Category: news

Butcher Babies has released their new album, Nightbloom, via Judge & Jury Records, arriving with growing momentum at radio and a renewed connection with the fans who have stood beside them. Album single “Blame It on the Wind” has surpassed one million Spotify streams and reached No. 42 on the Mediabase Active Rock chart, bringing the band within reach of the Top 40.

“The first seeds of Nightbloom were planted over two years ago as I sat across from my therapist, trying to make sense of where I’d been and who I was becoming,” says vocalist Heidi Shepherd. “These songs became an extension of those conversations; an outlet that forced me to come face to face with old wounds and new chapters that were being written in real time.

In these last 2 years, Nightbloom has given me a renewed love for writing, recording, and performing. And now, it’s yours. I hope you fall in love with these songs. I hope they give you a sense of comfort in the uncomfortable, strength in the heartbreak, and maybe even the courage to bloom through whatever darkness you’re finding your way through.

I want to give a giant THANK YOU to our incredible team who believed in us when I wasn’t even sure if I believed in myself. Thank you to the army behind Judge & Jury Records, Howard Benson (who inspired a new perspective), our manager Zach Yoshioka, our lawyer Eric German, our publicists Shauna O’Donnell and The Noise Cartel, our Touring Crew, our agents at 33 and West, our radio promoter Bob Hathaway, Vinny and Shannon Gunz at SiriusXM Octane, and every FM station that has taken a chance on these songs and continues to support Butcher Babies. Thank you for believing in what we are building.

And most importantly, thank you to our fans; our pit crew. Whether you’re new to us with this album, or you’ve stayed with us through every evolution, every high, every low, and every release in the last 17 years, YOU gave these songs a home before the album took shape. YOU gave me a reason to bloom in even the darkest of seasons.”

Henry Flury adds, “With Nightbloom, there was a freedom to create and explore ideas that felt refreshing. For two years I locked myself in my dungeon with a singular goal, focus was on creating space and using the music to help tell a story. I was able to approach the guitar in a completely different way that has been hidden in a lot of my playing. Instead of just being a pummeling, riff machine, I used it to be more dynamic and melody driven. Working with Howard Benson and his team only encouraged me to do more and really bring these ideas to life.”

Produced by Howard Benson, with co-production by Henry Flury, Joe Rickard and Neil Sanderson, and mixed by Joe Rickard, Nightbloom brings together the band’s heavy foundations, melodic hooks and deeply personal songwriting. Alongside “Blame It on the Wind,” the album includes “Sincerity,” “Lost In Your Touch” and release focus track “Black Clouds Over Georgia.”

“Black Clouds Over Georgia” finds Shepherd revisiting the end of her marriage nearly two decades later, turning a painful memory into an opportunity for reflection and release. Its lyric video premieres Tuesday, October 6, extending the album’s release-week celebration.

As this chapter unfolds, Butcher Babies extend their thanks to the fans who have stayed with them and the people helping their music reach new listeners. That support has been a meaningful part of the journey from uncertainty to the growing momentum surrounding Nightbloom.

The post BUTCHER BABIES Release Nightbloom As “Blame It On The Wind” Single Surpasses One Million Spotify Streams appeared first on Sonic Perspectives.

Last month, Macklemore was kicked off Ed Sheeran’s tour after Robert Kraft, the owner of Massachusetts’ Gillette Stadium, was unhappy with the rapper’s pro-Palestine activism during his performances. Sheeran has subsequently faced lots of backlash for his persistent refusal to take a stance on genocide, whereas Macklemore announced a Free Palestine Tour. On Friday (Oct. 2), country superstar Zach Bryan wore a Free Palestine shirt at his Gillette Stadium show.

The post Zach Bryan Wears “Free Palestine” Shirt At Robert Kraft’s Gillette Stadium appeared first on Stereogum.

As we race to catch up with modern times, we’ve finally entered the summer stage of 2026! June was sweaty with heat and also a slate of quality releases, and the staff voting list was long and confusing, but we did the best we could to make sense of it and give the little people their say. As we always say, democracy is a filthy, messy business, best left to the professionals. We are them.

