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  • Fans Are Saying the Same Thing About Green Day’s Super Bowl Performance

    Green Day just performed at the kickoff of the 2026 Super Bowl, and fans are saying the same thing about the band’s performance.

    The post Fans Are Saying the Same Thing About Green Day’s Super Bowl Performance appeared first on Audio Ink Radio.

  • Reigniting The Revolution With WENDY JAMES From TRANSVISION VAMP

    Interview by Kris Peters Transvision Vamp were the buzz band of the late 1980s and early 1990s. Fronted by the raunchy, attitude-laden Wendy James and backed by a catchy assembly of songs, Transvision Vamp cornered every section of the market. Their pop/punk rebelliousness, outlined through songs such as Baby I Don’t Care, I Want Your […]

  • Golden Hours Released New Album “Beyond Wires” Via Fuzz Club

    ‘Beyond Wires’, the sophomore album from Berlin/Brussels post-punk group Golden Hours is out today on Fuzz Club. Alongside the release of their second full-length, the band are also releasing a video for ‘The Same Thing’ – following earlier singles ‘The Letter’, ‘Heading For The Moon’, and ‘Arctic Desert’.  Based between Berlin and Brussels, Golden Hours […]

  • Haste The Day Share Visualizer For “Shallows”

    HASTE THE DAY, the metalcore band that made a scene splash in the ’00s, returned in 2024 with the video for the new song “Burn.” They also appeared at Furnace Fest that year. It was their first music in nearly a decade. But they didn’t stop there. Not a chance!  Today, the band is thrilled to […]

  • Ravage Release New Track And Video “Hyeronimus Dream”

    “Hyeronimus Dream” is taken from the self-titled debut album by French band RAVAGE, released on November 14, 2025 via labels Sérotine Records and Mr Morezon. Directed by Bertrand Monboisset, the video translates the band’s identity — rage + sauvage = RAVAGE — through a minimalist two-tone split-screen concept. The two colors, linked to the violins, gradually fracture as the music […]

  • Fotocrime Shares New Single “Unthinkable” Featuring Jay Weinberg And Barney Greenway)

    On their forthcoming LP Security, Louisville dark punk stalwarts FOTOCRIME go for a more aggressive and furious tone.  The album’s second single “Unthinkable” is an examination of our current state of geopolitical panic and impending global conflict, inching towards total annihilation. The track kicks off with a smashing drum performance by none other than Jay Weinberg (Suicidal Tendencies, ex-Slipknot) […]

  • Monday Morning Video – Tyler-James Kelly

    The beauty of true country music is its simplicity. But there’s real complexity in creating something that feels effortless—distilling a song idea down to its core, making it lyrically accessible, and setting it to a melody that’s both immediate and unforgettable. Tyler-James Kelly did exactly that on his solo debut, and he continues that success […]

  • SUX Release New Video From Upcoming LP

    From SUX, the band that brought you classics such as Shit City and SUXCESS, comes their latest full length masterpiece, SUX SELLS, via Youth Riot Records – out on March 27th. You can get a taste, with the album’s first single, “NO THX”! “The first single off our upcoming release SUX SELLS delivers a stinky attitude and absolutely […]

  • Reviews: KMFDM, Induction, In Aeternum, Jack Harlon And The Dead Crows (Cherie Curtis, Matt Bladen, Mark Young & Rich Piva)

    KMFDM – Enemy (Metropolis Records) [Cherie Curtis]

    KMFDM’s new album Enemy is just as visionary, vibrant and energizing as they’ve ever been. Though they have been through many lineups and hiatuses over the years, they still manage to keep their blueprint of nostalgia which can only be described as a factory floor on a spaceship which just so happens to be hosting a thrash metal gig.

