Category: news
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Shared madness turns fatal on NUMENTO’s new single “Folie à Deux”
Finnish metal band NUMENTO have released “Folie à Deux”, a new single from their forthcoming EP, due later this year. Built around the psychological concept of shared delusion, the song tells a true-crime-inspired story of a relationship in which love, manipulation and distorted reality become inseparable. Listen to “Folie à Deux” The title translates as […] -
“Lightbringer” casts SERPENT’s occult vision ahead of long-awaited debut
Swedish melodic death metal band SERPENT have unveiled a new single and video for “Lightbringer”, taken from their long-awaited debut album, The Pit and the Pendulum. The record will arrive on 13 November through HAMMERHEART RECORDS on CD, vinyl and digital formats. The video was filmed at Popskolans Green Screen Room in Åkersberga, Sweden, with […] -
Slipknot Light Up Wembley As 2027 Stadium Show Goes On Sale
At 2 pm on 28 September, Slipknot announced their long-awaited 2027 worldwide (sic)est tour, confirming a huge Wembley Stadium headline show on Saturday 3 July 2027 as their only UK date of the year.
The signs had been there for days. The band’s website had been reduced to a countdown timer, while Wembley Stadium and several major venues across the United States began posting cryptic messages linked to the masked Metal giants. With speculation building across fan groups and social media, a major announcement felt increasingly inevitable.
For much of the week, discussion centred on what form that announcement might take. Was Knotfest finally returning? Could a UK arena run be on the cards? As more clues emerged, attention gradually shifted towards the possibility of a stadium tour.
When the news finally landed at 2 pm UK time, fans got their answer. Slipknot confirmed a landmark Wembley Stadium show on Saturday 3 July 2027, cementing another major milestone in a career that has seen the band evolve from underground phenomenon to stadium headliner.
Inside Slipknot’s Wembley Stadium Ticket Launch Event. Photo: Aggie Anthimidou/MetalTalk The tour reveal also brought an unexpected bonus.
To mark the occasion, Slipknot announced a special fan event outside Wembley Stadium, with in-person pre-sale tickets available directly from the box office just hours after the announcement. The first 500 fans to purchase tickets received an exclusive commemorative poster, while limited merchandise and photo opportunities were available throughout the evening.
With only a few hours between the announcement and the event itself, the gathering remained relatively low-key, particularly for a Monday evening. Even so, a steady stream of fans made their way to Wembley to be part of the occasion.
From 5 pm onwards, supporters gathered outside the stadium as Slipknot staged a special event built around their Wembley debut. A pop-up merchandise stand, exclusive poster giveaway and a striking installation of the band’s iconic ‘S’ logo provided plenty of photo opportunities for those in attendance.
Inside Slipknot’s Wembley Stadium Ticket Launch Event. Photo: Aggie Anthimidou/MetalTalk One of the most memorable aspects, however, was the ticket-buying experience. In an era dominated by waiting rooms, countdown clocks and frantic browser refreshing, purchasing tickets felt surprisingly simple.
Fans queued at the box office, spoke to a member of staff and secured their place at the show.
No alarms. No online queues. No race against a loading screen.
Just a straightforward conversation and a physical ticket purchase. The process ran smoothly throughout the evening. Wembley staff were on hand to answer questions, while one particularly helpful member of the team went above and beyond to assist fans with accessibility enquiries and ticketing support.
Inside Slipknot’s Wembley Stadium Ticket Launch Event. Photo: Aggie Anthimidou/MetalTalk At 7 pm, the centrepiece arrived. The towering Slipknot ‘S’ logo was set ablaze, sending smoke into the evening sky against a backdrop of deep red light. While the event was likely designed with a social media moment in mind, as much as a traditional fan gathering, the burning logo provided a fitting visual statement to accompany the announcement of Slipknot’s biggest UK headline show to date.
More understated than chaotic, the evening succeeded in turning a routine ticket launch into something tangible. Fans had the opportunity to celebrate the announcement in person, pick up exclusive memorabilia and secure their place at a landmark Wembley Stadium show without battling the usual online frenzy.
For a few hours, Wembley became the starting point for Slipknot’s road to July 2027.Slipknot Light Up Wembley As 2027 Stadium Show Goes On Sale
Slipknot – Wembley 2027 General on-sale begins on Friday, 2 October at 10am local time. Ticketing times may vary by market. Full information is available at slipknot1.com.
