Category: news

New Orleans thrash metal veterans EXHORDER have announced a U.S. headlining run set to kick off later this month. The “Unforeseen Circumstances Tour 2026” winter trek launches January 29 in Lafayette, Louisiana and runs through February 22 in Hobart, Indiana. Support on select dates will come from LUICIDAL, RINGWORM, PHOBIA, and SLOWHOLE.

Commenting on the upcoming tour, vocalist Kyle Thomas said: “It’s about that time, y’all! 2026 is here, and we are back to work. Joining us will be the legends that are Luicidal, Ringworm, and Phobia! Up and comers Slowhole will also be on this tour for the entire run, and you do not want to miss them. Luicidal and Ringworm will be on select dates, so consider accordingly when you obtain your tickets. As always, we will be performing a little something from all four albums, so come on out and say hello!”

EXHORDER have also shared a live video of “The Tale Of Unsound Minds,” captured by Mike Holderbeast at the Fillmore in New Orleans last April, showcasing the band’s still-ferocious live attack in support of their latest album, Defectum Omnium.

Forged in 1986, EXHORDER’s career has been as influential as it has been turbulent. After a 27-year hiatus following their final Roadrunner Records release in 1992, the band returned in 2019 with Mourn The Southern Skies, widely hailed as one of metal’s strongest comeback albums. Despite lineup changes and setbacks caused by the pandemic, EXHORDER pushed forward and released Defectum Omnium in 2024. Produced by the band and mixed by Jens Bogren, the album marked a renewed focus on the savage roots that first defined EXHORDER’s sound.

At the time of the album’s release, BLABBERMOUTH.NET praised the record, writing that EXHORDER “still have the power to make metal folk disregard their own safety,” adding that Defectum Omnium “spits, it snarls, it has more killer riffs than seems strictly necessary.” Other outlets echoed the sentiment, cementing the album as one of the band’s strongest statements to date.

EXHORDER “Unforeseen Circumstances” Tour 2026:

Jan. 29 – Lafayette, LA – Freetown Boom Boom Room *
Jan. 30 – McAllen, TX – Cine El Rey **
Jan. 31 – Austin, TX – The Lost Well **
Feb. 1 – Dallas, TX – Trees **
Feb. 2 – El Paso, TX – RockHouse **
Feb. 3 – Tucson, AZ – The Rock
Feb. 4 – Santa Ana, CA – The Observatory
Feb. 5 – Las Vegas, NV – The Dive Bar
Feb. 6 – Ventura, CA – VMH
Feb. 7 – San Diego, CA – Soda Bar
Feb. 9 – Hollywood, CA – Whisky A Go Go
Feb. 10 – San Francisco, CA – DNA Lounge
Feb. 11 – Portland, OR – Dante’s
Feb. 12 – Everett, WA – Tony V’s
Feb. 13 – Tacoma, WA – Airport Tavern
Feb. 14 – Boise, ID – The Shredder
Feb. 15 – Salt Lake City, UT – Aces High
Feb. 16 – Denver, CO – HQ
Feb. 18 – Springfield, MO – The Regency **
Feb. 19 – Lombard, IL – WCSC ***
Feb. 20 – Madison, WI – Annex ***
Feb. 21 – Covington, KY – Madison Live ***
Feb. 22 – Hobart, IN – Hobart Art Theater ***

* No LUICIDAL or PHOBIA
** No LUICIDAL
*** RINGWORM, PHOBIA, SLOWHOLE

Tickets for all dates are on sale now.

LAMB OF GOD Announce New Album Into Oblivion, Drop Title Track And Video

Richmond, Virginia metal heavyweights LAMB OF GOD have announced the release of their tenth studio album, Into Oblivion, due out March 13 via Epic Records. The record marks the band’s first full-length release in four years and finds the longtime metal titans embracing their status as veterans with nothing left to prove.

