Hard rock veterans Spread Eagle are thrilled to announce the release of their upcoming new album The Brutal Divine, out on June 12, 2026, via Frontiers Music Srl. To coincide with the announcement, the band shares the first single and accompanying video for “Street Noise”.
Spread Eagle is set to embark on The Brutal Divine Tour 2026 later this month, with dates across the US, UK, and Europe throughout the summer. For the full list of dates, please see below and get tickets here.
The band stated: ‘””Street Noise” is an obvious choice to kick off The Brutal Divine. It sets the aggressive tone of the album and hints at what’s to come. On this song, Ray West does a great job channeling the energy of our day-to-day dealings in NYC.”
The Brutal Divine is Spread Eagle’s long-awaited fourth studio album and a fierce new chapter in the band’s uncompromising legacy. Known for their raw energy, streetwise attitude, and explosive live performances, they once again prove why they remain a vital force in modern hard rock.
The band described the new record as “an emotionally and musically heavy body of songs showcasing a unique command of power, dynamics, and melody. We have harnessed the energy of years of non-stop touring and turned it into a metal/punk thrill ride of an album.”
“Lyrically, The Brutal Divine challenges us to question our views and ask if we’re truly as free-thinking as we may believe. Once that question is posed, the album progresses towards uplifting messages of hope and community”, they continued.
Fronted by the unmistakable voice of Ray West, the band delivers a powerful collection of songs that balance grit and melody, aggression and soul. Guitarist Gianmaria “Jommy” Puledda injects the record with razor-sharp riffs and soaring harmonies, while Rob De Luca on bass and vocals and Rik De Luca on drums, form a thunderous rhythmic backbone that drives every track with authority and groove.
Produced by Rob De Luca, The Brutal Divine captures the band at their most focused and dynamic, blending their classic hard rock roots with a darker, heavier edge. The album channels the intensity and authenticity that first put Spread Eagle on the map, while showcasing a band that continues to evolve without losing its identity.
With a full slate of live dates planned in support of the release, Spread Eagle is ready to bring The Brutal Divine to stages around the world – where their music truly comes alive. This is hard rock delivered with conviction, attitude, and fire.
The Brutal Divine is available for pre-order here.
The Brutal Divine 2026 Tour:
US Dates:
Mar 20 – Thomasville, PA @ Racehorse Tavern Mar 21 – Corona, NY @ Juan Bar Metal Night Mar 27 – New Bedford, MA @ The Vault Apr 2 – New York, NY @ Arlene’s Grocery Apr 3 – Albany, NY @ Empire Live Apr 4 – Bristol, CT @ Bleachers Bar Apr 9 – Tampa, FL @ The Brass Mug Apr 12-16 – Monsters Of Rock Cruise – Dominican Republic Apr 17 – Casselberry, FL @ The Green Parrot Apr 18 – Ft Myers, FL @ Stet’s Bar Apr 19 – Davie, FL @ Cagney’s House of Rock May 3 – Halethorpe, MD @ Fish Head Cantina Jun 6 – Charlotte, NC @ Amos Southend Jun 12 – Clifton, NJ @ Dingbatz Jun 13 – Newark, DE @ Halftime Jun 19 – Norton, WV @ RimRocks Fest
EU Dates:
Aug 29 – Issenheim, France @ Rockfest Sep 10 – Frankfurt, Germany @ Huhnerstall Sep 11 – Lichtenfels, Germany @ Paunchy Cats Sep 12 – Wroclaw, Poland @ Klub Muzyczny Liverpool Sep 13 – Reichenbach, Germany @ Bergkeller Sep 18 – Grebbestad, Sweden @ Rode Orm Sep 23 – Southampton, England @ The Brook Sep 24 – St Albans, England @ The Horn Sep 25 – Isle of Wight, England @ Strings Sep 26 – London, England @ New Cross Inn Sep 27 – Derby, England @ The Victoria Inn Sep 28 – Birmingham, England @ Subside Sep 30 – Newcastle, England @ Trillians Oct 1 – Edinburgh, Scotland @ Bannermans Oct 2 – Buckley, Wales @ The Tivoli Oct 3 – Harrogate, England @ The Den Oct 4 – Stockport, England @ The Spinning Top
American death metal pioneers Six Feet Under will unleash their Next To Die full-length on April 24th through Metal Blade Records.
