Category: news

Has Arch Enemy Reunited With Angela Gossow?

Not officially — but synchronized teasers and profile blackouts have triggered intense speculation.

TL;DR:

Arch Enemy and former vocalist Angela Gossow posted identical cryptic teasers and simultaneously blacked out their profile photos, fueling reunion rumors. The timing follows Alissa White-Gluz’s November 2025 departure after 12 years. While no confirmation exists, fans are loudly connecting the dots.

Arch Enemy fans know the band rarely does anything accidentally — especially online.

So when both the band and Angela Gossow dropped the exact same teaser and blacked out their profile pictures at the same time, the reaction wasn’t curiosity.

It was chaos.

Because in heavy music, synchronized social media behavior usually points to one thing:

Something big is brewing.

The Timing Is Impossible To Ignore

This wave of speculation lands just months after Arch Enemy confirmed the departure of longtime vocalist Alissa White-Gluz.

On 23 November 2025, White-Gluz addressed the split: “After 12 years in Arch Enemy, we have parted ways.”

Her exit marked the end of a significant era. Since joining in 2014, she fronted the band through major releases, relentless touring cycles, and a period of expanded global visibility.

But the deeper layer of this story sits in who she originally replaced.

Angela Gossow.

Check This Out – Arch Enemy Albums Ranked: Loaded Radio’s Definitive Ranking of All 13 Studio LPs

The Original Torch Pass

Back in March 2014, Gossow announced her departure from the vocalist role, framing it as a personal decision centered on family and life balance.

Crucially, she didn’t sever ties.

She remained Arch Enemy’s business manager and publicly endorsed White-Gluz: “Passing the torch to the super talented Alissa White-Gluz…”

It felt definitive at the time — a respectful, forward-looking transition.

Now, more than a decade later, fans are wondering if that torch is quietly moving again.

The Teaser That Lit The Fuse

The speculation didn’t start with an interview or leak.

It started with Instagram.

Both Arch Enemy and Gossow posted matching cryptic teasers. No captions clarifying context. No press release. Just visual suggestion.

Then came the profile photo blackout.

A move so deliberate it might as well have been a siren.

Because artists don’t wipe their visual identity for no reason.

And metal fans, conditioned by years of rollout patterns, immediately smelled an announcement strategy.

Why Angela Gossow’s Name Carries Such Weight

Gossow isn’t just a former member.

She’s one of Arch Enemy’s defining voices.

Her era helped shape the band’s modern identity, delivering albums that hardened their melodic death metal edge while expanding their international footprint.

For many fans, Gossow represents:

• A landmark era
• A distinct vocal attack
• A pivotal evolutionary phase

So when her digital presence suddenly aligns with the band’s branding moves, speculation becomes inevitable.

The 2018 Hint Fans Haven’t Forgotten

Interestingly, Gossow previously suggested she wasn’t done creatively.

In 2018, she spoke about launching a new extreme metal project once her work with Arch Enemy had “concluded.”

At the time, it sounded like future-casting.

In hindsight?

Fans are re-examining every word.

Because if there was unfinished artistic business, a return to the stage wouldn’t feel impossible — especially given her continued role behind the scenes.

Loaded Radio Recommends – From Zero to Headbanger: 13 Essential Death Metal Albums for Beginners

What We Actually Know (And Don’t Know)

There has been no official confirmation of Gossow returning as vocalist.

No press statement.
No tour announcement.
No lineup reveal.

What exists is pattern recognition:

Identical teaser content
Simultaneous profile blackouts
Perfectly aligned timing

In modern music marketing, that combination rarely happens by coincidence.

Why This Rumor Has Exploded So Quickly

Because Arch Enemy sits in that rare category of bands where lineup shifts aren’t just personnel changes — they’re identity earthquakes.

And Angela Gossow returning would represent:

A legacy revival
A narrative full circle
One of metal’s most symbolic comebacks

Even the suggestion of that possibility is engagement rocket fuel.

FAQ

Did Arch Enemy Confirm Angela Gossow’s Return?

No. There has been no official announcement.

Why Are Fans Speculating?

