Interview: Cmÿter (Slovakia)

The Nwothm

Bratislava’s Cmÿter are a young band already stirring interest with their stark blend of heavy metal, occult atmosphere, and unmistakably Central European character. Formed in 2024, they’ve arrived with a clear sense of identity and a debut EP that hints at something far darker and more considered than their short history might suggest.

In this interview, Gregor offers a glimpse into the ideas, places, and creative impulses shaping Cmÿter’s world—without stripping away the mystery that makes the band so compelling.

Interview

TheNwothm: For readers discovering you for the first time, how would you introduce Cmÿter and the world you’re building through your music?

Gregor: Cmÿter is is heavy metal that deals with blasphemy, mysticism, and the Inquisition, strongly inspired by the perspective—the vision—of artist and writer Josef Váchal. I am beginning to perceive that the lyrics also touch on existential nihilism. This is probably due to what I read and the values I represent, but it is not surprising in music with this theme. It should be noted that I am not the sole author of all the lyrics; other members of Cmÿter have also contributed to the songs. In fact, one unreleased song has lyrics that were written with the participation of an author outside our band.

Musically, I have probably the greatest authorship. I strongly emphasize the influences of Swedish bands such as Gotham City, Mindless Sinner, Heavy Load, and In Solitude.Of course, it’s not limited to Swedish bands, but also bands such as Thin Lizzy, Saxon, Judas Priest, and Tublatanka.

From reviews and from people, bands such as Mercyful Fate, Bathory, Manilla Road, Stormwitch, and Metalinda are also mentioned in connection with us.

TheNwothm: Cmÿter formed in 2024. What brought each of you together at that particular moment, and when did it become clear that this collaboration should become a band?

Gregor: It was after an Eisenhand concert at Weranda in Bratislava sometime back in 2023. We got pretty drunk, and Palo mentioned something about a band and heavy metal. Since this genre is a way of life for me, the next day, in addition to a headache, I had news about what would happen with our band, haha.

TheNwothm: You’re based in Bratislava. What aspects of the city’s atmosphere or character feel most connected to the spirit of the band?

Gregor: When we were starting the band, I often visited a cemetery called “Cintorín na Kozej bráne” (Goat Gate Cemetery). I used to go there often to read books, drink coffee, or just walk around. I don’t do it as often anymore, but I always enjoy it when I get the chance. I think that the band’s identity is quite influenced by this place.

It is important to note that the first promotional photo is not from this cemetery but from another one – “Ondrejský Cemetery.”

TheNwothm: Slovakia has a rich mix of folklore, history, and darker spiritual traditions. Which parts of Slovak culture have naturally found their way into your music or lyrics?

Gregor: I would say that thematically, not at all, since we take inspiration from Josef Váchal or from our own view of the world of blasphemy, etc., and this gives the whole band a Czechoslovak character. It’s more about the accent and style of language where we come from. I don’t sing with an accent like Malokarpatan, for example, even though I’m very fond of that style. In fact, the original name of the band was supposed to be “Cinter,” which is much closer to us, but in the end we chose “Cmÿter” precisely so that we wouldn’t be imitating the aforementioned band Malokarpatan. Anyway, what I mean is that I don’t sing in standard Slovak, but here and there I use the Bratislava accent, for example.

TheNwothm: Bratislava has its own artistic personality (I enjoyed my visit to the Slovak pub especially!) How has living and creating there shaped the themes or mood of Cmÿter?

Gregor: That’s a very good question. Personally, I can’t imagine Cmÿter changing its base and operating somewhere outside this city, for example in Prague. On my mother’s side, I am a fourth-generation native of Bratislava (maybe even more) and I personally have a very close and specific relationship with this city. This certainly influences the direction of the band and how it functions. 

I used to feel quite sorry for what the city went through during communism, especially in the 1960s. Today, I see it a little differently… The brutalist part of the city’s identity is really interesting and appealing to me, as is the more historical part. 

Fortunately, we no longer have communism, but we are suffering from aggressive development and the pursuit of profit. For example, the “Fuga” club has closed, the “Garáže” is under threat, and the forest parks in the Danube area surrounding Bratislava are also in the developers’ sights. Even the place where we have our rehearsal space is now threatened by developers. 

It sounds terribly sad and catastrophic, but the resistance of citizens is considerable… so there is still some chance of preservation. 

So, the band is clearly influenced by the identity of the city and the problems associated with it.

