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Brady Ebert, a founding member of the Baltimore hardcore punk band, hit the father of Brendan Yates, the group’s lead vocalist, with his car, the police said.

Photo Credit: Leon de Backer

Heavy psychedelic rock giants ELDER have revealed the first single and title track from their eagerly awaited new album, Through Zero, out May 29th via Blues Funeral Recordings (North America), Stickman Records (Europe/UK) and Bird’s Robe (Australia).

Commenting on the song, vocalist/guitarist Nick DiSalvo says:
“In a diverse album, the title track of our new album sits on the middle of the spectrum and is a perfect first impression of what’s to come. Dreamy, heavy, raw, electronic, there’s a bit of everything that makes this album special to us. Through Zero is about impermanence, coming to terms with mortality and the long struggle to not only make peace but to find a sort of solidarity with the dead. The more time passes, the more this theme returns to me, and always in a new light – much as our music always returns in a slightly changed state reflecting who we are becoming.”

Pre-Order Through Zero:
https://mailchi.mp/bluesfuneral/elder-through-zero-preorder

ELDER’s follow-up to 2022’s critically acclaimed Innate Passage was self-produced by the band and co-mixed with Richard Behrens. Across six expansive tracks, ELDER continues their exploratory journey, blending their signature towering riffs and immersive atmospheres with influences drawn from beyond the traditional rock spectrum, further expanding their progressive vision.

Through Zero Track List:
1. Sigil To Ruin
2. Capture & Release
3. Through Zero
4. Strata
5. Sight Unseen
6. Blighted Age

ELDER will take their new record on tour across Europe this summer performing at festivals followed by US shows in the fall. Tickets are available for announced dates now at https://beholdtheelder.com/tour/.

ELDER European & UK Tour Dates:

June 13 – Derby, UK – Download Festival
June 14 – Colchester, UK – Colchester Arts Centre (w/Blood Incantation)
June 15 – Southampton, UK – The 1865 (w/Blood Incantation)
June 16 – Brighton, UK – Concorde 2 (w/Blood Incantation)
June 18 – Clisson, FR – Hellfest
June 19 – Graspop Metal Meeting
June 20 – Dortmund, DE – Junkyard Open Air (w/Kadavar)
June 21 – Frankfurt, DE – Das Bett
June 23 – Winterthur, CH – Gaswerk
June 24 – Karlsruhe, DE – P8 (w/REZN)
June 26 – Oslo, NO – Tons of Rock
June 27 – Thyrnau, DE – Blackdoor Festival
June 30 – Sofia, BG – Mixtape 5
July 1 – Thessaloniki, GR – Eightball Club
July 2 – Athens, GR – Arch Club
July 7 – Slunj, HR – Bearstone Festival
July 10 – Pleszew, PL – Red Smoke Festival
July 23 – Reutlingen, DE – Hafensounds Festival (w/Kadavar)
July 25 – Tolmin, SI – Tolminator Festival
July 26 – Milan, IT – Circolo Magnolia Summer
July 28 – Rockstadt, RO – Rockstadt Extreme Fest
July 30 – Breitenbach am Herzberg, DE – Burg Herrzberg Festival
Aug 4 – Rostock, DE – MAU Club
Aug 5 – Josefov-Jaromer, CZ – Brutal Assault Festival
Aug 9 – Âncora, PT – Sonic Blast Festival
Aug 14 – Valais, CH – PALP Festival

The post Elder announce new album Through Zero and share title track appeared first on The Prog Report.

After striking gold with the Bridge Of Sighs album, guitarist Robin Trower became a hot commodity on the concert circuit. Live albums being all the rage in the 70s, naturally the guitarist followed suit and delivered Live!. Though double live albums worked out well for Deep Purple, KISS, and Peter Frampton, Trower and his label decided to narrow the focus down to a single LP with only seven songs. Fortunately, the 50th Anniversary Edition of Live! includes five previously unreleased tracks from the 1975 Stockholm performance to complete the picture.

Indeed, Live! has joined the ranks of epic double live albums as a two-vinyl and two-CD set, with a brand-new mix to boot. Here’s the catch: the first disc is the complete show, and the second disc is the original Live! album. So, you get seven songs twice, yet in different sequences. Here, we’ll stick with the first disc for the full-on, as-it-happened experience.

