Tunisian-French metal visionaries Myrath unleash their new single “Breathing Near The Roar,” one of the most intense and emotionally charged tracks from their upcoming album Wilderness of Mirrors. Driven by thunderous riffs, cutting-edge production, and the unmistakable pulse of their ancestral heritage, the song captures inner battles at full force. It’s a collision of tradition and modern metal that feels urgent, powerful, and deeply meaningful.
“Breathing Near The Roar” explores isolation, survival, and the fragile line between truth and illusion. Through haunting imagery and raw emotion, the lyrics portray the fight to stay alive — emotionally and spiritually.
Zaher Zorgati moves from vulnerability to explosive intensity, embodying the tension of standing on the edge yet refusing to fall. The hypnotic refrain rises like a ritual chant – a cry for release and transformation within the storm.
Wilderness of Mirrors will be released on March 27 and features 10 brand-new, emotionally charged tracks that continue Myrath’s evolution of blending their ancestral heritage influences with progressive and power metal. Fans can expect a journey through fantasy and reality, from haunting melodies to thunderous riffs and cinematic arrangements. To celebrate the release, Myrath will embark on a major European tour starting in April 2026, bringing Wilderness of Mirrors to fans across 16 countries.
With millions of views on their cinematic music videos, critically acclaimed albums, and performances at festivals such as Hellfest, Wacken, and Sweden Rock, Myrath continue to captivate audiences worldwide. Wilderness of Mirrors represents the band at their most dynamic and authentic, a milestone in their journey toward becoming one of metal’s most legendary acts.
Pre-orders for Wilderness of Mirrors and tickets for the European tour are available now. Don’t miss the next chapter in Myrath’s epic musical journey.
Fifty years into one of metal’s greatest stories, Iron Maiden is finally getting the documentary treatment they deserve. Trafalgar Releasing has confirmed that the official feature-length film — now titled Iron Maiden: Burning Ambition — will have a limited theatrical run beginning May 7, 2026. Tickets go on sale March 18.
Directed by Malcolm Venville (Churchill At War) and produced by Dominic Freeman (Spirits In The Forest – A Depeche Mode Film), the film charts the band’s five-decade journey from the backstreets of East London to arenas across 64 countries. That’s 17 studio albums, 100 million records sold, and nearly 2,500 live shows — a catalogue of ambition that earns the title.
What makes Burning Ambition more than a greatest-hits highlight reel is its roster of contributors. Alongside the band themselves, the documentary features on-camera reflections from Javier Bardem, Lars Ulrich, and Chuck D — three figures from wildly different corners of culture, each speaking to the kind of cross-generational, cross-genre reach that very few rock bands ever achieve.
The key art, created by Albert “Akirant” Quirantes, offers the first visual look at the project and has already been making the rounds online.
The timing is no accident. The film arrives mid-way through the band’s two-year “Run For Your Lives” world tour, a campaign that included a homecoming show at London Stadium, barely a few miles from where Steve Harris first put the band together in 1975. More landmark events follow: EddFest, a one-off celebration at Knebworth Park on July 11, anchors a schedule of over 50 dates worldwide across 2026.
This is a band in the middle of their biggest victory lap yet, and Burning Ambition is the document to match it. Head to ironmaidenfilm.com for more information.
Gregor Mackintosh, guitarist and co-founder of British gothic metal pioneers Paradise Lost, has addressed fan concern over a noticeable change in his appearance, confirming that he is currently dealing with ongoing health issues that have resulted in significant weight loss.
The 55-year-old musician took to social media earlier today (Monday, February 23rd) to share a candid statement, saying: “Hey Everyone. I’ve been told that there are a lot of messages regarding my weight loss over the past few months. I wouldn’t normally comment on such a private thing, but I think it’s for the best in this case, to stop any further speculation.”
“I do have some ongoing health issues, which have intensified of late. I won’t bore anyone with the details, but I am getting good care, and I feel fine. None of this affects my ability to play, and I am currently on tour with Paradise Lost. The crowds are killer, and Paradise Lost is sounding better than they have in years. I truly appreciate everyone’s concern. See you on the road.”
Paradise Lost are currently touring in support of Ascension, their 17th studio album and first in five years, released last September via Nuclear Blast Records. The follow-up to 2020’s critically acclaimed Obsidian was produced by Mackintosh himself and mixed and mastered by Lawrence Mackrory.