    KMFDM prioritizes a highly cinematic atmosphere that’s action packed and dystopian with an unbeatable amount of spirit that’s gripping and has the potential to captivate the most cynical of metal listeners. There is a mixture of vocal styles, Sascha Konietzko’s signature loud and gritty shouted vocals and the softer more silky vocals by Lucia Cifarelli which plays a central role within this album.

    Each track in Enemy has something interesting and unexpected sprinkled in; Outer National Intervention has a bouncy and electric atmosphere with an eerie synthesizer or theremin paired with some heavy-duty riffs which is campy, fun and kicky and a definite floor filler. It’s classic KMFDM, It’s technically explorative with a sci – fi spin. 

    Track 8, Stray Bullet is a Reggae cover of a fan favourite which is a switch up from the rest of the album just when you thought you might be getting bored and is just as much a delight to listen to and shows us the remarkable technical range KMFDM has as well as their clear knowledge of what we expect from them and how to keep us interested.

    There is so much to listen to; you’ll be picking up different elements every time you put it on. There’s something so magnetic about KMFDM, even within a genre where arguably most of the music sounds the same, KMFDM’s Enemy brings us once again a well-crafted bridge between a mosh pit and a rave. I feel like it will be too satirical and clubby for some people, but they would be missing out on something truly fun, lasting and unique 10/10

    Induction – Love Kills! (Reigning Phoenix Music) [Matt Bladen]

    Ah power metal always a long time love of mine and there are plenty of bands who can do it well as well as really badly. Induction are one of the former, as they put together a modern style of power metal that is full of pulsing beats but there’s an old school edge that comes from the early speed metal days too. This is probably because Induction is led by Tim Kanoa Hansen, son of Kai Hansen of Helloween/Gama Ray so power metal pumps through his blood and through his guitar, linking up with Justus Sahlman for the twin axe attack of this record.

    Now Induction have climbed the ranks very quickly picking up some high profile supports such as Sonata Arctica, Battle Beast and Accept. Across their two albums they’ve expanded their progressive power metal sound into wider realms than any previously. With their third record Love Kills! they’ve brought in the melodies of AOR on the duet Strangers To Love while War Of Hearts has the boisterous thump of the those pulsing synths that are all the rage nowadays, as does I Am Evil.

    From the industrial beginnings of Virtual Insanity (not a Jamiroquai cover) the galloping triumphal power metal of Steel & Thunder and Beyond Horizons. The rhythm section of Dominik Gusch (bass) and Markus “Maks” Felber (drums) drive the swaggering Gods Of Steel. They’re also as behind the battery on The Veil Of Affection, which also shows off the vocals from Gabriele Gozzi, his range is wide and full of grit, the full range coming on the closing epic Empress. 

    Induction bring more influences to their already formidable sound with their third album Love Kills! a band who will be the knocking at the door of the genre leaders sooner rather than later. 8/10

    In Aeternum – Of Death And Fire (Soulseller Records) [Mark Young]

    Capping this first week of February, In Aeternum have undergone something of a resurrection themselves, returning after a period away to usher in a brand-new release of black death metal. Generally speaking, any metal that comes from Scandinavia comes with an almost ingrained way of doing things, an unconscious choice made to make sure that the music to follow is as extreme as possible. Its doesn’t mean that every album is a world breaker, but it means that they know what constitutes good metal.

    Of Death And Fire is such an album. It has all of the right ingredients needed to make a death metal album but suffers at times from a lack of focus, utilising speed as a means of bludgeoning the audience when a lighter touch would have sufficed. There is the now de rigueur intro track that morphs into Beneath The Darkened Tomb which represents the unfocused aspect here. It rumbles in, on that front foot opting to batter you from start to finish. Trem picking, double bass and heady melodic lines it’s a fine opening track but one that tries to bring a number of threads together. 

