Category: news

Four of the most technically insane musicians to ever melt the internet are packing it up and taking it back to the stage in 2027. Ola Englund , Bernth , Charles Berthoud , and Mike Dawes are joining forces again for the “Escape The Internet II” tour hitting Europe in February and March 2027.
And yeah, the name fits. These are four players who basically built careers out of doing the unthinkable online, then proved they could pull it off live without a safety net.
Following the success of their first European run, the crew is leveling up everything. Bigger lineup energy, new material, more collaborative moments, and the kind of live show that makes gear nerds stare at the stage like they just saw a UFO land on a bar gig.
Ola Englund summed it up pretty straight:
“After the incredible response to the first European tour, we’re coming back in 2027 with a bigger lineup, new music, more collabs and an even crazier live show.”
He added that fans can expect something built around both individual showcases and full group chaos, where every musician gets space to flex while also locking into moments you only get if you are in the room that night.
That is really the heart of this thing. Not just shredding for the sake of shredding, but four distinct styles crashing into each other in real time. Guitar, bass, acoustic, technique on top of technique, all of it colliding in a way that never quite repeats itself.
Here is the routing for “Escape The Internet II”:
2/5 Warsaw, PL Proxima
2/6 Prague, CZ Meet Factory
2/7 Nuremberg, DE Hirsch
2/9 Antwerp, BE Zappa
2/16 Paris, FR La Maroquinerie
2/18 Copenhagen, DK Pumpehuset
2/19 Stockholm, SE Debaser Strand
2/20 Gothenburg, SE Pustervik
2/21 Oslo, NO John Dee
2/23 Berlin, DE Columbia Theater
2/24 Frankfurt, DE Batschkapp
2/26 Cologne, DE Kantine
2/27 Hamburg, DE Gruenspan
2/28 Utrecht, NL Tivoli Vredenburg (Ronda)
3/2 Stuttgart, DE Im Wizemann Club
3/3 Esch-sur-Alzette, LU Rockhal
3/4 Solothurn, CH Kulturfabrik Kofmehl
3/5 Munich, DE Technikum
3/6 Vienna, AT Arena
Tickets & VIP upgrades are available now:
https://linktr.ee/escapetheinternet
Bottom line, this is not a nostalgia run and it is not background music for your phone scrolling habit. It is a full throttle display of modern musicianship from four players who helped define what internet-era virtuosity looks like, then decided to drag it into the real world and turn it up loud.
If you care about guitar, bass, or just watching people do things with their hands that should probably require a permit, this is one to circle on the calendar.

Plus, a possibly addictive word game.

Their fourth new song of 2026.

The post Extinction A.D. Launch New Song “Center Of Zero” appeared first on Theprp.com.

October’s doomed.

The post Khemmis Announce European/UK Tour With Celestial Sanctuary appeared first on Theprp.com.

Me Saco Un Ojo Records has fast become one of my favorite death metal labels, signing bands whose music sates my sickened sweet tooth and reeks with the dirty, rotten, filthy, stinking, rich stench of death! Warranted tags that also describe Costa Rica’s newest OSDM export and Me Saco Un Ojo rosterlings, Candarian. Inspired by early 90s death metal, guitarist Christopher G. De Haan and bassist/vocalist José Pablo Phillips (Astriferous) birthed Candarian in 2020, gigging extensively throughout their local scene on the strength of a handful of songs that would eventually end up on their 2022 demo, Stagnant Livor Mortis—a meaty morsel of moldy maleficence. Four years further down the cemetery path with tandem label partner Memento Mori in tow and that charmingly grotesque Grant Hatfield cover art in hand, Candarian prepare to dump their debut bucket of blood, Trepanación, on you, and the heads of unsuspecting prom queens everywhere. Having precariously lived through the original 90s death metal wave, I was curious to see whether Candarian would have any fresh ideas to offer. Is Trepanación the death shroud I’ll cozily wrap myself up in on a cold night, or will it have me praying for someone to strap me down and drill a hole in my skull, too?

Candarian peddle in plague-laden, gore-soaked, horror-themed OSDM, with Trepanación serving up steaming bowls of slop bloated with chunks of Incantation and Autopsy. Not entirely original perhaps, but still not a bad place from which to draw inspiration, especially if well executed. Which Candarian does, sans feats of technical wizardry, as De Haan and fellow string-slayer Felipe Tencio (Astriferous) opt instead to perform ear-hole surgery with a Golgothan bag full of rusty, tremoloed riffs, serrated squealies, and mangled, meat-hammered chugs (“Altars and Ancestors”). On drums stretched taut with human skin, blunt force butcher Pablo Umaña keeps the Candarian brain-drill from boring any errant head holes while Phillips, whose bass lines lurk and gurgle below like blood-clogged lungs (“Psychosurgery Ecstasy”) and whose cavernous bellows strike a very John McEntee chord, rounds out the cadaverous quartet. It’s clear these Ticos know death metal.

