Musically, this song shifts more into musical theater vibes, with the dramatic organ and the style of arrangement for the backup vocals, as well as the lead vocals’ obvious preacher/showman quality. It’s a very rich sound that complements the epic scope of the song’s narrative.

Taking a well-known melody and reshaping it into something with an entirely different meaning is a risky move – it can feel gimmicky or forced. Here it doesn’t, because the original melody already carried a weight and solemnity that transfers naturally to environmental stakes. Oledude’s prog rock and folk influences sit comfortably alongside each other in a song that genuinely earns its ambition.

“GRIST” is the second in a new series of 30 song double albums, following up “IN ALL MY NIGHTMARES I AM ALONE”, which was itself just released on June 30th. Fans of Swans, 90’s and ‘blackstar’-era David Bowie, Sonic Youth, Skinny Puppy, Ministry, Nick Cave, Portishead, Chelsea Wolfe, The Stooges, Faith No More, Tom Waits and PJ Harvey should enjoy this strange yet cohesive collection. 

“GRIST”  hunts, laughs, mourns, challenges and inspires others to step into their true selves without fear. The themes are wide but related, with philosophy, mental illness, death of loved ones, addiction, spirituality, surrealism and dream language all playing strong roles. With themes like rallying baby bees for the swarm, the artist positions himself as the Queen, ready to move through chaos, come what may.

“Ram Dass famously stated that all life experience, trauma, transcendence, joy, suffering, is all just “grist for the mill of awakening”. That being said, here is the GRIST.”

GRIST stands as a beat-heavy, noise heavy riot crackling through the heart of the city, while also a testament to life, survival from nothing, a celebration, and statement for those abused or undermined, yet who posess an inner power that none can reach.

“This is a pure offering to my baby bees, my ones who know code red, my cubs who climb the mount, my bears who hold their post, my hyenas who crawl under dark of dark. This is for you, who face the weaponry, the cheap bravado, the false while grinding your teeth. Sharpening. This is GRIST. What we are is GRIST. OMEN.“

In a year that saw Darkside Records solidify its position as the leading independent metal label in the Maghreb, these numbers represent more than statistics; they are proof that raw, uncompromising North African metal has gone global.

TOTAL IMPACT – ALL 5 ARTISTS COMBINED

• 6,706 monthly listeners
• 21,888 streams
• 1,341 hours listened
• Music played in 282 countries

2025 TOP PERFORMER

PRIMORDIAL BLACK – Darkside Records’ undisputed flagship act of the year

• 3.8K monthly listeners
• 9.2K streams
• 612 hours listened
• 95 countries reached

THE 2025 WARRIORS

• GALLOGLAIGH – 1.6K listeners | 7.8K streams | 440 hours | 78 countries (released less than one month ago)
• ANEMOYA – 1.2K listeners | 3.9K streams | 243 hours | 80 countries (released two months ago)
• ANTIQUUS INFESTUS – 787 streams | 35 hours | 16 countries (released one month ago)
• BABEL – 201 streams | 11 hours | 13 countries (released two months ago)

Darkside Records continues to champion the most exciting heavy music emerging from North Africa and the Middle East, building a bridge between the underground and the world stage.

This is musical theater. It’s not just a typical post-rock soundscape concept album. It feels weird to even call that genre typical, but the genre does have its tropes, and you can tell when something is executed with no passion and is just a husk of tropes dressed up to sound nice. But here it’s the complete opposite of that. This is an incredible use of music to tell a story, giving Carmina Alegrìa her record and providing closure for a whole life to complete her story. 

“Desaparecer” serves as an intro, combining motifs from multiple tracks yet to come, ultimately crescendoing and landing us back down for our main entrée. The title track starts out beautifully with these dreamy arpeggios, which we revisit halfway through this movie of a song. The sound production and harmony choices, along with the voice of Carmina herself as a texture, create a warm, endearing atmosphere of remembrance. 

The title track established our home base, so now “Coágulo de un instante” begins our journey to somewhere far from it, like a flight close to the surface of an ocean of passing souls. We then ascend to the heavens as we enter “Volver al aire”. This is where the musical theater description from earlier really comes through. Beautiful operatic vocals weave themselves through rich tapestries of colorful harmony in grief to guide us back down to earth. 

