Category: news

Judas .

The post Judas Priest to release career spanning compilation album ‘The Best of Judas Priest’ on June 19th first appeared on Sleaze Roxx.

And Fieldy’s son is also in a nü-metal band.

The post Korn’s Brian “Head” Welch Shows Love To Deftones While Hanging With Fieldy’s Son appeared first on Theprp.com.

Over their long ass career, Judas Priest have had some banger cover art in their discography. British Steel, Screaming For Vengeance, Painkiller… the list goes on. Well, you can add one more kick ass cover art to the list, as their new greatest hits compilation The Best of Judas Priest has some sick art as well.

Set for release on June 19 via Sony Music, the collection will be available in three different formats: a CD version featuring 16 tracks and both a standard and online-exclusive picture disc vinyl featuring just 10 tracks.

Of course, die-hard Priest fans will know that June 19 is an important date in the band’s history, as it’s not just the release date of the 50th anniversary of their album Sad Wings of Destiny, but it’s also the date the band’s documentary The Ballad of Judas Priest will come out as well.

As for its tracklist, this compilation will span all 50 years of the band’s history, going back to their 1974 debut Rocka Rolla until their 2024 album Invincible Shield. You can check out the killer art, as well as the tracklists for each version, below.

The Best of Judas Priest Track List:

CD

01. You’ve Got Another Thing Coming
02. Lightning Strike
03. Breaking The Law
04. Beyond The Realms Of Death
05. Painkiller
06. Hell Bent For Leather
07. Rocka Rolla
08. Turbo Lover
09. Electric Eye
10. Crown Of Horns
11. Living After Midnight
12. Night Crawler
13. Heading Out To The Highway
14. Better By You, Better Than Me
15. The Sentinel
16. Diamonds And Rust

Vinyl

Side A
01. You’ve Got Another Thing Coming
02. Breaking The Law
03. Painkiller
04. Hell Bent For Leather
05. Turbo Lover

Side B
06. Electric Eye
07. Crown Of Horns
08. Living After Midnight
09. Heading Out To The Highway
10. The Sentinel

The post Judas Priest’s Career-Spanning Greatest Hits Collection to Have Some Badass Cover Art appeared first on MetalSucks.

If there ever is going to be a Tampa Bay death metal encyclopedia under the term of “flown under the radar,” there should be a picture of Monstrosity, a group often overshadowed by the more commercially successful bands in the Tampa Bay death metal scene, deserving of more recognition and a fair handshake in their formative years, especially during the Jason Avery era.

With over 30 years of existence, the band has released seven albums and navigated numerous lineup changes, yet they remain overshadowed by the legacy of former vocalist George “Corpsegrinder” Fisher, who went on to join Cannibal Corpse. Indeed, a lot of members who were in Monstrosity went later to join “bigger acts,” leaving them in the wider populace as the band George was in before joining Cannibal Corpse, like a trivia badge.

It’s fascinating to note that their line-up history reads like a who’s who of Tampa Bay’s death metal scene, featuring several musicians who have made significant impacts elsewhere. Despite this, Monstrosity has rarely received the recognition it deserves for its relentless energy and technical prowess, which are more or less consistent in their overall discography.

Excuse the long rant; we got a gig to cover and what this illiterate narrator and other 80+ people in the audience saw last night.

Quick disclaimer, I will try to be nice to the first two opening bands.

 

The venue of the latest sonic assault organized by the lovely people of Nasty Abyss is Vintage Industrial Bar, which is, in my opinion, one of the best places for this kind of gigs and alternative events in general. Great sound and space to fit 200 people without an issue.

But unfortunately, it was Tuesday, and I can feel it in the vibe. From the opening doors at 19:00 and with a small number of attendees, this is going to be a slow night.

The first opening band, Deadwood from Canada, started at 19:15 sharp, in front of eight people, including me and the photographer. Nevertheless, the timetable will be respected, as it is a strict tradition under the Nasty Abyss office.

The first sign that Deadwood will not be my cup of tea is that there is no bass guitarist, but yet again, you can’t complain that you don’t hear the bass if the band has no bass player (insert meme here).

Despite the quite impressive stage equipment, the sound of the band was too modern & muddled, and the riffs were too narrow. The thing that positively stood out was the drums, more precisely its sound. This must be one of the most effective drum sounds I heard live in recent memory; every part can be sonically distinguished: the toms, the snare, and even the cymbals. It caught my attention that the drum tech is female, which is an awesome piece of trivia in my opinion. I would love to hear her nerd talk about drums.

Despite its shortcomings, Deadwood played a tight set, especially the vocalist, who, again, sounded too modern for my taste. He performed its vocal track apparently with ease, and the vocals were pretty much all over the place in their songs.

At 19:50 their set ended, and the line check for the second pay-to-play is in process; this time Reject the Sickness from Belgium. The venue is gradually becoming more animated as people trickle in. The first positive note is the vocalist Guy’s—yes, that’s really his name—enthusiasm as soon as he steps on stage. After the band’s collective fist-pump, the show kicked off. Reject the Sickness is less a modern metal slug than Deadwood but only by a certain mile. The performance is much more energetic and, dare I say, playful in attitude, especially from the vocalist. His approach to the audience is still good, despite our less than stellar attendance. Nevertheless, it was a good set, although it was not that style of metal that the audience had come for.

50 minutes later we are free of pay-to-play bands, as Bio-Cancer was next for the stage. The venue, by numbers of human waste on two legs, had passed the embarrassing mark, and it started to look like a proper crowd. It has a good reason; despite being a band a bit on the younger side, these Greek thrashers have a strong following, giving us gut-punching thrash metal that is obviously meant to be performed live.

