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  • Portrayal Of Guilt Set For Fall European/UK Tour With Oathbreaker, Spike Hellis & Crouch

    Additional bands will vary by leg.

    The post Portrayal Of Guilt Set For Fall European/UK Tour With Oathbreaker, Spike Hellis & Crouch appeared first on Theprp.com.

  • Hypocrisy Forced To Scrap Their North American Tour Due To Visa Issues

    The band were booked to head out this month with Dimmu Borgir, Suffocation and more.

    The post Hypocrisy Forced To Scrap Their North American Tour Due To Visa Issues appeared first on Theprp.com.

  • Cairiss – Wilderness Review

    Towards the tail end of last year, a humble group from the UK called Asira shook up my top ten list. Little did I suspect that I would hear from some of these fine musicians again so soon. Five out of the six members of the blackgaze band Cairiss contributed in some way to As Ink in Water, and now they break a decade-long silence since debut album Fall. Wilderness seeks to express and overcome personal trauma and suffering while also validating those of its audience who are waging their own solitary or unseen battles. As such, this work of art transcends sole beauty or entertainment value to extend an invitation to process and heal in whatever way may be personally needed.

    Wilderness is both a continuation and amplification of the potential teased on Fall. Cairiss remains rooted at the intersection of the gossamer elegance of Sylvaine and the blackened anguish of Unreqvited. This is an uncommon type of blackgaze that successfully flits between grandiose and intimate. Freya Brown, who previously handled all vocals, is now devoted primarily to those of the harsh variety.1 Her hard work paid off—her snarls and screams are much sharper, more expressive, and more dynamic all-around. Newcomer Lydia Williams takes charge of the clean singing with similarly breathtaking results. Additionally, the instrumental melodies are more poignant; hints of Asira’s and Opeth’s soulful, progressive guitarwork can be found throughout Wilderness (“The Guide,” “Dissociate”).

    In my review of As Ink in Water, I noted that Asira showed a mastery of contrast, and this is even more true of Cairiss. It’s particularly evident every time the different vocalists overlap. When Lydia’s operatic singing crests into view in “The Guide” and interlaces with Freya’s fierce growls, the effect is chill-inducing. On the mellower side, “Integrate” brings Martin Williams’ voice to the forefront for the first and only time on Wilderness as he and Lydia harmonize into a blissful siren song. But perhaps no song encapsulates Cairiss’ wondrously dichotomous nature more than album closer ‘Wildfire.” It sounds like Freya poured every ounce of feeling she possessed into each syllable of her screams, which are periodically assuaged by soothing singing and an emotive guitar solo. I’m impressed by how well Cairiss can bring together such opposing elements without one ever overwhelming the other.

    Wilderness is also well-balanced in other ways. This is a carefully constructed album wherein every moment serves a purpose. None of the songs ever stall or dissolve into aimlessness. Crescendos and climaxes arrive and depart in a smooth, natural flow (“Retrace,” “The Guide,” “Dissociate”), facilitated in large part by Connor Frapwell’s percussion. He excels at building and releasing dramatic tension, evoking the ebb and flow of a thunderstorm in “Retrace” and helping the extended intro of “Nervosa” feel much shorter than it is. The total runtime is a sensible 43 minutes, suggesting a good deal of self-editing, and I’m left wanting more as the final howl in “Wildfire” dies. If I have any complaints about Wilderness, it’s that I wish that the bass lines were a bit more prominent.

    Time does not heal all wounds. Some must be confronted head-on, and that is what Cairiss does heartwrenchingly and unequivocally. While I wish that it had not needed to be born from a place of such anguish, Wilderness is one of the most authentic and cathartic pieces of music I’ve heard this year so far. Cairiss has leveled up considerably in the last ten years, each member’s individual strengths shining brightly in a musical subgenre where contrast is intrinsic. Fans of blackgaze—or the beautiful sides of metal in general—should heed the beckoning to venture off the beaten path into the Wilderness.

    Rating: 4.0/5.0
    DR: 7 | Format Reviewed: 192 kbps mp3
    Label: Self-Release
    Websites: cairiss.bandcamp.com | facebook.com/Cairiss
    Releases Worldwide: July 31st, 2026

    The post Cairiss – Wilderness Review appeared first on Angry Metal Guy.

