Category: news

  • Xentrix – Launch New Track

    British thrashers Xentrix have posted a video clip for “Allied With The Enemy”, the newest single and title-track off their forthcoming long player.
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  • Eleine – Fifth Album Announced & Detailed

    The Swedes Eleine have set December 4, 2026 as the official release of their newly announced full-length effort, The Water Taste Of Blood. The latter will be released independently. It was produced by Rikard Ekberg and Madeleine Liljestam. Mixed, mastered and co-recorded by Thomas “Plec” Johansson (The Panic Room). For a preview check out a Hannes Van Dahl-directed/filmed music video for the first single “Watch As We Rise”.
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  • W.A.S.P.’s Blackie Lawless Tells The Loaded Radio Podcast Where He Really Stands With Classic Members, The Status Of The Next Album And More

    Blackie Lawless on The Loaded Radio Podcast

    W.A.S.P. founder Blackie Lawless joins the Loaded Radio Podcast this week for a wide-ranging conversation with Scott Penfold. On the episode, Lawless discusses the 1984 To Headless tour — the fall 2026 North American run with KK’s Priest, celebrating W.A.S.P.’s first four albums, kicking off September 10 and running through October 31.

    He also gives an update on the next W.A.S.P. studio album, which would be the band’s first since 2015’s Golgotha, and on the biography he’s been writing for years. And he addresses how he views former guitarists Chris Holmes and Randy Piper today. W.A.S.P.’s current lineup is Lawless on vocals and guitar, Doug Blair on guitar, Mike Duda on bass and Aquiles Priester on drums.

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    Forty-two years on, Blackie Lawless is still the least apologetic man in heavy metal.

    He built W.A.S.P. out of the Hollywood club circuit in the early ’80s, got hauled in front of a US Senate committee for his trouble, and has run the band as its sole constant member ever since — fifteen studio albums, four decades, and a stage show that made theatrical rock what it is. He’s also never been especially interested in telling people what they want to hear.

    Which is what makes him a great interview, and what makes this one worth your forty-five minutes.

    Here’s what’s on the table.

    🤘 LIVE & LOUD: Stream the World’s Hardest Radio Station 24/7

    The 1984 To Headless Tour

    This is the big one, and Blackie’s framing of it is unusually final.

    1984 To Headless runs September 10 through October 31 across the US and Canada, with K.K. Downing’s KK’s Priest — featuring Tim “Ripper” Owens on vocals — as very special guests. Ten European dates are also on the books.

    The concept: selected material from W.A.S.P.’s first four records. The 1984 self-titled debut, 1985’s The Last Command, 1987’s Inside The Electric Circus and 1989’s The Headless Children. Blackie has said publicly that playing those four albums in one combined package is something the band has never attempted before, and that the entire stage production is built so the album covers themselves come alive on stage.

    The detail worth clocking: the official announcement described it as bringing those albums alive for the first and only time. Not a rotating anniversary run. A one-off.

    He’s also been candid about how long this took. Speaking to Eddie Trunk on Trunk Nation earlier this year, Blackie said the idea dated back to around 2018, and that the groundwork got rudely interrupted by COVID — at which point he wondered who had talked him into it and swore he’d never do anything like it again.

    And there’s a philosophy underneath it that comes up a lot with him now. He’s talked about the risk of an artist getting too self-indulgent, and about remembering that people have worked all day before they hand over their money and their evening. Give them what they came for.

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    blackie-lawless-wasp

    The Next W.A.S.P. Album

    The last W.A.S.P. studio record was Golgotha, in 2015. That’s a long time.

    It hasn’t been for lack of intent. Back in November 2023 we covered him saying the band was pretty far into the writing process — before a herniated disc, a fractured vertebra and two surgeries put everything on the back burner. He’s confirmed since then that new music is definitely in the works.

    The honest read: this record has been circling for years and Blackie doesn’t do artificial deadlines. He gets there when he gets there.

