Category: news

  • IAPETUS Returns With The Mother Void, Feat. Eluveitie Vocalist Fabienne Erni! “Red Giant” Video Premiered!

    U.S. Progressive/Melodic Death Metal duo, IAPETUS, have returned! The band is set to release their first new album since 2019’s critically acclaimed, The Body CosmicWillowtip will release the new opus, The Mother Void, on October 16.

    Joining core members Matthew Cerami and Jordan Navarro on the album is featured vocalist Fabienne Erni of Eluveitie, along with several notable guest musicians, including drummer Brody Taylor Smith (Invent Animate), guitarist Benji Baret (Ne Obliviscaris), and vocalist Frank Harper (Caelestra).

    The forthcoming album was mixed and mastered by the legendary Jens Bogren & Tony Lindgren.

    IAPETUS released the following statement concerning The Mother Void:

    The Mother Void is the story of a mother and a son; of mankind and the cosmos; of feeling destined to failure in a world designed to destroy. It is a conceptual record, meant to be digested in whole; the conclusion to a trilogy of albums dedicated to the tension between mortal existence and immortal space. It is our most personal record to date, and its scope is mirrored in size only by the passion that accompanied its creation. We claw from The Mother Void.”

    The official video for “Red Giant,” the album’s first single, is available now at: youtu.be/Jx-F1uWgClU

    Photo Credit: Moshmallows

    The song is available on all digital platforms now. Album pre-orders are available now.

    The Mother Void will be available on CD, vinyl gatefold 2xLP, Limited Longbox CD, and digital formats.

    Track Listing:

    1. Parturition (1:40)
    2. The Mother Void (12:54)
    3. Aniara (17:12)
    4. Red Giant (11:58)
    5. Énouement (1:51)
    6. TON (18:43)
    7. The World Be Undone (4:54)

    Album Credits:

    Matthew Cerami: Vocals, Guitars, Bass, Arrangements.
    Jordan Navarro: Guitars, Keys, Drum Arrangements.

    Guest Vocals: Fabienne Erni (Eluveitie, Illumishade), Ethan Navarro.
    Additional Vocal Arrangements by: Fabienne Erni, Hana Iman.

    Guest Vocals recorded by: Valentin Voluta.
    Drums performed by: Brody Taylor Smith.
    Drums arranged by: Jordan Navarro & Brody Taylor Smith.
    Drums recorded by: John Douglass (Vorticist Studios).
    Additional Synths + SFX: Mark Lazeski.
    Guest Guitar Solo on “TON”: Benjamin Baret (Ne Obliviscaris).
    Guest Vocals on “TON”: Frank Harper (Caelestra).

    Produced by: Fascination Street Studios.
    Recorded by: Alexander Backlund.
    Mixed by: Jens Bogren.
    Mastered by: Tony Lindgren.
    Additional Recording by: Ricardo Borges.
    Mix Assistant: Johan Martin.

    Cover Art by: Vanessa Lemen.
    Album Layout and Artwork by: Alex Eckman-Lawn.

    linktr.ee/iapetusofficial

    facebook.com/Iapetus.Metal

    instagram.com/iapetusofficial

    willowtip.com

    willowtip.bandcamp.com

    Source: ClawHammer PR

  • “They’d say, ‘I guess you’ll be retiring? There won’t be any more tours?’ I’d write it down and bite my lip”: The Anchoress had a baby, not a lobotomy, and wrote a satirical song about it

    The Anchoress’ strikingly-titled single I Had A Baby, Not A Lobotomy was inspired by her experience as a new mother facing the bewildering attitudes of those around her.

    After her daughter’s birth five years ago, she heard comments – now immortalised in the song – including: ‘I guess you’ll be retiring now’, ‘You’re getting on, the kid will hate ya,’ and ‘Guess now there won’t be any more tours?

    While Catherina Anne Davies stresses that the lead track from her latest Anchoress album, As We Once Were, humorous rather than a furious or vindictive rant, she admits she found the process of channelling the phrases into art somewhat therapeutic.

    “I would jot it down on my phone every time someone would say something to me that pissed me off. Rather than want to throttle them, I would write it down and bite my lip, and it became this litany of comments.

    “Some of it was really well meaning, or they thought they were being helpful, so I didn’t want to make people feel bad. The best thing you can do with satire and humour is to try and get people to think again. I always want to do that with a smile on my face.”

    When the track went live she knew she’d struck a chord. “My phone has been blowing up, as the kids say, with all sorts of people, including a lot of other musicians and producers who are trying to navigate this shit the whole time.

    “They’re all saying a very big, resounding ‘Yes! I feel like this, too!’ And other people are saying, ‘You wouldn’t believe some of the inane shit I’ve had thrown at me – jobs I’ve lost when they found out I had kids.’