With Trower, James Dewar handling the vocals and bass and Bill Lordan drumming his way around the pocket, the trio explodes out of the gate with their best-known song, “Day Of The Eagle.” Dewar’s soulful voice wiggles around the Trower riff while the chugging cadence propels the song ahead at a fiery, steady pace. “Bridge Of Sighs” follows, and an immediate, elegant sway takes over, allowing Trower to stretch out and make those notes sing. The extended solo was practically a requirement back then, and the master pulls it off brilliantly.

It’s wonderful to hear Trower give Dewar a shout-out at the end of “Fine Day,” a standout from 1975’s For Earth Below. The singer, who passed away in 2002, made seven albums with Trower and it often seems like he never got his due. Like Trower, he was at his peak in 1975. He takes the reins on both “Lady Love” and “Daydream,” the first two from the first disc that made the cut for the original Live! album. Dewar and Trower are more or less joined at the hip for “Daydream,” before the guitarist wanders off into the stratosphere with one of his fieriest solos, then let backs off the throttle to roam a bluesy landscape. Definitely one of the most poignant flashes of the set and we’re only halfway to the last hoorah.

“Too Rolling Stoned” stirs up the audience, kicking the tempos up a notch. Next to “A Day Of The Eagle,” this might be one of Trower’s headiest licks, allowing Dewar to dig in on the verses before sitting “the one out,” only to return to repeat the chorus as Trower rips up the soundwaves and wanders off into another open sonic pasture filled with infinite possibilities. “I Can’t Wait Much Longer” opens with another nod from Trower to Dewar, whose voice soulfully and effortlessly croons around the verses and chorus like a comfortable blanket one might grasp to stay warm. “Alethea,” another one from For Earth Below and apparently relatively unknown to the Stockholm audience, pulsates and swings and throws the spotlight on Lordan for a brief, snappy drum solo. This one and “Little Bit Of Sympathy,” another fuzzy sizzler, two more entries from the original seven-song Live! album end the main set.

For the encore, the trio fires off a powerful “Confessin’ Midnight” and BB King’s “Rock Me Baby,” covered on Trower’s 1973 debut, Twice Removed From Yesterday, which appropriately ends the show on a rocket high. You can only imagine what it was like being there. The whole show with an upgraded mix and packed with a booklet, including new liner notes by David Sinclair including interviews with Robin and Bill Lordan, plus previously unseen photos from the period, Robin Trower’s Live! 50th Anniversary Edition is a trip back to the time when live albums roamed the earth and scorched the airwaves, capturing the experience of being there when an artist summons his craft and shares it in a room filled with wide eyes, open jaws and anxious ears.

~ Shawn Perry

Purchase Live! 50th Anniversary Edition

Delirium MT – formerly known as Delirium – is a 3-piece heavy metal band consisting of Noel Zarb on vocals and guitar, Aidan Falzon on bass and Karen Micallef on drums. The band throughout the past year has been working on its second album. Delirium MT has also been working on a number of projects […]

Prog Stomp 2026 brings four of Australia’s heaviest progressive metal bands to Southeast Queensland on one amazing weekend in May. Thrash/death/modern metal meets groove, classicism, and jazz. Therein, Ahles, Age of Emergence and Hyperaesthesia will hit the Sunshine Coast at The Presynct, Nambour on Saturday, May 16, and PFR Lounge in Fortitude Valley on Sunday […]

Moon Machine are a neo psychedelic band from Southampton, UK. The song Aether was inspired by the band setting up analog 70’s equipment in their bass guitarists house and pressing record. Moon Machine record everything simultaneously. Someone starts improvising and they all build on it, that’s the process for each song. Their debut album Who […]

Invictus Productions plays host to a variety of fascinating and unique metal sounds. Although the Irish label focuses on practitioners of death, black, and thrash metal — the individual bands come at these styles from all sorts of angles. It’s a label you know is going to deliver raw, dark, unrelenting goodness, but you can never perfectly predict how it will play out.

And for that reason, we decided to talk to label boss Darragh O’Laoghaire to learn more about the label, the bands he supports, and what keeps him going. His insights about starting the label and the challenges he faces operating in Ireland are particularly interesting.

