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Metal Breakdown Daily is one page, every weekday: the episode on the player below and the three stories in print, so you can listen, read, or both. Today it leads with the Sonic Temple 2027 lineup: nearly 150 acts across May 13–16 at Historic Crew Stadium in Columbus, Ohio, with Blink-182, Iron Maiden, Falling In Reverse and Korn headlining the four nights and Alice In Chains, Faith No More, A Perfect Circle, Mastodon, Meshuggah and Testament underneath.

Then Chris Fehn, who turned up on Pawn Stars to authenticate a long-nose Slipknot mask that was made for him, told the shop he never wore it because “it’s too nice,” and watched Chumlee offer $1,200 against a $15,000 ask. And Deafheaven, who are touring the US with Interpol for eight dates in March 2027, a year and a half after Paul Banks sang on their last record.

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Scott Penfold opens today’s Metal Breakdown Daily with the full Sonic Temple bill and the question of whether Blink-182 belongs on top of it, then Chris Fehn’s day at the pawn shop and the Deafheaven and Interpol dates, and takes a side on the pop-punk Thursday. Download the free Loaded Radio App on Apple iOS and Google Play and stream the show now.

Sonic Temple 2027 Lineup: Iron Maiden, Korn, Blink-182, Falling In Reverse

Sonic Temple 2027 runs May 13–16 at Historic Crew Stadium in Columbus, Ohio, with Blink-182 headlining Thursday, Iron Maiden Friday, Falling In Reverse Saturday and Korn Sunday, and a bill of nearly 150 acts that includes Alice In Chains, Faith No More, A Perfect Circle, Mastodon, Meshuggah, Testament, Knocked Loose and Turnstile.

Danny Wimmer Presents released the full lineup on October 22. It’s the sixth edition under the Sonic Temple name, which replaced Rock On The Range in 2019. Iron Maiden were the first headliner announced; their Friday set is one of the final two dates of Run For Your Lives, with Boardwalk Rock in Ocean City, Maryland closing the tour two days later. Korn close the festival on Sunday.

Faith No More’s appearance is one of their first American shows since 2016; the band’s return begins in January with four stadium dates alongside System Of A Down in Australia and New Zealand. A Perfect Circle, Primus, President and PeelingFlesh had been announced ahead of the full reveal. The rest of the heavy middle: Testament, Ministry, Clutch, Helmet, Fear Factory, Crowbar, The Black Dahlia Murder, Blood Incantation, Soulfly, Nailbomb, Lacuna Coil, Bullet For My Valentine, Shadows Fall, GWAR, Till Lindemann and Chad Gray performing Mudvayne and Hellyeah material. Further out: The Offspring, The Prodigy, Jimmy Eat World, and a late-’90s rock radio reunion of Snot, Spineshank, Dry Kill Logic, Ugly Kid Joe, Sponge and Wheatus.

Tickets are on sale now at sonictemplefestival.com with DWP’s $1-down payment plan; a share of sales goes to the DWP Foundation. Day-by-day placements beyond the headliners haven’t been released. Sonic Temple is one of five major US festivals inside three weeks of May; our 2027 festival guide has the full calendar.

Full Sonic Temple 2027 lineup (alphabetical, as announced):

