Category: news

  • Kronos Mortus News Named Among the Top 100 Metal Music Blogs Worldwide

    Kronos Mortus News, the English-language platform of Kronos Mortus, has received international recognition by being included in FeedSpot’s Top 100 Metal Music Blogs list for 2026. FeedSpot is an RSS reader that allows users to subscribe to blogs, news sites, and other websites they want to follow in one place. The selection features metal magazines, […]

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  • Lido Pimienta – “Marea”

    Lido Pimienta releases her new album Caribenya this Friday. So far the Colombian Canadian musician has shared the singles “Tóxica” and “Talento,” and today she’s back with “Marea.”

    The post Lido Pimienta – “Marea” appeared first on Stereogum.

  • Soulfly announce fall 2026 U.S. tour with Nailbomb and Incite

    Featuring stops across the country, including Louder Than Life and Aftershock Festival appearances

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  • Queens Of The Stone Age – “Easy Street” (Feat. Nikki Lane)

    In the past few days, Josh Homme has appeared on two extremely different new songs, Shania Twain’s “Faded Blue Jeans” and Mastodon’s “Snakes For Dinner.” Now, his band Queens Of The Stone Age return with a surprisingly gorgeous and non-heavy new single called “Easy Street,” which doesn’t sound anything like “Faded Blue Jeans” or “Snakes For Dinner.” Perhaps Homme has more range than we realized.

    The post Queens Of The Stone Age – “Easy Street” (Feat. Nikki Lane) appeared first on Stereogum.

  • Fahrenheit Paradox, Devil In Disguise, Balistic, Banished Truth, The Prodigal Son, Nocturnal Ceremony, Shiny New Toyz, and Creeper Featured in Decibel Magazine Issue #262 – @thebeast

    FOR IMMEDIATE RELEASE
    Fahrenheit Paradox, Devil In Disguise, Balistic, Banished Truth, The Prodigal Son, Nocturnal Ceremony, Shiny New Toyz, and Creeper Featured in Decibel Magazine Issue #262 

    Metal Devastation PR is proud to announce its latest feature advert in Decibel Magazine Issue #262 , highlighting eight incredible artists from the underground metal scene.
    This month’s Metal Devastation PR spotlight showcases:
    Fahrenheit Paradox
    Devil In Disguise
    Balistic
    Banished Truth
    The Prodigal Son
    Nocturnal Ceremony
    Shiny New Toyz
    Creeper
    Metal Devastation PR continues to bring attention to the hard-working bands pushing heavy music forward, giving these artists additional exposure among one of metal’s most dedicated audiences.
    Issue #262 of Decibel Magazine features “Transformers: 40 Years of Metal’s Gateway Soundtrack” on the cover, celebrating the legendary soundtrack that introduced generations of fans to the power of heavy metal. The issue also includes an exclusive Spirit Adrift limited edition flexi disc, the Decibel Hall of Fame feature on Crumbsuckers’ Life of Dreams , reviews of Maryland Deathfest XXI and Northwest Terror Fest 2026 , plus features on Mortiis, Warning, Nunslaughter, Junius, Tzompantli, Frozen Soul, Solace, Extinction of Mankind, Ripper , and more.
    Metal Devastation PR is honored to continue supporting independent artists and providing opportunities for the underground metal community to be heard on a global level.
    Grab a copy here at this link and support https://store.decibelmagazine.com/collections/back-issues/products/august-2026-262a-with-optimus-prime
  • Willie Nelson & Family | July 12, 2026 | Pacific Amphitheatre | Costa Mesa, CA – Concert Review

    Review & photos by Ron Lyon

    The Pacific Amphitheatre in Costa Mesa was nearly full long before Willie Nelson took the stage. Merchandise lines were busy, cowboy hats filled the aisles, and a crowd spanning multiple generations settled into their seats knowing they were about to see one of the last true giants of American music.

