The post ARMORED SAINT Presents âHit A Moonshotâ Video/Single From Emotion Factory Reset Full-Length appeared first on INFRARED MAGAZINE.
– April 23rd, 2026 –
Watch ARMORED SAINT’s “Hit A Moonshot” HERE
American heavy metal icons, ARMORED SAINT, are pleased to present their new single, “Hit A Moonshot.” The track comes off the band’s upcoming new full-length, Emotion Factory Reset, set for release on May 22nd through Metal Blade Records.
“Hit A Moonshot” is a band favorite. A “moonshot” is a baseball term referencing a homerun that’s hit at a high angle and distance. An avid sports fan, vocalist John Bush was considering the parallels between sports and entertainment.
“It’s like you knocked something out of the park,” elaborates Bush, “I use a lot of sports analogies because I love sports. Sports IS entertainment…’Hit A Moonshot’ is inspired by the people who keep landing on their feet. Like, no matter what the fuck this person does… Some people just get lucky. This applies to anyone. And landing on your feet is commendable. So, I’m busting balls, but I’m also giving accolades. Sometimes people can do that all the way to their grave. Then there are other people who are so good or talented or creative, and they struggle forever. I don’t think life is balanced all the time, and I don’t think it’s fair.
“It has a ferocious riff, cool tempo changes, scorching leads, huge chorus with lots of backing vocals,” he continues. “We love Queen and The Sweet! It’s a cool breakdown with an epic ending. Once again, it sounds just like ARMORED SAINT.”
Says bassist Joey Vera, “The intro riff is an echo of a memory from age 17 when I was in a garage band in Los Angeles. After I came up with this new version, the familiarity of it revealed itself once I stood back and listened. The riff is very different from the original one but there’s no doubt the feel and vibe has stuck with me ever since then. I added a half-time feel to the chorus to steer the arrangement away from predictability. It feels like Classic SAINT to me.”
“I think the song defines what ARMORED SAINT sounds like now,” adds guitarist Jeff Duncan. “I used my Les Paul and an EVH amp for the rhythm guitars on everything. My solos were done with a couple different guitars; it’s simple, just good guitars plugged into a good amp and let it rip.”
Photo by Travis Shinn
Watch ARMORED SAINT‘s “Hit A Moonshot” video, directed by My Good Eye: Music Visuals, HERE.
Watch the band’s previously released video for “Close To The Bone,” directed by My Good Eye: Music Visuals, HERE.
Emotion Factory Reset, ARMORED SAINT‘s ninth studio album since 1984′s March Of The Saint, is a resurrection of sorts, a tearing down and a rebuilding in eleven songs of diverse musicality and lyrical themes. Produced, as were the previous four albums, by bassist Joey Vera and mixed by Jay Ruston (Anthrax, Stone Sour) the record finds the quintet challenging themselves. Songs like “Close To The Bone,” today’s single, “Hit A Moonshot,” and “Every Man-Any Man” have ARMORED SAINT honoring their past as one of the most respected and recognizable bands in heavy music while making forward-thinking music rooted in the present.
“When we start coming up with songs, I always say we can do whatever we want,” vocalist John Bush says. “Use all our influences through the years, diverse music that we listen to and love, and let that seep in and bring something new out of us. It leads to something more adventurous.”
“Each ARMORED SAINT record, to me, is like a new skin for the band, a different chapter. I don’t think we’ve ever repeated ourselves,” says Vera. “Every album has been pretty different from the previous one, a snapshot in time. In 2026, Emotion Factory Reset is where our heads are at.”
Bush, one of music’s most respected vocalists, operates from a place of passion and presence in the studio and on stage. In fact, about 85% of his vocals from the last three ARMORED SAINT records are taken from the demo sessions, capturing the raw power. While Vera is a granular and detailed writer, like Bush, the bassist says, “I try not to overthink and be right where I’m at that time. I really don’t look over my shoulder much, like, ‘what did I do in the past? What’s going on in the next lane?’ Once the ball starts rolling, I just sit back and let it happen.”
The collaborative nature of Emotion Factory Reset led to the album title, a phrase from Phil Sandoval. “To me, ‘Emotion Factory Reset’ means to reset yourself back to clarity. Take a pause and breathe before you respond or react. You can’t control outside events, but you can control your mind,” the guitarist says. “How you interpret things is what hurts you, not the event itself.“
His brother, drummer Gonzo notes, “the world is going through a technological upswing/awakening. I look at our planet as the factory and in the most positive way we need to realign, reimagine, reset for our better selves.”
