Label Description: Neo psychedelic doom metal from Amsterdam. Drone-laced riffs and thunderous grooves with bluesy vocals and electric violin in a maelstrom of feedback, loops, and effects.
Label Description: Doomentia Records in conspiracy with Sentient Ruin present “Cogwheel”, Altarage’s highly anticipated seventh full-length album, coming 31/07/2026 on LP, CD, cassette and digital formats.
Basque experimental death metal behemoths Altarage return to crush the earth under their gargantuan hooves of dissonance. Packing in a staggering one hour and fourteen minutes of tectonic extreme metal upheaval, their seventh full length album “Cogwheel” not only represents the longest, and most imposing work in their career, but also their most defiant and visionary. Since 2015, and across six genre-defining full length releases and the spawning of countless imitators, Altarage have brilliantly and mercilessly ploughed through the barriers of convention and tradition, setting in motion one of the most revolutionary ruptures in recent death metal history, and redefining the very architecture of heaviness and of their long standing dual mandate of destruction through transformation, and transformation through destruction. “Cogwheel” reinvents this dismal trajectory once again, representing yet another rift in Altarage’s enigmatic and oppressive conquest for innovation. Tempos slow down, forms sprawl, deconstruct and convulse. Abstraction and evaporating compositional frameworks expand. Echoes of Swans, Sunn O))), Scott Walker and Godflesh accrete into structural elements while lyrical themes and concepts mirror this process of rehumanization, shifting from the supernatural and the imaginary, to real, blood-pumping societal struggle that embodies the very notion of suffering and anger inside the cogwheel of transactional industry slavery. And at the center of all of this, always them: the riffs, the eternal centerpiece and engine to Altarage’s tyrannical decade-long conquest. Colossal, implacable, inescapable uranium-depleted hammers of creation and destruction, demolishing and flattening everything in their wake. Conventions and their vestiges, wiped off the earth. Remnants and dogmas of tradition, flattened and pulverized under the weight of inevitability to create a new ground zero, scorched and sterilized of orthodoxy, and reseeded with the germs of innovation and expressive rebirth through the convergence of human struggle and musical destruction.
Label Description: FUNEBRARUM “Beckoning the Void of Eternal Silence”
New Jersey death metal veterans FUNEBRARUM have announced their long-awaited third full-length album, Beckoning the Void of Eternal Silence, set for release on May 29th via Pulverised Records. Marking the band’s first new material in seven years, the record sees the revered underground outfit return with their most fully realized and crushing work to date, reaffirming their status as torchbearers of classic, doom-laden death metal steeped in the spirit of the late ’80s and early ’90s.
With a perturbed atmosphere writhing around the entire record, the pulsation of which “Beckoning The Void Of Eternal Silence” breeds is an expertly calculated Deathdoom craftsmanship and yet emitting at times a surreal bridging between extreme genres in orchestra-like precision. The core DNA of FUNEBRARUM has remained intact albeit the exalted darkness have shaped themselves to be cut from a different cloth.
Track List:
1. The Arrival (Intro)
2. Beckoning the Void of Eternal Silence
3. Sa Nagba Amāru
4. Through the Barren Halls of Grieving Emptiness
5. Into Dark Domains
6. Ancestral Manor (Intro)
7. Anhela Odor Mortuorum (The Adepts)
8. From Rotting Burial Shrouds
9. Turning the Stones of Torment
10. The Whispering Cathedral
11. Epilogue
Daryl Kahan – Lead Vocals
Samuel Osborne – Rhythm Guitars
Phil Tougas – Rhythm & Lead Guitar
Winslow – Bass
Charles Koryn – Drums
Intros by DuskLord and Daryl Kahan
Keyboards and Acoustic Guitar by Phil Tougas
Backing Vocals: Winslow and Phil Tougas
Guest Leads by Patrik Fernlund *
Recorded by Charles Koryn at Elektrik City Recording.