  • Sid Wilson Brushes Off Question Over His Slipknot Status After Being Spotted Outside A Los Angeles, CA Studio

    TMZ tracked him down in Los Angeles after his reported firing.

    The post Sid Wilson Brushes Off Question Over His Slipknot Status After Being Spotted Outside A Los Angeles, CA Studio appeared first on Theprp.com.

  • Twelve incredible live performances just uploaded to the internet, including The Beatles, Jimi Hendrix, Pink Floyd, Thin Lizzy, King Crimson, Tom Waits and more

    The internet has been particularly generous to us this week, with a healthy number of rare and previously unseen live performances making their way online. From old TV shows to awards ceremony highlights to contemporary livestreams, here are 13 remarkable highlights, with a disclaimer: be quick, because at least a couple of these clips might not remain online for long.

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    1. The Beatles – Live At The Coliseum, Washington

    In February 1964, at the height of Beatlemania, the Beatles played a sold-out show at the Coliseum in Washington, DC. The 12-song set was filmed by CBS and broadcast the following month, and has subsequently appeared on DVD. This latest (unofficial) clip of three songs upscales the video to 4K, colourises the footage and remixes the sound, and it shows the “lovable mop-tops” in complete control as carnage unfolds.

    Famously, this is the night the band were pelted with jellybeans after professing a love for the popular sweet in an interview. “We were on a circular stage, so they hit us from all sides,” said George Harrison. “Imagine waves of rock-hard little bullets raining down on you from the sky. It’s a bit dangerous, you know, ’cause if a jellybean, travelling about 50 miles an hour through the air, hits you in the eye, you’re finished. You’re blind, aren’t you?”

    2. The Jimi Hendrix Experience – Live at the Royal Albert Hall

    Jimi Hendrix‘s shows at London’s iconic Royal Albert Hall in February 1969 were both captured by an American company, McCann Filming, and released as a concert movie later that year. This hour-long compilation uses the best available video and audio sources from the second of the shows (from February 24) and features some rare and previously unseen footage of Jimi backstage and after the show, an interview at Jimi’s London flat, and two acoustic covers filmed at the same location.

    3. Can – Halleluhwah (Live on Beat-Club)

    Last week we made some noise about a known-but-previously unreleased version of Black Sabbath’s N.I.B. filmed for the German TV show Beat-Club in 1970, and now here’s something from the following year as Krautrock lynchpins Can perform an eight-minute version of the classic Halleluhwah. This performance is a full ten minutes shorter than the studio version on Can’s Tago Mago album (thanks to standard television programming being unable to accommodate a 20-minute avant-garde jam), but Jaki Liebezeit’s relentless drumming and Damo Suzuki’s stream-of-consciousness vocals are still a treat.

    4. Family (ft. Roger Chapman) – Part Of the Load (Live on Beat-Club)

    Another 1971 gem from the Beat-Club archive as Family mix three different kinds of rock (progressive, blues rock and jazz) into something truly adventurous, with Roger Chapman improvising on vocals and a stellar rhythm section in the shape of bassist John Wetton and drummer Poli Palmer, who, presumably via some kind of post-production video magic, also appears on vibes. Palmer was filling in on the stool for regular sticksman Rob Townsend, who’d been bitten by his dog.

    5. Uriah Heep – Return To Fantasy (Live on The Midnight Special)

    Since launching its archive on YouTube in early 2023, The Midnight Special has uploaded hundreds of clips and dozens of full shows, thus adding to the total sum of international enjoyment by a significant factor. This footage comes from the summer of 1975, when Uriah Heep were promoting their Return to Fantasy album, and features Mick Box & Co. (including our old friend John Wetton, who’d replaced Gary Thain earlier that year) playing the title track. This mix isn’t the best (too much bass, not enough guitar), and singer David Byron may be what they call “worse for wear”, but it’s undeniably full-on.