$UICIDEBOY$
10 Years
156/Silence
3OH!3
A Day To Remember
A Perfect Circle
After The Burial
Alice in Chains
Allt
Arankai
Badflower
Bear McCreary
Beartooth
Big Ass Truck I.E.
Blink-182
Blood Incantation
Bowling For Soup
Boundaries
Bullet For My Valentine
Butcher Babies
Carpenter Brut
Castle Rat
Chad Gray: Voice of Mudvayne & HELLYEAH
Circa Survive
CKY
Clutch
Crown The Empire
Crowbar
Cute Is What We Aim For
Dark Divine
Dayseeker
Demon Hunter
Diggy Graves
Dirty Honey
DRAIN
Dry Kill Logic
Emmure
Empty Shell Casing
Escape The Fate
Eyes Set To Kill
Faith No More
Falling in Reverse
Fear Factory
Fit For An Autopsy
Fleshwater
Forever The Sickest Kids
Ghostemane
Green Lung
GWAR
Gym Class Heroes
HANABIE.
Helmet
Her Last Sight
Highly Suspect
Ho99o9
Hollywood Undead
Hot Milk
Hot Mulligan
House of Protection
If Not For Me
Imminence
Impending Doom
In This Moment
Infected Rain
Insane Clown Posse
Invent Animate
Iron Maiden
I See Stars
Jimmy Eat World
Jutes
Kami Kehoe
Kim Dracula
King 810
Knocked Loose
Korn
Lacuna Coil
LOATHE
Madball
Mastodon
Meshuggah
Midnight
Ministry
Monolord
Nailbomb
Nevertel
Nita Strauss
Of Mice & Men
OTEP
Palisades
Pain of Truth
PeelingFlesh
Point North
Poppy
President
Primus
The Paradox
Relient k
Rain City Drive
Red
Saosin
sace6
Seether
Secrets
Shadow of Intent
Shadows Fall
Showing Teeth
Silent Theory
Skid Row
SLOMOSA
Sleeping With Sirens
Sleep Theory
Slash feat. Myles Kennedy & The Conspirators
Snot
Soulfly
South Arcade
Spineshank
Spite
Sponge
Steel Panther
Sunborn
Sullivan King
Superheaven
Switchfoot
Sylosis
Testament
The All-American Rejects
The Ataris
The Barbarians of California
The Black Dahlia Murder
The Color Morale
The Offspring
The Pretty Reckless
The Prodigy
The Warning
Thousand Below
Till Lindemann: The Voice of Rammstein
Turnstile
Ugly Kid Joe
Underoath
Unearth
Vana
Violent Vira
Waka Flocka Flame
We The Kings
Wheatus
Wolves At The Gate
XCOMM

Chris Fehn Authenticates His Own Slipknot Mask On Pawn Stars

Former Slipknot percussionist Chris Fehn appeared on the October 21 episode of Pawn Stars to authenticate a long-nose mask, a signed guitar and a signed drum head brought in by a seller asking $35,000 in total; Fehn confirmed all three were real, said the mask was made for him but never worn because “it’s too nice,” and the shop’s best offer was $4,200.

The seller, a regular named Spencer, said he acquired the pieces from a radio DJ in Iowa. The guitar’s back is inscribed “Slipknot Music Land Southridge Mall July 1999,” a Des Moines mall signing the month after the self-titled debut came out. He asked $20,000 for the guitar and drum head and $15,000 for the mask, which he believed was one of Fehn’s early No. 3 masks. Chumlee was blunt: “This looks like a Halloween costume!” His reasoning was sound; Slipknot masks are widely replicated and this one carried no markings. So he brought in an expert, and the expert was Fehn.

Fehn remembered the Southridge signing as one of the band’s first and confirmed the autographs, noting his own was the older version of his signature. On the mask: it was his, made specifically for him, and it never went on stage. “It’s too nice,” he said. “If I would’ve used this live or even for photos, this wouldn’t have held up to be like this.” He’d had three made, “and it just didn’t fit right.” Chumlee’s offers went from $2,500 for the signed pieces to $3,000 for those plus $1,200 for the mask, on the grounds that the band never used any of it. Spencer called the lot “iconic rock history” and left without a deal.

Fehn left Slipknot in March 2019 after suing Corey Taylor, Shawn Crahan and the band’s business entities over money he said he was owed; the band announced his exit and the suit was over by 2020. Michael Pfaff has worn the No. 3 jumpsuit since.

Twelve hundred dollars is an insult, and Chumlee’s logic is also correct, and both are true. Memorabilia is valued for what an object did, not what it is, and this mask sat in a box because it pinched. What the show missed is that the moment Fehn said “that’s mine, they made three, this one didn’t fit” on camera, the mask stopped being a Halloween costume. He gave it its provenance for free. The seller should have asked for the tape.

Deafheaven And Interpol Announce March 2027 US Tour

Deafheaven and Interpol will play eight US dates together from March 16 to March 27, 2027, opening at the Saenger Theatre in New Orleans and closing at Starland Ballroom in Sayreville, New Jersey; presale is Wednesday, October 28 at 10 a.m. local time and general tickets go on sale Friday, October 30.