Matching teasers and synchronized profile blackouts strongly suggest coordinated activity.

When Did Alissa White-Gluz Leave Arch Enemy?

November 2025, after 12 years with the band.

Is Angela Gossow Still Involved With Arch Enemy?

Yes. She has remained the band’s business manager.

Could This Be Something Other Than A Reunion?

Absolutely. Teasers can precede tours, reissues, documentaries, or anniversary campaigns.

Artist Bio – Angela Gossow

Angela Gossow served as Arch Enemy’s vocalist from 2000 to 2014, becoming one of extreme metal’s most recognizable and influential frontwomen. Her tenure produced landmark albums and helped redefine expectations for vocal intensity and presence in melodic death metal. After stepping down from performing, Gossow continued working closely with Arch Enemy as their business manager.

The post Arch Enemy Reunion Shock? Angela Gossow Teasers Spark Full-Circle Return Speculation appeared first on Loaded Radio.

Last November, the metal world was shocked to learn that Arch Enemy was splitting with then vocalist Alissa White-Gluz seemingly out of nowhere. She’s since moved on and started work on her solo career, but Arch Enemy’s largely remained radio silent. That is, until this morning.

In an unexpected turn of events, it seems like Arch Enemy could be welcoming back a familiar face to handle vocals, as speculation suggest former frontwoman Angela Gossow could be returning to the fold. Having remained the band’s business manager, she’s been familiar with the goings on in the band. She even gave White-Gluz her approval when the lineup change happened back in 2014.

What’s caused fans online to believe Gossow would be making her return is two fold: a teaser and a coordinated effort on social media. The teaser in question features a hooded figure holding a torch and ‘2026’ showing up. The latter comes from the fact that the cryptic teaser was posted both on the band and Gossow’s official Instagram pages and they blacked out their profile pictures. We’ve seen that last move before, so it seems to suggest something’s coming from both parties.

It should absolutely be noted that neither party has offered an explanation about the changes, nor have they issued any statements saying that Gossow will in fact be the returning vocalist for Arch Enemy. This is purely speculation at this point. It just seems like the things are lining up way too well for it not to be the case.

As our friends over at Metal Injection pointed out, it wouldn’t be out of the realm of possibility that Gossow would return. In an interview back in 2018, she mentioned that she’d be interested in starting a new extreme metal project, stating that she felt she could still be a great vocalist for a band like Arch Enemy.

“Yes, I want to make a new extreme metal project, but this will happen after Arch Enemy and work with Alissa [White-Gluz] will be concluded and the whole world will sail in calmer waters. I suppose this will be in 2018, when we concluded the first series of tours and all the rest. I will do so when the time comes.”

So yeah, only time will tell if this actually happens. I wouldn’t be shocked to see this actually come to fruition, but I’d be equally unsurprised if this was all a coordinated effort to welcome in an entirely new vocalist altogether. We’ll just have to wait and see.

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The post It Seems Arch Enemy and Ex-Vocalist Angela Gossow Could Be Reuniting appeared first on MetalSucks.

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Multi-platinum, four-time JUNO Award winners The Sheepdogs have released their new single “I Do,” the latest preview of their upcoming album Keep Out Of The Storm, due out February 27, 2026 via the band’s newly launched Right On Records.

“I Do” leans into a glam-inspired swagger, pairing stacked harmonies and driving guitars with an openhearted celebration of companionship. Frontman Ewan Currie describes the track as “one big YES,” calling it a tribute to good cheer and those moments when “it feels like the universe has tipped in your favour.” The song also features the tongue-in-cheek lyric, “I love you more than Axis: Bold as Love,” a line Currie says is “the silliest I’ve ever written,” delivered with the warmth and wink that defines the track.

Keep Out Of The Storm was recorded with longtime collaborator Thomas D’Arcy and produced by Currie. The album marks the band’s first full-length release since the departure of longtime drummer Sam Corbett. For the sessions, The Sheepdogs enlisted a rotating cast of guest drummers, including JUNO-nominated Trevor Falls, Adam Hindle of Dwayne Gretzky and Born Ruffians, Steve Kiely of Golden Feather, Jordan Murphy of Walrus and Adam Baldwin, and Dani Nash of July Talk, who performs on the title track.

The album’s first single, “Nobody But You,” has already made an impact at radio, climbing to No. 9 on Active Rock and No. 13 on the Billboard Mainstream Rock chart.

Working between tour dates, the band adopted a live-off-the-floor approach for Keep Out Of The Storm, jamming songs until they felt fully formed before committing them to tape. The result is a guitar-forward collection that blends swaggering rock with touches of glam and jam-band interplay. Lyrically, the record explores themes of change, belonging, and home, while maintaining an optimistic tone.

The album also serves as the first full-length to fully showcase guitarist Ricky Paquette, whose tone and vocal harmonies add a new dimension to the band’s evolving sound. Rather than reinventing themselves, The Sheepdogs focus on sharpening their core strengths, leaning into bigger riffs, looser jams, and a renewed sense of momentum.

The upcoming release follows a busy 2025 for the band. The Sheepdogs completed a sold-out cross-Canada arena tour supporting Bryan Adams, released the companion EPs Paradise Alone and Hell Together, and officially launched Right On Records. They also appeared in Bryan Adams and Friends: A Great Big Holiday Jam, a one-hour holiday special featuring performances from Alessia Cara, Alan Doyle, Barenaked Ladies, Lights, and more.

Their single “Take Me For A Ride” finished 2025 as the No. 16 most played song on Billboard Mainstream Rock and the No. 18 most played song at Mediabase Active Rock.

In support of Keep Out Of The Storm, The Sheepdogs will launch a Canadian headline tour beginning March 13, 2026. Currie said, “We had a ball going cross country with Bryan. Now it’s time to run it back with our own headlining tour across Canada.” The band will return to the UK and Europe later in the year for the Out All Night Tour.

Keep Out Of The Storm Tracklist:

Side A
Nobody But You
Keep Out Of The Storm
I Do
Playing All Night Long
Take A Look At Me Riding

Side B
All I Wanna Do
Bad For Your Health
Breezy
The Owl
The Yellow Line
Out All Night

2026 Canadian Tour Dates:

MAR 13 – Chatham, ON – Capitol Theatre
MAR 14 – Kitchener, ON – Centre in the Square
MAR 15 – Meaford, ON – Meaford Hall – SOLD OUT
MAR 16 – Kingston, ON – Grand Theatre
MAR 18 – Lavaltrie, QC – Chasse-Galerie
MAR 19 – Montreal, QC – MTelus
MAR 20 – Quebec City, QC – Imperial Bell
MAR 21 – Peterborough, ON – The Venue
MAR 23 – North Bay, ON – Capitol Theatre
MAR 24 – Wingham, ON – Wingham Town Hall
MAR 26 – London, ON – London Music Hall
MAR 27 – Toronto, ON – History

APR 17 – Winnipeg, MB – Burton Cummings Theatre
APR 18 – Saskatoon, SK – Coors Event Centre
APR 19 – Yorkton, SK – Anne Portnuff Theatre
APR 20 – Edmonton, AB – Winspear Centre
APR 22 – Cranbrook, BC – Key City Theatre – SOLD OUT
APR 23 – Lethbridge, AB – VisitLethbridge.com Arena
APR 24 – Calgary, AB – Grey Eagle Resort & Casino
APR 25 – Regina, SK – Casino Regina
APR 27 – Thunder Bay, ON – NV Music Hall
APR 28 – Sault-Ste-Marie, ON – The Machine Shop

OCT 16 – Halifax, NS – Light House Arts Centre
OCT 17 – Halifax, NS – Light House Arts Centre

Out All Night Tour — UK & EU 2026:

NOV 11 – Glasgow, UK – St. Luke’s
NOV 14 – Manchester, UK – Band On The Wall
NOV 15 – Leeds, UK – Brudenell Social Club
NOV 16 – Bristol, UK – Trinity
NOV 18 – Cologne, DE – Gebäude 9
NOV 19 – Brussels, BE – Botanique
NOV 20 – Utrecht, NL – TivoliVredenburg
NOV 21 – Hamburg, DE – Kent
NOV 24 – Copenhagen, DK – Hotel Cecil
NOV 25 – Stockholm, SE – Nalen
NOV 26 – Oslo, NO – John Dee
NOV 30 – Berlin, DE – Hole 44
DEC 1 – Munich, DE – Technikum
DEC 2 – Zurich, CH – Bogen F
DEC 4 – Marseille, FR – Le Makeda
DEC 5 – Barcelona, ES – La (2) de Apolo
DEC 6 – Madrid, ES – Sala But
DEC 9 – Paris, FR – Trabendo
DEC 10 – Rouen, FR – Le 106 Club
DEC 12 – London, UK – Electric Ballroom

The post The Sheepdogs reveal “I Do” appeared first on Blues Rock Review.

Does David Ellefson Believe He Should Be Part Of Megadeth’s Farewell Tour?

Yes — Ellefson says he remains available and argues that any reason excluding him would be “unfounded,” “untruthful,” and “unfair.”

TL;DR:

David Ellefson has publicly declared he would participate in Megadeth’s farewell tour, arguing there is no valid justification for keeping him out. Dave Mustaine has pushed back on involving multiple former members, emphasizing continuity and loyalty to the current lineup. The exchange has reignited one of metal’s most emotionally charged legacy debates.

Megadeth announcing a farewell tour was never going to be a quiet news cycle. Bands with four decades of history don’t just ride off into the sunset — they drag an avalanche of memory, nostalgia, unresolved tension, and fan expectation behind them.

Now David Ellefson has stepped directly into that storm.

In a new interview, the former Megadeth bassist didn’t hedge when asked whether he would consider participating in the band’s final run.

“I have always said that I am available for that.”

A diplomatic opening. But what followed carried a noticeably sharper edge.

Ellefson didn’t just express willingness — he questioned the logic of his continued absence.

“Any reason that I’m not there now is unfounded. It’s untruthful and it’s unfair because clearly there’s nothing wrong.”

That’s not passive reflection.
That’s a statement designed to be heard.

Megadeth is on tour — grab your tickets here while availability lasts!

Ellefson’s Philosophy: Fans Help Shape The Ending

Ellefson framed his comments around something deeply rooted in rock culture — the evolving relationship between artist and audience.

He reflected on the early years when bands make their first album with no fans, no safety net, no guarantees. But “album two and beyond,” he argued, only exists because listeners demanded more.

And when the conversation turned to touring, he drew a distinction that cuts straight to the heart of the reunion debate.

Making albums is music business.

Playing concerts?

“That’s show business.”

The implication is unmistakable. Live performances are about delivering an experience. And many Megadeth fans have long imagined that a farewell tour might include appearances, acknowledgments, or moments involving players from the band’s most celebrated eras.

From Ellefson’s perspective, ignoring that desire risks missing something fundamental about what farewell tours represent.

Closure is emotional currency.

Loaded Radio Recommends – David Ellefson Says Megadeth’s No. 1 Final Album “Doesn’t Sound Like Megadeth”

Dave Mustaine’s Response: Stability Over Spectacle

Dave Mustaine has shown little appetite for revisiting Megadeth’s past through rotating guest appearances or reunion theatrics.

When asked about inviting former members onto the farewell run, Mustaine described the concept as a “huge undertaking” and reinforced his preference for keeping the focus on the current lineup.

More pointedly, he dismissed the broader reunion fantasy by saying he’d rather avoid what he characterized as “puppet show Megadeth.”

It’s classic Mustaine — protective of the brand, wary of nostalgia overshadowing the present, and deeply committed to the musicians currently carrying the banner onstage.

His stance centers on continuity.

Megadeth, in his view, moves forward — even at the end.

The History That Makes This Conversation Unavoidable

This exchange resonates because Ellefson is not just another former member.

He is a co-founder.
A defining presence.
A musician whose bass work helped anchor landmark albums like Peace Sells… But Who’s Buying?, Rust In Peace, and Countdown To Extinction.

The Mustaine-Ellefson relationship has cycled through brotherhood, fracture, legal warfare, reconciliation, and eventual separation. Few partnerships in metal history have been as productive or as publicly complicated.

Ellefson himself acknowledged the emotional weight tied to Megadeth’s farewell narrative.

“…me not being part of the final farewell of something I started… [it’s] probably not something I’m super happy about.”

Not rage.
Not bitterness.

Measured disappointment.

The Black Sabbath Comparison That Will Divide Fans

Ellefson pointed to Black Sabbath’s farewell approach as a model example of how legacy bands can say goodbye.

Original members reunited.
Shared bows.
Collective closure.

“To me, that is the model of how it’s done.”

It’s a comparison guaranteed to split opinion down familiar fault lines.

Some fans believe farewells should acknowledge foundational members regardless of past tensions.

Others align with Mustaine’s long-held philosophy that Megadeth has always been guided by a singular creative nucleus rather than a democratic collective.

Both perspectives have loyal defenders.

Money Grab Concerns And Farewell Fatigue

Ellefson also touched on a skepticism that surfaces almost every time a legendary band announces retirement.

Is this truly the end?

Or part of a cycle where “farewell” becomes a marketing accelerant before eventual reactivation?

“We’ve seen this movie before.”

He stopped short of accusation but voiced a sentiment many fans quietly share. Farewell tours have, over the years, lost some emotional gravity due to repeated reversals across the industry.

Still, Ellefson ultimately offered Mustaine grace.

“If Dave needs to shut it down… God bless you, brother.”

Check This Out – Every Megadeth Album Ranked: The Definitive Loaded Radio Guide (Updated for 2026)

Why This Debate Hits Harder Than Typical Reunion Talk

Because Megadeth isn’t just another band nearing retirement.

It’s a cornerstone of thrash metal history.

And farewells force uncomfortable but fascinating questions:

Who owns the legacy?
Who deserves the final chapter?
Is Megadeth’s identity collective or singular?

There’s no universal answer.

Only perspective shaped by loyalty, memory, and personal connection to different eras of the band.

FAQ

Does David Ellefson Want To Join Megadeth’s Farewell Tour?

Yes. He says he remains available and willing.

Has Dave Mustaine Indicated Former Members Will Participate?

No. Mustaine has expressed reluctance toward multi-member reunion concepts.

Why Did Ellefson Leave Megadeth?

Ellefson was dismissed in 2021 following controversy involving leaked private messages and videos.

Could A Reunion Still Happen?

Rock history says never say never, but no plans have been announced.

Artist Bio – David Ellefson

David Ellefson co-founded Megadeth in 1983 alongside Dave Mustaine and became one of thrash metal’s most recognizable bassists. His playing helped define Megadeth’s rise through classic albums including Peace Sells… But Who’s Buying?, Rust In Peace, and Countdown To Extinction. After departures, legal disputes, and a 2010 return, he remained with the band until 2021. Ellefson continues performing, recording, and hosting “The David Ellefson Show.”

The post David Ellefson Says His Absence From Megadeth Farewell Tour Would Be “Unfounded” And “Unfair” appeared first on Loaded Radio.

Colorado’s Disgustingest have decided from the outset to go for the summit: I looked it up on Metal Archives, and while there are five bands called “Disgusting”, there’s not a single “Disgustinger,” so clearly bandleader Kendrick Lemke wanted to dispense with the pretense of aiming to be the most disgusting and just take the crown off the top. That kind of drive is admirable; all we can hope for now is a New York-style project called “Disgustingment” and the slamfinity stones will be fully collected. 

Disgustingest do not offer technical wizardry or progressive elements on their second EP, Coagulating Putrescence. It’s slam and slam alone, five songs that add up to 10.5 minutes. The snare isn’t quite a PING, but a solid CRACK that comes close enough for slams. The guitars are deliciously scooped, the chord changes are rarely anything other than a minor second, and the tuning is probably drop A or G or F or something. The vocals sound like when that one time I was on a pig farm and one sow bit off another’s labia, bree bree bree, that or occasionally the sound of pulling a rubber boot out of the mud. The logo looks like cracked vinyl covering put through a Photoshop emboss effect and the production is like recording in an airplane hanger. You either get it and can spinkick like Jean-Claude van Damme in the pit or you’re probably some kinda geeky dweeb who listens to Cynic…after the 1991 demo.  My only real complaint is that the cover art and song titles are not immediately offensive on every level, as I feel compliments slammage of this kind, but perfection is only within the realm of Allah.

…

…

That’s not to say Mr. Lemke is an idiot. Far from it, he’s one of the players behind the highly intriguing symphblack act Pedestal for Leviathan and the unusually interesting (for me) retro-metalcore band Athousandangelsandseven. But take it from me, a kid who was told he was gifted who came to realize that intelligence is often a curse: sometimes to be smart, you gotta get dumb stupid. Mr. Lemke has a pedigree (pediBREE?) in this shit too: he played for Bodybox for a minute, that gaggle of Floridiots who turned primitive white trash deathcore into…well, not an art form but elevated its profile to a substantial degree. You can hear some tasteful moves in Disgustingest as well: not all of the chords are your standard one-finger barre chord chugs, but occasionally scare chords or other sustained oddities. The last couple of tracks on the EP also go into the sort of loose “slam shuffle” that Disfiguring the Goddess perfected some years back, which is always a welcome addition to the usual halftime pounding.

Ultimately, Coagulating Putrescence will likely not convince the unconverted, but will more than satisfy the aficionados. It’s guttural metal for unemployed people, hubcap stealers, and people like me who aren’t either now but have been one or the other at some point.

…

Coagulating Putrescence is available February 20th via Paper Wings Records.

It’s finally Friday. The work week is almost over and there’s new metal music to enjoy. So sit back, pick something to listen to, and crank that volume up like a motherfucker. You earned it.

Converge

Love Is Not Enough (Epitaph)

Kick your weekend off by getting your teeth kicked in with this one. Converge’s first album in nine years is pure, unfiltered chaos — all the signature violence, precision, and barely contained emotion you’d expect. It doesn’t just hit hard; it feels like a long-overdue emotional purge.

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Hoaxed

Death Knocks (Relapse Records)

The witchy duo from the Pacific Northwest has grown into a trio and the result is a fuller, bigger sound that properly matches their melodic, witchy energy. With this being their second crack at a full-length album, there’s definite grown apparent in this one, but it still has plenty of what makes this group so fun to listen to in the first place.

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Mariachi El Bronx

IV (ATO Records)

This is The Bronx, just doing mariachi music. In a time where the other is sort of demonized here in the States, it’s great to see them pick up the mariachi mantle for the first time in 12 years. This may not be metal, per se, but it’s a great listen nonetheless. And you deserve to have some culture in your life, you philistine.

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Ponte Del Diavolo

De Venom Natura (Season Of Mist)

This is one hell of a musical goulash. There’s so much going on in this band’s sound that it’s a little hard to explain. There’s doom, there’s some dark rock, a little electronica… all mixed and meshing well with each other. It is in Italian though, so just be prepared to start looking up what’s being said. Or learn Italian, I dunno what to tell you.

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Worm

Necropalace (Century Media)

If you like evil music that sort of sounds like it would work as the backing track to a campy horror flick, then you might be down for this. It’s theatric as hell and well worth a listen if you enjoy death metal, doom metal, or something in between.

Other Shit That Comes Out Today:

Angel Du$t, Cold 2 The Touch (Run For Cover Records)
Ashbringer, Subglacial (Bölverk Collective)
Bloodred, Colours Of Pain (Massacre Records)
Fossilization, Advent Of Wounds (Everlasting Spew Records)
Frostmorner, Orbital Kaos (Wormholedeath Records)
Glassbone, Ruthless Savagery (Frozen Records / Iron Fortress)
Malefic, Impermanence (Terminus Hate City)
Space Of Variations, Poisoned Art (Napalm Records)
SUBMASQ, Oedipus (SUBMASQ)
The Hellacopters, Cream Of The Crap! Vol. 3 (Nuclear Blast)

The post Sh*t That Comes Out Today: February 13, 2026 appeared first on MetalSucks.