To coincide with the announcement, LAMB OF GOD have unveiled the album’s punishing title track, “Into Oblivion,” along with an official music video directed by Tom Flynn and Mike Watts. The song delivers the band’s trademark groove-driven aggression, paired with psychologically charged and socially reflective lyrics that continue vocalist Randy Blythe’s uncompromising approach.

Speaking about the creative mindset behind the album, guitarist Mark Morton said the band felt free from outside pressure while writing the material. “For me, the album is about having the space to breathe creatively and not feeling like we have to keep up with any trend or expectation,” Morton explained. “It feels nice to be untethered from any agenda beyond rallying around the notion of, ‘Let’s just make music that we think is cool,’ which is really where it all started.”

Blythe was more blunt when discussing the album’s title and themes. “Because that’s where we’re heading,” he said of Into Oblivion. “In general, the album is about the ongoing and rapid breakdown of the social contract, particularly here in America. Things are acceptable now that would’ve horrified people just 20 years ago.”

In the lead-up to today’s announcement, LAMB OF GOD released two new tracks that previewed the album’s scope. “Sepsis,” the band’s first new song since 2022, paid tribute to the early ’90s Richmond underground scene that helped shape their sound. Consequence praised the track’s slower, crushing pace, noting that Morton’s riffs were “bruising,” while comparing Blythe’s vocal delivery to “a heavy metal Nick Cave.” The follow-up single, “Parasocial Christ,” leaned into classic LAMB OF GOD territory, earning Revolver’s description as an “anti-tech thrasher.”

Into Oblivion was produced and mixed by longtime collaborator Josh Wilbur and recorded across several locations tied closely to the band’s history. Drums were tracked in Richmond, Virginia, guitars and bass were recorded at Morton’s home studio, and Blythe laid down his vocals at the legendary Total Access Studio in Redondo Beach, California — known for classic recordings by BLACK FLAG, HÜSKER DÜ, and DESCENDENTS.

Album pre-orders are available now, including multiple limited-edition vinyl variants and signed copies. An unannounced first pressing was quietly posted on the band’s website earlier this week and sold out immediately.

In support of the album, LAMB OF GOD will kick off the North American Into Oblivion Tour on March 17.

Into Oblivion track listing:

1. Into Oblivion
2. Parasocial Christ
3. Sepsis
4. The Killing Floor
5. El Vacío
6. St. Catherine’s Wheel
7. Blunt Force Blues
8. Bully
9. A Thousand Years
10. Devise/Destroy

Into Oblivion arrives March 13 via Epic Records.

Cavalera Conspiracy, shortened to Cavalera on Sepultura-related re-recordings and tours, brought the Chaos A.D. tour to the House of Blues Anaheim on Tuesday, October 7. The lineup was stacked with LA metal band Thrown into Exhile, Relapse Records’ DC death metal band Genocide Pact, and tourmates from the original Chaos A.D. tours, Prong and Fear Factory.

East Coast thrash groove metallers Prong took the stage third on the lineup with the packed crowd primed and ready to go.  Mainstay vocalist/guitarist Tommy Victor and company opened the set with “Broken Peace” off 1994’s Cleansing and stuck to that album for most of the set including the crusher “Snap Your Fingers, Snap Your Neck.” Their latest release State of Emergency is out now.

In the direct support slot were Fear Factory with their signature progressive industrial metal. Not only did Fear Factory tour with Sepultura during the original Chaos A.D. tour cycle, but they also received help from Max Cavalera to get their Roadrunner Records deal. “Demanufacture” opened the set, and the album made up the bulk of the setlist for the 30th anniversary of the album’s release.

Guitarist Dino Cazares, the only remaining original member, played custom 7 and 8 string custom headless Ormsby guitars. New frontman, the Italian Milo Silvestro, proved he’s not just a young Burton C. Bell clone. He commanded the stage with his own style and talent. Bassist Tony Campos is out with Static-X on the Mudvayne L.D. 50 tour, so Butcher Babies’ Ricky Bonazza filled in. Havok’s Pete Webber became an official member in 2023 with Silvestro and held his own behind the drumkit.