    This wasn’t part of Nelson’s larger Outlaw Music Festival tour. Instead, it served as the first stop of a short California run before he resumes a busy summer schedule. That distinction gave the evening a more intimate feel. Fans weren’t there for a multi-artist festival. They were there for Willie Nelson & Family.

    Opening the evening was Oklahoma singer-songwriter Caroline Grace, making her first California appearance. Grace and her four-piece band drove nearly twenty hours from Fort Worth to reach Costa Mesa, but there was little evidence of road fatigue during their energetic 40-minute set.

    Blending traditional country influences with modern Americana, Grace quickly won over an audience that with her music. Songs such as “Blue Mountain Highway,” “Old Cowboy,” and the standout “The Man with the .45” showcased both her songwriting and vocal abilities. Her version of “Blue Moon of Kentucky” connected particularly well with the crowd, earning one of the night’s earliest standing ovations. By the time she exited the stage, she had gained more than a few new fans and proved herself a worthy choice to open this California run.

    At 9:15 p.m., anticipation finally gave way to reality.

    A large Willie Nelson banner covered the front of the stage, concealing the band from view. When it dropped, there was no dramatic walk-on or elaborate entrance. Nelson was already seated at center stage on a small, cushioned stool, surrounded by his Family band and holding his legendary guitar, Trigger. The crowd immediately rose to its feet in appreciation.

    The first thing most fans likely noticed was Nelson’s physical condition. At 93 years old, he appeared frail and remained seated for the entire performance. Yet within moments it became clear that what matters most remains intact. His voice still carries the unmistakable phrasing, warmth, and emotional honesty that have made him one of the most recognizable singers in American music.

    The show opened with “Living in the Promise Land.” From there, Nelson led the audience through a 21-song journey that touched nearly every chapter of his remarkable career.

    Among the evening’s highlights was “Still Is Still Moving To Me,” which brought a burst of energy and showcased Nelson’s enduring ability to command a crowd with little more than a guitar and a melody. “Mammas Don’t Let Your Babies Grow Up to Be Cowboys” inspired one of the loudest audience singalongs of the night, while “On the Road Again” delivered exactly the joyful reaction one would expect from a Southern California crowd seeing Willie Nelson in person.

    “Georgia on My Mind” demonstrated that Nelson’s interpretive gifts remain as strong as ever. Meanwhile, “Me and Bobby McGee” and “Roll Me Up and Smoke Me When I Die” reminded fans why he became one of the defining voices of the outlaw country movement.

    Perhaps the evening’s most emotional moment arrived during “Always on My Mind.” Slower and more reflective than some earlier versions, the song transformed the amphitheater into a sea of quiet attention. Thousands sang along softly, creating one of those rare concert moments where performer and audience seem completely connected.

    Visually, the stage setup for the show had a pared-down look and feel. There were no elaborate stage effects or over-produced video screens competing for attention, just a giant American flag backdrop behind the band, creating an image that felt perfectly suited to an artist whose career has become woven into the fabric of American culture itself.

    The Family band once again proved why it remains one of the most respected groups in live music. Harmonica master Mickey Raphael, who has been a key part of Nelson’s sound since 1973, delivered the signature harmonica lines that fans know by heart. Bassist Kevin Smith, drummer Billy English, and keyboard legend Booker T. Jones provided a solid musical foundation throughout the evening.

    One of the night’s biggest surprises came during the band introductions, when Nelson revealed actor and musician John Stamos on bongos and Green Day drummer Tré Cool on washboard and shakers. Many in the crowd had not recognized the pair during the performance, making the reveal one of the evening’s most memorable moments and drawing one of its loudest ovations. Their appearance reinforced Nelson’s unique ability to bridge musical generations and genres. Few artists can draw admiration from country legends, classic rock fans, punk musicians, and mainstream entertainers alike. The evening came to an end with Caroline Grace returning to the stage to join Nelson on “Will the Circle Be Unbroken?” and “I’ll Fly Away”.

