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Canadian band Goreworm blends elements of technical, melodic, and brutal death metal and somehow make it work. It might take a few listens to get the hang of their sound but it pays off in the end – it’s some solid, challenging, and fascinating music. Two of their songs are currently streaming on the channel and there’s […]

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NEW GUS G. SINGLE “NOTHING CAN BREAK ME” FEATURING DORO PESCH STREAMING NOW;

“STEEL BURNER” ALBUM AVAILABLE FOR PREORDER

 

The post Gus G. Releases New Single “Nothing Can Break Me” Featuring Doro Pesch appeared first on Mayhem Music Magazine.

London’s Modern Woman are releasing their new album Johnny’s Dreamworld at the beginning of May. They’ve already shared “Neptune Girl” and “Dashboard Mary.” Today, they’ve dropped the third single “Daniel” with a video by Joel Kerr. The prior singles have an anthemic push to them, where as “Daniel” is a more subdued. It’s a quiet…

The post Modern Woman – “Daniel” appeared first on Stereogum.

No weighing in at 19 tracks.

The post Great American Ghost Release Deluxe Edition Of “Tragedy Of The Commons”, Enlist Bleed From Within’s Scott Kennedy For “Hymn Of Decay” appeared first on Theprp.com.

Another ghostly castle touches the crimson sky.

Stalwart 70s hard rock meets 80s metal maestro and wizard of the 6-string, Axel Rudi Pell, has proven a pillar of consistency in the 37 years since breaking away from German AOR band Steeler to forge his own destiny by his own name.

Some might argue that his unyielding loyalty to the same style that typified the likes of Dio, Deep Purple and Rainbow during the early to mid-1980s has put him into a creative box, but a more apt analogy would be an expansive yet highly familiar orthodoxy that comes with the liturgy of a medieval cathedral that was born from a bygone age and endured into the present.

Granted, the concept of orthodoxy might seem counterintuitive for a musical genre that originally signified rebellion against the established order, but what is any kingdom if not an order born out of a revolution that seeks to build better structures upon the ruins of the old? Then again, Pell’s career is less one of creative destruction and more one of crafting highly similar palaces of sound upon a predetermined canvas, of which 2026’s Ghost Town is his latest.

For the newly arriving catechumen, the highly stylized approach by which Axel draws heavily from the established lore of Tony Iommi, Ritchie Blackmore, and, to a lesser extent, the early work of famed Swedish Neoclassical virtuoso Yngwie Malmsteen during his 1983 stint with Alcatrazz.

A misty backdrop of atmospheric synthesizers, mostly consisting of choirs and strings, but also the occasional Hammond organ courtesy of keyboardist Ferdy Doernberg and a tastefully driving rock groove produced by longtime kit veteran Bobby Rondinelli and bassist Volker Krawczak round out the instrumental arrangement surrounding Pell’s guitar driven creations, culminating in a sound that functions as a mystical union between the AOR sound of 1985 and the heavier 2^nd wave power metal sound of the late 1990s. Sitting atop this sonic nod to the dark side of high fantasy is the gritty yet highly tuneful growl of Johnny Gioeli, which carries an uncanny resemblance to Ronnie James Dio’s genre-defining voice meshed with a slightly lighter attack that occasionally channels Scorpions helmsman Klaus Meine.

As with any new auditory grimoire unleashed by this outfit, differentiation occurs at an extremely subtle level given Pell’s highly consistent formula, but this same approach of sticking to what is expected also accentuates a few noteworthy surprises. The obligatory instrumental prelude “The Regicide” hints at a few upcoming changes at the periphery by utilizing a less static chord progression beneath a bluesy clean guitar line that comes off as less mysterious and more gallant in character.

What ensues soon after are the first entries of an album that tones down the epic exploits of prior album, Risen Symbol, and also the prolific balladry of earlier entries for a streamlined collection of up-tempo bangers. The mercilessly catchy and driving foray of “Guillotine Walk” lays down the melodic lead guitar lines and boisterous chorus fanfare like it’s going out of style, presenting yet another brilliant bridge between Axel’s 80s AOR beginnings and the 90s power metal revival. Subsequent anthems like the heavier crunch of title entry “Ghost Town”, the cruising anthem with a surprisingly busy bass display courtesy of Volker “Holy Water”, and the steady stride of “Steps Of Stone” tread the same stylistic path with slight variations but the same dose of immersive magic.

Naturally, Axel is not one to dwell on one template for an entire album, and as he breaks away from the dominant formula of swift yet simple bangers, the awaiting twists in the tale begin to manifest. The most auspicious shift occurs via the mid-paced rock anthem “Breaking Seals”, which lands squarely into what can be best described as this band’s take on Accept’s mid-80s niche, topped off with a nasty guest duet between Gioeli and none other than Udo Dirkschneider himself, matching Dio-like pizzazz with AC/DC-like shrieks that sound quite witchy side by side.