“Siempre (la mano en el fuego)” definitely feels like a song back down on the earth, a continuation of those neo-classical theater influences, with grounded thunderous percussion making a reappearance, and the whimsy of the flutes here and the energy of the backing guitars. To me, this represents the human spirit’s survival. 

“Los muertos siempre son verdad” is the same song as the title track, with one key component missing: Carmina Alegrìa herself. It’s gut-wrenching to revisit it with her voice being gone. Like revisiting a home with no one there, it’s not home anymore. The song transforms; its warmth disappears with her absence. This is the kind of storytelling only music as a medium is capable of. 

In “Decirlo a veces sin palabras” bowed strings and airy textures take us through one last time in remembrance, as we revisit an element of each song, each chapter of this story, and end with an a capella recording of the family singing and chanting “Carmina Alegrìa” a beautiful touch to end on. 

“Levantando las manos” is the bonus track on the album and feels like a final moment in musical theater where the spotlights shine down on a character for an encore of powerful drama. Although it’s short, it is powerful and effectively delivers that closing curtain moment that the album needed.

Borrero also writes poetry and has won awards for it, which tracks when you listen to how this album unfolds. The way he revisits the title track later without his grandmother’s voice is the kind of move that only works if you understand narrative structure beyond just sequencing songs. This is a complete narrative arc and a beautiful work of storytelling, best experienced with full immersion to really be able to reflect on it and how it relates to your life.

“GRIST” is the second in a new series of 30 song double albums, following up “IN ALL MY NIGHTMARES I AM ALONE”, which was itself just released on June 30th. Fans of Swans, 90’s and ‘blackstar’-era David Bowie, Sonic Youth, Skinny Puppy, Ministry, Nick Cave, Portishead, Chelsea Wolfe, The Stooges, Faith No More, Tom Waits and PJ Harvey should enjoy this strange yet cohesive collection. 

“GRIST”  hunts, laughs, mourns, challenges and inspires others to step into their true selves without fear. The themes are wide but related, with philosophy, mental illness, death of loved ones, addiction, spirituality, surrealism and dream language all playing strong roles. With themes like rallying baby bees for the swarm, the artist positions himself as the Queen, ready to move through chaos, come what may.

“Ram Dass famously stated that all life experience, trauma, transcendence, joy, suffering, is all just “grist for the mill of awakening”. That being said, here is the GRIST.”

GRIST stands as a beat-heavy, noise heavy riot crackling through the heart of the city, while also a testament to life, survival from nothing, a celebration, and statement for those abused or undermined, yet who posess an inner power that none can reach.

“This is a pure offering to my baby bees, my ones who know code red, my cubs who climb the mount, my bears who hold their post, my hyenas who crawl under dark of dark. This is for you, who face the weaponry, the cheap bravado, the false while grinding your teeth. Sharpening. This is GRIST. What we are is GRIST. OMEN.“

 

• Your sound blends 80s darkwave alt influences with a modern twist. What first drew you to this style, and how has it shaped your identity as SLEEPNOWQUEEN?

I’ve always loved the moody, cinematic feel of the 1980s darkwave style. Blending it with modern alt energy helped shape the dark, seductive identity of SLEEPNOWQUEEN.

• Artists like Robert Smith and The Cure clearly play a role in your influences. How have those nostalgic sounds influenced your songwriting and production approach?

Their sound shaped my love for atmosphere and tension. I take that nostalgic mood and twist it into something more modern and cinematic.

• As a solo artist, how do you navigate the creative process when everything — vision, sound, and execution — depends on you?

I trust my instincts. Being solo lets me shape every detail, and that freedom keeps the vision clear from start to finish.

• You mentioned wanting to create music that spreads positivity. When did that mission become central to your artistry?

It grew naturally as I grew as an artist. The more I created, the more I felt called to put something positive into the world. PUSH is that positivity.

• “PUSH” carries an uplifting, hopeful message. What moment or emotion sparked the creation of this track?

PUSH came from a moment where I needed to remind myself not to give up. That feeling of fighting through doubt sparked the whole track to encourage others to continue to push as well.