Candarian muscles their way through Trepanación with biceps built on strongwriting. Shifts in tone and pace within tracks are written with alacrity and performed with a transitional maturity that never feels forced or too abrupt. Basking in beams of light cast by “The Ibex Moon,”¹ the ghoulishly fun “Zombie Miscarriage” morphs smoothly from down-tuned tremolo-monstrous riffs over lumbering double-bass rolls to drunkenly swerving doom chords and mid-paced chug ‘n squeals, all punctuated by Phillips’ rancorous roars. Another limb retaining some viably meaty moments is “Relinquished Viscera,” its sluggish, Morbificated opening riffs acquiescing easily to speedier harmonic leads and oft-used pus-pinching harmonics. The last of my odious shoutouts goes to album closer “Vilipendio del Cadaver”² which sweats Mental Funeral-filled beads of ichor as it trudges and stomps a path filled with doomy goodness, Sabbathian trills, and a swingy section that could give “In the Grip of Winter” a run for its money.

Candarian hit the nail on the head of 90s death metal. Paying tribute to their influences without sounding overtly derivative and accomplishing this through a production that maintains just the right amount of rawness to stay menacing without devolving into the overly cloudy, reverberant depths of early cavern-core. Manageably brief, with a runtime barely cresting 33 minutes, Trepanación tends to feel longer than it is, thanks in part to all the inter-song twists and turns and to four of the seven tracks exceeding the 5-minute mark. Not a major knock, but it was something I felt on all my play-throughs. Working most against them, without having done anything egregiously bad or exceptionally good, is Candarian’s throwback “no more but no less” approach, as this can only take them so far. Which also reinforces guidance I once received from one wizened, hairy primate related to scoring death metal of this ilk.

If you’re ever in the mood for better than passable, old-school, filthy death metal, the Me Saco Un Ojo roster—Cryptworm, Invictus, Phrenelith, Ossuary, Diabolizer and many more among them—does not disappoint. Candarian, a band I’ll certainly be keeping tabs on, is another fine addition, and you could do a lot worse than spend an afternoon or three getting skull fucked by Trepanación.

---

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320kbps mp3
Label: Me Saco Un Ojo | Memento Mori
Websites: Bandcamp | Instagram
Releases Worldwide: April 27th, 2026

The post Candarian – Trepanación Review appeared first on Angry Metal Guy.

If ever the phrase “You can’t keep a good man down” applied to anyone, Peter Frampton is a viable candidate. Along with incredible highs like the success of Frampton Comes Alive, there have been a few lows — from what happened after Frampton Comes Alive, to a muscular condition called inclusion body myositis he contracted in 2019 that nearly ended his musical career. Though he struggles to get around and his fingers are not as nimble, Frampton continues to tour sporadically and release albums — ballet, acoustic, blues and covers. His last full-on rock album of new originals was 2010’s Thank You Mr. Churchill. For 2026, he’s taking risks, doing the unexpected, and including an eclectic roster of guests to make Carry The Light one of his most adventurous outings.

Co-written and produced with his son Julian, the 10-song collection features guest appearances from Sheryl Crow, Bill Evans, H.E.R., Tom Morello, Graham Nash, and Benmont Tench. Together, Frampton and Son take their collaborators and listeners on a joyride filled with fun and surprises. Cue the opening title track, and a chant erupts before Frampton takes the reins through a slow, disruptive groove.

There’s a reason “Buried Treasure” has a Tom Petty & The Heartbreakers vibe. Featuring Heartbreakers keyboardist Benmont Tench and written as a tribute to the late musician, the song takes its name from the SiriusXM radio show Petty hosted. The lyrics even tap Petty song titles. The guitar lead that winds down the number even sports a Mike Campbell attitude, though by its end, you can tell it has that unmistakable Frampton tone written all over it.

Graham Nash harmonizes on the album’s tear-jerker, “I’m Sorry Elle” and Sheryl Crow takes a verse and joins the chorus on the mid-tempo “Breaking the Mold.” A couple of nice and easy listening fodder for the counterbalance no doubt. Tom Morello actually “breaks the mold” with a flourish of spaghetti notes to the industrial-strength protest anthem “Lions At The Gate.” It’s a strong enough statement to reveal Frampton hasn’t lost his edge. Easing off the gas, he is joined by H.E.R. to swap guitar lines on the jazz-oriented instrumental “Islamorada.”

Saxophonist Bill Evans, who served his time with Miles Davis in the 1980s, cuts the rug on both “Can You Take Me There” and “Tinderbox,” the latter flooded with some of Frampton’s most expressive playing on the record. Though it could be argued that “At The End Of The Day,” the album’s final number, finds the guitarist at his most earnest.