That sonic devastation shines on lead single, “Unmistakable Smell Of Death,”which sees guitarist JackOwen owning his blast and fast riffs with dynamic pull-offs and stop sections. “This song began musically before I had any lyrical ideas in mind,” says Owen. “I dug through my riff archive for some blast and fast riffs and updated them with some pull-offs and stop sections. The middle section riffs were also from my riff archive. I do scratch leads on my demos, but Ray [Suhy, guitarist] always does a much better job with the leads.”
“Lyrically, I’m writing from the perspective of a killer who toys with a victim and unties them, allowing them to fight. He underestimates their ability to fight, and they get the better of the killer, ultimately impaling and beheading him. The ‘Unmistakable Smell Of Death’ is now that of the killer!”
Next To Die marks a new creative high for Six Feet Under, its dozen songs marking the band’s fifteenth album since 1995’s Haunted. “It started out as an album full of death metal songs with speed and aggression,” says Owen. “Then [vocalist] Chris [Barnes] had the brilliant idea to keep half of those death metal songs and add some groovier songs in the vein of the early Six Feet Under material. Chris emphasized tempo, so keeping with the beats per minute for early SFU classics, I wrote a side of tasty groove-laden music with Chris doing all the lyrics.”
The creative collaborative approach sees Next To Die essentially broken down into two different sides – Death and Groove – resulting in an aural masterwork that satisfies Six Feet Under as artists, while also offering something for every fan.
The record was produced by Owen and Barnes and mixed and mastered by Mark Lewis of MRL Studios in Nashville, Tennessee, and follows 2024’s Killing For Revenge. It’s the third record that Barnes and Owen have created together since reuniting in 2017. “We don’t discuss lyrical themes, we each write what we’re feeling,” explains Barnes. “We each just write what we find interesting.”
Six Feet Underwas initially formed as a side project for Barnes during his final years with the band that he co-founded, Cannibal Corpse. It became the frontman’s sole focus in 1995, coinciding with the release of their debut, Haunted. The current lineup of Barnes, Owen, lead guitarist Ray Suhy, bassist Jeff Hughell, and drummer Marco Pitruzzella makes for a devastating unit.
Next To Die comes swathed in the cover art of Sandy Rezalmi and will be released on CD and digital formats as well as vinyl in the following color variants:
Six Feet Under will return to stages this Summer on a North American headlining tour. Set to begin on July 8th in Detroit and run through August 11th in Chicago, the tour features support from Kataklysm and Wormhole.
Comments Barnes, “July and August are gonna get ultra brutal on our headlining tour of North America in support of our new album Next To Die, with our old friends in Kataklysm, and special guests Wormhole. Very psyched to get back on the road in the States, and really, really looking forward to playing Canada on this tour. I think it’s our first time in Canada in decades… You do not want to miss these shows! See you all this Summer!”
The North American journey will follow the band’s previously announced European headlining tour this June with support from EmbryonicAutopsy.
Presales begin Thursday, March 12th, password: GRAVE. General on sale date is Friday, March 13th. See all confirmed dates below.
Corrosion of Conformity have unveiled the video for “You Or Me,” the latest single from their upcoming double album Good God / Baad Man, due April 3rd via Nuclear Blast. The clip was directed by visual artist Costin Chioreanu, with additional footage shot by Mike Holderbeast.
The band offered their own take on the collaboration: “Deep from within the forests of Romania and the twisted mind of our dear friend Costin Chioreanu comes his twisted visions put to Corrosion‘s music. It’s a match made in purgatory. There’s some special additions from [director] Mike Holderbeast‘s crew as well.”
The band said the “You Or Me” quote came from the band Lucifer, who described the track as “a blistering, Sabbed out track” and “an angry acid trip into the origins of the human condition since the dawn of man. In these primitive times, it’s clear to say they haven’t learned much. So, Black it’s Blue.”
The single follows “Gimme Some Moore,” the album’s lead track, which featured backing vocals from Ministry‘s Al Jourgensen and Madonna guitarist Monte Pittman.
Good God / Baad Man was produced by Grammy winner Warren Riker (Fugees, Down, Cathedral), recorded at Blak Shak Studios in Riffissippi, USA, Dockside Studios in Maurice, Louisiana, and Barry Gibb‘s home studio in Miami, Florida. Cover art is by New Orleans artist Scott Guion.
The album arrives as a double record, and that format was a natural outcome of the writing process. “As we went on, we had such a crazy plethora of songs, it was almost like two different directions,” vocalist and guitarist Pepper Keenan explains. “We knew we had to split it into two different albums. Then we came up with this concept.”
