Category: news

Dominic Garcia was Deftones’ original bassist, but a misunderstanding ended his tenure long before they’d eventually blow up

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FOR IMMEDIATE RELEASE
Too Much Said The Nature Unleashes Ferocious New Single “Eat The Rich”
Death/black metal project Too Much Said The Nature (TMSTN) returns with a sharp new statement in modern extreme metal. The single, Eat The Rich , drops on March 22, 2026, signaling the evolution of the project from a solo endeavor into a full-fledged two-man band.
Founded in 2021 by guitarist and composer Tapio Välimäki, TMSTN initially operated as a one-man black/death metal project featuring guest vocalists. Following the 2025 release of the EP Prophet of Tomorrow , which featured Joni Mustonen on vocals, Välimäki reached out to Mustonen to join forces permanently. The result is a new chapter in TMSTN’s journey: a collaborative effort blending relentless riffing, complex arrangements, and atmospheric touches.
“After years of working alone, I thought it was time to make TMSTN a proper band,” Välimäki says. “I sent Joni some older songs that hadn’t been released yet, and he felt these should see the light of day. ‘Eat The Rich’ is the first of these, a song that tackles class disparity, politics, and warfare in our world today.”
The track is the second single from an upcoming five-song EP, featuring guest keyboardist Mika Huotari and mastered by Andreas “Seidr Jonsson” Westholm at Dark Prod Studios. A third single is planned in the coming months.
Fans of Whitechapel, Omnium Gatherum, and Der Weg einer Freiheit will find TMSTN’s latest offering a potent mix of aggression, technicality, and haunting melody, all wrapped in a searingly modern black/death aesthetic.
Credits:
Music & Guitar: Tapio Välimäki
Vocals & Lyrics: Joni Mustonen
Bass & Guitar: Tapio Välimäki
Keyboards: Mika Huotari
Drums: T
Mixing & Mastering: Andreas “Seidr Jonsson” Westholm – Dark Prod Studios
Lyricists: Joni Mustonen & Tapio Välimäki
Composer: Tapio Välimäki
Media Contact: zach@metaldevastationradio.com
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Links:
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Contact: Tapio Välimäki & Joni Mustonen – toomuchsaidthenatureofficial@gmail.com

Green Carnation is a band hellbent on making up for lost time. With nearly a decade and a half between their fifth and sixth albums, and five between the sixth and seventh, this Norwegian collective is set to deliver both parts two and three of their Dark Poem trilogy in 2026, with the apparent aim of dropping the entire set within about a year. We’ve seen other bands make similar moves in decades past, and Green Carnation apparently took studious notes to avoid the mistakes Metallica and Guns n Roses made in the 90s. The Dark Poem albums have fewer – and much stronger – songs.

In their previous life, Green Carnation made it a point to travel in varying directions with each record and delivered stunningly excellent output while doing so. Since their reformation, however, they’ve opted to explore the progressive doom that earned them acclaim with Light of Day, Day of Darkness a good quarter century ago, though they’ve shied away from penning any more hourlong opuses this time around. And that’s completely fine – Leaves of Yesteryear was more than a commendable comeback album, and the Dark Poem trilogy is shaping up to be a leaner, more precise, and more biting iteration of that facet.

Notably absent from Sanguis is founder/ guitarist Terje “Tchort” Schei, who in recent weeks has returned from a short leave of absence. This continues what seems to be a revolving cast of musicians who make Green Carnation more of a collective than a band – Schei, fellow guitarists Bjørn Harstad and Michael Krumins, and keyboardists Endre Kirkesola and Kenneth Silden seem to cycle in and out depending on availability, while longtime singer Kjetil Nordhus, longtime bassist Stein Roger Sordal, and newish drummer Jonathan Pérez hold the fort down, with the former two handling damn near all of songwriting duties as of late. While certainly an unconventional approach to maintaining a band, A Dark Poem, Part II: Sanguis is a solid argument in favor of this practice. It’s brief as far as Green Carnation records go, and like most of this band’s catalog, it’s damn good.

The title track greets us with Kirkesola’s very deliberately retro-sounding organ juxtaposed with Pérez’s very deliberately metal drumming before that familiar chugging and that always-welcome croon dispels doubt that this is indeed a Green Carnation record. Everything that has defined the band’s current approach – unapologetic doom with 70s progressive flair – not only shines on its own merit, but it proves to be the ideal conduit for the bleak resolve of Sordal’s gut-wrenching lyrics, where he vows to break the chains of generational trauma.

