On Tuesday, May 19, Stir Cove at Harrah’s Casino and Hotel in Council Bluffs, IA was the place to be as Yellowcard made their return to the Omaha metro area. There were many elder millennials in lawn chairs, more so than people in the pit, making me question: is Yellowcard classic rock? In a way yes, but that goes to show the longevity their music goes.
The Plain White T’s from Chicagoland kicked things off for the night. These guys have been together since 2003, at least this lineup of guys, so it was cool seeing these guys can still put on a damn good set. Tom Higgenson still sounds the same as the records from back in the day. He borrowed someone’s sunglasses from the crowd. I’ve never seen that happen before. They played hits such as “Our Time Now” (shout out iCarly) and “Rhythm of Love”, led by guitarist Tim Lopez. Near the end of their set, the band and crowd sang “Happy Birthday” to their photographer, Hailey Sherman. And, of course, you got to end it with “Hey There Delilah”, a sing along for the ages. So glad I got to finally see these guys live after their music has been in my life since my adolescent years.
New Found Glory from Florida was the direct support. This was also my first time seeing them. For a band that’s been around since 1997, they still bring energy to their live performance. Jordan Pundik (sporting a Militarie Gun shirt), lead singer, went out into the crowd at one point, a man of the people. They played some new songs off of their latest album, Listen Up!, as well as older material like “All Downhill from Here”. They even performed their cover of “Part of Your World” from The Little Mermaid, shouting out the Disney adults. Ian Gruska, dubbed the “sexiest bassist in all of pop punk”, had a ton of fun performing, even taking his shirt off, showcasing his body tattoos and suspenders. They ended their set with “My Friends Over You”, which got so many people excited. Never really engaged with New Found Glory’s music before this set, but I was impressed by their performance.
Finally, the crowd was ready for Yellowcard. This my second time seeing them live, the first on Halloween night 2025 in Lincoln, Nebraska. So, I was familiar with their live show. But they’ve added some moments they’ve added to their headlining set. They opened up their set playing the Top Gun theme. While they performed, they had clips of movies from the 1980s like Goonies and Stand By Me as well as nostalgic video games like Zelda and Mario. What I appreciated the most about this performance was how vulnerable Ryan Key was about becoming a father and his mental health journey. Despite the recent comeback and the successes that come with being a band that has a devoted following, being a working musician does take a toll on your mentality, especially being away from home. They had a pretty solid crowd, even a couple people crowd surfing in the chill evening. But this band continues to bring it live. At one point, they brought out some couches, lamps, acoustic guitars and slowed the set down a bit. They replicated that feel of hanging with friends downstairs at your parents’ house. This night felt like we were all back at Warped Tour, just making new memories with this music we love. They ended with “Ocean Avenue”, which got everyone moving and singing. Once again, I’m glad Yellowcard is back together and can bundle a tour together with their buddies that they have grinded with since the early 2000s. I hope we get some new music from them soon.
For some Christopher Cross represents a moment in time, basically 1980, when his debut solo album was a major success. He went on to win five Grammys a year later and his career was established. Of course, since that time, … Continue reading →
New Order will revisit their 1994 hits collection, The Best Of New Order, and its 1995 remix companion, The Rest Of New Order, this summer with a newly remastered, expanded collection featuring rare mixes, vinyl-only cuts, and previously unreleased remixes.
Due out on July 17th via Warner Music, The Best & The Rest Of New Order will be released in multiple formats, led by a 4CD deluxe edition that pairs both original compilations with two bonus discs of additional remixes — including four previously unreleased tracks.
Originally released in 1994, The Best Of New Order gathered 7-inch versions of the band’s classic singles from 1985 onward, along with four then-new 1994 mixes: “True Faith,” “Bizarre Love Triangle,” “1963” and “Round & Round.” Its companion set, The Rest Of New Order, followed in 1995, collecting club remixes including Hardfloor’s “Blue Monday-95.” Both compilations reached the U.K. Top 5.
The expanded 4CD edition includes remastered versions of both albums, plus bonus material featuring remixes by Sub Sub, Richie Hawtin, Joe T. Vannelli, Perfecto, Shep Pettibone, Armand Van Helden, K-Klass, Howie B., Dave Clarke, and more.
