Kontravoid returns with a new, compelling album, Sound of the Void. Released via Toronto’s renowned Artoffact Records, the album marks his second full-length output for the industrial music label. Delivering a murky blend of haunting coldwave, harsh EBM basslines, and pounding electro rhythms, the release solidifies Kontravoid’s place in modern underground electronic music.
Machedon is one of the most representative figures of the new wave of Romanian post-punk artists. Initially launched as a “one-man band” project – relying on drum machines, reverb, and 1980s goth/new-wave influences – the artist has officially expanded into a full live band. His music is defined as Eastern European post-punk, characterized by melancholic Romanian lyrics and a nostalgic atmosphere. ‘Cinema Oniric’ is his debut studio album.
“Marea Neagră” (Romanian for “The Black Sea”) is an underground electronic, electro-punk, and coldwave album by Romanian independent music project and producer Andrei Rublev. Named after the famous medieval Russian painter, Rublev blends raw synth beats, darkwave elements, and goth-techno rhythms, making him a notable figure in Romania’s contemporary alternative and underground nightlife scene.
Glaring’s release is a glorious feast of emotions. A journey into the deep, a fast rise above the sky, then back down again into the gloom. It’s incredible how many places she can guide you to. A mesmerising voyage through life, death, and everything in between. See the world through her eyes, let her machines obliterate you.
Minimal Wave announces the second volume in their cassette compilation series, From Minimal Wave With Love. 45 minutes of rare material spanning minimal synth, cold wave, synth-pop, and experimental electronics. Featuring Jyl, Martin Dupont, Oppenheimer Analysis, Crash Course In Science, Ruins, Moderne, Vicious Pink, Twilight Ritual, Tomo Akikawabaya, In Aeternam Vale, and In Trance 95.
‘Get Mean’ is a meditation on love, loss, and survival. Across the record, Boy Harsher, the duo of Jae Matthews and Augustus Muller, confronts grief and heartbreak head-on, tracing the difficult process of moving through loss and discovering a path toward renewal. At its core, ‘Get Mean’ is a redemption album – a document of one of life’s most painful chapters and the strength found on the other side of it.
‘Losing his Mind’ comes from the ‘VHS Horror Tape’ album, released on Oraculo Records in 2026. ‘Hate Close To Love’ was first released in 2018 on Young & Cold records.
Opéra de Nuit emerge from their long slumber to grace Dark Entries with the frostiest of reissues. Formed in 1982 in Valréas in the southeast of France, Opéra de Nuit only released 3 records throughout their career: EPs in 1984 and 1986, with a full LP following in 1988. But devotees of dark music will need no introduction to this band, who are almost definitional of the coldwave genre, and whose rabid cult following has each record readily trading for three-digit prices. Opéra de Nuit’s sound is pure hellish heaven: frigid synths, jangly guitars, and sorrow-laden vox. Check out the pummelling desperation of “Annabella,” the uber-brooding vibes of “Boris Transylvania Camp,” or the elegant anthem “Karen Lloyd” (and don’t forget to watch the video!). This reissue collects their entire newly remastered discography – thirteen lucky tracks. This reissue marks the first time that their work will be reissued on vinyl and digital, and is presented in gatefold jacket with lyrics and photos. Whether you’re new to the genre or a veteran of the coldest waves, Opéra de Nuit brings the essential sound of immortal despair.
Cold Union emerge with “Lost In Black”, a coldwave signal suspended between haze and motion. An early glimpse of their upcoming album, where restraint becomes atmosphere and every element is reduced to its essential form. Icy guitars drift over deep, driving basslines, while distant, delayed vocals hover in slow, almost spectral, hypnotic atmosphere. There’s a clear understanding of the genre’s lineage here—echoes of classic post-punk codes reinterpreted with patience and intent. Minimal, precise, and emotionally distant, Lost In Black channels the core of post-punk into something colder, sharper, and built for the finest late hours goth parties.
Shot Caller present “1000 Lamentos”, a promising debut without artifice. Three different cultures and paths converge here for stripped-down songs, unvarnished, where every element feels immediately exposed, the simplicity as its best. There is neither easy nostalgia to lean on—only instinct, balance, and a sensitivity that cuts through the whole listen experience without raising its voice, echoing some of the label’s most defining releases and hinting at a strong path ahead. The structures are simple, almost primitive. Bass guitar, and rhythm move with quiet urgency, leaving space for what truly lingers: a voice that doesn’t demand attention, yet stays with you. Fragile, intimate, and deeply enveloping—as if each line could break or reveal too much.