The pubs here can be really nice, which definitely contributes to the band’s formation, haha.

https://www.youtube.com/watch?v=zfxwonYKfH0&list=RDzfxwonYKfH0&start_radio=1

TheNwothm: Your themes reference mysticism, blasphemy, and the works of Josef Váchal. What first connected you to these ideas, and how do they influence your writing process?

Gregor: I studied fine arts and during my studies I got to know Josef Váchal. I believe that this can have a huge impact and contribution to metal. Josef Váchal had his own vision of occultism and mysticism, which differed quite a bit from the Western one, or rather from what Western occultists worked with. 

So far, lyrics dealing with Váchal’s themes have only appeared in two songs. I am also often influenced by philosophical or academic texts dealing with the Inquisition and similar topics, or simply by my—our own creative intuition.

TheNwothm: Your debut EP Ave Lucifer arrived in 2025. What was the earliest spark that led to this release?

Gregor: We definitely wanted to establish the band’s existence through recordings rather than live performances at first. The complex riffs and vocals are not as simple as they may seem to some. It was simply the first step in the existence of our band.

TheNwothm: When you look back at the creation of “Gróf Reisenstein,” what stands out to you about how that track came together?

Gregor: The band In Solitude and the book “Krvavý román” (Bloody Novel). Before we had anything composed, the band played cover versions of songs by the aforementioned band. We also played something by Saxon, but that was right at the beginning. “Gróf Reisenstein” is our very first song.

TheNwothm: The title track “Ave Lucifer” has a striking name. What was the starting point for developing that piece?

Gregor: In August, actor Karel Heřmánek committed suicide. He played Lucifer in the fairy tale “S čerty nejsou žerty” (Give the Devil His Due) The lyrics of the song are quite satanic, but it is also my tribute to him. 

We also wanted to make a faster and more bestial song so that the EP wouldn’t be all about some strange  blasphemic melancholy. In the song, I also sing “Peklo peklom bude,” (Hell will be hell – A hell is hell) which always reminds me of the Belgian band Acid, which also contributed to this song.

TheNwothm: “Čierny Dom” closes the EP. What can you share about the process of writing or assembling that song?

Gregor: The basic riff is quite old… I composed it sometime in 2017-2019. Of course, its original form was simpler – less technical and in a different key. Lyrically, it differs most from the previous two in terms of theme. Blasphemy still appears here, but more in the realm of the aforementioned existentialist nihilism.

TheNwothm: What was that experience like for you as a new band navigating your first official release?

Gregor: The recording and production were independent – an internal matter for the band. In any case, our label, Tapes of Terror, had already been agreed upon during the recording of the EP. The label just allowed us to release the EP on the internet (Bandcamp and NWOTHM Full Albums) before it comes out on cassette.

As a band, we felt that after a year of existence, we were finally going to release something that would take us further.

TheNwothm: If Cmÿter were represented by an object found in an old Slovak cemetery, what would each of you choose and why?

Gregor: Hmm… a fence? Haha, I don’t really know how to answer that. Cmÿter represents the cemetery as a whole and everything associated with it, including intangible things, not just one object. But let’s say any ornament found in old cemeteries.

TheNwothm: Now that your debut EP is out, what direction are you exploring for your next musical steps? Are you already working on a follow up?

Gregor: We are mainly working on a high-quality, lively set list. This is also connected with preparations for the studio. So, apart from playing concerts, the next big step is to enter the studio again. This time, we won’t be doing it on our own. Personally, I would like to release a single this year that will be a precursor to the release of our debut album… I don’t really know if we’ll manage it because we have to get the finances ready for it.

TheNwothm: Are there regions or countries you’re especially excited to bring Cmÿter to in the future? What shows do you have booked of the rest of the year?

Gregor: Of course, we would like to play in Poland, Germany, Sweden, and basically anywhere in Europe where people want to see us. At the moment, I don’t see Cmÿter going outside Europe in the foreseeable future, although we are not ruling out this possibility in the future. 

Our next show will be at Heavy Metal Thunder in Písek on March the 20th, 2026. Then we’ll probably show up again in April in Bratislava, where we’ll perform with a Chilean heavy metal band, but I won’t reveal any more than that. We already had the opportunity to play in Poland, but it fell through because of the long distance, which would have cost the organiser a lot of money—maybe it will work out some other time.

TheNwothm: How can our readers buy your music and merch?

