Category: news

  • GODSLAVE Release New Single “Part Of The Pack”

    German metal band GODSLAVE have released their new single, “Part Of The Pack”. The track is taken from the band’s upcoming studio album, which will be released on September 11 via Metalville. An official video for the song is available now. Some songs need several listens before they truly click, but “Part Of The Pack” […]

    Source

  • The best new metal songs you need to hear right now

    And we’re past the halfway mark! Seven months into 2026 and the summer is at its peak, which means a whole heap of new albums are just around the corner. Naturally, that also means an even bigger heap of singles to sift through.

    That in mind, here are the results of last week’s vote! The King Ultramega project – a tribute to Chris Cornell – showed its star power off by nabbing third place with the excellent, Lzzy Hale-headlined Loud Love cover. Just ahead of that were Mongolian metal stars The Hu, but our overall winners for the week were returning arena conquerors Five Finger Death Punch, whose De Oppresso Liber took the crown.

    This week we’ve got a weird and wonderful mix to share. From the strange sounds of “peasant metal” (yep, another colourful subgenre) to former black metal bands and musicians shucking off the past to explore new realms, thundering beatdowns and straight-up great metal, there’s a little of something for everyone. Don’t forget to cast your vote in the poll below – and have an excellent weekend!

    A divider for Metal Hammer

    Netherwilds – Return The Goat

    If there was a prize for weirdest single of the week, Netherwilds would walk it. With its medieval peasant video and SOAD-like sense of eccentricity, it isn’t long before the track is veering off in wild directions. If you’ve ever wondered what post-hardcore would sound like fronted by a medieval peasant… Now you know.

    Distant – All Will Be (N)One

    If you want to stand out in deathcore in 2026, you’d better put some serious work in. Dutch/Slovakian brutes Distant are certainly doing their legwork with yet another slab of angular, pummelling violence in new single All Will Be (N)One, drafting in Ricky Myers of Suffocation for some extra lung-shredding nastiness.

    Xenith – Killer Instinct

    Expanding out into the realms of the epic, Manchester newcomers Xenith are gearing up for the release of their debut album To No Avail, due August 28. It might be early doors for them, but Killer Instinct lays out a stall of gorgeous guitars and explosive breakouts, bringing to mind Skeletonwitch or Black Dahlia Murder.

    Haken – Delirium

    Even with their 20th anniversary as a band looming, Haken are showing no signs of dialing back their expansive sonic palette. Delirium comes from new EP In A Fever Dream, due July 17, and finds the band blending brittle notes with pounding breakout moments and more than a few skittering drum beats.

    Moonspell – The Great Wolf In The Sky

    Portugal’s goth metal kings, Moonspell never get the credit they deserve. At the time where Type O Negative were blowing up, they pioneered a similarly vampiric take on darkness that would help inspire the likes of HIM. You can hear echoes of both those other bands in new single The Great Wolf In The Sky, a dark, melodious track which captures some of their crepuscular charm. New album Far From God is out today and well worth a listen.

    Enslaved – Spirit Helper (feat. Kevin Kicking Woman)

    This far in, it’s become accepted that Enslaved have the capacity to venture far from their black metal roots. Even after sidelines into prog, folk and beyond, a track like Spirit Helper stands out for just how starkly different it is to their core sound, the band drafting in an Elder of the Blackfoot Nation – Kevin Kicking Woman – to create a track that is sparse yet loaded with heavy atmospherics. Even when they go full Wardruna, there’s some of the grandeur inherent to Enslaved still popping up, particularly towards the song’s closing minute.

    Trelldom – When This Way Was Young

    From one maverick to another. Gaahl has also long since shed his black metal roots to explore more oppressive sonic realms, and nowhere is that more apparent than in Trelldom. The band’s new album …By The Word… arrived on May 29, and new single When This Way Was Young showcases their evolution towards a dread-filled sense of abjection that feels both doomy and gothic whilst being neither of those things, with the cold, dark atmos of his black metal past. It’s certainly one way to beat the summer sun.