Hyper-melodic doom-death crew Fires in the Distance have been on quite a roll since their 2020 debut, taking their classic sadbi melodoom template and slowly expanding it over several releases. Third gloom platter, Circadian Promise [out June 12th on Prosthetic Records] finds just the right balance between heaviness and melodic hooks, and with a new vocalist, they push their sound out to new horizons of fire. Death roars and clean vocals pair with stirring, emotive guitar and keyboard work to create grand tapestries of metal magic. Melancholy is the key, and you get saturated in it in all the best ways. As a fully impressed Thus Spoke concluded, “Circadian Promise fully becomes its concept as its powerful pieces coalesce into a fortifying tonic you surely can’t resist, lifting your spirits, and Fire in the Distance themselves, up into the stratosphere.” Light it up.

Runner(s) Up:

Warning // Rituals of Shame – Warning need no introduction to those who wallow in the darkest pits of doom. Their 2006 magnum opus, Watching from a Distance, is a touchstone of the genre. Powered by the creative genius of Patrick Walker, it created one of the most despondent, oppressive soundscapes ever heard, and it still packs a raw impact few albums will ever match. Warning didn’t follow up this legendary album with another full-length until this year, and it’s like the time in between just melted away. Rituals of Shame [out June 19th on Relapse] is very much the spiritual successor to Watching, and all the same crushing lows and illusory highs are here. No dust to knock off, no forced recycling of older ideas; this is pure Warning in all its misery and joylessness. As Grymm expertly summed up, “You listen to Warning to reflect, to purge, and to feel. And if you’re anything at all like me, you’ve been waiting a damn long time for a worthy follow-up to Watching from a Distance. Thankfully, Warning gave us exactly that. Welcome back.” Here come the tears!

Khemmis // Khemmis – Colorado-based doom troupe, Khemmis have taken the pole position in the new wave of American doom revival. Their blend of classic doom sounds mixed with 80s traditional metal and bits of extremity has been a potent witch’s brew over the years, though the balance sometimes missed the mark. Their self-titled fifth album [out June 12th on Nuclear Blast] finds a better equilibrium between the various elements, delivering shorter and catchier doom nuggets steeped in 80s heavy metal glory. While it doesn’t nail the same highs as their early material, it’s another strong statement on modern doom. As Lavender Larcenist succinctly put it, “It seems like Khemmis wants to move away from their traditional doom metal trappings and lean into more arena-driven, heavy metal tracks, and for a band with their talent, the sky is the limit.” Wizards, man.

The post Record(s) o’ the Month – June 2026 appeared first on Angry Metal Guy.

State 51/Company of Corkbots [Release date 16.10.26] Ulster singer‑songwriter, harpist and biologist Bróna McVittie returns with ‘Supernatural’, her fourth solo album. Released to coincide with Samhain, the ancient Irish festival when the veil between worlds grows thin, ‘Supernatural’ stands at … Continue reading →

The post Album review: Bróna McVittie – Supernatural appeared first on Get Ready to ROCK!.

Cabaret Voltaire was kind enough to select Washington, DC as one of the few North American cities on their Final USA + Canada Tour. Founding members of the England-based band Stephen Mallinder (vocals, bass, keyboards, and sampling) and Chris Watson (keyboards and tapes) reprised Cabaret Voltaire to celebrate the group’s 50^th anniversary and say farewell to their fans across the pond. And, while Watson is only appearing on a few, select European dates, Mallinder assembled a team to celebrate these songs in real life on North American soil one last time.

Sadly, Richard H. Kirk, who along with Mallinder and Watson formed Cabaret Voltaire, passed away in 2021 and isn’t around to help pay tribute to this band and their songs one last time. Mallinder, Watson, and Richard H. Kirk started their band in Sheffield, England in the early 1970s and forged their own path by incorporating electronic music, samples, and visual accompaniments with their songs and performances, setting an example for other genres such as industrial music, post-punk, and more.

I Speak Machine hit the stage at 8:00 p.m. sharp and plowed through a non-stop 30-minute set. Busch delivered a compelling vocal performance along with an energetic dance performance set before stunning videos of her on the backdrop. Busch co-founded I Speak Machine in 2013 with filmmaker Maf Lewis whose work makes up for the lack of live music performance through film work that accentuates Busch’s theatric talents. Busch wrapped up her performance at 08:30 p.m.

