Want one thing new to hearken to? I bought you coated with just a few selection cuts recent from the proverbial market.
Frayle – “Summertime Disappointment”
Following their hauntingly darkish single “Strolling Wounded”, Cleveland, Ohio doom steel sellers Frayle have revealed their upcoming third full-length album, Heretics & Lullabies, set for launch on October 10, 2025 by way of Napalm Information.
Over latest years, Frayle have emerged as one of many fastest-rising and most distinctive forces in trendy doom, mixing occult-driven heaviness with parts of blackgaze and ethereal darkwave. The band calls their method “lullabies of chaos,” a phrase that completely encapsulates their skill to steadiness fragility and ferocity.
Alongside the album announcement, Frayle have unveiled a surprising reinterpretation of Lana Del Rey‘s hit Summertime Disappointment. Their model transforms the unique right into a slow-burning, shadow-drenched lament, wealthy in melancholy. Delicate ambient textures swirl round ghostly vocals and doom-laden guitar riffs, making it a becoming farewell to summer time as autumn’s chill approaches.
The band feedback: “We have all the time been followers of songwriting with notes of melancholy, regardless of the style. Listening to ‘Summertime Disappointment’ for the primary time was particular. The whole lot appeared to fall into place for us with little resistance on this music. It was the primary tough combine we bought again from our producer. He added the pause earlier than the breath main into the primary refrain, and upon listening to it, we knew we had one thing particular.”
Hooded Menace – “Portrait And not using a Face”
For over 20 years, Finland’s Hooded Menace have been a towering determine within the death-doom underground, and their upcoming seventh album, Lachrymose Monuments of Obscuration, sees them persevering with to evolve whereas staying rooted of their macabre foundations. The lead single, “Portrait And not using a Face”, is an ominous, cinematic plunge into horror-inspired doom, mixing eerie environment with crushing heaviness.
The monitor opens with drummer Pekka Koskelo pounding out a rhythm like loss of life knocking at your door. The music quickly spirals right into a labyrinth of funereal riffs courtesy of founding member Lasse Pyykkö, whose enjoying is as suffocating as it’s hauntingly melodic. The affect of ’80s heavy steel — carried over from their final LP The Tritonus Bell — remains to be current, however “Portrait And not using a Face” additionally evokes the theatrical eeriness of King Diamond, making it each bone-chilling and unexpectedly grand.
A standout component is the ghostly moan of a cello woven into the monitor, including an additional layer of eerie magnificence to its funereal march. Lyrically and visually, the music continues Hooded Menace‘s morbid fascination with horror cinema. The album’s art work by Wes Benscoter attracts on imagery from director Amando de Ossorio‘s The Blind Useless movies, bathing the discharge in ghoulish splendor.
The video, directed by Tekla Valy with further footage by Mikko Saastamoinen, matches the monitor’s sinister grandeur with imagery that would have been torn straight from an unholy horror anthology.
Howling Large – “Canyons”
Nashville cosmic stoner steel trio Howling Large return with “Canyons”, the primary single from their forthcoming third full-length album Crucible & Wreck, set for launch on October 31, 2025. It is a galloping, riff-fueled journey that Howling Large guitarist and vocalist Tom Polzine describes as “a fast-paced exploration of a planet deserted by its celestial origin.” The monitor’s shifting dynamics — from aggressive riffing to a shimmering acoustic outro — create a way of a consistently unfolding journey.
Crucible & Wreck marks a brand new chapter for Howling Large, that includes for the primary time their latest member, Adrian Lee Zambrano, on guitar and synth. Although he joined towards the tip of the writing course of, his contributions add depth and texture, giving the band’s already wealthy sound a good heavier and extra dynamic edge. In comparison with their earlier album Glass Future in 2023, this document takes a extra aggressive method whereas retaining their trademark cosmic storytelling.
Considerably, that is Howling Large‘s first album recorded fully in an expert studio moderately than their residence setup (“the bunker”), permitting them to seize uncooked dwell power and plush manufacturing element. Lyrically, the album explores a grand cosmic mythos, telling the story of a novice deity locked in a battle towards primordial chaos. That is mirrored within the album’s distinctive cowl artwork, painted by Polzine‘s mom utilizing alcohol ink on yupo paper — a private and inventive contact that enhances the album’s otherworldly themes.
Mors Principium Est – “Summoning the Darkish”
Finnish melodic loss of life steel veterans Mors Principium Est are set to unleash their new album Darkness Invisible on September 26, 2025 by way of PERCEPTION – A Division of Reigning Phoenix Music. Their newest single, “Summoning the Darkish”, is an epic return to type, that includes the band’s first performance-based music video since 2016’s Reclaim the Solar.
The video follows a faceless, cape-wearing protagonist navigating a sinister panorama of macabre visions: crucified figures swaying within the shadows, crawling horrors writhing throughout burning floor, rotting corpses left to decay, helpless victims drowning in blood-soaked waters, and a fallen angel marking the journey’s grim climax. The hunt ends with the ritual summoning of a monstrous, otherworldly sea beast.
Mors Principium Est guitarist Jori Haukio explains: “We’re returning with a haunting new visible for our new single ‘Summoning the Darkish.’ Directed by JP Kaukonen and shot deep throughout the mystic and historical woodlands of Finland, the video blends trendy high-end manufacturing with a refined fantasy-horror narrative. A darkish, immersive journey to a summoning past the purpose of no return.”
Musically, the monitor blends razor-sharp riffing, hovering orchestration, and Ville Viljanen‘s commanding vocals right into a sound that’s each technically exact and emotionally charged. Recorded at Ansa Studio in Finland and combined/mastered at Sweden’s famend Fascination Avenue Studios by Jens Bogren and Tony Lindgren, the manufacturing is as wealthy and cinematic because the visuals.
