Category: news

They wrote the track for the latest ‘Diablo IV’ DLC.

The post Korn Premiere “Reward The Scars” Music Video appeared first on Theprp.com.

Belgian avant-garde outfit Emptiness have announced their return with a seventh studio album titled Nowhere Speaks. Set for release on 17th July 2026 via Season of Mist, the ten-track record marks a deliberate and mind-bending structural link to their past work. Fans have spent years debating the abrupt, mid-riff silence that ended their 2014 masterpiece … Continue reading Emptiness announce seventh album ‘Nowhere Speaks’

2026’s definitive meme song so far is “Bazooka,” the breakout single from Miami XO. In the past couple of months, the 26-year-old South Carolina rapper has earned co-signs from luminaries such as Popcast co-host Jon Caramanica and Hollywood’s own William H. Macy. Miami XO also dropped a “Bazooka” remix featuring fellow meme rapper Yuno Miles, plus a “sequel” track and a separate follow-up called “Granny Lore.” Now, he’s finally playing shows.

The post “Bazooka” Rapper Miami XO Plays First-Ever Show appeared first on Stereogum.

FOR IMMEDIATE RELEASE
GRAVEMASS IGNITES UNDERGROUND BUZZ WITH NEW 8/10 REVIEW FROM BRINGER OF DEATH

Vancouver, B.C. Canada based extreme metal force Gravemass is continuing to turn heads in the underground after landing a strong new review from Bringer of Death , highlighting their 2026 album “This Is The Wat” via Endgame Records .
The review praises the band’s aggressive fusion of black metal, death metal, and speed metal , calling attention to their ability to blend styles into a sound that is both chaotic and controlled. From the opening moments, “This Is The Wat” sets a dark tone with atmospheric soundscapes before exploding into full force heaviness, driven by relentless riffs and crushing percussion.
Bringer of Death points out the vocal assault as a key standout, noting a mix of death metal growls and black metal screams , along with moments that incorporate shouted passages and spoken word sections for added intensity. The result is a record that constantly shifts and evolves without losing its core brutality.
Instrumentally, the review highlights the band’s use of dark melodic guitar work layered over powerful production , with frequent transitions between slow-burning passages, mid-tempo punishment, and blistering speed metal bursts. When the tempo spikes, the blast beats hit hard and keep the momentum locked in at full force.
Lyrically, “This Is The Wat” leans heavily into themes of occultism, blasphemy, and anti-Christian imagery , reinforcing the record’s dark and confrontational identity. According to the review, the production is “very professional,” giving each instrument space to cut through the chaos while still maintaining a raw underground edge.
Bringer of Death summarizes Gravemass as a band that successfully merges multiple extreme metal styles into a unified and recognizable identity, ultimately rating the album 8 out of 10 .
Recommended tracks include:
“Slave To Pain”
“Harvest Of Souls”
“Fallen”
“Poison Temple”
With strong critical momentum building, Gravemass continues to establish themselves as a serious name in the modern extreme metal underground.
Check out the full review here: https://bringerofdeathzine.blogspot.com/2026/04/gravemassthis-is-wayendgame-records2026.html

 Connect with the band:
https://gravemass.com/gravemass-epk/
Contact: 
ashley@endgamerecords.com 
info@gravemass.com

Their first EP will be out in May.

The post KILL CHAIN (Comeback Kid, A Mourning Star, Etc.) Launch Debut Single “Never Been Yours” appeared first on Theprp.com.

After a fair bit of activity following their re-emergence in 2021, Romanian dark metal outfit Eternal Dark have officially released their second studio album, Cugetări. Featuring nine new tracks, framed by a dedicated intro and outro, the record sees the band continuing to explore a broad and melancholic stylistic palette, keeping their lyrical focus firmly … Continue reading Eternal Dark return with sophomore album ‘Cugetări’

For a while now, Abel Tesfaye has been saying that he wants to stop releasing music as the Weeknd. Last year, however, he said that he might not be done with the Weeknd after all. And at a show in Rio de Janeiro on Sunday night, he offered some idea how a new Weeknd song might sound.

The post The Weeknd Debuts New Song In Rio appeared first on Stereogum.