Each half has its own identity. “Good God leans toward the heavier/pissed end of the spectrum. Baad Man is more on the throwdown rock scope. As we went along, it became clear which songs went on which album.”
Warren Riker had his own take on the project: “Our producer kept calling it Dark Side Of The Doom,” Keenan recalls. “In my head, it’s a weird love letter to all things rock ‘n’ roll.”
The record marks the band’s first since 2018’s No Cross No Crown, a period shadowed by loss. Drummer Reed Mullin passed away in January 2020, and bassist Mike Dean later departed amicably. Keenan and guitarist Woody Weatherman regrouped, hunkering down at Keenan‘s Mississippi home and absorbing everything from Discharge to ZZ Top to Black Sabbath before the writing began. “With a lot of these songs, we’re trying to make Reed Mullin proud,” Keenan says. “He was a badass and a one-of-a-kind drummer. And the stakes were high.”
The current lineup features Stanton Moore on drums — who previously appeared on 2005’s In The Arms Of God — and bassist Bobby Landgraf, known from his time with Down and his own band, Honky.
Good God / Baad Man is available for pre-order on digipak CD, digital, and vinyl in the following formats:
Gatefold 2xLP w/ Belly Strip – Black Vinyl (Retail)
2 Separate Jacket LPs w/ Belly Strip – LP 1 Blue / LP 2 Red (Mail Order + Band Exclusive)
Canadian metal maverick Devin Townsend has built a career on distinct creative worlds—heavy records, atmospheric detours, character-driven releases—each with its own logic and weather system.
His latest release, The Moth, is different. It arrives without a pre-existing template, not as a pivot for novelty’s sake, but as a culmination: a project conceived from the beginning as orchestral, choral, and theatrical in scope, with the scale required to underline the emotional transformation at the heart of the concept.
An album over a decade in the making, The Moth finally arrives on the 29th May 2026. This 24-track record began as a vague vision more than a decade ago. It existed in the back of Devin Townsend’s mind as his “life’s work”. Then, about six years ago, after an acoustic show in Amsterdam, Townsend was approached by the head of the North Netherlands’ Orchestra and Choir with an offer: bring orchestral grandeur to Devin’s extensive discography.
Townsend’s response was immediate—and telling. If those forces were going to be assembled, he wanted to spend them on something new: this original work that had been circling him for years, waiting for a door to open. That was the moment The Moth stopped being an idea and began to become a reality.
Today, to coincide with the announcement, Devin is also pleased to reveal the first introduction to the world of The Moth, in the shape of the track “Enter The City”. The song is accompanied by a video created by Studio Sparks, which you can watch now below.
As Devin explains, The Moth is “a loose story following someone who realises that old patterns of behaviour are no longer serving them. By digging in and sitting with themselves, an internal conflict is revealed, one they may have been resisting or unconsciously rationalizing for years”, and ‘Enter The City comes towards the beginning of that story arc.
The Moth consists of 3 distinct parts across its release. In addition to the main album, The Moth – The Afterlife highlights the grandeur of the orchestra & choir, in what might be considered a purer version of the The Moth experience. The Moth – The War is a recording of the live musical debut that took place in March 2025 in the Netherlands, showcasing the raw emotion of performing The Moth for the very first time.
If The Moth has a central gravitational theme, Townsend names it plainly: true self-acceptance. Something sturdier than slogans, closer to a practiced willingness to face what is uncomfortable without turning away. As Devin explains: “The most obvious metaphor for change within the concept of this project was a moth: from caterpillar to an entirely different creature—one so drawn to the light that it burns itself away. What remains is immutable—only the spirit.”
At the hardest moments, when abandoning the project might have seemed rational, Townsend points to the team as the decisive factor. A host of incredible musicians and contributors participated throughout the course of this process, as well as the North Netherlands Orchestra & Choir and orchestrators Joseph Stevenson & Niels Bye Nielsen.
Long-time band members Darby Todd,Mike Keneally, and James Leach played a huge part, as well as guests including Steve Vai, Anneke van Giersbergen, Lynn Wu (Ou), and artists Travis Smith & Eliran Kantor, plus key creative consultation from Mike St-Jean.