For Mackintosh, who co-founded Paradise Lost nearly four decades ago, the road has always been a means to an end rather than the destination itself. In a 2025 interview with Echoes And Dust, he reflected on what still drives him: “Yeah, because each night is different; it’s always different. Certain things happen, good or bad, within a day that make things memorable, and you can never really get bored with traveling around. I mean, the travel is boring. Flying is boring. I do get sick of airports, but actually seeing places and being in different places is great. Meeting different people.”
“I’m a bit of a loner, though. I’m not a social butterfly, so I’m very selective about how and when I hang out at these places, but yeah, I still enjoy it. The performing side is not the side that I got into this for, though. It’s the creative side. Some guys in the band live for the performing side. For me personally, it’s having a nugget of something in your head and then seeing it come to fruition and being a record was always the thing that excited me the most, and continues to do that. But the performance side, it has its highs and lows,” he added.
Thrash metal legends Death Angel have announced the second leg of their Act III US Tour. The excursion, featuring guests Vio-lence and Incite, will kick off May 1st in Phoenix, AZ, and will wrap June 21st in Santa Cruz, CA. Presale tickets are available now, and public onsale starts Friday.
Public On-sale — Friday, February 27th at 10 AM Local Timeatthis location
Commenting on the tour, vocalist Mark Osegueda says: “Truth be told, when we realized that Act III was approaching the 35th anniversary of it’s release date we toyed with the idea of doing a tour of playing it in it’s entirety hoping that it would appeal to some of our die hard fans and we decided to test the waters with a quick three week run in select markets in the States to see if the appreciation and fond memories of that era and time resonated with Death Angel fans today.”
“Well, that tour was so fulfilling for us in the band because nightly we could see and even more so hear it at every show. That you guys appreciated it beyond our wildest expectations! So, due to very humbling and overwhelming, dare we say demand!, we are so proud to announce the second leg of the Death Angel Act III U.S. Tour.“
“We will be playing Act III in its entirety. Plus, more select songs from our catalog! We very much look forward to celebrating Act III with all of you! And we’d like to thank you all for the overwhelming response and demand for more! We’ll see you out there! To do it once again! You guys have been the reason since day one! And thank you for always reminding us of that!”
Louder Than Life returns to the Kentucky Exposition Center in Louisville, Kentucky, September 17-20 for its twelfth year, bringing the largest lineup in the festival’s history and the biggest bill ever put together by Danny Wimmer Presents.
Joining previously announced headliners My Chemical Romance and Iron Maiden, both Tool and Limp Bizkit are now confirmed for four full days of rock and metal at Louder Than Life 2026.
Nearly 200 bands will perform across seven stages, covering the full spectrum of rock. The daily headliners break down as follows:
Thursday, September 17: Iron Maiden, Pantera, Megadeth Friday, September 18: My Chemical Romance, Pierce The Veil, A Day To Remember Saturday, September 19: Limp Bizkit, Papa Roach, Sublime Sunday, September 20: Tool, Gojira, Danny Elfman
Saturday will also spotlight one of the most prominent all-female-fronted stage lineups ever assembled at a major U.S. rock festival. That stage will feature Halestorm, In This Moment, Lindsey Stirling, Orianthi, Icon For Hire, Kami Kehoe and Diamante. A mystery guest band will make its live debut at the festival, and a very special guest — described as one of the biggest heavy bands of the modern era — will be revealed at a later date.
“Last year, we took over Kentucky Kingdom and broke rock festival records. This year, we’re back to deliver the ultimate rock escape,” says Danny Wimmer of DWP. “Louder Than Life is your playground — ride the coasters, catch legendary and emerging bands, enjoy incredible food and bourbon, and dive headfirst into the rock experience you’ve been waiting for. It’s time to let loose and have fun. We’ll see you soon.”
David S. Beck, president and CEO of Kentucky Venues, adds: “Year after year, Louder Than Life raises the bar for what a rock festival can be. Bringing the festival grounds to the heart of the Kentucky Exposition Center last year demonstrated what’s possible when a world-class venue and a visionary festival producer share a commitment to the ultimate fan experience.”
Beyond the music, all passholders will again receive free access to amusement rides inside Kentucky Kingdom, which became part of the festival grounds in 2025 and remains open exclusively to attendees during the event.
Danny Wimmer Presents is also launching the Louder Than Life “Battle For The Big Stage” competition, beginning March 1, 2026. Bands can submit entries through March 31. Fans will vote on who earns a slot at the festival during Sunday episodes of the “Space Zebra Show”, airing at 6:30 p.m. ET / 3:30 p.m. PT on the DWP Twitch channel.
