Category: news

Shots of the band recording new material have been circulating as of late.

The post Limp Bizkit Are Reportedly Back In The Studio appeared first on Theprp.com.

Technical death metal formation Acausal Intrusion have recently unleashed “Vomit Meditation”, the first single and opening track of their soon-to-be-released full-length effort Vomit Meditation.
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Bloodstock 2026: Friday Review – Ronnie James Dio Stage

7th August 2026
Words: Dan Barnes
Photos: Tim Finch

The use of the main stage last night gives this first day of Bloodstock proper something of a different feel, as though we’ve already had a full day. Which means the festival will feel like a four-dayer!

Opening the show on the Ronnie James Dio are Australians Battlesnake, who have brought a very Southern Hemisphere weather with them. Dressed in ecumenical robes, above tighty-whities, the band serve up some blasphemous heavy metal before the clock has struck noon. I Killed Satan and I am the Vomit are odd self-references, Mud Apocalypse gets a live debut, and Shepherd Hunter is as religion-bating as anything out of Norway in the nineties. Vocalist Sam Frank heads off into the crowd to be carried at above head-height. He returns for the set-climax of Let There Be Rock and the guitarist stands on a flight case and is spun until dizzy.

Glaswegian party slammers, Party Cannon, make the first of two Bloodstock appearances in 2026, with them being scheduled to appear at KK’s for the Winter Gathering. Truthfully, cold December days in the Black Country couldn’t be further from the mind as the sun batters Catton Park and, before a note has been struck, the crowd is awash with inflatables, people are dressed as bananas and cardboard cut-out genitalia is being wafted from the stage. Weird, But Not Illegal kicks things off in a thoroughly abrasive fashion; the return of a missing shoe takes us into Improper Use of a Speculum, before the band, keen on breaking records and necks today, call out a representative from the Guiness Book of Records, named Joe.

He’s unsure of which records he’s here to judge on but as an official from Guiness he’s about as convincing as the Heavysaurus dinosaurs were yesterday. He ends up getting hit by a chair and shanked, so make your own mind up. It’s huge break breakdowns, costumed crowd-surfers and chaotic walls of death; in fact everything you could ever want from a Party Cannon set. High Tariff Behaviour, Thirst Trap, Duct Taped to a Flag-Pole and the usual closer of Human Slime bring level of mania unseen on a Bloodstock stage at this time of the morning.

It’s odd to say that Skynd, with her serial killer fixated music, arrives with something of a calming effect after the madness of the Cannon. Making a main stage debut after headlining the S.O.P.H.I.E. stage back in the Thursday of 2023, the twisted tales of true crime, delivered against industrial beats make the show chillingly stark, regardless of the suffocating heat. Catchy chorus of Michelle Carter has people singing along, heavy hits of Columbine recreate the school massacre of 1999, and the almost-nursery rhyme feel of John Wayne Gacy belies the true horrors of Pogo the Clown. New track, Jimmy Savile fits into the middle of the set, proving a British wrong ‘un can hold his own against stiff international competition. Strong dance beats greet Mikhail Popkov, crunching guitars signal the arrival of Gary Heidnik, leaving the tale of parent killer, Tyler Hadley to close things out. Maybe without the ripping energy of Party Cannon, but a Skynd performance is always captivating.

Brooklyn, New York, is well represented today, with the first from that locale, Life of Agony, finally hitting the Bloodstock stage after the cancellation due to Covid in 2020, and the late withdrawal from the festival in 2022. But they’re here now and that’s all that matters. I was hoping for great things from LoA today – what we got exceeded my expectations. Debut album – and let’s face it – one of the greatest genre albums of the nineties, River Runs Red plays a major part in today’s set, with the opening salvo of This Time, River Runs Red and Bad Seed hitting like combination punches. Before the start of the set, guitarist Joey Z takes a moment to pay tribute to their fallen brother, Lou Koller, who sadly last his battle with cancer a couple of weeks ago. The first non-debut song, Ugly, is rife with emotional scars, anchored by a heavy bass sound. Keith’s voice is on top form this afternoon and the best I’ve heard him in a while, as he hit’s those high notes during Lost at 22.