ARMORED SAINT‘s Emotion Factory Reset was recorded across several studios including 606 Studios, Secret Hand Studios, Skullseven Studios, Constantine Studios, and Bridge Recording, engineered by Oliver Roman, Bill Metoyer, Joey Vera, and Jason Constantine, and features cover art by DDKing.
The record will be released on CD digipack (w/ 20-page booklet) and digital formats as well as vinyl in the following color variants:
Amber Marble (US)
Orange and Red Marble (US)
Boone’s Overstock Exclusive – Citron Smoke (US)
180g Black (EU)
Beige Gray Marbled (EU)
Clear Black Gold Smoke (EU – Ltd. 500)
Metallic Gold Black Dust (EU – Ltd. 300)
Clear Gold Splatter (EU – Ltd. 200)
Additionally, a special European edition of the CD digipak includes the bonus track “One Chain (Don’t Make No Prison),” only available digitally until now!
A special European edition of the single gatefold LP comes w/ insert and DL card + 7″ vinyl “One Chain (Don’t Make No Prison),” (only available digitally until now!) w/ an etching on the B-side, a poster, and slipmat.
Find all pre-orders at: metalblade.com/armoredsaint
ARMORED SAINT has confirmed performances spread throughout the Spring and Summer months, as well as a special free listening party on May 21st at Cafe Nord in Essen, Germany where fans can meet the band, hear the new album, and get the CD or vinyl signed (with purchase). The event will be followed by an Emotion Factory Reset record release show at Rock Hard Festival on May 22nd! More dates will be announced in the weeks to come. Stay alert.
ARMORED SAINT Live:
5/17/2026 San Luis Metal Fest – San Luis Potosí, MX
5/21/2026 Cafe Nord — Essen, DE * Free Listening Party *
5/22/2026 Rock Hard Festival – Gelsenkirchen, DE * Record Release Show *
6/06/2026 Milwaukee Metalfest @ The Rave/Eagles Club – Milwaukee, WI
7/30/2026 Pumpehuset – Copenhagen, DK w/ Metal Church
7/31/2026 Skogsrojet Festival – Rejmyre, SE
8/01/2026 Pustervik – Gothenburg, SE w/ Testament, Metal Church
8/02/2026 Mejeriet – Lund, SE * w/ Testament, Metal Church
8/05/2026 Brutal Assault – Jaroměř, CZ
8/07/2026 Alcatraz Festival – Dessel, BE
8/08/2026 Poppodium Boerderij – Zoetermeer, NL *ARMORED SAINT headlining show
8/09/2026 Keep It True Legions – Geiselwind, DE
8/11/2026 Progresja – Warsaw, PL w/ Savatage, Nevermore
8/12/2026 Collosseum – Kosice, SK w/ Vio-Lence
8/13/2026 Klub Studio – Krakow, PL w/ Testament, Metal Church
8/29/2026 Stonedead Festival – Newark, UK
ARMORED SAINT:
John Bush – Vocals
Joey Vera – Bass
Jeff Duncan – Guitars
Gonzo Sandoval – Drums
Phil Sandoval – Guitars
https://www.armoredsaint.com
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We look for monsters in the dark, but often, we find reflections of ourselves. Welcome to the psychology behind the Noir aesthetic.
Humans have always told ghost stories. From ancient folklore to modern Noir thrillers, our fascination with the macabre isn’t just about fear—it’s about understanding the human condition. When we engage with dark storytelling, we aren’t just consuming entertainment; we are performing a ritual of catharsis.
At Edgar Allan Poets, our music serves as a vessel for these deeper themes. We explore the “Noir” not to dwell in sadness, but to provide a space where our listeners can confront, process, and ultimately embrace their own complexities (source).
Let’s pull back the curtain on the art of shadows.
Why does a thriller or a gothic poem resonate so strongly? It’s the “Mirror Effect.” When we see characters struggling with isolation, fear, or moral ambiguity, we see parts of our own experiences reflected back at us. Dark storytelling validates the messy, unpolished parts of our lives that polite society often ignores.
In our Noir Rock, we strive to write the soundtrack to this reflection—music that isn’t afraid to ask difficult questions.