Neither band is billed as headliner and no openers were named. The pairing has a paper trail: Interpol’s Paul Banks sang on “Incidental II” from Deafheaven’s Lonely People With Power, the March 2025 album that brought the screaming back after Infinite Granite. Interpol released their eighth record, This Mirror Weighs A Ton, on August 28 through Partisan, and spent 2026 touring North America with Loathe, DIIV and julie on the bills. A band that defined New York indie rock in 2002 has been building its support slots from the shoegaze and heavy end of the room for a year, and this tour is where that was going.

In 2013 Deafheaven were the band half of metal refused to call metal. In 2027 they’re the one act who can put Interpol in front of a blackgaze crowd and a blackgaze band in front of an Interpol crowd and keep both rooms. The Anthem holds about 6,000. Expect it to sell out.

The Take: Blink-182 Can Headline Sonic Temple, And It’s The Right Call

Thursday at a DWP festival exists to sell the four-day pass, the person buying that pass grew up on Enema Of The State and Iowa in the same year, and the heaviness on this bill was put where it belongs: in a middle tier stronger than any Sonic Temple before it.

Blink-182 on Thursday is a strategy, not a shrug. The add-on day converts a three-day ticket into a four-day one, and the buyer is thirty-five, will stand in a field for Blink-182 on Thursday and in the same field for Meshuggah on Friday. Falling In Reverse on Saturday is the same math for someone a decade younger. You can be annoyed by that and it’s still true.

The counter-argument is the real one: headliners are a festival’s identity, and two of Sonic Temple’s four say pop-punk and arena rock. Fine. Name the metal bands who can headline a stadium festival in 2027. Maiden. Korn. Slipknot, who are playing their own stadiums next summer. Metallica, who don’t play other people’s festivals. Tool, A Perfect Circle’s day job. Ghost. Sleep Token, if you count them, and they’ve already done Louder Than Life. Two of those are on this bill. The top of the poster isn’t all metal because there isn’t any more metal that size, and the fix isn’t swapping out Blink-182. It’s the undercard.

Which is exactly where DWP put it: Meshuggah, Testament, Blood Incantation, Crowbar, Fear Factory, The Black Dahlia Murder, Mastodon, Faith No More, Alice In Chains. A festival is the whole poster, not the top line. Read the whole poster. It’s the heaviest Sonic Temple yet, with a pop-punk band selling the Thursday wristband that pays for it.

TL;DR

• Sonic Temple 2027: May 13–16, Historic Crew Stadium, Columbus, Ohio; nearly 150 acts; Blink-182 (Thursday), Iron Maiden (Friday, one of the last two Run For Your Lives dates), Falling In Reverse (Saturday) and Korn (Sunday) headline, with Alice In Chains, Faith No More, A Perfect Circle, Mastodon, Meshuggah, Testament, Knocked Loose and Turnstile on the bill. Tickets on sale now.
• Chris Fehn authenticated his own long-nose Slipknot mask and a signed guitar and drum head on Pawn Stars; all were real, the mask was never worn (“it’s too nice”), and the shop’s offer topped out at $3,000 for the signed pieces plus $1,200 for the mask against a $35,000 ask. No sale.
• Deafheaven and Interpol play eight US dates March 16–27, 2027; presale October 28, general sale October 30. Paul Banks previously guested on Deafheaven’s “Incidental II.”
• The Take: Blink-182 headlining Thursday is the right call. Thursday sells the four-day pass, and the heaviness lives in the strongest Sonic Temple undercard yet.

FAQ

Metal Breakdown Daily is Loaded Radio’s weekday hard rock and metal news show: three stories, one opinion, a new episode every weekday on the free Loaded Radio app for Apple iOS and Google Play. Follow Loaded Radio for the full stories behind every episode.