Locals can mark the lineup reveal at the official announcement party on Monday, February 23, from 5 p.m. to 9 p.m. at The Fox Den. Presented by Blackcraft and hosted by Bobby Schubenski and Josh Balz of “Space Zebra”, the event will feature live performances from Soulkiller, Nailwound, Actus Reus and Wave Painter, along with custom cocktails, photo opportunities, vintage merch, giveaways and service-fee-free passes. Everyone attending will have a chance to win two GA passes.
A defining force in rock since 1976, Sex Pistols mark 50 years of punk this winter with a run of U.K. and Ireland dates.
Steve Jones, Paul Cook and Glen Matlock are again teaming up with Frank Carter for what’s being billed as one of the most intense live shows in rock right now — as close to the original punk explosion as it gets.
The Anarchy In The U.K. tour hits Dublin’s 3 Arena on December 7, Edinburgh Corn Exchange on December 9, Glasgow O2 Academy on December 10, London Brixton Academy on December 18 and London Eventim Apollo on December 20.
Back in 1976, Sex Pistols ignited what became year zero for punk. Early London gigs at venues like The Marquee, The 100 Club, The Nashville and a residency at the El Paradiso strip club built their reputation before they took the chaos nationwide. By May, they were in the studio recording the first material that would form Never Mind The Bollocks, Here’s The Sex Pistols.
Their June 4 appearance at Manchester’s Lesser Free Trade Hall — and a follow-up show weeks later — pushed future members of Joy Division, New Order, The Smiths, The Fall and Buzzcocks to start their own bands. At September’s 100 Club Punk Special, the Sex Pistols stood at the front of a growing movement. A month later, they signed with EMI and released “Anarchy In The UK”, capturing the frustration of a generation.
Paul Cook looks back on that first year: “It was kind of like a commando raid. I don’t even think a lot of places knew we were playing there. We just turned up and set up. It was all a learning curve for us — getting out there and playing live — we were learning on the job.
“With ‘Anarchy’, I think we tapped into a feeling of unrest around the country at the time. The message was pretty simple — just have a go and get out there and do whatever you want to do. It was a new world.”
Jones, Cook and Matlock returned in 2024 with Carter on vocals, bringing fresh energy to the catalog. “We’ve had a blast. People want to come and see us play live,” says Paul. “If I must say so myself, we are a great live band!”
Throughout 2025, the band played across Australia, Japan and major European festivals, including a high-profile show at London’s Royal Albert Hall for the Teenage Cancer Trust, where Carter sparked a massive circle pit. A return to London’s 100 Club — with Noel Gallagher, PaulWeller and Bobby Gillespie in attendance — confirmed the renewed momentum.
For Steve Jones, the approach remains direct: “If it ain’t fun, I ain’t doing it. I’m too old for bullshit.”
Carter, formerly of Gallows and Frank Carter & The Rattlesnakes, joined the lineup in 2024 during a benefit to help save London’s Bush Hall. His intensity onstage quickly earned praise and injected new urgency into the Sex Pistols set.
Tickets go on general sale on Friday, February 27 at 9 a.m.
Sex Pistols Featuring Frank Carter – “Anarchy In The U.K.” Tour 2026:
Dec. 07 – 3 Arena – Dublin Dec. 09 – Corn Exchange – Edinburgh Dec. 10 – O2 Academy – Glasgow Dec. 18 – Brixton Academy – London Dec. 20 – Eventim Apollo – London
One of heavy metal’s most beloved names is back. Crimson Glory have announced Chasing The Hydra, their first new studio album in 26 years, set for worldwide release on April 17th across all digital platforms, CD, and vinyl, via Bravewords Records.
The record marks a major milestone for a band whose legacy in progressive and power metal has never faded — even across three decades of silence. Founding members Ben, Jeff, and Dana return as the core of the band, joined by two key new additions announced in 2023: vocalist Travis Wills and guitarist Mark Borgmeyer. After a year of heavy touring, the pieces are finally in place — and the result is shaping up to be one of the most anticipated metal releases of 2026.
The band has made no attempt to downplay the weight of the moment. In a statement, Crimson Glory said, “We are extremely excited and honored for the release of a new Crimson Glory album. The fans have waited a long time and deserve a great album, and that’s just what we’re going to give them. Travis’s voice was the last ingredient needed to make this possible. We can’t wait for the world to hear it!”
It’s a sentiment that will resonate hard with anyone who’s spent years wondering if this moment would ever come.
