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The Italian extreme metal scene keeps delivering bands that feel oddly elegant yet hit like a punch to the gut, and Nel Buio fits that line perfectly. The Italian trio made their mark with the self-titled Nel Buio EP in 2024, and now their debut full-length has arrived—again simply titled Nel Buio. They describe their […]

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Fighter .

The post Fighter V launch video for new single “Raging Heartbeat” from upcoming album ‘Deja Vu’ first appeared on Sleaze Roxx.

Closing ceremony Olympics details: When are the closing ceremonies of the Olympics? Also, who is performing at the Olympics closing ceremony?

The post Olympics Closing Ceremony — Who’s Performing and When? appeared first on Audio Ink Radio.

Round .

The post Round 4 — More audition videos for vacant Skid Row singer position first appeared on Sleaze Roxx.

I love black metal, but it certainly has a reputation for taking itself too seriously. Now and then, though, a few bands remember that this is the genre that gave us pseudonyms, corpse paint, and grown adults pretending to be forest demons. Acts like Old Nick and Ordo Vampyr Orientus have been a welcome slap in the face, embracing black metal’s inherent goofiness and piling on the camp without collapsing into total self-parody. Which brings us to Night of the Vampire, the latest addition to this batch of kitschy kvlters. This is the handiwork of one “Astral Shadow,” whose 2022 EP hinted at something genuinely fun—a danceable, blackened darkwave hybrid that didn’t sound like it hated the listener for existing. Now our Gothic overlord returns with a full-length debut, modestly titled The Enchanting Winds of the Dreamweaving Masquerade. The question is simple: can this gloriously silly idea survive album-length scrutiny, or is it doomed to be background noise for a vampire-themed goth night attended by six people and a fog machine on its last legs?

Night of the Vampire’s take on blackened darkwave is oodles of fun. Across Enchanting Winds, songs are led by gaudy synth lines atop simple distorted guitars, classic 80s drum patterns, and finished with a blackened rasp. This is an effective formula that’s as fun as it is addictive, evoking the playful jubilance of vintage synth-led sounds and sharpening it with black metal’s frostbitten cudgel. The result is campy and over-the-top, but Astral Shadow has plenty of tricks up his ¹ satin sleeve to make this formula more delectable. Whether it’s adding tasteful lead guitar and campy clean vocals (“Children of the Immortal Blood”) ², going full Simple Minds with a driving synth pop rocker (“Sacrificed to the Night”) or deploying some ignorant mid-tempo chugs underneath the ocean of synth (“Casting Shadows in an Ocean of Time”), there’s no shortage of clever adornments to spice up the core blackened darkwave sound. Night of the Vampire might sound more like Depeche Mode than Darkthrone, but that’s fine when this pernicious platter is this delectable.

Enchanting Winds provides meaningful variety in its execution, keeping this rave from getting too stale. Night of the Vampire goes full Blade nightclub with “The Cosmic Darkness Calls me,” a delightful goth rager which ditches the guitars for a throbbing synth bassline and icy, programmed drums. The faster tempo of “Mother Moon of the Astral Dawn” is a nice, energetic break from the dancefloor, utilizing effective drum pullbacks to keep its forward momentum, and “Misty Illusions” is a solid dungeon synth closer that eases you out of the whole vampiric experience. With relatively short song-lengths and a curt 30-minute runtime, this is also a record that doesn’t overstay its welcome, allowing for repeated spins without running the risk of blood withdrawal. Enchanting Winds is an enjoyable, blackened journey from start to finish. I only wish it set its sights a little higher.

The main thing preventing Night of the Vampire from reaching sanguine ecstasy is the relative lack of ambition in Enchanting Wind’s songwriting. Astral Shadow’s approach is simple: latch onto a catchy synth melody and then ride it for the song’s entire duration, with minor variation for choruses. This works exceedingly well on shorter pieces or in conjunction with more inventive additions, but falls a bit short when it’s the only tactic on display. As a result, songs built almost entirely around a single synth line, like “The Prince of Many Faces and the Lady of the Night” or “Beyond the Howls of the Celestial Wolves,” end up feeling one-note, with little development or variation. Once you notice this pattern across the record, the impact of individual tracks diminishes. That’s especially frustrating given that “Children of Immortal Blood,” with its contrasting choruses, proves Astral Shadow is capable of writing dynamic, multi-part songs with distinct elements. As it stands, the straightforward songcraft doesn’t prevent these tracks from being exciting in the right context, but it does keep Enchanting Winds from evolving beyond its initial premise.