The technical teams that worked tirelessly included co-mixer Chris Edrich, recording engineers Ben Searles & Jacob Hermann, Atmos mixer Ron Searles, Mastering engineer Troy Glessner, choirs in various countries throughout the world, and peripheral individuals who helped land this behemoth of a plane.
The Moth will be available on several formats, including Ltd Deluxe 3CD+Blu-ray Artbook that includes the album on CD1, The Moth – The Afterlife on CD2 & The Moth – The War (Live) on CD3. The Blu-ray includes the full The Moth – The War live film, as well as Dolby Atmos & High Resolution Stereo Mixes of The Moth and The Moth – The Afterlife. It will also be available as a Limited 2CD Edition (including The Moth-The Afterlife on CD2), Standard CD Jewelcase, and as Gatefold Triple-Gatefold 180g 2LP & Fold-Out LP-booklet, as well as digitally.
Former Megadeth bassist David Ellefson sat down with Argentine journalist and rock specialist Gustavo Olmedo on his podcast “Quemar Un Patrullero” for one of his more candid conversations yet — covering his complicated brotherhood with Dave Mustaine, the fallout over The Sick, The Dying… And The Dead!, and why he has no interest in re-engaging the fight.
Ellefson spoke warmly about the moments of genuine closeness he shared with Mustaine after rejoining the band in 2010.
“When I went back to Megadeth in 2010, [Dave and I] were close — we were really close. I was helping him with some personal things. He became a good friend to me during that time. So there were periods of closeness as men, as brothers. And I found those opportunities were always the best when it was just Dave and me, when there wasn’t another person in the room. We didn’t have to sort of be on stage performing for anyone. It was just me and him being brothers, [at] Starbucks drinking coffee, whatever. And those moments were genuine, they were sincere, they were heartfelt,” Ellefson said (as transcribed by Blabbermouth)
That closeness, however, had its limits. When the band began work on what became The Sick, The Dying… And The Dead!, Ellefson sensed the shift.
“[Dave] didn’t wanna use any of my music [for that record]. I could tell he resented me. He wanted me off that album. And I finally wrote a song [that was originally going to be included on it]. It was a ballad that I’ve kept, ’cause I had Kiko [Loureiro, then-Megadeth guitarist] play the guitar on it. And it was a very good song — I think an extremely good song that has a place somewhere. But it didn’t make the record.”
He went further, describing a specific collaboration that ended with his contributions stripped from the final product.
“Dave and I even had a really close moment. We were writing the lyrics for the song that became ‘Soldier On!’ He eventually took my lyrics off of it and then used the song without [my lyrical contributions]… He wrote the music — it was his song — but I was invited to write the lyrics for it, which I did. And he decided to call it ‘Soldier On!’ We collaborated from there, which I say, well, look, when Dave got fired from Metallica, at least they kept his words and his music and they paid him and gave him credit. Dave wasn’t so kind to me. He kicked me out, took my performances off the record, and took my lyrics and everything off the record. So I think I have a horse in that race when I speak about how properly Metallica handled things and how I think improperly things were handled on my behalf. ‘Cause I saw it; I lived it.”
For Ellefson, the real ending came years before his public dismissal. He considers the 2016 album Dystopia — and the Buenos Aires show in late 2017 — as his true farewell.
“My farewell with Megadeth was really in 2018. That was my farewell. That was my farewell tour. I feel like I played on the last great Megadeth record, which was [2016’s] Dystopia. Dave announced from the stage in Buenos Aires in November 2017, he said, ‘We’re gonna go home and start working on a new album.’ So I feel like that was kind of a good closure for me with Megadeth, which is why I’ve moved on and done so much other stuff. I don’t have bitterness in my heart. I almost feel like I was set free to not have to deal with that anymore. Whereas Dave had bitterness toward Metallica, I don’t have bitterness toward Dave or Megadeth. I really don’t.”
Ellefson also addressed his firing in May 2021, which came days after sexually explicit messages and video footage involving him were posted online. At the time, he denied any allegations of grooming and filed a police report in Scottsdale, Arizona, citing unlawful distribution of explicit imagery. He acknowledged exchanging messages with a Dutch woman he maintains was 19 at the time of their first virtual encounter, who recorded and shared footage without his knowledge.
His account of the phone call that ended his tenure in the band is blunt: “[The Megadeth camp] called me to fire me. And I told ’em, ‘Guys, there’s nothing here. There’s no reason to let me go. This is all just nonsense on the Internet. It’s all it is. It’s nothing at all. And I will maintain that position all along,’ and I have.”