No Remorse Records will handle vinyl releases and distribution, with a range of limited-edition releases that will move fast. All versions are pressed on 180gr heavyweight vinyl and include a lyric insert. Check out the pre-orders here.
The Special Liquid-Filled Vinyl and Hydra’s Breath Vinyl are each limited to just 100 hand-numbered copies. The Yellow/Black Splatter and Half Orange/Half Red variants are capped at 200 copies each, with standard Black Vinyl rounding out the lineup.
For the collectors determined to go all-in, No Remorse Records will offer an exclusive Deluxe Box Set, limited and hand-numbered to 100 copies only. It includes a gold-colored vinyl exclusive to the set, a cassette tape, the CD version, and a full band-autographed photo — the kind of package that justifies every inch of shelf space.
Sun Dont Shine — formerly known as Eye Am — will release their debut full-length, Birth To Death, on April 1 through Corpse Paint Records. The band brings together Kirk Windstein (Crowbar, Down, Kingdom Of Sorrow) on guitar and vocals, former Type O Negative members Kenny Hickey on guitar and vocals, Johnny Kelly on drums, and Todd Strange (Crowbar, Down) on bass.
Ahead of the album’s arrival, the group has unveiled a new single, “Power To Live”, along with an official video shot and edited by Mike Holderbeast. A press statement describes the track as “a fierce and unflinching track that confronts humanity’s refusal to learn from its own violent history while defiantly clinging to survival, awareness, and the will to keep going.”
Written by Hickey and Windstein, “Power To Live” was tracked at OCD Studios in the summer of 2025. Duane Simoneaux handled production, Vinnie LaBella co-produced, and Andrew Spaulding served as executive producer.
The song took shape after a discussion about its cover art, when Hickey pointed out how troubling it is that humanity continues to repeat cycles of violence. That idea became the foundation of the track — facing history’s failures head-on while choosing persistence over defeat.
“The track is a challenge to the times we’re living in,” Sun Dont Shine explains, “an insistence on survival and consciousness in the face of cycles that refuse to break.”
For the artwork of “Power To Live”, Sun Dont Shine worked with visual artist Nadiya Vizier (Crowbar, Sailor Bob tattoo). To coincide with the single, the band and Vizier are releasing a limited art collaboration available exclusively with the track. The run includes 100 hand-signed posters autographed by Vizier, a custom sticker sheet, and 10 ultra-limited trucker caps featuring original artwork tied to the release. Each item was created specifically for “Power To Live”, reflecting the urgency and message behind the song. All pieces are directly linked to the streaming release and are available only while supplies last.
Musically, “Power To Live” leans into Sun Dont Shine’s mix of weight and atmosphere. Windstein’s dense guitar tone locks in with Hickey’s melodic phrasing, while Kelly drives the track with tight but forceful drumming and Strange anchors it with a heavy low end. The result feels seasoned and deliberate — four experienced players building tension and releasing it with impact.
The video for “Power To Live” expands on the song’s themes with stark, unsettling visuals. Instead of telling a literal story, it blends performance footage with mood-driven imagery to highlight the friction between destruction and endurance. The approach reflects Sun Dont Shine’s broader mindset: capturing emotion as it happens rather than polishing it into something safe.
Alternative metal outfit Tomahawk is officially back in action in 2026. Tomahawk will hit the road this summer for their first live dates in 13 years. The month-long U.S. tour celebrates the band’s 25th anniversary and reunites them with Melvins for the first time since the 2003 Geek Show run.
The lineup remains intact: Duane Denison, Mike Patton, John Stanier and Trevor Dunn. Tomahawk last toured behind Oddfellows in 2013. They resurfaced in 2021 with Tonic Immobility, released during the pandemic, and the material has yet to be performed live.
Denison comments on the upcoming dates: “In the spirit of the Olympics, Team Tomahawk has decided to rise up and go for the gold once again — also competing will be our cohorts the Melvins.”
Buzz Osborne from the Melvins adds: “This tour is a no brainer. I can’t wait. A Melvins/Tomahawk trek will be a stone groove.”
The current Melvins lineup features Osborne alongside Dale Crover, Steven McDonald and CoadyWillis.
Tickets go on sale Friday, February 27 at 10 a.m. local time. An Ipecac pre-sale begins Wednesday, February 25 at 10 a.m. local time (password: Flashback). Tickets are available here.