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Thank you for talking with us! For those who might not know, can you tell us about how Invictus Productions got started?

Back in the mid-to-late 1990s there was a lot of activity locally that I was either directly involved in or on the periphery of. Friends had started bringing in touring bands, I’d done two fanzines and Primordial, with whom I had spent a fair bit of time, had moved from Cacophonous Records to Misanthropy Records, where my friend Brian worked. I spent a little bit of time with Tiziana, having hosted her in my tiny abode in 1998 when she came to see Primordial play with Impaled Nazerene and prior to that, I pitched in with during the first two Mayhem UK shows in Bradford and London in 1997 so the seeds were planted then.

After that, I spent a bit of time in and around Hammerheart Records so in February 1999, I decided that I was going to do a label.

I didn’t play an instrument, wasn’t in a band and, back then, hardly anyone was into the same sort of stuff I was back then, so forming a band was a fantasy. Doing a label seemed like the best option. The original idea was to start with releasing Dublin band Morphosis‘ demos on CD/LP. They’ve recently split up and were a massive influence on all of us growing up in the 90s. The demos were remastered and a layout was done by none other than Stephen O’Malley but the release never came to fruition and I still don’t know why! In the end, the Slaughter Lord compilation Thrash til’ Death 86-87 became the first official label release in January 2000.

This came about as Steve Hughes (the former drummer) had relocated here from Australia in 1999. We met, hung out and got all the material mastered in a studio here in Dublin by a lady who had has much interest in metal as we did in country and western. We all sat in on that session and Steve called the shots on timings, endings, etc. A good experience!

What would you say is the core vision of the label? A lot of the roster winds up somewhere between the worlds of black and death metal, but you have a lot of acts that go in cool or odd directions as well.

The core vision of the label comes from the name Invictus. It reflects the perpetual cycle in life of overcoming, conquering and holding your ground. That expression comes through the many different releases the label has had. Each one, at different times, reflecting where my own mind is at or even where my mind is absent. The more traditional thrash, black and death metal styles are my favorites — ones born from the 80s. But I do like how they have mutated in some cases — and I am repulsed by other mutations. The nature of music and art, I suppose.

I really loved The Third Temple from Spite when it came out in 2024. The album is super dark and cinematic and I still revisit it today. How did you end up working with Jesse?

Jesse was the live drummer for Negative Plane on a 2015 European tour I had organized for them along with then label mates Malthusian. Spite had put out the Trapped in the Pentagram 7″ at that point and we got on pretty damn well on the tour so we discussed working together, which has continued to this day! Spite’s style is something I find truly expressive and the rawness of the riffs hits perfectly. Absolutely love the band! I have yet to see them live as I missed their last European tour!

Running a record label, especially in a niche area like extreme metal, can’t be easy in 2026. What would you say have been your primary challenges? Are any of them unique to being based in Ireland or the EU? Alternatively, are there advantages to this as well?

Primary challenges right now are spiraling costs. I am preparing to move to a new warehouse next month. This will be the fourth move for the label in nearly as many years. Circumstances around the warehouse I rented at the end of 2020 created some serious challenges and created some financial difficulties, which are still a current issue. Energy costs here are out of control, affecting day to day living so this in turn affects people’s spending power. People ordering less and smaller amounts, which of course creates its own challenges. This decade, the 2020s, has been extremely peculiar on a number of levels and as it progresses, it’s difficult to see much getting better or changing — but the fact remains that unless people completely stop buying LPs, CDs, etc. then there’s a market and we will continue to release new music accordingly!

Being based in Ireland, a small island on the periphery of Europe, certainly brings its own challenges as there’s not a dedicated, specific market here on the island and people prefer to order from abroad as well, most of the time. I have a good, hardcore mail order audience here and we get some good turnouts at underground shows. The next warehouse venture will involve a monthly open day for people to come visit, pick up LPs, merch, etc. while we spin some vinyl on decks.

I would say that no, there are no advantages to being in Ireland. The European continent is where the “scene” is and if you’re in Germany, you have a ready made, automatic audience on your doorstep immediately, and small festivals you can do stalls at. We don’t have that here.

Looking forward, what are some upcoming releases you’d like Decibel readers to look out for? You’ve already blazing out of the gate with that new Oraculum album!