    Kamelot – Ashen World (feat. Ignacia Fernández)

    Set somewhere between the realms of power and symphonic metal, Kamelot can always be relied upon to bring a sense of grandeur. Ashen World comes with the announcement that the band’s fourteenth album Dark Asylum will be out August 28, the single also drafting in Decessus vocalist Ignacia Fernández for some extra heavy ballast.

    Living Weapon – The Leaving Process

    We hardly need an excuse to get sweaty right now, but Living Weapon have provided the perfect soundtrack to a skull-stomping beatdown nonetheless. The Boston hardcore mob are going right for the jugular on new single The Leaving Process, melody left gathering dust while they kick the ever-loving shit out of the listener. Keep your eyes out for new album Death In The Family on August 14.

    Koh – Golden Death

    It might be short and sharp, but Koh’s Golden Death isn’t your usual in-n-out hardcore rager. There’s a sense of sublime melody early on in the track that gives way to a blasting maelstrom of noise, feeling akin to the likes of Harakiri For The Sky. The Aussie band’s debut EP of the same name is out now and well worth a listen if you like your heaviness to feel expansive and powerful whilst also not overly self indulgent.

  • August Burns Red – Season of Surrender Review

    I want to apologize in advance for delaying the biggest review of the summer that we all have been waiting for. While I know everyone here is chomping at the bit for more Christian-adjacent metalcore, you need to wait patiently for another moment so I can introduce the legendary August Burns Red. Jokes aside, the veteran genre stalwarts have released their tenth record, Season of Surrender, and to my surprise, as a longtime fan of the act despite their religious inception, S.O.S. is one of their most brutal albums to date. August Burns Red turns to the past to inspire its sound for the future, but is this shallow nostalgia-bait or an evolution of the band’s most refined records?

    August Burns Red is the type of band that will sour metalheads on site. Formed in the heyday of Christian metalcore, the band has been chugging along for decades with its trademark sound. As someone who found them after already cutting my teeth on acts like Mastodon, Gojira, High on Fire, and many more, their undeniable technical skill, blistering breakdowns, and heartfelt execution caught my ear. Their 2009 record, Constellations, remains as affecting as ever and serves as a north star for the band to this day. Now, with Season of Surrender, they have finally moved out of the era of genre-switchups and downright inspired musical interludes into something more efficient, heavy, and pointed. Matt Greiner remains the highlight of a band loaded with talent. His rhythm, force, and pure technical skill without resorting to metal cliches is the nucleus of a band that has written music together for two decades. August Burns Red has featured the same members since 2006, with nine of its ten records sporting the same lineup. This consistently carries over to the music, and everything about Season of Surrender feels effortless. Guitarists JB Brubaker and Brent Rambler have remained underrated throughout their career due to the Christian-metalcore label, but Season of Surrender is full of brutal breakdowns that would make even the heaviest deathcore bands blush, while retaining the rhythm and pacing that lets them truly hit hard.

    Season of Surrender contains some of August Burns Red’s heaviest material to date, clearly harkening back to The Messengers’ days. While its Christian trappings have become basically agnostic (only a few members of the band are still self-identified believers), Season of Surrender still contains the band’s trademark positivity. This trope doesn’t always serve the songs, and the lyrics on “Cerebral Malfunction” feel particularly tone-deaf, seemingly poking fun at therapy. “Sonic Salvation” revives a classic cliché by using music as an escape from life and stress. The song itself is solid, but I cannot help but cringe at some of the refrains. Despite these stumbles, Jake Luhrs seems to only get better and better as a vocalist with each record, and Season of Surrender shows his widest range while hitting the heaviest lows in his career, like on the ending of “Legions”.

    Season of Surrender is one of their most consistent and heavy records since their best releases, and while the band has rarely, if ever, stumbled, this record is stuffed with brutality. “Forged by Failure” features an opening riff that is so groovy and simultaneously heavy that it will surely end up as a concert finale. “Den of Thieves” is one of the best tracks the band has penned in its career, and “Behemoth” is an absolute crusher. Outside of a few lyrical stutters, Season of Surrender is mostly unblemished. The album is slim and trim for a band that usually lets things get a little bloated, and at nine tracks and one musical interlude, the album breezes by.