“At some point, you could just keep going after people on the Internet and trolls and all this kind of shit. It’s endless. There is no Internet police, there’s no Internet human resources, where you can go and say, ‘Hey, this guy said this’ and ‘this person said this’, and da, da, da, because you should, because it’s highly defamatory. And defamation is when something harms your reputation, maybe even prevents you from getting more work. Those are real things. And the fact that it can happen on the Internet, which is kind of a fake place. It’s not even real. It’s kind of a fake place, yet that could somehow come over to your reality. I’m fortunate that the fanbase stood by me. They said, ‘Dude, that is bullshit. How dare you do that to Ellefson?’”
He also took issue with Mustaine‘s public statement at the time, which referenced “aspects of David‘s private life that he has kept to himself.”
“The statement that was put out, what Dave personally signed, was deflectionary, to kind of keep it away from him. And I said, ‘There’s nothing to keep away. There’s nothing here.’ I mean, my own legal team even said, ‘Hey, if you wanna open up on the Internet and blast that guy, you have our [blessing]’. And this is a top-level law firm in Phoenix, and they said, ‘We have never seen something so unconscionable’ as a legal word, meaning unconscious, not thinking, with no, basically, human heart. ‘You have our blessing.’
“There’s a Bible scripture. It says, ‘Resist the devil, and he will flee from you.’ And that’s where I went with it. I said, ‘I could tangle with this guy again, and I could fight with this guy as I did with the lawsuit,’ which I had every right to do, given what happened then. And Dave did not win the lawsuit. We settled out of court. That was another one. It was just another opportunity to try to kick me. And it’s, like, no, we settled out of court. And I ended up in a far better position than had I not done that, so I’m glad I went through that process, as horrible as it was.”
That 2004 lawsuit — in which Ellefson sought $18.5 million from Mustaine, alleging he was shortchanged on profits and denied ownership of Megadeth Inc. after the band dissolved in 2002 — was eventually dismissed, clearing the path for his return in 2010.
More recently, Mustaine told SiriusXM’s “Trunk Nation With Eddie Trunk” that a farewell tour reunion featuring all surviving former members was off the table “because of the behavior of one of the band members in the past.” Ellefson made clear he considers that a veiled shot at him — and he has no patience for it.
“To have it end where it did, and then [for Mustaine] even recently to say, ‘Oh, because of what one person did, I can’t bring anyone back.’ You know what? F*ck off. Just f*ck off. Who is that one person? It wasn’t me, ’cause I didn’t do anything that would prevent me from coming back at all. At all. And so this sort of deflectionary thing, to sort of get on some moral high ground, it’s, like, gimme a break. Really? And look, I had rock stars much bigger than Dave coming to my side and coming to my aid, standing by me, saying, ‘Man, just let me know if you need anything at all. That’s really fucked up.’ It’s fucked up about how I was handled being discarded. People saying, ‘I’m really disappointed that they chose business over brotherhood,’ ’cause at the end of the day, the brotherhood will always last beyond the business of owning a rock band — especially something we started and built together.”
Ellefson closed with a line that sums up where he stands: “So, with that said, at one level, again, I could call a lawyer, I could go back into defamation lawsuits, and I have every right to — trust me. But at the same time, there are two ways to win in tug of war. I either pull you over the line or I just drop the rope and let you fall on your ass. [Laughs] And that’s what I’ve chosen to do — drop the rope. Drop the rock.”
Whitechapel is pleased to announce their return to European shores in January 2027. Sylosis, labelmates 200 Stab Wounds, and Tribal Gaze will join them.
Comments Whitechapel‘s guitarist, Alex Wade. “We are excited to announce the Burn Forever European Tour 2027. This will mark a long-overdue full European headlining run featuring some of the sickest names in modern metal. On the mainland Europe dates, we will be headlining, while all of the UK dates we will be coheadlining with Sylosis, with them closing. We look forward to seeing everyone out there, new fans and old, don’t miss it!”
Later this month, Whitechapelwill join Slaughter To Prevail for a month-long North American tour with several one-off headlining shows scattered throughout. In May, the band will appear at Welcome To Rockville and Sonic Temple festivals before playing a trio of headlining dates with support from labelmates Entheos, Tracheotomy, and Mauled. See all confirmed dates below.
In conjunction with the European tour announcement, Whitechapeltoday unveils their new video for “Nothing Is Coming For Any Of Us,” from their critically lauded Hymns In Dissonance full-length.