A mass rowing – akin to Amon Amarth – breaks out in the pit during Weeds and Keith heads into the photo pit for Through and Through, extols the need for live music in the intro to Underground and teases a snippet of Pantera’s Walk to bring the set to a triumphant conclusion. Already Bloodstock 2026 is feeling like a classic year, and we’re not yet halfway through the RJD roster for the day.

Jersey City, NJ, deathcore machine, Fit For an Autopsy make a second appearance at Catton Park and must surely be under the misapprehension that British summers are idyllic days of intense heat; for their 2022 show was beneath blazing sunshine too. Acting as something of a firebreak between the Brooklyn massif’s domination of the afternoon stage, FFaA hit the ground raging with an opening smash & grab from the latest record, The Nothing That Is, in Lower Purpose. There something a little ironic when Joe Badolato calls for a circle pit during the introduction to A Higher Level of Hate, and even though it’s a shade more melodic, It Comes for You still stomps.

I cannot help but hear traces of Cattle Decapitation sprinkled through new single, The Wretch, and not content with making the front of the crowd pit in these conditions, Joe asks that the Bloodstock record for folks over the barrier – currently held by Machine Head – is smashed during Hostage. That stream of surfers continues for The Sea of Tragic Beasts and Pandora, and Oh, What the Future Holds’ Far From Heaven, dedicated to tonight’s headliner, Lamb of God, ends the set, confirming deathcore has plenty of fans among the Bloodstock faithful.

I’m old enough to have been at Donington in 1994 when Brooklyn bad boys, Biohazard, had the sound turned off on them for a stage invasion – great times. I was there a couple of years later when they’d been moved to the main stage and a big security presence made a point of lining the front of the stage. When they made their Bloodstock debut in 2014, the Heavens had opened and the resulting stage invasion left some people -Tim – covered in muddy boot-prints for the rest of the day. 2023 saw them headline the S.O.P.H.I.E. and now they back on the Ronnie James Dio, higher up the main stage bill and ready to tear Catton Park a new one.

They hit the stage with boundless energy, more so than would be expected from a band whose average age is closer to sixty than anyone would want to admit. But age is just a number, and every inch of the stage is covered by Evan, Billy and Bobby. Entering to the Rocky theme of Gonna Fly Now and blasting into Urban Discipline’s bouncing groove, the energy from the band is infectious and, regardless of what Fit For an Autopsy had just done, Bloodstock responded to Biohazard in kind.

Shades of Grey finds Billy taking lead vocal, newbie Fuck the System comes with the question of whether we are happy with our government – not a positive response, tbh – and Wrong Side of the Track has Billy standing on the barrier. He’s in the thick of it for Black and White and Red All Over, Eyes on Six comes with a sea of raised hands and the inflatables come out for Five Blocks to the Subway, dedicated to everyone needing to work soul destroying jobs to make ends meet. The obligatory Bad Religion cover, We’re Only Gonna Die ends with an Iron Maiden-style conclusion, Sworn Enemy take the stage to help out with Punishment, leaving Biohazard to thank the crowd for their support over the past thirty-five years of the band’s existence, and a Hold My Own finale.

Tony Foresta is quick to remind us during Municipal Waste’s set that it’s not just Brooklyn being represented at Bloodstock today, but Richmond, VA, too, with both the Waste and Lamb of God hailing from that corner of the United States. Making their fourth appearance at Catton Park, Municipal Waste are always a blast. We had party slam earlier, now it’s time for the party thrash.

It’s been four years since the band’s last record: Electrified Brain, but that hardly matters as Bloodstock is set to thrash and Municipal Waste are he to provide the soundtrack. Flame pot spit their loads into the air as the band rev up to full power, delivered with the trademark speed and utter indifference to the limitations of the human body. So much so that Tony is himself sporting a knee-brace, making me feel less conscious of mine own.

Satanic rituals rule the moment for The Thrashin’ of the Christ; Born to Party is essentially the band’s mission statement distilled down to three words, Poison the Preacher and High Speed Steel go out to the heat stroke the band are about to have and Slime and Punishment loads up with fat, meaty chugs. Circle pits and crowd surfing are commonplace throughout, prevalent during the closing Beer Pressure and The Art of Partying, of course. The band make their own, heart-felt tribute to Lou, who clearly meant much to the band on a personal level.