Now that he’s a Rock & Roll Hall of Famer with accolades to boot and little else to prove, you’d think Peter Frampton would be kicking back, resting on his laurels and enjoying the spoils of a life well lived. The rules have changed; age and health issues certainly don’t make it any easier. Still, with Carry The Light, the man is determined to say more on the musical front. Up or down, he’s not about to stop now. And no living being, thing, or condition should even think about standing in his way.

~ Shawn Perry

Purchase Carry The Light

FOR IMMEDIATE RELEASE
PRIMAL ANNOUNCE MEXICO CD RELEASE, EUROPEAN SHOW TALKS, AND NEW MUSIC IN THE WORKS

International heavy metal outfit PRIMAL is moving forward with a wave of new activity, including a special Mexico release, developing European tour plans, and the early stages of a new full-length album.
Following a recent band meeting, the group has shared the next steps in their ongoing global push.
First up, PRIMAL will be releasing a CD exclusively for fans in Mexico through Old Skull Records. The release is titled Fin De Los Tiempos (End Times) and serves as a compilation drawn from the band’s catalog, including material from Primal , Humachine , and Iron Age . The band is also actively looking to support the release with live shows in Mexico, and is encouraging promoters and bookers in the region to get in touch.
On the European front, Hightree Booking and Management is currently in discussions to bring PRIMAL to the Netherlands for shows in November 2026, with final dates expected to be confirmed soon.
Looking ahead, the band has already begun work on new material for a forthcoming full-length album. One song is already in development, signaling the start of the next creative chapter for PRIMAL.
More updates will follow soon as plans continue to take shape.
PRIMAL comments:


“Hi guys here is an update. We had a band meeting yesterday to talk about what’s next. Here is what’s up. First we are releasing a cd for our fans in Mexico on Old Skull Records. The cd is called Fin De Los Tiempos (End Times). This is a comp cd from our albums Primal, Humachine, and Iron Age. We hope to book some shows in Mexico to support the release. Any bookers in Mexico please reach out. Next are booking agency in Europe Hightree Booking and Management is in talks to book us in the Netherlands for November 2026. We hope to finalize the dates. Stay tuned for more on that. As for new music we will start writing music for a new full album. We have one song already working, and It wont take long once we get going. We hope to see you on the road please show your support and spread the word. Thanks again from Primal.”




For interviews, media inquiries, or promotional materials:
📧 zach@metaldevastationradio.com

 Follow Primal at these links:
https://www.primalmetal.com/?art=epk
https://www.primalmetal.com/
https://primalmetal.bandcamp.com/
https://www.facebook.com/primalmetalband
Contact: glennerogers@yahoo.com

For the first few thousand years of human civilization, writing was strictly anonymous. It was a dull, utilitarian tool used to count grain and track sheep. Nobody ever claimed ownership of a clay tablet. That changed in 2300 BCE. Enheduanna is the very first person in recorded history to sign her name to a text, effectively inventing the concept of authorship. Her legacy extends far beyond inventing the byline. She was a political mastermind. When the world’s first empire was violently tearing itself apart, she used her writing to fuse a fractured society back together.

Her father, King Sargon, forged the world’s first empire by conquering rival city-states through sheer, brutal force. The aftermath was a powder keg. The Sumerians and Akkadians despised each other, and military might could not erase deep-rooted cultural hatred. Sargon appointed Enheduanna as the High Priestess of Ur to stabilize the region. She tackled the problem systematically, blending the warring religions through massive, politically charged poetry. Her hymns created a shared cultural identity that held the fragile empire intact.

Decades into her reign, a rebel warlord named Lugalanne launched a violent coup to seize her power. He stormed her temple, physically removed her from her position, and stripped away her title. He then banished Enheduanna into the lethal, scorching desert. His goal was absolute erasure. He expected her to succumb to the wasteland and be forgotten by history.

Instead of dying in the sand, she forged a weapon out of words. She wrote The Exaltation of Inanna, a blistering, devastating poem begging the gods to annihilate the rebels. Most importantly, she proudly stamped her own name onto it. The piece became an ancient war anthem. It spread rapidly, rallying her supporters and sparking an uprising that completely crushed Lugalanne’s rebellion. With the usurper defeated, Enheduanna marched right back into her temple and reclaimed her throne.

Enheduanna proved that an insecure man might temporarily steal a woman’s physical space, but he can never confiscate her intellect. She took a medium previously reserved for accounting and weaponized it to orchestrate her own return to power. Claiming ownership of your work and using your voice loudly is the most indestructible form of authority. Enheduanna wrote herself back into command, establishing a blueprint for survival that has lasted for over four thousand years.

The post She’s In Charge: The First Author in History – Enheduanna first appeared on FemMetal – Goddesses of Metal.

Their 35th anniversary run has them digging deep.

The post Fear Factory Busted Out Three Setlist Rarities At Their Australian Tour Kickoff, Including A Song Last Played Live In 2001 appeared first on Theprp.com.

Catch them on the road with Celestial Sanctuary

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