The Enchanting Winds of the Dreamweaving Masquerade is a charming debut from Night of the Vampire. The essential idea of “black metal meets 80s synths” is effective, entertaining and often moves beyond the simple proposition, even if the straightforward songcraft detracts from my enjoyment at times. I’ll gladly place Night of the Vampire alongside their unserious contemporaries in my “kvlt cheese-maxing” playlist and look forward to whatever Astral Shadow produces next.

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Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Profound Lore Records
Website: nightofthevampire.bandcamp.com | Instagram
Releases Worldwide: February 6th, 2026

 

 

The post Night of the Vampire – The Enchanting Winds of the Dreamweaving Masquerade Review appeared first on Angry Metal Guy.

There’s a certain kind of roots record that doesn’t want to be reviewed so much as spilled. You know the type: beer-ring on the lyric sheet, boot-scuff on the melody, a chorus built to survive a room full of people talking over it until they suddenly aren’t.

Former and Current Members of Deicide Exchange Public Statements Regarding Alleged Royalty Dispute

A public dispute has surfaced between former and current members of Deicide, drawing significant attention across the death metal community.
Former guitarist Eric Hoffman recently shared a statement on social media addressing alleged royalty and merchandise payment issues involving current members Glen Benton and Steve Asheim. The post outlines claims regarding royalty distributions, merchandise revenue, songwriting credits, and the circumstances surrounding the Hoffmans’ departure from the band.
According to the statement, Hoffman alleges that royalty payments and merchandise revenue from past releases were not properly distributed among all members. He also disputes public narratives suggesting that he and his brother Brian Hoffman voluntarily left the band, asserting instead that the situation involved unresolved financial and contractual disagreements.
The post includes strong language and personal accusations directed toward current members. As of this writing, there has been no formal legal ruling connected to these claims, and no official response has been issued publicly by Benton or Asheim addressing the specific allegations outlined in Hoffman’s statement. The statement was shared publicly via social media.
A Legacy With Deep Roots in Extreme Metal

Formed in Florida in the late 1980s, Deicide became one of the defining acts of early American death metal. The band’s early 1990s output helped cement the genre’s commercial and underground credibility, and the Hoffman era remains closely associated with the group’s formative sound and songwriting identity.
Lineup changes are not uncommon in long-running metal acts, particularly those with decades of touring, label relationships, and evolving creative directions. However, when disputes involving original or long-tenured members surface publicly, they often reignite broader conversations within the fan base.
The Business Side of Legacy Metal Bands

Disputes over royalties and intellectual property are not unusual in legacy bands, especially those that began during a period when contracts were structured differently than they are today. Issues can arise over:
Publishing versus performance royalties
Merchandise revenue distribution
Ownership of band trademarks and branding
Songwriting credits and mechanical royalties
In many cases, these matters hinge on contract language, label agreements, and long-standing business arrangements. Without access to those documents or a court ruling, outside observers are limited to the claims made publicly by the parties involved.
What Happens Next

At this stage, the situation remains a matter of public statements rather than confirmed legal proceedings. It is unclear whether formal legal action will follow or whether the dispute will be addressed privately.
Deicide remains active, and the band’s catalog continues to influence generations of extreme metal artists worldwide. Fans on both sides have taken to social media to express their opinions, underscoring how deeply the band’s history resonates within the scene.
We will continue monitoring the situation and provide updates should official statements or verified legal developments emerge.

Did Angela Gossow Just Hint At Returning To The Stage?

Yes. While introducing Arch Enemy’s new vocalist Lauren Hart, Angela Gossow revealed she is open to performing single, one-off shows.

TL;DR

Angela Gossow publicly endorses Lauren Hart as Arch Enemy’s new singer
Gossow reveals she considered rejoining the band — but declined
She calls Hart “Angela reincarnate” and praises her intensity
Lauren Hart recorded vocals in December 2025
Angela stuns fans by saying she’s open to one-off live shows
She also offers support for Alissa White-Gluz’s solo career

The Post That Sent Shockwaves Through The Metal Community

Angela Gossow didn’t just introduce a new Arch Enemy vocalist — she delivered one of the most emotionally charged and conversation-starting statements the band’s fanbase has seen in years.

