The album will be released on September 25 via Mom + Pop Music. Accompanying the announcement, Morello has released a new single, Date Night, which he describes as a “which side are you on?” song.
Date Night, co-written with the guitarist’s 15-year-old son Roman, tells the true story of three young Dutch girls who served as spies, saboteurs, and assassins against the Nazis during World War II. Sisters Truus and Freddie Oversteegen, and their close friend Hannie Schaft, used their youth and innocent appearances to slip through checkpoints, to smuggle weapons, to sabotage rail lines, and to help hunted Jewish children escape persecution.
Most famously, they acted as underground assassins, seducing Nazi officers, luring them into the woods and killing them. Hannie was eventually captured, tortured, and killed by the Nazis, but refused to pass on any information on her comrades.
Tom Morello says, “I make anti-racist songs for anti-racists. I make anti-fascist songs for anti-fascists. And I make anti-Nazi songs for anti-Nazis. ‘Date Night’ is really a ‘Which side are you on?’ song. If any of that offends you, do the math.”
System of Down frontman Serj Tankian, Irish rap trio Kneecap and Beartooth vocalist Caleb Shomo make guest appearances on the record, alongside Roman Morello, who shares writing credits on five songs.
A press statement for the album reveals that it confronts issues of fascism, immigrant rights, and global political turmoil.”
The album tracklist is:
1. Beth From Electronics 2. Everyone Gets Everything They Want 3. Adjourn It (feat. Serj Tankian & Roman Morello) 4. I Am Not Yours to Command 5. Soldier In The Army Of Love (feat. Roman Morello) 6. Unconquered (feat. Kneecap) 7. Date Night 8. The Last Rung On The Ladder 9. Everything Burns (feat. Caleb Shomo of Beartooth) 10. Pretend You Remember Me 11. Untethered 12. They Can’t Kill Us All
Bay Area metal icons Machine Head are marking a milestone for one of their most celebrated works, reflecting on 15 years since the release of their seventh studio album, Unto The Locust. Originally dropping in September 2011, the album shattered previous milestones for the band, storming the Billboard charts at #22—their highest chart position up to that point. To honor the legacy of this landmark record, Nuclear Blast will release the official Unto The Locust (15th Anniversary Edition) on September 25th.
Unto The Locust (15th Anniversary) is now available for pre-order on standard CD jewel case and a striking dark green marble LP. This US-exclusive limited edition vinyl features a 12-page booklet and a custom Side D etching. Limited to just 1,500 copies, this rare pressing is a must-have for any collection.
Machine Head is keeping the momentum of their massive summer run going alongside KillswitchEngage. The upcoming leg features 9 Canadian dates and 10 U.S. stops—including a high-profile appearance at Louder Than Life—before wrapping up on September 29th in Tacoma, WA.
Confirmed Machine Head dates are as follows:
08.05 CAN Ottawa, ON @ Rideau Carleton Casino 08.07 CAN Victoriaville, QC @ Rock La Cauze 2026 08.08 CAN Toronto, ON @ Queen Elizabeth Theatre 08.09 CAN London, ON @ Centennial Hall 08.11 CAN Thunder Bay, ON @ Thunder Bay Community Auditorium 08.13 CAN Winnipeg, MB @ Burton Cummings Theatre 08.14 CAN Saskatoon, SK @ TCU Place 08.15 CAN Enoch, AB @ River Cree Casino & Resort 08.16 CAN Dawson Creek, BC @ Ovintiv Events Centre 09.17 US Louisville, KY @ Louder Than Life 2026 09.19 US Cleveland, OH @ Jacobs Pavilion 09.21 US East Moline, IL @ The Rust Belt 09.23 US Denver, CO @ Fillmore Auditorium 09.24 US Salt Lake City, UT @ The Union Event Center 09.25 US Bonner, MT @ KettleHouse Amphitheater 09.27 US Spokane, WA @ Pavilion at Riverfront 09.28 US Portland, OR @ Roseland Theater 09.29 US Tacoma, WA @ Temple Theatre
Pre-orderUnto The Locust (15th Anniversary Edition).