As is customary at Bloodstock on Friday, we get a band announcement – or, in this case, twenty-seven bands announced, including all seven stage headliners, including Gaerea, Kanonenfieber and Dethklok topping the S.O.P.H.I.E. line-ups and Mercyful Fate, Electric Callboy and Motionless in White headlining the Ronnie James Dio. The undercard is varied, with something for everyone, regardless of musical taste: stand-out names include Acid Bath, Corrosion of Conformity, Devil Driver, and some old school Bloodstockery in Hammerfall. My own mouth-watering confirmations are Pig Destroyer, Decapitated, Fulci, Gutalax, and Madball headlining the Thursday tent. Folks have grumbled online, but the early tickets are apparently flying out; make of that what you will.

The Friday special guest slot is bitter-sweet for me: on the one-hand I never turn down a chance to see Brazilian legends, Sepultura, but on the other, I know this will be the last time I will as Bloodstock 2026 will be the last Sep show on British soil. Sabbath’s War Pigs fills the speakers – the first of two times it’s being used this weekend – followed by fellow Brazilians, Titãs’ Polícia, covered by the band in 1993 and available as a bonus track on Chaos AD.

Making a fourth appearance on the Ronnie James Dio, the band look to make this final show a celebration of the history of Sepultura, covering as wide a range of their discography as is possible in an hour-and-a-quarter. Inner Self starts the ball rolling, with Derrick having made it his own after nearly thirty-years fronting the band. Other Max-era stalwarts include Desperate Cry, Attitude, Dead Embryonic Cells and Territory; latter-era Kairos and Means to an End, along with three from this year’s swansong EP, The Cloud of Unknowing, show that a Cavalera-free Sepultura created comparable music in its own right.

All Souls Rising, The Place and the ballad, Beyond the Dream, come with passion that is imbued with the sadness that the end is nigh; yet it’s the only recorded instance of the band with drummer Greyson Nekrutman preserved for posterity.

Kaiowas sees a mass drum-off with a whole host of folks taking the stage and picking up sticks. There feels like a building intensity through Refuse/ Resist and Arise, with crowd action reaching its crescendo on closer Roots Bloody Roots. Not gonna lie, but tears were shed when it was over; loved Sepultura back then – love Sepultura now.

And so we’ve reached the end of the day, with only Richmond,VA, heavyweights Lamb of God left after a blistering day of high-quality music and unforgiving heat. Making their third headlining appearance, LoG know their way around Bloodstock’s main stage as well as anyone and hit it with the triple-whammy of old school classics: Ruin, Laid to Rest and Now You’ve Got Something to Die For before going anywhere near this year’s new record, the my-mate-Matt-approved Into Oblivion’s title track.

It has been a long a draining day, but Bloodstock is finding new levels of energy stored somewhere in heat-ravaged bodies, feeding back the power that is coming from the band. Resurrection Man and Grace come and go before another new-one, Blunt Force Blues, which Randy dedicates to Killing Joke guitarist, Geordie Walker, who passed away in 2023, and had been Lamb of God’s special guests on their last Bloodstock appearance.

The last of Into Oblivion’s tracks played tonight, Parasocial Christ, sits seamlessly between established band classics Walk with Me in Hell and Omerta, leaving only 11th Hour to close out the main set. Encores are the self-titled’s Memento Mori and the stone-cold Lamb of God classic, Redneck, which has the capacity crowd pouring out the last of those energy reserves.

It’s another triumphant headlining set from the Virginians and, were I a gambling man, I would put a shilling on the certainty that we will see them again at Bloodstock.

Photo credits: Tim Finch

For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.

The post Bloodstock 2026: Friday Review – Ronnie James Dio Stage appeared first on The Razor's Edge.

Bloodstock 2026: Friday Gallery – Ronnie James Dio Stage

7th August 2026
Photos: Tim Finch

Lamb of God

Sepultura

Municipal Waste

Biohazard

Fit For An Autopsy

Life of Agony

Skynd

Party Cannon

Battlesnake

Photo credits: Tim Finch

For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.

The post Bloodstock 2026: Friday Gallery – Ronnie James Dio Stage appeared first on The Razor's Edge.

In support of their upcoming new album release, PeelingFlesh will embark on a 24-date headlining tour across the United States this coming October. On select dates the will be supported by Gridiron, Snuffed On Sight, Outta Pocket and Final Resting Place.
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Crazy .