• You wrote “PUSH” during a difficult time in the U.S. climate. How much did current events influence the tone and urgency of the lyrics?

A lot of the chaos going on shaped the urgency. I wanted the song to feel like a reminder to keep moving even when the world feels unstable.

• The song was recorded at Uptown Productions in Kansas City, MO. What made that studio the right place for this release?

Uptown Productions had the exact atmosphere I needed—professional, focused, and creatively open. It felt like the right place to bring the song to life. Plus I’ve know Ryan the engineer for over 20 years so the chemistry was just right.

• You described immersing yourself into the music and “becoming the song” during recording. Can you walk us through what that experience felt like?

It felt like the music swallowed me whole I wasn’t performing it, I was living it. I got sucked into the moment sucked into the music.

• Sonically, “PUSH” holds that mysterious 80s aura. What elements did you intentionally incorporate to recreate that atmosphere?

Layered synths, reverb, and dark textures those were the key ingredients for the 80s atmosphere I was looking to create that’s what I looked for in the end.

• You’ve said the message is simply: “When life gets hard, no matter what, you have to continue to PUSH.” How do you personally stay motivated through difficult times?

I lean into the music. Creating helps me process everything and gives me the strength to keep pushing forward.

• Your recent single “Ghost Party” brought a fun, spooky vibe. How does “PUSH” differ from or expand on what you explored in that track?

Ghost Party’ was all about vibe and atmosphere. ‘PUSH’ brings the deeper message strength, hope, and pushing through.

• I am curious; how do you usually begin creating a song — with a lyric, a melody, a mood, or something visual?

I start visually. I picture a scene or a feeling, and the song grows from that image till I create the next art piece.

• You noted that live performances are in the plans. What type of show or atmosphere do you imagine bringing to the stage as SLEEPNOWQUEEN?

I want my performances to feel like a dark dream intense, emotional, and visually hypnotic keeping the listeners full attention from start to finish.

• Looking ahead, what can listeners expect next — more singles, an EP, a full album, or something completely different?

More singles for sure I want to keep building the world of SLEEPNOWQUEEN one song at a time then eventually work into a ep.

• Finally, in such a fast-paced AI digital era. How do you see the future of the music industry and its reflection on indie artists?

AI is reshaping the industry, but it’s empowering. Indie artists now have the same creative tools the big names do.

The Bible, with its vivid tales of apocalypse, redemption, and divine intervention, remains the most common source. In the Book of Revelation alone, imagery of horsemen, beasts, and judgment has inspired a slew of tracks. For instance, Metallica‘s “The Four Horsemen“ channels the apocalyptic riders symbolizing conquest, war, famine, and death, transforming the scripture into a thrash metal anthem about destruction and fate. Similarly, their “My Apocalypse” echoes Revelation’s end-times chaos, with lyrics evoking extreme peril and renewal. Iron Maiden, masters of historical and literary themes, contribute heavily: “The Number of the Beast” famously references the mark of the beast (666) from Revelation, portraying it as a symbol of evil and societal control, complete with Bruce Dickinson’s soaring vocals amplifying the dread. Their “Moonchild” weaves in the Whore of Babylon and fallen angels, blending biblical horror with occult elements for a narrative of birth and damnation. “The Writing on the Wall” draws from the Book of Daniel‘s story of Belshazzar‘s feast, where a divine hand writes a prophecy of doom on the wall, symbolizing inevitable judgment. Even “Revelations” incorporates the first verse of G.K. Chesterton‘s 1906 hymn “O God of Earth and Altar,” which itself is rooted in biblical pleas for divine guidance, adding a layer of traditional Christian devotion to the band’s heavy sound.

