Svffer’s final release, Eternity Moment, is slated for February 28, 2025—a full EP, though right now we’ve only got “In Harm[ony],” a vicious new track out as the first taste.
This is the Münster, Germany outfit’s final chapter, and they’re not dragging it out with fanfare. The band—Timo on bass, Jan on drums, Benni on guitar, Leonie on vocals—wraps it up here, after years of grinding through emoviolence, hardcore, post-metal, and punk.
The instruments for this one were recorded in January 2025 by Peter Lagoda, vocals tracked by Sky Leon. Lagoda mixed and mastered it, and Contraszt! Records is putting it out, with artwork from Druckwelle Design.
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“In Harm[ony]” isn’t just a teaser; it’s a bruise of a song. The band says the instrumental parts kicked around from 2018 to 2020, only getting finished once they decided to close Svffer’s book. Then they hit the studio. The title’s a sly nod to their name, but don’t expect a pity party— “the word suffer was never used before in any song,” they note, and here it’s “kind of embraced.” It’s not about sinking into despair; it’s more like locking eyes with it, steady and unflinching.
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Leonie’s lyrics split into two currents. One’s about being a woman in a scene that loves to call itself enlightened but doesn’t always act it. “To grow in this labeled as political correct invorement was not easy,” she writes.
Back when Svffer started, “female-fronted” was still a genre tag thrown around, and they wanted no part of it. “Music is an expression straight out of the deepest inner self of eachone,” they say. “If you enjoy the music the gender does not matter.” She fought to be seen as a musician, not a frontwoman with some “female bonus”—a tension that simmers in the track, raw and real.
The other current is broader, messier: growing up, peeling back layers of self-doubt, and navigating a “fucked up society.” It’s about those bubbles of “correct behaviour” where people fake it to belong—“like a disease someone needs to follow.”
There’s the sting of trying to see good in others, failing, and then doubting yourself for it. “The emotions which come up when you’re honest to yourself—like am I enough, was it enough, what is enough?” she asks. It’s wanting to be seen, truly, while watching the reasons for common ground erode. Regrets creep in, or at least questions. The song doesn’t tie it up neatly—it just cuts deep and lets it sit.
They frame Eternity Moment as “a journey through the expierences while making music, being part of this scene and this world,” and “In Harm[ony]” is “a cut of this journey.”
It’s a piece that says your best might not feel like enough, and that’s still okay. “Doesn’t matter as what you are seen in whatever you might be facing or going through,” they write. “We are all a part of it. We are a part of everything.” No big hugs here—just a stark, steady look at the mess.
The artwork backs it up.
They first imagined “a road in the dark surrounded by trash and almost no light,” shadows twisting barbed wire into an infinity symbol. What they got was a road to an apocalyptic sprawl, their silhouettes facing it down. “Memories are forever,” they say, “eventhough they might be just a short frequence of a lot of hours or situations.” The future might collapse, but the past sticks—shaping you, like it or not. “Svffer will be an eternity moment in ourselves,” they add, a scar worth keeping. It’s about holding strong together, whatever’s ahead.
“Thank you for this journey,” they say. That’s the line they draw—grateful, grounded, and gone when it’s done.
