Maybe war never changes, but Warside has. Between releasing inaugural EP The Enemy Inside, and recording their debut, three of Warside’s five members left the band. Now a quartet, the Lyon, France collective tromps into the death metal arena, brandishing Cognitive Extinction, their first long play. Down a guitarist, Warside reports Cognitive Extinction as having ‘a rawer, more direct sound.’ Though The Enemy Inside can’t be classified as polished or subtle, Cognitive Extinction embraces an even leaner, meaner aggression through twenty-eight minutes. Additionally, Warside weaves a broad theme into the album—the erosion of intelligence and critical thinking due to the proliferation of screens and dependence on technology. It’s an increasingly relevant theme in these crazy times, but is Warside’s warning enough to keep listeners’ gray matter from atrophying into pudding?
Though simply billed as ‘death metal,’ Warside skews towards the technical end of the spectrum. Dying Fetus, Misery Index, and Vomitory are cited as influences in the promo materials, and while elements of those bands exist on Cognitive Extinction,1 I also hear the frantic immediacy of Benightedand Abortedenmeshed with the tech-heavy grooves of more recent Cryptopsyand Suffocation. Technical without falling into technical death metal territory and bruising without earning a brutal death metal tag, Warside toes the line between extreme metal subgenres without fully committing to any specific one. Rather than wavering or wandering, though, Cognitive Extinction sounds confident, direct, and ready to peel your skull back to get a look at your cognition firsthand.
Despite adding some new members and shuffling guitar duties, Warside launches a savage assault that never relents. Returning from The Enemy Within, guitarist Vincent Morelle resumes six-string duties on Cognitive Extinction while former guitarist Jérôme dons the mantle of bassist. Joining them are duo Mathieu (vocals) and Thô (drums) from deathgrind project Festering Process, and together this foursome unleashes barrage after barrage of merciless death metal thunder. Tracks “Neurocide” and “Invasive Thoughts” meld Morbid Angel’s wicked melodies with Nile’s violent velocity, frequently coaxing involuntary stank-face. “Visceral” punches with Suffocation’s might, windmilling between stutter-stop leads and kick drum cannonades, while “Thirst for Rot” dive bombs into an early solo before hitting a swarthy Cryptopsy-meets-Decapitated groove. Throughout, Mathieu discharges fierce gutturals that remind me of Benighted’s Julien Truchan,2 primal and bloodthirsty without ever going full BREEE. All told, kinetic hooks, furious blast beats, and husky bass grooves carry the momentum of each track, with feverish solos offering brief detours from Warside’s otherwise unyielding onslaught.
Warside evokes death metal titans throughout Cognitive Extinction, yet clinging too tightly to these touchstones prevents them from fully realizing an identity of their own. In fairness, Cognitive Extinction works cohesively, with a consistent aural context that’s as bludgeoning as it is swift. And even though Warside sidesteps critical flaws, hooking an overcrowded niche with deathly wares can be a significant challenge. Genre greats can provide a strong template for writing compelling music, but emulation without innovation risks giving listeners an experience that drives them back to inspirations. Said simply, bands with unique sounds become reference points, while others get buried beneath the sands of time. In this regard, Cognitive Extinction feels like a half measure, where a blend of influences comes together to form a coherent album, yet lacks a wholly original voice.
Standout performances and sharp, economical songwriting distinguish Warside as an act I’ll follow closely, and help achieve a portion of the identity they need. Cognitive Extinction teems with talent and promise, and despite the abysmal dynamic range,3 the mix is well-balanced and allows listeners to appreciate what Warside does within its runtime. I’ve greatly enjoyed my time with Cognitive Extinction, and a couple of its gems have helped add some weight to my Heavy Moves Heavy ’26 playlist, but with so many killer death metal albums out this year, I’m unsure what lasting impact it’ll have. Time will tell, and in the meantime, I hope that Warside continues honing their blades to keep minds and interest sharp.