Portland, Oregon
Recorded and Mixed by Stephen DeAcutis at Sound Spa Studios,
Edison, New Jersey
Co-Produced by Daryl Kahan and Phil Tougas
Mastered by Daryl Kahan at Winterdark – Jan 2026
Executive Producer: Roy Yeo
All Music by Funebrarum © 2026All Lyrics by Daryl Kahan except “Beckoning the Void of Eternal Silence” by Winslow and Daryl Kahan
All Artwork and Design by Daryl Kahan 2026
Logo by Turkka Rantanen
www.funebrarum.com
www.pulverised.net
Label Description: As WARNING prepares to release Rituals of Shame – their first new music in twenty years,vocalist/guitarist Patrick Walker is self-effacing about what led to this moment. Over the last two decades he continued to write and release music, satisfied that he had achieved what he set out to do with WARNING. In those intervening years, interest in WARNING swelled, organically gathering an ardent fanbase. In particular, the 2006 album, Watching from a Distance, has gained a cult following.
In response to a transformative period in his life, Walker turned towards writing new songs, and it soon became apparent that these belonged to WARNING. In early January 2025, he started with a completely blank canvas, and piece by piece, he started to fill it with ideas that evolved to become the songs that make up Rituals of Shame. His immersion in the project became a full-time pursuit.
After successfully demoing the five songs, Walker retreated to a remote house on a hill outside Florence, Italy, to refine the lyrics. Recording took place at The Arch Studio, a 140-year-old former church in Southport, UK. Chris Fullard (Idles, Sunn O))), Ulver) handled the recording and mixing.
Walker’s lifelong musical inspirations can be traced through Rituals of Shame. The ambitious structural arrangements harken to Marillion’s complex but soaring episodic songs. They retain a sparsity that is reminiscent of June Tabor’s economic arrangements; thick with melody but with a diaphanous air to them. Citing John Brenner of Revelation as an enduring inspiration, Patrick credits him with introducing the idea of how to infuse heavy music with significant emotional depth.
Often reluctant to discuss the minutiae of his lyrics, Walker does acknowledge that making this album was a direct response to the immediate concerns of his current life period. Rituals of Shame also echoes the enduring themes and fixations that have marked most of his work: guilt, shame, personal failure, obsession, longing, and separation, but, most of all, he says, love.
Label Description: Mothertomb emerged from the deep woods of Northern Michigan in 2025, forging a sound that is equal parts crushing weight and haunting atmosphere. Rooted in traditional doom metal yet unbound by convention, the band’s sound explores a broad spectrum of influences, from the hypnotic haze of heavy psych and stoner metal to the aggression of sludge metal and the dynamic complexity of progressive and groove metal.
Set for release on July 14th, 2026, Dying to Live is Mothertomb’s debut full-length album. Across its five tracks, the record explores themes of transformation, suffering, transcendence, and the timeless struggle between darkness and light. Drawing inspiration from Welsh folklore and the shadowed corners of the human psyche, the songs traverse landscapes inhabited by ancient spirits, inner demons, and the forces that shape the human condition.
The album unfolds through layers of metaphor, allegory, and introspection, inviting listeners into a world where darkness and illumination coexist. From brutal heaviness to moments of eerie beauty, Dying to Live is a journey through the depths of the human experience.
Created entirely as an independent DIY effort, the album was written, recorded, produced, and artistically directed by the band itself. Dying to Live stands as a testament to that labor of love, and we are honored to share it with the world.
Mothertomb:
Alice Gawlinski: Vocals
Chance Gawlinski: Guitar
Alton Minor: Bass
Mike Benitez: Percussion
“Dying to Live” was recorded in Charlevoix, MI at Death Box Records (2026).
Music written by: Mothertomb
Produced by: Alton Minor and Mothertomb
Lyrics written by: Alice Gawlinski
Mixed and mastered by: Alton Minor
Recording engineer: Alton Minor and Mike Benitez
Artwork Design and Illustration by: Alice Gawlinski
Label Description:
Label Description: Physical Copies Available For Purchase here:
US: neurotrecordings.merchtable.com/artists/neurosis
EU: evilgreed.com/collections/neurosis
“We are torn wide open”
Evolution can be ugly and beautiful, painful and euphoric. An Undying Love For A Burning World is the first new release from Neurosis in a decade, and a potent statement of intent and rebirth – one that marks the first new steps of resolve and resilience.
