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Slaughter To Prevail have announced a headlining North American tour — their last run before a planned 2027-2028 hiatus, not a breakup — and the support lineup is a genuine “wait, what?” moment: Three 6 Mafia’s DJ Paul joins for select dates, with rising deathcore act Rev3rent opening most of the run. Tickets go on sale July 17 for the trek, which kicks off September 10 in Houston and runs through November 23 in Myrtle Beach.

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Their Last Tour Before A Hiatus — Not A Breakup

Context matters here, and it’s worth being precise about it: this is not a breakup. This North American run is part of the “one last massive global tour” Slaughter To Prevail already announced before frontman Alex Terrible takes the band into a planned two-year hiatus starting in 2027 — with an explicit intention to return afterward. Terrible has said he wants the break to focus on his family and write new material, telling fans directly, “if you want to see and hear us live, 2026 will be the best time.” That framing makes this fall’s North American dates a genuine last call for U.S. and Canadian fans before the band steps away.

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Why DJ Paul?

The pairing is less random than it looks on paper. Slaughter To Prevail’s own camp has pointed to hip-hop as a real sonic influence before — guitarist Jack Simmons has described channeling “Three 6 Mafia and Björk” while shaping the band’s sound, a detail that predates this tour by years. DJ Paul brings a résumé that needs no introduction in either genre: an Academy Award (Best Original Song, “It’s Hard Out Here For A Pimp”), multiple Grammys, and a founding role in one of the most influential groups in Southern hip-hop history. He’ll join Slaughter To Prevail for the tour’s opening Texas-and-Arizona stretch — Houston, Dallas, San Antonio, and Phoenix — before Rev3rent carries the support slot solo for the rest of the run.

Rev3rent Are Rising Fast

For anyone unfamiliar, Rev3rent are worth paying attention to beyond this tour. The Apple Valley, California deathcore act — fronted by a vocalist who was still a teenager when the band signed its first deal — inked with Deep Love Recordings this past June, a new Atlantic Records imprint launched by industry veteran Cody Verdecias, whose past work includes Turnstile. Their new single “Last One Here” was produced by Drew Fulk, who’s also worked with Knocked Loose and Disturbed. Sharing a bill with Slaughter To Prevail is a serious platform for a band still building its name.

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The Full Tour Schedule

With DJ Paul and Rev3rent:

09/10 Houston, TX @ Bayou Music Center
09/11 Dallas, TX @ The Bomb Factory
09/12 San Antonio, TX @ Boeing Center at Tech Port
09/14 Phoenix, AZ @ Arizona Financial Theatre

With Rev3rent:

09/15 Anaheim, CA @ House Of Blues
09/17 Las Vegas, NV @ Pearl Theater
09/19 San Diego, CA @ SOMA
10/02 Sacramento, CA @ Aftershock (no Rev3rent)
10/09 Orlando, FL @ Hard Rock Live
10/11 Birmingham, AL @ Furnace Fest
11/10 Richmond, VA @ The National
11/11 Raleigh, NC @ The Ritz
11/13 Bethlehem, PA @ Wind Creek Event Center
11/14 Wallingford, CT @ The Dome at Toyota Oakdale Theatre
11/15 Montreal, QC @ MTELUS
11/17 Toronto, ON @ Great Canadian Toronto
11/18 Ottawa, ON @ History
11/20 Milwaukee, WI @ The Rave / Eagles Club
11/21 Newport, KY @ MegaCorp Pavilion
11/23 Myrtle Beach, SC @ House Of Blues

TL;DR

• Slaughter To Prevail announced a North American headlining tour, September 10 through November 23
• Three 6 Mafia’s DJ Paul joins for the opening Texas/Arizona dates; Rev3rent supports most of the run
• This tour is part of the band’s previously announced last run before a planned 2027-2028 hiatus — not a breakup
• Tickets go on sale July 17
• Rev3rent recently signed to Atlantic Records’ Deep Love Recordings imprint
• Two dates (Sacramento’s Aftershock and Birmingham’s Furnace Fest) are festival stops without the regular support lineup

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DJ Paul and Slaughter To Prevail on the same bill — genius crossover or genuinely bizarre pairing? Let us know in the comments. Follow Loaded Radio for daily rock and metal news.

