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Black metal act Bloedmaan are streaming another new song, “Spell Of Thralldom”, in preview of their soon-to-be-released full-length effort Circle Of The Moon.
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Howdy, folks. It’s time for Staff Infections. It’s also time to talk about another death in the metal community. Cronos, founding vocalist and bassist of Venom has, presumably, passed through the seven gates of Hell at age 63. I was too young to appreciate Venom in its pioneering early days, but I got into the band fairly early in my metal journey because bands like Metallica and Slayer cited the trio as an influence. My first exposure was through a best-of compilation put out by, I believe, Relativity records. At the time I didn’t know how to take the band’s over-the-top blasphemy. I wasn’t sure if it was a joke or not, but the riffs were no joke to my ears, and that’s all I ever really needed. Joke or not, I really learned to appreciate Cronos’s delivery. I’m not sure how to describe his appeal, but if Cronos was a rapper, I’d say he had good flow. Few could spew out a bunch of satanic bullshit with such conviction and swagger. As for his playing, I couldn’t tell you if he was a good bassist or not, but his bass tone was fucking nasty. I’ve always loved his sound; the breakdown in 1,000 Days of Sodom gets me every time. Good bye to a true father of extreme meal. Rage in Hell, Cronos.

Let’s see what we’ve been listening to. It’s not a big month for convergent listening habits, but we do have winner for album of the month and a runner-up. Second place goes to avant-garde black metal band, Krallice with its latest album, Scour Order. Our winner is the legendary Godflesh, with what I can only assume is another uplifting folk-pop record in the recently released Decay. Actually, such an assumption is unnecessary, as Admiral Zachbar has a review for us right here.

That’ll just about do it for this month, but, before we go, have a listen to the staff-curated playlist below, and give us your own playlist in the comments. While you’re at it, if you will, give us your favorite Venom song. Mine is “In League with Satan”. Until next time, you all take care.

Playlist

• Andrew Edmunds
  Godflesh – Decay
  Europe – Come This Madness
  Rush – Permanent Waves
  Nunslaughter – Hell’s Unholy Fire
  Sex Prisoner – Cautionary Tale
  Gets Worse – No Bones
• Zach Duvall
  Godflesh – Decay
  Dream Theater – Images and Words
  Earth, Wind & Fire – That’s the Way of the World
  Parliament – The Clones of Dr. Funkenstein
  Pantera – Vulgar Display of Power
  Fates Warning – Parallels
• Captain
  Artificial Brain – Antillia
  Insomnium – Netherworlds
  Forsaker Of The Throne – Exhion
  Tantric Bile – Pyrphoros
  Rosetta – Temporal Lapse
  Ride – Nowhere
• Wolf Rambatz
  Godflesh – Decay
  Polymoon – Mariposa Magic
  Amy Mills – I Think We’ve Met Before
  Krallice – Scour Order
  The Tubs – Hard Life
  Iron Linings – Urban Abyss
• Danhammer Obstkrieg
  Thy Catafalque – XIII: Sárga Erdo
  Gorement – The Ending Quest
  Thorn Wych – Aesthesis
  The Keening – Devotion
  Draconian – In Somnolent Ruin
  Ivo Perelman & Matthew Shipp – Duologues 7: Distillation
• Lone Watie
  The Ocean – Solaris
  Mindwork – Adrift
  Sigh – Goh-Ka
  Miscreance – Reminiscence
  Ozric Tentacles – Harmonic Mind
• Isaac Hams
  Ana Roxanne – Poem 1
  Tove Lo – Estrus
  Lumsk – Einsemda
  Kristoffer Gildenlow – Humanised
  Triosphere – Oceans Above, Stars Below
  Autumnfall – The Archaic Sins
• Spencer Hotz
  Krallice – Scour Order
  Electric Light Orchestra – Electric Light Orchestra
  Green Carnation – Light Of Day, Day of Darkness
  Effluence – Necrobiology
  Wailin Storms – The Arsonist
  Iron Maiden – Iron Maiden
• Jeremy Morse
  Venom – Welcome to Hell
  Ripping Corpse – Dreaming with the Dead
  Chainsword – Blightmarch
  Darkthrone – Pre-Historic Metal
  Trouble – Psalm 9
  Arch/Matheos – Winter Ethereal

The post Staff Infections- October 2026 appeared first on Last Rites.

Hank Williams Sr. remains one of country music’s most influential singers and songwriters. Born in Mount Olive, Alabama, on September 17, 1923, he learned guitar as a boy and built his reputation performing around Montgomery. His plainspoken lyrics, emotional delivery, and gift for memorable melodies helped shape modern country music. Williams first recorded commercially for Sterling Records before moving to MGM in 1947. Songs such as “Move It on Over,” “Lovesick Blues,” “Cold, Cold Heart,” and “Hey, Good Lookin’” established him as a leading artist. He wrote about heartbreak, loneliness, faith, humor, and everyday struggle, often giving familiar subjects an

The post Complete List Of Hank Williams Songs From A to Z appeared first on ClassicRockHistory.com.

