Category: news

Immolation – Descent (Nuclear Blast)

When death metal was in it’s infancy there was a particularly fertile scene in New York City with bands such as Suffocation, Incantation and Immolation producing what would become genre classic albums and forging long careers destroying stages around the world.

37 years later and Immolation is still an absolute steamroller of a band, flattening everything in their path with ugly, ferocious death that pummels and punishes, occasionally giving you a moment of atmosphere, using orchestral moments or slow burns, to clear your head before the death machine fires up again.

Descent is their 12th studio album and it’s wrapped up in all the dogma the gnostic teachings that the material world is actually hell and only with learning divine knowledge will humans be able to break free of it. So it has a sense of hopelessness about it that is easily captured by the crushing death charge of Immolation.

They’re a band who have always moved in more cinematic/philosophical realms than their contemporaries, a testament to their stoic resiliance, they’ve never split, never aimed at the mainstream, never really had too many members change (a few drummers).

Mostly it’s been Robert Vigna (lead guitar) and Ross Dolan (bass/vocals), driving Immolation forward with drummer Steve Shalaty on board since 2003 and guitarist Alex Bouks having been locking down the rhythm for a decade.

The disillusionment of the subject matter is brought through dynamic riffage, constantly switching pace, the melodic strains at the beginning of These Vengeful Winds soon destroyed by technical brutality, as they shift into full bore death on The Ephemeral Curse.

Thankfully as I’ve said they know when to slow down the pace a little drawing from doom on tracks such as Gods Last Breath and the rolling dissonance of Attrition, while the interlude Banished is a proper stop and movement to something else. These all help control the flow of the record, most still heavy and mechanical but it means that it’s not just one blast fest from beginning to end.

Playing with dynamics and taking an intelligent approach to death metal has always been the way Immolation do things. So if you’re new here and you love bands like Gorguts, Ulcerate and even Gojira, they all owe a debt to Immolation. 9/10

Archspire – Too Fast Too Die (Self Released)

There’s a couple of ways you can describe Canadian band Archspire, they have dubbed themselves “the worlds fastest band”, you can call them tech death but I suppose the most accurate would be absolutely f*cking ridiculous.

Their music is inhuman, right at the fringe of what extreme metal can be, virtuosity bleeding through every instrument with the most intense blast you’ll ever hear, guitar solos and melodies that would scare Yngwie Malmsteen, bass playing that would require fingers made of steel and fry screams from Oliver Rae Aleron, that are often totally unclassifiable as sounds that can be made by the human throat.

This is their first album released independently, choosing to take the route of Kickstarter rather than a label due to royalties and cut labels make on bands records. It’s also their debut with Spencer Moore behind the kit after winning a contest to be their drummer, though I’d demand a recount as he’s clearly not a real person but some kind of percussion robot with sticks for hands and a jackhammer for feet.

His drumming is immense even when the riffs do slow into melodic chugs on Carrion Ladder, he’s still going full pelt. However when every member of a band is playing at their highest level you need to be good, Dean Lamb (guitar), Tobi Morelli (guitar) and Jared Smith (bass) all fighting over who gets to play lead, shifting between technical carnage, classical acoustics and piano driven atmospheres.

Archspire are far Too Fast Too Die on album five, it’s D.I.Y tech metal that will cause an aneurysm if you think about the complexity too much, exactly as it should be. 9/10

Dying Realm – Siege The Walls (Dry Cough Record/Cavernous Records)

Siege The Walls is the debut EP from Brummie death crew Dying Realm. Comprise of ex members of Iron Tomb, Bound By Blood and Nerve Agent, it’s a four tracker that’s an ode to the British death metal scene, which was so important to West Midlands back in the early 90’s.

The ghost of Bolt Thrower coming on the mechanical chug of Grave Of Gods, while there’s also inspiration from Carcass, Benediction, placing them firmly in the same group as Celestial Sanctuary and Cryptworm, as a new band playing an old school sound.

Villainous Incantations brings some harsher tones, inviting evil with pummelling blast beats and rapid grooving riffs. While the hardcore/grindcore influence comes with Mace Buried Deep, smashing you in the face with tremolo guitars and a lot of pit inciting.

Siege The Walls has all the UKDM/OSDM best hits across four tracks and as Abundant Mutilation keeps your head banging until it fades out. Dying Realm tell you exactly what they are with their debut EP, not big not clever but damn good death metal. 7/10

Hamarr – Necrotic Rituals (Iron Fortress Records)

It’s called Necrotic Rituals, it’s on Iron Fortress Records, it’s got to be death metal right? Correct young grasshopper, Necrotic Rituals is the debut full length from Indianapolis duo Hamarr and it’s going to be a must listen for those who love the buzzsaw riffs and occult darkness Entombed and Dismember.