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The October Effect captures the carefree spirit of the weekend on “Friday is Mine. 

Delivering a bright, infectious track that radiates optimism from the opening moments. A subtle Latin influence adds warmth to the arrangement, while lively trumpet flourishes inject bursts of energy that perfectly complement the song’s relaxed groove. Every musical element feels thoughtfully placed, creating a sound that’s both polished and effortlessly inviting.

The smooth vocal performance glides across the rhythm with confidence and charm, carrying a melody that’s easy to embrace without overpowering the instrumental backdrop. The percussion maintains a light, steady pulse, allowing the horns and vibrant instrumentation to shine while keeping the momentum moving forward.

There’s an undeniable sense of joy woven throughout the song, making each verse and chorus feel like a celebration of leaving the workweek behind. “Friday is Mine” balances catchy songwriting with tasteful musicianship, resulting in a refreshing release that captures the excitement and freedom that arrive when the weekend finally begins.

Check out The October Effect “Friday is Mine” below. Stay Global my Friends!

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Hungarian Progressive Symphonic Death Metal Artist Darkwave Explores Love, Loss, Mortality and the Enduring Spark of Hope on Fifth Album Hungarian progressive symphonic death metal artist Darkwave, the solo project of composer and multi-instrumentalist Zsolt Némethy, will release his fifth full-length album, Evanescent Horizons, on July 15, 2026 as an independent release. Blending the crushing […]

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Orphaned Land vocalist Kobi Farhi will see his autobiography released in English this fall. Lemon Soul Publishing has acquired the U.K. rights to The Jewish Muezzin: Radical Sanity In An Orphaned Land, with the book set to arrive on October 7, 2026. Pre-orders are already available through Waterstones, Amazon, and other major booksellers, while Lemon Soul is also offering a limited number of signed and personalized copies.

Speaking about the upcoming release, Kobi said: “In the midst of an endless conflict that has drawn in so much of the world, I am grateful to be a musician who, for the past 35 years, has tried to shine light and promote peace through the complexity, the pain, and the wounds of the Holy Land — the homeland I have long called The Orphaned Land.

“I am truly delighted that my memoir is finally making its way into the world in English,” he continues. “I believe the stories it tells, and the small miracles we have been fortunate enough to witness over the years, offer a powerful lesson in music’s ability to heal, to create dialogue, and to foster friendship, brotherhood, and compassion across divides. Even today, after all these increasingly bloodied years, with some artists choosing to promote division over unity, I remain convinced that music is one of the greatest forces for bringing people together, and the finest medicine for humanity”.

The Jewish Muezzin follows Kobi Farhi‘s journey from growing up in Jaffa during years of conflict to forming Orphaned Land, a band that became one of the Middle East’s most distinctive metal acts. The memoir traces how music became his way of challenging division and encouraging dialogue across political, religious, and cultural boundaries.

Throughout his career with Orphaned Land, Kobi has used the band’s platform to advocate for peace and cooperation. Rather than accepting cultural barriers, the group has worked alongside artists viewed as adversaries by their respective governments. Among those collaborations was taking Palestinian band Khalas on the road during the band’s 2013 European tour and later sharing its Metal Hammer Golden God Award with them.

The book also explores the impact Orphaned Land has had on fans across the region. Kobi reflects on bringing together audiences from opposing sides of long-standing conflicts, years before public gestures such as wearing the keffiyeh became widely associated with activism. The memoir also recounts the risks some supporters faced, including one fan who was imprisoned because of his connection to the band and others who permanently marked themselves with Orphaned Land‘s banned lyrics and symbols.

Farhi’s story focuses on the role music has played in creating dialogue where politics often has failed, documenting moments when Palestinians and Israelis stood together through a shared passion for metal.

To mark the publication of the book, Kobi will perform an “Evening With” show at London’s Water Rats alongside Israeli singer-songwriter Geva Alon. The acoustic event will also include appearances from additional guests, with further details expected to be announced at a later date. Tickets are available here.