    6. Thin Lizzy – The Sun Goes Down (Sight And Sound In Concert)

    Thin Lizzy‘s Sight And Sound In Concert was filmed at the Regal Theatre in Hitchin in early 1983 and featured the band’s Thunder And Lightning lineup, with the late John Sykes fitting in beautifully alongside Scott Gorham on guitar. This footage of The Sun Goes Down finds Phil Lynott at his most melancholic, and has found its way to Thin Lizzy’s official YouTube channel in the footsteps of two other songs from the same show, Cold Sweat and Jailbreak.

    7. King Crimson – Sleepless (Live at Tokyo’s Kani Hoken Hall)

    Three Of A Perfect Pair might not be the best 80s-era King Crimson album, but the band were still absolutely monstrous live, as evidenced by this 1984 clip, which was filmed on the final night of a three-performance residency at the Kani Hoken Hall in Tokyo, and features some utterly heroic bass playing from the great Tony Levin.

    This is the latest in a long line of songs released from the show (elsewhere you’ll find Discipline, Frame By Frame, Sartori In Tangier, Elephant Talk, etc, etc), which was filmed for Nippon TV and later issued on LaserDisc as Three of a Perfect Pair – Live in Japan.

    8. Pink Floyd – The Great Gig in the Sky (Live in Venice)

    Such is the celestial splendour of Pink Floyd’s Great Gig In The Sky, it’s easy to forget that this performance – filmed in Venice in 1989 – only took place after three months of bickering with the local authorities, led to the resignation of the town’s mayor, and took place on a barge. Backing vocalists Rachel Fury, Durga McBroom and Lorelei McBroom sing Clare Torry’s original freeform part brilliantly, much to the presumed delight of the estimated 100 million people who watched Pink Floyd in Venice: A Concert for Europe when it was broadcast worldwide.

    In the last few weeks, Floyd have also released Shine On You Crazy Diamond, Time, Learning To Fly, The Dogs Of War, On The Turning Away, Yet Another Movie, Sorrow and Round And Round from the Venice show.

    9. David Bowie – Rebel Rebel (TFI Friday)

    It’s easy to forget the cultural dominance of Chris Evans’s show TFI Friday, but for a while, back in the late 1990s, it was the UK show to appear on, with everyone from Bon Jovi to Slipknot, Tina Turner and Prince appearing live (and it was very live). The show’s official YouTube channel was launched earlier this year (more than 300 clips have already been uploaded), and the latest batch includes a pair of David Bowie performances, China Girl and Rebel, Rebel, from a broadcast in October 1999. Eagle-eyed viewers will note the presence of Helmet‘s Page Hamilton on guitar.

    10. Tom Waits and Neil Young – Get Behind the Mule

    Back in 2011, Neil Young inducted Tom Waits into the Rock And Roll Hall Of Fame. “I didn’t bring my teleprompter or my notes, and I don’t have any real thoughts,” Young joked. ‘I will say that this next man is indescribable and I’m here to describe him.”

    After doing so, the pair went on to perform Waits’ Get Behind the Mule, from his 1999 album Mule Variations. Waits has only played one significant show in the years since, when he completed a 10-song setlist at a Bridge School Benefit show in 2013. Quite why the Rock Hall have waited until now to release this clip is anyone’s guess, but we’re not complaining.

    11. Tedeschi Trucks Band – Live At Red Rocks

    If there’s a more sublime combination of band and venue than Tedeschi Trucks Band and Denver’s Red Rocks Amphitheatre, then it surely must be in heaven. This twenty-minute teaser (you can skip five minutes of audience preamble) was filmed late last month and opens with a pair of rapturous Sly Stone covers in You Can Make It If You Try and Everyday People, plus their own Don’t Let Me Slide and the beginnings of Crazy Cryin’, before the footage fades. If you want to watch the whole thing, it’s available via TTB’s deal with streaming platform Nugs.

    12. Smashing Pumpkins – Lollapalooza 2026

    Filmed on the same night as Tedeschi Trucks’ Red Rocks show, but across the country at Grant Park in Chicago, this clip features Smashing Pumpkins’ entire Lollapalooza 2026 set, which includes a host of classics (1979, Bullet With Butterfly Wings, Disarm, Tonight Tonight, Cherub Rock and more) plus a trio of cameos from Yungblud, Olivia Rodrigo and Melissa Auf der Maur. It seems as if Billy Corgan (dressed here as Nosferatu, it would seem) is enjoying himself these days, and that comes across in a set that’s sonically spectacular and ultimately triumphant.

