Category: news

Their new album of the same name arrives October 23 via Relapse Records in North America

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Heavy Metal’s Big Four, a new book by Daniel Bukszpan, will be published by Motorbooks on 10 November 2026, tracing how Metallica, Megadeth, Anthrax and Slayer took thrash from the underground and helped reshape the sound of Metal.

The 192-page hardcover follows the four bands from their 1981 origins through lineup changes, landmark albums, major tours, rivalries and alliances. Bukszpan charts Metallica’s rise from Kill ‘Em All to stadium dominance, Dave Mustaine’s drive to keep Megadeth evolving, Anthrax’s blend of New York attitude, humour and hip hop, and Slayer’s uncompromising speed and darkness.

Four Bands At The Heart Of Thrash

The book also looks beyond the records and tours to the culture that helped thrash grow, from tape-trading networks and underground zines to MTV exposure, major-label breakthroughs and the resurgence of Metal in the 2000s.

Among the albums highlighted are Anthrax’s Among the Living, Megadeth’s Peace Sells… But Who’s Buying?, Metallica’s Master of Puppets and Slayer’s Reign in Blood.

Heavy Metal’s Big Four is published on 10 November 2026 by Motorbooks, an imprint of The Quarto Group. The hardcover runs to 192 pages and is priced at $40 in the US and $53 in Canada. ISBN 13: 9781577158196.

MetalTalk will have much more on this book soon, and early reading suggests it will be a great read and memento. For more details and pre-orders, visit geni.us/HeavyMetalsBigFour.

About Daniel Bukszpan

Daniel Bukszpan has worked as a freelance writer for more than 30 years, with bylines including Fortune, CNBC and Conde Nast Traveler. His books include Rush and 2112: 50 Years, Ozzy at 75, Rush at 50 and Iron Maiden at 50.

The post Heavy Metal’s Big Four Book Chronicles Metallica, Megadeth, Anthrax And Slayer first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.

And produced by Will Yip

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You guys know about horsegiirL, right? Not Horsegirl, the Brooklyn-via-Chicago indie rock band who released the album Phonetics On And On last year. That’s a different thing. Know your horse bands. I’m talking about horsegiirL, AKA Stella Stallion, the Berlin-based dance/hyperpop artist who wears a horse mask and describes herself as “half-horse, half-human.” The gimmick has been working for her. horsegiirL has played a whole lot of high-profile festival sets in the past few months, and now she’s touring big venues as a headliner. Her debut album NATURE IS HEALING came out in June, and now she’s announcing a companion-piece EP called HARDCORE HEALING.

The post horsegiirL Announces New EP <em>HARDCORE HEALING</em>: Hear “c*ntry girl rock” (Feat. Dylan Brady) appeared first on Stereogum.

With shows across Knockdown Center and Brooklyn Steel

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METAL DEVASTATION PR BANDS FEATURED THROUGHOUT THE NEW ISSUE OF ROCK HARD MAGAZINE

ACCEPT GRACES THE COVER OF ROCK HARD 111 AS MULTIPLE METAL DEVASTATION PR ARTISTS Earn Reviews, Features, and In-Depth Interviews

The new issue of Rock Hard Magazine is officially out now, and it is packed with coverage for artists represented by Metal Devastation PR .
With Accept commanding the cover of Rock Hard 111 , the latest issue delivers a strong showing for independent and underground metal, with multiple Metal Devastation PR clients appearing throughout the magazine in reviews, feature interviews, and artist profiles.
From progressive metal and extreme industrial experimentation to classic heavy metal, symphonic metal, doom, thrash, and death metal, this issue showcases just how wide-ranging the Metal Devastation PR roster has become.
Here is a look at the coverage.
THE PRODIGAL SON

