Category: news

Swedish death metal outfit CRYPTORIUM have shared “Revolting Obsession”, a track from their forthcoming second full-length album, Through the Bowels of Ceaseless Dissonance. Originally premiered through No Clean Singing, the song offers another taste of the band’s uncompromising approach to old-school Swedish death metal ahead of the record’s 30 October 2026 release via Transcending Obscurity […]

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Limited to 200 copies.

The post King 810 Give Their “Queen” EP Its First Vinyl Release appeared first on Theprp.com.

Death metal is one of my favorite things on Earth. One of the coolest and most invigorating innovations in heavy music, death metal’s focus on rhythm, groove, heft, and serrated distortions in every instrument calls to something primal and primordial. Belgian five-banger Carnation understand that primal call perhaps too well, taking a classic formula that should’ve diminished significantly in returns by now and vitalizing it with piss, blood, and vinegar. Over the course of three consistently high-quality records they’ve defied every phenomenon of nature that kills with time. Fourth onslaught Symphony in Flesh poses yet another threat. What fresh hell awaits?

WIOLENCE, that’s what! While Cursed Mortality took on a more dour character despite its tightened and streamlined songwriting, Symphony in Flesh is just mean. With no regard for human life and a complete lack of sympathy for the weak of body and will, Carnation reprises the punky and thrashy energies that imbued early works like Chapel of Abhorrence, while retaining the melodious flourish and smooth finish of Cursed Mortality. This in turn creates an interesting balance across 43 minutes of feral theatrics and viscous blood spatter. A wide array of songwriting tacks steadily shift Carnation’s sound as Symphony in Flesh’s runtime progresses. This strategy gives the whole a sense of dynamic movement and epic scale while dealing mortal blows left, right, top, and bottom—an apt representation of the album’s title. There’s no escape, and a gruesome death is guaranteed, but you’ll be transfixed on your way to your maker.

Few things in life are better than a well-placed “BLEGH,” and what better place to “BLEGH” than right at the beginning? Thus, Symphony in Flesh unleashes with the stellar opener “Blackmouth,” instantly opening a yawning pit to hell in a barrage of caustic riffs and feverish double-bass grooves. This is everything that death metal should be in a nutshell, but Carnation make sure their recipe has extra sauce. Follow-up “Flesh-Eating Frenzy” might be the most fun I’ve had with the genre all year, boasting a nasty beat that whips my spine around like a proper flail. Big grooves that I now wholly associate with Carnation’s trademark riffing style characterize stomping offenses “Kingdom of Dreams” and “Boundless Pathways,” but thankfully don’t ape Carnation’s former iterations. Instead, they carve trenches for themselves deep in the whitewater current of blood and sinew that Symphony in Flesh disrespectfully gorged out of the flesh of the earth itself. Such irrigation then provides ample sustenance to support blackened tremolos and squawking melodies that personify “Twisted Visions” and the remarkably well-paced 11-minute closing epic “Legacy of the Forefathers.” This final expulsion itself is a testament to Carnation’s continuous improvement as songwriters. It shouldn’t work at all, and yet its encapsulation of everything that Symphony in Flesh exhibits into one visceral container guarantees a righteous pathway to this symphony’s glorious end.

Carnation’s collective performance on Symphony in Flesh is fucking vicious. It’s rare that HM-2 death metal in the modern era tastes freshly killed as it did in the early days, but this does. Grotesque and writhing with guts, Symphony in Flesh is a monstrous record where guitars blaze everything to cinders and psychotic roars rattle every bone to dust. Drums pound muscle into slurry, and even the massively distorted and clunky bass tone makes quick work of tenderizing organ meat. There’s little to ask of Carnation here. Nonetheless, nitpicks arise. There’s an argument to be made against the merit of an albeit brief quietude in the back end of “Legacy of the Forefathers.” That couple of minutes and change could be cut out with no immediate danger to the whole. “Labyrinth of Silence,” while immensely groovy, also takes a little too long to kick into high gear. Even after trimming that section down, it’s still the “weakest” offering on the menu. Compared to its neighbors, it’s just a bit too lackluster to find its footing and fumbles the ball slightly. Thankfully, “Towards Death” scoops the ball right back up and shoves me back into the fray without any concern for my safety.

