– April 7th, 2026 –

Photo by Stephanie Cabral

Watch/stream SIX FEET UNDER’s “Mutilated Corpse In The Woods” HERE

“Mutilated Corpse In The Woods” is the newest single from American death metal legends SIX FEET UNDER. The track appears on their forthcoming new full-length, Next To Die, set for release on April 24th via Metal Blade Records.

Comments guitarist Jack Owen, “This song started when my wife and I were in an antique store and she found an amber quartz pendant that had lines through the whole thing. I asked her what it was and she said it’s a Rutilated Quartz. Well, that’s all I needed for a title and some lyrical ideas. The chorus came easy. The verses were from a true crime show where a woman described being attacked by an assailant who tied her to a tree and slit her throat. She couldn’t speak or scream. In real life she survived the attack, telling her story with a giant scar across her throat. In this song, unfortunately she did not survive… My killer buried her where she will never be found. I wrote the music from scratch around the lyrical ideas.”

Watch SIX FEET UNDER‘s lyric video for “Mutilated Corpse In The Woods” HERE.

Watch a visualizer for “Unmistakable Smell Of Death” HERE.

Next To Die marks a new creative high for SIX FEET UNDER, its dozen songs marking the band’s fifteenth album since 1995′s Haunted. The record is essentially broken down into two different sides – Death and Groove – resulting in an aural masterwork that satisfies SIX FEET UNDER as artists, while also offering something for every fan. To bring the songs to brutal life, vocalist Chris Barnes recorded his vocals at the legendary Criteria Recording Studios in Miami. “I’ve recorded 90% of my vocals for SIX FEET UNDER there with my longtime friend and engineer Chris Carroll,” says Barnes. “Criteria has a long and rich history of recording some of the most famous and important albums in the history of music. I feel very comfortable working there.”

Produced by Owens and Barnes and mixed and mastered by Mark Lewis of MRL Studios in Nashville, Tennessee, Next To Die follows 2024′s Killing For Revenge and is the third record that Barnes and Owen have created together since reuniting in 2017.

Barnes titled the record after the song “Next to Die,” as it “best represents what is contained within the ideas/storylines of the lyrics of each song. We don’t discuss lyrical themes, we each write what we’re feeling and find interesting.” The frontman urges close listening, saying, “that’s the great thing about music and art and reading. It takes you on an exploration into your own imagination, and that personal experience lets you discover what you think the meaning is. Having someone tell you what it means takes away that magic.”

SIX FEET UNDER was initially formed as a side project for Barnes during his final years with the band that he co-founded, Cannibal Corpse. It became the frontman’s sole focus in 1995, coinciding with the release of their debut, Haunted. The current lineup of Barnes, Owen, lead guitarist Ray Suhy, bassist Jeff Hughell, and drummer Marco Pitruzzella make for a devastating unit.

Next To Die features the cover art of Sandy Rezalmi and will be released on CD and digital formats as well as vinyl in the following color variants:

180g Black (EU)
Red w/ Black Smoke (US)
Bone Brown Marbled (EU – Ltd. 500)
Blue Grey Marbled (EU – Ltd. 300)
Blood Splatter (EU – Ltd. 300)
Bone White Green Splatter (EU – Ltd. 200)

Find all pre-orders at: metalblade.com/sixfeetunder

SIX FEET UNDER will return to European stages this June with support from Embryonic Autopsy. In July, the band will kick off a North American headlining tour with support from Kataklysm and Wormhole.

Tickets are on sale now. See all confirmed dates below.

SIX FEET UNDER w/ Embryonic Autopsy:
6/03/2026 Mystic Festival – Gdańsk, PL
6/04/2026 Franz – Berlin, DE
6/05/2026 Pitfest – Maastricht, NL
6/06/2026 Gebäude 9 – Cologne, DE
6/07/2026 The Garage – Saarbrücken, DE
6/10/2026 Colosseum – Košice, SK
6/12/2026 Nova Rock- Nickelsdorf, AT
6/13/2026 A38 – Budapest, HU
6/14/2026 Orto – Bar Ljubljana, SI
6/16/2026 Kaminwerk – Memmingen, DE
6/17/2026 Backstage Halle – Munich, DE
6/19/2026 Colo-Saal – Aschaffenburg, DE
6/20/2026 Graspop Festival – Dessel, BE
6/21/2026 Hellfest – Clisson, FR
6/23/2026 Logo – Hamburg, DE
6/24/2026 Copenhell – Copenhagen, DK
6/26/2026 Basinfire Festival – Spálené Poříčí, CZ
6/27/2026 Abyss Festival – Hauteville, CH