In a deeply personal Instagram post, Gossow laid out her history with Lauren Hart, revealing a connection built over many years through shared musical tastes, vocal technique, discipline, and lifestyle alignment.

But buried within that reflection was the line that instantly ignited speculation:

She’s open to doing single shows.

For longtime Arch Enemy followers, that’s not a casual remark. That’s seismic.

Loaded Radio Recommends – Arch Enemy Albums Ranked: Loaded Radio’s Definitive Ranking of All 13 Studio LPs

Angela Gossow’s Relationship With Lauren Hart

Rather than presenting Hart as simply “the new singer,” Gossow framed her as someone whose journey she had personally followed and believed in long before this moment.

She describes:

• A warm, genuine personality
• Shared dedication to music and fitness
• Parallel vocal philosophy
• Years of personal acquaintance

Gossow even revealed she had explored forming an entirely new band project centered around Hart’s abilities — envisioning a crossover sound blending elements reminiscent of Dimmu Borgir, Arch Enemy, In Flames, Machine Head, and Once Human textures.

That insight alone reframes Hart’s arrival not as opportunistic, but long-anticipated.

The Audition Process And December 2025 Recordings

Angela detailed how Hart submitted multiple cover tracks to demonstrate the full scope of her vocal capabilities.

Her verdict?

Hart “crushed.”

Lauren Hart ultimately recorded vocals in December 2025, marking the beginning of what Gossow describes with striking poetic phrasing:

“She rose. Like a Phoenix to the sky.”

The language is unmistakable — this is not polite approval. This is emphatic belief.

“Angela Reincarnate” — A Statement Fans Won’t Ignore

Perhaps the most headline-grabbing line of the entire post:

“She is Angela reincarnate. Exceeding my skills.”

That is an extraordinary declaration from one of modern metal’s most respected vocalists.

Not a comparison.
Not a resemblance.
A symbolic passing of identity.

And it signals absolute confidence in Hart’s longevity and power.

Angela Gossow Considered Rejoining Arch Enemy

Gossow also revealed she seriously weighed the possibility of returning to the band herself.

She describes examining:

• Her life
• Her age
• Her young children
• Her workload managing Arch Enemy

Her conclusion:

No.

Not emotionally.
Not rationally.

This clarity adds depth to the endorsement — Hart’s selection wasn’t made in the absence of options, but after deliberate internal reflection.

Check This Out – Arch Enemy Unleash “To The Last Breath” And Introduce New Vocalist Lauren Hart As Band Announces 2026 European Tour

The Surprise Twist: One-Off Shows

Then came the moment that detonated fan speculation:

“Yes, I am down for doing single shows.”

Not a reunion tour tease.
Not a vague maybe.

A direct acknowledgement.

For fans of the classic Gossow era, this opens a door that many believed permanently closed.

Support For Alissa White-Gluz

Angela also addressed former Arch Enemy vocalist Alissa White-Gluz with notable warmth.

She wished Alissa success on her solo album, acknowledging the long-standing creative ambitions behind it and expressing confidence that White-Gluz will continue leaving her mark on metal.

No bitterness.
No tension narrative.
Just professional respect.

Why This Moment Matters For Arch Enemy

This post functions as more than an announcement.

It represents:

• Legacy validation
• Emotional continuity
• Artistic succession
• Fanbase reassurance

Angela Gossow’s voice still carries enormous weight in the Arch Enemy universe. Her framing of Lauren Hart as both spiritually aligned and technically formidable reshapes how fans process this transition.

The Bigger Conversation Now Emerging

Questions now circulating across the metal world:

Will Angela actually appear at select shows?
How will Lauren Hart reshape Arch Enemy’s sound?
Does this represent a new hybrid era for the band?

One thing is certain:

This wasn’t a routine lineup update.

This was a defining narrative moment.

 

 

 

 

 

View this post on Instagram

 

 

 

 

 

 

 

 

 

 

 

A post shared by Angela Gossow (@thegossow)

 

FAQ

Did Angela Gossow Rejoin Arch Enemy?

No. She confirmed she considered it but decided against returning full-time.

Is Angela Gossow Performing Again?

She stated she is open to doing single, one-off shows.