Safety is overrated when the only thing that matters in life is death metal. Carnation understand this mantra, and embody it with Symphony in Flesh. Without changing the classic formula, Carnation embarrass an entire army of revivalists by being one of the only bands in the buzzsaw persuasion to feel alive and imminently dangerous. I fear for my life every time I spin this beastly thing, and I rarely feel such joy in conflation with that immutable survival instinct. Yet, I’m chomping at the bit for another taste!

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Rating: Great
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Self-released | Redefining Darkness Records (NA Physical)
Websites: Bandcamp | Homepage
Releases Worldwide: October 16th, 2026

The post Carnation – Symphony in Flesh Review appeared first on Angry Metal Guy.

Norwegian death metal outfit OSKAAL have released an official lyric video for “Refused”, the opening track from their debut album, (A)live. The seven-track record arrived on 25 September 2026 through Wormholedeath, introducing the Drammen-based quintet’s combination of technical precision, raw aggression and dark atmospheres. The video can be watched on YouTube. “Refused” explores the lasting […]

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Live Review: The Hu – O2 Academy, Birmingham

8th October 2026
Support: Skald
Words: Matthew Caldwell

The Hu’s appeal extends far beyond your typical metalhead. Of course, there were plenty of familiar faces in the audience, but the demographic is remarkably varied. Walking into the O2 Academy, you’re greeted by the usual suspects clad in battle jackets (mine was left in the car; I know how hot that venue gets), alongside more casually dressed punters than you’d typically expect at a metal show. It’s a testament to the breadth of appeal The Hu have carved out for themselves over the past few years.

The opening act was French Nordic folk ensemble SKÁLD. There was an air of anticipation, not least because of the unfamiliar stage setup. I’ve never seen so many drums in one place, and every single one was put to good use. The band’s greatest strength lay in their pulsating percussion, complemented by Marie Potosniak’s hypnotic vocals, which were as powerful as they were haunting.

It wasn’t long before the crowd fell into a collective swaying, bobbing motion. Clearly, SKÁLD were going down well. It felt as though we were part of a giant, atmospheric meditation circle. The band were visually impressive, too, sporting medieval and pagan-inspired costumes alongside long, flowing hair. My personal favourite of their set came in the form of ‘Hross’, which, if my Old Norse is up to scratch, is an ode to Odin’s eight-legged steed, Sleipnir. By the time their final song ended, the crowd’s response had confirmed that SKÁLD were a worthy choice of support for The Hu.

At 21:10, it was time for the main event. The Hu took to the stage wielding all manner of weird and wonderful instruments. There are several things you wouldn’t normally see at a metal show, but in the hands of these Mongolians, traditional folk instruments prove every bit as effective as electric guitars when it comes to creating a heavy sound. As they launched into ‘Lost Soul’, Galbadrakh Tsendbaatar stood tall, wielding his morin khuur, and it was easy to see why the band have been on the ascent over the past few years. His throat singing was raw, primeval and brimming with passion. Seeing The Hu is a spectacle in itself.

Also vying for the audience’s attention was Jaya Galsanjamts, whose charisma and energy were infectious. His vocals provided the perfect accompaniment, and when he sang, you listened. A huge screen behind the band displayed the song titles in both Mongolian and English, a welcome touch for a band whose lyrics are predominantly in their native language.

‘Horsemen’ is a heavy, galloping beast of a track that works brilliantly in the studio but proves even more effective live. I glanced around, expecting to see the first mosh pit of the night. Alas, none was forthcoming. In fact, the audience as a whole seemed rather subdued, despite the energy and ferocity on display on stage. That didn’t dampen the band’s spirits, though. After each song, they expressed their love for and appreciation of the crowd’s support.

It would be difficult to complain about the setlist, with fan favourites drawn from across the band’s three albums, the bulk of the material coming from this year’s brilliant release, Hun. The heavy hitters were saved for the end, as ‘Yuve Yuve Yu’, ‘Wolf Totem’ and ‘This Is Mongol’ drew the loudest cheers when their titles appeared on the screen.

As the lights went out and the band left the stage, very few people seemed inclined to call it a night. In the darkness, it was possible to make out something looming menacingly at the back of the stage as a giant inflatable made its appearance, reminiscent of Iron Maiden’s Eddie. The band soon returned for an encore and asked whether we were familiar with Iron Maiden’s ‘The Trooper’, which they covered back in 2024.

If you didn’t know the original, you’d have little idea that the song tells the story of the Charge of the Light Brigade, with The Hu delivering the lyrics in their native language. When it came to the solos, both were electrifying. This felt less like a conventional cover and more like a statement of intent: The Hu are only getting started, and given a few more years, they could become a very big deal indeed. It’s easy to see why Iron Maiden chose them as one of the support acts for their Eddfestshow at Knebworth earlier this year.

As the lights came up, I approached a fan to ask for her thoughts on the show. She was more than happy to oblige. Selina Travil, originally from Barnsley, said:

“Both SKÁLD and The Hu played amazingly. I haven’t been to a concert in about 10 years, so I am so glad I chose this one. You didn’t need to understand Mongolian to appreciate them. It was a fantastic show.”

It’s difficult to argue with that assessment. Both bands were on top form, and the sound quality was excellent, which was a concern given the sheer number and variety of instruments on stage. If this is what 10 years of The Hu has brought us so far, what on earth will the next 10 years look like? If they continue at this rate, they’ll be something truly special.

For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.

The post Live Review: The Hu – Birmingham appeared first on The Razor's Edge.

“Judol Smutku”, the first single from Withered Land‘s upcoming third full-length effort Piesni Vietru, is out now and available for streaming together with an official music video directed and edited by Olga Kann.
Read more…

Posted on October 12th 2026, 5:49pm

Metallica are in the midst of their Life Burns Faster residency at Sphere in Las Vegas. At Saturday night’s show, James Hetfield took a side in arguably the biggest non-AI music news story of the year: the Macklemore/Ed Sheeran situation.

The post James Hetfield Shades “Entertainers” With Political Agendas At Metallica’s Sphere Residency appeared first on Stereogum.

The Gathering has put out a live document of its Mandylion reunion. Echoes Of Mandylion was captured over five nights at Doornroosje in Nijmegen, Netherlands, from Aug. 27 to Aug. 31, 2025. It marks the first time in 11 years that the original lineup, including vocalist Anneke Van Giersbergen, has played together onstage.

The set covers every song from the 1995 record, a fitting way to mark the album’s 30th birthday and the loyalty it has earned since. 

Speaking to Metal Hammer Greece’s TV War, vocalist Anneke van Giersbergen admitted that the band never expected Mandylion to remain so relevant 30 years after its release. She explained that the reunion began with casual coffee meetings with drummer Hans Rutten rather than a formal business plan. After the album was finally certified gold, the two agreed it was the right time to “do something special”. What started as one show grew into two and eventually expanded into an entire anniversary year.

Regarding the possibility of new music, Van Giersbergen said the band had deliberately avoided discussing the subject, preferring to keep the anniversary celebrations “special”.

The reunion tour is scheduled to conclude with a final show in Amsterdam in January 2027.

Keyboardist Frank Boeijen has stepped away from touring for a while because of “personal circumstances.” Remco Van Zandvoort, who also covered for Boeijen in 2022, has filled in at some recent shows.

Mandylion is the band’s third studio album. It arrived in August 1995 through Century Media Records and was the first to feature Van Giersbergen.

Echoes Of Mandylion is out now digitally and exclusively through Bandcamp.

The post THE GATHERING Announce “Echoes Of Mandylion” Live Album Featuring Reunited Classic Lineup appeared first on Sonic Perspectives.

“…We’re here to forget about all the outside sh*t, OK?”

The post Metallica’s James Hetfield Tells Vegas Crowd The Band Aren’t Here For ‘Influencer’ Bullsh*t: “Metallica’s Agenda Is Love, Energy And Heavy Music, Baby!” appeared first on Theprp.com.