BMG Records are delighted to announce the worldwide release of the brand-new album from legendary guitarist Tony Iommi, entitled ‘From The Dark‘. Heralded by the first single ‘World Alone’ which received its premiere this afternoon at a special global streaming event hosted in Iommi’s hometown of Birmingham, England, a stone’s throw from the famous Black […]
Tony Iommi has announced From The Dark, a brand-new album set for worldwide release through BMG on 23 October 2026. The first single, World Alone, is out now.
The song premiered during a global streaming event in Iommi’s hometown of Birmingham, England, close to the Black Sabbath Bridge that opened in 2019 as a civic tribute to the band. MetalTalk were in attendance and will report soon.
World Alone is powered by a barrage of guitar riffs and solos, a driving rhythm section and the vocals of Norwegian singer Jorn Lande. Its accompanying video is set in a retrofuture dystopian universe, where a character called The Believer is thrown into a twisted video game and forced to fight for his life and salvation.
From The Dark
Iommi is joined throughout the album by Jorn Lande, who shares writing credits on every song, bassist Becky Baldwin and drummer Karl Brazil. The record was co-produced by Iommi and his long-time creative partner, co-writer, producer and audio engineer Mike Exeter.
“It’s an album we’ve really enjoyed making,” Tony Iommi said. “We’re not trying to prove anything. It’s a great album. It rocks!”
Opening track Over The Violent Sun brings together one of Iommi’s driving, down-tuned riffs and Lande’s dramatic vocal performance. Black Times follows with a direct, hard-hitting attack before the album moves into first single World Alone.
Beyond The Dead slows the pace with a stately, sinister riff and epic orchestration. Lande’s lyrics explore dystopian imagery, mortality and the fleeting nature of human experience, with Stormwatcher using nautical metaphors and dreams of new horizons.
Death Wake continues the record’s dramatic centre section, combining music and lyrics around the cruelties of a life without love or humanity. The album closes with the furious Return Of The Arbalist and the expansive Legacy, bringing together the power, drama, light and shade that run through From The Dark.
From The Dark will be released on 23 October 2026. Further information is available at Iommi.com. Pre-orders are available at tonyiommi.lnk.to/fromthedarkPR
Tony Iommi announces new album From The Dark
From The Dark Tracklist
Over The Violent Sun
Black Times
World Alone
Beyond The Dead
Stormwatcher
Death Wake
Return Of The Arbalist
Legacy
Deluxe CD Bonus Tracks
Scent Of Dark
Deified
World Alone Single And Album Formats
A limited-edition 7-inch version of World Alone will be released on 4 September. It is backed exclusively with an instrumental version of the song and comes in a deluxe foiled sleeve. The track will also be available through the Gibson learn-to-play guitar app.
From The Dark will be released across several deluxe vinyl and CD formats. The double LP is cut at 45rpm for optimum dynamic range and comes in a premium black die-cut gatefold sleeve featuring Iommi’s signature cross.
Double black vinyl with die-cut gatefold sleeve
Double “Monkey” red and black marble vinyl with die-cut gatefold sleeve
Double “New Boy” white and black marble vinyl with die-cut gatefold sleeve
Double “Eyeglass” transparent blue vinyl with die-cut gatefold sleeve
Deluxe CD media book edition with a 32-page booklet and bonus tracks
Amazon-exclusive CD digisleeve with die-cut cover and 12-page booklet
Some bands just know what they’re about right away. Australia’s blackened death metal band Complexant poise themselves as a rising star in the continent/country/island’s extreme metal ecosystem, storming the scene with “a sound defined by weight, darkness, and unrelenting intensity.” There’s little fanfare to Complexant’s promo around their debut full-length Apex: in so many words, they merely promise to kick as much ass as they can fit in a thirty-four-minute session. They’ve tormented their home country since 2022, but Apex aims to make Complexant a global menace. But can Apex raise Complexant to the cream of the blackened death crop?