    “So yeah, it’s resonated in quite a serious way, even though my intention was fairly tongue-in-cheek.”

    The song’s parent album is something of a concept set, partly inspired by a family discovery. “I found a lost tape of my grandmother’s voice, talking about her life, which is heard throughout the record,” she explains. That’s the thread that holds it all together.”

    Four generations of Davies women are heard on As We Once Were – including her five-year-old daughter, of course. And there are other sounds to be heard that might be considered to come from a past era.

    “I was invited to come into Pete Townshend’s studios and use all his vintage synths,” Davies says. “I got to have a whale of the time piloting all these crazy machines.

    “It’s made the album very synth-heavy, but it goes to a whole new level from what I’ve done previously, because I’ve never worked on modular synths before.

    I’m not a fan of negativity and moaning without some sense of what the solution is

    “It was a real learning curve. On modern synths you can press a pre-saved patch and just play. With these you have to create and shape the sound yourself; and the sound I made that day on that synth, I won’t be able to repeat.

    “And that chimes in with what the record is about, which is the impossibility of freezing time and holding onto moments.”

    Meanwhile, she’s has launch a podcast called The Milk And The Music, talking to working musicians about their experiences of motherhood. Guests include Lau.ra, Charlotte Hatherley and Gazelle Twin.

    Davies hopes it will move beyond storytelling to offer practical solutions. “I’m not a fan of negativity and moaning without some sense of what the solution is,” she explains.

    As We Once Were is on sale now.

  • Geoff Tate & Eric Martin – Liquid Rooms Edinburgh 8th August 2026

    Geoff Tate & Eric Martin Liquid Rooms Edinburgh 8th August 2026 Review & Photography by Gavin Lowrey If ever there was an album to define […]

    The post Geoff Tate & Eric Martin – Liquid Rooms Edinburgh 8th August 2026 appeared first on Metal-Rules.com.

  • Cult prog metal heroes Nevermore return to Bloodstock after almost 20 years – and after a patchy start, they put on a hell of a show

    “Nevermore are one of the greatest, most important bands to ever do it.” So says Urne’s Joe Nally early on Saturday at Bloodstock and while the prog metal group’s profile certainly never reached that of Tool or Rush, they wouldn’t be the first band to make a comeback this decade and become bigger than ever.

    But they endure a patchy start. Put it down to the controversy around tonight’s headliners Slaughter To Prevail, the unyielding heat, or the simple fact that it’s been 16 years since Nevermore last played the UK – and before that was Bloodstock in 2007, so they were hardly frequent visitors – but the crowd seems especially sparse for the retooled and revitalised Nevermore.

    They won’t let that stop them putting on a killer show. New vocalist Berzan Önen – replacing the much missed Warrel Dane, who died in 2017 – has great stage presence and his powerful, histrionic vocal talents are geninely captivating, while the band’s unique fusion of extreme metal heft – just listen to that double-bass go, never letting up – old school heavy metal guitars and prog melody means Nevermore still feel genuinely ahead of the curve.

    A few songs in, and the crowd thankfully swells to a healthy level as they hit their stride. Drawing from across their discography, the set is an abridged greatest hits with particular emphasis on 2000’s phenomenal Dead Heart In A Dead World, thundering as they bust out the likes of Inside Four Walls and Engines Of Hate. Hitting each track with fresh vitality, Nevermore sound more like Hypocrisy or Strapping Young Lad than Queensryche and the sheer force of their sound is tremendous.

    There’s no major set pieces or production gimmicks, just great tunes and musicians going hell for leather for a hale 60 minutes. The highlight of the set is undoubtedly the gothic, doomy The Heart Collector, a track that somehow manages to bridge Sabbath and Nymphetamine with the Gothenburg sound, colossal in its ambition and brimming with anthemic potential. With more shows like this – and a new album on the way next year – we reckon Nevermore 2.0 might finally give the band the love they so richly deserve.

  • Caleb Shomo Tells The Loaded Radio Podcast He Deleted His Instagram, Blew Up His Own Rules, And Made The First Beartooth Album That’s Actually Him

    caleb-shomo-loaded-radio-podcast

    Beartooth frontman Caleb Shomo joins Scott Penfold on this week’s Loaded Radio Podcast to talk about Pure Ecstasy, the band’s sixth album, out August 28 via Fearless Records. It’s the first Beartooth record Shomo didn’t build entirely alone — Jordan Fish co-produced, Misha Mansoor helped birth the title track, and drummer Connor Denis actually played the drums. It’s also the first one he’s made since telling the world who he is. Listen to the full episode below.

    🎧 LISTEN TO THE FULL EPISODE NOW:

    Caleb Shomo goes deep on Pure Ecstasy, the reaction to “Free,” and what changed when he finally let somebody else into the room on The Loaded Radio Podcast. Then Raven Le Rouge of Wichita’s Waking The Sleeper stops by for Fresh Meat. Download the free Loaded Radio App on Apple iOS and Google Play, or hit play above.

