Now in its third year, Malmo Melodic continues to grow in scale and stake a claim to be the world capital of the melodic rock community for one weekend. There were 30 countries represented, once again with the United Kingdom … Continue reading
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Interview by Angela Croudace For Sonny Lanegan, frontman of Noir Addiction, music is about creating something authentic enough to pull listeners into its world. Speaking about the band’s latest EP, Pretty Things Don’t Last, Sonny explained that its songs explore love, obsession, addiction and the desire to escape life. While each track stands on its […]The analogy of medieval warfare to traditional expressions of heavy metal is an apt one, for the skill of the blacksmith and the swordsman alike tends to determine who walks off the battlefield. In this respect, multi-instrumentalist and composer Andrew D’Cagna is among the rare sort that forges his own tools and wields them in combat, boasting a healthy level of participation in the present American metal scene between more than half a dozen projects, spanning the subgenres of doom, folk, black, heavy, and power metal.
Though noteworthy bands like Icarus Witch and Nechochwen have seen fairly prolific output over the past decade with his input, his primary focus has remained upon the traditionally grounded heavy/power metal powerhouse outfit Ironflame. Now 6 full-length albums deep into a career that has seen D’Cagna going it mostly alone in the studio, Worlds To Conquer is the latest towering palace of sound to be constructed by this one-man metallic legion.
To those not initiated into this NWOTHM stalwart, Ironflame marches to the beat of a similar stylistic drum to that of fellow compatriots Visigoth and USPM revivalists Twisted Tower Dire. Epic themes of battlefields of a historical or fantastical character are implied in every single crushing riff and soaring vocal melody, tempered with a very methodical and polished approach to songwriting and execution that often resembles the gallantry of Hammerfall, but is more so rooted in the gritty character of 80s American heavy and power metal icons like Dio and Riot V.
Occasionally, D’Cagna’s outside involvement in various doom and black metal projects seeps into the stylistic flow of things, be it a dreary atmospheric passage or a slower-paced haunting metallic interlude reminiscent of Candlemass, and even a few isolated nods to the early 90s aesthetic of Scandinavian 2nd wave icons Darkthrone and Satyricon. Distilled into a cohesive opus by Andrew’s prowess as a guitarist, bassist, keyboardist and drummer; to speak nothing of his powerful tenor voice that is uncannily similar to that of Solitude Aeturnus’ own Robert Lowe, it’s a mighty undertaking by any standard.
In storybook fashion, Worlds To Conquer establishes a vivid setting and comes with a healthy supply of twists and turns befitting a grand tale. The somber ode of a lone piano sets an epic doom tone at the onset of the opener “Night Closes In”, which explodes into a galloping charge with a mighty battle cry ringing out of D’Cagna’s voice with every note, often adorned with rich intermittent harmonies that are echoed in the accompanying guitar assault. The follow-up crusher “Legion Of Fire” effectively blurs the lines between a vintage mid-80s USPM sound and a pummeling late 80s Bay Area thrash attack, upping the aggression ante further while maintaining a consonant melodic character topped off with a riveting guitar solo duel.
The mid-paced drive of “Dynasties Fall” lies on a heavy helping of Iron Maiden-inspired harmonized guitar splendor above a bottom-heavy foundation; meanwhile, the old-school metallic bluster of “Where Cauldrons Burn” and “Shadow Slave” function as near-complete throwbacks to the 80s heyday of Dio and Armored Saint. With each passing anthem, the plot thickens further, pushing towards an explosive apex point, yet all the while never really venturing too far outside of what would be considered a conventional song.
The fast-paced cruiser “Crimson Shores” generally functions as another thrash-infused power anthem with an even more amped up drum performance and some occasional bass flourishes to complement the busy guitar work, not to mention featuring the most technically charged guitar solo section of the album. “Valhalla Is Calling” manages to take it a step further by trading in the thrashing quickness for a more progressive blend of ideas, frequently shifting in feel and stylistic dimension from a Crimson Glory-inspired metallic upsurge to a pulled-back Candlemass-infused stomp, then segues into a blast beat interlude out of nowhere for added measure.
The final hurrah and title entry “Worlds To Conquer” would seem to have practically nowhere to go relative to its 2 predecessors, yet stands tall at the top of the fray by delivering the most spellbinding vocal showcase out of D’Cagna above the most mercilessly memorable earworm anthem of the whole bunch.
30 years prior, the American mainstream was delivering what it thought was the eulogy of old-school heavy metal, and it might well have been so were it not for the defiance of bands of the same pedigree as this one. Much like the booming NWOTHM movement that has coincided with its 2016 birth, Ironflame is a band that stands on the old ways without even the hint of an apology, and isn’t afraid to take risks when the moment is right.
There might be times when this album feels like it came out alongside the mid to late 90s exploits of Twisted Tower Dire’s debut and Slough Feg’s Twilight Of The Idols, but it packs enough of a modern punch to be perfectly at home with what heavy/power metal has been bringing to the table in 2026. It’s a slight cut below the legendary offering that was this outfit’s third studio LP, Blood Red Victory, and smash sophomore outing, Tales Of Splendor And Sorrow, but core fans of this band and traditional metal in general will find an opus that wants for very little here.
Release Date: August 14th, 2026
Record Label: High Roller Records
Genre: Heavy Metal
Order the album here.
The post IRONFLAME – Worlds To Conquer (Album Review) appeared first on Sonic Perspectives.
Like a decrepit old corpse that has been marinating in the earth for a few decades and decided to rise again just to remind the surrounding town what’s waiting for them in the future, sludge is an art form that just seems to get better with age. This was perhaps best understood by the New Orleans scene that perfected the craft after the initial strides of its Pacific Northwest forerunners Melvins, though the hardcore-infused doom metal bug didn’t take long to make its way across the pond and plant a few auspicious seeds like that of Nottingham’s own Iron Monkey.
Roughly 30 years to the day that said outfit made a respectable studio splash in the mid to late 90s, a new disciple of sorts has emerged from the same locale in Tomb Slab, built out of several active members of the English Midlands’ underground extreme metal scene and bringing a more blackened take on the sludge equation, forging an eponymous debut that could be best described as pleasantly modern in its traditional ugliness.
At every turn, this outfit telegraphs their influences in the most overt ways possible, yet paints them with such an intense enthusiasm that it comes off as music that could have been unleashed in ’96 were the production of a more lo-fi character. Guitarist James Caygill’s mud-steeped riffs and feedback-rich tone are almost dead-ringers for the sort of filthy sounds that Jimmy Bower and Brian Patton were drawing from the instrument during Eyehategod’s heyday, though at times the underlying Black Sabbath influences are more pronounced.
This tendency towards a vintage doom sound is further bolstered by the loose jamming quality of the rhythm section, particularly that of Kez Whelan’s drumming, which often feels like a slightly slower emulation of Bill Ward’s classic early 70s handiwork with shades of Chris Hakius’ cymbal-heavy attack, whereas John Hunter’s bass work is more straightforward and anchors an otherwise chaotic arrangement. The outlier of the pack is vocalist Dean Lettice, who opts for a uniform blackened shriek that puts a diabolical twist on an otherwise agony-based aesthetic.
As a total package, Tomb Slab comes close to blurring the lines between a studio LP and an EP, opting to give the listener six individual tracks the hard way in just over half an hour yet leaving nothing to the imagination. Leaning heavily into a more traditional doom feel, the opening 6-minute slough “Kingdom Of Tyranny” pummels the auditory marshlands with the force of an anvil, and the massive splash of decrepit water and earth lands somewhere halfway between a blistering Nola offering and a more laid-back stoner anthem, albeit with a raving voice at the helm.
The maddened resound of “The Butcher” kicks up the tempo a bit more following a choir of guitar feedback and a glassy bass exposition of the main riff and definitely ranks as one of the heaviest offerings of the bunch, while the quick-paced heavy rocking ode to Clive Barker’s classic Irish horror flick “Rawhead” has banger entry written all over it. The up-tempo carnage continues with a mighty slab of Iommi-inspired riffing with double the fury, “What’s Below Remains Below”, which is contrasted by the punishingly slow and harrowing trudge of “Tomb Of Flesh”, taking the cake in terms of raw, unrefined nastiness alongside the elongated final blast of down-tempo sonic suffering “Toils Of The Unclean Spirit”.
Though enthusiasm often finds itself standing in the stead of originality in Tomb Slab’s playbook, the sheer level of the former effectively cancels out any deficit in the latter. Then again, there is definitely something to be said for how changing a single element in the equation, in this case the vocal approach, can shift its dimensions into something far more unique.
This isn’t to say that Lettice’s approach is entirely without precedent, and Johnny Morrow’s often higher-pitched shrieks did strike a bleak and agonized tone that was undoubtedly an influence on how these songs were crafted, but the former just takes it a step further and presents a rather interesting alternative universe where Gorgoroth or Darkthrone ended up dabbling in sludge/doom.
The result is something that is not entirely a retread, but can still be best appreciated as a heartfelt tribute to a sound that was all the rage 3 decades ago and has been making the rounds again in recent years, and definitely something with lots of future potential.
Release Date: July 17th, 2026
Record Label: Independent
Genre: Blackened Doom/ Sludge Metal
Order the album here.
The post TOMB SLAB – Tomb Slab (Album Review) appeared first on Sonic Perspectives.
10th August 2025
Support: Split Chain, Harpy
Photos: Rich Price
We look back at the epic Kittie show through the eyes of our photographer Rich Price!
Photo credits: Rich Price
For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.
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Four of the five teenagers accused of killing 37-year-old Georgi Kuzev in Plovdiv, Bulgaria appeared at their August 7 hearing wearing band merch — Powerwolf, Mayhem, Pantera and Sepultura. Within days the shirts, not the case, had become national news.
A Bulgarian tabloid ran a headline claiming Satanic black metal brought the accused together, and the country started arguing about whether heavy music makes people violent. Louder reported the story on August 11. If you’ve been in this scene longer than five minutes, you already know how this goes.
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Let’s separate the two stories, because the coverage has welded them together and they don’t belong together.
The case. Georgi Kuzev, 37, died in Plovdiv after an assault on August 4. Prosecutors allege that five teenagers, imitating an online far-right “paedophile hunter” group, arranged a meeting between Kuzev and a 17-year-old girl posing as 15, then attacked him for roughly an hour at Youth Hill. He was taken to hospital and died several hours later.
The Plovdiv District Court ruled on August 7 that all five would remain in custody, finding sufficient evidence to reasonably assume they attacked Kuzev and no evidence that he provoked them. Two of the accused have appeals scheduled. Nobody has been convicted of anything.
And this part matters enormously: prosecutors have stated that Kuzev had never been charged with any sexual offence, and that he did not lie about his age during the online exchanges.
The media story. Four of the accused wore metal shirts to that hearing. The tabloid 24 Chasa ran a piece under a headline — translated from Bulgarian — claiming Satanic black metal brings together the teenage killers from Plovdiv. The article, via Louder, alleged that the bands in question send aggressive messages and model brutal violence for their fans, and focused heavily on Varg Vikernes, the former Mayhem bassist convicted in 1994 of murdering Øystein “Euronymous” Aarseth and burning churches, released on parole in 2009.
Bulgarian broadcaster Nova reported that the shirts had led to widespread speculation that the teens’ musical taste was what prompted the aggression.
None of the four bands have commented. There is no indication any of them are aware they’ve been drafted into a Bulgarian tabloid’s causal theory of murder.
LIVE & LOUD: Stream the World’s Hardest Radio Station 24/7Powerwolf are a German power metal band who dress like cartoon werewolves and write songs about vampires with a wink. They are, structurally, a heavy metal pantomime. Sepultura are Brazilian legends who are on their farewell run. Pantera are Pantera — Texas groove metal, the single most mainstream band on that list.
Mayhem are genuinely extreme and genuinely have a violent history attached to a former member from thirty years ago. Fine. But the argument being made isn’t about Mayhem. It’s about four shirts averaged into one word — Satanic — and then presented as motive.
A Bulgarian commenter on the 24 Chasa Facebook post put it more efficiently than any of us could: Pantera and Sepultura have nothing to do with Satanism, Mayhem is a different conversation, and the music has nothing to do with any of it.
Another one, which is the whole argument in a sentence: the problem isn’t the shirts and it isn’t the music, it’s moral values, upbringing, parental control, and above all the absence of parents from their own children’s lives.
That’s a fan of nothing in particular making a sharper point than the paper did.
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Here’s why this lands differently for us than it does for the general news reader.
In 1990, the parents of a young American man who attempted suicide brought civil action against Judas Priest, alleging the band had buried the phrase “do it” in a 1978 track. The case was dismissed. Priest were a primary target of the PMRC throughout that era, and the Reno trial is now a documented low point in how seriously courts were willing to take this stuff.
In 1999, after Columbine, Marilyn Manson was blamed by politicians and media outlets for two shooters who, it later turned out, weren’t even fans.
Not once — not one single time — has any metal artist been found legally responsible for a crime committed by a listener.
That’s a thirty-five-year, multi-continent, repeatedly-tested record. And it doesn’t matter, because the panic was never really an argument. It’s a shortcut. Something incomprehensible happens, and pointing at a t-shirt is faster and more satisfying than examining radicalisation, online vigilante culture, or what these particular kids were actually consuming — which, per prosecutors, was a far-right vigilante group, not a Powerwolf record.
That’s the part that should sting. The alleged blueprint here is documented, and it’s political, and it’s online, and nobody in the Bulgarian coverage is leading with it. The shirts are easier.
Metal makes a perfect scapegoat and always has. The imagery is deliberately transgressive. The logos are unreadable. The album covers are designed to alarm exactly the kind of person who ends up writing these stories. The scene has spent fifty years cultivating an aesthetic of menace and then acts surprised when someone takes the costume literally.
But the research keeps landing on the other side. Study after study finds metal fans to be no more violent than anyone else, and in some measures rather more thoughtful than the genres nobody worries about. The community that gets painted as a violence factory is, in practice, the one that picks strangers up off the floor of a pit.
Meanwhile a man is dead, five families are destroyed, and the national conversation is about band merchandise.
That’s the real cost of a moral panic. Not that it insults us — we can take it. It’s that it burns the oxygen that should be going to why five teenagers thought a vigilante ambush was a reasonable evening.
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Four of the five teenagers accused of killing 37-year-old Georgi Kuzev in Plovdiv wore heavy metal band shirts — Powerwolf, Mayhem, Pantera and Sepultura — to their hearing on August 7, 2026. Bulgarian media seized on the clothing, with tabloid 24 Chasa running a headline claiming Satanic black metal brought the accused together, prompting a national debate about whether heavy music encourages violence.
Prosecutors allege that five teenagers, imitating an online far-right “paedophile hunter” group, arranged for Kuzev to meet a 17-year-old girl posing as 15, then assaulted him for around an hour at Youth Hill in Plovdiv on August 4, 2026. He died in hospital several hours later. Prosecutors have stated Kuzev was never charged with any sexual offence and did not lie about his age. All five remain in custody and none has been convicted.
There is no established evidence that it does, and no heavy metal artist has ever been found legally responsible for a crime committed by a fan. The 1990 civil case against Judas Priest over alleged subliminal messages was dismissed, and the post-Columbine campaign blaming Marilyn Manson collapsed under scrutiny. Research has consistently failed to establish a causal link between metal fandom and violent behaviour.
No. As of publication, none of Powerwolf, Mayhem, Pantera or Sepultura have commented on the case or on being named in Bulgarian coverage.
Bulgarian tabloid coverage focused on former Mayhem bassist Varg Vikernes, who was sentenced in 1994 to 21 years — then Norway’s maximum — for the murder of guitarist Øystein “Euronymous” Aarseth and a series of church burnings. He was released on parole in 2009. The other three bands named have no comparable history.
Every generation gets its own version of this story, and the shirts change but the argument never does. Have you ever been judged for what’s on your chest? Tell us below, and keep it locked on the Loaded Radio stream — follow Loaded Radio for daily rock and metal news.
The post Four Suspects Wearing Metal Shirts In A Bulgarian Courtroom Just Restarted The Satanic Panic appeared first on Loaded Radio.
For nearly four decades, Dead Voices on Air has occupied a peculiar territory between industrial music, abstraction, improvisation, and the frayed edges of song. Mark Spybey has spent that time following ideas wherever they lead, accumulating a body of work connected less by fixed genre than by a willingness to pull recorded music apart and discover what might live inside its seams. His latest album, Mothcomma, continues that restless history.
Released worldwide through Re:Mission Entertainment on July 17th, Mothcomma began taking shape almost immediately after Dead Voices on Air returned from its 2025 US tour. Recording was divided between the Tees Valley in North East England and Lafayette, Colorado, with studio work and remote sessions allowing distance itself to become part of the process. Spybey was joined by Nathan Jamiel of Denver’s The Drood and DADU’s Stephen Weatherall, both of whom have become established members of the group after contributing extensively to the previous two albums and joining Spybey for concerts across the United States last autumn.
Across Mothcomma, recognisable structures periodically surface before dissolving into stranger forms. Pas de Chasse moves with cinematic unease, while Eye Exhaust gathers layers into a dense, unsettled mass. For the Rush of Black Tar draws tension from repetition and texture, and the title track reaches toward something brighter and more expansive. Geography, memory and spontaneous decisions pass continually through the record, giving its disparate pieces an internal logic without sanding down their rougher edges.
Spybey’s history offers plenty of precedent for such open-ended work. He began his career with Zoviet France in North East England during the late 1980s before relocating to Vancouver and founding Dead Voices on Air. He subsequently became an original member of Download alongside members of Skinny Puppy, providing the voice for 1996’s The Eyes of Stanley Pain. His collaborations have since included Graham Lewis of Wire, Faust, Michael Rother, Dieter Moebius, Jarboe, Lee Scratch Perry, James Plotkin, Robert Hampson, Jochen Arbeit, Martin Atkins and Genesis P-Orridge.
Among the more remarkable chapters came through CAN guitarist Michael Karoli, who invited Spybey into Sofortkontakt! for CAN’s 30th anniversary concerts in 1999. A year earlier, Spybey had toured with Karoli as part of Damo Suzuki’s Network. His memoir, Explicit in Purpose, was published by Emergency Hearts in 2022, while recent years have also found him working with old friends in DADU.
Alongside Mothcomma, the official Dead Voices on Air shop has now opened, bringing together releases and merchandise from Spybey’s extensive catalogue. The store includes CDs, vinyl, cassettes, autographed copies, out-of-print material, collaborations, side projects, new shirts and copies of Mothcomma. Some stock ships from the United States, while other items are dispatched directly by Spybey from the UK. The first 40 orders also receive a 3×3 Dead Voices On Air logo vinyl sticker.
Get the merch here.
Listen to Mothcomma below and order the album here.
The post Dead Voices on Air Finds Strange Forms Inside the Seams in New Album “Mothcomma” appeared first on Post-Punk.com.
Interviewed by Cat Finch
Harry and Kieran of Noisepicker join us after their set at Bloodstock Festival.
We discuss their fantastic show on the SOPHIE stage, Harry’s memories of playing Bloodstock with multiple different bands over the years, bringing through the next generation of artists, Live Nation/Ticketmaster pricing out the next generation of fans, ideas for the next album and the possibility of Harry resurrecting Decomposed.
You can listen to the interview below, or jump over to any of the usual streaming services!
Youtube | Spotify | Apple Podcasts | Youtube Music
Check out all of our interviews on the usual podcast channels!
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Starting mid-September, Spotify will begin tagging AI-generated artist profiles with a new “AI Persona” badge. It’ll show up on the artist profile, in search, and on track rows inside playlists. And by default, anything wearing it gets cut out of editorial and algorithmic recommendations unless you specifically follow the profile yourself. Spotify announced it on August 11. For a genre that’s spent two years watching fake bands rack up real streams, this is the first structural response anyone’s offered.
STREAM THE METAL BREAKDOWN DAILY NOW:Scott Penfold gets into the latest hard rock and metal news stories on today’s edition of The Metal Breakdown Daily. Download the free Loaded Radio App on Apple iOS and Google Play and get it every weekday morning.
Three things, and the third one is the one that matters.
It appears on the artist profile. It appears in search results. And it appears on the track rows in playlists — so if an AI act slips into a playlist you’re listening to, you’ll see it flagged in the moment rather than after you’ve already added the song to your library.
Artists can self-disclose as an AI Persona through Spotify for Artists. Spotify will also review profiles on its own and apply the badge where it decides one belongs. Anything flagged that way gets notified, and gets the chance to either self-disclose or appeal.
Then the real teeth: by default, AI Personas won’t be included in editorial or algorithmic recommendations. You’d have to follow the profile deliberately for it to reach you.
That’s not a warning label. That’s a demotion. The badge tells you what you’re looking at, but the recommendation exclusion is what actually stops these things from farming streams off Discover Weekly and mood playlists — which is exactly how the fake bands built their numbers in the first place.
It’s one piece of a wider 2026 push at Spotify around identity and transparency, sitting alongside Verified by Spotify, AI Credits, SongDNA, Artist Details and Artist Profile Protection.
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Heavy music is uniquely exposed to this, for a few reasons that stack on top of each other.
Metal fans consume by the album and by the deep cut. We follow bands with fifteen-year discographies and we go looking. That behaviour is exactly what algorithmic discovery is built to feed, and exactly what makes a listener vulnerable to a convincingly-titled fake act sitting in a “Modern Metalcore” playlist between two real bands.
The genre’s aesthetic is also, frankly, easy to fake at surface level. Corpse paint and a logo nobody can read is a look a machine can generate in seconds. So can a wall of downtuned riffing and a scream. What a machine can’t generate is fourteen years of somebody’s life, or the reason a song exists at all — but you don’t hear that in a fifteen-second playlist preview.
And metal runs on scarcity of trust. This is a scene built on tape trading and word of mouth, where knowing a band before anyone else was social currency, and where getting duped is genuinely embarrassing. AI acts don’t just take streams. They take the credibility of discovery itself.
We’ve already watched what happens when the industry gets sloppy about this. Beartooth hired a designer for the “Bullshit” lyric video this year, explicitly told them not to use AI, and the designer used it anyway and denied it — the whole thing got flagged on upload hours before the single dropped. Caleb Shomo and his brother rebuilt it themselves in a day. That’s a band with resources catching it by luck. Most bands don’t have that.
Now the part I have questions about.
The badge is aimed at AI personas — profiles whose public identity may be generated and doesn’t represent a real person. It flags the fake band. It does not, as described, flag a real band using AI to write, produce, or generate parts of its music.
That’s a meaningful gap, and it’s the one that’s going to matter more in five years than the fake-band problem does today. Nobody’s inventing a fictional death metal act to steal your streams at scale forever. What’s coming is real artists, real faces, real tours, with an increasing amount of machine-generated material underneath — and no badge on any of it.
Spotify’s AI Credits and SongDNA tools are presumably meant to address some of that, and I’d genuinely like to see how far they go. But the AI Persona badge, on its own, answers a question the industry was asking in 2025. The 2027 question is different.
Give Spotify credit for the demotion mechanism regardless — the default exclusion from recommendations has real force behind it, and it’s a bigger concession than a label alone would have been.
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If you’re a listener: from mid-September, the fake stuff should mostly stop reaching you through discovery. You’ll still find it if you go looking, which is the correct outcome — nobody’s banning anything.
If you’re in a band: get your house in order. Verified by Spotify and Artist Profile Protection exist for a reason, and if you’ve been careless about who you hire for artwork or video, this is the year that becomes a real liability rather than an embarrassing one.
And if you want music picked by people rather than machines — well, that’s what we’ve always done here. No algorithm, no payola, humans choosing records. Turns out that was the right bet.
The badge is a start. The scene’s already got a long history of pushing back against manufactured everything, and this is just the newest version of a very old fight.
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It’s a new label Spotify will apply to artist profiles whose public identity may be AI-generated and does not represent a real person. Announced on August 11, 2026 and rolling out from mid-September, the badge appears on the artist profile, in search results, and on track rows across playlists.
Not by default. Spotify says profiles carrying the AI Persona badge will be excluded from both editorial and algorithmic recommendations unless a listener actively follows that profile. This is the most significant part of the change — it removes AI acts from the discovery surfaces where they gained traction.
Two ways. Artists can self-disclose as an AI Persona through Spotify for Artists, and Spotify will also review profiles itself and apply the badge where it determines one is warranted. Profiles flagged by Spotify are notified and given the opportunity to self-disclose or appeal.
As described, no. The AI Persona badge targets artist identities that are AI-generated rather than the use of AI within the music itself. Spotify’s related tools — AI Credits and SongDNA — are aimed at broader transparency around how tracks are made, but the AI Persona badge specifically flags fabricated artist identities.
Spotify has said mid-September 2026. No exact date has been given.
A badge on the fakes is a start — but is it enough, or is the real problem the AI creeping into records by bands you already love? Tell us below, and keep it locked on the Loaded Radio stream — follow Loaded Radio for daily rock and metal news.
The post Spotify Is About To Put A Badge On AI Bands, And Metal Has A Problem appeared first on Loaded Radio.