The post ORPHANED LAND’s Vocalist KOBI FARHI Announces English-Language Edition Of “The Jewish Muezzin” Memoir Book appeared first on Sonic Perspectives.

KnuckleBonz, the company which creates officially licensed statues of musical icons, has announced details of a “first-of-its-kind immersive 3D digital platform” celebrating the life of the late Metallica bassist Cliff Burton.

The Cliff Burton Museum was created and developed in collaboration with Cliff’s surviving family members and will feature virtual artefacts which illustrate his rise to become one of metal’s most iconic musicians, as well as a digital space to connect with fans, play games and shop for exclusive items.

“Cliff Burton redefined the role of the bass guitar in thrash, and his influence is stronger than ever,” says Tony Simerman, CEO and Creative Director of KnuckleBonz, Inc. “Building the Cliff Burton Museum inside KnuckleBonz360 is our way to pay tribute to the brilliance of Cliff, and to give fans everywhere a place where his legacy lives on 24/7, 365 days a year.”

A statement from Cliff Burton’s family reads: “Cliff’s music and spirit continue to inspire fans around the world, and our family is proud to celebrate his legacy in this way. Working with KnuckleBonz to bring Cliff’s story to life inside the Cliff Burton Museum means so much to us, and we know fans everywhere will feel his presence in this space.”

The collaboration continues KnuckleBonz’s close work with the Burton family. In 2022, the company launched a limited edition statue, with a portion of the proceeds going towards the Cliff Burton Music Scholarship Fund.

Fans are advised to join the KnuckleBonz360 Backstage Experience waiting list at knucklebonz360.com. Watch the video below for a taster of this virtual museum space.

The band is taking time away following the deaths of Chad Green and Matt Dennard’s fathers

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Decibel Magazine is hosting the exclusive advance stream of Diminisher Of Hope, the punishing new EP from Denver, Colorado-based metalcore quintet UNDER AUBURN SKIES, preceding the record’s release this Friday. UNDER AUBURN SKIES’ Diminisher Of Hope EP showcases bleaker sound and more dejected lyrics, revealing a darker side of the band, while simultaneously raising the bar on their individual […]

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Flowers For Juno just released their newest album "Kairos". The 14-track LP was released on March 7th via Bad Baboon Publishing.

Founder of Flowers for Juno Benjó James states:

"I was imagining what a setlist for a Flowers for Juno gig might look like based on material I'd already released and figured I'd turn it into a compilation record to give new listeners something to start with. I'd just handed in my notice at my bar job to pursue music full time, so the title "Kairos" seemed appropriate (and, funnily enough, I saw family that weekend and found out they were involved in a charity of the same name!). As opportunity would have it, life began to imitate art, and promoters started reaching out to me to book me for shows mere days after releasing it. The Lord works in Mysterious ways." – Benjó James

Tracklist:

1. Electro Hippies
2. Message to Lana
3. Crack Den Blues
4. Lipstick and Furs
5. Buckcherry Wrote a Song About Girls Like You
6. I go to strip clubs but just for the music
7. Dolphin Girl
8. Physical Culture (This Is Why I'm Single Mix)
9. It's Not My Fault (This Won't Get on the Radio Edit)
10. You're So Beautiful It Makes Me Sad (Original Sin Mix)
11. Just Like Honey
12. My Bloody Kisses
13. Without Love (7" Deadly Sins Mix)
14. Pink Noise

Review:

The first track, "Electro Hippies" starts with a distant phaser guitar, soaring synths, grooving drums, and gentle vocals that are humming melodies without understandable words. The song builds an atmospheric feeling before introducing glitching and stuttering effects that grow in frequency before eventually the song cuts out, switching between different songs as though swapping through radio stations. After a short break, the song is introduced once again, creating a unique bridge.

Next up is "Message to Lana" which starts with ambient synths and echoing vocals that remind me a little of early grunge if it were mixed with an experimental sound. Where "Electro Hippies" was more industrial and drawn-out, I found the synth and vocal melodies to be much catchier in "Message to Lana", creating a powerful hook while keeping the same atmospheric vibe. Once again, the song cuts out, introducing a punk rock track through a distorted, lofi filter before eventually fading out.