The post Crazy Party share live video from Romania for track “She Calls Me” first appeared on Sleaze Roxx.

A definitive answer.

The post Sid Wilson Has Quietly Confirmed His Ousting From Slipknot appeared first on Theprp.com.

Well here’s something the world absolutely needed! Say hello to Candybar from Brooklyn, New York! Big Eyes were one of the shining lights of punk-influenced power pop in the 2010s. They released four albums between 2011 and 2019, establishing Kait Eldridge as one of the finest songwriters of her generation. And just like that, they were gone. Candybar reunites Eldridge with her Big Eyes band-mate Jeff Ridenour. They’re joined by Lily Gist (Frida Kill) on bass and Dante Fotino (Born Sinner, Puddle Splasher) on drums. There was very little advance hype about Candybar, but it’s not going to take long for the excitement to spread given the quality of the foursome’s debut EP. It’s called First Bite, and it delivers three truly excellent tracks. Candybar is not necessarily Big Eyes, part 2. But if you’ve always loved the way Eldridge blends punk, power pop, and rock influences in her own signature style, you will not be disappointed in First Bite. All three of these tracks rock hard and are crammed full of hooks. The catchy, crunching “Queen of Sunday” is an ode to the coziest day of the week and the joy of lying around the house doing whatever you feel like. “Love Comes and Goes” (which has a bit of a glam rock vibe to it) and the pure pop gem “Wash the Salt” are heartfelt, deeply relatable love songs. As the title reflects, this is just a small first taste of what Candybar has in store for us. This is a band that people are going to be talking about, and so many of us have taken that first bite and are left craving much more. Stay tuned!

Finger it out.

The post Queens Of The Stone Age Announce New Album “Perfecth” appeared first on Theprp.com.

MAIDENHEAD GUITARIST ZACK ROBERTS TALKS ‘MAXIMUM CLONAGE,’ CHRIS POLAND, GLEN DROVER, RANDY BURNS AND THE FUTURE OF THRASH METAL

Massachusetts/Rhode Island thrash/death metal outfit MAIDENHEAD recently released its new album, “Maximum Clonage.” Guitarist Zack Roberts discussed the record, the band’s new lineup, its high-profile guest musicians and the group’s plans for the future during an appearance on “The Zach Moonshine Show” on Metal Devastation Radio.
Maidenhead’s new album, Maximum Clonage , arrived August 14, bringing together the band’s old-school thrash/death metal influences with a modern recording approach and a lineup that features some serious firepower.
Among the musicians appearing on the album are former Megadeth guitarist Chris Poland , former Megadeth and King Diamond guitarist Glen Drover , and Annihilator bassist Rich Gray . The album was also mixed by veteran producer Randy Burns , whose credits include Megadeth, Death, Nuclear Assault, Kreator and Possessed.
During his appearance on The Zach Moonshine Show , Maidenhead guitarist Zack Roberts discussed how those collaborations came together and what the band was attempting to accomplish with Maximum Clonage .
“It was a bucket-list experience,” Roberts said when discussing the opportunity to work with musicians who had influenced him personally.
The involvement of Chris Poland came about after Roberts met the guitarist at a convention in Massachusetts. After eventually reconnecting, Poland agreed to contribute a guest solo to the Maidenhead track “Kill Or Be Killed.”
Glen Drover’s appearance came together after Roberts contacted him through social media.
“I reached out to him and just asked if he would be interested in doing something with us,” Roberts explained.
Rich Gray’s contribution was somewhat more extensive. According to Roberts, Gray recorded bass parts for multiple songs and completed the work in roughly two days.
“He even tapped out all the music for us,” Roberts said, explaining that the tabs would also help whoever eventually takes over the band’s bass duties learn the material.
‘NOT STERILE, NOT OVERLY PRODUCED’

For Roberts, the production of Maximum Clonage was just as important as the musicians involved.
The album was mixed by Randy Burns, whose resume reads like a history lesson in extreme metal. Roberts said Burns’ use of analog equipment helped give the record the warmth and character the band wanted.
“Not sterile, not overly produced, pretty old school, but still kind of modern,” Roberts said when describing the album’s sound.
That balance was deliberate.
Roberts and Moonshine discussed the differences between modern ultra-polished production and the more aggressive character of classic thrash and death metal.
“If you’re doing that old school thrash death metal thing,” Roberts explained, using analog equipment and other techniques to retain an old-school character “is pretty sick.”
The result is a record that Roberts believes maintains the aggression of classic metal while benefiting from modern recording and mastering techniques.
THE ARTWORK AND THE WORLD OF ‘MAXIMUM CLONAGE’

