Category: news

One of Danny’s bandmates may have tipped the band’s hand.

The post New Tool Album Rumors Heat Up Thanks To Danny Carey’s Fall Commitments appeared first on Theprp.com.

It’s always cool when underground rock lifers join forces. Between the two of them, Buzz Osborne and Jeff Pinkus have been making bugged-out noise rock for roughly ten thousand years. Osborne has been leading the Melvins since 1983. Bassist Jeff Pinkus joined the Butthole Surfers in 1985. Now, the two of them have united to form a new band called Gatta Morta, and their first EP is already out.

The post Buzz Osborne & JD Pinkus Launch New Supergroup Gatta Morta With Surprise EP <em>Burn Witch Burn</em> appeared first on Stereogum.

After taking his Anthrax-focused live show across the United States late last year and returning for a performance at Milwaukee Metalfest in June 2026, John Bush is now preparing to bring that set to Europe for the first time.

The singer has been confirmed for the 2027 edition of Wacken Open Air, which will take place in Wacken, Germany, from July 28-31, 2027. The appearance marks Bush‘s first European performance dedicated to the material he recorded during his years fronting Anthrax.

The current show centers entirely on Bush’s 1993-2003 period with the band, drawing material from all four studio albums he recorded: Sound Of White Noise, Stomp 442, Volume 8: The Threat Is Real and We’ve Come For You All.

Discussing the upcoming European debut, Bush said: “Totally pumped to bring the celebrating the songs of Anthrax ’93-’03 show to the continent of Europe.

The four shows we did in the States were awesome. Now it’s time to bring that material over the pond and have some stellar shows at some killer festivals, the first of which is Wacken!

The fans were always great during my time in the band and I have some special memories, so let’s belt out some tunes in 2027 and relive it!”

More European dates are expected to be announced in the near future.

Bush first introduced the concept during three U.S. concerts in December 2025 before bringing it to Milwaukee Metalfest earlier this year. Across those performances, he revisited songs from every album he recorded with Anthrax, giving fans a rare opportunity to hear material from that chapter of the band’s history performed live by its original vocalist.

Backing Bush on stage is a lineup featuring several familiar names. His Category 7 bandmates Phil Demmel and Mike Orlando handle guitar duties, while Jason Bittner plays drums. Bass responsibilities are covered by Bush‘s longtime Armored Saint bandmate Joey Vera, who stepped in because Category 7 bassist Jack Gibson was unavailable due to scheduling commitments. During the December U.S. shows, Category 7 also performed their own set before returning to the stage as Bush‘s backing band for the Anthrax material.

Over more than four decades, Anthrax has featured several vocalists. Alongside Bush, the band’s history includes Joey Belladonna, Neil Turbin, and Dan Nelson. Throughout every lineup change, guitarist Scott Ian and drummer Charlie Benante have remained the only musicians to appear on every Anthrax studio album.

Neil Turbin handled vocals on the band’s debut release, Fistful Of Metal, in 1984 before Belladonna took over. Belladonna‘s first run with Anthrax included four studio albums, among them Among The Living, one of the band’s best-known releases. After his departure, Bush joined the group in 1992 and remained its frontman until 2005.

His tenure ended when Anthrax reunited with Belladonna for the band’s 20th-anniversary tour. Following the collapse of that reunion and the departure of Dan Nelson, Bush briefly returned before Belladonna rejoined permanently in 2010.

For fans who consider the Bush years an essential part of Anthrax‘s history, the upcoming Wacken appearance offers another opportunity to hear songs from Sound Of White Noise, Stomp 442, Volume 8: The Threat Is Real and We’ve Come For You All performed by the singer who originally recorded them. With additional European festival appearances expected to follow, the celebration of that era looks set to continue well beyond its successful U.S. debut.

The post JOHN BUSH Brings His ANTHRAX-Era Celebration To Europe With Wacken 2027 Debut appeared first on Sonic Perspectives.