Gregor: The cassette on the Tapes of Terror website and our merch—so far we only have T-shirts available at concerts, or if there are any left, you can message us on Instagram or email us, because our edition of hand-printed T-shirts is limited.

TheNwothm: Where can fans follow you online?

Gregor: Instagram, Facebook and Bandcamp.

TheNwothm: Anything else you would like to mention?

Gregor: I have nothing to add except to say thank you very much for the interview and your support. I think what you are doing is amazing.

See you at the shows!

Gregor from Cmÿter.

Le nouvel EP de No Drama, "Isolated Areas", sortira le 6 mars prochain chez Anything Bagel, Araki Records, Brainwasher Records, Bus Stop Press, Stonehenge Records, Wood of Heart et bien sûr Hidden Bay Records ! Merci à Andrey Invanov (instagram.com/andrey_ivanov_sound) pour le mastering.

Premier titre en écoute la semaine prochaine.

#NoDrama #newEP #cassette #Toulouse

Make America Grateful Again (Global Circle Chant Mix)

The Song:

What became the Global Circle Chant Mix started when each musician grabbed an instrument from their homeland and gathered in a circle. One rhythm led to another, voices layered themselves naturally, and a global chant emerged. No leader, no script—just a shared pulse across continents.

This mix embodies a kind of Pentecost energy: many languages, one spirit. Gratitude becomes a dialect the whole world can speak.

“No one led this song, and no one followed. That’s why it works.” — Kwabena (Ghanaian percussionist)

The Album:

In fall 2025, musicians from around the world met in a small American town to make music shaped by gratitude, unity, and hope. Calling themselves Artists of the Pantheon, their debut EP, Make America Grateful Again, was released by Tongue Screw Records this Thanksgiving.

A global sound for a healing moment.

On streaming platforms worldwide.

Purchase

#distrokid #albumAnnouncement #altCountry #americanRootsMusic #artistsOfThePantheon #collaborativeArt #creativeCommunity #crossCulturalMusic #culturalHarmony #edmFusion #folkFusion #globalChoir #globalCollaboration #gospelBlues #gratitudeThemes #independentMusic #internationalMusicians #makeAmericaGratefulAgain #multiculturalArt #musicRelease2025 #musicalStorytelling #musicalUnity #newEp #newMusic2025 #peaceThroughMusic #recordingProject #ritualChant #ruralAmerica #thanksgivingRelease #worldBeat #worldFusion #worldMusic

Interview: Kaine (UK)

The Nwothm

Kaine have been keeping the flame of heavy metal alive since 2009. Rooted in East Anglia’s thriving scene, the band blend Sabbath, Priest, Maiden, and thrash influences into a sound that’s fast, heavy, and defiantly DIY. Sixteen years on, they remain one of the UK’s most enduring heavy metal acts, with a catalogue that charts their resilience and evolution. In this interview with TheNwothm, Kaine reflect on their journey and share what’s next.

https://www.youtube.com/watch?v=7tuGaWfGYHo

Interview

TheNwothm: For those who might be discovering Kaine for the first time, how would you introduce yourselves and where you’re from?

Kaine: We’re Kaine, we are from East Anglia in England. We’re probably one of the heavier NWOTHM bands, and we’ve been at this for 16 years now. We’re very much a DIY band and not a lot of people know we exist! Our influences are essentially Sabbath, Priest, NWOBHM, and the early Thrash movement in the States. We’re often referred to as a Speed Metal band, as that’s one of the closest approximations people can make to us! 

TheNwothm: How did the band form back in 2009?

Kaine: You could say we were one of the original British NWOTHM bands to emerge around that time, along with Osmium Guillotine. Hamerex were around a few years before us, and not long after we formed, you had bands like Amulet, Neverworld, and Toledo Steel emerging, Culloden, Midnight Force, Seven Sisters, Heathen Kings, and up until more recently, Tailgunner, who are the first British NWOTHM band to break into the mainstream.

In Ireland, you had a band called Celtic Legacy, which was very much in the vein of what we now call NWOTHM, too. When we started in 2009, it was a reaction to the Emo and Metalcore scene that dominated the UK underground at the time. There were no straight-up Metal bands playing, and if you went to a gig, it would be a something-core band playing to a handful of school friends, and the venues were empty. People who liked old school Metal were put off and stayed home, so we decided to do our own band playing music influenced by the likes of Sabbath, Priest, Maiden, and the wider NWOBHM movement, as well as the American bands that were influenced by that same movement. We turn 17 in January, so we have been around longer than the NWOBHM movement ran back in the day! 