    For 14 years, Beartooth was one guy in a room

    Here’s the thing people forget about Beartooth. It started as a studio project. Caleb Shomo walked out of Attack Attack!, went home to Columbus, and made records by himself — guitars, bass, drums, vocals, production, all of it. Five albums deep and that never really changed. The band you saw destroying a stage on the record-breaking Surface tour was a live unit. The band you heard on the record was one man being extremely stubborn.

    Pure Ecstasy is the first time that’s not true.

    Connor Denis played the drums, tracked at NRG in Los Angeles. Oshie Bichar, Zach Huston and Will Deely all got their hands on it. And for the first time in Beartooth’s existence, Shomo brought in an outside co-producer: Jordan Fish, formerly of Bring Me The Horizon, a guy whose entire career has been about making enormous, chaotic ideas make sense together.

    So on the show I asked him the obvious question. What makes a control freak hand somebody else a key to the house?

    🤘 LIVE & LOUD: Stream the World’s Hardest Radio Station 24/7

    Misha Mansoor, the dumbest heaviest chugs, and an album opener

    The title track came out of a session with Misha Mansoor, which on paper is a strange pairing — Periphery’s riff scientist and metalcore’s most emotionally exposed songwriter. In practice it produced exactly what you’d hope. Shomo described the session as being born from “the dumbest heaviest chugs we could chug”, cut in a studio with absurd loudspeakers and no particular plan.

    Then it went home to Jordan Fish, got expanded, and there was no argument about where it belonged. Track one.

    That’s the shape of this whole record. Ideas that started as instinct, then got handed to someone with a different set of ears. “Eyes Closed,” the album’s second track and its fourth single, was written from the ground up with Fish and both of them knew at the demo stage it was landing. Fish also pushed him somewhere Beartooth records have historically refused to go: specificity. Less hiding behind vague language. Say the thing.

    Which brings us to the part everyone has an opinion about.

    beartooth-2026

    The reaction to “Free”

    “Free” arrived in February and it broke the internet in a way Beartooth singles don’t normally break the internet. New sound. New look. A video that made it very clear something in Caleb Shomo’s life had shifted. He called it the most honest depiction of his soul he’d likely ever make, and a chunk of the internet responded by being the internet.

    By late May he’d addressed it directly, saying plainly that he’s a proudly gay man and that he’d been reckoning with it privately for a long time. He deleted his Instagram somewhere in the middle of all of it. He’s since talked openly — on the Disrespectfully podcast and in a Kerrang! cover story — about growing up as the son of a preacher who was the son of a preacher, about therapy, about the end of his marriage, and about how little visibility there is for queer artists in heavy music.

    I’m not going to pretend that’s a small thing in this genre, because it isn’t. But here’s what I actually wanted to know, and what we spent real time on: he’s said he tries not to read the reception to his own work. How do you actually hold that wall up when the reception isn’t about the song at all?

    His answer is the best three minutes of this episode.

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    Pure Ecstasy is still a Beartooth record

    Worth saying loudly, because the discourse has a way of swallowing the music: this thing rips.

    Eleven tracks — Pure Ecstasy, Eyes Closed, Bullshit, Beautiful Again, Stadiums, Free, Sorry, Lose You To Find Me, You, For Me By Me, Made It. It’s the first Beartooth album not on Red Bull Records after more than a decade, landing on Fearless. Shomo has said he wants it to be the building blocks for the rest of his life, and he’s been more willing to call it his best work out loud than he’s ever been about anything he’s made — which, if you’ve followed this band since “Riptide” and the self-flagellating era before it, is genuinely new behaviour.

    We also got into “Bullshit,” and the morning it nearly didn’t come out.

    beartooth-pure-ecstasy

    The AI story

    The band hired a designer to animate the “Bullshit” lyric video. They explicitly asked for no AI. The designer used AI anyway, denied it, and the whole thing got flagged on upload hours before the single dropped.

    So Caleb and his brother Luke rebuilt the video themselves. In a day. Luke also did the Pure Ecstasy album artwork, so this is now a family operation on both ends.

    Ask him about what that says about the state of the business and you get a pretty unvarnished answer. It’s in the episode.

    Where you can see them

    The Pure Ecstasy world tour runs Europe and the UK first, September 17 in Frankfurt through October 6 in Glasgow, with Silverstein and Kingdom Of Giants. North America picks up November 11 in Boston and runs to December 19 in Wheatland, California, with Don Broco, Magnolia Park and Windwaker. Australia gets them from January 26, 2027, alongside Fit For A King and Volumes.

    Canadians, I asked. I asked twice. You’ll want to hear the answer.