Black metal purveyors Archgoat have launched “The Dawn To Armageddon”, the second preview tune off their next studio record Nightbringer, Lightbringer.
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American Pyramid, the latest from the stylistically slippery Wisconsin indie rock guy Graham Hunt, is less than a month away. He’s already shared the rambunctious “Waiting For You To Come Home” and the hip-hop-inflected post-Beck alt-rock pastiche “Riverboat Blues.” Now comes “Getting Older,” a propulsive heartland rock track that puts Hunt’s weary melodies front and center. I love the interplay between the piano and lead guitar during the instrumental breaks. “We’re all getting older,” Hunt sings on the chorus. “Please don’t think it’s over for you.” Listen below.

The post Graham Hunt – “Getting Older” appeared first on Stereogum.

Linkin Park have shared an extended glimpse at their upcoming film ‘Unshatter’, which was directed by their own Joe Hahn.

Set for release on September 30, the movie will combine “rare archival footage, candid behind-the-scenes moments, intimate studio sessions, and electrifying live performances”, taking us from their early days of recording their latest album ‘From Zero’ all the way to their huge show in São Paulo, Brazil on the album’s extensive tour.

And based on the trailer, it is going to be an emotional, exhilarating and enthralling watch. A peek behind the curtain on an era that could have never even happened.

Hahn had this to say about the picture:

“UNSHATTER follows a very particular moment in Linkin Park’s history and documents a path through loss, uncertainty, friendship, and reinvention. I hope longtime fans see parts of our journey they’ve never seen before, and I hope people who are just discovering our music come away with a better understanding of how we got here. But even beyond Linkin Park, I hope people connect with it as a story about relationships, resilience, and what it really takes to move forward when you don’t have all the answers.”

If that wasn’t enough, the soundtrack of the film, ‘UNSHATTER (Live in São Paulo)’ will arrive on September 25. You can hear ‘Somewhere I Belong’ right now, as well.

The post WATCH: The Trailer For Linkin Park’s Upcoming Film ‘UNSHATTER’ appeared first on Rock Sound.

The Swedish formation Hypocrisy have been forced to cancel their previously announced North American tour, supporting Dimmu Borgir, due to visa issues.
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Since the last Filter dropped, it still hasn’t stopped raining and storming in my neck of the woods. Consequently, my minions trudge evermore through the thin sheet metal of our ducts as the thunder rattles everything like so many dice in a tabletop nerd’s clutches.¹ Yet I must press them and push them, for we have quotas to meet and ravenous appetites to sate.

So it is with shaky hands and discombobulated craniums that my grunts hand over the goods. BEHOLD!

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Kenstrosity’s Thrashed Thrall

Ascended Master // Crepuscular Gloom [May 8th, 2026 – Self Released]

Death thrash is best thrash, if you ask this sponge. Something about this unholy combo really rustles my jimmies, especially when its executed with great speed and riff-centered fervor. Cincinnati’s Ascended Master nail that combination right into the grave, boasting a sound that’s three parts Death, one part Atheist, and a pinch of Blood Red Throne. With a sense of groove that gives barnburners “Blood Spilled Upon the Stars,” “Crepuscular Gloom,” and rabid closer “Xenopaleontology” a deadly swagger liable to cause fierce whiplash in all who would headbang to it, debut LP Crepuscular Gloom” is a record pumped full of testosterone and adrenaline. Speedy rippers like “Midnight Mother” and “Ghoul Queen” put the pedal to the metal with a ferocity more commonly associated with Kvaen or Hellripper in the modern pantheon, but the record’s natural engineering and coherent screams hark to earlier times where Death reigned supreme in the scene. However, it would be inaccurate to call it pure worship. Ascended Master have an intense personality and a particular ferocity that allows Crepuscular Gloom to integrate smoothly into their respective category without blending into the crowd. As their career develops from this point, I expect we’ll see their identity bloom and rise with greater distinction, further setting them apart and threatening year-end lists all around. Just wait, you’ll see!