RUMOR | Rating: 7.5/10

Los Angeles progressive metal veterans The Prodigal Son receive a strong 7.5/10 rating for Rumor , with Rock Hard highlighting the band’s long history and continued evolution since their beginnings in 1994.
The review praises the band’s “complex, evolved progressive metal,” intricate arrangements, technical ability, and ambitious songwriting, while drawing comparisons to the early work of Nevermore.
Rock Hard describes the track as a “successful and remarkably well-packaged mix” and points to the release as another major step forward for the veteran Los Angeles act.
THEPRODIGALSONBAND.COM


Silence Of Kaos by TPS


DARKWAVE

EVANESCENT HORIZONS | Rating: 8/10

Hungarian progressive death metal project Darkwave , created by Zsolt Némethy, earns an impressive 8/10 for Evanescent Horizons .
Rock Hard notes that the new release pushes the project beyond the already acclaimed Horror Sacri , expanding its dark and decadent atmosphere while introducing new layers of experimentation.
The review specifically highlights tracks such as Gaslight Elegy , The Parchment Night , and Farewell To The Angel Of Sardis , praising Némethy’s compositional and performance abilities and his commitment to highly personal musical ideas.
FACEBOOK.COM/DARKWAVEMETAL


Evanescent Horizons by Darkwave


CARCERAL

DESCENDING REPRISAL | Rating: 7.5/10

Brazilian instrumental death/thrash act Carceral earns a 7.5/10 for their debut release Descending Reprisal .
Rock Hard calls attention to the unusual structure of the album, which contains 24 tracks , most of which clock in at under two minutes.
The review praises the band’s complex structures, guitar and bass work, virtuosity, and willingness to experiment across a wide range of musical ideas. Despite being a debut, the record demonstrates what Rock Hard describes as a level of maturity and preparation that immediately stands out.
CARCERALOFFICIAL.COM


Descending Reprisal by CARCERAL


ANTIMoZDEBEAST

PROPHECY | Rating: 7.5/10

Gabriel Palacio’s AntiMozdeBeast project returns to the pages of Rock Hard with Prophecy , earning a 7.5/10 rating.
The review describes an increasingly unsettling musical world built from avant-garde soundscapes, industrial passages, black metal elements, noise, and chaotic rhythmic structures.
Rock Hard highlights tracks including Leap Of Fate and End Of Faith , emphasizing the project’s uncompromising approach and its ability to challenge the listener through abrasive and experimental compositions.
The review ultimately describes the release as “the new frontier of an anarchic and iconoclastic devastation.”
LINKTR.EE/ANTIMOZDEBEAST


Prophecy by AntiMozdeBeast


FLIGHT OF ODIN

I TRAVELED THE CROOKED PATH | Rating: 9/10

SELF-PRODUCTION OF THE MONTH

One of the biggest highlights for Metal Devastation PR in the issue belongs to Flight Of Odin , whose I Traveled The Crooked Path earns an outstanding 9/10 and the distinction of Self-Production Of The Month .
Rock Hard describes surrendering to Flight Of Odin’s doom soundscapes as entering “fog-drenched moors” populated by ethereal and elusive entities.
The review praises the band’s syncopated pacing, dreamlike and psychedelic atmosphere, melodic sensibility, experimental passages, and especially the near-constant presence of piano within their sound.
At the center of it all is Xyra’s warm and magnetic vocal performance, which Rock Hard says provides a faint sense of comfort within the band’s otherwise shadowy musical world.
The magazine describes Flight Of Odin’s music as captivating, enchanting, visionary, ecstatic, and ritualistic.
FLIGHTOFODIN.NET


I Traveled the Crooked Path by Flight of Odin
PAINDEMIC

REWRITING HISTORY

California heavy metal outfit PainDemic are featured in an in-depth interview with bassist Gary Monardo and vocalist Rob Perkins , discussing the band’s origins, musical direction, lineup, songwriting, and debut single FWF , short for Fuck With Fate .
Gary explains that the band was formed around a desire to bring back a heavy metal sound built around powerful riffs while retaining memorable melodies. The band’s influences reach back to the era when Metallica, Anthrax, and Slayer were exploding onto the scene.
The interview also explores the chemistry between veteran members and guitarist Cheyenne Scott , whose energy, work ethic, and different approach helped shape the band’s current lineup.
Gary explains that while his earlier work with Hirax focused heavily on speed, PainDemic is taking a different approach, emphasizing heavier riffs, tempo changes, transitions, and carefully constructed arrangements.
Rob discusses the personal experiences behind FWF , while also explaining the band’s commitment to authenticity and creating music that translates naturally to the live stage.
FACEBOOK.COM/PAINDEMIC


