New York, NY & Athens, Greece; 16 April 2026: Building on the momentum of their return after a 32-year hiatus, Requiem in White have unveiled the title track from their new record “The Visible Heaven”. The album, which is their first since disbanding in 1994, will be out via The Circle Music on 21 May 2026
“The Visible Heaven was the last song composed for the album,” says Doc Hammer. “I wanted a gratifying, heavy song that featured Lisa’s voice above a powerful band that typifies the Requiem in White sound.”
Originally formed in Boston in 1985, Requiem in White became fixtures of the New York City underground before achieving legendary status through their refusal to grant interviews and their “grass roots” fame at venues like CBGB and The Limelight. Known for an eclectic, romantic sound that influenced a generation of acts, they shared stages with Type O Negative, Christian Death and Biohazard. Following their 1994 split (the same year Marilyn Manson’s debut album came out), the Requiem in White members went on to form influential projects including Mors Syphilitica, Judith and WE??.
The new record sees original vocalist Lisa Stockton-Wilson (ex-Hammer) reunite with guitarist and songwriter Doc Hammer to finally capture the “elegant power” that defined their live shows but was often lost in the muddy, self-funded recordings of their youth.
The catalyst for the reunion was a 2024 vinyl reissue of the band’s early material by The Circle Music. Upon hearing the “thin and tiny” production of the original 8-track recordings, Doc Hammer, known to many as the co-creator of the animated series The Venture Bros, felt a responsibility to secure the band’s legacy.
“The Visible Heaven” eschews modern production tricks, relying on the classic arrangement of guitar, drums, bass, vocals, and organ. Stockton-Wilson’s “glassy and soaring” vocals, which Hammer describes as having pushed through “30 years of dust and doubt”, remain the centrepiece of the band’s signature dark, romantic sound.
“Requiem in White returned not to take back her throne, but to show people that her chair was beautiful,” says Doc Hammer. “To right the wrongs of her past and give her an album that sounds like what she truly was. To show her fans that they backed a beautiful horse! A horse that won’t win a race, but she’ll look good racing, and you will never see a horse like that again.”
He continued: “I wanted it to sound like we went into a great studio in 1994, recorded great tracks, and mixed a great album… the album we always wanted to make. It’s Guitar, Drums, Bass, Vocals and a little Organ, just like Requiem was back in the day.”
“When some bands reunite and make new music, they don’t really pick up where they left off. They’re thinking as a creator, and not really respecting the band as a fan does. They bring into the new stuff all the baggage of the contemporary idiom. That, as a fan, is kinda gross. I don’t wanna hear my favourite niche-Goth-band come back and sound like fucking Doja Cat. I want them to sound like they used to. That’s what I would want as a fan. So I decided to just get back to the artistic place I was in the 90s.”
“I wasn’t trying to make a new record sound old, I was truly back in my old band writing like
I used to. It’s real. The band never left, it simply fell asleep for a bit.”
Lisa Stockton-Wilson said: “I couldn’t have dreamt that Requiem in White would ever make another recording, but when Doc sent me the music, I was blown away. It’s haunting and powerful, symphonic and driving. My parts were complex and difficult to record, but I got a lot of encouragement. I think this album is very unique and I hope it makes our fans happy. Thanks to The Circle Music for inviting us to release our albums, old and new.“