Bulgarian funeral doom project DESTRUCTION OF ORION will release its third album, Dimensions Of Chaos, on 27 November through AESTHETIC DEATH. The record will be available as a digibook CD and gatefold double LP, with first single “Retribution” streaming now. Dimensions Of Chaos follows Decreasing Brightness and States Of Horror, continuing a sequence of records […]

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Dial up songs from Greg Freeman, the Womack Sisters and Jim Croce.

Salvadoran black/thrash metal band WITCHGÖAT will release their third album, Serpent Hordes, on 4 December through PERSONAL RECORDS. The CD edition will arrive via the label, while MORBID SKULL RECORDS will handle the cassette version. The title track is available now, offering the first preview of an album that also marks the band’s tenth anniversary. […]

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Hollywood Vampires has put out the official video for “I Want My Now,” taken from its new live album, At Montreux Jazz Festival.

The recording comes from the band’s 2018 set at Montreux, one of the most respected festival stages in the world. Hollywood Vampires brought its theatrical brand of rock, its tributes to departed heroes and a full tank of energy to the show. The record captures a celebration of the music, the excess and the friendship behind it, and of a legacy that keeps influencing new generations.

The band takes its name and spirit from the original Hollywood Vampires, a legendary circle of musicians held together by friendship, mischief and a love of rock ‘n’ roll. That heritage shows up in the group’s approach, which mixes reckless fun with reflection. The live recording documents both sides, pairing the wild abandon of rock excess with sincere respect for the artists who came first.

The group debuted in 2015 with the self-titled Hollywood Vampires, an album packed with star guest spots and classic rock covers. It then moved into original songwriting with 2019’s Rise. Hollywood Vampires is known for high-energy festival sets and sold-out tours worldwide, and it has racked up millions of streams, solid physical sales and global press attention. Through theatrical rock, iconic songs and heartfelt tributes, the band continues to honor rock ‘n’ roll and connect fans across generations.

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Freddie Jackson cause of death: How did the legendary R&B singer die? Here’s what’s known as the news comes out.

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Hollywood Undead is heading back to Europe for a headline tour, and the rap-rock group plans to start 2027 at full volume.

The 24-date run follows a busy 2026 that took the band around the globe and onto major festival bills, including Download, Welcome To Rockville, Rock Am Ring, Rock Im Park and Graspop Metal Meeting. The new tour brings its high-energy sound across the continent, with a major stop at London’s O2 Forum Kentish Town.

Hollywood Undead said: “Europe and the UK have always been a huge part of Hollywood Undead‘s story, and every time we tour there, it’s unforgettable.

“We played a handful of shows and festivals in Europe this summer, but there are still so many fans and cities we haven’t seen in years. It’s been way too long, and we’re ready to see all of you again.”

Ticket sales begin with an artist presale Wednesday, Oct. 7, at 10 a.m. BST. Local, promoter and venue presales follow Thursday, Oct. 8, at 10 a.m. BST, and the general onsale opens Friday, Oct. 9, at 10 a.m. BST.

Hollywood Undead 2027 European headline tour:

01/27 – Tilburg, Netherlands – 013
01/28 – Zurich, Switzerland – X-Tra
01/29 – Munich, Germany – Tonhalle
01/31 – Vienna, Austria – Raiffeisen Halle im Gasometer
02/02 – Zagreb, Croatia – Tvornica Kulture
02/03 – Budapest, Hungary – Barba Negra
02/05 – Prague, Czech Republic – O2 Universum
02/06 – Berlin, Germany – Huxleys Neue Walt
02/08 – Warsaw, Poland – COS Torwar
02/09 – Riga, Latvia – Palladium
02/10 – Tallinn, Estonia – Helitehas
02/11 – Helsinki, Finland – Ice Hall
02/13 – Stockholm, Sweden – Fållan
02/14 – Gothenburg, Sweden – Filmstudion
02/16 – Oslo, Norway – Sentrum Scene
02/17 – Copenhagen, Denmark – Store Vega
02/18 – Hamburg, Germany – Inselpark Arena
02/20 – Hannover, Germany – Capitol Hannover
02/21 – Cologne, Germany – Palladium
02/23 – Birmingham, England – O2 Academy Birmingham
02/24 – London, England – O2 Forum Kentish Town
02/26 – Manchester, England – Manchester Academy
02/27 – Glasgow, Scotland – O2 Academy Glasgow
02/28 – Leeds, England – O2 Academy Leeds

This is the band’s first European headline outing since it signed with Sumerian Records. Since joining the label, Hollywood Undead has released a run of strong singles: “Feels Like Home,” “Hollywood Forever,” “Savior,” “1×1” and “All My Friends,” featuring Jeris Johnson. Together they mark a fresh chapter, one that brings back the group’s signature masks, sharpens its emotional and sonic extremes and has put it in the middle of one of its most successful stretches.

The band’s 2008 debut, Swan Songs, went RIAA platinum, and its catchy, distinctive sound has since built a global cult following and sold out shows on multiple continents. Consequence Of Sound, Billboard and Revolver are among the outlets that have praised the group. With more than 3.2 billion cross-platform streams, over 1 billion YouTube views and 4.1 million monthly Spotify listeners, Hollywood Undead remains one of modern rock’s most influential acts, and it keeps pushing boundaries and reshaping alternative culture.

