helle Bohdanova (vocals), Yevhenii Zhytniuk (keyboards), Dmytro Vinnichenko (guitars) and Oleksandr Kamyshyn (bass). Ignea’s second full-length, “Monumental,” follows “Dreams of Lands Unseen” on October 23, 2026, led by the singles “Prefab” featuring Andy LaPlegua and its predecessors, and supported by the band’s November-December European tour with Evergrey.

Young Medicine has signed a multi-album deal with FiXT, and the partnership opens with the re-release of “Immolator,” out now on the label. The Kansas City, Missouri trio pairs retro-styled synthesizers with hard rock and metalcore guitar work, and “Immolator” was first released in November 2025 through FiXT’s synthwave imprint FiXT Neon before returning now under the new deal.

“Immolator” runs on thumping double-bass drums and crunchy guitar riffs under a chorus built from bright, retro synth lines, with the vocal shifting from a sung verse into screamed sections in the chorus and bridge. FiXT describes the track as “a high-energy collision of hard rock, metalcore, and alternative metal that pairs retro-inspired synthesizers with heavy guitars.” A visualizer for the song is streaming on YouTube.

“Immolator” is out now on all platforms through FiXT.

About Young Medicine

Young Medicine is a synth rock band from Kansas City, Missouri, made up of Bret Liber, Josh Hurst and Michael McEvoy. The band builds its sound around retro synthesizer tones layered with heavy guitars and hard rock and metalcore rhythm sections, mixing hooks from pop and rock songwriting with double-bass drumming and screamed vocal passages. Young Medicine first released “Immolator” in November 2025 through FiXT Neon, the synthwave-focused imprint of FiXT, the independent label founded in 2006 by Klayton of Celldweller. FiXT’s roster includes Celldweller, Scandroid, The Anix, The Browning and Rabbit Junk, among others, and its catalogue has been used in Westworld, Iron Man, Deadpool, John Wick and Call of Duty. The new multi-album deal makes Young Medicine a signed act on FiXT’s main roster, with “Immolator” as the first release under the agreement.