    The Day Of Wrath continues in that same aggressive vein, again its ok as it observes the rules of engagement for heavy metal – never be boring, bring riffs and a lead break if you don’t mind. Both do what they need, its that they don’t feel essential to me. When Spirits Of The Dead kicks in, it becomes a different proposition. This slower, muscular approach is ideally suited to them, and it’s a quality track that has this bullet proof main riff to it. Here the melodic touches shown earlier shine through without softening it up. It is a cracker, and then followed up with Mortuary Cult.

    Here, the speedy attack returns, but with a difference. It keeps the build simple, going for efficiency which in turn aids the increased velocity. The Vile God Of Slime completes this early hat-trick, with a grinding tone and that mid-tempo pace. Its takes its time, unhurried and like Spirits, shows that this is the right way for them.

    I’m not suggesting for one second that their faster attempts are poor. Far from it, they are decent examples of the form. Its when they go for that measured attack, the music seems to have more time to breath. Bow To None manages to combine both ways to a good effect with Goddess Of Abominations a particular favourite with climatic melodic breaks and crawling rhythms making it one of the strongest tracks here. Was it a confidence thing that they needed to kick off the way they did here? Maybe but as it goes there is more fun to be had with those mid-paced affairs, they just seem to fit them better. 

    Nothing against Beneath The Darkened Tomb, or The Hourglass, they are just not as interesting as Spirits Of The Dead or Goddess Of Abominations. Of course, a lot rests on the closing track to finish things off. To Those Who Have Rode On (ft Erik Danielsson) is a belter. It is the definition of leaving the best for last, a super-strong climax bringing the lead breaks and all the atmosphere you could possibly want. On the whole, we have a 11 tracks that can be split into ok and very good. Ultimately, its decent if unbalanced return for In Aeternum, one where the good is outweighed by the better. 7/10

    Jack Harlon And The Dead Crows – Inexorable Opposites (Magnetic Eye Records) [Rich Piva]

    Only recently did I come to know that the Jack Harlon from the band Jack Harlon and the Dead Crows was not a real dude, but the fictional hero that band leader, Tim Coutts-Smith, created for the universe that makes up the band’s (amazing) back catalog. In speaking with Tim on The Rich & Turbo Heavy Half Hour, Jack is a sort of a Ziggy Stardust alter ego that has really driven his songwriting and output up until this point. The band’s new record, Inexorable Opposites, still has some elements of Jack, but Coutts-Smith has created his most personal material in the form of the eight tracks on what is his best record till date.

    Why is this the best work from the entity known as Jack Harlon and the Dead Crows? First, the songwriting is next level, with Coutts-Smith incorporating more of his personal experiences and work in the mental health field into this set of songs. Songs like Dave Is Done and To Die would not have shown up on a prior JHATDC record. Inexorable Opposites is infinitely better for it. Second, new drummer Brayden Becher makes the Harlon sound so much bigger and so much heavier. Just check out the opener, Moss, and the killer track Seer, for evidence of his impact on the record. 

    The heaviness of the record overall, not just from the drums but certainly influenced by it, takes the fuzzy heavy blues sound of JHATDC and ratchets up their definition of what heavy sounds like. Venomous is a track that outlines this, with its killer riff and grungy tones. The songs on Inexorable Opposites sound bigger too, with more atmosphere and a wall-of-sound leaning direction, like on Mt. Macedon. The aforementioned To Die, the closer, is where Jack steps back and Tim steps forward. 

    The quietest, yet heaviest song ever put on a Harlon record, this is Coutts-Smith stripped naked, stepping into the light, leaning less on a character and more on himself, akin to how Igor Sydorenko from Stoned Jesus did the same on his closer, Quicksand, from last year’s amazing Song To Sun. Both are breathtaking and inspiring songs, not because of the content, of which both are amazingly deep, sad, impactful, and emotional, but from a standpoint of putting yourself out there, out of your comfort zone, for all the world to see. Amazing stuff.