While there is much to be said in favor of the argument that there is no better person to sing such personal lyrics than the person who penned them, singers like Nordhus make a more than compelling counterpoint. While his delivery never lacks, performances such as “Sanguis” (Latin for both “blood” and “descent”) leave me no choice other than to believe his imposing stature doubles as a reservoir for the anguish his bandmates commit to paper, as if his work on Light of Day, Day of Darkness, which Tchort wrote while grieving the death of his young daughter, didn’t imply that in spades over two decades ago. Those who foolishly harbor doubts need only hear the agony in Nordhus’ voice as he delivers the lines “Father, I do realize that the cards you were given destroyed you… In the light of life, I will not follow you.”

“Loneliness Untold, Loneliness Unfolds,” a 100% clean and brooding “acoustic” cut that features Sordal taking the lead vocal in Green Carnation for the first time since the burden was his alone, is something of a throwback to 2006’s absolutely essential The Acoustic Verses. Though not nearly as punishing as that older cut, which has reduced me to a weeping mess on multiple occasions, this isn’t the intent of “Loneliness.” Its purpose is not to inspire grief, but to provoke despair, and this unpretentious four-minute dirge delivers on that promise. “Sweet To the Point of Bitter,” on the other hand, is heavy to the point of crushing, demonstrating over the course of nearly six minutes that doom can be so much more than the sludge its detractors often accuse it of being.

“I Am Time” continues in this vein, recalling the afflicted glory of “Writings on the Wall” in that tortured reprise as well as Green Carnation’s black metal roots in that tense, trem-picked interlude. And like most well-crafted epics, these songs end without the listener realizing how much time they devour.

The politically-charged “Fire in Ice,” one of the obvious centerpieces of the album, is another similarly structured song that embodies the decades-old promise of “epicus doomicus metallicus” (an album which coincidentally was written by Candlemass’s own bassist, and which nearly included a song called “Dark Reflections”). Every second of this song builds on the second before it, and it is peppered with riffs and melodies that, while unassuming on their own, are layered so expertly as to wring the last breath of life from even more unassuming listeners. I cannot wait to hear this cut live.

Sanguis takes its final bow with another song that would not have felt out of place on The Acoustic Verses. The fully unplugged “Lunar Tale”  is without question the most gentle, touching, and heart-wrenching song Green Carnation have committed to tape since they reformed in 2014, and even with the eerily suicidal closing line “sunlight, you’re better off without me/ Moonlight, with me gone, you’ll be free,” offers a glimmer of hope to conclude an album that can otherwise only be described as bleak.

Tchort teased a trilogy, of which Light of Day, Day of Darkness would be the first installments, called The Chronicles of Doom that would follow The Acoustic Verses. It never came to be, and it might never come to be, but I cannot shake the suspicion that the Dark Poem trilogy might be the spiritual successor to the trilogy that never was. Green Carnation have boiled their current identity down to its very essence on this excursion, and while a part of me will never stop wondering what could have been, I’ll never stop being grateful that these are the fruits we reap from that regrettable dissolution.

Release Date: April 3rd, 2026
Record Label: Season Of Mist
Genre: Progressive Metal

Musicians:

• Kjetil Nordhus / Vocals
• Jonathan Perez / Drums
• Stein Roger Sordal / Bass
• Bjørn Harstad / Guitars
• Endre Kirkesola / Keys

A Dark Poem, Part II: Sanguis Tracklist:

1. Sanguis
2. Loneliness Untold, Loneliness Unfolds
3. Sweet to the Point of Bitter
4. I am Time
5. Fire in Ice
6. Lunar Tale

Order the album here.

The post GREEN CARNATION – A Dark Poem, Part II: Sanguis (Album Review) appeared first on Sonic Perspectives.

Something strange is going on in the Ill Niño camp. With just one month left before the start of their tour celebrating the 25th anniversary of their debut record Revolution Revolución, they unexpectedly fired the guitarist they hired earlier this year.

In an Instagram post on his personal account, guitarist Xander Raymond Charles announced that he was no longer a member of the band. He also shared how this news completely caught him off guard, with their first live show together just a couple weeks away.