SIX FEET UNDER w/ Kataklysm, Wormhole:
7/08/2026 Sanctuary – Detroit, MI
7/09/2026 Lee’s Palace – Toronto, ON ^
7/10/2026 Fairmount – Montreal, QC ^
7/11/2026 Overflow – Ottawa, ON ^
7/12/2026 Palladium Upstairs – Worcester, MA
7/13/2026 Space Ballroom – Hamden, CT
7/14/2026 Gramercy Theatre – New York, NY
7/15/2026 Broken Goblet – Bensalem, PA
7/16/2026 Chapel of Bones – Raleigh, NC
7/17/2026 Albatross – Jacksonville, FL
7/18/2026 Culture Room – Fort Lauderdale, FL
7/19/2026 Conduit – Orlando, FL
7/21/2026 Scout Bar – Houston, TX
7/22/2026 Come and Take It Live – Austin, TX
7/23/2026 Jake’s – Lubbock, TX
7/24/2026 Lauter Haus – Farmington, NM
7/25/2026 Nile – Phoenix, AZ
7/26/2026 1720 – Los Angeles, CA
7/27/2026 Strummer’s – Fresno, CA
7/28/2026 Cornerstone – Berkeley, CA
7/29/2026 Goldfield – Roseville, CA
7/30/2026 Shredder – Boise, ID *
7/31/2026 Hawthorne Theatre – Portland, OR
8/01/2026 El Corazon – Seattle, WA
8/02/2026 Rickshaw – Vancouver, BC ^
8/04/2026 Arrowhead – Calgary, AB ^
8/05/2026 Starlite Room – Edmonton, AB ^
8/06/2026 Black Cat – Saskatoon, SK ^
8/07/2026 Park Theatre – Winnipeg, MB ^
8/08/2026 Skyway Theatre – Minneapolis, MN
8/09/2026 The Annex – Madison, WI
8/10/2026 Madison Theater – Covington, KY
8/11/2026 Reggies – Chicago, IL
* No Kataklysm
^ Kataklysm headlines

SIX FEET UNDER:
Chris Barnes – vocals
Jack Owen – guitars
Marco Pitruzzella – drums
Jeff Hughell – bass
Ray Suhy – guitars

https://www.facebook.com/sixfeetunder
https://x.com/sixfeetofficial

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Slaughter to Prevail – Brooklyn Bowl – Las Vegas – April 4, 2026

What do you expect from a band where the Russian lead singer is a bare-knuckle boxer, wrestles grizzly bears on camera, regularly orchestrates some of the largest walls of death in history, goes by the name Alex Terrible, and is capable of screaming as loud without a microphone and PA system as he is using one? You expect the kind of night that Slaughter to Prevail provided Saturday at the Brooklyn Bowl in Las Vegas – one where the room vibrated with pent-up energy and the crowd was as frenzied as any crowd before them.

From the outside, you wouldn’t know such an event was happening, as the Brooklyn Bowl is located in an outdoor shopping mall between Harrah’s Casino and the Flamingo Casino, and about 100 yards from the High Roller – the largest observation wheel (Ferris wheel) in the world. Inside, in addition to a modern 2500 capacity concert hall with state-of-the-art sound, it has 32 bowling lanes next to the open floor with leather couches…a strange combination if you think too hard about it, but when Slaughter to Prevail is playing on stage, it is difficult to think about anything except feeling the thumping of the music in your very being, and survival…there isn’t room for anything else.