Among the previously unreleased tracks are a full-length version of “1963-94,” Sub Sub’s 12-inch remix of “Spooky,” the “Eschreamer” mix of “True Faith-94” and an alternate Richie Hawtin mix of “Blue Monday.”
Vinyl editions are also planned. The Best Of New Order will be released as a remastered 2LP set, cut at Abbey Road Studios, with an exclusive blue-vinyl pressing available through the band’s official store. The Rest Of New Order will appear as a 3LP set, also cut at Abbey Road, bringing together the original CD and vinyl remix selections on vinyl for the first time.
A standard 2CD edition of The Best & The Rest Of New Order will also be available. Pre-orders are open now through New Order’s official store.
Also in New Order news, Joy Division/New Order are part of the Rock & Roll Hall of Fame’s Class of 2026, alongside Phil Collins, Billy Idol, Iron Maiden, Oasis, Sade, Luther Vandross, and Wu-Tang Clan. The induction ceremony is scheduled for Nov. 14, 2026, at the Peacock Theater in Los Angeles, with a broadcast planned for December on ABC and Disney+.
Any hopes of a full classic lineup reunion at the ceremony appear unlikely. Peter Hook has stated that he will not perform with Bernard Sumner, Stephen Morris, and Gillian Gilbert at the Rock Hall event.
Aside from a possible appearance at the induction ceremony, New Order currently has no 2026 live dates scheduled.
In recent years, Rhino has kept the band’s reissue campaign going with expanded 2CD editions of Movement, Power, Corruption & Lies, Low-Life, and Brotherhood, plus Blu-ray Audio editions of Movement, Low-Life, and Brotherhood featuring Dolby Atmos, 5.1 surround sound, stereo mixes, and instrumentals by Steven Wilson.
Former New Order bassist Peter Hook will continue to carry the catalog on the road in 2026. Peter Hook & The Light have announced North American dates built around a full performance of New Order’s 2001 album Get Ready, with additional New Order and Joy Division favorites also in the set.
The Best & The Rest Of New Order — 4CD deluxe edition tracklist
German power metal force STORMHAMMER have released the official music video for their brand-new single“Wrath Of The Hammer”, the title track of the band’s upcoming studio offering.
With “Wrath Of The Hammer”, STORMHAMMER deliver a powerful first glimpse of their forthcoming album and once again prove why they remain one of the most consistent and exciting acts in the European power metal scene. The title track combines massive riffs, epic melodies and the band’s unmistakable energy into a modern metal anthem rooted in classic heavy metal spirit.
Phil Meyer (guitar, backing vocals) comments: “Tracks like Wrath of the Hammer perfectly represent the album’s direction, aggressive downstrokes, fast power chords and epic melodic moments coming together in a very classic yet modern Heavy Metal way.”
Drummer Ashley Guest confirms: “Wrath of the Hammer maintains the spirit of classic StormHammer while pushing the sound forward with a sharper and more aggressive edge.”
Following the acclaimed album Seven Seals,STORMHAMMER open a new chapter with Wrath Of The Hammer.The album combines traditional heavy metal roots with thrash-driven guitars, epic melodies and progressive elements while staying true to the band’s unmistakable identity.
“Wrath of the Hammer reflects all generations of Heavy Metal,”Phil Meyer says. “The old school, the melodic, the anthemic and the modern. That’s exactly who StormHammer are as a band today. We didn’t want the album to be purely melodic power metal. StormHammer has always had a more raw side, and we wanted to push that further by bringing in thrash elements, modern metal and even some ’90s punk roots without losing the band’s heavy metal identity.”
Vocalist M.Nox adds: “We went into this album with the idea that we didn’t want to play it safe. We mixed in elements of Thrash, Symphonic and Classic Metal while keeping it true to StormHammer’s Power Metal roots. With this album, you will hear StormHammer in a way you have not heard before.”
Recorded at Mastersound Studio with producer Alexander Krull, the album delivers a massive production, atmospheric arrangements and renewed creative energy throughout, showcasing a band that continues to evolve while remaining a vital force in modern power metal!
