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:
Symphonic metal titans Epica are delighted to unveil an electrifying live version of their track “Eye Of The Storm”, taken from their critically acclaimed, latest studio record Aspiral. This powerful version, titled “Eye Of The Storm (Live At The Ziggo Dome)”, was recorded last month at the band’s biggest headline show to date – a sold-out night at Amsterdam’s Ziggo Dome in front of 10,000 fans.
The track arrives just as Epica kicks-off the second leg of The Arcane Dimensions Tour with Amaranthe and Charlotte Wessels.
The Arcane Dimensions European Tour with Amaranthe and Charlotte Wessels’ The Obsession, brings three of the genre’s most dynamic forces together for an unforgettable live experience.
The journey of growth follows a spiral, continuously widening and deepening with every cycle. By sticking to this spiritual principle, symphonic metal innovators Epica have reinvented themselves on their ninth effort Aspiral, releasing a studio album that shows a band brimming with a newfound joy in their own skin – standing united as a team, where every band member brought inspiration, ideas and years of songwriting experience to the table.
Aspiral bears testimony to this unity, but the band’s steep ascent within the past years was far from coincidental and required lots of hard work and combination of things happening after the release of their latest album Omega in the midst of a raging pandemic. After walking several steps off their usual path with their EP The Alchemy Project which saw them collaborating with artists such as Myrkur, Fleshgod Apocalypse or Uriah Heep, the band played a massive world tour and got invited by a certain band called Metallica for several dates, and played 4 sold out “Symphonic Synergy” shows with a massive orchestra and choir.
After diving deep into hypothetical theories, metaphysical mysticism and themes that were touching the fabric of our existence in the infinity of the universe, Epica’s 9th studio effort Aspiral centers on the work of sculptor Stanisław Szukalski. During the first Covid lockdown, bassist Robvan der Loo saw the documentary Struggle – The Life And Lost Art Of Stanislav Szukalski and felt so inspired by his work that he wanted to write soundtracks for some of his sculptures, simply because each and every detail in his works are artworks on their own and their stories go very deep. And this is where the path started. Aspiral was born as an instrumental soundtrack to this world, an initially separate project that over time metamorphosed into the new Epica record.
The title comes from a bronze statue Szukalski did in 1965. If you take a close look, you can see snails rebuilding elements out of the mud in cycles and this eventually leads to civilization and a woman reaching out to the sun. It stands for renewal and inspiration – keywords that define Epica now.
For more than 20 years now, Epica have been standing tall. And while already their last efforts clearly showcased their commitment to the game, it is Aspiral that truly distills the very heart of their trademark sound.
Dixxon Flannel Co. is continuing its run of music-driven collaborations with a new release tied to Lamb Of God. The apparel brand, known for building a loyal following around its flannel designs, has teamed up with the Richmond metal band for a limited-edition piece connected to their upcoming album Into Oblivion.
“Hope all has been well! Dixxon Flannel Co., the cult-favorite lifestyle apparel brand that turned the classic flannel into a global obsession, has announced its latest collab with heavy metal icons Lamb Of God, DIXXON x Lamb Of God, inspired by their new album, Into Oblivion, out March 13 via Century Media / Epic Records.”
The design leans into the band’s aesthetic, using a neon green and black color scheme that references the new record. Beyond the visual element, the flannel includes practical features built with everyday wear in mind.
“From a built-in microfiber cloth to utility chest pockets, this multi-faceted flannel is prepped & ready for war. Its striking neon green and black will keep you in true Into Oblivion fashion at your next Lamb Of God concert or while streaming the title track on your preferred listening platform.”
The release will arrive as a limited run through Dixxon’s online store and mobile app. Both men’s and women’s versions will be available.
“The DIXXON x Lamb Of God limited-edition collab will be released tomorrow, March 6 at 9 am PT here and at the Dixxon mobile app. It will be available in both men and women’s styles. Order this flannel in the first hour of release for a chance to win a FREE signed copy of Into Oblivion on vinyl.”