The venue said “Sold Out” on the marquee, and I’m sure that was true, in fact, I’m 100% sure it was grossly oversold. The main rectangular room has a large standing area, surrounded on three sides by a raised area, perhaps five steps up. Movement in the main area was impossible. There were only a few crowd surfers, and I believe that there simply wasn’t room for them to be hoisted up – also, the mosh pit was so large and spinning ferociously for much of the evening that crowd surfers only had a few rows of heads to cruise over because the pit took up so much of the floor. As for the surrounding area, it was nearly impossible to navigate through – if you needed to get a drink or use the bathroom, you were either out of luck, or needed to be highly motivated and not afraid to make contact with your fellow concert-goers – it was shoulder to shoulder and then some.

Slaughter To Prevail

The room seemed to pulse and move with the energy of the audience, matched only by that of the band, who weren’t messing around. This is high-volume, high-energy music and is no joke. People were there not just to listen and bop their heads or tap their foot along with the beat, but to be active participants. The only real moment of reprieve was during “Bratva” when Alex requested the room split from side to side for the wall of death, before encouraging everyone to “Try to be safe…”, and then the moment of calm disappeared in a sudden rush of elbows, shoulders, heads, and who knows what else…

This was a show unlike any other I’ve been to. I saw Slaughter to Prevail at Aftershock last year, but it wasn’t remotely the same as Saturday in Vegas. At a festival, not everyone is there strictly to see a specific band – they might be passing by the stage on their way to another stage, holding their position for the headliner, or just curious because of something they’ve heard. This crowd lined up hours before the doors opened to be as close as they could to the stage, and there’s no place they’d rather have been then at the Bowl – exhausted, drenched in sweat, and ready to keep going as long as the music continued to blare, even with the weight of humanity bearing down on them from all directions with tremendous force. This was a night to remember, and those who were in attendance won’t soon forget it.

Setlist:

1. Bonebreaker
2. Banditos
3. Russian Grizzly in America
4. Viking
5. Imdead
6. Babayka
7. Bratva
8. Baba Yaga
9. Koschei
10. Drum Solo
11. Conflict
12. Kid of Darkness
13. Behelit

Encore:

14. Demolisher

Slaughter to Prevail are:

• Alex Terrible – Vocals
• Jack Simmons – Guitar
• Mike Petrov – Bass
• Evgeny Novikov – Drums
• Dmitry Mamedov – Guitar

Whitechapel

When Whitechapel’s Phil Bozeman growls into a microphone, time seems to move at a different speed, the ground underneath seems unsteady, and people lucky enough to be in the audience go out of their minds. Being in the photo pit is cool for any band, but to be a mere two feet away from something as unique as Phil’s delivery is incredible, while at that distance his vocals were loud enough to hear above the drone of the PA system turned to eleven – truly otherworldly.

The Knoxville,Tennessee band formed in 2006, and is named after the Whitechapel district in London, where Jack the Ripper committed grisly murders in the late 1880’s. That was shocking then, and in a different way, witnessing Whitechapel live is shocking to the uninitiated…minus the gruesome death of course. When they started, their three-guitar attack was revolutionary to the deathcore scene, and the wall of sound coming from the stage on this night was staggering. This music isn’t for everyone, but the people who stood in line for hours and were crammed in like cattle were diehard fans and wouldn’t have wanted it any other way.

Whitechapel are:

• Phil Bozeman – Vocals
• Gabe Crisp – Bass
• Ben Savage – Guitar
• Alex Wade – Guitar
• Zach Householder- Guitar
• Brandon Zackey – Drums

Attila

When the lights came up for Attila, the first observation was that drummer Tyler Kruckmeyer and his kit were completely buried behind vocalist Chris Fronzak’s riser – only his head and cymbals could be seen by the crowd, a trend that would continue for Whitechapel’s set as well.

Sight lines aside, Attila was a formidable force, which was required on a bill like this – opening for Slaughter to Prevail is no easy task – the fan’s expectations are simply too high to be subpar or to phone it in. The Atlanta, Georgia metalcore four-piece has more than twenty years of experience in the game, and were definitely up to the challenge promoting their just released 10th record, Concrete Throne.

Besides pride and wanting to put on a great show, they had a good reason to kill it – this was their first performance in Las Vegas in eight years after they were banned from playing in Nevada due to a 2018 altercation on stage and the resulting lawsuit that followed. Vocalist Chris Fronzak and bassist Kalan Adam jumped into action to protect their fans from what they deemed abuse by security guards in the pit. Chris alluded to the incident after the first song, and said how happy they were to be playing for their Nevada fans again, and the crowd welcomed them back with a roar of approval.