“In the beginning of 2026, I was hired by the band Ill Niño to become a permanent replacement and the newest member. Last night, I received a call telling me they no longer need me as a replacement. This was a total shock, as I was committed for several months, and the first show is 3 weeks away. I was informed this decision was completely out of my control, and I had nothing to do with it.

“As of today, I am available for work. If anyone needs a guitar player, I’m here. I keep my word, and I commit to what I agree to.

“Lastly, there is no bad blood, and I understand this is strictly a business decision. I wish Ill Niño nothing but the best.”

The band is no stranger to lineup changes or public blowouts, so this is kinda par for the course. At this time, the band hasn’t commented on Charles’ ousting.

As it stands, the Revolution Revolución tour is still on. If you’d like to try to attend a show if Ill Niño is still a thing, you can do so at the shows below.

View this post on Instagram

April
23 – Lima, PER @ Yield Rock
26 – Santiago, CHL @ Teatro Cariola
28 – Buenos Aires, ARG @ Arena Sur
30 – Curitiba, BRA @ Tork N Roll

May
1 – São Paulo, BRA @ Audio
2 – Rio de Janeiro, BRA @ Sacadura
3 – Belo Horizonte, BRA @ Mister Rock

The post Ill Niño Unceremoniously Fired Guitarist Xander Raymond Charles Just Months After Hiring Him appeared first on MetalSucks.

The Soundboks Mix is the latest in the Danish brand’s ever-growing range of speakers – and this one isn’t messing around with a max volume of 121dB

This should’ve been the first single. I don’t want to tell anyone how to do their job, but when you’ve got a song like “Stairway To Nowhere,” you make sure and let people know about it right away. The other singles from King Tuff’s upcoming album MOO have been good, but “Stairway To Nowhere” is…

The post King Tuff – “Stairway To Nowhere” appeared first on Stereogum.

FOR IMMEDIATE RELEASE

Faith In Vain Set to Unleash Hypnotic 4K Visualizer for “Weeping Wounds”
Release Date: April 3, 2026
Presave / Stream: https://ditto.fm/weeping-wounds
Midwestern metalcore titans Faith In Vain are gearing up to drop an official 4K visualizer for their latest single, “Weeping Wounds,” on April 3. Fans can expect a fully immersive audio-visual experience that pushes the boundaries of modern heavy music.
Following the explosive reception of SOUL∞TIED , Faith In Vain continue to refine their signature mix of melodic metalcore, deathcore heaviness, and modern nu-metal edge. “Weeping Wounds” pairs punishing riffs and intricate rhythms with emotive vocals, delivering a sound that will resonate with fans of Fit For A King, Wage War, Polaris, Acacia Strain, and Spite.
The 4K visualizer promises to transform every guttural scream and crushing breakdown into a cinematic spectacle, showcasing Faith In Vain’s dedication to both sonic and visual intensity.
The current lineup—Ginger (vocals), Tommy (guitar), Tater (drums), and Ryan (guitar)—brings renewed focus and energy, proving that Faith In Vain are a Midwestern force to watch in 2026.
Presave and be ready to watch the 4K visualizer for “Weeping Wounds” on April 3:
Fans can watch the 4K visualizer for “Weeping Wounds” here:
This release follows Faith In Vain’s recent feature in Metal Devastation PR’s Recommendations ad, featured in Decibel Magazine Issue #259 , which spotlighted some of the heaviest, most relentless modern metal acts.
Presave / Stream: https://ditto.fm/weeping-wounds
Press Contact: zach@metaldevastationradio.com

C onnect with the band:  
https://faithinvain.com/
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https://www.youtube.com/@FaithInVainVEVO
https://faithinvainofficial.bandcamp.com
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Contact: band@faithinvain.com

Original Pantera vocalist Terry Glaze shared why he thinks people should listen to the band's '80s albums and it's not because of his own contributions. Continue reading…

Thrash metal titans ANTHRAX have landed in Australia for four huge shows. Bold and uncompromising, ANTHRAX stands as one of the legendary Big Four of thrash, a band whose breakneck riffs and mosh-pit anthems have shaped heavy music for over four decades. On their 2026 Australian tour, ANTHRAX will ignite stages in Brisbane, Adelaide, Melbourne […]