    Season of Surrender is a perfect example of August Burns Red at its tightest and most driven. Despite the genre label, the band continues to challenge the technical skill and sheer brutality of most modern core acts while showcasing a dedication to rhythm and emotion. Season of Surrender won’t likely change the minds of those who have written the act off, but it’s a great starting point with its parallels to early records. Season of Surrender is a solid metalcore record that will likely be a favorite of longtime fans, and if you can brush off the lingering scent of Jesus, it may just be a metalcore record worth your time.


    Rating: 3.5/5.0
    DR: 4| Format Reviewed: 320 kbps mp3
    Label: Fearless Records
    Websites: Bandcamp | Official Site
    Releases Worldwide: June 5th, 2026

    The post August Burns Red – Season of Surrender Review appeared first on Angry Metal Guy.

  • WHISPERED Announce Long-Awaited New Album Honorbound, Release Final Single “Battlecry”

    Finnish melodic death metal band Whispered will release their long-awaited fourth studio album, Honorbound, on September 11. Known for combining Japanese musical influences and traditional themes with modern metal, the band returns nearly a decade after their previous full-length album, Metsutan, which was released in 2016. The album campaign began in April with the release […]

    Source

  • Madonna’s Confessions II Is Here

    Conventional wisdom suggests the last great Madonna album was 2005’s Confessions On A Dance Floor, a disco-opera of sorts created with producer Stuart Price to function like a full DJ set. That’s the album that gave us the all-timer Madge single “Hung Up,” which our own Scott Lapatine concisely blogged about way back when it was only available as a ringtone, describing it as “Kylie meets ABBA.”

    The post Madonna’s <em>Confessions II</em> Is Here appeared first on Stereogum.

  • Aller guten Dinge sind drei!

    „The first time was so nice, we had to do it twice“ – oder in unserem Fall sogar ein drittes Mal. Und weil wir einmal mehr in Feierlaune sind, haben wir aus 30 dieses Mal 31 teilnehmende Metal Bands aus aller Welt auf den Holy Ground gerufen.

    Die Battles auf dem Holy Ground komplettieren diese elf ausgewiesenen Hard & Heavy Nationen und ihre Vertreter:
    Witchlords – Belgien
    Ganondorf – USA
    Death Row – Bulgarien
    Human Nebula – Südafrika
    Seers Of Light – Ungarn
    Dead Memories – Irland
    Invasion – Norwegen
    Sentient Void – Philippinen
    Rise Of The Shadows – Spanien
    Days Of Ruin – Schweiz
    Noiduin – Finnland

    Wir gratulieren allen Gewinnern und heißen alle Bands herzlich auf dem Holy Ground willkommen.
    Das Teilnehmerfeld für die Wacken Metal Battles ist somit komplett – Mögen die besten Riffs den Sieg bringen.

    Wir sehen uns in Wacken – Party On!

    Der Beitrag Aller guten Dinge sind drei! erschien zuerst auf Live, laut, legendär!.

  • GUS G. launches a new video

    Internationally acclaimed guitarist, composer, and Firewind mastermind Gus G. released his fifth solo album Steel Burner on April 24, 2026. Marking his first solo offering in five years, the record delivers a blistering fusion of modern instrumental metal and carefully curated vocal collaborations with some of heavy music’s most legendary voices. Gus himself comments: “Confession” is the… Continue Reading →
  • KROLOK set release date for new OSMOSE album

    Today, Osmose Productions announces September 25th as the international release date for Krolok‘s highly anticipated third album, Hričov-Súľov-Lietava, on CD, vinyl LP, and cassette tape formats. The third long-playing full-length of the immortal Count will take you many centuries back to the glorious times of the mighty Carpathian castles and the mysterious history of Slovakia. Enhanced by lyrics sung in […]

    Source

  • MOONSPELL Return from Exile on the Deliberate, Atmospheric `Far From God` – Album Review

    Five years is a long time to be silent — particularly for a band that spent much of the previous decade releasing records in rapid succession. But Far From God, Moonspell‘s thirteenth studio album, arrives carrying the unmistakable weight of deliberation, not stagnation. Fernando Ribeiro and company have spent those years narrowing their focus rather than expanding their ambitions, and the result is one of the most compositionally assured records of their career.

