Forward-thinking duo Lake Malice have revealed their reflective new track ‘Eternal December’, which is about profound emotions of homesickness and seasonal depression. It’s inspired by vocalist Alice Guala’s experience of moving countries and having to rebuild meaningful connections in a place which can sometimes feel like an “Eternal December”. Guala and guitarist/co-instigator Blake Cornwall say: “We wrote this song in the wintery months when the rain never stopped and we barely saw the sun. It feels like something everyone can relate to on some level. Our aim has always been to avoid limitations on where we take our music and we’re extremely proud of this multilayered composition which incorporates elements of EDM, hyperpop and metalcore.”

On Friday, Melbourne-based dark folk/blackgaze project SULDUSK celebrated the release of their much-awaited, sophomore studio album, Anthesis, out via Napalm Records. In support of SULDUSK’s critically-acclaimed new album, the Australian act is premiering a music video for their latest haunting single, ‘Mythical Creatures’. Band mastermind Emily Highfield comments: “We are so pleased to finally release Anthesis! This album extends the path laid down by Lunar Falls, but having a full band beside me now emboldened me to be braver in the musical and emotional terrain we explored.” [via Outburn]

Death Dealer Union drops empowering anthem ‘Beyond Heaven’. “Imagine a life where you are shining bright” is the opening lyric on this opus. The video and track feels like the final journey DDU has in store for us.This is the last video in a series of four videos from the debut record Initiation. ‘Beyond Heaven’ is a six minute opus about finding the best version of yourself. It is the last song on the record and it is also the guiding theme throughout the whole album. You’ll notice that the opening track ‘Initiation’ is the piano melody on the beginning of ‘Beyond Heaven.’ CC McKenna says, “The song ‘Beyond Heaven’ is one of my favorites on the record. It was written by myself and two gentlemen named Mark Wenzel, and Keith Wolter along with Lena Scissorhands, and Doug Weiand. The song is really about shedding the darkness that might hold you back or probably better said is that it’s about confronting the darkness within yourself; that you may acknowledge its beauty and move on to the highest version of yourself. All we have to do is collectively believe!… We present to you our final video and single for our first album Initiation.” [via Outburn]

ANA are a suspenseful, mysterious, and soulful symphonic metal band from Melbourne. The band just premiered a new music video and single entitled ‘Ouroboros’. This is the second single and music video taken from their upcoming EP album The Art of Letting Go which is scheduled to be released on March 29 via Eclipse Records. The album was produced by Josh Mak & Anna Khristenko, recorded and mixed by Chris Themelco (Eye of the Enemy, Colour & Shade, Naberus) at Monolith Studios, and mastered by Thomas ‘Plec’ Johansson (Groove Armada, Soilwork, Mayhem) at The Panic Room Studio, and the music video was directed by Aaron Mak. “We wanted the music video for ‘Ouroboros’ to be a statement on our emergence into the music scene as a novel yet experienced and dedicated group of musicians by placing our best foot forward and showing a glimpse of where we plan to go” says lead vocalist Anna Khristenko. [via Metal Planet]

In case you haven’t picked up a copy of Black Metal Rainbows yet, the titular genre has officially moved firmly enough past its homicidal roots in misogyny and transphobia that the current generation of artists feels comfortable leaning into the sounds of its second wave to reclaim them as their own. As one figure in this movement, Erin Dawson has prescribed the term “TWBM”—trans woman black metal—to the music she makes as Genital Shame in response to the long history of acronyms incorporating “national socialist” and other unsavory classifiers. Dawson’s new album Chronic Illness Wish even sees her leaning into the tinny sounds of the genre’s early-’90s era with lead single ‘Schooled in Every Grace’ establishing this sonic palette early on the record before veering into experimental ambiance on the instrumental ‘Hermaphroditic Image’ and hitting the LP’s transcendental peak of ‘Taste Rot’ shortly after (and shouting out Drag Race season 14 contestant Kerri Colby shortly after that). “‘Schooled in Every Grace’ captures the feeling of being pursued by unreasonable, constant guilt from differing sources—a voyeuristic/surveilling presence, god—ultimately leading to something like a conviction in the song’s final moments,” she shares of the track. With the album arriving last Friday via metal newcomers The Garrote, we’re getting an ethereal visual for the track that sees Dawson shredding through the single in front of misty hills before vanishing completely in the clip’s final moments. Check out the video directed by Aziel Mal below. [via FLOOD]

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Defacing God have a cool thing going on. Wicked corpse paint, fearsome imagery, a badass name and a sound that merges the tempos and riff styles of turn-of-the-millennium melodic death metal with the evil atmospheres and epic synths of symphonic black-metal. The Danish band’s latest, ‘The End of Times,’ is an apocalyptic rager that recalls early 2000s Arch Enemy crossed with Dimmu Borgir. The production is crisp, the playing is tight, vocalist Sandie ‘The Lilith’ Gjørtz has a devilish shriek and the songwriting is there. [via Revolver]

Germany-based, atmospheric doom/post-rock duo MIGHT are sharing their new video, ‘How Sad A Fate,’ ahead of their upcoming album, Abyss. Between a collection of frenzied instrumentals and more fragile acoustic varieties, MIGHT mesh together sounds of black metal, sludge, doom, post-rock, and shoegaze. Abyss was entirely recorded, mixed, and mastered by MIGHT. The album cover dons a 1976 oil painting by Polish artist Zdzisław Beksiński. The image may feel a bit oppressive at first glance but ultimately carries an essence of warm, confidence, and security—a perfect visual metaphor for the band’s music. Muhi chats more about the track: “It’s just a very sad story about how we consume ourselves for life. How glitter clogs our breathing and brains. However, there is a glimmer of hope that shame will catch up with us in time. We are lovelier than sin.” [via New Noise]

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