“We need this, perhaps more than ever, and we suspect we are not alone. The trials and tribulations in our personal lives and as a band, combined with simply trying to navigate the insanity of our society, with the stress, anxiety, and isolation that come with it can be excruciating. Add to that the existential confusion and sorrow of the climate crisis and the sixth mass extinction. It is enough to cause you to completely lose your mind if you can’t find release or catharsis. This strange emotionally charged music has always been our method of trying to survive this and this is what we’ve always been singing about. When you have spent a lifetime engaged with these energies and utilizing this form of expression to purge and purify, it feels detrimental to our well being to let it sit idle and neglected. This was now or never.”
“We’ve forgotten how to live, so we suffer”
An Undying Love For A Burning World is an epic album of colossal hypnotism – beautiful, fearsome and utterly compelling in a way that only Neurosis can be. Aaron Turner (Sumac, Isis) joins the band on vocals and guitar, a name whose legacy is intertwined with the band’s own and a true kindred spirit.
“He came straight out of the gate contributing, writing and presenting ideas,” says the band. “His energy matches ours perfectly. It’s as if he was always meant to be there.” Aaron adds, “From the moment I first heard Neurosis over 30 years ago, I felt this was the music my heart and mind had been seeking but not yet heard. Now after many years travelling along various musical paths of my own, the singular sound and spirit embodied by Neurosis continues to speak to the depths of my being. It is an honor and a true pleasure to have been welcomed so warmly into a band that not only shaped my perspective on the limitless possibilities of music – but has lived and exemplified the necessity of upholding creative integrity and camaraderie above all else.”
“We’ve forgotten how to struggle, so we suffer”
Neurosis have never been afraid of change, and here they embrace endless regeneration, surrendering to the emotional exorcism through heaviness and distortion that their music incites. Just as the universe tends towards balance, Neurosis’cacophony of noise, rhythm and dissonance always resolves towards moments of beauty. The addition of Turner’s powerful vocals and wildly creative and unhinged approach to guitar proves to be a vital force as Neurosis find themselves again at the mercy of evolution and expression.
“We’ve forgotten we are wild, so we suffer”
On every song in the band’s history, Neurosis shifts restlessly between tension and relief, invoking a feeling both feral and transcendent in listeners. The band describe their songwriting process as an inescapable impulse to create with each other – a need rather than a choice. Indeed, the band insist that their return is “not a reunion – we never broke up.”
The album was recorded by Scott Evans (Kowloon Walled City, Sumac, and Great Falls) at Studio Litho in Seattle during three weekends this winter, and mixed in three days just six weeks before release at Evan’s Antisleep Audio in Oakland.
“We exist in isolation, so we suffer”
Neurosis will play their first show in seven years on the traditional lands of the Blackfeet Nation in Montana as part of Fire in the Mountains festival by special invitation of Firekeeper Alliance, a non-profit dedicated to reducing youth suicide in Indian Country.
FITM, is a unique festival known for bringing epic music to epic landscapes with the intent of reconnecting and immersing oneself with the natural world, and strengthening our ancestral roots as human beings – an aim which aligns directly with Neurosis’ deep-rooted power.
“I cannot think of a more appropriate environment for us to return to the stage,” comments Steve Von Till who also serves on the board of Firekeeper Alliance. “Last year’s Fire in the Mountains festival was the most profound music event I have ever been a part of. The weekend took on a healing, cathartic ceremonial nature that is difficult to put into words. Using emotionally heavy music to build community and collectively stare darkness in the eye is something we have always believed in, but using it to directly address the heartbreaking reality of suicide, grief, loss and trauma is taking it to another level.”
“The dissonance is deafening.”
Label Description:
Label Description:
Tracklist
1) Nothing – 20:39
2) Remains – 12:03
3) Forever – 12:42
4) Empty – 21:24
Physical Copies can be found on our Big Cartel Page (https://bongripper.bigcartel.com/)