Faroese artist Eivør proves that music does not need crushing guitars or blast beats to deliver an emotional punch. On her new album, Tungl, haunting vocals, hypnotic rhythms and atmospheric soundscapes create something both delicate and immensely powerful. Daryl Soar discovers an album that takes its time but leaves a lasting impression.

Eivør – Tungl

Release Date: Out Now

Words: Daryl Soar

Tungl opens with synthesised drums from the ’90s, ethereal chords, and a folk vocal writing a cheque the average Metal listener had better be able to cash. It is a bold start.

By track two, Drekafljóð (Dragon Maiden), the crushing still has not begun. Good job the music is good. The tension drifts away, and the music flows. I am used to having my angst smashed out of me by blast beats and vocal fry. Eivør takes another route.

Trip-hop beats and hypnotic vocals over soft keyboard pads, with carefully crafted songs that develop naturally. Death Metal it is not.

There is something in the way the songs are put together that makes them Metal-adjacent without the need for massive guitars, emotive screams and breakneck speed. It is in the tonal makeup, the tension and release as the vocals move.

The words? Well, the words are not English, so all that is left is the emotion, unless you are lucky enough to speak Faroese. Unless you are listening to Healer, and then it is.

The album is a journey to be savoured. It never runs, but it will move you with the force of a glacier. In the words of Eivør, “Tungl explores the ever-changing cycles of life. Its songs move between moments of tenderness and heartache, love and loss, and the emotional tides that shape us. Like the moon that inspired its title, Tungl serves as a gentle guide through life’s darker passages, illuminating the beauty, resilience, and transformation found along the way.”

Healer stands out for me. It reaches a zenith of powerful emotion that drew me in more than the other tracks. When listening to slower-paced music, it is hard to find a cathartic outlet, but Healer hits the mark. Maybe it is the language, but I got this feeling from the song before I realised it was in English.

Tann tú saknar / The One You Long For ups the tempo and adds new depth to the composition. As the eighth song on the album, you might say it’s about time. I would say it is the perfect time.

Ending with Everyone But Me, Eivør’s vocals really shine. It is a slower, more melodic track, luckily in English, that sticks the landing. Then it’s time to start again.

Listen to Healer and get your chill back with the Nordic phenomenon Eivør. This album is a pleasant change of pace and worth your time. Add a little depth to your music collection with Tungl.

Eivør released Tungl LP on 16 October 2026 via Nuclear Blast Records. For more details, visit eivor.bfan.link/tungl. Eivør will be undertaking an extensive headline tour across North America later this year, and across Europe and the UK into 2027. Tour details and tickets are on eivor.com/shows.

The post Eivør – Tungl: Haunting Beauty And The Power Of Emotion | Album Review first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.

Judas Priest’s masterpiece album from 1976 – Sad Wings of Destiny – has a half century reissue which is restored from the original master tapes and has the tracklisting in the order the band originally wanted. I’m probably not too far wrong if I say that you may well be familiar with this album. It […]

The post Judas Priest: Sad Wings of Destiny 50th Anniversary Review first appeared on New Wave of British Heavy Metal.

Posted on October 18th 2026, 10:25am

More weird and wonderful psychedelia from the UK’s premier offbeat label. Gnod, Salford’s greatest export since Ewan MacColl, continue to cut a path of noise-based poetry through an increasingly standardised musical landscape. MK Bennett settles in. Despite its clumsy name, the principle of urban folk horror/urban wyrd, where the ancient druidic dread of rural isolation […]

The post Gnod: Chronicles of Gnowt (Vol 2) – Album Review appeared first on Louder Than War.

Triggerfinger are massive in mainland Europe, once replacing Foo Fighters at Pinkpop without a squeak of protest. While their UK footprint doesn’t quite measure up, Ruben Block (vocals/guitar) and Mario Goossens (drums) could yet cross over, with sixth album Tarmac evoking a continental Queens Of The Stone Age.

Some musicians compare releasing an album to giving birth. Is that your experience?

Mario Goossens: Actually, it is, because you live with it for such a long time. We started writing Tarmac in 2023. You become so attached to it. It’s addictive. Then suddenly it’s not yours any more. It’s out there in the world, and everyone has an opinion about it.

What’s the significance of the title?

Ruben Block: This album is not a one-trick pony. We write about life, the joyous and tragic events. Taking care of your parents and them passing away. Having kids of your own who start finding their way in life. That’s why we thought Tarmac was a good title. It’s both a landing place and a place to depart from.

What’s the number-one rule on the Triggerfinger tour bus?

MG: Don’t have a shit. But that’s the rule on every tour bus.

Ever broken it?

MG: We didn’t, but we had a band member before who probably did.

RB: Breaking rules was his number-one goal when he got up in the morning.

That was your late bassist Paul Van Bruystegem. Can we ask what happened to him?

RB: Paul was someone who lived very intensely. He was a big guy, so he could take more of everything than a regular person. He could take six or seven instead of one. He lived at two hundred miles an hour, and it was pretty exciting to be in his slipstream. But he basically used everything up, starting with his own body.

His death last year must have hit you hard.