Hot on the heels of their appearance at Sick New World, Bring Me The Horizon have announced that they are heading back to North America for another round later this year.

The Third Ascension Program will see the band taking over even more cities, mostly hitting up Canada this time around.

They will once again by joined by Motionless In White and The Plot In You. Here is where you can catch them if you haven’t had a chance yet.

SEPTEMBER

20 – VANCOUVER Rogers Arena
23 – EDMONTON Rogers Place
24 – CALGARY Scotiabank Saddledome
26 – WINNIPEG Canada Life Centre
30 – QUEBEC CITY Videotron Centre

OCTOBER

02 – OTTAWA Canadian Tire Centre
03 – HAMILTON TD Coliseum
06 – LONDON Canada Life Place
08 – GRAND RAPIDS Van Andel Arena

And if you fancy a taster, the band gave their ‘NeX GEn’ track ‘YOUtopia’ its live debut at a special underplay at the Hollywood Palladium last week.

The news comes hot on the heels of the band revealing the details of a rerecorded version of their debut album ‘Count Your Blessings’. Count Your Blessings: Repented’ is set for release on July 10, with the tracklisting featuring what looks like a previously unreleased track.

The band will also be playing two special shows in Manchester on July 10 and 11 where they wil perform the album in full for the first time, with support coming from Static Dress, Dying Wish, HERIOT, Rolo Tomassi, Car Underwater and Still In Love (featuring original guitarist Curtis Ward, by the way).

The post Bring Me The Horizon Reveal Third Leg Of North American Headline Tour appeared first on Rock Sound.

There was a time in my youth when bands like California’s Atreyu, Killswitch Engage and their ilk were all I wanted to listen to. Whether this was due to the novelty of the sound in its era, coinciding with my novice experience with metal as a whole, or perhaps the reflection of my own earnest angst resonating from the common themes of the scene, records like As Daylight Dies or Lead Sails Paper Anchor marked core albums in my metallic upbringing. However, with only two exceptions, I never kept up with any of these bands as time passed. My tastes shifted and evolved. For a time, I forgot entirely about Atreyu, until the itch to sing a few of their songs in the car became too much to bear. And so, when I saw Atreyu were not only still active, but about to release a new record aptly entitled The End is Not the End, I had to know how almost 20 years of time away changed my appreciation for Atreyu.

One thing that 20 years did not change was Atreyu’s style. Since my introduction to them with Lead Sails Paper Anchor, an album I still hold in high regard for better or for worse, they firmly entrenched their metalcore base with poppy beats, addicting choruses, and earnest, if ham-fisted, lyrics. Thankfully, they also boasted one of the better vocalists in a style hell-bent on employing whiny tenors with unrefined technique, both in harsh and clean styles. If anything, Brandon Saller has only gotten better with time and practice. The rest of the lineup shifted and swirled until settling into its current form in 2020,¹ but other than a marked uptick in pop-centric songwriting, Atreyu preserved the core of their 2007 sound remarkably well.

This both works in their favor and leaves me cold. On one hand, killer hit-makers that are impossible to resist (“Break Me,” “All for You”) recall the shockingly effective simplicity of post-grunge-pop acts like Daughtry or Shinedown at their peak. On the other hand, a distinct lack of unique ideas or distinct identity for the vast majority of its 45-ish minute runtime (with the exception of “Ego Death” and “Children of the Light”) leaves me starving for something of substance. At times, as in the generic “Death Rattle,” small songwriting choices (the crowd-core “MOTHERFUCKER” shout being one) cause a minor recoil in my spine as it recalls the more embarrassing moments of my teen years. However, album standouts “Children of Light” and “In the Dark” evoke a legitimate callback to classic In Flames-style melodic death metal, rippling with energetic gallops and even a cool tandem guitar/saxophone solo. These songs don’t go so far as to abandon Atreyu’s pop sensibilities or cheesy lyrics, but they are big fun nonetheless and are sure to please crowds mightily.