    The world of Jack Harlon is not dead on Inexorable Opposites, but the line between the creator and the character has certainly been blurred, and the outcome could not have been better. An excellent record that everyone should check out. 9/10

  • TEEMU MÄNTYSAARI Says MEGADETH’s Final LP Was Built As A True Band Effort: “It Was Really Nice To Have Everybody’s Contribution Included”

    In a new chat with Finland’s Chaoszine, Megadeth guitarist Teemu Mäntysaari pulled back the curtain on how the band built Megadeth, the group’s self-titled final studio album, released late last month through Dave Mustaine’s Tradecraft imprint in partnership with Frontiers Label Group’s BLKIIBLK label.

    For fans expecting a quick, high-pressure sprint, Teemu Mäntysaari described almost the opposite. The album took time, and the atmosphere inside the room stayed focused and calm: “It was a lengthy process, I guess — 10 months in the studio. [So it was] pretty intense in that sense, but also, I think, very enjoyable, kind of, I’d say pretty relaxed, because we were kind of in this bubble the whole time.”

    “It seems like the songs came together pretty spontaneously,” Mäntysaari continued (via Blabbermouth). “A lot of the songs started out as kind of improvised jams with all the guys, and all the bandmembers got involved quite heavily, so that was really nice to have everybody’s contribution included.”

    “Going to the recording of the new album, I tried not to stress about it too much,” Teemu explained. “Of course, you could start thinking, what about the legacy of the band? How do you compete with the previous classic albums? But I tried not to think about it too much. Of course, freely taking kind of influence from the different, great eras of the band, but at the same time trying to create something fresh and new. And we felt like trying to include the current bands, really the band sound in there, the sound that we’ve developed now playing together live for a few years, and how tight we’ve gotten together and tried to put that on the album and make the kind of Megadeth album that we would ourselves love to hear as well.”

    That mindset becomes even clearer in how pre-production was handled. Teemu said Dave Mustaine wanted the full band involved early, including riff ideas from everyone, and then took the group through a deep catalog study before tracking began.

    “My contribution to this album, first of all, was kind of a surprise that Dave wanted to include us bandmembers so much. So pretty early on, he asked me and the guys if we had some riff ideas, and then we should start saving them because at some point we were gonna start recording the album. And so we did,” Mäntysaari recalled.

    “And then we basically started pre-production by listening through the whole Megadeth catalog, all the songs, including all the bonus tracks and cover tracks, alphabetically, over 200 songs. We listened, and we made notes, like what we liked in the songs, and what some of the parts were that we could use maybe as an inspiration or a catalyst to inspire ideas for the new album,” he explained. “And Dave was telling us stories, like how he came up with lyrics and little backstories, like how the songs originally came to be. So that was a big inspiration to get the creative minds working.”

    “Then we went to the studio late in 2024, and then stayed in the studio until ’25, August, September. In the studio, we had a really nice setup where it was like this one really big room. One corner had the recording equipment in there, all the amps and whatever you need, a recording booth for acoustic guitars and vocals.”

    “And then in one side of the big room, we had all our live equipment, so the full live setup, basically, so we could anytime go there and jam with the guys and come up with these ideas, which is then how a lot of the songs kind of started,” Teemu continued.

    “We just sat down and maybe had a little snippet of an idea, and then developed that together. Or maybe even didn’t have any idea, but somebody just started playing, and the other guys joined in, and we had the producer recording everything. And then soon we had starting points for a lot of songs.”

    The commercial response backed up that approach right away. Megadeth opened at No. 1 on the U.S. chart with 73,000 equivalent album units for the tracking week ending January 29, based on Luminate data. Most of that came from pure purchases, with 69,000 in album sales. It is a strong launch for a closing chapter, and it positions the follow-up to The Sick, The Dying… And The Dead! as both a fan-supported release and a collaborative statement from this lineup.

    The post TEEMU MÄNTYSAARI Says MEGADETH’s Final LP Was Built As A True Band Effort: “It Was Really Nice To Have Everybody’s Contribution Included” appeared first on Sonic Perspectives.