Rating: Good! DR: 3 | Format Reviewed: 320 kbps mp3 Label: Gruesome Records Websites: Bandcamp | Facebook Releases Worldwide: April 17th, 2026
We’re still a few months out from descending on Catton Park, but the Bloodstock HQ team have just dropped a massive update to help you prep for the 25th-anniversary bash. There isn’t a single band announcement in this lot, but if you’re wondering what to pack or how to spend your late-night hours, listen up. … Continue reading Fancy dress, black ice cream, and bike rides: The latest Bloodstock 2026 update
Acres have confirmed that they will be making their way around the UK and Europe later this year for a long-overdue headline tour.
In support of their latest album ‘The Host’, released in September last year, the band will play 18 shows across eight countries, with a special array of supports joining them for the ride, including Wayside, What Lies Below and Lifespark.
So that’s a bit of this:
Then a bit of this:
Then loads of this:
Before even more of this:
It’s going to be mega.
Here are all of the dates that you need to know:
OCTOBER
14 – BRISTOL The Exchange 15 – LEEDS The Key Club 16 – MANCHESTER Rebellion 17 – LONDON Downstairs At The Dome 18 – SOUTHAMPTON The Joiners 20 – ANTWERP Kavka 21 – UTRECHT De Helling 22 – HAMBURG Monkeys 23 – BERLIN Cassiopeia 24 – LEIPZIG Naumanns 25 – POZNAŃ Pod Minoga 27 – PRAGUE Bike Jesus 28 – VIENNA Viper Room 29 – MUNICH Feierwerk 30 – AARAU KiFF 31 – COLOGNE Helios37
The end draws nearer for SPIRIT ADRIFT. Following the release of their critically acclaimed sixth and final album Infinite Illumination, the band will make their last live appearances this spring as part of the Decibel Tour, stepping in to replace Fulci. These newly announced dates will mark the final opportunity for fans to witness the band’s towering live presence, a fitting farewell for one of modern metal’s most revered acts.
SaysSPIRIT ADRIFTmastermindNate Garrett: “We’re sorry to hear that our friends in Fulci are unable to make it to the States for the Decibel Tour.”
“But we’re honored to step in on short notice and make this happen. Since we announced the end of Spirit Adrift, a lot of y’all have been clamoring for a farewell tour, so here you go. Decibel Magazine has always been so supportive of Spirit Adrift, so this was an offer we simply could not refuse. We’re psyched to be the black sheep of the tour, old school doom/heavy metal smack in the middle of a powerhouse lineup of incredible death metal bands.”
“We’ll be playing songs from our new (and final) album Infinite Illumination, as well as highlights of the back catalog. Hopefully we’ll see some of you long time Spirit Adrift fans out there, and maybe we can even win over the more extreme metal fans. We’ll definitely be breaking our necks to ‘Slit Your Guts’ with y’all every night. Can’t wait!”
Released via 20 Buck Spin, Infinite Illumination stands as a powerful closing statement, capturing the urgency, emotional weight, and unmistakable voice that defined SPIRIT ADRIFT over the past decade. Helmed by Garrett, the album channels raw intensity and hard-earned perspective into a collection of songs that feel both deeply personal and universally resonant. From crushing doom-laden riffs to soaring, soul-stirring melodies, it’s a record that embodies both culmination and catharsis.
Infinite Illuminationis available digitally now. Gatefold LP and CD editions will be released May 15th. Pre-order here: https://www.20buckspin.com/spiritadrift
The album has already drawn widespread acclaim, with Blabbermouth calling it “their greatest album” and “one of the most emotionally super-charged farewells in heavy music,” while Pitchfork hailed it as “triumph of melodic, soul-stirring, profoundly heavy metal.” As their final chapter unfolds, these last performances promise to be as unforgettable as the legacy they leave behind.
Infinite Illumination is available now on all digital platforms, with gatefold LP and CD editions arriving May 15th. Don’t miss your chance to experience SPIRIT ADRIFT one last time on the Decibel Tour.
A fully slam-focused package steamrolled into Newcastle to kick off the opening date of the UK/IE Vomitour. This brought together three of the biggest names in the sub-genre, all present on a bill that Party Cannon bassist Chris Ryan previously described as an “epoch of barbarity,” – a nod to the Internal Bleeding track.
Co-headlining was the pairing of Party Cannon and Internal Bleeding, which reads like a statement of intent – modern slam colliding directly with its foundations, with formidable support from Guttural Slug.