  • Interview: Dark Funeral Guitarist Lord Ahriman on New Live Album, ‘A Beast to Praise’

    It’s been 22 years since the last Dark Funeral live album but the Swedish satanists are doing it again with A Beast to Praise, their second live LP. Due out August 21 on Century Media, A Beast to Praise immortalizes Dark Funeral’s first performance back from the Covid-19 pandemic. Recorded at Fållan in their hometown of Stockholm, it’s the end of an era and the start of something new for Dark Funeral.

    Decibel spoke with founding guitarist Lord Ahriman about A Beast to Praise and what’s next for the band.

    What made you and Dark Funeral want to do a live record? 

    For us, it’s quite natural because we’ve always been a live band, so to save our live shows for fans to rediscover time by time, and also to give fans who are never going to watch us live a chance to experience us. For us, it’s quite normal to do studio records, do live records in between, even though this is just our second one. We wanted to do this for a long time. 

    Your last live record was in 2004, so it’s been a long time. Did you feel like you had to choose a selection that covered a large amount of ground? 

    We didn’t think about it in those terms. Whenever we have a show professionally recorded and if it sounds good, we try to do a live record with it, [especially] a show with a great setlist, spanning the whole catalog more or less. I think all of us think that this show was special in many ways, since it was the first show after the pandemic. It’s just a great setlist and a great atmosphere. To be able to put it out on a live record, it means a lot for many reasons. 

    The response I get on the setlist so far, people are like “Fucking awesome setlist.” Of course we can’t put all the classics on a live record, but everybody has been like, “Fuck, man, the setlist is killer.” I think it’s going to be a great release beore the next studio record. 

    Would you say this is the conclusion to an era of the band? You did the pandemic and you put out a record in 2022, so this is wrapping things up for you? 

    That’s one of the reasons too. Closing the chapter—I always feel like in between every record a lot and I come to a point where we’ve been touring for three or four years, it’s time to move on. For me, it’s always been very important to just find this place, a good place where I feel like “OK, this is the end of this touring cycle and album cycle, chapter is closed but we need to do something to close the chapter.” 

    This time, it’s releasing a great live record and we’re doing a final support tour with Behemoth and Dimmu Borgir this fall. After this tour, it’s bye bye to old stuff and we’re looking into the future, full focus on the next studio record. 

    Something like Covid was such a big era for so many bands, did you have any memories of being stuck at home, since it’s a recording from that time? 

    The only thing was, “Did this really happen? Did it really happen?” It did, I know it did. Now you look back and it’s been a couple of years, it feels kind of unrealistic that we went through all that bullshit. 

    I guess maybe to keep my psyche well, I try not to think about the time. On the other hand, the pandemic for us as a band came at a very good time. We had been touring. That was also like the closure for the album before.

    The plan was, when we got back from vacation, we were going to start writing a new record. Some of us, especially me, got stuck abroad because some of the flights got canceled, so it took a while to get home. We couldn’t really do much. I was like, “Perfect! I can just focus on writing new music!” That was We Are the Apocalypse, which came from the pandemic. 

    In that sense, the timing was good, even though I would have preferred for the pandemic not to happen. I was stuck in Mexico a couple of weeks and it was a weird situation.  

    When you guys did this show and you recorded it, was the intention always to be a live record?

    I’m kind of old school and I like to watch old live DVDs and stuff like that. Nowadays, you can find a lot of old concerts on Youtube too, so my original idea was to do a DVD with the live record. Long story, it didn’t turn out the way I was hoping. It’s going to be a couple of live videos, at least, not a full DVD. 

    So when you set out with this show, you set out to release it in some form when you went in?

    Yeah, because we worked with professional video and film team. We had professional sound engineers to record. When you do that, you want to do the best outcome. It turned out really good, so I’m happy we decided to record it.

    It’s the second recording for two members of the band. Do you think having them perform some of your older, classic stuff presents an interesting or different version of those songs? 