    What ultimately made the evening memorable was not technical perfection. Nelson’s guitar playing occasionally wandered, and age has understandably altered aspects of his performance. But none of that seemed to matter to the audience. The crowd responded to every song with enthusiasm, encouragement, and gratitude. They weren’t simply watching a concert. They were spending an evening with an artist whose music has accompanied their lives for decades.

    As the final notes faded and fans slowly made their way toward the exits, there was a shared sense that nights like this have become increasingly precious. Willie Nelson may no longer move around the stage, but he still possesses the rare ability to bring thousands of people together through the power of song.

    More than 60 years after he first emerged as a songwriter and performer, Willie Nelson remains what he has always been: an American original.

    Concert Rating: 8/10 – Not because the performance was flawless, but because seeing Willie Nelson in 2026 feels less like attending a concert and more like witnessing a living chapter of American music history.

  • “Satan’s the original outlaw. He questioned authority, fought for himself, refused to bow down or conform.” Twin Temple announce new album Doomed Lovers, share its title track

    Satan-loving doo-wop duo Twin Temple have announced the forthcoming release of their third album, Doomed Lovers, and shared its title track.

    The Los Angeles-based husband-and-wife, Zachary and Alexandra James, will release the album, produced by Shooter Jennings at LA’s legendary Sunset Sound studio, on October 9 on their own label, Pentagrammaton Records.

    “We poured everything into this new record,” the duo say. “We wanted to push ourselves creatively and expand the production further than we have before, drawing inspiration from the lush orchestral productions of Roy Orbison, The Ronettes and The Shangri-Las and added in some Countrypolitan flair. We brought in some incredible musicians like Matt Chamberlain and Jay Bellerose and a 37-piece orchestra. We wanted to make something as beautiful as we possibly could – of course with our dark spin on things.

    “The truth is, this album was made during one of the darkest periods of our lives,” the pair reveal. “We had been struggling with grief, health issues, addiction, and depression. But day by day, going into Sunset Sound, making music with incredible people who believed in us, and being surrounded by that creativity slowly brought us back to life.”

    As a taste of what to expect from the record, Twin Temple have shared its title track.

    “This is the philosophical centerpiece of the album,” they say, “a theatrical and confessional take on all or nothing love, the dark side of devotion and centuries old mythic literary Romantic themes. It longs for a love so enduring and eternal that it ultimately consumes, obliterates, and drives one to madness and death. At its core, it asks the question, ‘What happens when your lover dies?’ But what makes the song unique is that it rejects the conventional and culturally accepted answer – ‘I know I should tell you to find someone new/ – in favor of raw, unfiltered and selfish desire, things that would be shameful to speak in mundane reality.”

    Last week, Twin Temple made headlines when they were kicked off two shows with country musician Charley Crockett, due to the headline act’s opposition to their Satanic presentation.

    They then made further headlines when Jack White got in contact via social media to invite them to open for him at an upcoming LA show.

    White wrote: “Twin Temple, would you like to open my show in L.A. on September 29th at the Hollywood Palladium? Let me know. Get in front of me Satan!” he added, a nod to The White Stripes’ 2005 album Get Behind Me Satan.

    Twin Temple responded to the offer on White’s Instagram, writing: “Unholy hell…. Sir Jack, you have no idea what this means to us. Lifelong fans- dead leaves on the dirty ground was one of the first songs I (Alex) ever learned on guitar. We were actually planning on coming to this show. It would be a most infernal pleasure to play the devils music with you.”

    Asked by Rolling Stone if they are genuine Satanist, Alexandra James replies, “Hell yeah! To us, Satan is a metaphor for exploring all of these things in our art. It’s the images that have always resonated with us. For me, growing up a mixed-race woman [of Korean and British descent], first generation in America, I’ve always felt a little bit like an outsider. And Satan’s the original outlaw, right? He’s a rebel angel. He’s the one who questioned authority, fought for himself, refused to bow down or conform, and was like non serviam. That was a metaphor that resonated very strongly with me.”

  • Terrorizer vocalist Brian Werner departs band

    Werner says the decision was made due to growing business responsibilities and not because of any internal conflict

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