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ClarkKent’s Prehistoric Pulls

Ilienses Tree // Toward the Storm [May 1st, 2026 – Meuse Music Records]

Ilienses Tree sow their roots deep into the island the band originates from—Sardinia, just off the coast of Italy. Their name, Ilienses, refers to an ancient Nuragic civilization that, during the Bronze Age, built impressive stone tower structures that still stand today. While the band isn’t nearly so old, their second album, Toward the Storm, dabbles in the sort of slow, deliberate doom that speaks of the patience of those ancient ruins. They lean towards a style of funeral doom that has the brutal power of My Dying Bride, but their record also contains the unpredictable dynamic drumming of Oromet and sneaks into speedier death/doom territory akin to Paradise Lost and Novembers Doom. Ilienses Tree have a mastery over melancholic lead riffs, such as the one that opens “To Not Be Forgotten.” “Sudden Rain” flexes the band’s creative muscle most impressively. Beginning in a slow burn and anchored by a poignant guitar lead, the song has a sudden burst of energy, turns in a lovely duet between arpeggiated riffs and bass, and features several more memorable and distinct guitar leads. Though the songs average nine minutes, they fit neatly into a 38-minute record, and thanks to progressive structures, they never feel overlong. If you’d like some music that simultaneously hits you in the feels and provides a shot of adrenaline, then go towards, not away from, this storm.

Anna Fiori // Metztli [May 21st, 2026 – Self Released]

Sometimes symphonic metal bands grow a touch stale from a failure to innovate, relying too heavily on the gimmick of symphonic instruments. Anna Fiori, however, has created something pretty special, with a Mexican/Aztec twist on the genre. Her band mixes “pre-Hispanic instrumentation” with cinematic symphonics and heavy guitars to create thrilling high-energy music. While some songs hit a more poppy Beyond the Black mold (“En El Vacio”), others take a longer-form route. The nine-minute “Luna Llena (Xiki Noeso)” blends indigenous chants and flutes with orchestral elements that sometimes sound like an exciting score to a whimsical adventure film. The highlight, “Luna Menguante (Nimotemak),” contains a mix of cool riffs, flutes, and blast beats before taking us on a bonkers ride involving operatic singing, off-kilter pianos, a few solos, and perhaps the summoning of a demon or two. While the song compositions are tons of fun, Fiori’s performance ties it all together. She sings in the sweet poppy manner of Epica’s Simone Simons, the operatic style of many a Therion singer, and even some growls in the spirit of Seven Spires’s Adrienne Cowen, if not quite her power. Fiori even briefly raps on a couple of tracks, with a pretty impressive section on the outro track, “Tetzahuitl, Pt. 2: El Origen,” and goes off-script with an infectious laugh on “Entre Mil Voces.” Clearly she’s having a lot of fun. Metztli hits some of the familiar symphonic notes while injecting enough personality of its own to make for an entertaining, and sometimes wild, ride.

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Grin Reaper’s Spring Fling

Beyond the Veil // Oblivion [May 1st, 2026 – Wormholedeath Records]

There’s little online information about Tokyo prog metallers Beyond the Veil,² and while I don’t recall how I stumbled across debut Oblivion, I’m glad I did. Upon listening, I was immediately enamored by their familiar yet enchanting blend of drama and technicality. Fans of Opeth and Dream Theater will uncover a trove of unapologetic prog where Beyond the Veil weaves gorgeously conceived instrumentation into intricate compositions. Oblivion also embraces long-form arrangements, sporting six tracks ranging between seven-and-a-half and sixteen minutes each. Credit to Beyond the Veil, though, because even with such robust runtimes totaling over an hour, Oblivion never feels repetitive or bankrupt of ideas. Quite the opposite, in fact, as each listen reveals new knots to untangle and coils to unwind. Perhaps the facet I’ve come to appreciate the most as I revisit Oblivion is Beyond the Veil’s merger of piano, mellotron, and orchestrations with guitar, bass, and drums. They’re hardly the first band to do this, but each song sounds well-attuned to incorporating the right instrument for the right part rather than spotlighting heavy-handed wankery, allowing Oblivion to soar. While Beyond the Veil doesn’t break the mold with this one, getting lost in Oblivion never sounded so sweet.

