Category: news

  • Wolfbastard – The Black Metal/Crust Punk Carnage of Satanic Scum Punks

    Wolfbastard deliver Black Metal/crust punk carnage on Satanic Scum Punks.

    We have had four years of calm since the release of Hammer The Bastards, but the storm of chaos returns as Manchester’s “feral kings of the underworld,” Black Metal/Crust Punks Wolfbastard, prepare to unleash their latest turbo-charged hellish offering. Their fourth full-length studio offering, Satanic Scum Punks, is eleven tracks just shy of thirty minutes, and is guaranteed to be a hugely catchy and entertaining assault on your senses.

    Wolfbastard – Satanic Scum Punks

    Release Date: 13 March 2026

    Words: Jools Green

    Opening piece, It’s Fucking Dark, is definitely a track of two halves. Opening on a classic icy Black Metal intro filled with dark pomp and atmosphere, culminating in an acerbic scream, it then totally changes tack into a crusty D-beat drive and a punk riffing heralded by the vitriolic scream of “FUCK OFF!”

    Throughout, there is the catchy title repeat of “It’s Fucking Dark.” There is also a great Black Metal undercurrent of riffing that surfaces throughout the piece, coming to prominence at its zenith before ebbing back to the dark atmosphere it opened with. A superbly imperfect circle of a track, I love it!

    The longest piece on the album by far, at over four minutes, is the title track, Satanic Scum Punks. It is a punchy driver of a track throughout, with a touch of Poison Idea to the catchy repeat riff that courses across the piece, which I love. This is punctuated with searing screams across the duration of the piece, and is as lyrically catchy as well as witty.

    Even more of a driving beast is Let The Bastards Burn, delivering an engaging meld of hardcore drive, blackened riffs and acidic vocals. The message is quite clear in the title, and the closing torturous scream and searing lead work perfectly visualise that.

    Opening like a thunderous storm and continuing to deliver dark, destructive riffs throughout, Hail Satan Kurwa is an absolute annihilator of a track. With a mid-point blood curdling scream that bursts out of a wave riffs, it is not just a great listen but lyrically fascinating, given that Kurwa is a multi-purpose Polish expletive with the same broad ranging flexible usage as its English equivalent. Language is wonderful, isn’t it?

    F.O.T.D. unleashes a more undulating meld of catchy driving crusty black riffing with slick switching that holds your attention throughout. The title and, therefore, lyrical content offer firm instructions to anyone who needs them and needs no explanation from me either. Not sure? You will find out when you hear it. 

    After a haunting opener, Blood On Steel jumps straight into a galloping drive with a straightforward but massively engulfing repeat that drags you along in its wake, whether you want to go or not. The mid-point scream cuts through like a knife, heralding an increase in intensity as this beast hurtles to the finishing line. But before it gets there, you get a drop in pace and a decidedly groove-rich edge creeping in, which contrasts well with Dez’s raw, acidic vocal delivery.

    Heavily punk-influenced, Drink For Hell is a superb up-tempo beast. I love the D-beat rhythm and punk bass line. It adds a fun edge to the sound with some intense blasts of riffing packed in there for added impact. Lyrically, some might say it is an instruction manual for living your best life. Regardless, it is an excellent piece that is guaranteed to make you smile.

    There is no mistaking the message in Fuck The Bastards, and let us be honest, we have all been there and said or thought it at some point. Now Wolfbastard have put it to music for us with this vitriolic, driving, and somewhat cathartic anthem.

    Aside from the title being a great play on words, Manic Street Creatures is a brutal driving short, sharp shock of ninety-seven seconds. This is a get in, get the job done and get the hell out again, whilst leaving as much carnage as possible kind of track.

    Musically, You Fucking Rat is calmer with a great undulation to the driving Punk-infused riffs that are melded with blacker intense swathes and a catchy D-beat coursing beneath. Lyrically, they make it quite clear what will happen if they are crossed. Quite right too.

    The final black crusty and very angry offering B.I.F.F.O. charges to the finish with one maniacal and dark D-beat drive ending as it began, closing on a tirade of screams and a deranged shout of “FUCK OFF.”

    One of the things I love about Wolfbastard is that, alongside that high level of creativity and skill, there runs in parallel a huge sense of fun and humour, which makes their music all the more engaging. It also has not escaped my notice that the further you get into this album, the faster and more insane the pieces get.

    One thing is for sure is, when Wolfbastard are on a roll, there is no stopping or slowing them. So prepare yourself for wanton destruction and drunken devastation with the unleashing of Satanic Scum Punks.

    Released on 13 March 2026 via Apocalyptic Witchcraft Recordings, Satanic Scum Punks will be available on limited edition vinyl, as a digipak CD, cassette, and digital download. For more details, visit the Apocalyptic Witchcraft Recordings website.

