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FOR IMMEDIATE RELEASE
Banger TV Shouts Out Vaulderie’s Sanguinoctum During Exhumed Review Segment
Metal Devastation PR is proud to announce that Vaulderie’s latest full length album Sanguinoctum , out now via Witches Brew Records , received a featured shoutout from the respected metal media platform Banger TV .
The mention came during Banger TV’s review coverage of Red Asphalt , where the hosts highlighted Vaulderie as an “unholy concoction of black metal, speed, and thrash,” calling attention to Sanguinoctum as a standout release.
Blending feral aggression with razor sharp riffs and relentless energy, Sanguinoctum continues to gain momentum across the underground metal circuit. The recognition from Banger TV further solidifies the album’s growing impact within the extreme metal community.
Sanguinoctum is available now on all major platforms and through Witches Brew Records.
For press inquiries, interviews, or additional information, contact: zach@metaldevastationradio.com
Check it out here: 


 Connect with the band: 
https://vaulderie.bandcamp.com/album/sanguinoctum
https://www.facebook.com/profile.php?id=100077739470816
https://www.instagram.com/vaulderieofficial/
https://witchesbrew.eu/en
Contact: vaulderieband@gmail.com 

James LoMenzo was not expecting it. When Dave Mustaine announced he wanted to record his own version of “Ride the Lightning,” — the title track of Metallica‘s 1984 album, for which Dave holds a co-writing credit following his 1983 departure from the band — for Megadeth‘s self-titled final album, the bassist’s first reaction was visible surprise. But surprise gave way quickly to something else.

“I was delighted. I was surprised. My eyebrows went up, but I was kind of delighted that he was gonna even go there,” LoMenzo told Portugal’s Metal Global (via Blabbermouth). “Because there’s always that subliminal undercurrent tension — you know, ‘Oh, Metallica [versus] Megadeth.’ And I always thought, like, Megadeth, for God’s sake, I always thought Dave won in a way, because he’s built this giant thing all by himself. And it made a lot of sense to me logically. It seemed like if this is the last thing we’re gonna do, then we should go out, end with a bang, but also kind of address the full history of this band. And that’s like step one. So I thought it was great in the end. But yes, my eyebrow went up when I heard him say that. Yeah.”

When the interviewer offered that Megadeth tops Metallica on riffs and solos, LoMenzo pulled back diplomatically. “I can’t go on board with you there. I mean, I’m a company guy — sure, I think we’re better, but semantically, I don’t really believe that,” he said. “It’s all about taste and approach, right? And I think if Dave had stayed there [in Metallica], it would’ve certainly been a lot more complex, but they would’ve not lost any energy that they had, Metallica. It comes down to, like, who do you like better — Motörhead or the Ramones? One seems silly, one seems really serious, but I love them both. And it’s similar kind of driving music.”

The decision to frame Megadeth as the band’s final album came later in the process than most people might assume. LoMenzo says the band walked into the sessions with no such intention. “No, no, no. This came about, like, three-quarters through,” he said. “We were proceeding as if we were just doing another record, and as time went by… After we finished the record was basically when Dave had this meeting with us and said, ‘You know, guys, this is kind of where we’re at right now. And maybe instead of going out with a whimper, maybe we go out with a big, giant victorious thing.’ And I think it was probably easier to make that decision after hearing the music that we had. ‘Cause if we weren’t convinced with the record, who’d wanna say, ‘Oh, this is our last record. Sorry, this is the best we can do.’ No, we were pretty excited with it.”

He pointed to the broader context of bands like Ozzy Osbourne winding down their careers as part of what made Mustaine‘s call feel right. “Dave‘s not that guy [who comes back and leaves repeatedly]. So when he said that, I heard him loud and clear. It was, like, ‘No, we have to really go out the right way if we’re gonna do this at all.’”

Making the record without knowing its finality turned out to be an asset, LoMenzo argues. “It was actually a pleasure making the record without any expectation,” he said. “And those are the best albums. The ones I love the best are when the band just jumps in, and everybody who’s got something throws it all together, and then you see what you have.”

He singled out new guitarist Teemu Mäntysaari as a revelation. “The kid came through with flying colors. He just has so many great riffs, and his ability to perform is just unmatched. I’ve really not seen anybody who’s quite that fast, as far as picking things up and putting his own stamp on it.”