Internal Bleeding – The Grove – 22 April 2026. Photo: thedailyddt at Vision Impact Photography/MetalTalk
The venue hosting the chaos was The Grove, a spot that is quickly becoming a reliable host for killer Metal shows. Having recently hosted the likes of Pestilence, Exhumed, and Gruesome, this opening night in Newcastle carried huge anticipation.
The bands were fresh, the crowd strapped in, and the stakes high. As the starting point of a 10-date run stretching across the UK and Ireland, this show was the ignition point of the tour.
Fans had even been half-jokingly recommended to wear a helmet, a nod to Party Cannon’s own tongue-in-cheek brutality. This was because, as the night quickly suggested, injuries were not just possible, they were inevitable.
Guttural Slug
Formed in Lyngby in 2012, Guttural Slug have built a strong reputation within the slam scene, cultivating a significant international underground following. Their 2013 breakout Megalodon still looms large, a release that not only defined their sound but cemented their importance within European slam.
Guttural Slug – The Grove – 22 April 2026. Photo: thedailyddt at Vision Impact Photography/MetalTalk
With founding guitarist Mikkel Scott Sørensen at the core, the relatively new lineup remains tight, and on this run, the vocal duties were handled by deputising Luke Lockley.
Lockley, who is known for his work in Scotland for Desecrated Extinction, Dissolving Entity and Penny Coffin, slotted in seamlessly and brought a dominant presence to the stage.
Guttural Slug – The Grove – 22 April 2026. Photo: thedailyddt at Vision Impact Photography/MetalTalk
The band took to the stage, turned away from the crowd, then burst straight into Suspended from a Single Strand Of Sanity, locking in the room instantly. Even at this early stage, the floor was already packed, with barely any gaps in sight.
What followed was an all-out slam assault, with ultra-downtuned riffs and trudging grooves forming the backbone, but it was the sharp injections of blast beats that gave the set its true bite.
Lasse Sylvester Kristensen’s drumming stood out as one of the most admirable elements of their sound – punishing and relentless.
Lockley’s vocal delivery up front matched the intensity, bellowing out gutturals with conviction.
Guttural Slug – The Grove – 22 April 2026. Photo: thedailyddt at Vision Impact Photography/MetalTalk
Each song was met with a strong response, with the crowd locked in throughout. The set drew from cult classic Megalodon and Ulcers In The Flesh Of Thought, with tracks like Eye Of The Cyclops, Paranormal Evisceration and Psychosomatic Synchronisation landing with weight.
Lockley noted that the crowd would recognise Hacksaw Surgery, which drew one of the biggest reactions of the set for their most recognisable track.
Guttural Slug – The Grove – 22 April 2026. Photo: thedailyddt at Vision Impact Photography/MetalTalk
It was towards the end of the set that the pit properly opened, and the energy stepped up another level. Several members of Party Cannon watched on from side-stage, visibly enjoying the set, which added to the sense of shared momentum.
By the time Guttural Slug had wrapped up at 8 pm, their set seemed to have flown by, and they left the room primed for the co-headliners.
Guttural Slug – The Grove – 22 April 2026. Photo: thedailyddt at Vision Impact Photography/MetalTalk
The Danes were a crushing, efficient opener that delivered sheer impact and having only played the UK a handful of times before on festivals, this felt like a particularly notable set to witness.
I hope I get to catch the band live again soon.
Party Cannon
Party Cannon took the second slot on the bill, stepping in as the first co-headliner of the night, and immediately shifting the energy into something far more chaotic and unrestrained.
Party Cannon – The Grove – 22 April 2026. Photo: thedailyddt at Vision Impact Photography/MetalTalk
Formed in 2010 in Dunfermline, Scotland, Party Cannon have built a reputation for blending genuine slam brutality with humour and deliberately whimsical aesthetics. Their approach to a traditionally rigid genre has been instrumental in establishing “party slam.”
The lineup is anchored by founding bassist Chris ‘Clankenstein’ Ryan and guitarist Craig Robinson, alongside drummer Martin Gazur, bassist Mike McLaughlin, vocalist Daryl ‘Frogman’ Boyce, and the band’s mascot, Vominic Stonebones.