MG: Of course. But he chose it. Even when he quit the band – before he got really ill – he told us: “I’m gonna go for it, even if it costs me two years of my life.” So what could we say?

You don’t like to name Triggerfinger’s influences. Why is that?

RB: Because I usually don’t know where it comes from. And I don’t want to know. You listen to music, watch movies, read books or articles, you put all of it in your backpack. It’s also a bit dangerous to start by saying let’s make a song like Bowie, or Howlin’ Wolf. It would demotivate me right away, because that music is so great.

A number of people say your music sounds like sex.

RB: Well there are worse things that music can do to you.

What did you learn from opening for the Rolling Stones?

RB: I was amazed at how light they played. They started the show and Charlie’s playing was so light and bouncy, and Mick’s shoulders are moving… It was amazing to hear how groovy it all is. Even the loudest bands we like, they also have the roll, y’know? Even if you listen to the early Slayer records, it’s frickin’ groovy stuff, man. So that’s what we go for.

Tarmac is released on September 18 via Sony Music/Hufter.

There is a particular kind of pop song that only makes sense once you know what it cost to make. Kim Kay has spent the past year releasing a run of them, culminating in her latest release, pulsating dance track Animal. Eileen Shapiro tells the remarkable story of a woman who struggled with health setbacks […]

The post Kim Kay: Animal – Single Review appeared first on Louder Than War.

“I love playing him because I don’t have to be him”. If one sentence sums up the relationship between Vincent Furnier and Alice Cooper, this is it, the legendary rockstar having spent the past fifty-eight years switching between the two personalities.

Alice Cooper – Devil On My Shoulder Book Tour

The Palladium, London

Words: Paul Monkhouse

Photography: Manuela Langotsch

With his brand new book on the shelves, this was Alice/Vincent at his most confessional and true, the tour to promote the tome reaching the stage of one of the most famous theatres in the capital, Arthur ‘Fire’ Brown hosting the evening in his own unique style that thankfully kept the flaming headpiece away from the red velvet curtains that adorn the place.

Whilst Brown may have been a little hesitant at times, the same cannot be said of Cooper, and the master of the macabre is on fine form, stories coming thick and fast. At his own admission, some of his tales are embroidered and refined so much as to totally remove them from reality, but nonetheless, they are hugely entertaining, and the book purports to be a more honest and factual run-through of his life.

Part of the fact of the previous flights of fancy when regaling adventures of the past comes down to the simple fact of recall, Cooper rightly saying, “Who remembers what they said forty years ago?”

It is a good point, but given the life he has led, there is plenty of fascinating material from which to draw. 

Born out of a love for theatrics, Alice Cooper the band has a fascinating genesis, and the growth of the character himself saw them go from opening act to The Yardbirds, the guitar playing of Jeff Beck jaw-dropping, to headlining arenas all over the globe.

Wielding a sword belonging to Errol Flynn and basing his make-up on Bette Davis in Whatever Happened To Baby Jane?, Cooper was always going to make an impression, and ironically a peace festival was something of a turning point, the singer remarking of the line-up that “there were plenty of Peter Pans but no Captain Hooks.”

Given the incendiary atmosphere and look around the band, the unfortunate death of a chicken during their set at the event, Alice Cooper soon became the notorious bad boys of rock ‘n’ roll, a chance meeting with THE Colonel Saunders a little later causing Cooper to ask, “This guy kills six billion chickens, and I kill one, and I’m the villain?”

The whole show is littered with such wit and incidence, stories of Keith Moon, including a hilariously salacious one where The Who drummer was part of the cast of a Mae West film with Cooper, a telling and heartbreaking story about meeting Elvis Presley “his life was a prison” and his falling in and recovery from the drink and drug pitfalls of ’70s rock ‘n’ roll lifestyle.

As well as the wild tales of excess, there were plenty of deeper and personal details of his life, his relationship with his parents, his strong Christian faith and his determination to make music his career from his very first nascent days, going from being a track star at high school to forming Beatles pastiche The Earwigs and beyond.

Whilst Alice Cooper is a character, the man himself states, “I designed Alice to be my favourite rock star” and “Alice is a separate character and a tool,” the two have become so intertwined for almost six decades that the public perception blurs the lines, whilst Furnier himself gleefully reports that he can happily be organising a golf game with guitarist Tommy Henrickson before and after a show, but the second the lights drop and he walks onstage, he becomes that figure.

Touchingly, at one point he brings both his wife and daughter onstage to share the spotlight, and the separation between legendary rock villain and loving family man becomes crystal clear.

The book is a fascinating read and the show an illuminating one, the man behind the mask revealed in wonderful and vibrant life. When he states, “I never lost the love of rock ‘n’ roll”, you know he means it.

One of the biggest and best characters in music, we can but bow in his presence and, like Wayne and Garth, declare “We are not worthy”.

Brain surgery’s loss is our gain.

Devil On My Shoulder, the definitive autobiography of Alice Cooper, is out now via Ebury Spotlight. For more details, visit lnk.to/AliceCooper.

The post Alice Cooper – The Man Behind The Monster | Devil On My Shoulder, London first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.