That Apex is a debut isn’t too shocking. Complexant play a dense, modern-sounding brand of brutal death metal dusted with black metal vitriol and (slight) deathcore stank. Think Cordyceps—restless riffing, crushed production, murderous intent, etcetera—but with more human-sounding vocals and a willingness to let their boots off your neck from time to time. Apex is heavy, raw, and blunt, but Complexant’s greenness shows in some undercooked ideas and seriously ham-fisted moments. Clean vocals worm their way onto “No Angels Weep” and “Afterlife,” which aren’t nearly as vital as vocalist Dan Greigsy’s screams and tack on an unwanted Stone Sour butt rockiness to the latter track’s ending. Endings are another issue. Although it’s worth celebrating Complexant’s realization of the power of editing, “Heretical Supremacy” and “Critical Mass” both end before they’ve hit their stride. Add some clumsy lyricism—”Cyclops, you only see through one perspective.” (“Cyclops”), “My head is at critical mass. One more thought and my cranium will surely collapse.” (“Critical Mass”)—and Apex’s rawness sometimes doesn’t work to Complexant’s benefit.
But more often than not, Complexant uses Apex’s bluntness as a proper instrument of devastation. Under the oppressive fury of drummer Seb Su’s blast beats, guitarists Shannon Zivkovic and Gavin Bradley and bassist Chris Tuckley churn out seething, brutish riffs one after the other, underpinning Greigsy’s incensed performance across Apex. Songs like “Swing Myself to Sleep” and “Eye for an Eye” attack with a balanced approach of imposing, dissonant blackened chords and neanderthal death chugs, the former deploying some fucked up noodling bits in the bridge and the latter ending in seriously caustic heaviness. Complexant’s mix highlights Su’s drums, who complements the guitars with a similarly dynamic balance of concussive speed (“No Angels Weep,” “Apex”) and groove (“No Hope for Sanctuary,” “Eye for an Eye”) while littering just enough fills across Apex for good measure. Finally, Complexant utilize breakdowns conservatively and effectively to punctuate dramatic moments in their songs (“Swing Myself to Sleep,” “Cyclops”) rather than writing everything tailored to the breakdown. Apex is a thematically uncompromising record, and thus benefits from the unsophisticated sound Complexant bestows it.
Not to be cruel, but Apexsounds best to these ears when Complexant sound just miserable. Apex features some truly harrowing and uncomfortable lyrics, and these moments usually encompass Complexant’s best material. From the suicidal ideation of “Swing Myself to Sleep,” to the vengeful murder fantasies of “Eye for an Eye,” to the proclamations against life itself on “Afterlife,” Complexant don’t endear themselves to you with their sunny dispositions. When Greigsy screams, “Eye for an eye when you take a man’s life. You brought a weapon, a weapon to a fist fight,” (“Eye for an Eye”), you best believe the instrumentals rise to meet his vitriol. At times Apex reminds me of Whitechapel’s The Valley in both sound and in barefaced confessional lyricism, reaching its emotional zenith on closer and album highlight “No Hope for Sanctuary.” Relaying the speaker’s childhood home life, his early claim of how he “was raised by fuckingvandals” is bolstered by scenes of harrowing domestic violence and abuse, offering up an apt metaphor of being trapped under debris for the unstable environment he came up in. Apex doesn’t reach greatness as a whole, but in these uncompromisingly bleak moments Complexant reach the mark.
I had a good time having a bad time with Apex. Proving further that everything from Australia wants to kill you, Complexant can bring the hurt with the best of them, and Apex is a more than adequate exercise in hostility. Even where songwriting faltered, Apex is still enjoyable through the simple joy of the disgusting riff. Now, if Complexant hone their songwriting further by the time they’re ready for album number two, we’ll have something truly worth watching. If for our own safety, at the least.
After 14 years, Marshall has released a new signature amp, this time in collaboration with Green Day‘s Billie Joe Armstrong. The 1959BJA artist signature amplifier was crafted to replicate Billie Joe’s signature raw, crunchy sound, inspired specifically by Green Day’s Dookie era. On Monday, July 20th, Marshall and Billie Joe Armstrong celebrated the launch by hosting a free promotional show at The Roxy in West Hollywood.
Billie Joe Armstrong formed The Coverups in 2018 with longtime friends Jason White on guitar, Bill Schneider on bass, and Chris Dugan on drums. They tend to play spontaneous shows a couple times a year doing exactly what you’d expect them to, play nothing but covers. There is something uniquely special about watching one of your musical heroes pay tribute to theirs. The fact that they’re usually at small venues is pretty cool too.