"Crack Den Blues" starts to change up the sound from the first two songs, building a dramatic and darker sound as deep synth bass is contrasted by bright lead synths and gentle drum grooves, as unintelligible, low speaking furthers the dark soundscape introduced.

"Lipstick and Furs" starts with distant birds chirping, goats bleating, and an overall dreamy outdoors feeling as a keyboard tone reminds me a little of weirdcore music. Lightly distorted vocals join with singing as an autotune effect creates a wobbling sound as gentle, ballad-like vocals are delivered. The vocals are quite eccentric and hard to understand, but they do create a unique vibe that matches the atmosphere of the instrumentals. Later, a screeching synth is brought in, creating a sense of tension as whispers soon bring back the dreamlike sound that Flowers For Juno captures so well in this track.

Track 5, "Buckcherry Wrote A Song About Girls Like You" begins with a slamming drum line, deep sliding synths, and low distorted vocals that build an industrial sound. Throughout all of their music, Flowers Of Juno creates a unique sound where catchy vocal hooks are hidden below walls of synths, lofi tape filters, fuzz, and atmospheric reverb—creating a sound that mixes elements of industrial, experimental, and atmospheric music with a gothic synth-pop sound.

"I go to strip clubs just for the music" starts with a bass tone very similar to "Crack Den Blues" as drop-shifted vocals create an ominous sound before the signature soaring synth tone cuts through the mix to build a bright sound. "Dolphin Girl" starts with a short female vocal sample as sliding synth lines and a funky synth bass build a groovy sound that brings a new funk vibe into the fray. Soon, the song kicks in as a huge layer of synths creates a powerful soundscape that intentionally drowns out the majority of the vocal coherence.

"Physical Culture" starts with a hard rock guitar that is a pleasant surprise and the first use of emphasized electric guitar so far. A dark grunge sound is met by the atmospheric synth-driven sound that Flowers For Juno has built on the album so far, creating a dynamic blend. So far, "Physical Culture" is one of my favorite tracks as the guitar blended with the gothic synth-pop is an interesting change of energy that keeps things interesting.

Up next is "It's Not My Fault," which continues the electric guitar use from the last song, as upbeat guitar soon fades away for softer verses with emphasized vocals and distant synths before launching into a chorus with catchy vocals and upbeat guitar strumming. The song's bridge introduces ringing distortion and high-pitched key leads that create tension before returning to the full song.

"You're So Beautiful It Makes Me Sad" starts off with a solo drum beat before bringing in a thumping bass line, chiming keys, and clearer vocals than in much of the earlier songs. Where other songs took a more atmospheric approach, "You're So Beautiful It Makes Me Sad" takes a more coherent, gentle, and melancholy sound before electric guitar and an overall more energetic sound are introduced in the second half of the track.

"Just Like Honey" starts with an 80s-esque sound as reverbed drums, veiled vocals, and soft synths create a cinematic sound. At the halfway point, the song starts to pick up with bright synth leads adding a sense of energy to the soundscape. "My Bloody Kisses" instantly builds a darker sound with a buzzing ambience, gliding distorted vocals, and fuzz-ridden guitar playing. Flowers For Juno builds a powerful atmosphere through their distinct layering of electronic elements and lofi-reminiscent vocals.

"Without Love" starts with eccentric vocals that change from singing to a croaking, guttural sound before building energy with acoustic drums and electric guitar before bursting into a catchy chorus that repeats the song's title. After the energetic chorus, Flowers For Juno pull back on the energy, creating an ambient verse to give the song space to breathe before building into the track's anthemic chorus again.

The final song, "Pink Noise," is as you might expect from the title. Pink noise is a frequency where every octave has the same amount of volume, similar to how white noise contains more higher-octave frequencies. The song creates an ambient and industrial sound as distorting pads grow and evolve throughout the 1 and a half minute runtime before fading out.

Overall, Flowers For Juno creates a very specific vibe with their music. The distinct blend of gothic, experimental, and industrial atmospheres with a synth-pop sound creates something memorable and quite unique. You can stream "Kairos," available on all platforms now!

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Find Them Here: Spotify | Instagram

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Revisit some classics and dust off some deep cuts. Continue reading…