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Posted on October 23rd 2026, 1:14pm

To put it mildly, I’ve been a bit sidetracked this year, so I apologize to all zero of my readers for not keeping them informed on the state of grindcore as I see it. Thankfully, I have some conscientious compatriots who look out for my shortcomings, and to that end, my fellow grind aficionado Seth Buttnam stepped in to help me… err, well, shit, let’s be honest here: he deservedly shamed me into contributing to my own column, and here we are, writing up some of the best grind releases of the past ten months. So a hearty thanks to Seth, and let’s get blasting… [ANDREW EDMUNDS]

TRUCIDO – EPIPHANIC DELUSIONS OF A SPIRITUAL WARFARE

(February 14, 2026; Regurgitated Semen Records)

As I remember it, the only time I saw Dallas’s Trucido was at a venue partially lit by trashcan fires raging on the back patio. Was that actually the setting? To Elizabeth Loftus’s delight, I couldn’t tell you with any certainty; it was the second leg of an ambitious concert double-header that began with me at an all-day surf rock festival, so who knows what kind of “Misirlou” fatigue madness my damaged brain might’ve cooked up. Still, besides my alarm over my increasingly cratering memory and recall, I think the important thing is that Trucido was such a flamethrower of a band that a backyard with a B-movie dystopia vibe makes sense. The quartet’s second album, Epiphanic Delusions of a Spirtual Warfare [sic], is another burner, fitting seventeen songs into sixteen minutes. What’s fun is that, belying those measurements, I wouldn’t necessarily call these songs a blur. Swift and speedy? Absolutely. Bryan Fajardo — he of Cognizant, Noisear, and Barren Path, and formerly of Gridlink, Kill the Client, and PLF — is behind the kit, playing the kind of breakneck patterns that make other drummers comment “holy shit” on Instagram playthrough reels. But the string punishers — Irving Lopez on guitar and Eduardo Hoyos on bass — pummel these short tunes with death-metal-dense chonkiness. At the very least, it’s different than Lopez’s riffing in the angular Cognizant, instead favoring a more brain-smashed sort of immediacy, a bludgeoning that’s further aided by the force of Alejandro Ramirez’s bellow.

The following comparison will only make sense to, like, four people on Earth, but this is Last Rites, so I’m going to let it loose: Trucido is kind of like the Blastasfuk version of Texas grind.

Perhaps a better recommendation: Go set fire to a trash can. [SETH BUTTNAM]

DETERIORATION – OBSERVE / TARGET / ELIMINATE

(September 15, 2026; Shattered Dreams Productions)

“People like you are what’s wrong with the world today,” declares the sample that opens “Total Withdrawal.” And hey, I can’t argue with that. But even a stopped clock is right twice a day, they say, and this is one of my two for this particular sun cycle: Deterioration kicks ass, and Observe / Target / Eliminate is yet one more example of how and why. Observe, if you will, the swinging swagger of “Observe,” the maniacal bashing of “Silent Messaging,” the utterly blistering “Total Withdrawal”… Just the Kahmann brothers’ relentless sibling savagery, all blastbeats and raw-throated screaming, strangely catchy combinations of maniacal energy and ear-rending ugliness.

Run through with an array of sound samples from a film that I can’t identify (meaning: I Googled it, and I didn’t find it), Observe / Target / Eliminate is yet another (almost quite literally) smashing success from a band that, after three decades, shows absolutely no signs of wear and tear, just simply rocking through their impressively violent brand of raw and ripping grindcore. Twenty-one minutes of absolutely savage aggression, this one’s a no-brainer for anyone into straight-ahead grinding. No frills, no bullshit, no weaknesses.

Deterioration, kids – let’s hope they can do this forever. And let’s hope they put it up on Bandcamp, and physical product, as well. This is a must-own. [ANDREW EDMUNDS]

TRIAGE – IN THE TRENCHES

(June 26, 2026; Rescued From Life Records)

Hello again, Bryan Fajardo. Our drummer of the hour is no stranger to this crew: Dallas’s Triage is basically Set for Extinction-era Kill the Client with Travis Thompkins traded in on bass. Unsurprisingly, the quartet is no stranger to ripping it up, blasting through 16 tracks in a very knowingly timed 19 minutes and 19 seconds — shout-out to the Treaty of Versailles. Whether Triage carries the Great War theme deeper than the title, cover, opening sample, and a closing rendition of “Taps” is to be found somewhere in singer Champ Morgan’s raging, almost blackened roar. Certainly, the band takes a different tack than some metal historians: Rather than the slow siege of trench warfare or suffocating fog of mustard gas, In the Trenches is more like hearing the whistle that sends you over the top, where you’re introduced to a hail of bullets turning men into mulch for no man’s land — less the finale of Blackadder, and more Mel Gibson getting torn apart in Gallipoli. To that end, Thompkins and guitarist Chris Richardson’s commitment to the quick riff is as impressive as Fajardo’s drum set-mounted Vickers gun. Appropriately, In the Trenches also sounds absolutely unhinged, as anything about a barbaric battle should, and even the Nasum-like punk riffs have a wild-eyed, warrish ferocity.