Christian metal bands often retell biblical stories with a focus on faith and triumph. The Showdown‘s album A Chorus of Obliteration features tracks like “A Monument Encased in Ash,” recounting the destruction of Sodom and Gomorrah from Genesis; “Epic: A Chorus of Obliteration,” inspired by the fall of Jericho in Joshua; “From the Mouth of Gath Comes Terror,” based on David and Goliath from 1 Samuel; and “Dagon Undone (The Reckoning),” drawing from Samson‘s tale in Judges. Amaseffer‘s Exodus – Slaves for Life narrates the full Exodus story up to the Hebrews’ release, using orchestral elements to heighten the biblical drama. Theocracy, an American Christian power metal band, offers songs like “Bethlehem” (Simeon meeting baby Jesus in Luke), “Altar to the Unknown God” (Paul’s speech in Acts), “Easter” (the empty tomb in the Gospels), and “The Master Storyteller” (a meta-reflection on the Bible itself). Other examples include Thrice‘s “Like Moths to Flame” (Peter’s denial in the Gospels) and “The Messenger” (Isaiah’s calling in the Old Testament), as well as Saviour Machine‘s operatic albums based on Revelation.

Secular bands also mine the Bible for metaphor and intensity. Def Leppard‘s “Rock of Ages” borrows its title and bombastic tone from a biblical hymn referencing God as a steadfast refuge (e.g., Psalms and Isaiah), fitting their 1980s glam metal excess. Dio‘s “Holy Diver” alludes to the Harrowing of Hell or Satan’s fall, drawing from New Testament apocrypha and Revelation. Lamb of God‘s “Reclamation” uses Revelation’s fire and end-of-world motifs to critique environmental collapse. Avatar‘s “Hail the Apocalypse” mirrors Revelation’s storms and sinking cities, while Manowar‘s “Revelation (Death’s Angel)” directly references Armageddon and trumpets of judgment. Black Label Society‘s “Doomsday Jesus” invokes the Horsemen and a savior amid decay, and Black Sabbath‘s “Children of the Grave” echoes Revelation’s call to resist empire. Judas Priest‘s “Blood Red Skies” draws on perseverance themes, and Saracen‘s “Horsemen of the Apocalypse” urges awakening against the riders. Megadeth‘s “Holy Wars… The Punishment Due” touches on religious conflicts, inspired by broader biblical warfare motifs.

Moving beyond the Bible, Hindu texts like the Vedas, Upanishads, and epics such as the Mahabharata provide fertile ground for “Vedic metal,” often portraying gods like Shiva in roles of creation and destruction. Rudra, pioneers from Singapore, infuse albums like Hymns from the Blazing Chariot with Vedic shlokas and mantras, celebrating Hindu philosophy through death metal growls and chants. Kartikeya, a Russian band, bases “Tandava” on Shiva’s cosmic dance that ends the Kali Yuga era, with lyrics like “Hark! I am Mahadeva, master of the universe” praising his forms as Nataraja and Pashupati. Their “He Who Carries the Head of Brahma” retells Shiva severing Brahma’s head, invoking names like Bhairav and Lingadhyakshasa in Sanskrit chants over thrash riffs. Dying Out Flame from Nepal delivers “Shiva Rudrastakam,” a Vedic death metal track rooted in ancient Sanskrit hymns to Shiva, blending brutality with transcendental wisdom from the Upanishads and Gita to evoke spiritual renewal. The Down Troddence‘s “Shiva” adapts the Shiva Tandava Stotram—attributed to Ravana—describing the god’s hair with the Ganga river and his fiery dance, using heavy bass to create a devotional trance. Persefone‘s Spiritual Migration album, especially “Returning to the Source,” draws on Hindu concepts of rebirth and enlightenment. Cult of Fire‘s मृत्यु का तापसी अनुध्यान explores death and asceticism from Hindu perspectives, while Rotting Christ‘s “Devadevam” is entirely in Sanskrit, featuring the Gayatri Mantra as a prayer to Shiva. Behemoth‘s The Apostasy and bands like Genocide Shrines also weave in Hindu lyrical influences, often portraying deities in demonic or empowering lights. Rob Favotto’s “Kali Ma” is an epic Hindu metal song celebrating the goddess Kali, blending international influences with themes of destruction and renewal. Bloodywood incorporates Indian folk metal with Punjabi elements, as in “Gaddaar,” touching on cultural and mythological motifs.