    Moonspell

    To understand what Far From God accomplishes, it helps to trace the arc that led here. The Portuguese institution built its legend on the gothic black metal of Wolfheart (1995) and the definitive Irreligious (1996) — records that established the atmospheric, dark romantic strain of European heavy music for a generation. What followed were decades of restless reinvention: industrial detours on Sin/Pecado, orchestral expansions through Night Eternal and 1755, and the progressive textures of 2021’s Hermitage. That last record, received with measured enthusiasm, represented a first step back from the symphonic weight that had come to define Moonspell‘s recent output. Far From God completes the retreat. The orchestration is gone. The arrangements breathe.

    The decision to work with producer Jaime Gomez Arellano — whose résumé runs through Paradise Lost, Sólstafir, and Ghost — is not incidental. This is a man who understands the value of negative space in heavy music, and his fingerprints are audible throughout. The album’s sonic character is warm, dark, and analog-feeling, less layered than anything Moonspell has released in years, meaning every element has room to register on its own terms. Aires Pereira’s bass is an unexpected standout: it sits unusually high in the mix for a gothic metal record, and on “Biblical” its presence anchors a track that might otherwise drift on the strength of its romance alone. Pedro Paixão’s keyboards function not as decoration but as structural atmosphere — subterranean, constant, load-bearing. The guitars carry emotional depth rather than riff weight. Ribeiro’s baritone cleans sit exactly where they should: forward, legible, unobstructed by the orchestral density of recent records.

    The thematic architecture of Far From God rests on a single philosophical premise that Moonspell have always circled but rarely stated this plainly: to love fully, to inhabit darkness completely, is to be estranged from the divine — and that estrangement is not lamented but chosen. The title track, the album’s lead single and most crystalline statement of purpose, delivers the thesis in a single lyrical image: “Far from god but close to you I feel / Full of life: on your love, on your blood / I feed tonight.” Spiritual exile and erotic hunger collapse into the same act. This is Baudelaire’s territory — beauty inseparable from damnation — and Moonspell execute it without irony and without camp. Elsewhere, “Biblical” stages the Fall as a love story in miniature (“We were the first to summon sin / Under the tree we found our meaning”), while “Reconquista” closes the record with a volta into Portuguese — Em ti me encontro — reconquista (“In you I find myself — reconquest”) — that reframes the album’s long meditation on spiritual exile as a form of self-recovery. Vampires and werewolves are the mythological vehicles throughout, but they never function as genre decoration; they carry genuine weight, grief, and longing.

    The promo materials reach for the obvious comparison: the “Irreligious of the 21st century.” That framing deserves skepticism. Far From God is an excellent record on its own terms, which is precisely why it doesn’t require the comparison — and won’t survive it. What the album shares with Irreligious is a commitment to atmospheric restraint and dark romanticism over maximalist arrangement. What it doesn’t share is the shock of novelty. This is Moonspell at their most clear-eyed, not their most revelatory, and those are different achievements worth distinguishing.

    Album opener “Cross Your Heart” is the most immediate and arguably the finest of the eight tracks: a post-punk-structured piece draped in gothic atmosphere that meditates on roadside memorial shrines and lives ended before their time. The grief is rendered without exploitation, the imagery of crosses and flowers along the road carrying genuine weight rather than genre-approved morbidity. “The Great Wolf in the Sky,” featuring string arranger Alicia Nuhro in what proves to be a genuinely load-bearing guest role, is the album’s most expansive moment — simultaneously a tribute to wolves who traveled with the band and an elegy for a fan and friend who didn’t live to hear this record. The multilingual wolf litany — lobo, lupus, wolf, ulv, likos, varg — signals something ancient and universal rather than regionally specific, and it earns the moment it occupies.

    The back half requires a more qualified reading. “Our Freedom to Fall” pivots into Type O Negative-adjacent chugging and marks the first full deployment of harsh vocals — a satisfying release of tension, and lyrically the album’s most viscerally direct moment (“In the heart of fire, in your ashes of white / Our freedom to fall and again feel alive”). But it also signals the point where the album’s tonal identity begins to strain. The harsh vocals accumulate across the closing tracks to an extent that quietly undermines the restraint that made the first five tracks so effective. “Reconquista,” ambitious in its closing Portuguese-language pivot, is six minutes of a composition that doesn’t quite command six minutes; the song wanders in its middle third before arriving at a keyboard fade that feels more like an exit than a resolution.

    These are genuine structural considerations, not minor quibbles. The honest shape of the record is exceptional, opening with a strong exploratory body and slightly uneven landing. That said, the creative decision at the center of this album — to strip away the accumulated orchestral density and trust the core of the sound — is the right one, and it pays off more often than not.

    Moonspell do not need to chase relevance. Far From God is the most persuasive argument they’ve made for that position in years.

    “After three and a half decades, Moonspell still know exactly who they are — and on Far From God, that turns out to be enough.”

    Far From God Tracklist:

    1. Cross Your Heart
    2. Far From God
    3. Biblical
    4. The Great Wolf in the Sky (ft. Alicia Nuhro on strings)
    5. Your Promise of Light
    6. For the Love of Mortals
    7. Our Freedom to Fall
    8. Reconquista

    MOONSPELL Live Dates 2026:

    • 20.06.2026 (BE) Dessel – Graspop Metal Meeting
    • 10.07.2026 (FI) Kotka – Dark River Festival
    • 16.07.2026 (PL) Bolków – Castle Party Festival
    • 02.08.2026 (BU) Plovdiv – Ancient Theatre of Plovdiv (Opus Diabolicum Orchestra Show)
    • 06.08.2026 (DE) Schlotheim – Party.San Metal Open Air
    • 28.08.2026 (RO) Câmpulung Muscel – Posada Rock Festival
    • 18.09.2026 (UK) London – Cosmic Void Festival
    • 19.09.2026 (TR) Istanbul – Bosphorus Open Air Metal Fest

    For More Info Visit:

    • Website | https://www.moonspell.com
    • Facebook | https://www.facebook.com/moonspellband
    • Instagram | https://www.instagram.com/moonspellofficial
    • Youtube | https://www.youtube.com/user/MoonspellYT
    • Spotify | https://open.spotify.com/artist/17bYSQ9ZRnreVnJjE5X2x6
    • Napalm Records | https://label.napalmrecords.com/moonspell

    MOONSPELL is:

    • Fernando Ribeiro – Vocals
    • Ricardo Amorim – Guitars
    • Pedro Paixão – Keys
    • Aires Pereira – Bass
    • Hugo Ribeiro – Drums

    Moonspell

    The post MOONSPELL Return from Exile on the Deliberate, Atmospheric `Far From God` – Album Review appeared first on Antihero Magazine.

  • AN NCS VIDEO PREMIERE: FIMBUL WINTER — “WHEN THE SUN COMES OUT AT NIGHT”

    (written by Islander) Like many other ardent fans of melodic death metal, we were first drawn to Fimbul Winter last fall by the musical pedigrees of their lineup: The band was formed by Amon Amarth co-founders Anders Biazzi and Niko Kaukinen, along with longtime Amon Amarth drummer Fredrik Andersson, and they were joined by venomous […]

    The post AN NCS VIDEO PREMIERE: FIMBUL WINTER — “WHEN THE SUN COMES OUT AT NIGHT” appeared first on NO CLEAN SINGING.