TheNwothm: Colchester isn’t always the first place people think of when it comes to heavy metal. How has being based there shaped your identity as a band?

Kaine: That’s surprising because Colchester, along with Ipswich, probably has two of the best, if not the best, alternative music scenes in the country. This area has always been a hotbed for Metal music. If you look at an act like Cradle of Filth, over the years, they have recruited heavily from the scene here. There are still plenty of venues, promoters, and bands playing great live music across the Rock and Metal sphere in this area, and we’re very lucky to have such a thriving scene. We’re local to the area and are very much proud of it. Norwich also has a thriving Metal scene. I’d argue East Anglia as a whole has one of the best Metal scenes in the country. 

TheNwothm: When you’ve toured across Britain and Ireland, have you noticed differences in how audiences respond compared to back home in Colchester?

Kaine: We have only played two gigs in Ireland, which were supporting Mordred on tour back in 2014. As for Britain, audiences have always been receptive wherever we have gone. We have always had a loyal following in Scotland, so we try to visit as often as we can afford to, but really, we have enjoyed great responses over the years up and down the country. We enjoy getting out there and playing everywhere we can. 

https://www.youtube.com/watch?v=N_Nh2GlG-t4

TheNwothm: Growing up, did you have a particular metal hero whose posters were on your wall?

Kaine: We all have a range of heroes and influences, everyone from Priest, Maiden, AC/DC, Sabbath, Metallica, Megadeth, in fact, Toby has a Marty Friedman tattoo, he is that much of a fan of him, and Liam has an Ozzy tattoo now too! We have looked up to and been inspired by a lot of bands collectively. 

TheNwothm: If you could cover one classic track from your influences like Sabbath or Maiden, which would it be?

Kaine: We recently did a Sabbath tribute set in honour of Ozzy Osbourne, which included Paranoid, War Pigs, Iron Maiden, Black Sabbath, and The Straightener. It would be difficult to choose a single track from our influences to be a definitive “one”, but at a push, Painkiller by Judas Priest would probably be one we could do justice to. 

The Nwothm: Your debut “Falling Through Freedom” (2012) was the first full-length release. Looking back, what was the biggest challenge in getting that record out?

Kaine: Aside from being young, having no label support, and frankly not really knowing what the f*#k we were doing at the time, the biggest issue was a mixture of budget and personnel changes that happened during the writing and recording of that record. We did our best with it, and in hindsight we should have held off doing a record until we had a more stable line-up and played the songs live a lot more to hone them, but as previously stated, we didn’t have any management or a label to really guide us, we just had a go at putting a record together and in all fairness a few people still love songs from that album, despite it being a totally unpolished DIY effort. 

The Nwothm: “The Waystone” (2014) saw you touring extensively, even alongside Monument and Mordred. What memories stand out most from that era?

Kaine: We were meant to release that album under MGR Records, which was Monument’s label at the time. We had to write, record, and release it to their schedule, which meant we probably didn’t spend as much time on the record as we should have. We had a big disagreement with MGR Records during that tour; they were using our bassist at the time to cover for Chris Dale, unpaid, and not only tried to steal him from our band but were totally unprofessional in how they dealt with the band in general. On the last date of the tour, we fired them and put the record out ourselves.

This album, however, did launch the band, and we got a lot of good shows booked, and a festival appearance (Wildfire) off the back of that record. It sold over a thousand copies on CD, so for us it was a successful record. Our tour with Mordred was a much more positive experience. We replaced Furyon last minute and had less than a day to prepare for the tour before we were off on a ferry to Ireland. Touring with Mordred was an amazing experience and one of the highlights of our career. The Waystone was a bit of a missed opportunity for us, I think. Had we had a label more interested in making us a success and had a little more time to finish it, it would have been more successful, but we made the best of a bad situation. 

TheNwothm: “A Crisis of Faith” (2018) marked a turning point before the current line-up came together. How did that album reflect the band’s state at the time?

Kaine: A Crisis of Faith was a very carefully written record. We started putting it together at the end of 2015 and fleshed the tracks out on the road. Most people think it should have been a bigger success than it was, but sadly, the line-up that put it together had to part almost immediately after its release. We did get to play the main stage of HRH Metal at a sold-out o2 Academy in Birmingham, which is probably the most people we ever played to. Most people expected the band to die when the three other members left, but we had spent a small fortune on studio time and printing the release, so it couldn’t simply be left for scrap. We had a few weeks to recruit a new line-up to continue the gigging schedule we had at the time, which we did, and it turned out to be the right thing for the band. 