    The Book

    Blackie has been working on his biography for the better part of a decade, and by his own account the reason it’s taken so long is research — roughly the first five years went into digging rather than writing.

    More recently he’s said he’s past that stage and able to sprint, with the daily writing going quickly now, and he’s hopeful of finishing it before the end of 2026.

    For a guy whose life includes the New York Dolls, the Hollywood strip, the PMRC hearings and forty years of running one of metal’s most combustible bands, that’s a book with material in it.

    Also Check Out – Beyond the Big Hair: 13 Obscure Hair Metal Bands That Actually Ripped

    Chris Holmes And Randy Piper

    And here’s the part everyone’s going to click for.

    Chris Holmes played guitar on W.A.S.P.’s first four albums — the exact four this tour celebrates — before leaving in 1990, returning in 1996 and departing again in 2001. Randy Piper co-founded the band with Blackie and played on the first two records before exiting in 1986.

    The relationships have been publicly difficult for a long time. Holmes has made specific allegations about publishing and money going back years, repeating them as recently as May 2026, and has said flatly he wouldn’t return unless those issues were resolved. Blackie has rejected Holmes’s account and, when we covered his comments in 2024, was blunt about why a reunion doesn’t interest him: he rates Duda, Blair and Priester as world-class players and sees going backwards as a step down. He’s made the same point about the debut album anniversary — that he cannot in good conscience put a lesser show in front of the people paying for it.

    Nobody outside those two men knows what’s actually in the contracts, and we’re not going to pretend otherwise. What we can tell you is that Blackie doesn’t dodge the subject on this episode.

    Given that 1984 To Headless is built entirely on the era Holmes and Piper played on, asking him where he stands with them now isn’t a gotcha. It’s the obvious question. He answers it.

    wasp-band-facts

    And More

    There’s plenty else across the episode — the current lineup, four decades of running this band on his own terms, and the perspective of a man who has been doing this since before most of the audience was born.

    If you want the wider background, our W.A.S.P. band facts, members and history piece covers the full arc, and there’s a genuinely great story behind where the name Blackie Lawless came from if you’ve never heard it.

    Hit play up top.

    TL;DR

    • Guest: Blackie Lawless, founder, frontman and sole constant member of W.A.S.P.
    • Tour: 1984 To Headless, September 10 to October 31, US and Canada, with KK’s Priest as very special guests, plus ten European dates
    • Tour concept: selected material from the first four albums — W.A.S.P. (1984), The Last Command (1985), Inside The Electric Circus (1987) and The Headless Children (1989), with a stage show built to bring the album covers to life
    • One-off: the official announcement billed it as the first and only time the band will do this
    • New album: in the works; would be W.A.S.P.’s first since 2015’s Golgotha
    • Book: his biography, in progress for years, with Blackie hoping to finish it before the end of 2026
    • Chris Holmes and Randy Piper: Blackie addresses how he sees both former guitarists today
    • Current lineup: Blackie Lawless (vocals/guitar), Doug Blair (guitar), Mike Duda (bass), Aquiles Priester (drums)

    FAQ

    What is the 1984 To Headless tour?

    W.A.S.P.’s 2026 tour celebrating their first four albums — the 1984 self-titled debut, The Last Command, Inside The Electric Circus and The Headless Children. It runs September 10 through October 31 across the US and Canada, with KK’s Priest as very special guests, plus ten European dates.

    Who is opening for W.A.S.P. on the 2026 tour?

    KK’s Priest, led by former Judas Priest co-founder K.K. Downing with Tim “Ripper” Owens on vocals.

    Is W.A.S.P. making a new album?

    Yes. Blackie Lawless has confirmed new music is in the works. It would be the band’s first studio album since 2015’s Golgotha.

    Is Blackie Lawless writing a book?

    Yes. He’s been working on his biography for years, with roughly the first five years spent on research. He has said he hopes to complete it before the end of 2026.

    Who is in W.A.S.P. now?

    Blackie Lawless on vocals and guitar, Doug Blair on guitar, Mike Duda on bass and Aquiles Priester on drums. Lawless is the band’s only constant member since its formation.