Whitechapel w/ Slaughter To Prevail, Attila:
3/21/2026 The Pinnacle – Nashville, TN
3/22/2026 The Pageant – St. Louis, MO
3/23/2026 The Midland Theatre – Kansas City, MO
3/25/2026 The Fillmore Auditorium – Denver, CO
3/27/2026 The Complex – Salt Lake City, UT
3/28/2026 Revolution Concert House – Boise, ID
3/29/2026 Paramount Theatre – Seattle, WA
3/30/2026 Roseland Theater – Portland, OR ** Off-date w/ I Declare War, Misery Whip, Eartheater
4/01/2026 Channel 24 – Sacramento, CA
4/02/2026 Hollywood Palladium – Los Angeles, CA
4/03/2026 SOMA – San Diego, CA **Off-date w/ Carnifex, Rev3rent
4/04/2026 Brooklyn Bowl – Las Vegas, NV
4/06/2026 Tulsa Theater – Tulsa, OK
4/08/2026 The Coca Cola Roxy – Atlanta, GA
4/09/2026 The NorVa – Norfolk, VA **Off-date w/ Inter Arma, Üga Büga
Jon Anderson and The Band Geeks have announced the second leg of their 2026 YES Epics, Classics, and More Tour, adding 12 shows to the already-announced 10-date April/May run.
Leg 2 kicks off on 06/23 at the Celebrity Theater in Phoenix, AZ, and wraps on 07/22 at the Palladium Times Square in New York City.
The band has also expanded their fall UK and Sweden run with four additional UK dates in Oxford, Portsmouth, Brighton, and Nottingham, following strong fan demand.
All dates are listed below.
2026 Tour Dates
US Leg 1:
04/17 – Ridgefield, CT @ Ridgefield Playhouse
04/19 – Ridgefield, CT @ Ridgefield Playhouse
04/21 – Patchogue, NY @ Patchogue Theatre
04/23 – Red Bank, NJ @ Count Basie Theatre
04/26 – Rochester, NY @ Kodak Center Theater
04/28 – Hershey, PA @ Hershey Theater
04/30 – Lansdowne, PA @ Lansdowne Theater
05/02 – Lansdowne, PA @ Lansdowne Theater
05/05 – Troy, NY @ Troy Savings Bank Music Hall
05/07 – Royal Oak, MI @ Royal Oak Theatre
US Leg 2:
06/23 – Phoenix, AZ @ Celebrity Theater
06/25 – Anaheim, CA @ Grove of Anaheim
06/27 – Thousand Oaks, CA @ Fred Kavli Theater
06/30 – San Jose, CA @ San Jose Civic
07/03 – Monterey, CA @ Golden State Theater
07/05 – Napa, CA @ Meritage Resort and Spa
07/08 – Denver, CO @ Paramount Theater
07/11 – St. Louis, MO @ The Factory
07/15 – Cleveland, OH @ Agora Theater and Ballroom
07/17 – St. Charles, IL @ Arcada Theater
07/19 – Des Plaines, IL @ Des Plaines Theater
07/22 – New York City, NY @ Palladium Times Square
The Amity Affliction continues to tease the arrival of their much-anticipated new studio record, House Of Cards, with the reveal of a blistering new single, “Bleed”.
Released as the band continues their extensive tour of regional Australia, the latest from The Amity Affliction lands with impact: A ferocious stride forward for the group into a brand new era of artistry.
Where previous single House Of Cards was an emotionally weighted insight into the relationship songwriter Joel Birch and his siblings shared with their mother, “Bleed” has manifested itself into an avenue for Birch to look at public perceptions and personas, versus the reality he exists in every day.
As he explains: “This song is a bit of a ‘fuck you’ to people online who leave comments like they know me personally, or know anything about what’s happening in my life, and a bit of a reminder to myself that I am not beholden to that idea, and I am the person I know myself to be. ‘I bleed the way I bleed…’ is my way of saying that I am the way I am not the way I am perceived to be by people who don’t actually know me and have formed or projected an idea of me onto me by way of social media.”
The release of “Bleed” further positions the House Of Cards era as one of the most exciting and defining for The Amity Affliction — a band that has been driven by the desire to navigate new creative territory, music that empowers both them as a unit as well as their community of fans who have been with them throughout all their previous chapters.