This is raw, gnarly, d-beat driven death that has punk and grindcore moments of nastiness strewn through it. Languishing in the mid-pace crush with tracks such as Boneless II, Headstone, Necro and Wither, there’s pinched harmonics, punishing hammer blow grooves and throat shredding shouts as they counteract these grinding marches with blasting on songs such as Mausoleum, Lich and Catacomb.

Chris Issac (vocals/guitar) and Nick Stephens (drums) bring the vulgar death display, as Caleb Lewis manipulates it to sound deafening (and gives it the low end). Joining them for extra clout are Alex Cloutier of Primal Horde and Kurtis Hall of 1 Body 6 Graves, resulting in debut album of HM-2 savagery. 7/10

Two Finnish old school death metal bands, Galvanizer and Maformed, will be teaming up next month for ‘Europe Shrouded In Chaos Tour’. The 18-date long trek begins in Tallinn, Estonia on May 9th.
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When Memphis May Fire last tore through Australia alongside Atreyu, it wasn’t just another tour—it was absolute mayhem. Sold-out shows, overflowing demand, and hundreds of fans left on the outside looking in painted a clear picture: this was a band Australia wasn’t done with—not even close.

Now, with the dust barely settled and the momentum impossible to ignore, frontman Matty Mullins and co. are heading back to deliver on that unfinished business. Armed with material from their latest chapter, Shapeshifter, and a renewed sense of purpose, this return run isn’t about picking up where they left off—it’s about blowing the doors off entirely.

We caught up with Matty to talk about the overwhelming demand, the connection with Australian fans, and why this tour carries a different kind of weight for the band. The tour kicks off on 24th April in Melbourne.

RP: Your last Australian tour with Atreyu was pure chaos, five sold-out shows and more than 1600 fans stuck on waiting lists. How did that overwhelming demand hit you as a band? It honestly caught us off guard in the best way.

Matty: You always hope for that kind of response, but to see it, to watch tickets disappear that fast and then hear about the waiting lists, it was surreal. It felt like Australia was saying, “Hey, we’ve been here, and we’ve been waiting.” As a band, it lit a fire under us. It reminded us that what we’re doing still matters, and that there’s unfinished business there.

RP: You’ve said hearing from fans who missed out was the driving force behind returning so quickly. Was there a particular message or story that really stuck with you?

Matty: Yeah, there were a ton, but one that stuck with me was a fan who had planned their entire trip around the show, flights, hotel, everything, and still couldn’t get a ticket. They were messaging us saying they were outside the venue just hoping something would open up. That hit hard. It’s one thing to miss a show, it’s another to go that far and still not get in. That’s when it became clear, we had to come back.

RP: Knowing it’ll be a long time before you can return to Australia after this album cycle, how does that shape the mindset and intensity you’re bringing to this tour?

Matty: It changes everything. There’s a different weight to these shows. We’re not pacing ourselves thinking, “We’ll be back next year.” This is one of those moments where you empty the tank completely. Every night has to feel like the last time we’ll ever play there, because for a while, it will be.

RP: You mentioned not wanting fans to wait another five years. What does “making it up to them” look like in terms of performance, setlist, or production?

Matty: It means going bigger in every way we can. A setlist that covers the full spectrum of who we are, the songs people have been holding onto for years, mixed with the new material that’s defining where we’re at right now. Performance wise, it’s about being fully present and giving everything we’ve got. Production wise, we’re doing everything we can to elevate the experience so it feels worth the wait.

RP: Your last run was described as mayhem: jaw-dropping performances, off-the-hook reviews. What lessons or energy from that tour are you carrying into this one?

Matty: The biggest thing we took away is that Australian crowds don’t need warming up, they’re in it from the first note. That energy pushes you to a different level as a performer. So we’re coming in ready to match that from second one. No slow builds, no holding back, just straight into it.

RP: The touring cycle for Shapeshifter has been immense! Are you planning to cover that album on this tour?

Matty: Yeah, Shapeshifter is a huge part of this chapter for us, so some of those songs are absolutely going to be in the set. That record means a lot to us, and it’s connected with people in a real way. We want to give those songs their moment live, especially for fans who haven’t had the chance to hear them in person yet.