Who Is Arch Enemy’s New Singer?

Lauren Hart, known for her work with Once Human.

When Did Lauren Hart Record With Arch Enemy?

December 2025.

What Did Angela Say About Lauren Hart?

She praised her intensely, calling her “Angela reincarnate” and suggesting Hart exceeds her own skills.

Did Angela Address Alissa White-Gluz?

Yes. She expressed support for Alissa’s solo album and future career.

Band Bio

Arch Enemy emerged as one of melodic death metal’s most globally dominant forces, blending extreme metal aggression with razor-sharp hooks, virtuosic guitar work, and commanding vocal performances. Founded by guitarist Michael Amott, the band carved a distinct identity through relentless touring, evolving lineups, and era-defining albums.

Angela Gossow’s arrival marked a transformative chapter, helping push the band into mainstream metal consciousness, while Alissa White-Gluz’s tenure expanded its modern reach. With Lauren Hart stepping into the spotlight, Arch Enemy continues its tradition of reinvention without abandoning its sonic DNA — balancing brutality, melody, precision, and theatrical intensity.

The post Angela Gossow Considered An Arch Enemy Return: Says She’s Open To One-Off Shows While Introducing New Singer Lauren Hart appeared first on Loaded Radio.

When the world needed them most, they listened – no announcements, no singles, no preorders.  On a random Tuesday morning Austin skacore group Hans Gruber And The Die Hards, known for their unexpectedly chaotic live performances, unexpectedly released their latest and chaotic full-length album “Or Hans Gruber And The Die Hards”.  Not only was this released independently while on tour, but the overall production is super clean, features an orchestra worth of instruments, and has some of the most relevant lyrics of today’s society hidden within a blend of ska, hardcore, cumbia, and punk.  To call this just a ska punk album would not be enough.  The image on the album cover is clear and yet has so much going on within it, which is exactly how I can describe the album as a whole.  “Or Hans Gruber And The Die Hards” has more to offer than their previous LP (the album that introduced me to the band), and is highly recommended to give a listen as soon as possible.

“Everybody Wants To Be Oppressed” is the opening song, sounding most like the previous album, as if the band is transitioning us from “With A Vengeance” to the new album.  It’s an uncensored commentary on today’s society that includes a critique on the privileged, a repeating theme through the album, being called out with lyrics like “it’s so hard being the majority, when history has made me the priority”.  Another song that directly calls out is “Pay Your Tolls”, featuring folk punk band Doomscroll, which contrasts lives with the privileged and not so privileged: “Doesn’t matter how you struggle, miss a bill and you’re in trouble”.

One of my favorite songs features a band local to me, The Odd Advantage, in the song “One Day”, which talks about the dreams of the future that many are actively fighting for today, how “one day, the houses we build won’t be for the rich”. This song introduces cumbia that surprisingly makes up a good chunk of this album, also in songs “Chambacu” that has an awesome bass line and the perfect blend of ska/cumbia/punk, and closing song “Bed Bug Bailout”, which has the best use of instrumentals I’ve heard in any punk song.

Another song that stood out to me was “Throwdown”, sung solely by Rosey Armstrong.  Although solo vocals from her are not unusual, she brought on a pop punk sound that isn’t common for the band, which was refreshing and added to the amalgamation of music well.  She was also able to highlight her sick talents on the saxophone that I last heard when seeing them live almost a year ago.  The chorus line on this song also reminded me of a chorus common in new ska bands like Kill Lincoln, Sad Snack, and Chudson that mimics the chorus in pop punk. 

When you think about it, it’s really no surprise this album was released unannounced.  That’s just the complete madness and random initiatives to be expected by Hans Gruber And The Die Hards.  Songs like “Confirmation Bias” and “Trash Festers” show off their ska punk skills, while “Earplugs 4 Sale” and “It Gets Worse” prove that you shouldn’t limit a band to a single style.  This album is not only fun, it’s relative.  In a country currently full of turmoil and division, take comfort in bands like Hans Gruber that welcome diversity with open arms and horns. 

This isn’t a band you can just listen to, in order to get the full Die Hards experience, you must see them live.  I guarantee that you won’t sit still.

“Or Hans Gruber And The Die Hards” is available on Bandcamp.

This era-turning multi-platinum smash became the group's first chart-topping album. Continue reading…