There is a strange comfort in a sad song or a terrifying movie. Psychologists often call this “safe fear.” By engaging with darkness in a controlled environment—like listening to an album or watching a film—we can experience powerful emotions without actual danger. It cleanses the psyche.
This is the heart of the “Poet” in Edgar Allan Poets. We believe that by articulating the darkness, we gain power over it.
You don’t have to be a tragic protagonist to live the Noir philosophy. It’s about honesty. It’s about acknowledging that life has grit, that shadows are natural, and that there is profound beauty in the melancholy.
Read our manifesto on finding beauty in the shadows
If you are looking to explore your own inner depths, you need a soundtrack that respects the journey. Our music provides the atmosphere for introspection—a blend of intensity and calm.
Listen to our music while you delve into your own dark mysteries:
Our merchandise is designed for those who aren’t afraid of the deep end. These are talismans for the thinkers, the dreamers, and the nocturnal souls.
Browse the Apparel: Wearable art for the dark soul
The next time you find yourself drawn to a dark movie or a haunting melody, don’t look away. Lean into it. That resonance is your mind telling you that you’ve found something true.
What is the story your shadows are telling tonight?
“Enjoyed the ride? Explore our other journeys through Gothic Architecture and the 1970s Occult Aesthetic.
The post Why We Crave the Dark: The Psychology of Noir Storytelling appeared first on Edgar Allan Poets – Noir Rock Band.
(Vide’s unusual new album Aux enfants des ruines was released by the Antiq label in late February of this year, and it may have flown beneath the radar of many listeners who would appreciate it. But Comrade Aleks has done his best to elevate it through the following interview with its French solo creator.) French […]
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The post NEQUIENT: Metal Injection Hosts Exclusive Stream Of Avarice, The Scathing Third LP From Chicago Grindcore/Hardcore Band; Album Out Friday On Nefarious Industries + New Tour Dates Announced appeared first on INFRARED MAGAZINE.
Death albums ranked is a list with a problem most bands would kill for: there is no bad record on it. Chuck Schuldiner made seven studio albums in eleven years, changed the lineup on almost every one, and moved from zombie-movie song titles to lyrics about consciousness and mortality without once releasing something a fan has to apologise for. So this is a ranking of good against great, and the gaps are small until the top three, where they aren’t. Seven albums, counted down from 7 to 1, with the players on each and the case for each.
The ground rules. Death’s studio catalogue is seven albums, from 1987 to 1998; the demos, the Live In L.A. and Live In Eindhoven records and the Control Denied album Chuck made afterwards aren’t ranked. The criteria are the ones that always apply here: songwriting, impact, replay value, and how completely the record commits to what it’s trying to be. For Death that last one matters more than usual, because Chuck changed what the band was trying to be roughly every eighteen months, and the question for each album is whether it fully became the thing it set out to be.
A word on timing. Human turns thirty-five this month. Chuck died on December 13, 2001, at 34, which makes this December twenty-five years, and the players who made these records are still playing them: Death To All, with Gene Hoglan, Steve Di Giorgio, Bobby Koelble and Max Phelps, takes the catalogue to Australia with Dark Angel in January. The music outlived the man by a quarter of a century and hasn’t aged a day. That’s rare enough to be worth ranking properly.
Loaded Radio Recommends: 13 Chuck Schuldiner Facts That Reveal the Man Behind the Growl
The album that invented death metal, made by a nineteen-year-old playing everything but the drums, and the one Chuck grew out of fastest.
Released in May 1987 on Combat, Scream Bloody Gore is the first death metal album by most people’s reckoning, and it sounds like the genre being discovered in real time. Chuck Schuldiner played guitar and bass and sang; Chris Reifert, later of Autopsy, played drums; Randy Burns produced it in Los Angeles after the Florida sessions were scrapped. The titles tell you everything: ‘Zombie Ritual’, ‘Evil Dead’, ‘Regurgitated Guts’, ‘Baptized In Blood’, ‘Mutilation’. The riffs are thrash pushed past where thrash stops, and the growl is the one a thousand bands would copy.
It’s last because Chuck’s songwriting was still a year away from being Chuck’s songwriting; the riffs are great and the songs are riff collections. It’s also the record whose lyrics he spent the rest of his life distancing himself from. None of that makes it less essential. If you want to hear where the entire genre came from, this is where, and ‘Zombie Ritual’ is still the first song Death To All play most nights. Seventh of seven on this list is still a record that changed music.