Lago // Vigil [May 8th, 2026 – Everlasting Spew Records]

Vigil introduced me to Lago and their infectiously abrasive death metal, and this album is forty-two minutes of unhinged brutality flecked with melody. The blood of Immolation, Morbid Angel, and Incantation pumps through Lago’s veins, delivering unapologetic tangles of dissonant, jangling guitars, fuming blast beats, and murky bass runs beneath Cole Jacobsen’s devilishly demented gutturals. Lago’s brew is potent stuff, swirling and churning with caustic acid that will leave your eardrums scarred and cowed with nary a moment wasted. Complimenting the devastating filth Lago dredges is Gus Barr’s warbling lead guitar, which cuts through the grime with off-kilter shredding. “Behold, Ruin” and “Initiation Rite” hit with the immediacy and aplomb of Immolation, lurching onwards with Brian Miller’s timekeeping straight out of Close to a World Below’s playbook. Meanwhile, “Procession into Slaughter” and “The Land Was a Desert” launch into Azagthoth-tinged, otherworldly riffs. Everything about Lago screams danger, yet once the blood starts flowing it’s impossible to turn away from their murderously addictive violence. Once Vigil has its hooks in you, you won’t want them to Lago.

Redshift // Down the Wire [May 29th, 2026 – Pale Wizard Records]

As a massive Rush fan, Redshift’s Down the Wire immediately caught my attention with ample parallels. A power trio wielding buttery smooth bass lines, Lifeson-leaning chords, and Tiago Martins’ tender tenor call to mind Canada’s greatest export for all the right reasons. Yet Bath, England’s Redshift is more than a Rush clone, and on Down the Wire they bounce and whip in syncopated flurries and chromatic runs while dabbling with vocoded vocals and deathly roars. As the best prog does, Redshift explores vast territory in a commensurately brief runtime. Opener “The Routine” hits the Rush influence hard and early, but “The Clown” draws upon Synchestra-era Devin Townsend kookiness while “The Rogue” dabbles in Yesified eclecticism and even features guest keys from Derek Sherinian (ex-Dream Theater, ex-Yngwie Malmsteen). One thing Redshift steers away from is the self-seriousness associated with a lot of prog, and Down the Wire radiates a pervasive sense of fun. Trumpets and samba-coded melodies enliven “The Rogue” while “The Singer” assaults with fierce growls, wicked solos, and perfectly balanced instrumental interplay. Down the Wire fires on all cylinders, scorching with progressive songwriting and so much replayability that I regret not getting the chance to write a review in full. If you’re Down to the Wire and need a prog fix quickly, Redshift is a clever choice that won’t disappoint.

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Spicie Forrest’s Nostalgic Nugget

Haste the Day // Dissenter [May 1st, 2026 – Solid State Records]

I haven’t heard the name Haste the Day since 2008. At the time, I was on the tail end of my metalcore phase and pushing into heavier styles, so while I recognized their quality, I didn’t latch on to them as I did other acts of their ilk. It’s a shame, because Dissenter is the sound of my adolescence. Slinging the same emo-flavored metalcore as early As I Lay Dying and August Burns Red, the Indianapolis-based six-piece offers 39 minutes of beautifully aching nostalgia. Stephen Keech’s lead vocals sound pushed and strained (complimentary), evoking the emotion of early Linkin Park (“Shallows,” “Grave”). Guitarists Scott Whelan, Brennan Chaulk, and Dave Krysl are so in sync, delivering stellar layered riffs and leads felt in the soul (“Burn”). When Michael Murphy’s bass comes to the fore, as on “Liminal,” he brings a heaviness and intensity that hurtles me back to middle school like it was just yesterday. Dissenter is a bit heavier and faster on the front end, but even the not-quite-overwrought power ballads of the back half maintain their drive and pacing thanks to Giuseppe Capolupo’s kit work (“Adrift,” “Escape”). For those of us who cut our teeth on acts like Haste the Day, late-career and comeback albums can be an anxious affair, but I’m happy to report that Dissenter is a worthy walk down memory lane.

The post Stuck in the Filter: May 2026’s Angry Misses appeared first on Angry Metal Guy.

Ukraine’s Ignea are premiering an official music video for “Darkness”, the newest single from their upcoming studio album Monumental.
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October 23, 2026 will see the release of the Dragonland‘s seventh full-length instalment entitled Prophecies. Mixed and mastered by Fredrik Nordström at Studio Fredman. Cover artwork created by Pedro Sena. Symphonic/power metal outfit also present the album’s first single, “Survival Of Mankind”.
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