Depeche Mode

“If a grudge is going to escalate, you might as well sock each other out and get it over with..."

A review of Sotera by Junius, available worldwide June 26th via Prosthetic Records.

Here at Revolver, we re always on the hunt for new songs to bang our heads to — indeed, it s a big part of our jobs. With that in mind, here are the tracks released this week in throwback deathcore, heavy duets, cinematic house-metal and more that have been on heavy rotation at Revolver HQ. For your listening pleasure, we ve also compiled the songs in an ever-evolving Spotify playlist. ASAVA Valhalla ASAVA confess that they were partly inspired by the ravenous blood-rave scene in Blade while putting together “Valhalla” — the cinematic metal outfit’s latest preview of their in-the-works Mahjong LP. Indeed, they sink their teeth into a decadent late-night house rhythm for the bulk of the dread-stirring piece. But then the group bring us to the promised land with a late-song eruption of TOOL-ish vocal melodies, djent-mangled detonations and scathing death cries. Like Blade before it, it’s a summer blockbuster no matter how you slice it. Bring Me the Horizon Dehumanized “Time to fucking die.” Bring Me the Horizon go for broke with a monstrous, inhuman ferocity on this old-school deathcore driller inspired by the U.K. act’s early Count Your Blessings era. Landing like a bolt gun to the dome, it’s full of meaty metallic riffage, bloodthirsty breakdowns and lifeforce-pureeing intensity. We expect “Dehumanized” will turn any pit into an all-out abattoir. While Oli Sykes has progressively explored the more melodic side of his voice through decades of experimentalism with BMTH, it’s still a thrill to hear him slay with a nonstop barrage of growls. Dead Poet Society Roach What doesn’t kill you can only make you angrier. L.A. quartet Dead Poet Society explained that their second single of 2026 is “about those who have wronged you, taken advantage of you [or] hurt you,” and letting a resentment fester deep inside you because of their actions. The song is tense and knotted with an oddly danceable dread. Like a resilient cockroach, it skitters out of the light into the darkest recesses of your psyche. And once it invades, it’s never going to leave. I Prevail Amira Elfeky PARADISE Though I Prevail and Amira Elfeky may be looking to take you to “PARADISE,” their collaborative track makes a bunch of twists and turns before you make it to the final destination. A groove-boomed front section back-and-forths between I Prevail vocalist Eric Vanlerberghe’s mightiest roars and Elfeky’s nu-crooned subtlety (the first chorus contrasts the former’s vein-popping “FUCK” with the latter’s super-shushed “you”). The dynamic arrangement also unlocks micro-blasts, moody piano segues and a particularly scorching arpeggio solo. Odds are good they’ll perform this together on an upcoming European tour, and odds are even better that it’ll kill onstage when they do. Loathe Fangs “Fangs” grooves a little smoother than the other hard-edged previews from the U.K. outfit’s incredibly anticipated next album, A Stranger to You. No massive, djent-disruptive breakdowns. No full-fury screams out of frontman Kadeem France. And yet, the track still bangs. The stunner is full of fuzz-forward, R B-adjacent riff runs and impressively yearning vocal performances from both France and guitarist Erik Bickerstaffe. “Fangs” may be a subtler baring of teeth, but it’s still got plenty of bite. Chelsea Wolfe Death Is Not the End We ask that you let Chelsea Wolfe’s latest single wash over you in slow-motion. “Death Is Not the End” moves from a lithe and whispered acoustic intro towards a phosphorescent burble of synths, and then crashes out the speakers with a gloomgaze finale of cascading guitars — courtesy of guest player and Nine Inch Nails live guitarist Robin Finck. Wolfe’s echo-blown philosophizing waxes on transitional states and alternate planes of existence. As she moves towards an impending ninth full-length release, it’s clear that this “Death” is just the beginning of Wolfe’s next era.

A review of Ghosts of Europa by Mortiis, which releases worldwide on June 26th via Prophecy Productions.

The 30th anniversary "director’s cut" of Placebo's debut album is a triumph

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"We were increasingly attracted to the beats, yet the Allman Brothers remain some of our biggest heroes"

Chat Pile just announced their new record 'Who Loves the Sun,' set to release September 4, as well as shared its lead single "Deep Blue."

Oklahoma City noise rock/metal quartet Chat Pile have pulled the figurative covers off their third full-length album. The new record is called Who Loves the Sun and is slated to arrive on September 4 through The Fle...