The album where Death became a band, and the one that built the Florida death metal sound in a studio called Morrisound.
Leprosy, November 1988, is the first Death album with a real lineup: Rick Rozz on second guitar, Terry Butler on bass, Bill Andrews on drums, Chuck out front. It was recorded at Morrisound in Tampa with Dan Johnson producing and a young Scott Burns engineering, which is the moment the studio that would define the genre got its start. Ed Repka’s cover, the disfigured faces in a bleak landscape, became as recognisable as the music. ‘Pull The Plug’ is the song, still a live closer; ‘Left To Die’, ‘Open Casket’ and the title track are the ones fans argue about.
It’s sixth because it’s a bridge: heavier and more structured than the debut, not yet technical, with Chuck’s lyrics starting to look at death from the inside (‘Pull The Plug’ is about euthanasia) rather than from a horror poster. The riffs are the best of the early era and the production is a huge leap. What it lacks is the complexity that was coming, and on a list where every album above it has that complexity, it sits here, with the understanding that for a lot of old-school fans this is the one.
The underrated pivot: Death stop singing about monsters and start singing about people, and James Murphy arrives.
Released in February 1990, Spiritual Healing is the album where Chuck turned the lyrics on the world. ‘Living Monstrosity’ is about babies born addicted to crack; ‘Altering The Future’ is about abortion; ‘Low Life’ and the title track go after poverty and televangelists. That shift, from gore to social commentary, is the thing that made everything after it possible, and it was unfashionable in 1990 death metal to the point of being brave. James Murphy, later of Obituary and Testament, replaced Rick Rozz and brought melodic lead playing the band hadn’t had; Butler and Andrews stayed; Scott Burns produced.
The music slows and widens: mid-tempo, melodic, with ‘Genetic Reconstruction’ hinting at the technical records to come. It’s fifth because it’s a transitional album, better than its reputation and less than its successors, and because what happened next defined it: Chuck pulled out of a 1990 European tour, Butler and Andrews went anyway with a stand-in singer, and Death effectively ended as a band and became Chuck’s project. Every album after this one has a different lineup. That starts here, and so does the Death most people love.
The last Death album, written as a Control Denied record and released as the most progressive thing the band ever did, with Chuck singing in a voice nobody had heard from him.
By 1998 Chuck wanted out of death metal’s box. He’d written an album for a new band, Control Denied, with a clean singer; Nuclear Blast wanted a Death record, so the material became The Sound Of Perseverance, released in September 1998 with Shannon Hamm on guitar, Scott Clendenin on bass and Richard Christy on drums. Chuck’s vocals moved up into a high, scraping shriek, the songs stretched past seven minutes, and the time signatures went wherever they liked. ‘Scavenger Of Human Sorrow’ and ‘Spirit Crusher’ are the heavy ones; the Judas Priest cover, ‘Painkiller’, closes it with Chuck finally singing the way he’d always wanted.
It’s fourth because it’s the most polarising record here, loved by the people who followed Chuck’s evolution and resented by the ones who wanted Leprosy again, and because ‘Voice Of The Soul’, the instrumental, is one of the most beautiful pieces of music in extreme metal, which makes the album impossible to rank lower. It’s the last thing he finished under the Death name; Control Denied’s one album followed in 1999, and the illness arrived the same year. Heard now, it sounds like a man who knew exactly where he was going.
The lineup record: Andy LaRocque, Steve Di Giorgio and Gene Hoglan on one album, playing the most technically dazzling music Death ever recorded.
Individual Thought Patterns, June 1993, has the best band Chuck ever assembled. Andy LaRocque, King Diamond’s guitarist, on leads; Steve Di Giorgio on fretless bass, playing it like a lead instrument; and Gene Hoglan, in from Dark Angel, on drums, bringing a precision and a swing the band had never had. Scott Burns produced at Morrisound. ‘The Philosopher’, the single and video, is the entry point; ‘Overactive Imagination’, ‘Trapped In A Corner’ and ‘In Human Form’ are the ones musicians still study.
It’s third because it’s the dizziest display of skill in the catalogue and, by a hair, the least song-driven of the top three: the playing occasionally outruns the writing. But the bass alone puts it here. Di Giorgio’s work on this record is why he’s on every list of the genre’s great bass players, and Hoglan’s arrival is the start of a partnership that carried Death through its two best records and carries Death To All today. If you want to hear how good a death metal band can be at its instruments, this is the answer.