Volker takes a break from playing the role of Ian Hill yet again for another distinctive bass performance on the early 80s Black Sabbath-inspired slow march of “Sanity”, and the high speed fury that was the order of the day during this band’s mid to late 90s power metal phase makes an explosive return via “Hurricane”, showcasing that even at 70 Rondinelli can make a mighty racket.

The epic balladry with a Middle Eastern edge makes an appearance via the moderately scaled “The Enemy Within”, and then takes a longer and wider dynamic character on the closing hurrah “Higher Call”, all the while Pell’s master craftsmanship as guitarist and composer remains at the fore.

Insofar as this longstanding heavy metal institution is concerned, change is something that is best taken in extremely small doses amid a near-endless sea of familiar tropes, and Ghost Town stands at the center of an expansive discography where the valleys are few and the peaks differ only slightly in height. Those whom have boarded this train at any point between the mid-90s and the mid-2010s know exactly what to expect, and though the former group might notice a lack of asides into Neoclassical instrumental fair or funky 70s rock interludes compared to the days when Jeff Scott Soto was at the microphone and Jorg Michael of Running Wild and Stratovarius fame was behind the drum kit, the overall flow of magical odes adorned with otherworldly lyrics remain constant.

There are many castles bearing the name of Axel Rudi Pell towering high in various lands, and this one trades in the elaborate flying buttresses and Gothic flourishes for a Romanesque juggernaut of fist-pumping rockers beneath a blood red, overcast sky at twilight’s hour.

Release Date: March 20th, 2026
Record Label: Steamhammer
Genre: Heavy Metal

Musicians:

• Johnny Gioeli / Vocals
• Axel Rudi Pell / Guitars
• Ferdy Doernberg / Keyboards
• Bobby Rondinelli / Drums
• Volker Krawczak / Bass

Ghost Town Tracklist:

1. The Regicide (Intro)
2. Guillotine Walk
3. Breaking Seals
4. Ghost Town
5. Holy Water
6. The Enemy Within
7. Hurricane
8. Sanity
9. Towards The Shore
10. Steps Of Stone
11. Higher Call

Order the album here.

The post AXEL RUDI PELL – Ghost Town (Album Review) appeared first on Sonic Perspectives.

SOULBURN turn loose the melodic crusher and opening track ‘The Braveheart of Nightmares‘ taken from their forthcoming new full-length “Quantifying Cosmic Doom” as the first advance single in the shape of a music video. The fifth album of the Dutch metal extremists has been slated for release on June 12, 2026. Pre-sale link: https://spkr.store/collections/soulburn SOULBURN comment: “The single edit of ‘The Braveheart of Nightmares’ retains the unique, dark, and journey-like feel […]

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Stream “The North Will Rise”: 

https://tungsten.rpm.link/thenorthPR

Swedish heavy metal force TUNGSTEN have unveiled the official music video for their powerful new single “The North Will Rise,” featuring a guest appearance from Tony Kakko of SONATA ARCTICA. Blending epic melodies, thunderous rhythms and soaring vocals, the track showcases the band’s signature mix of classic heavy metal spirit and modern precision.

Driven by an anthemic atmosphere and cinematic intensity, “The North Will Rise” stands as a perfect display of TUNGSTEN’s trademarks: powerful songwriting, massive hooks and a larger-than-life energy that feels tailor-made for festival stages. This track is a toast to the north, an electrifying hymn that captures the icy beauty and resilience of those lands. With Tony Kakko’s contagious melodies and Mike Andersson’s raw power, “The North Will Rise” is destined to be a loud, unifying call for all who love the north! 

TUNGSTEN lead singer Mike Andersson says; “It’s such an honor to have Tony onboard on this song. He did a tremendous job. I think our voices fits perfectly together which makes “The North Will Rise” extra special. Lyrically it’s kind of a hymn to our part of the world in the north. We hope the metal community and the fans of Sonata Arctica and of course Tungsten will like this song and crank it LOUD!”

Tony Kakko adds; “Catchy like the cold in January on a viking ship crossing a nordic, half frozen sea! Truly a song to unite the people and friends of the North! Very proud and happy to join my friends in Tungsten singing together with Mike on this amazing new track. The melodies are just contagious……Consider yourself warned!”

Stream “The North Will Rise”: 

https://tungsten.rpm.link/thenorthPR

Watch the video here: 

https://www.youtube.com/watch?v=tXgL4ng0eG4

TUNGSTEN are:
Mike Andersson – Lead Vocals
Karl Johansson – Bass, Keyboards, Vocals
Nick Johansson – Guitar
Anders Johansson – Drums

More on TUNGSTEN:

Tungsten Official | Facebook | Instagram | Spotify | Youtube

More on PERCEPTION:
perception.music | Facebook | Instagram | TikTok

Source: C Squared Music

A relentless barrage of technical precision and sheer brutality that leaves no room to breathe “Cryptopsy far from simply perform — they dominate, overwhelm, and annihilate.” — Rockflesh More than three decades into their career, Montreal’s CRYPTOPSY continue to assert their dominance as one of extreme metal’s most formidable live acts. Following a period of renewed creative intensity […]

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Geoff Tate has some generous words for the man who took his place in Queensrÿche — and an unexpectedly warm story to go with them. Appearing on the 03/17 episode of SiriusXM’s Trunk Nation With Eddie Trunk, the former Queensrÿche frontman opened up about watching his old band perform live for the first time — without him — and the surprising front-row moment that came with it.