Horst Tessmann (bass, backing vocals) reveals: “Recording with Alex Krull was fantastic because we shared the same vision for how these songs should sound. He delivered a powerful and outstanding production. Wrath of the Hammer combines traditional Power Metal with Thrash Metal elements in a way that feels natural and energetic. The older I get, the faster and heavier I want the music to be.”
“This album feels honest and alive,” guitarist Christos Efstathiou states. “We challenged ourselves creatively while staying true to what StormHammer is about. There’s power, emotion and adventure in these songs.”
Track-list: 1. Beware 2. Wrath Of The Hammer 3. Ashes Of The Throne 4. Light In The Dark 5. Wheels Of Eternity 6. Guardians Of The Night 7. Veil Of Fire 8. Scars Of The Abyss 9. Shattered Dominion 10. The Dune
Album Review: Hammock – The Second Coming Was A Moonrise
Reviewed by Oli Gonzalez
Born in Nashville, a traditional hot bed for country music, Marc Byrd and Andrew Thompson observed the masses and ventured in a different direction in and around 2005. Then, the project Hammock was born, a deep dive into a more experimental side of music. Early releases such as “Chasing After Shadows…Living With Shadows” explored ambient post rock like compositions that featured rather minimalistic ambient melodies that would often progress to huge atmospheric bursts with densely layered textures. This record is a little personal to me, seeing as though this featured heavily in my rotation whilst I was at university (in what feels like a life time ago!). Now two decades since their inception, Hammock present their most ambitious effort to date; “The Second Coming Was A Moonrise”.
Spoiler alert; this is epic! As close to post-rock perfection as you get, ranking up there with the likes of Explosions In The Sky, God Is An Astronaut, and Mogwai as true heavyweights and monarchs of the genre! This review could be painfully long, so instead let’s just go over the highlights of many MANY highlights! Starting with ‘Unsettling Sun’
Now this touched a part of my soul that hasn’t been touched for a long time! This is simply beautiful! Gentle, caressing, yet impactful, the dreamlike nature of this composition can heal aching bodies. This is achieved through sheer mastery of the guitar pedals, with the reverberations and tremolo given all the room they need to shimmer elegantly and massage your very soul, in a very clear less is more approach. Though Hammock can certainly up the ante and leave you enamoured with the huge atmospheric bursts that are also prominent in this song!
Then you get another dose of musical medicine in the shape of ‘Sadness’. Perhaps named paradoxically given the huge boost of dopamine that will flood your synapses when you first hear it! In particular with the simple yet simply gorgeous shoegazey guitars! Byrd and Thompson described the work on this album as a reflection of ‘their musical bonds becoming ever stronger’, and this song is a perfect showcase for this.
The lead single of the album, ‘The Second Coming Was A Moonrise’ builds upon these foundations and musical chemistry, with the dynamics shifting from gentle and caressing to densely layered and thoroughly euphoric! The sheer gravity of the song’s crescendo really is something else!
For centuries, the violin has been the centrepiece for some of the most evocative and emotional compositions in history. Here, Hammock lean into the power of this instrument during ‘Everything You Love Is Buried In The Ground’ to tug violently on your own heartstrings, one that could be a full on tear jerker if you allow it to be! ‘Deconstructing’ offers some temporary respite, in a short sharp burst. The vocals are haunting, ethereal, almost like Bon Iver, though seldom used throughout the album. With the slow build to ‘All The Pain You Can’t Explain’ you feel that it’s either going to let you unwind and decompress, ready to go back to the real world, or this will be the final high and last huge crescendo for the album. It takes a while, but the last avalanche of sound comes in the latter stages of the song…and it’s beautiful! This speaks to Hammock’s unpredictable song writing nature and taking the unconventional path to constantly challenge!
Then. Sadly. It’s over. All over. Kind of like when you’ve seen the last episode of your favourite TV series. You feel lost. “Now what?”. Well, either indulge in this masterpiece again, go through Hammock’s discography. Or just stare longingly into the abyss and contemplate your existence.