The moment the album’s weight fully landed on LoMenzo came through the closing track. “When I finally heard ‘The Last Note’, and I really heard ‘The Last Note’, the last version of it, it put a lump in my throat ’cause I could really feel Dave‘s journey,” he said. “And I didn’t expect that. I didn’t expect him to be that candid and honest about things.”

Megadeth also topped the charts in Australia and Austria, and placed in the top five in Finland, Sweden, Belgium, the U.K., Germany, the Netherlands, Italy, and New Zealand. The album was produced by Chris Rakestraw, who previously helmed The Sick, The Dying… And The Dead! and Dystopia, and released through Mustaine‘s Tradecraft imprint on Frontiers Label Group‘s BLKIIBLK label.

The post MEGADETH’s JAMES LOMENZO Recalls His Reaction To DAVE MUSTAINE’s Idea Of Recording Rendition Of METALLICA’s “Ride the Lightning” For Farewell Album appeared first on Sonic Perspectives.

FOR IMMEDIATE RELEASE
Symphony of Destiny Unleashes “Rampage (Bastet)” – A Ferocious New Chapter in Modern Symphonic Metal
https://symphonyofdestiny.bandcamp.com/album/rampage-bastet
Richmond, VA – Virginia’s rising symphonic metal powerhouse Symphony of Destiny return with their explosive new single, “Rampage (Bastet),” a thunderous continuation of the mythology driven universe they began with their debut release. With cinematic orchestration, commanding female vocals, and razor sharp melodic guitar work, the band is proving they are not just another local act. They are building something that reaches well beyond state lines.
Emerging from Virginia’s thriving underground, Symphony of Destiny have quickly earned a reputation for immersive, theatrical performances that fuse storytelling with modern heaviness. Their live resume continues to grow, with appearances at respected venues including The Canal Club , Another Round Bar & Grill , Super Rad Arcade , and Riffhouse Pub . The band closed out 2025 with their first headlining performance at Riffhouse Pub, celebrating the release of their debut single and setting the tone for a breakout 2026.
On February 20, 2026, Symphony of Destiny stepped into a larger spotlight as direct support for The Birthday Massacre and Daedric at The Canal Club, further cementing their place within the regional metal circuit.
Their debut single, “Exile of Horus,” introduced listeners to the band’s mythology centered sound and delivered serious independent traction. The track landed on nearly 100 Spotify playlists as of February 2026, achieving a 100 percent share rate from 25 participating curators during the band’s Groover campaign. International radio airplay followed across Brazil, the United Kingdom, the United States, Chile, Mexico, and Portugal. A focused social media campaign surrounding the release reached more than half a million Instagram accounts, pushing Symphony of Destiny beyond their local base and into the global independent metal conversation.
Now the story continues.
“Rampage (Bastet)” dives deeper into the band’s Egyptian mythology arc and serves as a preview of their upcoming EP, Heroes of Egypt . The single raises the intensity with aggressive riffing, cinematic tension, and soaring vocal authority that hits with both precision and power.
The release will be celebrated with a special show at The Canal Club featuring an all female fronted metal lineup alongside Valkyrie’s Fire and A Sound of Thunder , highlighting the strength and presence of women in heavy music while reinforcing the band’s commitment to building community within the scene.
Industry recognition continues to build. Symphony of Destiny have earned coverage in Decibel Magazine along with features from Metalheads Forever Magazine, Loud Enough? Magazine, The Building, Coldstone Magazine, Indiefferential Magazine, Keep Walking, Honk Magazine, and additional international outlets.
With the forthcoming release of Heroes of Egypt , Symphony of Destiny are expanding their mythology driven universe and positioning themselves for broader national exposure. They are doing it the right way. Write strong songs. Hit the stage hard. Build momentum one show at a time.
“Rampage (Bastet)” is not just another single. It is the sound of a band leveling up.
For press inquiries, interviews, or promotional opportunities: zach@metaldevastationradio.com
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In total, Simmons played four Frehley-penned Kiss classics at his first solo show of 2026. Continue reading…