The show was announced only a week in advance, and RSVP’s were gone within minutes. With the event being first come first serve and entry not guaranteed, fans were stressing about making it inside. So much so, that they started lining up on Sunset Boulevard at 3 a.m.! By 3 p.m., it was already taking up half the block, which is crazy considering the fact that the doors opened at 8. Fortunately, the Green Day and side project community is one of the best. It doesn’t really feel like you’re waiting around for hours when you’re spending it hanging out and catching up with old and new friends. The sense of community is just as important as the music and the ones that are playing it.
Right before doors opened, fans were handed scratch off tickets that read, “Everyone’s A Winner”.
When walking in, it was apparent that Marshall and The Roxy had gone all out for this event, it absolutely felt like a promotional party! Even the bar had Dookie themed drinks for the occasion. Also, not to mention how many posters there were that everyone was just taking them off the walls. I was lucky enough to bring home two.
When I was going to redeem my scratcher, I was given two numbered guitar picks to enter into a raffle. Later in the night, Billie (with the help of a young fan) picked 3 raffle winners who got to take home a t-shirt, a pair of headphones, and an amp! In addition to the cool new guitar pick, the scratcher redeemed me a lighter, a sticker pack, and 2 buttons. This was a really thoughtful touch that excited the fans.
It was then time to reserve my spot for the opener, The Death Chat. Fronted by Armstrong’s son, Jakob, The Death Chat’s indie power pop punk sound made them a great opener for the night. One significant moment was when they performed “King Of The World”, the first song that Jakob ever wrote. This was definitely exciting to watch, and was especially meaningful knowing that the room was full of fans and people that have watched him grow since then. The Death Chat recently released their self titled album and are currently supporting Bad Nerves on their West Coast tour. I highly recommend you check them out in the future whenever you can.
After a short wait, The Coverups hit the stage. Billie thanked the crowd for coming out to celebrate, and reassured us that we would hear more about the amp throughout the night. It sounded pretty good to me! He even teased us with a snippet of “Brain Stew”, which gave everyone a good laugh. They went on to perform 26 songs, some being Coverups essentials, songs that Green Day has covered in the past, and some live debuts that we’ve never heard before, “Do You Wanna Dance?” and “I Melt With You”. A moment that got me emotional came before Nirvana’s “Drain You”, when Billie Joe dedicated the song to Jennifer Finch. Several exciting guests made special appearances throughout the night. Eden Galindo joined the band for guitar on Mötley Crüe’s “Live Wire”, and legendary producer Rob Cavallo played guitar to end the night on Cheap Trick’s “Surrender”. This was an extremely special moment for me and I know many others.
Here’s the setlist.
1. Hello There (Cheap Trick cover)
2. A Million Miles Away (The Plimsouls cover)
3. I Think We’re Alone Now (Tommy James & the Shondells cover)
4. I Wanna Be Sedated (Ramones cover)
5. Sometime To Return (Soul Asylum cover)
6. Message Of Love (Pretenders cover)
7. Summer Of ’69 (Bryan Adams cover)
8. American Girl (Tom Petty and the Heartbreakers cover)
9. I Fought The Law (The Clash cover)
10. Do You Wanna Dance? (Ramones cover, The Coverups live debut)
11. Ever Fallen In Love (Buzzcocks cover)
12. I Melt With You (Modern English cover, The Coverups live debut)
13. Rockaway Beach (Ramones cover)
14. Bastards of Young (The Replacements cover)
15. Love is for Losers (The Longshot cover)
16. Ziggy Stardust (David Bowie cover)
17. Last Nite (The Strokes cover)
18. Drain You (Nirvana cover, dedicated to the late Jennifer Finch of L7.)
19. Fox on the Run (Sweet cover)
20. Should I Stay or Should I go (The Clash cover,
fan brought on stage to sing Spanish parts.)
21. We Got the Beat (Go-Go’s cover)
22. Live Wire (Mötley Crüe cover, Eden Galindo joined on guitar)
23. Crazy Train (Ozzy Osbourne cover)
24. Talk Dirty to Me (Poison cover)
25. Dancing With Myself (Generation X cover)
26. Surrender (Cheap Trick cover, Rob Cavallo joined on guitar!)
There aren’t many things better than hearing the person who introduced you to punk and rock sing the soundtrack to your life. You can watch my videos of Billie’s “Crazy Train” solo, “Drain You”, “Ever Fallen In Love”, “Live Wire, “Surrender”, ” and The Death Chat’s “That’s Cool”.
