Building off the strengths of their critically acclaimed works, POISON RUIN return with their new album, Hymns From the Hills. The Philadelphia Punk band have developed their signature approach to grim mythmaking and scythe-swinging aggression in bold new directions, offering up a new body of songs that strike one as equal parts natural, undeniably of this world, and phantasmal.
The band's vision has grown substantially, pushing well past the tales of peasants and serfs that stood as allegories for contemporary alienation in their previous work. On this newest offering, their previous stories of toil and dispossession are revealed to be but one chapter etched upon a bleaker tapestry- One populated by spirits traversing sunless deserts and wilted hillsides, demonic torture objects limning the edges of the psyche, bodies transfigured into Luciferian snakes, Sadean prisoners bound to the screaming silence of abandoned castle towers. The record is at once a forceful restatement of POISON RUIN's trademark sound and a departure from it- The crackling, cassette-dubbed darkness and crushing rhythms listeners have become accustomed to are buttressed by a carefully sculpted mosaic of new textures, from flourishes of Killing Joke hacksaw primitivism and blast-beats worthy of the Relapse catalogue number to crisp analog synth lines and ambient serenades reminiscent of Scott Walker and The Durutti Column. Like a serpent moving ever outward with spiraling circularity, Hymns From the Hills expands POISON RUIN's sonic landscape in imaginative new directions while maintaining its center of gravity firmly in the band’s already established mythos.

Burning Kross is a Belgian hardcore punk band from Ghent. They deliver a furious, fast-paced blend of raw hardcore and D-beat, driven by heavy basslines and aggressive vocals. Distinctively, the band combines their anti-fascist stance with deeply researched concept albums that tackle dark historical atrocities, such as the 1921 Tulsa race massacre and the 1961 Paris massacre.

In the cold autumn of 2025, Brussels, the grey and filthy capital of Europe, gives birth to her hideous daughter: Solanas, a blend of funereal and enraged black metal and shrill, filthy punk.
Solanas is an anarko-witch project, with lyrics of vengeance against men, carried by Alexia’s witch-like voice as she pounds away on her heavy, dark bass. Alongside her is Gabriel’s dissonant, piercing and mournful guitar, accompanied by his demonic vocals. The whole thing is completed by repetitive drum patterns, evoking the funereal, psychedelic and psychopathic march of a macabre ritual.
With their first demo, Negative Midas Touch, released in 2026, Solanas delivers a dark sound, filled with rage.