Bedlam Royals release their debut album The Gap, six tracks recorded at KET’s Studio and mastered by Cult of Luna’s Magnus Lindberg. Carrying the legacy of frontman Viktor’s former Serbian act LEER into a new chapter, it follows April’s single Ode To Not a King. Out now on Bandcamp.
Đen Tình Đen Nhạc brought together a tightly curated lineup, with Cờ Lê, Bedlam Royals, and 9xactly setting the stage for France’s Celeste. Held on a rainy weekday, the show unfolded with a slower, more immersive pacing that leaned into atmosphere over chaos. By the end of the night, it was clear the focus wasn’t on spectacle, but on being
Đen Tình Đen Nhạc brought together a tightly curated lineup, with Cờ Lê, Bedlam Royals, and 9xactly setting the stage for France’s Celeste.
Saigon post-metal project Bedlam Royals surface with their debut single “Ode To Not A King,” a rework of a song born during frontman Viktor’s time with Serbian act LEER, now rebuilt into something new. Mastered by Cult of Luna’s Magnus Lindberg, it’s a precise and deliberate first move ahead of their debut album “The Gap.”
House of Ygra unveils Dạ Xoa’s debut demo Ác Ma Đông Kinh, a three-track descent into raw Northern black metal. Released digitally and on limited cassette, the demo captures a stripped, frostbitten sound rooted in atmosphere, tension, and uncompromising underground spirit.
KINH’s debut album “NGHIỆM” arrives as a relentless statement of intent. Technical, aggressive, and packed with live-wire energy, the Saigon trio deliver a crushing record that proves they’re not imitators, but a defining force in Vietnam’s heavy underground.
Saigon death metal trio KINH have quietly released their long-teased debut album “NGHIỆM.” Blending death, thrash, black metal, grindcore, and hardcore influences, the eight-track record arrives without hype but hits with intent. A raw, self-released statement shaped entirely on the band’s own terms.
Hanoi metal act Gargoyles in the Night Wasteland return without warning with Scepters of Fate, a stark standalone single released after their self-titled debut. Grim, focused, and ritualistic, the track stands as an isolated statement rather than a continuation.
Cút Lộn shed their Pikachu past and embrace their final form with Dzữa — a storm of distortion, rage, and strange beauty. Seven new tracks that mark the band’s most visceral and unflinching work yet.
Gargoyles in the Night Wasteland’s self-titled debut is a gritty, dynamic blend of hardcore, black metal, industrial, and more. Cohesive and DIY to the core, it balances aggression and atmosphere with smart songwriting and a bold, personal vision.