2002 – irgendwo in Deutschland verkauft ein Iron Maiden-Fan einem anderen via Ebay ein Ticket für ein Maiden-Konzert in London. Die beiden freunden sich an und gehen 2003 zusammen zur Dance of Death-Tour nach Hannover. Zwei Tage später sind sie wieder gemeinsam bei Maiden. Diesmal in Dortmund, der legendären Westfalenhalle. Viele weitere Konzerte, Telefonate und Gespräche folgen. Irgendwann stellten wir fest, dass wir Maiden schon vor Jahren gemeinsam gesehen hatten, ohne uns zu kennen. Am 25. Oktober 1984. Die Powerslave-Tour in der Essener Grugahalle mit Mötley Crüe und der Shout at the Devil-Tour. Und zugleich noch unser beider erstes Maiden-Konzert. Beide geflashed und inzwischen batteln wir uns, wer die meisten Live-Gigs der Band gesehen hat. Aktuell führt Klaus mit 41 Iron Maiden-Konzerten. Ich bin ihm auf den Fersen mit immerhin 38 Live-Veranstaltungen.

24 Jahre und um die 40 Maiden-Gigs später hat sich nichts geändert. Jedes Telefonat geht über die Band, über Musik, über Metal. Zeit und Grund genug, endlich etwas gemeinsam zu machen. Ein gemeinsames Projekt mit Blaze Bayley ist einem Auto zum Opfer gefallen. Die online Aufnahme eines Maiden-Tracks haben der Berufsgitarrist und der Amateur-Drummer bisher auch noch nicht auf die Reihe bekommen.

Aber Hey! Ab sofort ist Klaus ganz offiziell und regelmäßig Podcast-Host. Wir sprechen weiterhin über unsere liebste Band, teilen unsere Erlebnisse und analysieren neue und alte Alben, anstehende Touren und Live-Erlebnisse aus den 80ern. Zwei weis(s)e Männer machen nichts anderes, als über ihre Berufung zu sprechen. Und sicher wird Klaus auch über seine Arbeit bei Doro, Wölli und Hartmann berichten. Oder seinen Auftritt bei Wetten dass?!, die Tour mit Status Quo oder das Treffen mit Ronnie James Dio. Und nicht zuletzt hat Klaus inzwischen bei mehr als 30 Alben mit internationalen Künstlern mitgewirkt.

Hier die Vorstellung von Klaus im Rockcast 68!

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Der Beitrag Der Neue im Rockcast: Klaus Vanscheidt erschien zuerst auf Rock-Music.net – Live, laut, legendär!.

Powerhouse soul singer Marc Broussard goes all in on Chance Worth Taking, his first full album of original blues songs marking a definitive creative pivot for the acclaimed Louisiana singer-songwriter, out April 17th via Joe Bonamassa’s KTBA Records.

Produced by Joe Bonamassa and Josh Smith alongside Calvin Turner, the stunning 14-track collection reunites Broussard with Bonamassa, who takes the helm to contribute master fretwork and mesmerizing guitar solos on 10 tracks, including three songs co-written with Broussard. This stellar creative circle is rounded out by Josh Smith, who features on and co-wrote four tracks, and Calvin Turner, who joined forces with Broussard to co-write 10 of the album’s original songs and contributes to the album’s lush string and horn arrangements.

Today, Broussard offers the first taste of the album with two lead singles – “No More” a sweeping cinematic blues ballad framing Broussard’s yearning vocal with stately strings and Bonamassa’s soaring guitar. “Fever” delivers a slinky, modern roadhouse groove, driven by funky rhythm guitars, punchy horns, Smith’s stinging leads, and an insistent beat. These tracks serve as a powerful introduction to the album’s range, blending blistering guitar work with Broussard’s signature vocal grit.

Though Chance Worth Taking marks a stylistic pivot, it remains unmistakably Broussard. His signature “bayou soul” vocal, equal parts grit and grace, anchors the album, tying together brawny shuffles, pleading soul-blues, horn-driven blues-rock, and Mardi Gras–infused funk.

The album’s origin began when Turner proposed an album of original blues material and sent Broussard a folder of 15 instrumentals. Broussard then wrote lyrics as if possessed. “I would wake up at 6:00 a.m. and write until 11:00 p.m. I’d be in the studio sweating like a madman,” he recalls. The songs were finished in three manic days and refined in the studio with Bonamassa.