Though of course there’s bound to be those who can be pushy, and demand things like autographs, or to hear Green Day hits, The Coverups shows have never really been about that. They’re simply just a band of friends playing the music they love to people that love it just as much.
Seeing Billie Joe Armstrong’s side projects will always be greatly sentimental to me. There is just something fascinating about looking around at the tiny 500 cap room and realizing one of the most influential musicians of the last 3 decades is standing just a few feet away from you. The man that can sell out stadiums, is selling a Marshall signature amp, is playing a show like this for free. That’s only apart of what makes these shows so special. This one at The Roxy was particularly because we were the first group of people to hear the new Marshall 1959BJA signature, and I think that’s the last time for me. Unless I magically win $4,000 anytime soon.
I’ve been lucky enough to have seen Billie Joe Armstrong’s side projects several times over the years, starting when I was just 14 years old, and every one of them have been exceptional and in the same spirit. A strong sense of community, good causes, a genuine love for music, and a want to have fun. That feeling never changes, whether it’s in a giant stadium or a tiny club.
FOR IMMEDIATE RELEASE
CDN RECORDS WELCOMES COSTA RICAN DEATH METAL DUO MAUSOLENT TO THE LABEL ROSTER
Old-School Swedish Death Metal Worshippers Unleash Crushing HM-2 Fueled Darkness with Debut Demo “Stench of Death”
Stream “Stench of Death”: https://mausolent.bandcamp.com/album/stench-of-death
Artist Page: https://cdnrecords.com/artists/mausolent/
Costa Rica – CDN Records is proud to announce the addition of Costa Rican death metal duo Mausolent to its growing roster of extreme underground acts. Bringing forth a filthy, crushing tribute to the golden era of Swedish death metal, Mausolent channels the raw aggression, chainsaw guitar tones, and unrelenting darkness that defined the early ’90s death metal movement.
The duo recently unleashed their debut demo, “Stench of Death,” a savage introduction to their sound and a clear statement of intent. Built around the legendary HM-2 guitar tone and inspired by the pioneers of Swedish death metal, Mausolent pays homage to the likes of Entombed, God Macabre, Macabre End, Nihilist, Traumatic, Dismember, Crematory, and Authorized while forging their own path through the underground.
Formed from an idea that began in late 2019, Mausolent finally took shape in 2026 with the release of their first demo. The project was created with one goal in mind: to honor the spirit of classic death metal while keeping the raw and uncompromising attitude that made the genre legendary.
The band’s journey was anything but straightforward. After the initial concept was developed, Mausolent was revived in December 2024 when Diego Ballar and Tomas Campos decided to continue building upon their original vision. After months of writing and rehearsing, the duo explored expanding the lineup with additional members, but ultimately realized the music was best represented by the two musicians alone.
In 2025, Mausolent returned with renewed focus and recorded “Stench of Death” entirely as a duo. The result is a grim and aggressive release that captures the essence of old-school death metal while embracing the underground spirit that has kept the genre alive for decades.
Mausolent is currently working on new material, including an upcoming EP and their first physical releases through CDN Records. Both the demo and future releases will be available digitally and physically.
“STAY TUNED, STAY BURIED!”
Mausolent is:
Diego Ballar – Vocals, Guitar, Drum Programming, Lyrics Tomas Campos – Bass, Lyrics
For fans of: Entombed, Dismember, Nihilist, God Macabre, Swedish Death Metal
About CDN Records:
CDN Records continues to support the underground metal scene by bringing extreme and innovative artists from around the world to a wider audience. Through physical releases, digital distribution, and dedicated promotion, CDN Records remains committed to keeping the spirit of underground metal alive.
Some bands just know what they’re about right away. Australia’s blackened death metal band Complexant poise themselves as a rising star in the continent/country/island’s extreme metal ecosystem, storming the scene with “a sound defined by weight, darkness, and unrelenting intensity.” There’s little fanfare to Complexant’s promo around their debut full-length Apex: in so many words, they merely promise to kick as much ass as they can fit in a thirty-four-minute session. They’ve tormented their home country since 2022, but Apex aims to make Complexant a global menace. But can Apex raise Complexant to the cream of the blackened death crop?