Yet I struggle to recall anything from The End is Not the End once it… well… ends. As happy as I am pulling my favorite songs like “All for You” or “In the Dark” for playlist duties—which would eventually allow them to find purchase in my memory—I can’t help but stew in disappointment that nothing here sticks with the immediacy of past bangers like “Doomsday,” “When Two Are One” or “Falling Down.” I can appreciate that The End is Not the End is an altogether more hopeful and uplifting record compared to that angsty, bitter predecessor of my youth, but the shift in tone hasn’t helped the songwriting. On that front, The End is Not the End sounds like Atreyu going through the motions, spinning their wheels, and making very little forward momentum. In turn, I found very little here to grab onto and even less that grabbed me first.

I still want to go to bat for these guys. As many times as I’ve heard my comrades and co-conspirators belittle Atreyu, I can’t help but protect the soft spot I have for them. At the same time, The End is Not the End is not going to convince any of the naysayers, and hasn’t won me over either. There are great songs here with choruses that I would have a blast belting out at a drop of a hat. A couple of small sparks of unexpected heft remind me that Atreyu are, indeed, part of the metal landscape, albeit on the poppiest fringe of the core region. All in all, though, I’m not going to think at all about The End is Not the End 20 years from now. Alas.

---

Rating: Disappointing.
DR: Use Your Imagination | Format Reviewed: Streamfarm
Label: Spinefarm Records
Websites: atreyuofficial.com | facebook.com/Atreyu
Releases Worldwide: April 24th, 2026

The post Atreyu – The End is Not the End Review appeared first on Angry Metal Guy.

HELLS BELLS FESTIVAL 
26-27 June 2026
Plac Gryfitów, Łasztownia

Three winners to join the billing; Important schedule update for the live final in Szczecin

Hells Bells Festival has opened the public voting phase for the Hit The Bell band contest. With hundreds of applications arriving from around the world, the festival is now handing over the power to fans to help decide which acts will join the 2026 lineup on the banks of the Oder River.

A total of three emerging bands will secure a spot at the debut edition. The selection process is as follows:

1. One band will be selected directly by the fans through online voting
2. One band will be chosen by a professional jury during the live final at Dom Kultury Słowianin
3. One band will be hand-picked by the festival jury as a “Wild Card” entry, based on artistic merit rather than vote count or final performance

The festival has also announced that, due to technical reasons beyond the organisers’ control, the date for the “Hit The Bell” Grand Final at Dom Kultury Słowianin has been moved. The live showdown will now take place on Saturday, 30 May, with five finalists competing for the Jury Prize at one of Szczecin’s most iconic cultural venues.

The public voting phase is open until 4th May. Vote here: https://hellsbells.pl/hit-the-bell/

The “Hit The Bell” winners will join a line-up that covers heavy metal, punk, rock and extreme metal. Across three stages, the festival will deliver everything from the traditional heavy metal of the legendary Dirkschneider and Grave Digger to the extreme of Possessed, Vader, NunSlaughter, and Dead Congregation. The thrash metal contingent is bolstered by the technical assault of Gama Bomb and the legendary Frank Blackfire, while the fuzz-drenched riffage of Belzebong provides a stoner-doom counterpoint. 

The punk and hardcore legacy of Discharge, UK Subs, Cockney Rejects, The Last Resort, and local icons The Analogs and Dezerter stands alongside the horrorcore energy of Słoń and the avant-garde darkness of Furia and Dola. Furthermore, the festival remains a vital platform for the new generation, showcasing the rising power of The Materia, The Stubs, Owls Woods Graves, Hamulec, My Own Abyss, Seks W Czasach Wojny, Pretensje, Drowned In Silver and Diving Stove. 

As previously announced, the festival has entered its next pricing tier. This pool of tickets will be available only until 31 May 2026 (or until sold out): Full Weekend Pass (PLN 409), Friday Ticket (PLN 199), Saturday Ticket (PLN 229). The festival also continues to offer the discounted Youth Pass (ages 13-18) and Family Pass (adult with child under 13).

Secure your entry now: https://hellsbells.pl/

Hells Bells online:
FB: https://www.facebook.com/hellsbellsfestival

FB Event: https://fb.me/e/7cujCjrCo

IG: https://www.instagram.com/hellsbellsfestival

TikTok: https://www.tiktok.com/@hellsbellsfestival

Official teaser: https://youtu.be/TybhrrUbNF4?si=s5V9NNRZ4t1JV499