And they performed live very well; performance and presence-wise, they owned the stage. Despite Vintage not having the biggest stage on earth, the band used every centimeter to dominate.

Bio-Cancer is that style of thrash metal that shines mostly live, and maybe I would say that they stole the show from Monstrosity… if Donald Duck were not on the vocals. Yes, I said it.

If Bio-Cancer had any other type of vocals, and I fucking mean any type of vocals, I would be in the first mosh pits that occurred during the performance. Instead, half of their performance I was staring at angry Donald Duck GIFs. Anyone in the audience who has seen it had the same reaction: “Holy shit, it’s the same voice.”

Perhaps I would go over the fact that the vocalist is doing a faithful voiceover of an angry cartoon character; we all know that this genre has a shitload of crazy vocalists. The other problem is that the vocals are opaque and monotonous as hell.

It did not kill the full impression of the band; like I mentioned, their performance was awesome and really fully animated the “It’s Tuesday and I just came from work” crowd, but I’m still dreading the scenario if Dave Mustaine and Bio-Cancer do a collaboration.

Time for the headliner, finally. I said my opinion on Monstrosity in the beginning of the report, so I will cut to the chase; it was a good, professional performance but not the headliner quality. I might say that it was at times awkward, as the band did not really want to be there.

Lee Harrison (the last original member, drummer, and hell of a cheesecake maker, according to Jason Avery) is a hell of a presence, but it was sometimes too hard to see him upfront in the first rows from Ed Webb, who is their newest vocalist. Unfortunately, Ed is a few kilograms away from having a heart attack or appearing in the new Godzilla movie. By god, Ed, eat a salad.

The setlist, at least on paper, was awesome; it had a solid balance of the excellent new album Screams from Beneath the Surface, three tracks from the In Dark Purity record, and bits from the first two albums. By simply looking at the setlist, you are sure as hell that you are in for a killer show, at least on paper.

I have their setlist from last night on my desk, and this is not the songs nor the order they played them. It looks like this list was more like a suggestion piece for what to play next than anything else. The fact that it did not help is that Ed barely had any communication with the audience and rushed one song after another like they were in a hurry for a bathroom break. Especially after some 40 minutes when they started to look at each other like, “Should we do one more? ”. Luckily, there was an encore where they played Angel’s Venom, which is personally one of my favorite songs.

You will really think, if you are going to perform Total Destruction of Bathory, you will hype it or maybe just tell the audience.

Nope, they popped out the song, and who did not notice? Oh well.

The only guy who showed some enthusiasm was ironically their session guitarist Sam Molina, who was in Monstrosity from 2001 to 2006 as a full member and later joined Terrorizer.

I really wanted this report to be a nice tribute to Monstrosity and give them high praise, but that is not the case unfortunately. This gig was half-measured and by the numbers. Well performed but lacked the enthusiasm that would make me run home and put on the In Dark Purity CD I bought last night on my stereo and wake up the neighbors.

Tuesdays still suck.

 

 

 

Look, it’s a Grouper tour! These days Liz Harris rarely goes on the road in North America; when she does play shows, she tends to stay closer to her native West Coast. But today she’s announced a run of six tour dates this September, kicking off with an appearance at Chicago’s Sound & Gravity Festival before hitting the East Coast. She’ll make stops in Toronto, Montreal, Kingston, New York, and DC. See those dates below.

The post Grouper Announces Rare North America Shows appeared first on Stereogum.

Riding the momentum of the record announcement, Bolan keeps the energy high and the buzz building with the release of his second single ‘Anything But You‘ – giving fans another glimpse of what’s ahead and another hook that sticks! After four decades as a driving force behind Skid Row, bassist and songwriter Rachel Bolan steps […]

The post Bolan (Skid Row) – New Single ‘Anything But You’ Out Today appeared first on ROCKPOSER DOT COM.

The "Maiden of Metal" will compete in the NXT developmental division. Continue reading…

Italian grindcore veterans Cripple Bastards have announced this June, they will be releasing a brand new EP titled, "La Tua Foto Sul Marmo." A statement from the band reads as follows: "Big news! Finally, 8 years after our previous album, we're thrilled to announce that a new Cripple Bastards EP titled 'La Tua Foto Sul Marmo' will be released in J… Read More/Discuss on Metal Underground.com

A fantasia voyage.

The post SLIFT Announce Fall North American & European/UK Tours appeared first on Theprp.com.

“I Skogens Djup” is probably not the song title you’d expect from Vancouver, BC-based melodic/symphonic DM outfit Atavistia. After all, Swedish is clearly not the Canuck foursome’s first language. But this latest single from the band’s upcoming fifth full-length, Old Gods Awaken, was inspired by Scandinavian folk metal and Atavistia—Mattias Sippola (guitar/vocals), Max Sepulveda (drums), Elia Baghbaniyan (guitar), Spencer Budworth (bass/vocals)—leaned into it. The video is a live performance filmed in 2025 at the Armstrong Metal Festival in Armstrong, British Columbia, and it captures the undeniable energy of the new track.

Old Gods Awaken was produced by Sippola and engineered by Sippola and Sepulveda. It’s set for release on CD and digitally via Blood Blast Distribution on May 15. Place your preorder here.

Here’s how the band described its first foray into writing in a different language:

“‘I Skogens Djup’ (in the depths of the forest) is our first song written entirely in a different language. We found the song to be very Finntroll inspired and thought of writing the lyrics in Swedish. We felt it was a great decision for the timing of the lyrics to fit better in Swedish. This is also one of our shortest songs but it’s fast, catchy, and punchy. This track also has the first guitar solo of the album. There are many secrets in the forest and the only way to uncover them is to venture inside.”

The post Video Premiere: Atavistia – “I Skogens Djup” appeared first on Decibel Magazine.