Buddhist texts inspire a niche but growing subgenre, where sutras and mantras are fused with death metal to promote enlightenment or social commentary. Taiwan’s Dharma band, founded by Jack Tung, uses classic Buddhist mantras in Sanskrit or Mandarin as lyrics, drawing from ancient sutras to blend with growling vocals and heavy riffs, aiming to spread Buddhist teachings through music. Their songs often serve as allegory for Taiwanese liberation, supported by Buddhist clergy who chant during performances. Japanese bands like Evil and Gokuraku Jodo touch on Buddhist themes fleetingly, with album art or lyrics evoking cosmology. Indian band Gautam draws from Buddhist concepts, while Chinese band Yaksa‘s “Xiangmo zhou” incorporates mantras for a unique fusion. Stoner metal band OM uses meditative drones echoing sutras, emphasizing spiritual quests.

For Islamic texts like the Quran, direct positive adaptations are rare in rock and metal due to regional restrictions and the genre’s rebellious ethos. Saudi band Al-Namrood uses Arabic scales and lyrics critical of religious tyranny, drawing from pre-Islamic jinn and tales like One Thousand and One Nights rather than quoting the Quran, to protest sharia’s constraints. Indonesian bands like Purgatory and Tengkorak form part of an “Islamic metal” scene, with lyrics revolving around faith and social issues, though often more interpretive than textual. Muslim metal and punk lists include Hizjrah‘s In God We Trust and Latahzan’s Islamic Death Metal, focusing on Islamic mythology and ideology. This scarcity highlights cultural debates, as metal’s anti-authority stance clashes with conservative interpretations of Islam.

Norse religious texts, particularly the Poetic Edda and Prose Edda, underpin Viking metal, emphasizing paganism and Viking Age sagas. Bathory‘s Hammerheart is a concept album devoted to Vikings, shifting from Satanic to Norse mythological themes. Enslaved‘s Hordanes Land and Vikingligr Veldi retell Norwegian legends with folk melodies, while “793 (Slaget Om Lindisfarne)” celebrates the Viking raid on Lindisfarne. Burzum echoes the Hávamál from the Poetic Edda in pagan themes. Einherjer‘s artwork draws from Thor’s hammers and sagas. Amon Amarth retells brutal Norse legends across their catalog, including battles from the Eddas. Tyr‘s “Prophecy of Ragnarok” and “Yggdrasil” invoke apocalyptic myths and the world tree from the Eddas. Skáld‘s “Rún” draws from runic magic in Norse texts. Disembodied Tyrant & Synestia‘s “The Poetic Edda” directly adapts verses from the Edda.

Ancient Egyptian texts, especially the Book of the Dead, inspire occult-tinged death metal. Nile‘s “Chapter of Obeisance Before Giving Breath to the Inert One in the Presence of the Crescent Shaped Horns” references spells from the Book of the Dead, evoking funerary rites. Their album What Should Not Be Unearthed echoes propaganda texts but ties to the Book’s themes. Septicflesh‘s “Anubis” draws from Egyptian mythology, including the god of the afterlife. Nemuer‘s “Gates of Duat” brings spells from the Book of the Dead to life. Third Ear Band‘s “Egyptian Book of the Dead” directly titles and themes from the text.

Taoist and Confucian texts influence Chinese metal through “hermit aesthetics,” balancing withdrawal (Daoism) and societal engagement (Confucianism). Zuriaake‘s music and lyrics embody these philosophies, using imagery of retreat and morality without specific songs named. Other Chinese bands fuse traditional culture with metal, drawing on Daoist introspection.

Sikh scriptures appear in rock fusions, as with Malaysian band Anhad‘s tracks like “Mangla Charan” (verses before kirtan), “Ardas Bhaee” (prayer mantra), “Ik Ongkar” (core Sikh chant), and “Pavan Guru” (shabad rendition), blending rock with devotional elements.

For the Book of Mormon, adaptations are limited but include metal covers of LDS hymns, such as “Praise to the Man” in heavy style, and Nashville Tribute Band’s songs like “I Am a Book” dedicated to the text.

Following the critical success of 2024’s “Veil Lifter”, a doom metal/grunge album that achieved features on Doom Charts, Metal Devastation Radio and recognition from several ‘Best of 2024’ year end lists, Stephen Moore decided on a fresh direction for the next release. It ended up taking form far sooner than he has anticipated.