Tomahawk — guitarist Duane Denison (The Jesus Lizard, The Unsemble), vocalist Mike Patton (Mr. Bungle, Faith No More, Fantômas), drummer John Stanier (Helmet, Battles) and bassist Trevor Dunn (Mr. Bungle, Fantômas) — first emerged in 2001 with their self-titled debut Tomahawk. They followed with Mit Gas (2003) and Anonymous (2007) before issuing Oddfellows in 2013. That record delivered their strongest chart debut, landing at No. 9 on the Billboard Top Independent Albums chart. The A.V. Club graded it “A-,” Revolver rated it “4 out of 5 stars,” and Pitchfork wrote that “this lurid, thorny, profoundly weird music — just comes tearing out.”
After extensive touring and festival appearances, the members shifted focus to other projects in 2014. On their 20th anniversary, they returned with their fifth full-length, Tonic Immobility. Now, marking 25 years, Tomahawk is back on stage.
James LoMenzo was not expecting it. When Dave Mustaine announced he wanted to record his own version of “Ride the Lightning,” — the title track of Metallica‘s 1984 album, for which Dave holds a co-writing credit following his 1983 departure from the band — for Megadeth‘s self-titled final album, the bassist’s first reaction was visible surprise. But surprise gave way quickly to something else.
“I was delighted. I was surprised. My eyebrows went up, but I was kind of delighted that he was gonna even go there,” LoMenzo told Portugal’s Metal Global (via Blabbermouth). “Because there’s always that subliminal undercurrent tension — you know, ‘Oh, Metallica [versus] Megadeth.’ And I always thought, like, Megadeth, for God’s sake, I always thought Dave won in a way, because he’s built this giant thing all by himself. And it made a lot of sense to me logically. It seemed like if this is the last thing we’re gonna do, then we should go out, end with a bang, but also kind of address the full history of this band. And that’s like step one. So I thought it was great in the end. But yes, my eyebrow went up when I heard him say that. Yeah.”
When the interviewer offered that Megadeth tops Metallica on riffs and solos, LoMenzo pulled back diplomatically. “I can’t go on board with you there. I mean, I’m a company guy — sure, I think we’re better, but semantically, I don’t really believe that,” he said. “It’s all about taste and approach, right? And I think if Dave had stayed there [in Metallica], it would’ve certainly been a lot more complex, but they would’ve not lost any energy that they had, Metallica. It comes down to, like, who do you like better — Motörhead or the Ramones? One seems silly, one seems really serious, but I love them both. And it’s similar kind of driving music.”
The decision to frame Megadeth as the band’s final album came later in the process than most people might assume. LoMenzo says the band walked into the sessions with no such intention. “No, no, no. This came about, like, three-quarters through,” he said. “We were proceeding as if we were just doing another record, and as time went by… After we finished the record was basically when Dave had this meeting with us and said, ‘You know, guys, this is kind of where we’re at right now. And maybe instead of going out with a whimper, maybe we go out with a big, giant victorious thing.’ And I think it was probably easier to make that decision after hearing the music that we had. ‘Cause if we weren’t convinced with the record, who’d wanna say, ‘Oh, this is our last record. Sorry, this is the best we can do.’ No, we were pretty excited with it.”
He pointed to the broader context of bands like Ozzy Osbourne winding down their careers as part of what made Mustaine‘s call feel right. “Dave‘s not that guy [who comes back and leaves repeatedly]. So when he said that, I heard him loud and clear. It was, like, ‘No, we have to really go out the right way if we’re gonna do this at all.’”
Making the record without knowing its finality turned out to be an asset, LoMenzo argues. “It was actually a pleasure making the record without any expectation,” he said. “And those are the best albums. The ones I love the best are when the band just jumps in, and everybody who’s got something throws it all together, and then you see what you have.”
He singled out new guitarist Teemu Mäntysaari as a revelation. “The kid came through with flying colors. He just has so many great riffs, and his ability to perform is just unmatched. I’ve really not seen anybody who’s quite that fast, as far as picking things up and putting his own stamp on it.”
The moment the album’s weight fully landed on LoMenzo came through the closing track. “When I finally heard ‘The Last Note’, and I really heard ‘The Last Note’, the last version of it, it put a lump in my throat ’cause I could really feel Dave‘s journey,” he said. “And I didn’t expect that. I didn’t expect him to be that candid and honest about things.”
Megadeth also topped the charts in Australia and Austria, and placed in the top five in Finland, Sweden, Belgium, the U.K., Germany, the Netherlands, Italy, and New Zealand. The album was produced by Chris Rakestraw, who previously helmed The Sick, The Dying… And The Dead! and Dystopia, and released through Mustaine‘s Tradecraft imprint on Frontiers Label Group‘s BLKIIBLK label.