Party Cannon – The Grove – 22 April 2026. Photo: thedailyddt at Vision Impact Photography/MetalTalk
Before the set, I spoke to Clankenstein about the band’s early days. He told me their first-ever show took place in Newcastle in 2010 at the Northumberland Arms, and that he was glad to be back in the city. I also spoke with the rest of the band throughout the evening, and each member came across as humble, approachable, and genuinely funny.
Stonebones even handed me a signed N64-style booklet promoting the new EP, a small but memorable touch.
Party Cannon – The Grove – 22 April 2026. Photo: thedailyddt at Vision Impact Photography/MetalTalk
At 8:15 sharp, Party Cannon burst onto the stage to a rave intro, immediately sending beach balls and inflatables into the crowd. Within moments, the floor was in motion, and it became a warzone. From the outset, they made it clear they were here to party, and they delivered.
The stage production has taken a clear step up, with a large backing screen, upgraded visuals, and an expanded range of props, elevating the presentation. Having last seen them supporting Nekrogoblikon in September, they now feel even tighter, continuing to go from strength to strength and smashing every stage they step onto.
Party Cannon – The Grove – 22 April 2026. Photo: thedailyddt at Vision Impact Photography/MetalTalk
The set spanned their catalogue, with the new EP Subjected To A Partying performed in full alongside a wide selection of fan favourites and even a deep cut that had not been played live in over a decade.
Without much introduction, they powered straight into Weird, But Not Illegal. The pit opened instantly, and the chaos began.
Throughout the set, Stonebones appeared from the side of the stage armed with a rotating barrage of signs such as “Let’s party,” “Chug time,” and “show me your hammers” encouraging crowd participation.
Party Cannon – The Grove – 22 April 2026. Photo: thedailyddt at Vision Impact Photography/MetalTalk
At one point, the skull-masked mascot handed out fresh cups of beer to those at the front, before things escalated as more inflatables entered the fray, including a whale drifting across a sea of bodies into the pit.
Thirst Trap drew a strong response, with the crowd chanting the chorus back on Frogman’s command.
A major peak arrived with High Tariff Behaviour, dedicated by the band to Internal Bleeding and Guttural Slug. It triggered the most chaotic moment of the night, and with no barrier in place, fans flooded the stage before launching themselves back into the masses.
Party Cannon – The Grove – 22 April 2026. Photo: thedailyddt at Vision Impact Photography/MetalTalk
By the end of the track, Boyce called for a massive wall of death, splitting Team Clankenstein against Team Frogman. From that point on, the crowd surfers were constant, and countless bodies made their way onto the stage without warning.
Duct Taped To A Flag Pole proved a clear fan highlight, with Boyce acknowledging the strength of the reception from the crowd all night, a sentiment that was difficult to argue with.
For the final track, Human Slime, the band led their now-signature push-up pit, with dozens of fans dropping into synchronised push-ups mid-pit. It closed the set in fittingly chaotic fashion.
Crucially, despite the sheer scale of chaos unfolding, the band never lost control. Even as bodies surged on and off the stage, Party Cannon remained locked into an unrelenting stream of intricate slam, with the level of musicianship on display standing out throughout.
Party Cannon – The Grove – 22 April 2026. Photo: thedailyddt at Vision Impact Photography/MetalTalk
A mural on the wall to the right of the stage read, “Where’s north from here?” and by the end of the set, Party Cannon had given a clear answer: their homeland of Scotland.
By the end of their set, the room felt physically and mentally drained in the best conceivable way. Sore necks, laughter, and stunned expressions filled the space as the lights came up, underpinned by a shared sense of having witnessed something genuinely memorable and having their IQ lowered in the meantime.
Party Cannon – The Grove – 22 April 2026. Photo: thedailyddt at Vision Impact Photography/MetalTalk
If you have not seen Party Cannon live before, I would suggest you do, as it is a spectacle. You will struggle to find a crazier show.
Internal Bleeding
The final band of the evening, and second co-headliner, was Internal Bleeding, a pivotal force in New York’s Extreme Metal underground. Formed in 1991, they are widely regarded as one of the originators of both Brutal Death and Slam Death Metal, emerging alongside acts such as Suffocation and Pyrexia, pushing the boundaries and shaping the genre’s early identity.