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German power metal band ETERNITY’S END have released a video for “Sword In The Storm”, the second single from their forthcoming fourth album Titanblood, due on 6 November through SCARLET RECORDS. The song draws on Michael Moorcock’s Elric of Melniboné and his cursed, blood-drinking sword Stormbringer. Musically, the band describe it as beginning with a […]

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It’s fair to say that AC/DC‘s early hopes of making an impression in Britain didn’t go entirely to plan.

When the Australian quintet arrived in the UK in the spring of 1976 ahead of a proposed April tour with their Atlantic Records labelmates Back Street Crawler, ex-Free guitarist Paul Kossof‘s new band, they were in high spirits. But their plans were thrown into disarray when, on March 19, ’76, Kossof died on a flight from Los Angeles to New York, aged 25.

While the band kicked up their heels in their Bayswater digs trying to figure out their next move, they suffered another setback. Vocalist Bon Scott was having a low-key drink in a north London pub in early April when a fight broke out, and in the melee, he was hit in the face with a glass, resulting in him losing several teeth and suffering a dislocated jaw. “

It wasn’t even my fight” he protested to his bandmates, as management dipped into the group’s coffers to cover a £2,000 dental bill.

It’s little wonder then that, when AC/DC finally got to make their UK debut, at the Red Cow pub in Hammersmith, they were feral. At its conclusion, their British booking agent Richard Griffiths, told the band, “That was the loudest, meanest thing I’ve ever heard in my life.”

“I just like to get up in front of a crowd and rip it up,” teenage guitarist Angus Young told NME as the quintet’s reputation as a killer live band began to spread. “You’ve got to really entertain a crowd nowadays. Personally, I think it helps if a lead guitarist has some kind of visual gimmick.”

Young revealed to writer Roy Carr that, when the occasion demanded, he would deploy his own unique visual display for the crowd.

“I usually do it as a special treat,” he confessed. “I’ve done it at the Marquee when the audience has been really great… I make sure the kids don’t go away disappointed.”

Young liked to call his signature move ‘The Human Kangaroo’, and admitted that it was originally inspired by a routine that Bon Scott used to enact to liven up moribund after-show parties back in Australia.

“What I do,” he revealed, “is go behind the equipment, strip off all me clothes, put me legs tightly together, me hands behind me back and hop like mad across the stage.”

“I just couldn’t stand there in front of the group without doing something!”

Anyone who’s had the pleasure of witnessing AC/DC live in the 21st century will know that ‘The Human Kangaroo’ is no longer part of the band’s stage act. And perhaps, for all our sakes, that’s for the best.

On January 21, 1982, Girlschool became the first all-female British band to play live in Japan, and one of the first New Wave Of British Heavy Metal acts to make the trip at all.

On Nov. 6, Cleopatra Records marks the 45th anniversary of that gig with Tokyo Breakdown, a CD and first-ever vinyl release of the show. It’s the latest entry in the label’s ongoing series of classic Girlschool live recordings, and it delivers the night raw and loud.

Vocalist and guitarist Kim McAuliffe recalled, “We had no idea what to expect. The big thing I remember about the whole Tokyo experience was, we kept getting screamed at, everywhere we went. We literally… the first day, we got to our hotel, checked in, went out, walked around the corner and there was a McDonalds, even then.

“And then all these little girls came up screaming, and we were, ‘What the hell’s going on?’”

The noise only got louder once the band hit the stage. “We went on, and the screaming was so loud, we thought we were The Beatles,” McAuliffe said. “It was mad!”

That hysteria is audible all over Tokyo Breakdown. Layered over the opening tape of aircraft noise and howling sirens, the crowd makes it sound like a full-blown emergency is underway.

It is only Girlschool, tearing into one of its most energetic versions of “C’mon Let’s Go.” Fifteen more songs follow. The band pulls heavily from its two albums at the time, Demolition and Hit And Run, in front of fans who can hardly believe the group has finally shown up. “Victim,” “Kick It Down,” “Breakdown” and “Race With The Devil” get the full treatment, the last one introduced with a reminder to the crowd that “this was our single over here,” as McAuliffe put it. A closing run of “Yeah Right,” “Hit And Run” and “Tonight” delivers a nonstop shot of adrenaline before the band signs off with “Tush,” the ZZ Top boogie that Girlschool long ago claimed as its own.

The first single, “The Hunter,” is out today and previews the energy of that night.

Girlschool formed in 1978 and was among the first NWOBHM bands to break through to a wider audience, first with its fiery take on “Race With The Devil” and then with the St Valentine’s Day Massacre EP, a collaboration with longtime supporters Motörhead. Lemmy was a regular at the band’s club and pub shows.

The first two albums were hits as well. The debut came close to the Top 30, and Hit And Run raced into the Top 5 in spring 1981. That summer, Girlschool became the first, and so far only, all-female rock band to headline the Reading festival, a set preserved on another Cleopatra CD, Nothin’ To Lose In Reading. More peak-era live recordings are due in 2027, when the series turns to the band’s first U.S. tour in April 1982.

For now, Tokyo Breakdown closes out the year as one of the most dynamic live documents you’re likely to hear.

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