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There are two kinds of heavy bands: the ones that make a lot of noise and the ones that drag you somewhere you didn't know you needed to go. Cwfen (pronounced 'Coven') are the latter, and Sorrows is a record that doesn't just crush – it haunts long after the final note.
The allure of Cwfen’s sound lies in contrasts: the glacial ferocity of Amenra, with the velvet-and-razor vocals of King Woman, and the rotting grandeur of Type O Negative. It’s as hypnotic as it is harrowing, but somehow even better than the sum of those parts.
Since emerging from Glasgow's underground just 18 months ago, Cwfen's reputation is growing, selling out shows and pulling growing audiences into their doom-laden fever dream.

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Groove, melody and aggression meet on 'The Moral Chokehold.'
Produced by Kevin Billingslea (Lamb Of God, Trivium) and mixed/mastered by Jens Bogren (Amon Amarth, Kreator)

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After a 4 year hiatus, Death Kommander returns with their second album "Never To Grow Old", which shows an evolution of the band whilst at the same time keeping their roots in Bolt Thrower worshipping.

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Lauded as USBM’s best kept secret, Obsidian Tongue has been on a steadfast artistic journey since their formation in 2009. They’ve never failed to retain the original mission of playing raw and cathartic melodic black metal as they journeyed further into psychedelic and progressive territories with each release following 2012’s self-released debut “Subradiant Architecture”. While their debut won a passionate following for its perfect union of the grimy and the epic sides of black metal, it was 2013’s “A Nest of Ravens in the Throat of Time” (Hypnotic Dirge Records) and its psychedelic dark metal that established their name more into the scene and showcased their ambitious nature even more.

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PUTERAEON returns in 2025 with their fifth full-length album, “Mountains Of Madness”, a relentless dive into the depths of Swedish old-school death metal. Since their formation in 2008, the band - featuring members from Taetre, Reclusion, and Nominon - has consistently refined its sound, pushing further into Lovecraftian horror with each release.

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On 2021's No Gods No Masters, Garbage were in a critical mood—of racism, sexism, misogyny, capitalism. For their eighth album, the band is still highly aware of all the conflicts and ugliness in the world. However, singer Shirley Manson has said, "we all thought that if we immersed ourselves in indignation we would probably die of a broken heart." Instead, they set out with the mission of "finding love in the world as a tool to combat all the hate we feel." Let All That We Imagine Be the Light picks up immediately after they finished writing songs for their last record (and from even before they released it), with "There's No Future Iin Optimism" setting the scene in Los Angeles during 2020's protests against police violence. "The night is dark and full of terror/ The air is thick with helicopters/ People marching, cops are swarming/ The city's on fire and the sirens are screaming," Manson growls. And yet … it's a galloping groove with sexy-beast riffs and—look up—a glimmer of positivity: "The sky's so beautiful, the stars are wild."

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Ty hits the big sky trail of our good ol’ frontier empire, discovering non-stop bangers and inspired new sonics around every bend. With lyrics co-written by longtime collaborator, filmmaker Matt Yoka, Ty's glittering rhythm arrangements move with fresh scansion, inviting in sweeps of strings and horns to further the charge righteously. You’re invited too! Don’t miss the trip – the country inspires awe from up on Ty’s high-octane ride.

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Following Munich 2016, Budapest Concert, and Bordeaux Concert, New Vienna is the fourth solo recital released by ECM documenting Keith Jarrett’s final European tour in 2016, two years before he'd experience two strokes that have since made public performance impossible. In this recording, we encounter the quintessence of his latest style, elevated to a level of formal precision and emotional depth that is nothing short of extraordinary. The concert opens with a dense and intricate prelude, a tangle of textures and rhythms folded in on itself like a kind of primordial magma, from which the rest of the suite seems to flow. From this origin, the music gradually unravels with increasing fluidity and clarity across nine improvised tableaux, each marked by a staggering range of moods and imaginative force.