House Of Cards, the first full-length record to feature clean vocalist Jonny Reeves, is a moment of reinvention — and it is one the band is set to unleash in its full glory across a jam packed year of international touring to come.
German guitar wizard Axel Rudi Pell released “Guillotine Walk,” a new digital single and lyric video today. The song is taken from the upcoming studio album Ghost Town.
Axel Rudi Pell says: “The walk to the scaffold! The last thoughts of a condemned man… musically melancholic yet driving and full of power! A great opener for the album and one of my favorite songs!”
Ghost Town will be released on March 20 through Steamhammer worldwide in the following configurations:
Shortly after announcing their fifteenth studio album, Architects Of A New Weave, set for release on June 5, 2026 via Napalm Records, Evergrey unveils their new single and manifest of beautiful darkness, “Architects Of The New Weave”, alongside a visually-striking animated video. Once again, Gothenburg’s finest export proves its unmatched ability to craft timeless melodies, powerful riffs, and gripping lyrics, while continuing to surprise their devoted fans with an innovative approach, even after more than 30 years of existence.
Evergrey’s new full-length, Architects Of A New Weave, will be released just days before the band takes the stage as special guest to the undisputed kings of heavy metal, Iron Maiden, for two shows on their Run For Your Lives World Tour. This is the wake-up call you didn’t know you needed: A plunge into thinning air, burning worlds, and lingering guilt—only to break free with fierce momentum. The album refuses to wallow. It ascends—fast, heavy, and cinematic. But it refuses to hide in the dark. It rises: Quick, fierce, and utterly transformative.
Tom Englund comments about the title track: “‘Architects Of The New Weave’ – It’s a blistering first single from our 15th studio album, Architects Of A New Weave, (or the second ferocious strike if you’re counting our standalone powerhouse “Oxygen!” as its own beast)! I am not afraid to claim this is a no-brainer, sing-along friendly, straight-up great metal song! It came ignited from Rikard Zander‘s killer keyboard riff, which we hammered into a short, but massive headbanger! When crafting that chorus keyboard line, ‘Rainbow In The Dark’ was blasting in my head – pure epic inspiration, giving it that timeless, fist-pumping edge. There are dual guitar solos, trading fire in classic old-school style, melodic and memorable. We can’t wait to let this rip live! I’m torn on music videos sometimes – I adore them as an art form, but too often the visuals steal focus from the music itself.”
Tom Englund comments about the animation video: “We went bold: a stunning, immersive introduction to Mattias Norén‘s absolute magnum opus of album artwork. Every tiny, intricate detail comes alive on screen, with the track thundering as the perfect dark soundtrack. – It’s hypnotic, lets the art breathe, and pulls you deeper into our world – We could’ve chosen any track from the album as the lead, but this one’s the perfect explosive opener to our new era of beautiful darkness. I’ve never been more fired up. Crank it loud, join the weave, and let’s build something unstoppable together.”
Dive into Architects Of A New Weave’s standout tracks like “The World is on Fire”, “Leaving The Emptiness”, “Heaven”, and “The Prophecy”, and the breathtaking title anthem “Architects Of The New Weave”. Their choruses break through like sunlight piercing storm clouds: enormous, cinematic melodies that pull you upward, riffs with genuine weight and bite, and vocals dripping with raw, unflinching truth. In one breath, you’re shouldering buried longing; in the next, you’re weightless, fearless, endless. Scars transform into badges of survival, fractures fuel reinvention. In the second half of the album, fellow Gothenburg icon Mikael Stanne (Dark Tranquillity, TheHalo Effect, Grand Cadaver, Cemetery Skyline) joins Tom S. Englund in vocal duties for “A Burning Flame”, the voices of the two scene legends intertwined compellingly. Architects Of A New Weave was produced by Tom S. Englund and Vikram Shankar, with a stellar mix by Adam “Nolly” Getgood.
Among other exclusive formats, Architects Of A New Weave comes with a bonus album, containing bonus tracks “Heights” and “One Heart”, as well as an album mix of the previously released standalone single “Oxygen!” (2025). Additionally, it features a demo version of “Longing”, instrumental tracks of “Leaving The Emptiness”, both new songs, as well as a live version of “Falling From The Sun”, the hit single off the previous record, Theories of Emptiness (2024) and continuation of “Ominous” off of A Heartless Portrait (The Orphean Testament) (2022).
Architects Of A New Weave is available for pre-order here, and will be available in the following formats:
