Chart-topping, British metalcore icons Architects are set to return to the U.S. in 2026, announcing a short North American headline tour kicking off in Reno, NV on April 28, with support from Holywatr, and making stops at Welcome To Rockville and Sonic Temple festivals. Artist presale tickets are available today at 2 PM local time, followed by additional presales throughout the week. General […]
(January 21, 2026) – Explosive hard rock band DOGMA return to the States this Spring on the Time to Rise Pt. 1. U.S. Tour 2026 with special guests Frayle. Kicking off on March 15 in Seattle, WA, and wrapping on April 3 in Philadelphia, this leg of the tour will see the group perform on key dates in New York City, Washington, D.C., San Diego, Dallas, and more. Full dates are below.
Frontperson Lilith says, “Last October and November, during our last U.S tour dates, we carried a message that was still taking shape. Some paths were broken before they could be completed, and certain cities were left waiting. That tension did not fade. It stayed with us, sharpened us, and demanded a proper return.”
She continues, “Time to Rise Part I U.S. Tour 2026 emerges from that demand. What comes next carries intention, consequence, and elements that will not announce themselves in advance. There will be moments you are not prepared for, choices you didn’t plan to make, impulses you didn’t expect to feel, and yet, you will feel them. Anaheim and Reno are part of that reckoning. To the sinners who remained present despite uncertainty: this chapter is written with you in mind. What rises now does so with purpose, weight, memory… and temptations that will test how far you’re willing to go.”
Time to Rise Pt. 1 U.S. Tour 2026 dates (with special guests Frayle):
March 15 – Seattle, WA – Substation
March 17 – San Francisco, CA – The Independent
March 18 – Los Angeles, CA – 1720
March 19 – Reno, NV – The Alpine
March 20 – Anaheim, CA – House of Blues
March 21 – San Diego, CA – House of Blues
March 24 – San Antonio, TX – Vibes Studio
March 25 – Dallas, TX – Trees
March 27 – Madison, WI – The Annex at The Red Zone
March 28 – Joliet, IL – The Forge
March 29 – Chesterfield, MI – Diesel Concert Lounge
March 31 – New York, NY – The Gramercy Theater
April 1 – Washington, DC – Black Cat
April 2 – Bethlehem, PA – Fowler Blast Furnace Room
April 3 – Philadelphia, PA – Kung Fu Necktie
Dogma is offering a limited-edition presale bundle with ticket purchase, including an exclusive design of the “spitting nun” T-shirt. For more information, visit HERE. Fans can also sign up HERE for a pre-show Meet & Greet, which includes surprise sweepstakes and a band photo.
Malignant Aura – Where All of Worth Comes to Wither > Death/doom > Australia > Releasing January 26 > Memento Mori
Way back in 2022 (which I swear feels like a decade ago already) I contributed a short writeup on Malignant Aura’s debut LP Abysmal Misfortune is Draped Upon Me to one of our monthly roundup articles. Among the words I said were these: “These are tracks you will get lost in, that you’ll wallow forlornly in, tracks that burn like fire and then bury the ashes beneath six feet of cold dirt.” It was a record that felt both shorter and longer than its 54 minutes in that it was easy to close your eyes and sink into the melancholy of it all, drifting through shadows and graveyards before being jolted from dark revery by furious charges of anger, unseen clouds pouring rain out of thunder-cracked skies. My expectations for this new LP were, accordingly, high.
As it turns out, Where All of Worth Comes to Wither is a more distilled, more violent experience than its predecessor. It stretches across 45 minutes in only five tracks, one of which functions as an intro, and in that more concise runtime it manages to delve deeper into both ends of the death/doom spectrum. It’s an album of sanity’s frayed edges, of trying and failing to balance grief and rage inside a single tormented vessel. Miserable pits of sorrow, uncontrollable frenzies of sheer violence. Where All of Worth Comes to Wither plumbs the depths of the human soul, the suffering of the psyche, and the ugliness within mankind, then paints all of it into one monstrous canvas of disparate yet indisputably related elements.
You’ll notice not long after the gongs(!) crash to open the first minute of the instrumental title track that GODDAMN is the guitar tone wicked on this record. It’s caustically sharp, the sort of burning, almost buzzing sawtooth sound that almost hurts to take in. A quick peek behind the credits curtain shows producer extraordinaire and Damn Good at Recording Loud Sounds Guy Brendan Auld at the board for his fellow Aussies, plus Arthur Rizk as masterer, and that makes sense: two guys who understand the best ways to get heavyweight-class old school sound with the best of modern means. The guitars should be and are the stars here, intertwining gloomily, meandering together, lulling you to an accepting sort of despondency as they rise and fall. Then comes the sudden arrival of “The Pathetic Festival”, shattering the doors to splinters and seizing you by the hair, forcing a torrent of hateful death down your throat.
This transition is the Where All Worth Comes to Wither experience in its most essential form: dirging, funereal sorrow, overcome with overwhelming whirlwinds of rage and pain, eventually sinking back into despair. Deep, gripping tremolos from the guitars offset by jabbing staccato licks launch “The Pathetic Festival”, which is the tightest of the album’s non-intro tracks at seven minutes. At times it’s almost martial, then it’s crushing, angular doom, then it’s revisiting the opening blast of battering death. Across it all are the tormented, gutty vocals of Tim Smith, whose performance here is grotesque, horrendous stuff (complimentary). Spewing, choking, howling, growls full of phlegm and bile, stentorian pseudo-spoken word: it’s spectacular stuff.
This record is simply stuffed to the gills with tremendous moments. There’s a goddamn RIFF and a half at :49 in “Languishing in the Perpetual Mire” that hits a syncopated groove and churns in a deeply satisfying way, and a brutish swinging compound meter crusher around the four-minute mark. The ending stretch of “Beneath a Crowd of Anguish” feels like a slow descent into the hell of madness, an incisive dropping riff compelled first by incessant blasts before it slows and expands, gaining what feels like tons of weight as it grinds down. The production supports across the board, and sometimes it makes the moment: for example, the dry snare’s popping tone is dominant in passages of merciless blasts in a way that makes those moments feel more frenzied and desperate.
Album art by Paolo Girardi
My favorite parts of the record are unaccompanied sections of twin guitars, burning and weaving in and out of one another slowly in a way that’s clearly informed by Mournful Congregation’s early works (and with tasty old school tone to boot). A passage like this leads us to the ending stretch of the “Languishing in the Perpetual Mire”, establishing a beautiful sorrow-drenched motif which the rhythm section rejoins, providing a palette for desperate solos and somber spoken word that close the track. Another of these intertwining guitar passages actually begins the song, and yet another signals the beginning of the end as enormous closer “An Abhorrent Path to Providence” enters its final quarter; emerging from beneath a particularly tortured vocal passage, the guitars feel like the grave dirge leading us home, taking us into eternity.
THE BOTTOM LINE
The follow-up to a great album in Abysmal Fortune is Draped Upon Me, Where All of Worth Comes to Wither is like a more concentrated, more punchy version of a proven formula. Malignant Aura’s willingness to push even further into both the funereal and death metal edges of their sound, and their ability to write captivating songs that deftly incorporate those elements, make this sophomore effort a particularly excellent one.
Good Day Noir Family,
A cold pulse introduces Laugh at the Tragedy, and it arrives with confidence. The opening track, “Polarity, establishes right away James Laurent’s futuristic direction.
Laugh at the Tragedy is James Laurent’s Album Out Now
Electronic grooves rub against the skin, while neon-tinted textures pull the listener into a dystopian frame of mind. At the same time, the beat invites movement. It scratches and seduces, creating a space where tension and release coexist.
Next, “On My Altar” shifts the mood without breaking continuity. A light guitar riff sets the scene and then the track soon mutates. Funk-inflected rhythms appear, and the song leans toward the dancefloor. Still, darkness lingers. The club atmosphere feels shadowy, almost ritualistic. The track wraps around you, urging motion while keeping a sense of unease.
“Anesthesia” follows with a more fragile entry. It flickers like a candle flame, unstable and intimate. Here, Laurent places his voice front and center. The delivery feels intense and exposed. Meanwhile, the dynamics change often, which keeps the track alive and unpredictable. This willingness to experiment defines the album’s identity and reinforces its forward-looking vision.
One of the standout moments arrives with “Crashout.” The atmosphere turns nocturnal, and the vocal treatment becomes slightly megaphonic. The song feels as if it’s transmitted from a parallel dimension. The push of the rhythm is steady, yet the mood remains reflective. You are left suspended, observing a plastic, night-colored universe that slowly closes in around you.
The closing track, “Dancing with the Devil,” brings introspection to the surface. The title alone sets expectations, and the song delivers. It feels like one of those late nights spent confronting personal shadows. The keyboard line circles relentlessly, echoing like distracting voices in the mind. Instead of resolving the tension, the track lets it linger, which suits the album’s emotional arc.
Overall, James Laurent’s music recalls a darker interpretation of Twenty One Pilots and Empire of the Sun, filtered through a more alternative lens. The album never feels derivative. Laugh at the Tragedy stands as a cohesive and immersive body of work, driven by atmosphere, rhythm, and a clear artistic focus.
Laugh at the Tragedy is James Laurent’s Album Out Now!
Intense!
James Laurent is an alternative artist blending pop-punk energy with cinematic emotion. Ecuadorian by heritage, Milwaukee-born and LA-based, he creates his music entirely solo—writing, recording, mixing, and mastering every release.
His track “Fake Love” earned Apple Music Editorial placement on New in Rock, leading into his December 2025 debut album Degen Z. An RIAA Gold-certified artist and experienced engineer, Laurent combines technical precision with raw emotional impact.
Good Day Noir Family,
An uneasy calm opens the door to “This Will Be The End Of Everything,” and it is clear that Absinthe Vows are not offering comfort.
This Will Be The End Of Everything is Absinthe Vows’ Single Out Now
Futuristic pads rise with a cold glow. Then the voice enters. It carries a raw punk edge, yet it never abandons melody. The tension appears immediately, and the track begins to pull in different directions at once.
Soon after, the rhythm section locks in. The drums sound precise and exposed, and the snare hits with an almost industrial sharpness. The cyber-punk character of the track becomes fully visible. This is not chaos for its own sake. The beat pushes forward, yet it leaves space for the atmosphere to breathe.
When the guitars arrive, the song expands suddenly. Distortion cuts through the mix like metal edges, and the track takes on a sharper physical presence. It never collapses into noise. Instead, the structure remains disciplined, even when the energy spikes. This balance gives the song a restless but controlled momentum.
Later, the arrangement pulls back. Around the 1:45 mark, the bass steps forward and the track seems to hollow out. At this point, the music starts to feel ritualistic. The repetition becomes hypnotic, and the groove gains weight. Although the intensity drops, the sense of purpose grows stronger.
Cinematically, the song recalls the cold precision associated with Stanley Kubrick’s films. There is distance here, but also obsession. The music seems suspended in a mirage, as if reality itself were unstable. Because of that, the central theme lands with force. Time passes, everything shifts, and nothing remains fixed. What we see, and hear, exists only for a moment.
Absinthe Vows present a vision that is bold, sharp, and deeply considered. This is a band unafraid of intensity, and one clearly driven by a strong artistic identity.
This Will Be The End Of Everything is Absinthe Vows’ Single Out Now!
Visionary!
This Will Be The End Of Everything is Absinthe Vows’ Single Out Now
Absinthe Vows, a band from Columbus, Ohio, was formed in 2021. Influenced by a range of artists spanning from Joy Division and T-Rex to Nirvana and Alice In Chains, they bring a unique blend of post-punk and traditional/alternative rock to the modern music scene.
Kenny Chesney Announces Six More Shows — Music for New Dimensions July 1, 3, 4, 8, 10, 11 “For me, if we’re gonna do this, let’s make it count!”
Tickets to Added Dates On Sale Friday, Jan. 30 at 10 a.m. PT via KennyChesney.com
When Kenny Chesney decides to do something – whether it’s Heart Life Music, his No. 1 New York Times best-seller, which he called “a love letter to the journey,” or taking No Shoes Nation into a whole new dimension with his groundbreaking Sphere residency – he truly commits to the process, the music, the experience, and especially the fans. Having realized all the opportunities Sphere’s production capabilities offer to deepen how people experience these songs that have defined their lives, he doubled down on playing Sphere in 2026.
“Beyond how different it was, there was all the fun,” offers the 2025 Country Music Hall of Fame inductee. “Seeing all the faces, plus all the crazy things we could do with the sound and visuals, I knew well before we finished, we were coming back and taking all of it even further. With all the work that’s going into changing up over half the show, adding more songs we might not be able to play in stadiums, pulling some surprises, five shows weren’t going to be enough…
“When we were able to make the 4th of July weekend a flyaway, come stay, see Guitars, Tiki Bars and let’s share a whole lotta love, I was very much, ‘Let’s do it.’ So, we did. Like we flashed on the screen at our final show when it said, ‘See you next summer’ – we’re setting up for summer vacation, only the sand isn’t a beach, and you don’t have to drive anywhere!”
For the only country artist on Pollstar’s Top 10 Touring Acts of the 21st Century – landing between Bruce Springsteen & the E Street Band and Metallica – creating the ultimate concert experience requires a lot of commitment. Taking Sphere even further means the five previously announced June shows and these six dates will be Chesney’s only headlining concerts this summer.
Calling last year’s residency “a sonic and visual rollercoaster,” USA Today headlined their review “Kenny Chesney delivers a vibrant, visually arresting feast.” While it’s a high bar to cross, it’s everything the songwriter/superstar from East Tennessee lives for. Not only is he thinking about how to make it even more, Chesney’s looking to enrich the feeling of community for the millions of people who’ve lived, loved and built their best times inside his songs.
“This isn’t something you can do every year,” explains Billboard’s No. 1 Country Artist of the 21st Century. “But to be able to put two years together, to take what you know and double down on something so unique? It’s an opportunity for us, No Shoes Nation and even people who just love Sphere shows to experience the joy in a completely different way.”
Beyond Chesney’s high energy shows, this year’s Sphere concerts will include several different ways to experience Kenny culture. Like last year, the free-to-all Guitars, Tiki Bars and a Whole Lotta Love experience will return – in a whole new location – to bring people inside the journey. Beyond that, there are several different packages and opportunities to enjoy; many affording additional time to hang out with fellow citizens of No Shoes Nation beyond the actual concert.
Vibee, the music-led destination experience company, is the official VIP Concert & Hotel Experience Package partner for Chesney’s shows at Sphere. All Concert & Hotel Experience Packages include a choice of ‘The Sandbar’ (floor GA) or premium reserved seating at Sphere, a collectible laminate and lanyard, access to ‘Guitars, Tiki Bars and a Whole Lotta Love – the Kenny Chesney Fan Experience’ pop-up – and a two-night stay at The Venetian Resort Las Vegas – the only resort connected to Sphere. ‘Live Like We Do’ package holders will enjoy additional VIP perks, including priority entry to Sphere, access to exclusive VIP space ‘The VERY Vibe Room’ with a dedicated merch store and special programming, priority access to ‘Guitars, Tiki Bars and a Whole Lotta Love – the Kenny Chesney Fan Experience,’ luxury motorcoach transport to and from the airport, an exclusive Kenny Chesney curated gift bag and more. For guests who do not require accommodation or airport transfer, ‘Roll Like We Do’ VIP Concert Experience Packages will also be available. For more information and access to tickets through Vibee’s packages, please visit kennychesney.vibee.com.
Kenny Chesney Live at Sphere Las Vegas
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Dharma Guns has released the third single from their second album
due out in April 2026
“Scale of the Universe” leans on the band’s familiar strengths: a catchy guitar riff and a singalong chorus. The track is classic Dharma Guns, equally at home in grimy rock bars and on stadium stages.
“It was one of the last songs added to the recording sessions, and maybe that’s why it stands out from the rest. Some pieces had to be forced into place. We added power chords and a one-note rock piano, ditched the original chorus for being too pop, and wrote a couple of ‘woo-ou’ shouts for the backing vocals. And there you have it – the ingredients of a Dharma hit,” says singer-guitarist Pete.
A music video was also released for “Scale of the Universe”, filmed in the wintry Helsinki. As usual, the video was created by the band’s drummer Olli Vartiainen, and marks his eighth video for Dharma Guns.
Lyrically, the song places the absurdity of human life and the difficulty of making choices into perspective as a minor side note on the universe’s timeline. It’s hard not to join in on the refrain: “Everything in the scale of the universe.”Vocally, the track also represents something new for Dharma Guns.
“When we were recording vocals, our engineer Sammy Aaltonen compared it to Danzig. But that was probably just because of the line ‘hungry as a wolf’,”
Pete laughs before continuing:
“As the world seems to get crazier by the minute, it felt necessary to distance myself a bit from the outbursts of warmongering narcissists and climate deniers. On a universal scale, our problems are pretty small, no matter the issue. That doesn’t mean I won’t tackle those same lunatics again on the next song.”
Dharma Guns’ second album will be released in April. The first single from the upcoming album was “King of Action Rock”, released in October, followed by the second single “Devil’s Beat” in November. The band’s debut album Ex-Generation Superstars was released in November 2024.
In support of the new album, Dharma Guns will hit the road on a tour that includes UK dates with Steve Vincent.
“every tick tick tick” named 2026 Record Store Day Song of the Year
Taken from the new album no country for old men coming April 18 via Org Music
2014 Record Store Day Ambassador /hip-hop legend Chuck D (Public Enemy) joins forces with The Doors’ iconic drummer John Densmore on a new project: doPE. Their debut album, no country for old men, blends spoken word, rhythm, and raw social commentary to bring together generations of rebellion and reflection and includes the 2026 Record Store Day Song of the Year: “every tick tick tick.”
“It’s been an honor working with Chuck D. on this project. He’s got the rhymes & I’ve got the beats… & we made doPE!”
-John Densmore
no country for old men was recorded specifically for Record Store Day 2026, and the limited-edition, oxblood docs transparent high-melt vinyl album arrives in record stores on April 18 via Org Music housed in a deluxe gatefold package featuring original illustrations by Chuck D himself.
The origins of doPE trace back to a chance encounter after the two musical legends met on a Record Store Day panel in 2014. Densmore received an unexpected email from Chuck D a year later that simply read: “You’ve got the beats, I’ve got the rhymes, let’s make doPE.” Shortly afterward, Chuck stylized the word doPE, using the first two letters in The Doors’ iconic logo and the last two with Public Enemy’s unmistakable icon and launched a creative exchange that bridged generations, genres and cultural movements.
When Chuck D began sending verses to collaborate on, Densmore responded with, “Everybody gets older, but not everybody gets elder.” The phrase became a philosophical cornerstone of the project, a meditation on responsibility, legacy and the bond between generations. And their artistic volley evolved into “no country for old men,” the album’s title track and thematic anchor.
“John Densmore’s beat isn’t just rhythm, it’s history talking,” says Chuck D. “He’s been scoring moments of our culture for decades, and that wisdom hits different when it meets the now. This collaboration is about locking generations together and pushing sound forward.”
Produced by David “C-Doc” Snyder, John Densmore and JP Hesser, “every tick tick tick” captures the urgency of hip-hop, the raw pulse of rock and a shared sense of social responsibility. Record Store Day’s choice of this track as the 2026 Song of the Year is a full circle moment in and of itself, as it was a 2014 Record Store Day event at Amoeba Music Hollywood that first brought Chuck D and John Densmore together.
“To me, the song “every tick tick tick” captures that moment, as well as the times we’re living in,” says Record Store Day Co-Founder Michael Kurtz. “They both have an extensive history with record stores and with Record Store Day – Chuck served as RSD Ambassador and has celebrated by spending the day at various stores around the country. The Doors have released more titles for Record Store Day events than any other band, and when John released his book, The Doors Unhinged: Jim Morrison’s Legacy Goes On Trial, he toured record stores from Los Angeles to Paris to bring it to fans. I’m excited about this new doPE album by John and Chuck and to have “every tick tick tick” be Record Store Day’s 2026 pick for RSD Song of the Year.”
Find out more about Record Store Day and participating stores visit recordstoreday.com. The full list of special releases coming April 18 as part of Record Store Day 2026 is coming soon.
It is said that all good things must come to an end, yet one can’t help but take note of the scores of veteran bands and artists spanning the decades who have had farewell tours before many of us were born, yet are still at it on the road or in the studio.
In this context, there is a level of earnestness that comes with the unique case of Bay Area thrash metal legends Megadeth and their tireless helmsman Dave Mustaine’s announcement of their part in the grand metal experiment coming to a close, and not merely because the latter has yet to hint at permanently hanging it up until entering his mid-60s, after kicking a nasty case of cancer to the curb no less.
Love him or hate him for his brazen style of communication, Mustaine is not one for misleading his fans for the sake of marketing or notoriety; what you see and hear is what you get. Thus, the 17th and purported to be final studio offering of Megadeth, bearing the same name no less, comes with few surprises, but also with zero punches pulled.
To dispense with the obvious, Dave has never failed to be a master at scouting the perfect talent to maximize Megadeth’s potential in the face of numerous lineup changes, and the recent departure of Brazilian virtuoso guitarist Kiko Loureiro has proven a case study in this respect.
Filling the vacant slot of Mustaine’s technical foil on the six-string is none other than Finnish guitarist and renowned Wintersun member Teemu Mantysaari, who seamlessly blends his chops into the old school thrash metal formula alongside the punchy battery of bassist James LoMenzo (taking the place of the departed Dave Ellefson as he did in the late 2000s) and elite drummer Dirk Verbeuren.
Mantysaari often weaves ingenious solo passages reminiscent of the majesty of Marty Friedman’s early run under the Megadeth banner, as well as occasional flourishes of his more recent virtuoso predecessors Chris Broderick and the aforementioned Loureiro. The resulting metallic militia of our under Dave’s command dishes up a sound that often reminisces upon the glory days of 80s thrash, but frequently touches upon the more nuanced character of Megadeth’s commercial zenith during the early to mid 90s.
Whether the song hits fast and ferocious or mid-paced and menacing, this eponymous audio book in 11 chapters is peppered with intricate elements at almost every point. Among the promotional singles to have been building up hype online, the high octane mayhem of the opening foray “Tipping Point” and the riff happy throwback to thrash’s formative years at warp speed “Let There Be Shred” are the obvious favorites, each bursting at the seams with neck-destroying brilliance and topped off with Teemu’s expert-level flashy leads nearly everywhere that the vocals aren’t.
That being said, the up-tempo slab of punk attitude with a more technical edge, “I Don’t Care,” is by no means a slouch in the intricacy department, even if the lyrical scheme gets a tad repetitive. Rounding out the teaser tracks is the more rock-infused, mid-paced anthem of discontent “Puppet Parade”, which leans a bit closer to the mid-90s side of the Megadeth coin, matching the crunchy stomp of select offerings from 1994’s Youthanasia with a melodic scheme and riff set that points to Cryptic Writings bangers like “Almost Honest” and “Secret Place”.
The album’s pacing feels like a nostalgic back-and-forth: fast thrash blowouts, chunky mid-tempo crushers, then another burst that drags you back into the pit. And the standout moments keep stacking up. One of the slower cuts, “Hey God!”, still lands as one of the heaviest tracks here. It leans into that mid-’90s tension and grit, and its riffing will sound instantly familiar to anyone who’s worn out “Symphony Of Destruction”.
“I Am War” hits with a gritty punch, blending early-’90s weight with the kind of melodic hooks Megadeth leaned into later in the decade. On the other end of the spectrum, “The Last Note” is a melancholy, story-driven ballad that echoes “A Tout Le Monde” in a few key ways, especially in the haunting acoustic passages. Even so, it spends much of its runtime in a higher mid-tempo lane, and it carries a heavier edge than you might expect.
Still, this band is at its best when it floors it. That’s where “Made To Kill” and “Obey The Call” deliver: two militaristic thrash bruisers built for the pit. “Obey The Call” also starts with an atmosphere that briefly recalls “Mary Jane” before it detonates into something much more aggressive.
For a band that has announced that the end of the trail is well within sight, Mustaine and company have definitely opted to go out with a bang. The overall quality of what is presented here mirrors the consistently glorious character of the past couple of entries in The Sick…The Dying…And The Dead and Dystopia, respectively, as well as that of the late 2000s smash Endgame.
For his part, Dave’s voice has a tad bit more power and edge to it than what he’s put forth in the past decade or so, but where this album truly sells itself is in the songwriting and execution department, which speaks as much to the brilliance of Teemu’s, James’ and Dirk’s contributions to the colossal sound that emerges as it does Mustaine’s prowess and ingenuity. This is underscored by the high energy cover of one of Dave’s songwriting contributions to Metallica’s greatest studio accomplishment Ride The Lightning, namely the title entry, which is reproduced with a generally drier production quality and with only a few tweaks around the periphery, but showcases why his contributions to thrash metal’s rise and development are no less consequential than any other individuals tied to The Big Four.
It’s a bittersweet consolation for those who only came to this metal original recently or are likewise hungry for even more, but if this truly is the end, it’s hard to imagine a better send-off.
Release Date: January 23rd, 2026 Record Label: BLKIIBLK Genre: Thrash Metal
