The new Damasco album arrives with a clear frame. “Fear is one of our most primordial and instinctive feelings,” the band writes, setting the tone for “Miedo al Miedo,” a record built around anticipatory fear – “feeling fear, anxiety or panic even before it really happens.”
The idea is specific and lived-in: the spiral of concern that forms “either based on previous experiences or not, before an event that is still to come.” That spiral becomes the album’s throughline, not as a single mood but as a continuum.
“We wanted our lyrics and sound to reflect that oppression and suffocation we can feel when facing fear to feeling fear, but not forgetting there are moments of relief, peace and calm, creating a fluctuating continuum.”
Musically, these songs swing from rough, almost ugly tension to soft, airy moments, giving a wide, intelligent take on post-hardcore and screamo that never sticks to one shape.
That fluctuation shapes the music as much as the words. The band points back to their first LP, “Hamartia,” described as “cleaner and with more atmospheric moments,” and places the new record in deliberate contrast. “We decided to turn the sound of our first LP ‘Hamartia’… into something blunter and more direct, something closer to a pressure cooker about to explode.” The choice of producer followed that intent. “We chose Borja Pérez as a producer and to record with him because we knew he’d help us to achieve that, and we are absolutely happy with the result.”
“Miedo al Miedo” arrives on January 29, 2026, on 12″ vinyl, with a black and a milky clear edition. The release is co-handled by Dingleberry Records, Navalla Discos, Exit Row Records, Violence in the Veins, Hecatombe Records, Salto Mortale Music, and Maybe Yes Records. The band underscores the collective effort behind it: the vinyl “will be published thanks to the support of record labels, who have our eternal appreciation for the trust they have put in us and in our music.”
Live work sits directly behind the release. “We are before a long year of gigs putting the album before our audiences,” they note, situating those shows within a network of peers – “always trying to be in good company with bands like Vacants, Víbora, Crossed, Oscuro Culto, Fosco, Mirlo. True references in our scene and examples to look up to.”
That context widens when DAMASCO talk about Barcelona itself.
“It is undeniable that the underground scene in Barcelona is in an increasingly tough spot, and massive festivals are only making things worse,” they write, before shifting focus.
The aim is “the positive aspects, on our resistance, and recognize all the people that keep the flame alive working and fighting for the DIY punk culture.”
We asked the band to give us some good recommendations of under the radar artists from their area and here’s what we’ve got.
MyHeartYourMouth is singled out for Emostiu and year-round shows that “have revitalized the most alternative scene (screamo, hardcore, powerviolence, queercore and so many other styles under this umbrella).”
Ojalá Estë Mi Bici are described as “old acquaintances in the scene, supporting the most dissonant voices since 2008.” CKUD appears as “a true landmark and reference for hardcore, not only in Barcelona, but internationally,” with an annual festival and a steady calendar beyond it.
LittleJoy is “new in the scene,” already “an interesting actor with a fine filter to organize events.”
La Plaga is noted for “relentlessly supportive” work as “an alternative to big concerts.”
Soroll i Glitter are named for carrying “an absolutely necessary fight as a transfeminist collective, always giving voice to dissenting identities away from the patriarchy that is sometimes embedded in hardcore punk.”
Discos Pinya is acknowledged for “always… pushing forward the most interesting bands carrying the DIY flag.”
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Spaces and voices matter as much as promoters. Blokes Fantasma is “a refuge and icon of the necessary resistance in this city,” “a true oasis in the middle of the real-estate speculation that is devouring Barcelona and making life in the city impossible for so many people.”
The podcast El Ecualizador is recognized for “a number of years of relentless fight, interviewing the bands whose voices are often forgotten.” And the circuit closes with a shop: “our favorite record shop in the city: Ultra-Local Records,” praised for “the best possible selection of music of any style you can think of,” the time “to chat and give you personal recommendations,” and a commitment to the local scene that “never failed… not hesitating to accept any band, no matter how small.”
“Miedo al Miedo” sits inside that ecosystem, shaped by it and answering back to it, with fear named plainly and pressure allowed to build without smoothing the edges.