The album’s visual presentation also plays a major role in the Maidenhead concept.
Roberts discussed his appreciation for classic metal album artwork and the influence of artists such as Ed Repka, whose work became synonymous with some of the most recognizable thrash and death metal releases of the 1980s and ’90s.
For Maximum Clonage , Maidenhead commissioned multiple pieces of artwork, including illustrations for the individual songs.
The record’s storyline revolves around clones and a character attempting to battle them. Maidenhead’s mascot, Nada, is also part of the concept, with the character inspired by the protagonist of John Carpenter’s 1988 cult classic They Live .
The album also draws inspiration from the video game Killing Floor .
The opening track, “Enter The Killing Floor,” was specifically influenced by the game’s soundtrack. Roberts said the band even brought in a synth player to help capture the sound and atmosphere of the game.
‘KILL OR BE KILLED’ WAS INSPIRED BY ‘PREDATOR’

Not all of the album’s concepts come from the same place.
Roberts revealed that “Kill Or Be Killed” was inspired by the 1987 Arnold Schwarzenegger film Predator .
The song incorporates elements from the movie, including its famous “get to the chopper” reference.
Other songs take a darker and more personal approach.
“False Masked Hero” deals with people who present themselves as friends while behaving differently behind someone’s back, while “Death March” explores the human cost of war and the idea of individuals being sent into conflicts they may not personally support.
The album also explores fantasy, supernatural themes and the ongoing battle between good and evil.
JACKSONS, MARSHALLS AND A QUAD CORTEX

Roberts also gave listeners a look at the equipment behind Maidenhead’s guitar sound.
For the album, he used a Jackson KVXMG , which he originally purchased as an inexpensive guitar he could take on the road. He also discussed his 2000 pre-Fender Jackson King V, which he has been using extensively for live performances.
His current live setup includes a Neural Quad Cortex , a Marshall 100-watt power amp and a Marshall 4×12 cabinet.
Roberts said the compact setup allowed him to take his entire rig to California while maintaining essentially the same guitar sounds heard on the album.
“I can fit that in a backpack,” he said.
Despite using modern modeling technology, Roberts remains firmly attached to the sound and feel of Marshall amplification.
The result is another example of Maidenhead’s approach to Maximum Clonage : use modern technology where it makes sense without losing the character of traditional heavy metal.
MAIDENHEAD ALREADY HAS ITS NEXT RECORD IN SIGHT

Despite having just released Maximum Clonage , Maidenhead isn’t planning to sit around for long.
Roberts revealed that the band intends to work on new material while also re-recording its earlier album Decapitation Of A Maiden .
The reason is simple: Maidenhead now has a largely new lineup, and Roberts believes the current incarnation of the band is tighter and better prepared to revisit the older material.
“We’re a tighter band,” Roberts said. “We’re better at recording.”
Roberts believes the older songs deserve the same treatment that was given to Maximum Clonage .
A MAIDENHEAD VIDEO GAME?

Perhaps the most unexpected revelation of the interview was Roberts’ plan to potentially turn Maximum Clonage into a video game.
He is currently working on the concept for a Sega Genesis-style 2D shooter based on the album.
The project could eventually be released through Steam and mobile platforms. Roberts has even investigated the possibility of producing a limited number of actual Sega Genesis cartridges.
“I did also look into actually getting it on Sega Genesis cartridges,” Roberts said.
For a band whose album concept already draws heavily from classic video games, the idea makes perfect sense.
Roberts also discussed the possibility of setting up an actual Genesis console at the band’s merchandise table so fans could play the game while checking out Maidenhead’s merchandise.
‘YOU HAVE A LOT MORE CONTROL’