War is hell. [SETH BUTTNAM]

GETS WORSE – NO BONES

(July 30, 2026; Bandcamp)

So here’s the thing I think you should know about me, or at least, I think so, maybe: I think you should know that I think too much. I think about things all day long, and all night, too, and then I think, “I’m probably thinking about that more than I should,” and then I think about that for, like, weeks and weeks. I think, I think, I think… my thoughts like water down a drain. I think, and I think, and then, thinking about it now, from my first thought ‘til whenever, I think it just gets worse…

And here’s the thing about Gets Worse, I think: You don’t gotta think about this. At all.

No bones about it: No Bones is raw-as-hell powerviolence, to the damn point from the second it drops the hammer. Reduced now to bass and drums, Gets Worse is still just simply tearing shit up like it’s their damn job. (Maybe it is their job, I dunno. Good work, if you can get it. Are they hiring? Let’s think about that for an hour or ten.)

But seriously, folks: No Bones is seventeen songs in, like, fifteen minutes… It’s duelling vocals, shifting tempos from blast to trudge. It’s unstoppable energy; it’s palpable anger, and it’s not missing the guitars it’s lacking. Sure, it’s important to note that No Bones is not dumb, mind you, not in the least – it’s just not really directed towards the thinking bits. It’s not immediately cerebral, no – but it’s undeniably visceral. It tickles a part of the brain buried so deep that you aren’t really thinking, you’re just reacting. And that’s the point; It’s fight or flight, lizard brain, so what says ye when the fury comes crashing down around us? Because when it comes to this type of rawboned wrecking, it doesn’t often get much better than Gets Worse.

I think I love it, so what are you so afraid of? [ANDREW EDMUNDS]

SULFURIC CAUTERY / TOLERANCE – SPLIT

(May 29. 2026; Bandcamp)

Sulfuric Cautery’s side is a bit of a throwback to the band’s punkier hypergoregrind beginnings, pushing the pinging pace to Foetopsy speeds under a guitar tone that sounds like you’re stuck in an orgy between jet engines. The 10 tracks are of interest to Sulfuric historians, too, since these are some of guitarist/vocalist Derek Ramirez’s earliest recordings with the band. The general tempo is fast, faster than fast, and then even faster than that.

Tolerance, on the other hand, opens its side with a chug crusher. Even at its quickest, like the ludicrous-speed “War Criminal Scum,” the Finnish band goes all out for sheer density, to the point that the blasts are like four NFL nose tackles tap-dancing on your chest. The guitar tone is also absurdly oppressive, bathed in a noisy, grimy grit that festival goregrinders aiming to fill arenas typically lack, filling in the sonic spectrum like a flash flood around the drums and pitch-shifted vocals. Heftier than the line for XXXL shirts at a Crowbar show, Tolerance is that real-deal grossness.

Someone please break some international shipping laws and import this hazardous material LP into the States. [SETH BUTTNAM]

WORLD PEACE – FOR NO MAN SHALL SEE ME AND LIVE

(May 1, 2026; Bandcamp)

Would you dedicate seven minutes towards World Peace? Well, you should, you selfish bastard. But seriously, this two-bass trio is one of the funnest, darkest, crushingest, most exhilarating purveyors of powerviolence around.