    Will Chris Holmes rejoin W.A.S.P.?

    Neither man has given any indication that’s happening. Holmes has publicly said he wouldn’t return without resolution of a long-running publishing dispute, and Lawless has said he has no interest in a reunion, citing his confidence in the current lineup.

    What albums did Chris Holmes play on?

    Holmes played on W.A.S.P.’s first four studio albums and their first live album during his 1983–1990 run, then returned from 1996 to 2001. He has not played with the band since.

    Four decades, fifteen albums, and a man who still refuses to give the diplomatic answer. Are you catching 1984 To Headless this fall — and what do you want to see brought to life on that stage? Let us know in the comments.

    Follow Loaded Radio for daily rock and metal news

    The post W.A.S.P.’s Blackie Lawless Tells The Loaded Radio Podcast Where He Really Stands With Classic Members, The Status Of The Next Album And More appeared first on Loaded Radio.

  • Cryptorium – Share ‘In Bitter Remorse’ Song

    Death metallers Cryptorium have revealed a lyric video for “In Bitter Remorse”, the second advance single from their upcoming sophomore album Through The Bowels Of Ceaseless Dissonance.
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  • Five Finger Death Punch, Helloween, Electric Callboy, Knocked Loose, Dragonforce and many more announced for Wacken Open Air 2027 lineup

    Dozens of heavy metal bands have been confirmed for the lineup of German mega-festival Wacken Open Air in 2027.

    Leading the pack are US groove metal arena-fillers Five Finger Death Punch, German power metal veterans Helloween and German electronicore party-starters Electric Callboy (who grace the cover of this month’s Metal Hammer).

    Also announced are UK power metal band Dragonforce, who’ll be playing a 2027 European exclusive and joined by their recently added co-vocalist, ex-Arch Enemy member Alissa White-Gluz. White-Gluz’s new band Blue Medusa will appear, too.

    German metal band Edguy will play as part of their farewell tour and, on the more extreme end, blackened death metal unit Kanonenfieber will put on a show featuring the production from their own curated festival, Kanonenfest.

    Ex-Anthrax singer John Bush will play a special set featuring material by his former thrash band, and Children Of Bodom will play following their recent reunion with new frontman Samy Elbanna. Elbanna replaces the Finnish quintet’s late founder, Alexi Laiho.

    The full list of names is available below. The festival, which is held annually near Wacken village in north Germany, will take place from July 28 to 31.

    This first wave of 2027 acts was announced as Wacken Open Air 2026 came to a close on Saturday (August 1). It remains to be seen whether any in this crop are headlining the festival.

    Wacken this year was headlined by Def Leppard, Sabaton and Judas Priest. Powerwolf, In Flames, Savatage, Arch Enemy (now fronted by Lauren Hart), Saxon, Lamb Of God, Europe, Emperor and many more also populated the bill. Electric Callboy played an exclusive Electric Bassboy DJ set at the event, celebrating the release of their upcoming album Tanzneid this week.

    Wacken is Five Finger Death Punch’s first announced date for the 2027 European festival season, but the band will headline a tour across the continent from January to February. The headline run will include a show at the O2 Arena in London, their biggest-ever UK performance. Lamb Of God and Bleed From Within will serve as support for those dates.

    As for Electric Callboy, the band are currently on the cover of Hammer, and inside the issue they tell the story of Tanzneid and their career so far. Co-singer Nico opens up about his past throwing weekly house parties for all his friends.

    “At its peak, we had 80 people in this tiny flat. People that we didn’t know were ringing the doorbell,” he says. “They treated our flat like shit. I wanted to go to bed, and there were drinks and liquids that I couldn’t identify all over my bed! Very good memories, even if it doesn’t sound like it.”

    The six-piece, who released their latest single The Way You Are last week, are still touring Europe and will bring their Electric Bassboy show to their own festival, Escalation, on August 7. The day after, they’ll headline the event. Order the new Hammer, with Electric Callboy on the cover, and get it delivered directly to your door.

