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Lovesick is the debut full-length record from the Chicago-based darkwave powerhouse clubdrugs. Far from a one-note genre piece, the album is a meticulously crafted, emotionally charged dance party that thrives in the shadows. By masterfully blending the brooding atmosphere of goth, the infectious hooks of synth-pop, and the hazy, wall-of-sound textures of shoegaze, the band captures a unique nostalgia—channeling 90’s alternative vibes while pushing the sound into a modern, neon-lit future.

The band’s meteoric rise reached a fever pitch following an extensive North American tour with IAMX in late 2025. This high-profile run cemented their reputation as a formidable live act, characterized by raw energy and immersive visuals. The creative synergy between the two acts even led to clubdrugs providing an official remix for one of IAMX’s latest singles, further validating their position as rising stars in the electronic underground.

Building on that momentum, clubdrugs officially signed with the prestigious Artoffact Records, a label synonymous with cutting-edge industrial and post-punk music. To celebrate the signing, they released the high-concept music video for the lead single “Heart 2 Break.” The visual went viral almost instantly, racking up tens of thousands of views within days and establishing clubdrugs as the new standard-bearers for the darkwave revival.

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The Violent Youth’s new album, tsvety, continues the German-based Belarussian duo’s exploration of modern new wave and post-punk, cementing their sound within the darkwave and synth-pop revival popularized by bands like Molchat Doma. Following the darker direction of their previous work, tsvety is a blend of danceable rhythms and vulnerable, emotive lyrics that tackle universal themes of distance, loss, and hope, all while maintaining the band’s signature 80s-inspired synthetic atmosphere and compelling vocals. Released on March 20th via Artoffact Records, we invite you into the world of the captivating sound of contemporary Slavic-laced dark pop.

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Exploding with melodic and pummeling industrial-tinged post-punk, Louisville dark punk stalwarts FOTOCRIME erupt in an unexpectedly aggressive tone on Security. Few bands sound this immediate and energized on their fifth album, yet Fotocrime tear through Security’s ten songs in just over thirty minutes with a surprising fervor. This more guitar-driven direction may seem like a pivot, but to those in the know it’s inherent in Fotocrime leader Ryan Patterson’s musical history and DNA.

Patterson is a musician, producer, visual artist, and creative force behind Coliseum, Cat Magic Punks, Black Cross, and Shirt Killer, amongst many other bands and endeavors. Formed in 2017, Fotocrime have released five EPs and four albums, and on their fifth LP Security, Patterson is joined by new members Benjamin Clark on guitar and David Cundiff on bass. The album features appearances from drummer Jay Weinberg (SLIPKNOT), legendary vocalist Barney Greenway of NAPALM DEATH, Aaron Turner (SUMAC, ISIS), Brian Cook (RUSSIAN CIRCLES, BOTCH) and a cavalcade of veteran Louisville artists. Musician and noted producer J. Robbins (JAWBOX) also performed on several tracks and traveled to Patterson’s studio, the House of Foto, to co-produce, engineer, and co-mix the album.

Filled with tales of overblown machismo at the nuclear chess board, mental instability in a time of crisis, and honest living in a corrupt world, Security is rife with sentiments of paranoia and impending doom. But unlike post-punk greats Killing Joke, Fotocrime never go full conspiracy theorist or espouse theories on the alien civilizations that built ancient Egypt. Security is very much influenced by Jaz Coleman & Co., and it serves as a celebration of that band’s musical output, alongside other recently passed heroes. “Killing Joke, Big Black, and Hot Snakes– these were all bands that all had musicians that passed away recently,” recalls Fotocrime frontman Ryan Patterson pensively. “Geordie Walker, Steve Albini and Rick Froberg were all so crucial to my musical growth, so I wanted to put these influences forward and channel them as much as I could, as opposed to keeping them in my back pocket and letting them manifest in less obvious ways.”

On Security, the band eschews their previous approach for a more aggressive and furious tone, one that matches the aforementioned bands along with the man-vs-machine churn of Godflesh and middle period Ministry, the down-picking stylings of The Marked Men, and even the anarcho leanings of legendary bands like Crass and The Mob. Historically a synth-forward band, these influences come to the forefront to reveal a new era for the Louisville, KY favorites. “There are synth textures, but for Security we had a different sort of goal,” explains Patterson. “We recorded most of the music live, and what you’re hearing is primarily guitar, bass, and drum machine. There are plenty of Soviet-era analog synths on the album, but not anywhere near the amount that there has been with Fotocrime previously.”

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Formed in London in the early 1980s, Test Dept are regarded as one of the pioneering forces of ‘industrial music’, recognised for their groundbreaking sound and powerful performances that pushed the boundaries of music, art and protest while exploring political and social issues.

Centred around the founding duo of Paul Jamrozy and Gray Cunnington since resurfacing in the mid-2010s, the group recently signed to the Artoffact label and plan to issue a series of carefully curated box sets along with a brand new album targeted for 2026.

The first of the catalogue sets is scheduled for release on 5th December, with ‘Industrial Overture. Studio & Live Recordings 1982-1985’ consisting of 40 tracks across 4 CDs and also available digitally. It includes a first ever reissue of the group’s 1983 cassette-only debut album ‘Strength Of Metal In Motion’, the classic ‘Ecstasy Under Duress’ and ‘Atonal & Hamburg’ albums (both unavailable for over three decades), plus a disc of hitherto unreleased studio recordings that incorporate two sessions recorded for the John Peel show on BBC Radio 1.

In total, 26 tracks are new to CD and digital formats, of which 12 have never been previously available at all. All contents have been compiled by Test Dept and are newly remastered by Paul Lavigne (Kontrast Mastering).