The post Slipknot Light Up Wembley As 2027 Stadium Show Goes On Sale first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews. -
A 20-minute Death Wave: LAST AGONY preview second album with title track
Toronto crust outfit LAST AGONY will release their second full-length, Death Wave, on 23 October via Sentient Ruin Laboratories. The album’s opening title track has now premiered through punk publication No Echo, offering the first taste of the nine-song record. Clocking in at roughly 20 minutes, Death Wave draws together raw hardcore punk, speed metal, […] -
Doom Metástasis spreads its decay as MORBID STENCH stream new album in full
Central American death-doom trio MORBID STENCH are streaming their third full-length album, Doom Metástasis, in its entirety ahead of the record’s 2 October release through NUCLEAR WINTER RECORDS and PUTRID CULT. The six-track album receives its premiere through Death Metal Promotion and develops the oppressive death-doom approach that has defined the band since its formation […] -
“Saigner” opens the Earthbound concept of LES CHANTS DE NIHIL’s Graines
French black metal band LES CHANTS DE NIHIL have unveiled “Saigner”, the first single from their fifth album, Graines, due for release on 6 November through LES ACTEURS DE L’OMBRE PRODUCTIONS. The new record is built around the idea of the Earth as a conscious being with its own memory, desires and will. By personifying […] -
History and heaviness collide on EMBERTEARS’ Songs For The Rain God Pt. 2
Hungarian sludge, progressive and stoner metal project EMBERTEARS will release its new album, Songs For The Rain God Pt. 2, on 20 November through BITUME PRODS. The record will be available digitally and as a CD digipack. Founded in 2021 by Tamás “Tom” Géza Albert, EMBERTEARS has developed around concept-driven releases. After exploring Biblical themes […] -
Reviews: Behemoth, Revel In Flesh, Slothrust, Terra Black (Yasmin Mason, Mateusz Stefanow, Spike & Rich Piva)
Behemoth – I, Scvlptor (Nuclear Blast) [Yasmin Mason]
Behemoth; probably Poland’s most well known – and controversial – black metal export. I Scvlptor is the latest offering from the band and after seeing Nergal’s outstanding performance of Sventevith with Myspyrming earlier this year, I was excited to hear this release.
First off is the title track, I Scvlptor and my favourite track out of the 3 reviewed here.A beautiful orchestral intro starts the track, before the guitars and drums join in, with the strings continuing to add atmosphere in the background. I enjoyed the slow, heavy guitar riffs used throughout the song. Repetitive but effective .
Next up is Lord Ov The Horizons. The juxtaposition between the clean and harsh vocals at the start of the track is nice, the former giving way to the latter as the song builds towards its crescendo.Riffs sounding like artillery fire (reminiscent of Metallica’s One) pepper the second half of this song and the drums and guitars take centre stage as we reach the end of the track. I enjoyed this one.
Finally, Begotten. I’ve listened to this track multiple times now and I’ve struggled with what to say about it. It’s not a bad track, there is just nothing that really stands out to me. Except the drums. In my opinion (as a non-drummer I hasten to add!) the drumming on this song is top notch. Everything else…. just is.
All in all, I Scvlptor is an enjoyable listen. But probably not worthy of a spot in my ‘favourite albums of 2026’ list. 7/10Revel In Flesh- Flesh For The Kult Of Death (War Antjems Records) [Mateusz Stefanow]
Teutonic titans Revel In Flesh are back with an old-school death metal release, replacing their melo-death style to resurrect the sound of their original three albums in their sixth release, Flesh For The Kult Of Death, partly due to the band’s disbanding in 2024, and prompt reassembling.
I’m structuring this review differently to my other ones solely due to the incredible consistency between the tracks; the album is perfect for head-banging to, it has melodic sections, it has spoken word sections and bass solos, with the legendary Jonny Pettersson on bass guitar (ex-Massacre, ROTPIT and Wombbath amongst others).When I mentioned that this album resurrects their former sound, even that Boss HM-2 pedal sound is retained, once again indebted to Pettersson’s hectic guitar playing, and the brutality of the blast beats has your pulse going from the opening notes to the very last.The album cover is gorgeous with bold blues and reds, calling back to Dismember’s Like An Everflowing Stream, which this album sonically colludes to, they set out to produce an old-school death metal album, and by all hell they’ve done it.The melo-death period has not been forgotten however, as the few sections of melodic influences peek through at segments of the album, keeping your attention fixed, and with each track being so entertaining, without so much as a weaker song in sight, this is an easy task.The album ends with All I Had (I Gave), a tribute to Crowbar, which benefits from the HM-2 tone along with Erik Barthold on drums blasting away to ramp up the heaviness on an already heavy song.
This is a very strong contender for my album of the year, so go ahead and join the Kult of Death! 10/10Slothrust – What They Grow In The Garden (Equal Vision Records) [Spike]
Slothrust have spent over a decade refusing to sit still.Moving from their gritty, jazz-inflected Boston DIY roots to sharper alternative rock, they’ve always had a knack for combining quirky, left-field humour with genuinely biting emotional weight. But heading into their sixth studio record, What They Grow In The Garden, the band found themselves at a crossroads, trimming down from a trio to a razor-sharp duo.If you thought losing a member would mean thinning out their sound, think again. This is easily the heaviest, punchiest, and most theatrical record Leah Wellbaum and Will Gorin have ever put to tape.