The Nwothm: “Reforge the Steel” (2019) has a title that feels defiant. What was the driving force behind that record?

Kaine: Reforge The Steel is as close to a “Rage Sadler” solo record as you will ever get. These songs were written solely by Rage while the new line-up was learning the A Crisis of Faith material. The band then started learning the new tracks and playing them live alongside the Crisis material, and by the end of 2018, we were back in the studio again to put together this record. It often ends up at the top of fans’ lists of favourite Kaine records, so we must have done something right with this one. The record was a marker to show that we were not dead, the band would continue, and that there was a lot more to Kaine going forward. The title literally refers to the reformation of the band from near extinction. 

The Nwothm: “After Extinction” (2022) is your latest album! How do you think it compares to your previous works, and do you each have a favourite track from the record?

Kaine: It’s our heaviest record since our debut album, and it’s the only record we’ve ever done that hit the mainstream charts; it actually reached number 85 on the top 100 in the UK. The lead single A Slave to the Grind seems to be the track everyone loves from that album. It was a different experience from Reforge the Steel, as this record was a collaborative effort. We love all the tracks on the album, but staples of the current set are Second Coming, Protesting for Profit, and A Slave to the Grind. 

https://www.youtube.com/watch?v=ndhF-pe-Gl0

TheNwothm: Are there any hints you can share about new material in the works?

Kaine: Extinctions End is a redo of the Covid-era album and EP. We had to record those releases between several studios and in a very disrupted fashion due to the pandemic, so we have re-recorded a selection of songs that complement each other from both releases, in a different format and style from the original. I think the release will surprise a few people, especially those who still think we’re a Poundland-Maiden knockoff! 

TheNwothm: Do you see yourselves experimenting with different sounds or sticking firmly to the classic heavy metal roots?

Kaine: We have a new EP we’re writing at the moment, which is a pure love letter to NWOBHM, and we’re working on a new album, which has heavier material than we have done before. 

TheNwothm: Where would you most love to take Kaine next, if you could choose anywhere in the world?

Kaine: We’ve never played in Europe, so that would be amazing, America, Japan, also, but we’re realistic. Many of the promoters there have been aware of us for years, but have never asked us to play, so we’re not optimistic that it will change in the future!  If we can just make our UK gigs sustainable, we will be happy. We’re not rock stars, we’re just four regular blokes that happen to be mates and play in a Metal band together. That’s really what we’re about more than anything. 

TheNwothm: If you could design your dream tour line-up with Kaine plus three other bands, who would you pick?

Kaine: Oddly, we have found in the past that the Death Metal audience has been far more receptive to us than most! So a tour with Obituary, Carcass, and Kaine would be a dream line-up as it would be riffs galore and full of raw energy. However, I doubt we could ever afford to buy onto a tour like that! That’s the nature of the music business. But if they ever needed a support, we’d be more than up for it! 

TheNwothm: What gigs do you have coming up for the rest of 2025 and 2026

Kaine: We have just one gig, which is on May 17th at Club85 in Hitchin. Nobody else wants us at the moment! Joking aside, there will hopefully be more dates announced in the future. 

TheNwothm: How can our readers buy your music and merch?

Kaine: We have CDs, vinyl, shirts, and hoodies for sale on Bandcamp:, and we also do exclusive merch and CDs over at Patreon starting at just £1 a month: https://patreon.com/kaine_metal?utm_medium=unknown&utm_source=join_link&utm_campaign=creatorshare_creator&utm_content=copyLink

TheNwothm: Where can fans follow you online?

Kaine:

Facebook

Instagram

YouTube channel

TheNwothm: Anything else you would like to mention?

Kaine: We’ve recently relaunched our YouTube channel, so we would invite people to check that out first! 

#aCrisisOfFaith #afterExtinction #fallingThroughFreedom #heavyMetal #kaine #kaineColchester #kaineUk #newEp #nwothm #theWaystone #thenwothm #thenwothmCom

Review: Agartha “The Hidden”

Release date: Out now!