Tate revealed he caught the band’s set in Gothenburg, Sweden, in early 2025, when both acts happened to be in the same city on the same night. He and several of his own bandmates had the evening off and decided to go check them out.

“We just showed up,” he said (via Blabbermouth). “We happened to be in the same city. And we had the night off, and so a bunch of us in the band went to see ’em play and check ’em out.”

He made his way to the front row — and didn’t go unnoticed: “Oh, yeah. Oh yeah. I spent the entire time getting photos and signing autographs.”

But the real moment came from the stage itself. Current Queensrÿche singer Todd La Torre spotted Tate at the barricade and didn’t hesitate.

“I know there’s a lot of weird press about myself and Todd La Torre, but I have to say mass respect for the guy for stepping into my shoes, for one. And when I went to Copenhagen, I was standing on the barricade there. And the first thing he did when he came out was straddle the barricade and fistbump me, acknowledging that I was there. And he said, ‘Hey, good to see you, man. Stick around. I’m gonna blow you away.’ [Laughs] And he did. He was great. He was wonderful being on the stage that night. It was just really a treat seeing him play.”

Tate was candid about just how strange the whole experience felt — hearing his own music performed by someone else, and performed well.

“It’s so weird. Yeah. It’s so weird. For one, it’s my music [laughs], and so [Todd is] singing me. So, yeah, it’s strange. And he’s a really wonderful singer, he’s really good, very technically adept, so he does a really good job of being me. But he’s also, over the years, he’s kind of, I guess, worked on his own personality. And they have music that they’ve written together, and they have their own thing as well. But when the band and he play my music, it’s just — I don’t know. I can’t even describe it. It’s just like an otherworldly experience [laughs], ’cause he sounds a lot like me. So I’m hearing me, kind of, through him playing my stuff, and it’s just — I don’t know. It’s weird. I can’t quite put my finger on how to describe it.”

It wasn’t the first time the two men had been in the same room. Back in June 2017, both Queensrÿche and Tate — performing separately — appeared at Rock Fest Barcelona, where Tate was a special guest of Avantasia. La Torre recounted that encounter in detail during his own appearance on Trunk Nation in August of that year.

When La Torre came offstage, Tate approached him, extended his hand, and told him it was the first time he’d actually heard him sing.

“And he said, ‘Wow! You’re amazing!’” La Torre recalled. “And I said, ‘Well, thank you very much. That’s nice to hear.’ And I was complimentary of him. I said, ‘Listen, for what it’s worth, I have defended you. I know that sometimes the media and people can try to stir the pot, and for what it’s worth, as far as I’m concerned, you’ve done it all. I was kind of just expressing the sentiment, like, ‘You don’t have anything to prove in my book. You’ve already done it all.’ And I said, ‘I’m doing the best job that I know how.’ I told him that the Empire material is actually more difficult for me. I expressed to him that he’s always had a very smooth control over those vocal parts, and that’s more difficult for me. Now the older stuff is easier for me.”

La Torre later reflected on what it meant to receive that validation from the man he was essentially filling in for.

“Of course, there are some people who are divided still, the purist type of mentality, and I’ve heard it all: I suck, and I don’t sound anything like that, blah blah blah. And so I thought, what better testimony that the band is on the right track, the vocals sound worthy, than to hear that from the original singer… I don’t like to use the word ‘endorsement,’ but certainly acknowledging that the vocals sound great, the band sounds tight. I just thought, ‘Wow, that’s kind of an interesting perspective,’ if you look at it from what I’m mentioning, where some people say, ‘Oh, it doesn’t sound right,’ or this or that. And you say, ‘Well, the original singer seems to think that it sounds excellent,’ and what better testimony do you need?”

La Torre also shared that he’d been a Queensrÿche devotee long before any of this became his reality. In 2019, he posted a decades-old photo of himself with Tate — taken at an in-store signing — along with a caption that read: “As a huge fan of Queensrÿche, I waited in line for an hour + to meet the band at an in-store signing. Here is a pic of Geoff Tate and me, I have kept private for decades. Little did I know that 20+ years later, I would become the singer for Queensrÿche. Crazy.”

The post GEOFF TATE Praises TODD LA TORRE After Watching Him Playing With QUEENSRŸCHE: “Mad Respect For Him. He’s A Wonderful Singer, Very Technically Adept” appeared first on Sonic Perspectives.

Polish metalcore veterans FRONTSIDE present the second single and official music video taken from their upcoming studio album “Nemesis” to be released on April 10th, 2026 via Massacre Records. The new track, titled “Kapłani Diabła” (Devil’s Priests), stands as one of the most uncompromising compositions on the record. Following the release of the first single “Omen”, the band now dive deeper into the […]

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