RP: Australia has always shown huge love for heavy music. What stands out to you about Australian crowds compared to the rest of the world?

Matty: There’s an intensity that’s hard to describe unless you’ve felt it. It’s not just that they’re loud, it’s how locked in they are. Every lyric, every breakdown, every moment, they’re right there with you. It feels less like you’re playing to them and more like you’re in it with them.

RP: What are some of your favourite memories of playing in Australia?

Matty: Honestly, it’s all moments where the crowd takes over, when you pull the mic away and they’re louder than the PA. That’s something I’ll never get over. And then just the chaos after the shows, meeting fans, hearing their stories, seeing how far people have come. Those are the moments that stick.

RP: With this being your last Australian tour for quite some time, what emotions are you personally bringing into these shows?

Matty: Gratitude, first and foremost. There’s a deep appreciation knowing we get to come back and do this again, especially after seeing how many people missed out last time. But there’s also a sense of urgency, like we have something to prove and something to give before we step away for a bit.

RP: When the final note hits on this run, what do you hope fans walk away remembering about this chapter of MEMPHIS MAY FIRE?

Matty: I hope they remember that we gave them everything we had. That it wasn’t just another tour, it was a moment in time. Something they felt, something they were a part of. If people walk away feeling seen, connected, and like they experienced something real, then we did our job.

The post INTERVIEW: Matty Mullins from MEMPHIS MAY FIRE on Fans, Chaos & Redemption in Australia appeared first on The Rockpit.

After a couple of sold-out European tours, supporting AC/DC and the Black Crowes in AUS and a number 3 album, the Southern River band are coming home to Perth for their biggest show yet.

2025 was a massive year for the Southern River Band. Their album Easier Said Than Done debuted at #3 on the Australian charts, featuring song No Such Time, written for them by Bernard Fanning (Powderfinger). The album placed behind only fellow Sandgropers Tame Impala and some guy called Ruel. They set off for a sold-out AU tour and upon returning announced that they would be supporting AC/DC for two nights in at Optus Stadium in Perth. Dream come true shit for the boys from the ‘burbs.

2026 hasn’t been any slower, a sold out 19-date tour through the UK and EU was their biggest yet, playing their new album to massive rooms of new fans. The band returned home and immediately got back on the road, supporting the Black Crowes around Australia AND they announced they would be supporting the Foo Fighters next January.

So, after a mammoth few years, the boys have decided to chuck a massive party, A Bloody Good Night Out, at the Ice Cream Factory Warehouse on June 13th. Joining them are Aussie punk rock institution the Cosmic Psychos, Melbourne legends Dallas Crane for their first Perth show in years, and local dirty dawgs Grub. The boys are keeping the tickets to $55+BF, putting on drink specials AND are running a comp on their INSTAGRAM to go in running a comp for their fans to go in the running to win a tank of fuel.

Supported by Triple M Perth, this is going to be a Bloody Good Night Out.

Tickets from thesouthernriverband.com

ON SALE NOW

The post SOUTHERN RIVER BAND Are Throwing A Bloody Good Night Out appeared first on The Rockpit.

The post Live Review: Nordic Giants – Lincoln appeared first on The Razor's Edge.

Mutual Shock’s Lamprey is a dark, club-ready fusion of industrial grit and synthpop allure. Blending analog and electronic drums, the track pulses with mechanical precision while retaining a hypnotic, human edge. Cold synth lines and driving rhythms create a tense, nocturnal atmosphere, perfectly suited for late-night dancefloors. Beneath its infectious groove lies a sharp conceptual core, reflecting on the uneasy relationship between art and technology.

Lamprey is sleek, unsettling, and irresistibly propulsive—an industrial-tinged synthpop standout.

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Metal legends Venom return with their new single Kicked Outta Hell, taken from their upcoming album Into Oblivion, set for release on 1 May 2026 via Noise BMG. The track is a ferocious and unapologetically Heavy anthem blending classic Venom aggression with a modern edge.

Kicked Outta Hell is surely one of the heaviest songs Venom have ever delivered. “This one is me just having fun,” Cronos smiles. “I’m putting myself above the Devil in the lyric, which I think is an interesting twist. The Devil’s pissed off with us!”

“You’re not staying in hell,” Dante gestures. “Get out!”

Into Oblivion is Venom’s sixteenth studio album and features the long-standing line-up of Cronos (bass/vocals and founding member), Rage (guitar) and Dante (drums) and marks their first new recordings since 2018’s Storm The Gates.