The Nwothm

Agartha is a heavy metal band founded in 2019 by Jeremy Berry, a multi-instrumentalist handling guitars and drums, and vocalist Ryan Evans. The duo shares a deep-rooted love for classic metal and a drive to explore its outer edges. Their sound blends soaring melodies with a dramatic sense of scale, drawing from the genre’s rich legacy while introducing fresh and unpredictable elements.

Grounded in the traditions of heavy metal, AGARTHA takes cues from a wide spectrum of influences. Their music channels the grandeur of the New Wave of British Heavy Metal alongside the grit and urgency of underground scenes. The result is a style that feels both timeless and personal, with compositions that balance epic ambition and emotional weight.

In 2020, the band released their first demo independently, offering a bold statement of intent that quickly resonated with fans of authentic metal. A limited 7-inch vinyl pressing followed in 2022, earning attention from collectors and reinforcing their presence in the underground circuit. AGARTHA’s approach is marked by tight musicianship and a commitment to melody, always guided by a respect for the genre’s foundations and a desire to push forward.

With each release, Agartha continues to shape their own identity within the heavy metal landscape, staying true to their roots while forging ahead with purpose and intensity.

Review

Intro is up for first and I feel like I am walking through a hazy mist while bass strings twang and acoustic melodies sing. The vocals come in velvety and smooth working perfectly in accompanying the music. I especially like how the vocals layer up at points to create some thickness and texture. Personally listening to this a few times I wish the music would have developed a little more. Otherwise a nice little opener leaving me some what intrigued.

Silver King comes in with a bang and straight away I get pure Sumerlands vibes. The music is exciting, vibrant and full of colour. The chosen guitar tones and the production some what help to give the track a great sense of uniqueness and character. I do enjoy more up tempo songs and this certainly caught my attention. I am sat here tapping my feet and shaking my head around at my desk while I do this review. The vocals slot together with the music magnificently and make the the song feel wholesome and well rounded.

The Hidden is up next and it opens up with the sounds of organic, edgy riffing. The second guitar comes in and the song progresses into a steady walking pace. In reflection to Silver King this feels slightly more slow flowing and of a hard rock vibe. But the vocals remain expressive and charged throughout standing tall and giving off some presence. So a more mellow track providing some balance to the EP.

South Flight flicks off the kettle and brews for a moment, opening with crisp, panned guitar chugs, open chords, and cymbal taps. This intro gives way to a steady, chord-focused section before the vocals slide in. What defines the track is its cascading guitar melodies and vocals that reach out into the shroud. I was hoping for more development in the guitar work, and while the riffs do shift later on, they never quite catch the ear like “Silver King” did.

Inter Hyperborea closes the EP with emotional, driving guitars and majestic melodies that immediately lift the atmosphere. There is a drifting, almost weightless quality to the track, a feeling that runs throughout the release, but here it feels more expansive and adventurous. The melodic, interwoven guitar riffs add sparkle and movement, keeping the song engaging from start to finish. Vocals remain strong and consistent, and this final track is no exception. It conjures the feeling of gliding through galaxies or soaring across open skies, like a heroic quest in search of meaning. A confident and stirring closer that gives the EP a sense of resolution.

Conclusion

This EP lays down a strong foundation, with plenty of atmosphere, expressive vocals, and flashes of character that point toward something exciting. “Silver King” is the clear highlight, bursting with energy and colour, and showing just how good this band can be when everything locks in. The rest of the release has its moments too, especially in mood and vocal delivery, even if some tracks feel less developed. There’s definite room to grow, but the core ingredients are here. With sharper songwriting and bolder shifts, this band could really carve out a distinctive space. A promising release that shows the bands potential.

TheNwothm Score: 7.5/10

Links

Bandcamp: https://agartha4.bandcamp.com/

Instagram: https://www.instagram.com/agarthanprophecy/

Label: https://www.noremorse.gr/

https://www.youtube.com/watch?v=7m-deKc2gkM

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• Review: Agartha “The Hidden”

  5th Nov 2025

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#Agartha #AgarthaUSA #HeavyMetal #NewEP #NewWaveOfTraditionalHeavyMetal #noRemorseRecords #SilverKing #thenwothm #thenwothmCom

Here is the last preview before Friday's release of my upcoming EP "Pastpresentfuture" 🎧💥. This song here is called "Far Away".

#newmusic #newmusiccomingsoon #comingsoon #newEP #postpunk #punk #newwave #wave #gothic #alternative #alternativeartist #indieartist #indiemusic