The masters of doomed heavy metal have finally broken their silence. Khemmis, the Denver-based powerhouse that has consistently redefined the boundaries of the genre, has officially announced the details for their upcoming fifth studio album, simply titled Khemmis. Set for a worldwide release on June 12, 2026, via Nuclear Blast Records, the album promises to be their most energized and profound work to date.
To celebrate the announcement, the band has unleashed the lead single and official music video for “Invocation of the Dreamer”. The track is a perfect distillation of the Khemmis sound: crushing riffs, soaring dual-guitar harmonies, and the hauntingly powerful vocals of Phil Pendergast. “This album is a culmination of everything we’ve learned as a band,” Pendergast shared. “It’s about finding light in the darkest of places.”
“Forsake The Light” World Tour
Alongside the album announcement, Khemmis has revealed the dates for their massive 2026 “Forsake The Light” World Tour. Kicking off in North America this spring and heading to Europe and the UK in the fall, the tour will see the band performing their most ambitious stage production yet. Known for their flawless live execution, this tour is set to be one of the highlights of the 2026 metal calendar.
As the band prepares to take their new sonic journey across the globe, the excitement in the metal community is palpable. Khemmis has always been a band that rewards deep listening, and their self-titled effort looks to be a landmark release for the decade.
Khemmis is available for pre-order now in various limited-edition formats. The journey into the Everblack continues.
The masters of doomed heavy metal have finally broken their silence. Khemmis, the Denver-based powerhouse that has consistently redefined the boundaries of the genre, has officially announced the details for their upcoming fifth studio album, simply titled Khemmis. Set for a worldwide release on June 12, 2026, via Nuclear Blast Records, the album promises to be their most energized and profound work to date.
To celebrate the announcement, the band has unleashed the lead single and official music video for “Invocation of the Dreamer”. The track is a perfect distillation of the Khemmis sound: crushing riffs, soaring dual-guitar harmonies, and the hauntingly powerful vocals of Phil Pendergast. “This album is a culmination of everything we’ve learned as a band,” Pendergast shared. “It’s about finding light in the darkest of places.”
“Forsake The Light” World Tour
Alongside the album announcement, Khemmis has revealed the dates for their massive 2026 “Forsake The Light” World Tour. Kicking off in North America this spring and heading to Europe and the UK in the fall, the tour will see the band performing their most ambitious stage production yet. Known for their flawless live execution, this tour is set to be one of the highlights of the 2026 metal calendar.
As the band prepares to take their new sonic journey across the globe, the excitement in the metal community is palpable. Khemmis has always been a band that rewards deep listening, and their self-titled effort looks to be a landmark release for the decade.
Khemmis is available for pre-order now in various limited-edition formats. The journey into the Everblack continues.
The reaper has been lurking in our round
And I heard him whispering in my ear,
Long before he visited you,
He was trying to make me disappear
Melanculia’s post mortem begins from a place that is both geographic and psychic: a childhood split between the sunlit northern coast of Portugal and the industrial Ruhr, a life marked by relocation, return, and the private architecture of loss. In a small studio in Essen, Nine Sable writes, plays, records, produces, and designs everything himself, and the album bears the mark of that total authorship. It feels handmade in the oldest sense of the word, as though each chord has been sanded down, stained, and left to dry under a low German sky.
Melanculia is not a new mask so much as a return to an earlier self. Before his band Aeon Sable, and prior to its sixteen years of gothic rock grandeur and wide-screen lamentation, there was this rawer instinct from Sable: voice, guitar, atmosphere, and the kind of lyric that prefers the exposed nerve to the ornamental flourish. post mortem pares the room down to acoustic guitar, spectral keyboards, spare percussion, and Sable’s bruised, theatrical baritone. The result is a record of endings that keeps searching, often stubbornly, for some small aperture of grace. Its lineage runs through Nick Cave’s graveyard romanticism, Peter Murphy’s dramatic poise, the devotional weight of Dead Can Dance, the desolate elegance of Rowland S. Howard, and the bruised grandeur of early Placebo and Katatonia.