Housed in a 5-panel ecopak designed by Paul Jamrozy and Stefan Alt (Ant-Zen), the set also includes a 24 page booklet featuring a specially commissioned essay by Test Dept expert Alexei Monroe, as well as period photographs.

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Tragic hope, hauntings, and the cult search into the unknown. Corbeau Hangs is an X-Files-esque look into the anomalies of the nature of 80s darkness. Blending post-punk grittiness, driven industrial tones and the atmospheric dilemma of darkwave and coldwave to garnish a wave of familiar and nostalgic hints while being something totally of its own electronic persona.

Manuel Perez is joined by Quinn Tipton in this project reminiscent of horror soundtracks to complement the societal void in which these sounds find themselves in. The band’s break-out single Necroamor is racking up hundreds of thousands of streams on Spotify and YouTube, while apt comparisons to She Past Away, Ash Code, SOFT VEIN, Occults, and Dancing Plague haunt the internet.

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Male Tears releases a new live album featuring raw and energetic performances of their key tracks! The album opens with the driving synth-pop of “Talk to Me” and moves through the band’s diverse sound, including the sharp rhythms of “Model Citizen” and the darkly atmospheric “Belladonna.” Tracks like the intense “Sex On Drugs” and the forward-leaning “Future X” highlight their dynamic stage presence and the core of their sound.

This live collection also features powerful renditions of “Regret 4 Nothing” and the impactful “Hit Me,” capturing the band’s ability to connect with their audience through their music. The album concludes with the compelling “Jaded,” offering a clear snapshot of Male Tears’ captivating sonic landscape in a live setting. This release provides a direct experience of their music as it’s meant to be heard – live and unfiltered – while also giving fans something to listen to while the band finalizes their debut for Artoffact Records!

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“Dating from the 19th century, the only prison remaining in Paris is “La prison de la Santé” – The prison of Health. Going to my shrink walking by, I could sometimes hear inmates shouting, behind these sick stonewalls. It became a symbol of the Prison of the Mind, and the hardships of love.”

Sydney Valette announces his signing a global deal with Artoffact Records with the release of his new EP, Les Couloirs Du Temps. The tracks on this EP are nothing short of stunning, seeing an artist that is in his prime, effortlessly creating some of the most impactful synth art released in the new millennium.

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Following decades of staunch independence, Portion Control have just signed to Artoffact Records with the intention of providing a much deserved broader platform from which to promote their work. Alongside new material, the label will curate and reissue the group’s back catalogue, allowing their work to be fully appreciated at last.

Marking the announcement of this exciting new partnership is the release today (5th December) of a fully remastered and expanded version of ‘SEED EP3’, first issued in 2021 as a set of short and long-form pieces. Expertly overseen by Paul Lavigne at Kontrast Mastering, ‘SEED EP3.1’ boasts an additional three new tracks that include ‘Possessed’ VIDEO. Now containing 16 electronic songs and instrumentals, with a total duration of almost 64 minutes, ‘SEED EP3.1’ acts as both a starting point to discover Portion Control as well as providing an enthralling revisit for existing fans.

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“Sometimes what I want is f—- what I want,” chants Louisahhh—bratty, breathy—over Belgian producer Helsmoortel’s insistent electro thump-chug. A subversive exploration of toxic pleasure, “What I Want” delivers a sultry dance floor stomper that doubles as charged confessional.

“A lot of my writing comes from a place of yearning,” reflects Louisahhh, an artist renowned for her brutal, brazen industrial rave poetry. This track is no exception, inhabiting desire through the lens of adolescent cravings. “There is the hint of danger, of heartbreak, but it feels too good or too urgent to let go.” This tension becomes more seductive through the interplay of cold, pumping basslines and snarling machines.

Helsmoortel, rising star of Juicy Gang Records and prolific producer with releases on Avoidant, Brick Sweat, and Turmeric, brings his signature blend of native Belgian influences—tough new beat and ravey techno—paired with his fresh perspective (motto: “nothing is certain, anything goes”) to create a sound equally thrilling and nasty.

Louisahhh, a New York native now based in France, had been eagerly following Helsmoortel’s career and featuring his music in her global DJ sets when he approached her about a potential collaboration—thus birthing this powerful EP. On the collaboration, Helsmoortel says “I’ve been a big fan of Louisahhh ever since the Bromance days so working with her has always been a dream and as it turns out probably the easiest collaboration I’ve ever done since our thought processes are very well aligned”. Louisahhh agrees emphatically. “It’s always a joy when an idea starts small and grows organically. We intended to make one track together, and that was so much fun that we now have the first EP that’s going to be a part of a trio of releases on Artoffact”.

“What I Want” is the debut single from this emerging duo’s impressive body of work, with both artists bringing their formidable talents to the table. Proudly presented by Artoffact, available on all digital platforms July 4, 2025.

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Italian avant-doom/noise rock duo OvO are set to release their eleventh studio album, Gemma, on October 3, 2025, via Canadian label Artoffact Records. Celebrating 25 years of activity, Gemma promises a continued journey of reinvention, pushing the boundaries of electronics and experimental sound that have become their hallmark. Each track on the album is described as an “act of creation,” an “alchemical passage through the elements” that seeks to foster “new weird life.” The album’s title itself, Gemma, serves as a manifesto of transformation and an invitation to regenerate and rediscover hidden potential within everything.

The album’s first single, “Opale,” featuring the abrasive vocals of Lord Spikeheart, offers a glimpse into the evolving sound of OvO. “Opale” immediately showcases a breakdown of traditional musical genres, blending Bruno Dorella’s intricate programming with Stefania Pedretti’s distinctive guitars and vocals. The collaboration with Lord Spikeheart, an artist with whom OvO shares a deep, unconventional affinity, adds a dance-like pulse to the track, hinting at iridescent new directions for the duo, unconstrained by predetermined structures.