Following “The Red Pill” and “Suicide Neighborhood”, VHS Horror Tape marks the next chapter in the sonic universe of Dutch synthwave wizard Adam Tristar. The album expands on his signature sound with darker tones, gritty analog textures, and a strong cinematic horror influence, evoking late-night VHS aesthetics, neon-lit nightmares, and retro-futuristic suspense. It’s a haunting journey that blends nostalgia with menace, pushing his synthwave style into deeper, more ominous territory.
“II” is the second album by Californian post-punk heroes Alone in My Room. Continuing their exploration of isolation and urban tension, the band sharpens their stark, stripped-down sound, blending cold-wave severity with lo-fi intimacy. Pulsed basslines, detached vocals, and raw, close-mic’d production create an atmosphere that feels oppressive yet deeply personal. Following their 2020 debut Alone in My Room—a claustrophobic, late-night statement—the band pushes further into darker, more confrontational territory, solidifying their place in modern underground post-punk scene.
Again, a unique compilation by the leading Belgian re-release label Walhalla Records, specialized in minimal synth, cold wave, electro, and more. Following the widely acclaimed — and mostly sold-out — previous Underground Wave releases, totaling six albums so far and counting, there is now Volume 7. This release features Dutch and Belgian bands, each filling one side of the record. It offers a wealth of ultra-rare and previously unreleased material sourced from cassettes, deeply rooted in the electronic scene of the 80s and 90s.
“Sing Me Something Sinister” is like a cinematic sound document from outer space, featuring a collection of European underground artists from the coldwave/industrial scene such as Das Noir, Sololust, Bragolin, Adam Tristan and others covering a wide range of coldwave, electro, post-punk, and EBM. An ultimate overview of the European dark underground scene pressed in limited edition by Seja Records
Cold Transmission Music presents a compilation featuring 23 songs released in 2025 by the label, including artist like Grey Gallows, Kalte Nacht, Kay-Chi, Nightcrawler, Oliver Decrow, Rina Pavar, S Y Z Y G Y X, SIIE or Years Of Denial.
Jennifer Touch releases her next LP ‘Aging at Airports’ on Fabrika Records. The idea for the record title came before the music even existed as Touch was spending an increasing amount of time in airports while touring. In her own words: “It felt like I waste a large part of my life waiting for the next show to come, to entertain and perform my music and build timeless moments with others. This waiting, the slowly ticking time at the gate, was in complete contrast to what I want to do as an artist: to be in flux, to create things that will last forever. The airport, as a busy hub, was like a symbol of this ambivalence. And a reminder: every second, whether waiting or on the move, I have to accept that I am fading, that my creative power, my face, and my body are fading. As a (performing) artist, everything feels like a strange contrast. While you want to stay true to yourself and speak authentically from the soul, you are also expected to appear forever young, and powerful. Artists are often wanted to distract people, but creating this art forces me to confront my own transience. I feel the struggle to fit into this powerful artificial framework that the world has set and the desire to break free from it.”
Two decades into a boundary-pushing career, American musician, composer, and academic John Maus releases his most powerful work yet: Later Than You Think. Arriving via his new label Young, the album explores themes of justice, confession, rebirth, transformation, and spiritual warfare, further expanding the liminal space where outsider art collides with art-pop, raw emotion, and intellectual depth. A 21st-century philosopher-musician, Maus has earned a mythic reputation for his fierce belief in the emotional weight of sound, eccentric interpretations of pop and baroque, and legendary, cathartic live shows. Holding a degree in experimental music from CalArts and a PhD in political science from the University of Hawaii, he’s been dubbed a “philosopher pop star” and “nostalgic futurist” for the way he merges academic rigor with lo-fi synth-pop aesthetics. His influence spans high and low culture—from UK grime icon Skepta, who sampled his track “I’m Only Human,” to Josh Safdie, Natasha Lyonne, nettspend and collaborators like Panda Bear and Molly Nilsson.
ULTRA SUNN, the Brussels-based EBM/coldwave duo, unleash their highly anticipated sophomore album, The Beast In You, on Artoffact Records. Building upon the success of their impactful debut, US, the new record promises to delve deeper into the raw, primal energies that define their signature sound. Drawing heavily from their Belgian heritage, The Beast In You is a potent distillation of classic electronic body music and the hypnotic rhythms of Belgian new beat. Listeners can expect the unmistakable throb of analog synths and precisely programmed industrial drum machines. ULTRA SUNN expertly channels the aggressive power and driving force of their influences, infusing them with their own contemporary edge.