    All the songs, all the time, they’re all kind of in a live environment. Some of the songs have some new twists and takes that are not on the actual studio record, but that’s why we’re not doing too many special effects in the studio and such. We try to keep it as simple as possible so we can do it as closely as possible live on stage. That’s always been a philosophy ever since the first EP. We wanted really good production but not adding too much extra stuff that we can’t pull off live. 

    Are you working on new music while you do these tours and this live record, or will you sit down to start once it’s all done? 

    Me and Heljarmadr have been working. I can’t remember when we started but it might be two years. We’re in the end of the writing process. I’ve been working today. I had my bassist, Adra-Melek, there. We went through the songs and me and Heljarmadr have been tweaking some vocal arrangements on the last song for the record. 

    We’re almost there. Not really there but the music is more or less finished. For this record, from the beginning, we kept it open, which is good, because the songs keep on growing once you enter the studio. This time, I kept it a little more open than I usually do and see where the songs take off. 

    I’m really excited. It feels fresh. It feels Dark Funeral, lots of surprises. It’s probably the most varied record I’ve written so far. It feels like it touches all the different worlds I like with music—evil, speed, fucking aggressive, intensity into the darkest melancholy, deep black hole. There’s a wide span of feelings into the songs this time. 

    It must feel good—you’re over 30 years into your career with this band and you’re still pushing your boundaries. 

    That’s the tricky part when I started writing this record. I had ideas for what I wanted to improve from previous records. When I finish one record in a studio, I always have ideas where I want to move the next time, but this time I felt like I really need to step up the game bringing new ideas into the music, mainly for myself. I want to feel inspired, which makes me more creative. It feels great.

    Do you think working on the live record, going back to older stuff, has that influenced you at all when writing new music? 

    I never try to look back or re-listen to older records because I want to be here and now in the present. If I get stuck—what I’ve done in the past, it’s done. I’m really happy with the back catalog but why would I try to go back and copy myself? That wouldn’t make any sense to me, so I’d rather not listen to older stuff and try to be in the present and see where it takes me. For me, that’s very important when I want to write songs. 

    It’s what’s happening now. What’s going on in my head, what brings me inspiration at this time. That’s what I want to bring out in the music. I don’t want to copy myself, but of course I have my way of writing. Of course, you’re going to get lots of classical me riffing Dark Funeral melodies and stuff. 

    There will always be things that are Dark Funeral but there’s no need to live in the past either.  

    I don’t know why, but for this record it felt more important than ever. I wanted to refresh myself a little bit more than before. This time, I really was struggling in what direction I wanted to bring in new stuff into the songs to make it interesting for me. It’s been going well. I was so used to doubting myself in the beginning, but when everything starts coming together, like I told Heljarmadr the other day, I think we fucking did it again. 

    That’s a great feeling to have. 

    That’s why it’s got to start with yourself. If you’re satisfied and happy with it, then whatever comes after that, you can’t control. 

    Is there anything on the live record you’re particularly happy with?  

    I think the show in itself, the setlist, it’s just a great live album. The show has newer stuff, older, slower, fast. It’s a great mix of different Dark Funeral music and as I said before, we’ve always been a live band. For us, it’s important to pull off the studio version as well as possible on stage too. 

    The post Interview: Dark Funeral Guitarist Lord Ahriman on New Live Album, ‘A Beast to Praise’ appeared first on Decibel Magazine.

  • 2026 Fire In The Mountains – Friday

    Thursday can be found here. Our Friday edition will include a bit on the food available at the 2026 Fire in the Mountains Festival. We brought a cooler full of food, thinking our primary source of nourishment would come at our campsite. We ended up bringing most of it home, as we spent very little time at our campsite. More on that later. Tic… Read More/Discuss on Metal Underground.com

  • Megadeth, Black Label Society & Testament Announce 2027 European/UK Tour

    The ‘Breakout: Hibernation Of The Nations Tour’ to be exact.

    The post Megadeth, Black Label Society & Testament Announce 2027 European/UK Tour appeared first on Theprp.com.