    The post Wolfbastard – The Black Metal/Crust Punk Carnage of Satanic Scum Punks first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.
  • ROB ZOMBIE Unleashes New Album THE GREAT SATAN

    Following months of anticipation, rock and metal icon ROB ZOMBIE has released his new album, The Great Satan, today via Nuclear Blast Records. Across more than four decades, Zombie has cemented himself as a singular cultural force. Fusing avant-garde aesthetics with monstrous, groove-driven rock, his work has consistently defied convention. With The Great Satan, Zombie […]
  • HZED Share New Single ‘Rising Up Above’

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  • Ο Jon Schaffer επανακυκλοφορεί το “Thought Crimes” και ανακοινώνει νέα μουσική

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  • A View From The Back Of The Room: Smith/Kotzen (James Crisp)

    Smith/Kotzen, O2 Academy, Bristol, 20.02.26



    There is something quietly satisfying about seeing musicians best known for arenas and global tours step into a room where the walls feel closer. That was the mood as Smith/Kotzen arrived at O2 Academy Bristol.

    The audience reflected the duo’s unusual musical crossroads. You had long-time followers of Adrian Smith swapping tour memories near the bar, guitar players analysing amp setups from the barrier, blues rock devotees ready for groove-heavy songwriting, and younger fans who’ve found the project organically online. It didn’t feel like a divided crowd, more like overlapping circles meeting in the same room.

    When the band took the stage, the presentation was refreshingly stripped back. No crazy elaborate intro, no visual spectacle, just Bad Company blaring through the PA, instruments, amps, and a clear sense of purpose, that being, to melt faces with riffs and solos. The opening run of Life Unchained and Black Light delivered. The sound was warm, punchy, and lived-in, like a group that had spent serious time playing together. 

    Julia Lage’s bass lines moved melodically, often acting as a second voice, while Bruno Valverde’s drumming balanced pure power with finesse, driving choruses forward but leaving airy space for quieter moments to breathe.

    The setlist drew from across the duo’s catalogue, creating a sense of progression. Black Light and Wraith added early dynamic contrast, the former leaning more into mood and texture while the latter bounced with rhythmic swagger. 

    Glory Road and Hate And Love proved early crowd favourites, the choruses echoing back with surprising volume for a room this size. Later, Darkside and Life Unchained deepened the groove-heavy atmosphere.

    Mid-set highlights arrived with Blindsided, a moment where the room collectively leaned in and the fuzz-infused Taking My Chances, which loosened them shoulders and drew visible smiles across the floor. 

    By the time Outlaw and Darkside came toward the latter half of the show, it felt the band was reading the room rather than following a plan.

    Central to the performance was of course the interplay between Smith and Kotzen. Their appeal is not solely in technical accomplishment but in the evident absence of ego. 

    Smith’s phrasing is delivered with clarity and weight, based classic blues-based rock tradition. Kotzen responds with fluid, soulful lines that expanded those ideas without competing for space.

    During instrumental sections, particularly in Black Light and Outlaw, the two seemed to crossover musically. Trading phrases, echoing motifs, occasionally meeting in harmonised peaks, that all felt like two musicians in collaboration rather than competition. 

    As the evening edged toward its finale, the encore felt less like an obligation and more like a final exhale. First came You Can’t Save Me, a personal favourite of mine. A soulful cut from Richie Kotzen’s solo catalogue that brought a reflective warmth across the room. 

    Then, with a knowing grin, the band slipped into Wasted Years by a little band called Iron Maiden, a playful yet heartfelt nod that instantly ignited the crowd. Voices rose, smiles spread, and for a few minutes the Academy became a shared singalong, the audience embracing the moment as enthusiastically as any highlight that came before it.

    As the final notes rang out and the band waved their thanks, there was no grand finale, just lingering applause and the low hum of conversations restarting. People compared favourite moments, debated solos, and slowly filtered out with the satisfied air of having experienced something genuine.

    Sometimes the most powerful live music moments happen not under giant stadium lights but in sweaty little rooms where the details can’t hide. Bristol was one of those nights. 8/10
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  • Stereo Silence – I’ll Do Anything

    If you paid close attention to what’s happening on the indie rock scene, then you probably already stumbled upon many good artists and bands, delivering some of the finest works this genre heard or seen in years. However, not so many of them try to break all the rules, shapeshift the boundaries, and bring something […]
  • The Halo Effect Join Forces With The Black Dahlia Murder & Heaven Shall Burn On New Single “Lest We Fall”

    The Halo Effect have joined forces with their current tourmates, The Black Dahlia Murder and Heaven Shall Burn, for a newly unveiled track titled “Lest We Fall”, streaming via YouTube and Spotify for you now below. The Halo Effect, who feature several former members of Swedish melodic death metal trailblazers In Flames, shared a br… Read More/Discuss on Metal Underground.com