“I’m still more versed in soul music than in blues, but I’m getting an education in the genre and its history from Joe and Josh,” Broussard explains. “When we got into the studio, Joe wasn’t fully convinced we had a blues album, so he added to the songs we already had, and we wrote three others together. In the end, we got to the promised land.”

There is a sense of free-spirited discovery on Chance Worth Taking, with Broussard exploring a wide emotion and stylistic palette – from big-band, B.B. King-style arrangements on the jaunty, swinging “Let Me Take You Out Tonight” and the horn-riff-driven “Blame,” which boasts tasty, masterful improvisational interplay among Bonamassa, Smith, and Rock and Roll Hall of Famer Reese Wynans and the ‘80s-inspired ballad, “These Walls” with Bonamassa in rare form, soloing with a fire that’s both cinematic and pyrotechnic.

Fans of classic Broussard will rejoice in the soul ballads “Chance Worth Taking,” with its gospel-tinged chorus, and “Sweet Love,” a timeless ballad complete with sumptuous harmonies and sweeping strings. The album concludes on a New Orleans send-off with the brassy, booty-shaking “Laissez Les Bons Temps Rouler,” a song co-written by Trombone Shorty and Broussard.

Broussard is ready to unveil Chance Worth Taking, introducing fans to both the new album and a fresh era of inspired creativity. “Man, I’m so excited about it all. It’s time for me to move into my bluesman phase. At this stage of my life, I’m all about it.”

2026 TOUR DATES

Mar 3 – Strom – Munich, DE*
Mar 4 – Papiersaal-  Zürich, CH*
Mar 6 – Muhle H- Manchestergen, CH* + Sold Out
Mar 7 – Colos-Saal – Aschaffenburg, Ee*
Mar 8 – Musicktheater-Rex – Bensheim, Ee*
Mar 10 – Harmonie – Bonn, DE*
Mar 11 – Scala – Leverkusen, DE*
Mar 12 – Musikzentrum – Hanover, DE*
Mar 13 – Fabrik – Hamburg, DE
Mar 14 – Lido – Berlin, DE*
Mar 16 – Werk 2 (Halle D) – Leipzig, DE*
Mar 17 – Ebertbad – Oberhausen, DE*
Mar 19 – Maassilo – Rotterdam, NL*
Mar 20 – Paradiso – Amsterdam, NL*
Mar 21 – Hedon –  Zwolle, NL*
Mar 22 – Doornroosje – Nijmegen, NL*
Mar 24 – Muziekgieterij – Maastricht, NL*
Mar 25 – La Maroquinerie – Paris, FR*
Mar 26 – The Blues Kitchen Manchester –  Manchester, UK*+ Sold Out
Mar 27 – Islington Assembly Hall – London, UK*
*With Brian Mackey Support

US SPRING DATES
Apr 9 – Soundwave Beach Weekend – Miramar Bch, FL + Sold Out
Apr 23 – The Dixie Carter Performing Arts Ctr – Huntington, TN*
Apr 24 – The Walker Theatre – Chattanooga, TN*
Apr 25 – Variety Playhouse – Atlanta, GA*
Apr 26 – Neighborhood Theatre – Charlotte, NC*
Apr 28 – Manchester Music Hall – Lexington, KY**
Apr 29 – Bijou Theatre – Knoxville, TN**
May 1 – New Orleans Jazz & Heritage Fest – New Orleans, LA
May 3 – Dosey Doe – The Woodlands, TX+
May 5 – Delmar Hall – St Louis, MO**
May 7 – Fitzgerald Theater – St Paul, MN*
May 8 – Space – Evanston, IL**
May 9 – Space – Evanston, IL**
May 10 – Hi-Fi Annex (Hi-Fi Indy) – Indianapolis, IN**
May 12 – Thunderbird Cafe – Pittsburgh, PA **
May 13 – The Birchmere – Alexandria, VA **
May 14 – Ardmore Music Hall – Ardmore, PA**
May 15 – Brooklyn Bowl – Brooklyn, NY**
May 16 – Narrows Center For The Arts – Fall River, MA**
May 30 – Bear Shadow Festival – Highlands, NC
*With Seth Walker Support
** With Sway Wild Support
+ With Kristen Kelly Support

MARC BROUSSARD
WEBSITE | FACEBOOK | X | INSTAGRAM | YOUTUBE | SPOTIFY
TIKTOK | APPLE MUSIC

The post MARC BROUSSARD Announces “Chance Worth Taking”, An All-Original Blues Soul Album, Out April 17 appeared first on The Rockpit.

