Piercing 2018

Teeming with revved-up riffs and apocalyptic imagery, the post-hardcore group’s first album since 2005 reasserts their status as the most merciless band in their scene.

"In 2016, 21 years after Acid Mothers Temple & The Melting Paraiso U.F.O. were founded in Osaka, Japan, there was a major shift in the line-up and "Next Generation" was added to the bands name. We now view the first 20 years of the bands career as chapter one in our story, and we are now turning the page to start chapter two. In 2018, it's time to re-record our classics with this new line-up, we just opened the door to the next stage!” (Kawabata Makoto 2018)

Being a relic off one of the promising Black / Death Metal bands in Brazil, DESDOMINUS, didn’t seem to be a part of the game when multi-instrumentalist, Douglas Martins, decided to start over on his own. Emerging as DEEP MEMORIES, helped to reintroduce some of the key elements and talent that made the early days of DESDOMINUS colorful along with a new vision of extreme Metal…

Nora’s highly anticipated debut album HUSH was released on Deutsche Grammophon on 13 April 2018. The album won an EDISON award in october 2018!

Preoccupations is a Canadian post-punk band from Calgary, Alberta, formed in 2012 under the name Viet Cong. The band consists of Matt Flegel (vocals, bass), Scott Munro (guitar, synth), Daniel Christiansen (guitar) and Mike Wallace (drums). The group's musical style has been described as "labyrinthine post-punk".

Bleeding Gods, a blackened death metal band from he Netherlands, has managed to put together one of the best concept albums in quite a while (possibly the best all year) and create an album that stands alongside some of the best in blackened death metal…

As a quartet, Polish act Riverside produced some of the most characteristic and captivating albums in modern progressive rock/metal. Sadly, the untimely passing of founding guitarist Piotr Grudziński in early 2016 sent fans and the remaining members—vocalist/bassist/lead songwriter Mariusz Duda, drummer Piotr Kozieradzki, and keyboardist Michał Łapaj—into a painful world of uncertainty about if, when, and how they should continue. After all, Grudziński’s distinctive style was a major part of their treasured formula, so adequately replacing him seemed both impossible and potentially impolite.