Don’t believe me? Take it from them, in unsubtle code: Right there, on the album cover, it says: “Ten songs / 6:35.” That means this: For No Man Shall See Me And Live doesn’t waste time, or breath, or energy, although it expends an incredible amount more of the latter in those sub-seven minutes than it does of the first two. Vicious and snarling, pounding and gnarly, these two bass guitars hammer the riffs home while the drums hammer everything else, through short burst of pure anger after shorter burst of pure anger. Some swagger, some just blast away; some let air come in, only to push it all out of the room with the very next track. “Bastard Sons Of Noah,” “Land Of Plenty,” “In Anticipation Of The Final Reward,” all are highbrow thoughts rooted in knuckle-dragging crushing violence, filthy and flattening, feedback-laden and fuzzed-out, purely pummeling and powerful. Alliterative music-blogger nonsense aside, World Peace is what you and every beauty pageant contestant for the last forty years has been wishing for, and For No Man Shall See Me And Live is proof that we may only achieve that through serious powerviolence. [ANDREW EDMUNDS]

MERC – NO ONE LEAVES THIS ROOM

(June 13, 2026; No Time Records)

North Carolina’s Merc has been merking sound systems for a couple of years, doing a loud-and-low take on powerviolence. They’re a bit like the Bay’s World Peace in that sense, since devotion to crush is half the battle; a few of the bassy thwangs sound like the moment before a dam collapses.

No One Leaves This Room, though, also features the band’s strongest songwriting. While Merc primarily magnifies the mayhem in the mosh pit, it has a real sense of rise and fall that gives these songs a flow that makes for good listening, not just a soundtrack to crowd-killing. The songs are also subtly diverse: “Firewood Frame,” for instance, opens with a tricky, near-tech riff that explodes into blasts that eventually give way to hardcore, including a Hatebreed-quality breakdown. [SETH BUTTNAM]

Thanks, Seth. We’ll do it again next week. Stay tuned.

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Dance Hall Crashers have another single for your ears! “Don’t Call” is another unreleased track that the band previously lost during the “Purr” era. To celebrate the re-release of the record, fans can now listen to “Don’t Call” and “Ambush.”
 
“Don’t Call” and “Ambush” are just two of seven previously unreleased songs. Four of the songs were previously recorded before the band went on hiatus, and then lost and forgotten about, before being found again this year. Three others were formerly only ever released in Japan.
 
Fans can pre-order the Deluxe album here on vinyl while supplies last.

“Purr” Deluxe Tracklisting: 

1. Beverly Kills
2. Setting Sun
3. The Real You
4. Everything To Lose
5. Just Like That
6. Remember To Breathe
7. No Heart
8. Please Don’t Look Away
9. Make Her Purr
10. Do You Think You’re Beautiful
11. Nothing Left To Say
12. Won’t Be The Same
13. Cat Fight
14. Sick As A Bat
15. Cricket
16. Ambush
17. Don’t Call
18. Unremembering
19. Record Collector

About the album artwork:Sam Grinberg is a cartoonist from the woodsy suburbs of New Jersey, now based in Los Angeles. He has worked with The Simpsons, Amoeba Music, The Academy Museum, Adult Swim, Oni Press, Live Nation, and more. His newest comic, Scumburbia, is on sale now at comic shops across the country.

ABOUT DANCE HALL CRASHERS:

An outgrowth of the legendary Operation Ivy, the Berkeley, California-based ska-punk outfit Dance Hall Crashers was briefly led by Tim Armstrong and Matt Freeman, Op Ivy alumni who later reunited in Rancid. Both left within weeks of the Crashers’ 1989 formation, but the group continued on, now led by vocalist Elyse Rogers and guitarist Jason Hammon; a series of other lineup changes followed, most notably the addition of second vocalist Karina Denike joining in 1990. Dance Hall Crashers disbanded soon after, bowing to pressure from fans to play a reunion gig in 1992; the response to their performance was so positive that they immediately reformed on a permanent basis, settling on a lineup of Rogers and Denike on vocals, Hammon on guitar, his brother Gavin on drums, guitarist Scott Goodell and bassist Mikey Weiss. The very first group signed to MCA’s new 510 division, they issued their debut LP Lockjaw in 1995. A compilation of early singles, The Old Record, followed in 1996 before they resurfaced a year later with their second studio album, Honey I’m Homely. A steady stream of releases followed, including 1998’s Blue Plate Special EP, the 1999 studio effort Purr, and 2000’s The Live Record: Witless Banter and 25 Mildly Antagonistic Songs About Love.

The post DANCE HALL CRASHERS Released New Single “Don’t Call” first appeared on FemMetal – Goddesses of Metal.