Dark Days begins with bright synths, acoustic guitar strumming, and heartfelt vocals, resembling a letter sent across distance. Sable describes watching rain fall as he shares a message with someone far away. The rain acts as the album’s first symbol of mercy—bringing pain but also cleansing. Sable addresses upcoming challenges with a calm confidence, having endured enough to understand their form. Its lonely guitar and passionate singing evoke a touch of Bowie’s later style—marked by elegant exhaustion and cosmic solace.
On the Western-tinged folk-ballad The Tower, Sable walks through an old town and finds the past already condemned, “declared dead and gone.” A solemn synth line gives way to a hypnotic guitar figure, suggesting a desert road, a church bell, a horseman without a horse. The song has a Nick Cave-like sense of moral dust and theatrical distance, yet Sable’s preoccupation is less with damnation than self-invention.
Runaways brightens the palette without losing the album’s ache. Its romance is brief, fragrant, already touched by departure. Love here is a shared route out of a collapsing world. The track has a little psychedelic sweetness at the edges, with vocals that hover above the guitar like heat over pavement. At moments, it brushes against the woozy pop drift of the Dandy Warhols, though Sable’s sense of flight is more desperate, less decadent. The world, he tells us, “is made for ghosts to consume.”
The Healer follows with a darker kind of seduction. Sable arrives as doctor, lover, and flame, carrying “a bottle of unicorn blood” under a black coat. The image might buckle under a lesser singer, but he delivers it with enough old-world conviction to make it feel like a secret love note. A mournful accordion curls around the voice, and the song becomes a strange pact of care and possession. Healing, in Sable’s hands, is intimate, theatrical, and slightly dangerous.
Emptiness deepens the album’s gothic-ballad mode and draws near the romantic fatalism of Rowland S. Howard. Its beauty lies in restraint, in the way Sable allows space to do some of the speaking.
We Are Only Human turns from the beloved to the cosmos, addressing “Old sister moon,” “Old mother earth,” and “Oh great helios” with the humility of a man who knows scale is not on his side. Tears, light, fire, and thought are offered upward and outward. The song moves slowly, almost like a hymn overheard from a chapel at the edge of town.
Confessions and I Just Wanna Be a Good Guy form the album’s moral center. In the first, Sable insists that he has been kind, that he has tried, while demons inside him push to get out. It’s slow, devotional atmosphere recalls Dead Can Dance as filtered through the skeletal tension of Bauhaus, solemn but still alive with dread.
In I Just Wanna Be a Good Guy, all escape routes collapse into one blunt desire. The song has a Bowie-esque quality in its grave theatrical poise, the sound of someone singing from the end of his rope while still trying to keep his collar straight.
Sunboat Ascension lifts the record into mythic heat. Fever, summer blaze, red skies, vultures, dawn, and falling wax all gather around an image of ascent that feels both ecstatic and doomed. The drums move with a trance-like sway, and the atmosphere suggests a psychedelic sea shanty pulled into a solar ceremony. Sable’s language grows grander here, but the song remains rooted in bodily sensation: burning, sinking, lifting, surrendering. Its drama comes from the tension between flesh and release.
In a Forest of Stars takes up death directly, imagining the reaper first as a presence circling the singer and then as the visitor who finds someone else’s door. Sable turns grief into a vision of reunion beyond the grave. The guitar has an Iberian lilt, simple and sturdy, while the percussion keeps the song close to the earth even as its gaze rises. It has the folk-grave elegance one associates with Nick Cave when he lets the room go still. By the time Falling Into the Sun arrives, love has become the final shelter before sleep, collapse, or disappearance. The bass moves with an ominous steadiness, almost as if a motorik pulse had wandered into a folk lament. Its eerie synths bring Dead Can Dance to mind again, though the song’s propulsion gives it a stranger edge, a devotional march toward brightness.
For a Better Future offers one of the album’s clearest images of endurance. The singer climbs cliffs for a better view, falls into unknown waves, and swims underground with rats for “many many years.” The absurdity of the image only makes it more affecting; survival, after all, is often humiliating before it becomes noble. Once again, there are echoes of Dead Can Dance in the solemn architecture of the song, while Sable’s impassioned vocal keeps it grounded in personal ordeal rather than pageantry.