    Helloween’s Wacken 2027 appearance will be part of their ongoing 40th-anniversary celebrations. They’re currently making their way across Europe and will play the Concert Music Festival in Chiclana de la Frontera, Spain, on Thursday (August 6). A Latin American tour is in place for August and September. Wacken will be part of a 2027 summer European run also featuring dates in Spain and the Czech Republic.

    Wacken 2027 bands:

    • John 5
    • Avatar
    • Beast In Black
    • Belphegor
    • Between Two Worlds
    • Blue Medusa
    • The Browning
    • John Bush (Anthrax set)
    • Carnifex
    • Cavalera Conspiracy
    • Children Of Bodom
    • Creeper
    • Crypta
    • Dark Tranquillity
    • Dethklok
    • Dragonforce
    • Edguy
    • Electric Callboy
    • Feuerschwanz
    • Five Finger Death Punch
    • Gaerea
    • Hammerfall
    • Heaven Shall Burn
    • Heavens Gate
    • Helloween (40th-anniversary set)
    • Hiraes
    • Imminence
    • Jinjer
    • Kanonenfieber (Kanonenfest set)
    • Knocked Loose
    • Make Them Suffer
    • Malevolence
    • Metal Church
    • Mittel Alta
    • The Narrator
    • The New Roses
    • Norther
    • Overkill
    • Primordial
    • Seven Blood
    • Shadow Of Intent
    • Sylosis
    • Tailgunner
    • Towards The Sinister
    • Tyketto
    • U.D.O.
    • Victorious
    • Witch Club Satan

    Electric Callboy on the cover of Metal Hammer

    (Image credit: Future)
  • Drowning Pool – To Embark On US Tour

    US alternative metal crew Drowning Pool and Saliva are joining forces for a special co-headlining U.S. tour, celebrating 25th anniversary of 2001 albums – Sinner and Every Six Seconds.
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  • Bloodstock Bound: Redeemon

    Bloodstock Bound: Redeemon

    As Bloodstock gets closer, we delve deep into the line up to find out more about some of the bands playing the New Blood and EMP stages at this years event.

    Today we chat with Redeemon

    Hey guys were Redeemon a 7-piece Ska Metal band from London and Manchester, two cities’ miles apart, but we still make it happen. We’ve got 
    Aled- Guitar and Backing Vocals
    Mike- Bass and Backing Vocals
    Ben- Drums
    Then in the powerhouse horn section we’ve got 
    Eve- Tenor and Baritone Sax
    Seb- Alto Sax
    Sam – Trumpet
    And me Pook on Vocals and Trombone

    We call our sound either ‘Metalliska’ or ‘Brash’ which is (brass and thrash) put together. Some people will basically describe us as Skacore which I guess we pretty much are, but I feel we’re a lot heavier than Skacore. We have our feet firmly in the Metal camp as well as the Ska Punk/ Skacore camp.

    We were offered this opportunity of a life time by competing against 24 other bands in the Oxford region Metal 2 The Masses. Man, there were so many amazing bands competing and we also got to make so many new and amazing pals. It was an absolute blast. Huge love and respect to all the bands and Greg and Sam at 2 Face Promotions for putting on and organising such a fun run of shows.

    Oh, Christ it was super tough. As I said, there were so many incredible bands we got to play with, each as diverse as the next and with their own sound. Genuinely any of the bands that participated would have gone down well at Bloodstock. So, it was super tough. Last year we got as far as the semifinals but had to bail as the final round clashed with some of the guy’s other life commitments, but to be able to return and get through means the absolute world!!

    It means more than anything in the world for the band. Theirs always been I feel a bit of a parting back in the day between genres of music. You could only like one genre and if you liked anything else you were WRONG!! So, to be able to bridge that gap and be one of the first bands to bring a horn section to Bloodstock to me is pretty awesome!! Our mission is to try and prove to people that horns aren’t or have to be a band nerd, goofy instrument. It gets such hard press, I remember reading the descriptions in Kerrang back in the day. So, to be able to play this festival with a full horn section and prove the gatekeepers wrong is pretty special.