To celebrate the release of Into Oblivion, Venom will be hosting several album listening parties around the world on the day before release, Thursday, 30 April.

There will be freebies and a chance to win a signed set of test presses at every event. Come along and enjoy an evening of Metal Bloody Metal at these venues.

For now, you have Kicked Outta Hell. “It’s one of the heaviest songs on the album,” Rage says. “It’s grinding and straight ahead.”

Into Oblivion will be released on May 1st, 2026 via Noise/BMG and is available for preorder now in the following formats:

– Double, gatefold smoke vinyl

– Double, gatefold clear, black & red splatter vinyl (Limited Edition)

– CD digisleeve with 16-page booklet

– Digital

Preorders of both vinyl and CD will come with a limited photo card, signed by Cronos, Dante and Rage, exclusively from the Noise Records store while stocks last.

For more details, visit venomslegions.lnk.to/intooblivionPR.

Venom Album Listening Parties

HELGI’S BAR, LONDON UK
177 Mare Street, London, E8 3RH

HEADBANGERS PUB, MILAN, IT
Via Tito Livio 33/A, 20137 Milano

DR FEELGOOD: ROCK BEER TEMPLE, PARIS, FR
34 Rue Keller, 75011 Paris

DUFF’S, BROOKLYN NEW YORK, USA
168 Marcy Avenue, Brooklyn, NY 11211

THE METAL BAR, SAO PAULO, BR
R.Artur De Azevedo, 637 – Cerquiera Cesar, Sao Paulo – SP 05404-011

BALLROOM KAPERFAHRT, HAMBURG DE
Landungsbrücken – Brücke 6, 20359 Hamburg

The post Venom Release Kicked Outta Hell Ahead Of Into Oblivion Album first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.

A band built on chaos, sweat, and sheer sonic force, Continents, formed in 2012, tore through the UK, Europe, and even Japan with the kind of live energy that leaves venues shaken to their foundations. Sharing stages with the likes of The Ghost Inside, The Dillinger Escape Plan, and Skindred, they looked destined for the long haul until 2018 pulled the plug.

Continents return is building steam once again. Their new single, Gatekeeper, has just been released, with news of live dates in 2026.

Gatekeeper delivers a sharp reflection on the imbalance within creative spaces, where opportunities can be influenced behind the scenes. Vocalist Phil Cross explains that the track is not a complaint but a confrontation of realities many artists face.

“Gatekeeper comes from a very real place for us,” vocalist Phil Cross told us. “We’ve always built this band around community, and over time, you start to see how things operate behind the scenes. For example, tour opportunities where bands have asked for us specifically, yet somehow never make it through, artists happy to tap into your crowd but not always willing to return the favour.

“At the same time, you’re navigating algorithms and having to pay just to reach people who already follow you, which means even your own audience doesn’t always see what you’re doing. This kind of imbalance isn’t unique to music either. You see it across a lot of creative spaces.

“We understand it’s a business and relationships change, and this track reflects that reality. That’s why the line ‘never going to see what it could have been’ hits.

“It captures those moments that pass you by and the things that don’t quite come together. But it’s not about dwelling on that. It’s about staying focused, adapting, and continuing to move forward on our own terms.”

With more headline shows and festivals lined up for 2026, the band shows no signs of slowing down. High-energy, emotionally charged, and unafraid to evolve, Continents’ comeback is redefining their place in the modern Metalcore scene.

Keep in touch with Continents via linktr.ee/continentsband.

The post Continents Return With Gatekeeper A Hard Hitting Look At Industry Control first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.

Perry Frank’s Afterlight is a beautifully restrained ambient piece that unfolds with cinematic grace and quiet intensity. Built on layered guitar loops and subtle synth textures, the track creates a spacious, immersive soundscape where every element is allowed to breathe. Rather than relying on dramatic shifts, it evolves patiently, drawing the listener deeper into its dreamlike atmosphere. The emotional weight lies in its minimalism, with delicate melodic movements adding a sense of timeless reflection.

Afterlight is a refined and evocative journey—subtle, immersive, and deeply absorbing.

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Buried Echoes’ Bonded by Scars (Through the Dark) is a luscious synth-pop gem that thrives on atmosphere and emotional pull. Built on shimmering synth layers and a steady, immersive groove, the track creates a rich sonic backdrop for its alluring female vocals. There’s a sense of resilience woven through the melody, as vulnerability and strength coexist in perfect balance. The production feels polished yet deeply emotive, allowing the chorus to bloom with understated power.

Elegant and captivating, this is synth-pop with both heart and depth.

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