So far in 2026 we’ve released the debut full length from Oraculum titled Hybris Divina and the third Transilvania album Magia Posthuma! Both albums have received great praise, which is very rewarding! Next release is Hexorcist’s new album Crucifical Imprecations in the summer followed by Sépulcre Cryptic Temple of Otherworldly Abhorrations and the self-titled Callous Master debut. The new Malokarpatan album Baron Ferat will also be released along with some other to be announced titles.

Finally, it’s easy to get jaded and burned out when music becomes part of your everyday working life. What keeps you excited about this music?

It’s true that there is simply too much, of everything. Music, TV, media, movies. But in the end, you have to cut and carve out your own space and ultimately decide what you want to spend your time with. This simplifies the matter and while I can admire people who can endlessly consume new music at a weekly rate, I am personally more selective. There’s a lot of great music out there but the impact of it all certainly seems to lessen on a yearly basis. Perhaps it’s a necessary process the music world has to be go through and shed its skin like a snake, I don’t know. But it feels a little like a ‘musical nuclear arms race’ these days with little room for the proper digestion of something in order for it to make a proper impact. So what keeps me interested? The artists I work with. They’re a weirdly wonderful, mildly insane bunch of inspirational creative crazies!

The post Label Spotlight: Invictus Productions appeared first on Decibel Magazine.

Hellripper have been the best thing in the blackened speed/thrash metal arena for a long time now, at least since their first full-length, 2017’s Coagulating Darkness. It was on that album that sole member James McBain established the core of the project: early Metallica and Venom-style riffs played fast as fuck, executed with both precision and enthusiasm. In the ensuing years, McBain has stayed busy, releasing a handful of splits, an EP and three more albums, including Hellripper’s latest, Coronach.

The band’s first for Century Media, Coronach stands above everything else Hellripper have done to this point. Opener “Hunderprest” comes out of the gate swinging, mixing the scrappy, sharp riffs with melodic leads, something McBain started to really incorporate on last album Warlocks Grim & Withered Hags. Though McBain is the main instrumentalist on every release, he has a consistent crew of contributors including Desert Heretic’s Joseph Quinlan, who contributes lead guitars on a number of tracks. Vocalist Marianne also lends vocals to three songs, including the excellently-titled “Kinchyle (Goatkraft and Granite)” and “Blakk Satanik Fvkkstorm.”

The Scottish band rarely slows down, so even songwriting choices like the piano intro of “The Art of Resurrection” lend a pleasant surprise to the black ‘n’ roll tendencies of the song. There’s also plenty of Scottish tradition in the songs, from the bagpipes on the album’s closing track to the scattered bits of Scottish folklore and mythology written into the songs. Sure, Hellripper are musically interesting but they’re also thematically interesting, daring to interpret the monsters and evil of speed and black metal in a new way.

When McBain spoke to Decibel in 2023, he said:

“While writing [Warlocks Grim], I was listening to my usual stuff but I was listening to a lot of classic bands like AC/DC, Black Sabbath, as well as Alice in Chains, even bands like Oasis and Manic Street Preachers, Smashing Pumpkins, the Beatles. Maybe that stuff creeps in. If I hear something I like in their music, I think, ‘Maybe I can try and put this in a speed metal context.’”

It’s that sense of awareness and desire not to repeat himself that makes McBain a great songwriter and it’s what keeps Hellripper sounding fresh despite releasing four albums, 2 EPs, five splits and a few singles (including a Decibel flexi!). Coronach is a crowning achievement and an album that any self-respecting speed metal fan needs to get on immediately.

The post You Should Be Listening to Hellripper’s <i>Coronach</i> appeared first on Decibel Magazine.

Bo was also co-host of the hugely popular HardLore Podcast

On Wednesday, federal authorities arrested Memphis rap stars Pooh Shiesty and Big30, as well as a number of other men, charging them with robbery and kidnapping. As TMZ reports, the Justice Department, claim that Pooh Shiesty, Big30, and their associates invaded a Dallas recording studio in January, robbing a number of people on the premises, including Gucci Mane.

The post Pooh Shiesty Arrested For Allegedy Robbing & Kidnapping Gucci Mane appeared first on Stereogum.