Following the critical success of 2024’s “Veil Lifter“, a doom metal/grunge album that achieved features on Doom Charts, Metal Devastation Radio and recognition from several ‘Best of 2024’ year end lists, Stephen Moore decided on a fresh direction for the next release. It ended up taking form far sooner than he has anticipated.

“You see all the voiceless, abandoned and sick
Forgotten the beacon….I light the wick
I heard the screaming from the derelict farm
Where tongues were silent….A MONOLITH OF ALARMS

Ring them out”

“VENUS IN FURS” is an appropriately subversive interpretation of Velvet Underground’s dirge classic. “WHEN THE WORLD IS BURNING BRIGHT” is a taunting 3 am gothic post-punk piece that lyrically confounds. There are no rules in Moore’s musical world. “FAST APPROACHING RADIANT LIGHT” once again jolts the pace along with a frantic breakbeat and an explosive, rousing performance. “SOMETHING STIRS”, also recorded in May 2025, is a song of mourning, partially based on the children’s campfire story “Who Has My Golden Arm?”, and partially based on Moore having his kittens stolen in the middle of the night and whole family robbed by an ex. Yes, truth is often stranger and more twisted than fiction, and this album is an uncensored walk directly through intensive trauma. “WE FALL”, simple as it is, can be a downright upsetting listen, even for Moore. Anyone who has lost someone they felt were integral might relate to this devastating, and very short, track.

“HYPNOTIZER” riffs on Led Zeppelin’s love for Eastern melodies that intertwine with solid hooks while delivering a message about lack of media, social and emotional literacy. “RIVER MAN”, an earnest cover of Nick Drake’s subtle classic, is very much a happy accident. Imperfect, yes. Moore recorded this himself in his apartment in 2010 after discovering he loved Nick Drake’s level of sensitivity and knack for communicating dark things through surreal lyricism. This is one of those cases where the performance just works better than a studio take and stands alone as it is. It could be the centerpiece of this release. “FINAL DAYS” is full-on punk rock with a rockabilly insanity to it, imagining the end of the world in a slightly comedic way and honoring both Refused and Swing Kids with it’s vicious energy.

“Reckless Fever”, “Oversoul”, “Start This Over” and “Surrender” are moody acoustic tracks with a similarity in their sense of existential longing. Both were written after Moore discovered his love for all things Leonard Cohen.

“CRAWLING KING SNAKE”, recorded in May 2025, delivers an altogether unpredictable take on The Doors and their stellar version of John Lee Hooker’s classic blues expression. “HYPNOTIZER” riffs on Led Zeppelin’s love for Eastern melodies that intertwine with solid hooks while delivering a message about lack of media, social and emotional literacy.

“God’s Away On Business” is another of Moore’s favorite Tom Waits tracks, and is has a new groove, as it would be inappropriate to attempt to impersonate the man. Passion runs all of this process. “What’s He Building In There?” is newly recorded in 2025. It is one of Stephen’s all-time Tom Waits favorites, although there are many of them. This is the ultimate take of the nosy neighbor.

People Pleaser feels like a punch in the gut wrapped in neon lights. The beat is tight and repetitive, echoing the grind of modern life. Sharp drum sounds and robotic rhythms set the stage for the song’s theme: the exhausting pressure to always smile, serve, and satisfy; whether you’re in retail, finance, sex work, or just trying to survive the 9-to-5.

Layered synths fill the track with tension. Bright, buzzing melodies flash like warning signs, while darker sounds rumble underneath, creating a mood that’s both fun and unsettling. It’s music that makes you move while making you think.

Vocals are delivered with dry humor and frustration, bouncing between monotone spoken lines and emotional singing. The repeating line “People pleaser, pleasure seeker” rings out like a tired mantra, exposing the constant tug between giving too much and craving something back. The voice sounds distant, almost mechanical, adding to the feeling of being stuck in a loop you didn’t choose.

What really makes People Pleaser stand out is its honesty. It captures how tiring it is to pretend you’re okay all the time. It’s catchy, yes, but it’s also cathartic. You can feel the band pushing back against a world that demands too much and gives too little.

9 o’clock Nasty have always been unpredictable, and this track shows they’re not afraid to evolve. People Pleaser is a sharp, strange, and smart song for anyone who’s ever had to fake a smile when they wanted to scream!