The Cavalera brothers, Max and Iggor, are still considered by many to be the core of Sepultura even decades after their respective departures. The younger Igor Cavalera on bass solidifies that this was as much the Cavalera show as it was a Sepultura show. Chaos A.D. has been credited by many musicians as opening the door to groove metal and nu-metal.

Arguably a fan favorite from not just Chaos A.D., but the entire Sepultura catalog, “Refuse/Resist” opened the set. While the album was played in full, the tracklist was shuffled after the blistering opening song. A cover of Black Sabbath’s “Symptom of the Universe” was also added to the setlist. The performance was as strong as a Sepultura performance back in 1993 during the album’s release. The tour ends of October 18 in Dallas. 

Here you are another Norwegian brilliant band, progging away between pure symphonic rock, folk hints and some experimental, even dissonant moments. Jordsjø released their first album in 2015 and this track comes from a 2025 split record including this Jordsjø’s title track on vinyl version side A and another side-long track by Breidablik, an electronic prog project by Morten Birkeland Nielsen on side B. “Kontraster” (“Contrasts”, in English) does as its title says and offers an awesome variety of moods, arrangements, instruments and musical ideas. 

It is a rather low tempo collection – maybe a suite – of inner reflections and by such a rich palette you could hardly guess that  Jordsjø is formed by just two musicians: multi-instrumentalist Håkon Oftung and percussionist Kristian Frøland. Be as it may, this duo leads the listener through a fantastic and unpredictable trip, flowing very deep inside their souls (our souls, I daresay). It is an enriching and entertaining listening, something you won’t easily find nowadays.

^{Death Angel brought a heavy lineup stacked with many of their Bay Area thrash brothers to The Belasco to close out the final night of the 35th anniversary Act III U.S. tour. Opening the show was Chicago thrash band Misfire. While this band isn’t from the Bay Area, they do have a Death Angel connection.}

^{Death Angel founder and guitarist Rob Cavestany does have a guest appearance on the title track of Misfire’s latest album Product of the Environment. Unfortunately, there wasn’t a guest appearance at the show, but the Chicago thrashers delivered a set worthy of a lineup featuring two of “Big Six of Bay Area Thrash Metal” bands. Their album is out now on MNRK Heavy.}

Lions at the Gate was up next with their nu-metal-tinged brand of groove metal. While they’re mainly known for vocalist Christian Machado and guitarist Ahrue Luster’s former band ill nino, Luster has a Bay Area thrash connection. He did a stint with Bay Area groove thrashers Machine Head. Their tight set was mostly from their 2023 debut The Excuses We Cannot Make, but they did play a few newer tunes including their latest single “Burn the Candle.” They’ll have a new album out next year.

^{Vio-lence was up next with a blistering set as always. Vio-lence may never have received the commercial success of some of their fellow big six from the Bay, but vocalist Sean Killian has always been a master of putting together a great band and putting on an amazingly intense show. They played the “Upon the Cross” from the 2022 EP Let the World Burn, and the rest of the set was from the Robb Flynn and Phil Demmel era of Vio-lence.}

^{Finally it was time for Death Angel. After an already nonstop metal assualt with only 15 minute changeovers between the other three bands, the crowd was more than ready for the thrash legends. Death Angel aren’t just part of the big six of Bay Area thrash, but they’re widely considered a leader in the second wave of thrash as part of the “Big Eight.” After playing a set of Act III songs, the band also played a 6-song encore with a sampling of their other releases and the newly released single “Cult of the Used.” It was a powerful ending to the anniversary tour before going back home for their annual-ish Another Death Angel X-mas Show.}

Story of the Year and Senses Fail brought their co-headliner Scream Team Tour 2025 to the House of Blues Anaheim for a sold-out show on Friday, December 12 before wrapping it up the the next night in Riverside. This was the first time touring together for the bands, but they have a long history of sharing festival bills going back for years on Warped Tour. While Senses Fail didn’t play this year’s When We Were Young Festival, a teaser video from the festival amped fans up for the tour.

Opening the show was Armor for Sleep. Like Senses Fail, the band started in New Jersey and is down to one original member. However, vocalist Ben Jorgensen has always been the lifeblood of Armor for Sleep, like Buddy Neilsen is to Senses Fail. Jorgensen handles rhythm guitar duties, so he can’t cover the stage the way the co-headliner frontmen can. He makes up for it with his emotive vocals and expressions. Guitarist Erik Rudic and bassist Chad Sabo up the energy on stage. By the time the band ended the set with fan favorite “Car Underwater,” the audience was primed and ready.

The always fun and hilarious Story of the Year came out on Razor scooters and played a bit of “Chariots of Fire” as their intro. Then they launched into their new single “Gasoline (All Rage. Still Only Numb),” which may be their heaviest song yet. It’s a banger and could arguably replace “Until the Day I Die” as the fan favorite. However, the balls to the wall energy made it a perfect opening song. This band gets better every time. They sounded like a CD played through Marshall stacks. Somehow Dan Marsala managed to keep the vocals clean without sacrificing the pop-punk physical performance. A.R.S.O.N. will be out in February on SharpTone Records.

Senses Fail handled headlining duties on this date. Last year, the band played Still Searching in full at When We Were Young and Let it Enfold You on the New Jersey Vs. The World tour. This set devoted about a third of the set to each album. The rest of the set list was split between their catalog with fan-voted picks filling out the setlist. Nielsen didn’t give the perfect vocal performance of Marsala, but he made up for it with showmanship. Make no mistake, Nielsen isn’t just playing dress up and resting on his laurels. He’s having a great time up there, and it’s infectious. Senses Fail and Story of the Year will both be on the Emo’s Not Dead cruise in January. 

Dying Wish brought a stacked lineup to the sold-out Flesh Stays Together tour stop at the Regent Theater in Los Angeles on December 9, 2025. Opening the show was fellow Portland band Boltcutter. Playing their self-proclaimed “NW Idiotic Brutal Slamming Homicidal Catalytic Semitruck Grooving Slam Chuggery,” the band played tracks off their debut full-length album Still Broke out on Barbaric Brutality now. Vocalist Tristen Storm made an appearance later during the Dying Wish set.

Nashville nu metalcore band Orthodox was up next with a pulverizing set. The self-proclaimed “BIG PANTS MUSIC” (verfiied with a JNCO collab) blends hardcore and groove metal into their nu metal/metalcore signature sound. The set was mostly comprised of songs from their latest album A Door Left Open released earlier this year on Century Media. Vocalist Adam Easterling also made an appearance during the headliner’s set. Orthodox will be at the LBD Fest in Louisville, KY in February.

Florida’s Gouge Away was up next with a fast-paced set of post-hardcore punk. While their albums have some breathing room with indie rock noise, the live set was all gas, no brakes. About half the songs were from last year’s Deep Sage, with almost as many from 2018’s Burnt Sugar. Both albums were released on Deathwish Inc. Gouge Away will be opening some dates for the Foo Fighters next year.

British emo metalcore band Static Dress played in the direct support slot. They opened the set with their latest single “face.” There’s no new album at the moment, but the band recently restocked Rouge Carpet Disaster, and the Redux version is currently available through Roadrunner Records. The band will tour Europe with Paleface Swiss and Stick to Your Guns starting in January and will play Slam Dunk Festival in May.

Dying Wish finally took the stage with a brutal set of hardcore metal. The set was fully comprised of their post-pandemic material, with a strong showing from their latest release Flesh Stays Together. In addition to guest vocals by fellow tourmates previously mentioned, the band also brought out Courtney LaPlante for “Revenge in Carnage.” The band didn’t need any help keeping the sold-out crowd engaged, but the crowd went insane for the Spiritbox singer. The next U.S. date after this run ends in Portland for Dying Wishmas is currently slated to be Sick New World in Dallas after the European festival circuit this summer. Flesh Stays Together is out not on SharpTone.