Busch commanded the stage with a killer set.

Cabaret Voltaire hit the stage at 09:00 p.m. and played for nearly 90 minutes, wrapping up their set around 10:30 p.m. Mallinder was in top form, singing, playing bass and keys, and dancing to the rhythm of Cabaret Voltaire’s exquisite songs. Mallinder and crew delivered a career-spanning setlist that should have had something for fans of any era of the band or electronic music in general.

Also released earlier this year, the live album, But What Time Is It Really? is available via the band’s website and on the upcoming tour. Be sure to check it out.

While he may have been the only original member, Mallinder’s sharing of these songs made it clear that they are a record of a band whose legacy ought to be documented, remembered, and appreciated. Were it not for Mallinder, Watson, and Kirk getting together 50 years ago and putting making the music we might not very well have had bands like Big Black, Ministry, or Godflesh. Hats off to Mallinder for making this a tour to remember.

Merch at the CV show.

Just a few days ahead of their upcoming tour with Tungsten and Kilmara, Induction are back with a very special release: The modern power metal outfit led by guitarist Tim Hansen has unleashed a video clip for the brand-new version of their epic anthem “Gods Of Steel,” featuring none other than Kai Hansen (Helloween, Gamma Ray) on guest vocals.

“Gods Of Steel” originally appeared as an exclusive track on the physical editions of Induction’s latest album, Love Kills!, featuring a guest appearance by Antonio Calanna (A Cold Paradise). With its massive choirs, soaring melodies and larger-than-life heavy metal spirit, the song already stood out as one of the band’s most epic compositions. For this new version, Induction are bringing one of the most influential voices and personalities in German heavy and power metal into the fold.

For Tim Hansen, the collaboration carries an additional personal significance. Not only does he consider his father’s unmistakable voice a perfect fit for a song like “Gods Of Steel,” the two also recently worked together on the new Hansen album, Born with a Hammer, that was released on September 18th via earMUSIC.

Tim Hansen comments: “‘Gods Of Steel’ is probably the most epic song we’ve ever written. It has everything we love about heavy metal: huge melodies, massive choirs, energy and that larger-than-life feeling that made us fall in love with this music in the first place.

Having Kai join us for this new version takes the song to an entirely different level. Of course, for me personally, having my dad on an Induction song makes this release even more special. But beyond that personal connection, there simply couldn’t be a more fitting voice and character for a song called ‘Gods Of Steel.’

We’re incredibly excited to finally unleash this version into the world. Turn it up louder than hell. This is heavy metal in its purest form!”

“Gods Of Steel” is part of Induction’s third studio album, Love Kills!, released on February 6, 2026 via Reigning Phoenix Music. The record sees the band continue to expand their modern power metal sound, combining their classic heavy metal roots with progressive elements, sweeping orchestration and a cinematic production.

At the same time, Love Kills! showcases Induction at their most versatile. Moving between hard-hitting metal anthems, soaring melodic passages and more atmospheric moments, the record explores different facets of love, passion and their darker consequences. Alongside “Gods Of Steel,” the album features tracks including “Dark Temptation,” “Steel And Thunder,” “Beyond Horizons” and the title track, “Love Kills.” “Strangers To Love” also features a guest appearance by Clémentine Delauney of Visions Of Atlantis.

Following the path established with Born From Fire, Induction have broadened their musical scope on Love Kills! while adding an even more modern and cinematic dimension to their sound.
Crafted at Chameleon Studios and Boogie Park Studios in Hamburg, the new album was produced by Tim Kanoa Hansen, and was mixed and mastered by Eike Freese in collaboration with the guitarist. Love Kills! marked the beginning of a new era for Induction, defined by musical evolution, emotional depth, and a fearless drive to push the boundaries of modern power metal.

Now, Induction will take their high-voltage shows back to the stage. Starting October 7, 2026, the band will hit the road alongside Tungsten and special guests Kilmara for the Anthems Of Steel Tour 2026. The run will take the bands across Germany, Switzerland and Austria; for more information and to get tickets, check here.

The post INDUCTION Releases New Version Of “Gods Of Steel” Featuring KAI HANSEN Of HELLOWEEN appeared first on Sonic Perspectives.