  • DERRICK GREEN On Post-SEPULTURA Plans: “I Would Definitely Love to Create Another Band. I’ve Already Started Talking to People”

    In a new interview with Oran O’Beirne of Overdrive.ie (transcribed by Blabbermouth), Sepultura frontman Derrick Green spoke about his plans for after the band’s ongoing farewell tour. He said: “Well, I still wanna be involved in music. I would definitely love to create another band. And so I’m working on that, putting people together, getting together with people and seeing how that goes.”

    Asked about a possible musical direction for his post-Sepultura project, Green said: “What I’m feeling is I definitely would love it to be as heavy, but at the same time a lot more melodical, a bigger mixture of singing and screaming. That’s the vibe that I’m feeling. And very much groove oriented. It’s what I have in my head.

    “But it all depends on the combination of people that come together to create this idea. But I’ve already started talking to people and trying to figure out what could work best.

    “’Cause I’m very excited with the music scene that’s happening. I live in [Los Angeles], so there’s a lot of bands passing through, and I had the chance to check out a lot of things that I never knew about or bands I’d never heard about.

    “And it’s an exciting time, especially for hardcore and me being a hardcore kid, growing up in that scene, it’s great to see how it’s expanded and how big it’s become and still having so many different bands with their own personality and that stick out and are just super impressive and very energetic, and such a diverse scene of people. It’s great to see that mixture, because it wasn’t always there.”

    Green also addressed the non-music pursuits he plans to explore once the farewell run concludes: “I always felt that I wanted to do voiceover work, whether it be for animation or commercial work, so that’s something that I’m gonna be pushing for, 100%.

    “And also with food and the plant-based world, definitely working as far as whatever cool ideas that come about. I love to be a part of any type of project, and it’s great working with [former Whitesnake and current Bruce Dickinson bassist] Tanya O’Callaghan. Hopefully we can do more with [the plant-based travel and lifestyle web/TV series] ‘Highway To Health’, was the name of our program that we have. We have a lot of material that was never shown. It still needs to be edited. So hopefully we’ll be able to do more with that.

    “So there’s a lot of options at the end of this. And so just trying to put it together in my head, but at the same time, stay focused with the many shows that we have in front of us.”

    Sepultura’s final show will take place on November 7, 2026, at the Mercado Livre Arena Pacaembu in São Paulo, Brazil. Also on the bill: Metal Allegiance, featuring Mike Portnoy (Dream Theater), Alex Skolnick and Chuck Billy (Testament), Phil Demmel (ex-Machine Head), Troy Sanders (Mastodon) and bassist-founder Mark Menghi; Krisiun; and Sacred Reich. Former members including Jean Dolabella and founding guitarist Jairo Guedz — who preceded Kisser in the lineup — are also expected to appear.

    Sepultura most recently released the EP The Cloud Of Unknowing via Nuclear Blast and is recording 40 songs in 40 different cities for a live album commemorating the farewell run. The tour launched on March 1, 2024 at Arena Hall in Belo Horizonte, Brazil — marking the debut of drummer Greyson Nekrutman (ex-Suicidal Tendencies), who stepped in after Eloy Casagrande departed to join Slipknot.

    The post DERRICK GREEN On Post-SEPULTURA Plans: “I Would Definitely Love to Create Another Band. I’ve Already Started Talking to People” appeared first on Sonic Perspectives.

  • Rock Sound’s ‘British Summer’ – Group Magazine Cover

    For our second annual all-British issue, we have assembled 11 of the UK’s most exciting rising stars for a special group photoshoot and interview, this time at the legendary Camden Barfly venue.

    It’s time for you to get to know…

    THE MOLOTOVS
    NATIVE JAMES
    AS EVERYTHING UNFOLDS
    BEARS IN TREES
    ZAND
    MOUTH CULTURE
    WITCH FEVER
    ARTIO
    CODY FROST
    LEAP
    EXPLORING BIRDSONG

    …as we celebrate the best of new British alternative music.


    Plus, each of these ten artists also has their own limited edition magazine cover variant.

    Get yours alongside an A4 group poster print, only at SHOP.ROCKSOUND.TV

    The post Rock Sound’s ‘British Summer’ – Group Magazine Cover appeared first on Rock Sound.