    Expect seven Brass holes giving it 10000% throwing down, Skanking and Moshing all at the same time and making your weekend the best it can be! Riffey guitars, Skanking Rhythms, Windmill pitting with horns sprinkled all on top! 

    We are playing on Friday 7th Aug, and we cannot wait for it.
    No idea what time yet but soon as we know, you know where to look.

    Some of my buddies are in Inhuman Nature so looking forward to catching up with those guys, also Stamping Ground, Municipal Waste, Testament, Lamb Of God, Judas Priest, Sepultura, Biohazard, it’s going to be an insane weekend.

    Well, we’ve got nearly two hours worth of demos to create the ultimate next release, maybe with the leftovers we can do a split with another band? I’m a sucker for a split release. We’ve got a few shows with our buddies in Collapser as well as the Blade Itself who are absolutely awesome.

    I’m an old man and nearly in my 40’s, I need to look after my back so in the van I have a lovely memory foam mattress where I will be sleeping and resting.

    Well, before the show, I’ll be predominantly drinking water, hot vocal zone teas and looking after my throat. After the show, I’ll be no doubt knocking back all the ‘Plobs’ and ‘Skittles Bombs’ ha ha ha ha

    Cannot wait, fun times lay ahead!

    For all the latest newsreviewsinterviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebooktwitter and instagram.

    The post Bloodstock Bound: Redeemon appeared first on The Razor's Edge.

  • WATCH: Olivia Rodrigo Perform ‘Thirty-Three’ With The Smashing Pumpkins At Lollapalooza

    Olivia Rodrigo has added another legend to her list of collaborations, as she joined The Smashing Pumpkins on stage during their headline set at Lollapalooza.

    The performance was of ‘Thirty-Three’, which first appeared on the band’s 1995 album ‘Mellon Collie and the Infinite Sadness’. Stripped back even further than it already is, taking on the form of an acoustic ballad, Olivia embodies the sullen melodies beautifully. She is also unable to take her eyes off Billy Corgan between croons, as if the whole situation is as brilliantly surreal as it looks.

    It’s a display that showcases a different side to a classic song, whilst once again allowing the band to demonstrate their support and appreciation for the newer artists who are taking over at the moment. Cultures and generations colliding, it doesn’t get better than that.

    You can check out fan-shot footage of the performance below:

    The Smashing Pumpkins are set to head out on a special 30th anniversary tour for ‘Mellon Collie’ later this year, which sounds like it is going to be quite the spectacle.

    Here are the dates:

    SEPTEMBER

    30 – COLUMBUS Schottenstein Center

    OCTOBER

    02 – BOSTON TD Garden
    03 – BALTIMORE CFG Bank Arena
    04 – BROOKLYN Barclays Center
    06 – PITTSBURGH PPG Paints Arena
    07 – HAMILTON TD Coliseum
    09 – MONTREAL Bell Centre
    11 – MADISON Kohl Center
    13 – ST PAUL Grand Casino Arena
    14 – CHICAGO United Center
    16 – CHARLOTTE Spectrum Center
    17 – JACKSONVILLE VyStar Veterans Memorial Arena
    18 – TAMPA Benchmark International Arena
    20 – INDIANAPOLIS Gainbridge Fieldhouse
    22 – NASHVILLE The Truth
    24 – OKLAHOMA CITY Paycom Center
    25 – AUSTIN Moody Center
    27 – DENVER Ball Arena
    29 – SALT LAKE CITY Delta Center
    30 – LAS VEGAS MGM Grand Garden Arena

    NOVEMBER

    01 – PORTLAND Moda Center
    03 – CALGARY Scotiabank Saddledome
    05 – VANCOUVER Rogers Arena
    06 – SEATTLE Climate Pledge Arena
    08 – SAN JOSE SAP Center
    11 – PHOENIX Mortgage Matchup Center
    12 – LOS ANGELES Kia Forum

    Olivia recently released her album ‘‘you seem pretty sad for a girl so in love’ in June, featuring a stunning collaboration with The Cure’s Robert Smith.