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    Fresh Meat: Raven Le Rouge of Waking The Sleeper

    After Caleb, we flip over to Fresh Meat, the segment where I give fifteen minutes to a band you probably haven’t heard yet but should.

    This week it’s Raven Le Rouge, vocalist and co-founder of Waking The Sleeper out of Wichita, Kansas. They formed in 2016, built the whole thing on the road — 14 states and counting — and their debut concept album 7 Deadly Sins, originally out in 2018 and structured around Dante and the deadly sins themselves, got a second life when it was re-released in 2024 through Sony’s The Orchard. Singles “Wrath” and “Greed” have been charting ever since.

    They’ve shared stages with Drowning Pool, Dope, Otep and Combichrist, played Rocklahoma’s Darkside Stage three years running and Blue Ridge Rock Festival in 2023, and Raven took the RRR New And Upcoming Band Of The Year award home in 2017. We wrote about them here a while back, and they’ve kept moving since.

    In the segment she gets into building a metal band in Kansas, what fronting this thing has cost her, and what’s coming next.

    waking-the-sleeper-fresh-meat

    TL;DR

    • This week’s Loaded Radio Podcast: Caleb Shomo of Beartooth, plus Raven Le Rouge of Waking The Sleeper in Fresh Meat.
    • The album: Pure Ecstasy, out August 28, 2026, 11 tracks, on Fearless Records — Beartooth’s sixth and their first away from Red Bull Records.
    • The big shift: first Beartooth album Shomo didn’t play everything on. Jordan Fish co-produced, Misha Mansoor helped birth the title track, Connor Denis drummed.
    • The other big shift: Shomo came out publicly in May 2026 and made this record on the other side of it.
    • The lyric video mess: the hired designer used AI on “Bullshit” against instructions; Caleb and his brother Luke rebuilt it in a day.
    • Tour: Europe/UK from September 17, North America from November 11, Australia from January 26, 2027. No Canadian date announced yet.

    Frequently Asked Questions

    When is Beartooth’s Pure Ecstasy released?

    Pure Ecstasy is out August 28, 2026, on Fearless Records. It’s Beartooth’s sixth studio album and their first for the label after more than a decade with Red Bull Records. The tracklist runs Pure Ecstasy, Eyes Closed, Bullshit, Beautiful Again, Stadiums, Free, Sorry, Lose You To Find Me, You, For Me By Me and Made It.

    Who produced Beartooth’s Pure Ecstasy?

    Caleb Shomo produced it with Jordan Fish, the first time he’s co-produced a Beartooth album with anyone outside the band. Misha Mansoor of Periphery was involved in the sessions that produced the title track. It’s also the first Beartooth album where Shomo didn’t play every instrument himself — drummer Connor Denis performed drums across the record at NRG Recording Studios.

    Did Caleb Shomo come out?

    Yes. In late May 2026, following speculation that intensified around the “Free” video, Shomo publicly stated that he is a proudly gay man. He has since discussed it at length, including his religious upbringing, therapy and the end of his marriage, on the Disrespectfully podcast and in a Kerrang! cover story. He has said Pure Ecstasy is the most honest record he’s made.

    Why was the Beartooth “Bullshit” lyric video pulled?

    The designer the band hired used AI to make it despite the band explicitly asking them not to, then denied it, and the video was flagged when it was uploaded. Beartooth scrapped it hours before the single’s release. Caleb Shomo and his brother Luke rebuilt the video themselves the same day. Luke also created the Pure Ecstasy album artwork.

    Is Beartooth touring in 2026?

    Yes. The Pure Ecstasy world tour hits Europe and the UK from September 17 in Frankfurt through October 6 in Glasgow with Silverstein and Kingdom Of Giants, then North America from November 11 in Boston to December 19 in Wheatland, California, with Don Broco, Magnolia Park and Windwaker. An Australian run with Fit For A King and Volumes begins January 26, 2027. No Canadian dates have been announced.

    Beartooth is one of the few bands where the record and the person are the same document — and Caleb Shomo just rewrote both. What did you make of Pure Ecstasy? Drop a comment and tell us where it lands for you. And keep it locked on the Loaded Radio stream — follow Loaded Radio for daily rock and metal news.

    The post Caleb Shomo Tells The Loaded Radio Podcast He Deleted His Instagram, Blew Up His Own Rules, And Made The First Beartooth Album That’s Actually Him appeared first on Loaded Radio.

  • AVERTAT – Dead End Life

    There are times when starting over does not mean changing direction, but returning to one’s creative roots. That is exactly the case with Sebastian Görlach. Although AVERTAT is a new name on the scene, the musician behind it has a decade and a half of experience in death/doom. Dead End Life is therefore connected to […]

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  • How Tears for Fears Unlocked Their Path to Freedom

    Roland Orzabal shares tales from the band's ongoing journey in an interview with UCR and also tells us about his new memoir. Continue reading…