FWF by Paindemic


NOTHING SACRED

THE ROAR OF OLD LIONS

Australian heavy metal veterans Nothing Sacred are featured in an extensive interview discussing their decades-long history, the current resurgence of classic heavy metal, their latest single Your Time Will Come , and their decision to revisit Black Sabbath’s Am I Going Insane .
The band makes it clear that despite more than four decades of history, their motivation remains essentially unchanged: writing and playing the kind of heavy music they genuinely love.
Sham discusses the importance of avoiding becoming a shadow of the band’s former self, while Karl reflects on how the group’s approach to the music industry has changed over the years.
The interview also explores the inspiration behind Your Time Will Come , a song centered around someone refusing to compromise what they believe is right.
And when it comes to their Black Sabbath cover, Sham explains why Am I Going Insane was one of the rare Sabbath classics they felt could be transformed without sacrificing the original song’s character.
The band also reflects on touring abroad and the financial realities that have shaped their career.
NOTHING SACRED. THE ROAR OF OLD LIONS STILL HAS TEETH.
NOTHING SACRED.COM.AU


Leviathan by Nothing Sacred


SYMPHONY OF DESTINY

ON THE BANKS OF THE NILE

American symphonic metal act Symphony Of Destiny are featured in an interview centered around their debut release Heroes Of Egypt and the band’s unique combination of heavy metal, classical composition, cinematic orchestration, and ancient Egyptian mythology.
Composer and guitarist Wesley Eldridge discusses how the members’ classical training has been translated into the band’s metal sound, combining cinematic orchestration, dynamic songwriting, seven-string guitars, and instrumental technique.
The interview explores the band’s carefully planned artistic direction, which was built around mythology and ancient civilizations from the project’s earliest stages.
Eldridge also discusses his fascination with ancient Egypt, including the musical atmospheres associated with film soundtracks, and explains how he and vocalist Anne Dueweke researched the original myths behind figures including Ra, Bastet, and Horus .
Rather than simply retelling ancient stories, the band approaches each song from a different perspective, connecting mythology with modern emotions and experiences.
SYMPHONYOFDESTINY.COM


Heroes of Egypt by Symphony of Destiny


ANTANIA

THE UNHOLY 33 | Rating: 7/10

California electronic extreme metal duo Antania round out the Metal Devastation PR coverage with a 7/10 review for The Unholy 33 .
Rock Hard highlights the project’s unconventional approach, built entirely from synths, distortion, programmed drum machines, and vocals, with no guitars or bass.
The album combines extreme metal with industrial electronics, oppressive atmospheres, blast beats, mid-tempo passages, and excursions into electronic styles including drum ‘n’ bass.
Rock Hard notes that traditional songwriting structures are deliberately avoided, creating a challenging listening experience that demands patience while offering plenty for listeners interested in the intersection of extreme metal and industrial electronics.
https://linktr.ee/antaniaofficial



METAL DEVASTATION PR CONTINUES TO BREAK THROUGH

From a 9/10 Self-Production Of The Month for Flight Of Odin to strong reviews for The Prodigal Son, Darkwave, Carceral, AntiMozdeBeast, and Antania, plus major interview features for PainDemic, Nothing Sacred, and Symphony Of Destiny, the new issue of Rock Hard Magazine represents another major round of international exposure for Metal Devastation PR artists.
This is exactly the kind of coverage we work to secure for independent metal artists: legitimate editorial coverage from established metal media, covering the music itself while giving the artists a platform to tell their stories in their own words.
A huge congratulations to all of the artists featured in Rock Hard 111 .
Metal Devastation PR
Major Metal Media. Real Coverage. Worldwide Exposure.
Grab a copy here: https://www.rockharditaly.com/shop/it/arretrati/328-rock-hard-settembre-2026.html

MoonJune 2026 Righting the wrongs of the past, blistering performances from the States find jazz-proggers at the top of their game. Ardently revered yet criminally underrated, BRAND X arrived on the fusion scene a little later than RETURN TO FOREVER, … Continue reading →

The post BRAND X – Theory Of Nothing appeared first on DMME.net.