    Here is that very collaboration:

    The post WATCH: Olivia Rodrigo Perform ‘Thirty-Three’ With The Smashing Pumpkins At Lollapalooza appeared first on Rock Sound.

  • DS Record Review: The Mistakes “Die Laughing”

    The United Kingdom has a legacy of bands that push back on their government. From the earliest incarnations of bands like the Clash and the Sex Pistols to bands like Crass and the Subhumans, the pedigree is definitely there. The long-established The Mistakes from Poole, UK, carry that torch and dust off the trails blazed by these earlier bands. Their new album, Die Laughing, is evidence of that.

    Die Laughing opens with the song “Battle,” with a riffy intro that signals back to East Bay Ray’s better days. This song is full of the piss and vinegar needed to set off an album with this much angst. While there are a few softer moments, a term I use loosely, “Battle” immediately shows that The Mistakes took the lessons these previous bands taught us seriously and presents them in a great opening track with enough political bite to make Joe Strummer proud. It’s loud and fast, and it gives the finger to the proper authorities. It’s a battle cry for the oppressed and a warning to the oppressors.


    While there’s no shortage of shitty politicians in the world, The Mistakes target the world’s douchiest billionaire, Elon Musk, in a ska punk song that hits all the marks. Symbolically, Musk is a good replacement for Margaret Thatcher and the Queen as someone completely out of touch with a normal person. This leads into the anthemic one of the poppier moments on the album, “Life’s Too Short.” While this doesn’t lessen the ire in the song, it is a contrast from most of the tracks on Die Laughing.


    Some moments feel very symbiotic with American punk rock, especially some of the ’90s Epitaph punk rock. The songs “The Pit” and “Sons” are fantastic examples of this. You could throw this song on a late ’90s Punk-O-Rama. Fast punk in the vein of Pulley or Straight Faced, with bass lines clearly influenced by Rancid’s Matt Freeman on some songs.

    Then you get to a song like “Get Cancelled” that feels like a TSOL song in the melodic phrasing and the vocal delivery of the chorus. I feel like I’ve heard about some of the British influence on some of the street punk bands, but you never hear about it the other way around. This record feels like the product of that. While early American punk had the art part of it down, British punk brought a lot of the attitude and pushback regarding social issues. The Mistakes do a great job of continuing this sentiment.

    My only complaint would be that this album sounds too bright in spots. While it’s clear that the Mistakes put a lot of heart into this record, it just sounds a smidge too polished for me. I’m not saying it’s not a valid piece of punk rock because it wasn’t recorded through a tin can; it’s just a bit smoother than I would like. The mastering gives this record a shine it doesn’t necessarily need.

    Overall, this is a phenomenal record. I keep saying I wish that these types of songs and lyrics weren’t still relevant, but unfortunately we live in a world where they’re still necessary. The Mistakes have put together thirteen songs that get you ready for the fight. Influenced by bands from both sides of the pond, there’s something for everyone on Die Laughing. While this would be the perfect place to drop a pun about how not getting this album would be a mistake, I will say Die Laughing is one of the better punk records I’ve heard this year. They are able to take these influences and repurpose them in a way that doesn’t sound redundant or like they’re beating a dead horse.

    Check it out now on Sell the Heart Records.

  • Altarage – Cogwheel Review

    What do you listen to death metal for? Are you a riff-centric fellow? Do you prioritize emotional catharsis? Do you like super artistic statements or are you here for a collection of banging songs? Spain’s Altarage have carved out quite a career for themselves over the last decade, beginning life as a much more predatory Portal before branching out into elements of drone and audible disease, but never wavering in their commitment to the savage and violent. Seventh album Cogwheel is rooted in the plight of the industrial worker, a major thematic shift for a typically ethereal band. I’ve had the misfortune of working in a manufacturing warehouse for a few years, and I was very curious to hear how a group rooted in cosmic horror would handle such a down-to-earth topic, so clock in with me and let’s get ready for a long day at the office.