Merrimack debut a new single, a cover of "Wrong", written by Martin L. Gore and originally recorded by Depeche Mode for their 2009 album Sounds Of The Universe.

The story of the night that these electro-pop pioneers from Essex caused such carnage they made the US national news

Death. Pain. Doomed romance. Existential dread. Goth music has a penchant for prodding at the psyche through some of the heaviest themes imaginable. And yet, things get even heavier once you add a pinch of metal to the mix. Enter gothic metal. It’s a winning combination: goth music’s bleakest and most romantic tendencies merging with blasted guitars, death-style growls and other assorted markers of the metal scene. And the results come up big, having left generations of listeners swooning to the gloomiest of gloom tunes. So, we asked our readers who did it best. Here’s the thing: We had to split hairs this week. While folks showed up in the comments with a flood of votes for arguably more traditionally goth-coded greats like Fields of the Nephilim, Bauhaus and Sisters of Mercy — the latter were voted in by none other than Crowbar’s Kirk Windstein — we tried our best to stick to the decidedly more metallic side of the sound. My Dying Bride A favorite of fallen angels around the world, My Dying Bride have been keeping things exquisitely, achingly gloomy for more than 35 years. Their songbook has involved macabre-metallic anthems, glacial despair, weeping string sections and more, all of this supporting the downtrodden groans, growls and dark-crooned musings of founding vocalist Aaron Stainthorpe — who left the band in 2025. Paradoxically, their songs of darkness have brought music fans into a world of light. Lacuna Coil Even before delivering an album of this name in 2012, the music of Italian mainstays Lacuna Coil was giving listeners a massive shot of dark adrenaline. Crunching metal guitars, synth-phonic flourishes and the towering, dynamic emotivity between clean-unclean vocalists Cristina Scabbia and Andrea Ferro have driven the band’s sound for 10 mesmerizing albums. Throughout, they’ve delivered gothic gravitas, stadium-sized anthems, and a boomingly moody redux of Depeche Mode’s Violator classic “Enjoy the Silence.” HIM Gothic metal to some, Love Metal to others, it’s clear that folks still have a heart-on for Finnish outfit HIM. How did the band manage to pull so many fans right into their arms, you ask? Part of the draw is the inky and super sigh-worthy baritone belting of lead singer Ville Valo, while it can’t be understated that the group s swirl of classic goth and Eighties metal has yielded some of the greatest lovesongs ever. A high profile co-sign from Jackass alum Bam Margera in the early Aughts helped grow their fanbase, too. They’ve inspired devotion in fans around the world, some even branding themselves with the band’s familiar Heartagram logo. Paradise Lost It’s not for nothing that longtime gloomsmiths Paradise Lost named their 1991 sophomore LP Gothic. For that matter, it’s also telling that the act made a record called Icon — twice. After all, Paradise Lost helped set the bar for ebon-crested heaviness as we know it. Formed at the tail end of the Eighties, Paradise Lost initially infused their love of thrash, death metal and U.K. goth into their own uniquely obsidian aesthetic. Across 17 full-lengths, they’ve explored growled-out death marches, funereal woe, storm-clouded synth-pop and more. It’s a rich and diverse catalog, and the fans entered our comments this week to hail the Yorkshire-formed Shadowkings. Type O Negative We’ve said it before, and we’ll say it again: Our readers really have a Type. While crypt-croaking crooner Peter Steele was sometimes called the “Green Man,” for many gothic-metal fans there’s none more black than Type O Negative. Truly, the darkest bits of their catalog unfold as fascinating reflections on death, depression, sex and heartache. Yet they also possessed a bewitching gallows humor to manage the damage. Check how the Drab Four wielded gloominess in menacing, misanthropic fashion on dour and damned heavy pieces like “Everything Dies,” but vamped through campy, Munster-mentioning ghoulishness on “Black No. 1” and combusted through carnal rituals on the lusty “Be My Druidess.” Their darkness reflected all kinds of emotion. Type O have soundtracked goth fans’ lives for decades, and remain a band they love to death.

DEF LEPPARD has shared professionally filmed video of the band's cover of DEPECHE MODE's "Personal Jesus", filmed during the group's third Las Vegas residency, "Def Leppard Live At Caesars Palace: The Las Vegas Residency", which was held this past February. The 12-show run followed sold-out residenc...

The vocal dynamo looks back at her three decades on Italian metal’s frontlines