The album that invented technical death metal, made with half of Cynic and a fretless bass, and the record Death’s whole reputation rests on.
Human came out in October 1991 and changed what the genre was allowed to be. Chuck brought in Paul Masvidal and Sean Reinert from Cynic, who were jazz-schooled, fusion-literate and nineteen, and Steve Di Giorgio for his first Death record. The result, produced by Scott Burns at Morrisound, is thirty-four minutes of riffs that turn corners nobody had built yet: ‘Flattening Of Emotions’, ‘Suicide Machine’, ‘Together As One’, ‘Lack Of Comprehension’ (the video that got it on television), and ‘Cosmic Sea’, an instrumental that sounded like nothing else in 1991 and still doesn’t. The lyrics went inward, to the mind and the body and what breaks them.
It’s second because it’s the most influential record here, the one that every technical and progressive death metal band descends from, and the one that proved death metal could be intellectual without becoming less heavy. Reinert died in January 2020; Masvidal has guested with Death To All on ‘Flattening Of Emotions’. Thirty-five years on this month, Human is the album that made the top spot possible, and the only reason it isn’t the top spot is that the record above it took everything here and made it sing.
The synthesis: every idea from the previous five albums, played by Hoglan at his best, with melody finally given equal weight to brutality. The greatest death metal album ever made, and it isn’t a close argument.
Released in March 1995 on Roadrunner, Symbolic was recorded at Morrisound with Jim Morris producing, and the lineup was new again: Bobby Koelble on guitar, Kelly Conlon on bass, Gene Hoglan on drums. What’s different is the writing. ‘Symbolic’, ‘Zero Tolerance’, ‘Empty Words’, ‘Crystal Mountain’, ‘Perennial Quest’: these are songs first and showcases second, with hooks you can hum and riffs that resolve. The technicality is all still there; it’s just been put in service of something. Hoglan’s performance is widely regarded as the best of his career, which is a long career.
It’s first because it’s the one Death album that does everything the band ever tried to do, at once, without a weak track, and because thirty-one years later it’s still the record people hand to someone who’s never heard death metal and want them to understand it. Chuck’s place among the great metal guitarists was secured before this; his place among the great songwriters is secured here. ‘Crystal Mountain’ alone would get it into the top three. The rest of the record gets it to the top.
Check This Out: The Most Legendary Death Metal Bands of All Time
The band ended in 2001 and the catalogue has never been more alive: the players who made it still tour it, and the anniversaries keep arriving.
Human turns thirty-five on October 22. Symbolic turned thirty last year. And on December 13 it will be twenty-five years since Chuck Schuldiner died of brain cancer at 34, four months after the illness forced him to stop playing, with Control Denied’s second album unfinished. The gap between how long he lived and how long the music has lasted is the story of the band now.
Death To All is how the catalogue stays on stage: Gene Hoglan, Steve Di Giorgio, Symbolic guitarist Bobby Koelble and Max Phelps on vocals and guitar, playing songs from all seven albums with Chuck’s blessing from his family. They take it to Australia in January with Dark Angel, Hoglan’s other band, in support. For the context behind the records, thirteen things about Chuck is the place to go, and for where Death sits among the bands that built the genre, the Big Four of death metal is the argument. He’s at the top of both.
7. Scream Bloody Gore (1987)
6. Leprosy (1988)
5. Spiritual Healing (1990)
4. The Sound Of Perseverance (1998)
3. Individual Thought Patterns (1993)
2. Human (1991)
1. Symbolic (1995)
Symbolic (1995) tops this list and most others: it’s the album where Chuck Schuldiner’s technical ideas and his melodic sense finally carried equal weight, with Gene Hoglan on drums and songs like ‘Crystal Mountain’ and ‘Zero Tolerance’. Human (1991) is the usual alternative, as the record that invented technical death metal.
Seven studio albums between 1987 and 1998: Scream Bloody Gore, Leprosy, Spiritual Healing, Human, Individual Thought Patterns, Symbolic and The Sound Of Perseverance. Chuck Schuldiner then released one album with Control Denied, The Fragile Art Of Existence (1999), before his death in 2001.