The band have been calling this record “dystopian theatre rock,” and for once, a band-coined tag actually fits the bill. The whole record plays out like a stage show confronting the numbness of modern life, the screen addiction, late-capitalist burnout, and the general feeling that society is slowly rotting from the inside out. But rather than sounding like a dry political lecture, Wellbaum wraps those heavy themes in eccentric metaphors, big riffs, and massive, addictive hooks.
The album opens with Dissolve The Delusion, setting the stage with a solitary, sombre piano piece. It’s an understated, patient intro with no vocals at all, forcing you to slow down and dial into their frequency before the heavy artillery arrives.That restraint immediately shatters when Burn The Deck kicks in with a driving tempo, thick guitar fuzz, and a cynical, sharp-eyed look at the institutions designed to keep us pacified.
One of the standout moments on the record is Ring The Bell. Built around an infectious, twisting guitar riff, it moves like a rollercoaster, dropping into quiet, tension-filled verses before surging into a massive, explosive chorus.Lines about “dead doom dopamine” and cutting puppet strings hit with genuine bite, proving that Wellbaum’s lyrical wit has only sharpened with age. Gorin’s drumming is relentless throughout, locking the rhythm down with the kind of kinetic force that makes you forget there are only two people in the room.
Elsewhere, the record leans into its stranger narrative impulses. On the lead single Hearst Castle, they frame wealth, isolation, and voyeurism through the lens of Patty Hearst and coastal elephant seals.It sounds completely bizarre on paper, but on record, it works like a charm thanks to a towering, arena-ready chorus. Meanwhile, 00101001 dives straight into digital dread with glitched, punchy urgency, and Twisted Paradise pulls back the curtain on their strange, dream-logic sensibilities.
By the time the sprawling, brooding closer Dystopian Cemetery wraps things up, you realize the duo has pulled off a serious balancing act.They’ve crafted an ambitious concept album that manages to confront modern anxiety head-on while keeping the music fun, unpredictable, and gloriously loud. What They Grow In The Garden is proof that leaning into your weirdest instincts can pay off in spades. 8/10
Terra Black – Mirage (Bonebag Records) [Rich Piva]
Gothenburg, Sweden psych doom is on the menu in the form of Mirage, the new record from Terra Black. Per the Bandcamp description, this record is “Steeped in ancient mystery and crushing atmosphere…”. I can get behind that, especially if it is as good as their earlier work.
Well, no worries there, because Mirage is better than anything this band has done. The opener alone, The Gathering, lives up to that brief description above (and the very long one on their Bandcamp page). Chunky, big riffs, siren song vocals, heavy psych elements, this one is straight up fire (occult fire? Is that a thing? Ritual fire?, I don’t know, but it sure is hot).Guayota continues this dark path, with a slow doom vibe but all sorts of middle-of-an-ancient-forest atmosphere to go along with it, which lead vocalist Ezgi provides her beautifully sung incantations with. Pareidolia is the beginning of the black mass, with some mind-bending guitar and a build to something beautifully evil. Slow and heavy with that voice is such a great combination.I really like Maze, which picks up the pace with a nice gallop and more big riffing, this time with layered vocals that points this song more in the proto/occult side of the darkness than anything else, and whoa boy am I here for it. This one is probably my favorite on the record. Mirage speeds up (a tad) only to really slow down with In Stone, highlighted by some male/female harmonized vocals and some kills atmospheric doom when it really kicks in. Another killer track.I think the next one is even slower, as Ruins crawls along the forest floor but is anything but more of the same. The most atmospheric psych you get is from the closer, In Stars, which is like evil bluesy occult shoegaze that is just great. While I love the record as a whole, it is a bit long for this style, and a song like Thorn may have done well to be shortened, but I am nitpicking because this record is great.
Atmospheric occult psych doom with amazing vocals and excellent production. What more does one want? Terra Black brings it with Mirage, and a very worthy contender for your end of year lists. 8/10 -
Faustian shadows loom over OBSCURA QALMA’s Immortality Through Ashes
Venice-based orchestral blackened death metal band OBSCURA QALMA will release their new album, Immortality Through Ashes, on 23 October via Dusktone. The announcement is accompanied by “Obsidian Numen”, now available as a digital single and visualiser video. Stream or download “Obsidian Numen”Watch the “Obsidian Numen” visualiser Immortality Through Ashes is built around the idea of […]