Recommended for fans of: Hacride, The Ocean, Benea Reach As the person who’s largely been responsible for featuring Hippotraktor here in the past, it only made sense for me to be the one to write about their upcoming third album, Annihilist, which comes out this Friday. And when I realised that this might well be the first […]

The post THE SYNN REPORT (PART 199): HIPPOTRAKTOR appeared first on NO CLEAN SINGING.

Posted on September 30th 2026, 3:00pm

Another Wednesday, another week that I, Smokey Goretooth, have a new “Do I Suck?,” MetalSucks’ version of “Am I The Asshole?” where we take real life horror stories and bring them to our readers to decide if the OP sucks for some bullshit they may or may not have done.

This week’s submission comes from a reader who may or may not legitimately hate kids, but you should read on and see for yourself…

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It’s not that I actually hate kids, but I’m surely not having any of them willingly, for myself. That’s for damn sure.

When the vocalist in my band had a kid, everything changed. That makes me sound like I’m some jealous partner and sure, maybe in a way I am, but I don’t feel like my life as his friend and bandmate should be affected by his inability to properly pull out. Still, I’m happy for him I guess, but now that the demon is like three years old, he keeps bringing it to our band practice and they’re getting in the way. I’m the drummer, which is already hard enough, so I don’t need any lil stinky snot monster running around and touching my sticks and cymbals, coughing all over my mic, or pulling my hair from behind when I’m trying to focus on a blast beat. And that’s not the worst of it.

Our vocalist has a mini studio set up in his basement where he’ll lay down tracks and stuff, and I know he’s been bringing his kid in there since they were first able to crawl, honestly. I obviously get that at some point in that process, he’s probably pressed that drool-covered baby face up against the mic, but that tendency has far surpassed their at-home pastime to now infiltrate the sanctity of our band practice. For at least a year now, when we’re in the midst of an actually serious practice, my bandmate will just straight up let his kid sing, as if some of us aren’t trying to really make sure we’ve got our parts down. We’re trying to record an EP and also have some shows coming up, so what I feel like we all ACTUALLY need is to work on the task at hand, not fuck around for the sake of building a memory the kid probably won’t even remember after the natural resentment builds. Alas, here we are with something mildly important to achieve with a goddamn toddler running the ship for too long. It’s ridiculous. But noooooo, our vocalist has let his little punch-mouth poop goblin run around for every practice, often letting him sit in for him for entirely too long during some of the songs. They don’t even know the words!

I got so tired of it and pretty much lost it at practice the other day because I was trying really hard to focus on my part in that one song and he let his off-key kid have a go at it, honestly not even saying anything like mush-mouth Charlie Brown teacher, so I legit screamed “Fuck this!” and stormed off. My bandmate texted me saying I shouldn’t have done that in front of his kid and that I should come back and apologize, but I refused. I told him if I wanted to be in a kid-fronted group I’d join Kidz Bop, and he didn’t like that very much.

My other two bandmates are pretty split on the situation, and my girlfriend claims she “understands” my frustration but still thinks I’m a dick. I honestly think I should just be able to go to practice to actually WORK on our material and not solely exist as entertainment for a kid that only belongs to one of us. Am I really wrong for that?

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I’d be lying if I didn’t say he made some good points, but his delivery may have y’all feeling a different type of way. What’s the verdict?

The post Do I Suck For…Refusing To Go To Practice If My Bandmate Keeps Bringing His Kid? appeared first on MetalSucks.