I know, I know… Coheed and Cambria are famous for their long, hard and intricate tracks, with fast electric guitar and keyboard solos… and after all they’re among the best prog metal acts out there! So I apologise for choosing one of their slow tempo and rather acoustic ballads for my blog, but some of you may know how mellow I can be and – most of all – I like this track so much. Many metal and even more-than-metal bands come up with love songs from time to time and when they do so, they’re so sweet and sappy than yhey make the likes of Barry Manilow or the Carpenters sound harsh. 

As the number suggests, this album is part of a longer SF concept.

This is not the case with “Wake up” here: it surely is a lovely ballad, but it never goes maudlin and everything in it has an edgy side: the vocals, the guitar touch, even the lyrics, so that the listener swings between love and loneliness, hope and fear all along the song. That said, the main virtue of this track obviously is its melody, so lovely and nonetheless never too predictable. What else? Just enjoy.

 Maybe John Lees’ version of BJH doesn’t change the story of his original band, band he still knows how to write beautiful songs and this is the case with the title track of JL-BJH’s 2013 album. The usual pastoral sound is there, along with a tense musical background and – of course – a beutiful guitar solo. Most of all, the tune flows fresh and nice, and the instrumental parts are simply perfect. 

The way Mr. Lees regales his listeners by adding new ideas and lushing interludes always amazes me. Just try this track’s coda: it’s like following Alice into a musical Wonderland, in my humble opinion. The apparent simplicity of those songs underlines the skills of both the composer and the performers and that’s why such a song really can light up a dull day.

I got something really exciting in the mail recently: my complimentary copy of The Routledge Handbook to Metal Music Composition, which features my latest publication about metal, a chapter about metal’s tonal roots in the blues and the evolution of a common musical structure I call a “riff turnaround.” This new edited volume is really an important moment for the musicological study of metal, featuring a who’s-who of folks currently writing on the topic.

The editors put in a fanatical amount of work to put this collection together—especially Lori Burns, who has several such collections that have either just come out or are in process. This one is really a huge service to metal studies, giving tons of early-career scholars a chance to get their work published and helping those of us who are already published get a boost to our citation counts. And the collaboration between the editors and the individual chapter authors are drawing a huge web of scholarship into coherent field rather than a bunch of disconnected one-shot publications. I can’t wait to read the other chapters!

Here’s some more information about my chapter:

Title: “Recognizing Tonal Momentum and Echoes of Past Styles in Riff Turnarounds”

Abstract: Riffs are often described in terms of their propulsive rhythm, but they also create a sense of forward motion through tonal momentum. This is especially true in “riff turnarounds,” figures added after multiple repetitions of a riff to create additional momentum, which often demarcate sections within a song’s form. One factor that contributes to this impression of momentum is when a listener recognizes a riff turnaround as a recurrence of a melodic motion they have heard before. This recognition of similarity allows a “transference” (Scotto 2019) of scale degree functions and tonal momentum from one song to another. Through this recognition and transference, each listener can hear echoes of older styles of blues, rock, and metal in newer music-even in styles like progressive metal which substantially depart from those traditions.

Here are some of the songs I discuss in this chapter. You might recognize a few of them from previous posts on this blog (linked).

• “Wanton Song” by Led Zeppelin
• “Crazy Train” by Ozzy Osbourne
• “Amerika” by Rammstein
• “Pisces” by Jinjer
• “Demiurge” by Meshuggah
• “The Rumbling” by SiM

While the whole book is fairly expensive, I’m happy to share a pre-print version of my chapter, which you can access for free over at my Academia.edu profile or at the link below.
https://www.academia.edu/120233272/Recognizing_Tonal_Momentum_and_Echoes_of_Past_Styles_in_Riff_Turnarounds