The discussion eventually turned toward the realities of being an independent metal band in 2026.
Roberts acknowledged that modern musicians are responsible for far more than bands were expected to handle decades ago. Recording, promotion, merchandise, touring and other aspects of the business increasingly fall on the artists themselves.
At the same time, he sees a major advantage in the current landscape.
“You have a lot more control, I think, in this modern era of being an independent musician,” Roberts said.
According to Roberts, the tradeoff is that bands must provide much more of their own financial backing, but they also have considerably more creative freedom.
“If you do work hard enough, you can still achieve what the people who would have been backing you… you’d still be able to achieve those same things if you had that backing,” he added.
That philosophy seems to be reflected in Maidenhead’s approach to Maximum Clonage .
The band isn’t waiting for somebody else to tell them what the record should sound like, what the artwork should look like or what merchandise they should sell.
They’re doing it themselves.
FROM IRON MAIDEN AND MEGADETH TO MAIDENHEAD

Roberts’ own history with heavy metal goes back to childhood.
He recalled being introduced to Iron Maiden through his father, who brought home The Number Of The Beast , while his mother introduced him to Metallica. Megadeth would eventually become one of his biggest musical influences.
One particularly memorable story involved Roberts repeatedly singing Bon Jovi’s “You Give Love A Bad Name” while visiting his older cousin.
His cousin eventually put headphones on Roberts, dropped the needle on The Number Of The Beast and recorded the album onto cassette for him.
“That really just blew my mind,” Roberts recalled. “I was fucking hooked.”
Decades later, Roberts is now releasing music featuring guest appearances from musicians connected to some of the same bands that helped shape his musical identity.
That’s quite a journey.
WHAT’S NEXT?

Maidenhead will hit the road next week with Radar, with dates scheduled across New York, Connecticut, Vermont, New Hampshire and Massachusetts. Roberts encouraged fans in those areas to come out and see the band live.
Beyond the immediate touring plans, the band has plenty on its plate: Maximum Clonage , new material, a re-recording of Decapitation Of A Maiden , potential vinyl plans, expanded merchandise and, if everything comes together, a heavy metal video game straight out of the 16-bit era.
For a band rooted firmly in the classic thrash/death metal tradition, Maidenhead appears to be taking a decidedly modern approach to keeping that spirit alive.
Maximum Clonage is available now.
Listen to the complete Zack Roberts interview on “The Zach Moonshine Show” via Mixcoud below:
Full Track List:
Battle Of The Bands Top Six Winners:
1 – Okl’s FruitLoops – Scream Of Silence – (1,394,084 votes)
2 – Soul Of Sheol – Paradise Is Not For Us – (34,961 votes)
3 – Rage of Justice – Digital Prison – (8,039 votes)
4 – Heidbekka – Völva – (4,457 votes)
5 – Mistress – Terrified eyes – (2,166 votes)
6 – HKSPK – rot in despair – (1,156 votes)
The Zach Moonshine Intro
7 – Black Sabbath – Black Sabbath (live 98)
8 – Ola Englund – DOGMA PROGMA
9 – Narcotic Wasteland – Fentanyl Zombie Apocalypse
10 – Marilyn Manson – Unalive
Maidenhead – Interview featuring Maximum Clonage/Death March
11 – GODFLESH – Living/Ending
12 – Miscreance – The Moaning Hill
13 – Crown Magnetar – Shut Up and Bleed
14 – Thorndale – Spiritual Chains
15 – Nefarious Grime – Vampiric Seduction
16 – Burnt Witch – We Hate You – (Electric Wizard Cover)
17 – Deth Provider – Weaponized/March of Decay
18 – Mass Punishment – Eye of the Storm
19 – Rise From Your Grave – Like Mother Said
20 – NetherDred – Necrodancer
21 – Flight of Odin – Andromeda
22 – Visions of Morpheus – I Will Arise
23 – TAETHEN – Paradise for Fools
24 – Wooden – Veil Of Mankind
25 – Seethe – Between Here and Delirium (Lost)










You can also check out the interview clips on YouTube, Spotify and Apple: 


Super huge shout out to the 364,790 metal maniacs tuned to the live broadcast! 






Check out the new lyric video: 


For More Information

Connect: 
MaidenheadUSA.com
https://maidenhead666.bandcamp.com/
Facebook.com/MaidenheadUSA
https://www.youtube.com/@MaidenheadOfficial
https://open.spotify.com/artist/1z7IVuXBf353WnbIYNOzmN