Internal Bleeding – The Grove – 22 April 2026. Photo: thedailyddt at Vision Impact Photography/MetalTalk
The band have released seven full-length albums and continue to uphold a long-standing reputation for uncompromising brutality.
The current lineup features founding guitarist Chris Pervelis, joined by Kyle Eddy on drums and Ryan Giordano on bass. For this tour, Sherwood Webber of Skinless handles vocal duties, stepping in for Steve Worley, while Chris McCarthy is absent and replaced on guitar by Jeff Leifer of Crator.
Internal Bleeding – The Grove – 22 April 2026. Photo: thedailyddt at Vision Impact Photography/MetalTalk
As a huge Skinless fan, it was exciting to finally see him live, and his presence added immediate impact to the performance. Webber appeared on Internal Bleeding’s track Prophet Of Deceit last year, so the collaboration felt embedded rather than a mere fill-in.
This performance marked a rare UK return, their first since 2019, and their debut in Newcastle. Given how infrequently the band has toured here, there was clear appreciation that they are finally back.
From the outset, the sound was raw, direct, and unrelenting, setting the tone for a commanding performance from start to finish. The setlist pulled from across their catalogue, opening with Driven To Conquer and keeping a relentless pace through tracks like Crown Of Insignificance and Ruthless Inhumanity.
Deeper cuts, such as Patterns of Force 3: Aftermath, added weight before closing with Inhuman Suffering.
Internal Bleeding – The Grove – 22 April 2026. Photo: thedailyddt at Vision Impact Photography/MetalTalk
Webber was a commanding presence at the front. He delivered the vocals with power and clarity while keeping the crowd firmly in his grasp. Notably, he was wearing a Cryptopsy shirt, and this was a pleasant surprise, as readers will know they are my favourite Death Metal band.
There was strong mutual respect on stage. Webber praised Pervelis for founding the band, while drummer Kyle Eddy wore a Skinless shirt, reinforcing the shared respect within the scene. Members of Party Cannon were also at the side of the stage, clearly enjoying the set.
Internal Bleeding – The Grove – 22 April 2026. Photo: thedailyddt at Vision Impact Photography/MetalTalk
The atmosphere built steadily throughout, with Ryan Giordano and Webber visibly enjoying themselves. At one point, Pervelis stepped down into the pit and strummed the intricate riffs with ease, facing the crowd, with fans circling around him as he was right in the middle of the action.
The final moments had the crowd fully locked in despite the late hour – horns raised, the floor shaking, and voices loud. The chant of “inhuman suffering” rang out as Webber led the chorus, closing the set on a tightly delivered final burst of slam chaos.
After the show, both Pervelis and Webber came across as humble and approachable. Webber was particularly friendly, and when I asked about a potential UK run for Skinless, Webber kept his response guarded. But with a new record on the horizon, the possibility feels very real.
Internal Bleeding – The Grove – 22 April 2026. Photo: thedailyddt at Vision Impact Photography/MetalTalkGuttural Slug – The Grove – 22 April 2026. Photo: thedailyddt at Vision Impact Photography/MetalTalkParty Cannon – The Grove – 22 April 2026. Photo: thedailyddt at Vision Impact Photography/MetalTalkInternal Bleeding – The Grove – 22 April 2026. Photo: thedailyddt at Vision Impact Photography/MetalTalkThe post Party Cannon And Internal Bleeding Deliver Co-Headline Chaos In Newcastle first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.
Maybe war never changes, but Warside has. Between releasing inaugural EP The Enemy Inside, and recording their debut, three of Warside’s five members left the band. Now a quartet, the Lyon, France collective tromps into the death metal arena, brandishing Cognitive Extinction, their first long play. Down a guitarist, Warside reports Cognitive Extinction as having ‘a rawer, more direct sound.’ Though The Enemy Inside can’t be classified as polished or subtle, Cognitive Extinction embraces an even leaner, meaner aggression through twenty-eight minutes. Additionally, Warside weaves a broad theme into the album—the erosion of intelligence and critical thinking due to the proliferation of screens and dependence on technology. It’s an increasingly relevant theme in these crazy times, but is Warside’s warning enough to keep listeners’ gray matter from atrophying into pudding?