Saboia returns to Portugal with a blood moon over the hills of Luzia, stars brightened by love and presence. The Portuguese lines give the song the quality of a private vow: “Ofereço-te a ti, meu amor / A chave dos meus sonhos.” The key to dreams, the flame of the soul, the instruction to use both with precision – these are romantic gestures, certainly, but they are also acts of trust. The track feels dreamy, almost Lynchian, a love song glimpsed through red curtains and rural moonlight.
Imago then closes the album like a strange lullaby, placing rebirth inside a circle of fire, storm, wet earth, and chosen sisterhood. After so much flight, confession, mourning, and cosmic address, the ending feels unexpectedly gentle, like being gathered into someone’s arms after a long passage through bad country. It is a soft landing, though not a simple one.
post mortemis a record about aftermath, but it rarely mistakes pain for depth. Its best moments are plainspoken, even when the imagery turns lunar or mythic. Sable’s voice carries the gravitas of someone standing at the end of a long corridor, unsure whether the door ahead opens to a room, a chapel, or the open air. He has made an album of small arrangements and large feelings, a work that treats grief as a geography one must cross by foot, with a guitar in hand and a little light saved for the road.
Listen to post mortem below and order the album here.
LEFT TO DIE has signed to Relapse Records and today announce their debut full-length, Initium Mortis, set for release on July 17th!
Death alumni Rick Rozz and Terry Butler joined forces with gore metal pioneer Matt Harvey and Gruesome drummer Gus Rios to form LEFT TO DIE. Their new album, Initium Mortis, pays homage to the brutal beginnings of Death.
Initium Mortis sees the supergroup – including original Death members Terry Butler (Obituary) and Rick Rozz (Massacre) – joining Harvey (Exhumed, Gruesome) and Gus Rios (Gruesome) to capture the morbid depths of Death‘s early catalog.
Members of LEFT TO DIE comment on the new album:
Matt Harvey: “After Gus and I performed Spiritual Healing in its entirety with Terry and James [Murphy], Rick wondered if people might want to hear something similar, but with him joining the three of us to perform Leprosy. Of course, I leapt at the chance to do it, and we quickly threw together a tour which surpassed everyone’s expectations, especially in terms of how much fun we were having playing together.”
“As we continued to tour throughout the US, Europe, Latin America, Australia, and Asia, people kept asking if we were going to record or write anything. After going back and forth on the topic, we felt that (ahem) exhuming some of these old tracks made the most sense for us, after all, we’re not gonna top Leprosy.”
“I gleefully combed through the myriad Death/Mantas demos and rehearsals looking for stuff that would make sense for a record, and we ended up going with tunes that we felt would make the most cohesive album, hence why ‘Skill To Kill’ and ‘Back From The Dead’ sadly didn’t make the cut. I look at Initium Mortis as a kind of ‘alternate-universe’ version of the Scream Bloody Gore track list, as so many of these tunes were circling around the many Death lineups and rehearsals from ’83-’87.”
“In fact, Chuck [Schuldiner] and Chris [Reifert] recorded a version of ‘Legion Of Doom’ for Scream Bloody Gore that never got completed. In revisiting these songs, it was crystal-clear to me that Rick’s fingerprints are all over the Mantas stuff and tunes like ‘Slaughterhouse,’ so with that connection, the songs where his style really shone through immediately made sense to include on Initium Mortis.”
Terry Butler: “Left To Die went from a thought to doing a full US tour in about three months! Pretty remarkable. We wanted to play the early material for the fans that couldn’t see the first albums in a live setting. There are many young fans at our shows that are hearing the foundation that Death stands on to this day live for the first time! With Matt channeling the best Chuck Schuldiner out there and Gus playing the material perfectly and respectfully, we hit the road and haven’t looked back!”
“For Initium Mortis, we wanted Death fans who never heard these demo songs to hear them with good production. Most of these early demos were recorded on a boom box, so by the time someone got their demo through tape trading it was almost inaudible!”