Scream Bloody Gore (1987) is the rawest and most brutal, and is widely considered the first death metal album. Leprosy (1988) is the heaviest of the fully formed records. The later albums are more technical and melodic rather than less heavy, which is why they rank higher here.
Chuck Schuldiner was the only constant. Key players include Chris Reifert (Scream Bloody Gore), Rick Rozz, Terry Butler and Bill Andrews (Leprosy), James Murphy (Spiritual Healing), Paul Masvidal, Sean Reinert and Steve Di Giorgio (Human), Andy LaRocque and Gene Hoglan (Individual Thought Patterns), Bobby Koelble and Kelly Conlon (Symbolic), and Shannon Hamm, Scott Clendenin and Richard Christy (The Sound Of Perseverance).
Not as Death, but as Death To All: former members Gene Hoglan, Steve Di Giorgio and Bobby Koelble, with Max Phelps on vocals and guitar, perform songs from all seven albums with the Schuldiner family’s support. They tour Australia in January 2027 with Dark Angel.
Where would you move an album? Tell us in the comments, and follow Loaded Radio for the rest of the death metal catalogues ranked and the 25th-anniversary coverage in December.
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Korn has shattered a five-year silence with the surprise release of “Reward The Scars,” a pummeling new track recorded in collaboration with Blizzard Entertainment for the upcoming Diablo IV: Lord of Hatred expansion. Marking their first original material since 2022’s Requiem, the pioneering nu-metal legends have officially returned to the studio with producer Nick Raskulinecz—the man behind their critically acclaimed 2019 effort The Nothing. The track, specifically written to capture the dark, atmospheric dread of the Diablo universe, arrives just as the band prepares to headline the massive Sick New World festival in Las Vegas this weekend.
The partnership is a natural fit for frontman Jonathan Davis, a notorious high-stakes gamer who has spent decades integrating dark, industrial aesthetics into Korn’s sound. With the Lord of Hatred expansion set to drop on April 28, “Reward The Scars” serves as the official sonic gateway to the game’s newest chapter. Fans won’t have to wait long to hear the band’s refreshed energy live, as the group’s return to the stage on April 25 kicks off a relentless 2026 world tour that spans South America, Europe, and the UK.
For “Reward The Scars,” Korn reunited with producer Nick Raskulinecz (Deftones, Evanescence), a move that signals a return to the heavy, layered intensity that defined the band’s late-2010s output. Raskulinecz famously helped steer the band back to their roots on 2016’s The Serenity of Suffering and 2019’s The Nothing, and his influence is palpable on the new track’s gritty, downtuned production.
While the band has spent the last several years focusing on solo projects and legacy tours, “Reward The Scars” marks a pivotal moment of creative growth. Written specifically for the Diablo IV universe, the track leans into the “Lord of Hatred” theme, providing a haunting backdrop for the expansion’s new classes—the Paladin and the Warlock—which are set to debut on April 28.
The surprise release comes just days before Korn headlines the Sick New World festival in Las Vegas on Saturday, April 25. The festival appearance serves as the official launch of a massive global itinerary that will see the band touring through South America in May with support from Spiritbox, followed by a sprawling European and UK arena run this fall alongside Architects. Get your tickets here.
(Full European schedule includes stops in Stuttgart, Munich, Paris, Berlin, and Milan through November 21.)
Jonathan Davis’s involvement with Diablo IV is the latest chapter in his long-standing history with gaming culture. While the frontman’s specific fandom for the Diablo series has been a topic of debate among fans, his status as an avid gamer is undisputed. By “rewarding the scars” of the Diablo player base, Korn is bridging the gap between heavy metal and the dark-fantasy gaming community, ensuring their five-year hiatus ends with a definitive, atmospheric bang.
Make sure to tune in to the Loaded Radio 24-hour heavy metal stream and catch the Loaded Radio Podcast every week for unfiltered, high-octane interviews with the biggest names in hard rock and metal.
Korn has released “Reward The Scars,” their first new song in five years, created for the Diablo IV: Lord of Hatred expansion pack (out April 28). Produced by Nick Raskulinecz, the track debuts just before the band’s headlining set at Sick New World in Las Vegas on April 25, which kicks off a global world tour including South America and Europe.
The post The Wait is Over: Korn Surprise Release “Reward The Scars”—Their First New Song in Five Years! appeared first on Loaded Radio.