Singer Jennifer Haben commented:
“Ravens’ is about belonging — about finding light in others when everything feels disconnected. Hearing our fans’ voices on this song made that message real in the most beautiful way."

"This song was created with our fans at its heart. A very special thank you to you, our RAVENS, for being part of recording this song and bringing it to life with us."

Mille Petrozza commented:
"Hordes! I hope you’ll like our brand new video for the song SATANIC ANARCHY off our new Album KRUSHERS OF THE WORLD. The lyrics speak about a divine revolt of the mind: breaking the spell of obedience, standing together against tyranny, and igniting change where fear once ruled.”.

Frontman Jake E comments, "'Box with Spirits' looks at the architecture of avoidance — the masks we wear, the truths we tuck away, and the small, deliberate choices that keep us from being seen. The title is a careful double entendre: spirits as both ghosts and distilled solace.

As bassist Pär Sundström says, it was filmed at a historic location in Italy. “This was one of the most enjoyable music videos we’ve ever made. Everything flowed smoothly thanks to the amazing energy of the actors and the unique charm of the location. We spent two days filming in Sabbioneta, Italy, at the Teatro all’Antica, which is one of the oldest surviving indoor theatres in Europe. It was a fascinating location, full of character and history.”

Myles Kennedy explains: “The erm ‘Playing Aces’ ties in with the gambling analogy of risking everything regardless of how many times you’ve failed in life. It’s a last-ditch effort to come out on top.”

"Cannibal was one of the last songs added to record, sonically focused on combining nu metal, alt rock, and industrial dance music," Young says. "The song takes the life and mating cycles of black widow spiders to compare and contrast intimate relationships of our own and how they can be 'cannibalistic,' nihilistic, and ultimately end in demise."

VUKOVI's Janine Shilstone comments: “Closing the chapter of MGHGAG with my favourite track off the album. The video is monochromatic and enchanting with the undertones of destruction and mental illness. Beauty and poise doesn’t portray what truly lies beneath.”

In celebration of the one-year anniversary of "The Last Will and Testament", OPETH is proud to unveil a brand-new animated video crafted to bring the album’s intricate story to life. Created by Absynthe Moon Media, the film offers a visual interpretation of the narrative that has intrigued fans since the record’s release in November 2024.

“It’s hidden in literature, the base note of poetry, sparking folk law and urban myth. The ideology of a well-made plan gone astray, like lost Sundays and lofty dreams of unrequited love. Unrealistic hopes and dreams fly off, leaving a dark stain of broken promises. This is throwing wishes to the Mulberry Sky.”

SYLOSIS stated, “Introducing The New Flesh. This is us solidifying the line up of the band and moving forward with a new sense of purpose and aggression. After having spent so much of the last 2 years on the road, The New Flesh and the songs have been written with the live environment in mind. We'll see you all in 2026.”

Brisbane/Meanjin dynamic emo rock trio Upsetter round out the year with their new rock belter ‘Best years of my life’, reflecting on time lost to chronic illness. The song captures the frustration of a body unable to rest, feeling fatigued, and the mental fog from years of disrupted sleep cycles.

SELF DECEPTION on “Time’s Up”: "There’s so much anger boiling over these days, this song almost wrote itself. People find unity in rebellion, and that’s exactly what this track is. No more discussion, no more waiting. Tick Tock Time’s Up.”

Accompanied by a video directed by Zombie, ‘Heathen Days’ is a callback to his earlier sound of furious, groove laden guitar riffs as he lyrically invokes the ungodly days when chaos and war were constantly at your back.

“Some day it’ll kill me. Is someday today?” – HEALTH

Guitarist Nicolai Busse comments: ‘‘Young’ is a song that has travelled through time. The chorus was one of the first pieces I wrote for MØL in 2012 while living outside Denmark. I returned to it for years without making it right, but revisiting it for this record finally made it click and come together.’