“We think these tracks are a good representation of the birth of Mantas/Death. This is ground zero, where it all started: three 15-year-old kids creating Death Metal history, and even within these choice cuts from the demo days you can hear the evolution of the music. ‘Archangel’ is a great way to introduce this album. It’s controlled chaos at its finest, catchy and riffy with a killer evil-sounding middle section!”
Rick Rozz: “First, I would like to thank Gus, Matt, and Terry for making LEFT TO DIE happen. It’s been an honor and pleasure working with them for the past few years and beyond. It’s really cool to be able to hear these tunes from 1984 properly! The old school Death fans are going to dig this release.”
Gus Rios: “The band started simply because Rick called me and asked if I’d be into it… Which I very promptly replied by referencing bears, shit, and woods. I then called Matt and Terry and the rest is history. Death’s Leprosy record is my favorite death metal album, let alone Death album. To be given this unbelievable opportunity to play those songs with Rick and Terry across the globe is an honor and a blessing I find hard to put in words. Matt and I are living our 14-year-old selves’ death metal fantasy!”
“And now, to make an album with the guys, is flat out surreal. I’m a pretty solid Death fan if I do say so myself, and yet these songs were all new to me. I never really gave the Mantas stuff much of a listen because I’m just not a ‘demo’ production fan. To hear these songs with clean and solid, yet classic analog style production for me is like getting new Death songs… Which rules!”
Featuring tracks like “Archangel,” “Witch Of Hell,” and “Legion Of Doom” expertly executed in the now, Initium Mortis is a must-have for Death fans and collectors alike. Ultimately, LEFT TO DIE celebrates a seminal band and the camaraderie of the genre’s most extreme corner of music.
Initium Mortis will be released on CD, LP, cassette, and digital formats. Find preorders at Relapse.com HERE.
Initium Mortis – Track Listing:
1. Legion Of Doom
2. Archangel
3. Power Of Darkness
4. Zombie
5. Witch Of Hell
6. Rise Of Satan
7. Summoned To Die
8. Mantas
9. Slaughterhouse
10. Death By Metal
See LEFT TO DIE live throughout Europe this August and Latin America in September! A full list of confirmed dates is available below. Stay tuned for more tour announcements in the weeks to come.
LEFT TO DIE w/ Livlos: 7/31/2026 Rockstadt Extreme Festival – Brasov, RO 8/02/2026 Colosseum – Kosice, SK 8/03/2026 Drizzly Grizzly – Gdansk, PL 8/04/2026 Hype Park – Krakow, PL 8/05/2026 Zescianek – Berlin, DE 8/06/2026 Alcatraz Festival – Kortrijk, BE 8/07/2026 Bastard Club – Osnabrück, DE 8/08/2026 Brutal Assault Festival – Jaromer, CZ 8/09/2026 Backstage Halle (Free & Easy) – Munich, DE 8/10/2026 Colos-Saal – Aschaffenburg, DE 8/11/2026 Turock – Essen, DE 8/12/2026 Bahnhof Paul – Hamburg, DE 8/13/2026 Dynamo Metalfest Pre-Party– Eindhoven, NL End Tour 9/02/2026 São Luis, BR 9/03/2026 Teresina, BR 9/04/2026 Fortaleza, BR 9/05/2026 João Pessoa, BR 9/06/2026 Recife, BR 9/09/2026 São Paulo, BR 9/11/2026 Puerto Montt, CL 9/12/2026 Santiago, CL 9/13/2026 Concepción, CL 9/15/2026 Montevideo, UY 9/17/2026 Rosário, AR 9/18/2026 Buenos Aires, AR 9/20/2026 Córdoba, AR 9/22/2026 Lima, PE 9/24/2026 Medellín, CO 9/25/2026 Pereira, CO 9/26/2026 Bogotá, CO 9/27/2026 Cali, CO 9/29/2026 San Salvador, SV 9/30/2026 Ciudad de México, MX
Songwriter icon Harlan Howard came to love country music as a kid listening to the Grand Ole Opry on the radio. When he came up with the phrase, “three chords and the truth”, the truth he was referring to was that life in rural America was hard. World War II was over, but prosperity was […]