Attila are:

• Tyler Kruckmeyer – Drums
• Chris Linck – Guitar
• Chris Fronzak – Vocals
• Kalan Adam – Bass

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(written by Islander) We are about to present an ultra-long song, one that extends for nearly 17 minutes. However, it is not one that allows attention to wander, not even for a moment. It is instead an astonishing sonic spectacle that creates scenes of cataclysmic destruction and unchained madness, but also includes elegant, exotic, and […]

The post AN NCS VIDEO PREMIERE: TELOCH VOVIN — “PANZER FIST” appeared first on NO CLEAN SINGING.

Once a year, London’s Southbank Centre locks down a big name to headline and curate its Meltdown Festival, and the big name usually puts together a lineup full of semi-obscure cult favorites and ascendant fringe acts. In the past, that role has gone to legends like David Bowie, Scott Walker, Patti Smith, Yoko Ono, Robert Smith, and Grace Jones. Last year, UK rapper Little Simz was in change of Meltdown. This year’s Meltdown curator is Harry Styles, one of the biggest pop star on the planet. He has risen to the occasion.

The post Harry Styles Books James Murphy, Dev Hynes, & More For Meltdown Festival appeared first on Stereogum.

A 9-date run has been booked for September.

The post The Mars Volta Just Announced Their First U.S. Tour Of 2026 So Far appeared first on Theprp.com.

Posted on April 7th 2026, 4:51p.m.

Album Review: Mild – Boss

Reviewed by Rob Barker

Lincoln sludge/doom/stoner trio Mild put out their debut album Boss on April 9th. The world (including myself) having heard nothing of the band before now, all I had to prepare myself was a few short sentences from the bank likening themselves to sludge heavyweights Iron Monkey, post-metal giants Neurosis and stoner-metal very-big-lads Bongzilla. With a promise of something heavy, shouty and riffy I gave Boss a good listen, and then I gave it a few more listens cos, not gonna lie, this delivered what it said it would.

The album kicks off with I.C.P, and we’re straight in with no warning other than the double gunshot of a short couple of drum hits, making way into blistering noise. Vocals chop and change between the black metal screeches of bassist Joe and the more beatdown/hardcore bark of guitarist Mark. This capped off with highly accomplished musicianship from both of the aforementioned, and tribal, abrasive and technical drumming laid down from Scott. The track twists throughout it’s fairly long running time into a very “stoner” inspired riff in comparison to the heavy doom start – this change in direction is delivered with an unexpected subtlety for such a heavy band, and before you know it we’re in full Kyuss mode.

Fission Mailed comes in next with a very harsh slap of a transition in comparison to the groove of the end of I.C.P. Much more of the Neurosis influence coming through with this one, with aggression reminisce of Chat Pile and filthy, discordant guitar making it impossible not to make an ugly frowny stank face and nod along to the nastiness of the groove. Outro riff is just the right mixture of dry, raw, and unpolished, whilst simultaneously having been produced to excellence by Joe Dickinson at Playing Aloud Studios. If I had to pick (and I don’t), this is my favourite track of the album.

Reckless next – shifting to a notable hardcore-punk beat and vibe for the first three-or-so minutes before changing again into an outro that feels more at home back in stoner territory. A conspicuously shorter track in compared to the first two offerings, but by no means less effective or powerful for this.

Drowning in fuzz and scream-along hooks, Dad Brown gives an atmosphere akin to a heavier, more primal reincarnation of Acid Bath. Boss concludes with the plodding, marching beats of Severed Head Syndrome, showcasing an unexpectedly abrupt ending to the album and insisting on repeated listening.

Mild have done a grand job for their first release, and Boss deserves to be listened to and taken seriously. Lyrically, Mild cover a range of topics from capitalism to misogyny, from aging to drink and drug culture, all with a sarcastic and satirical eye on the state of the world we live in. You get a good feel of how fearsome the band will be in a live setting from listening, and it demands to be played loud and obnoxiously on repeat. Good work.

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Costin Chioreanu directed the clip.

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