‘s oeuvre may not be exactly labyrinthine, but there are fairly famous works in his discography, such as 2000’s “Curly’s Airships” which featured a lot of luminaries, and rather obscure opuses too, including the brilliant from 2023. And then, there … Continue reading →

The post Judge Smith Brings Back His First Musical From Brink Of Oblivion appeared first on DMME.net.

SISKA present “Lonely Tomb”, the new single taken from the album BROKEN DREAMS, released on January 16th, 2026. The song is accompanied by its official music video, now available online.

The album BROKEN DREAMS consists of 11 tracks and has been entirely performed vocally by Tim “Ripper” Owens, who accompanies the band throughout the entire conceptual journey of the record.

The album was fully mixed and mastered by Max Norman, producer and sound engineer who played a key role in shaping the history of heavy metal, notably through his work on landmark albums by: Ozzy Osbourne (Blizzard of Ozz · Diary of a Madman · Speak of the Devil · Bark at the Moon · Tribute), Megadeth (Countdown to Extinction, Youthanasia).

The band discussed the video: “The music video for “Lonely Tomb” is inspired by the story of Luisa Ferida, a renowned Italian film actress of the 1940s, innocent and executed without trial on April 30th, 1945, during one of the most tragic and chaotic periods in Italian history.

Her death was not only a physical murder, but a symbolic act:
the murder of beauty, art, and the freedom to love.

“Lonely Tomb” is not a political song. It is an act of remembrance, a reflection on injustice and the darkest sides of human nature, and a call to the truest role of art: to tell the truth, even when it is uncomfortable.”

Regarding the album: “‘Broken Dreams’ is not simply an album — it is a journey. A concept album that unfolds like a cinematic narrative and, through eleven tracks, delves deeply into the fractures of time, memory, and resistance. It is an album about standing firm while the world collapses, about preserving an inner flame amid silence and darkness, about returning even when time itself seems to deny it.

A cry that crosses eras.
An invitation not to forget.

The post SISKA with TIM “RIPPER” OWENS Release New Album “Broken Dreams” | Single & Video “Lonely Tomb” appeared first on The Rockpit.

Olympic figure skater Alysa Liu has been making history. On Thursday (Feb. 19) the 20-year-old won America’s first gold medal in the Winter Olympics’ women’s free skating event since 2002. In interviews, she’s been expressing her love for PinkPantheress, and today she skated to the Zara Larsson remix of “Stateside” at the Olympic figure skating exhibition gala at the Milano Ice Skating Arena.

The post Alysa Liu Skates To Her Admirer PinkPantheress’ Song At Olympic Gala appeared first on Stereogum.

Well, I’ve certainly heard of recording an album and then not releasing it for a year or two for various reasons. But how about having an album in the can for nearly three decades? That’s something! The debut album from Moscow, Idaho’s The Genetics was released yesterday — 27 years to the day after it was recorded. Even if this record stunk, it would be an essential piece of Pacific Northwest punk rock history. Active from 1988-99, The Genetics were the band Joel Jett fronted after Jetpack and before The Flip-Tops, The Minds, and Girl Drink Drunks (who are still the best American punk band you might not know about). The group also included Lucas Jones (The Pills, The Electric Eye), Sarah Epstein (The Hunches, Jimmy Flame & The Sexxy Boys), and Dan Mohr (VIC-20, The Bismark). All these individuals were young and still learning how to play, but this record shows how undeniable their raw talents were. Even if this a record had been made by four people you never heard of, it would still be a prime artifact of late ’90s garage punk. It’s everything that made the budget punk of that era great: trashy, lo-fi, primitive, and exploding with attitude. I’m pretty astounded that it took this long for these recordings to see the light of day. This is an excellent album that would have been warmly received on the eve of Y2K. Now you can own it on vinyl (limited to 100 copies). Original songs like “It’s a Fright” and “Psycho Love” absolutely foreshadow the greatness of The Flip-Tops, and covers of Supercharger and Teenage Head are an absolute blast. If you’re a fan of Joel Jett or later ’90s garage punk, you will want to move fast on this purchase!