    Despite being no slouch in requisite bursts of speed and blasts, the overall vibe of Cogwheel is morose and plodding. The chords are foul, with the constant smashing of Primitive Man and a bone-crushingly heavy guitar tone that sounds like slowly being buried under liquid cement.1 It’s an album as gray as its cover, with cuts like “Wielder” offering up the methodicalness of Godflesh while drummer Phlegeton alternates between lightning assaults and drum-machine impressions. Look to “Future Wreck” for an industrial vibe, with mid-paced chords crashing together like factory gears, and Bassist Mikel Glez rumbling away under the noise. That theme of exhaustion and weariness is deeply embedded within the album’s DNA, as each cut beats you into submission over and over again.

    Taken from the perspective of an average consumer of tunes, Cogwheel is a remarkably frustrating release. Songs are overly long, riffs are obnoxiously repetitive, and the drone elements are an annoyance in place of actual music. There’s an overreliance on quarter-note clanging, such as in “Not a Proper Burial”, (a gosh darn shame, as it also features one of the most devastating, and devastatingly short, riffs on the whole album), and “Peso Muerto” ends on completely atonal guitar scrapping in half notes for a full minute. There’s an unnecessary Sun 0))) tribute in all eight minutes of “1988” which does nothing for the album except being a track you regretfully recall existing. “Ichor” kicks off with nauseating strums and more half-note popping before evolving into a full-blown “Portal take you to your heaviest night at the opera” impression, with vocalist Javier going all in on vibrato-laced cleans which don’t quite suit the music underneath. And let’s not forget the three-minute ending of more string screeches, continuing the disquiet and the discontent.

    And yet, when considered through the lens of what Altarage set out to accomplish, there’s an argument to be made that Cogwheel is an artistic joy.2 Every major criticism hurled at it suddenly becomes an important puzzle piece when viewed as the depiction of the overworked and spiritually malnourished industrial laborer. The riffs sound beaten and defeated, much like the broken factory employee. The few leads sound dismal, angry, and bitter, much like (presumably) that worker’s inner being. The songs are needlessly excessive in length, much like a shift, and the actual music repeatedly descends into mindless cacophony, much like the background noise emanating without remorse from the machines all around. Without pounding the metaphor to dust, Cogwheel offers up an auditory example of “commit to the bit”, taken to the most extreme maximalism. “Industrial Offering” could make a great soundtrack for the line of workers slowly trudging into another abysmal day, clocking in and disappearing under the factory smoke, leaving behind them their dreams and aspirations for another round of soul-crushing misery. Suddenly, all of Cogwheel’s points of agitation reveal themselves as purposeful and impassioned, carefully arranged for peak affect on the focused listener.

    What then, is the honest reviewer to do? Cogwheel isn’t for casual listening; there are only a few riffs on here of any note, and there’s no reason for it to be seventy-five minutes long. And yet, major credit must be given for crafting such an album, where what would be extreme blemishes in the hands of another band turn into a well-thought-out artistic presentation. And so, we return to the original question of why we listen to death metal. Let the arbitrary score be a starting point for you, dear reader, to answer for yourself. If you’re seeking something engaging, violent, and immediate, deduct a full point and keep it moving, as there’s little for you here. If you appreciate music as a transcendental art piece, add a full point and stand in wonder at a thoughtful creation from a very forward-thinking band. For my part, I can’t find myself reaching back to this record much, particularly over The Approaching Roar, but I still must declare Altarage’s mission a resounding success.


    Rating: 2.5/5.0
    DR: 6 | Format Reviewed: 320 kbps mp3
    Label: Sentient Ruin Laboratories
    Website: Official Album Bandcamp
    Releases Worldwide: July 31st, 2026

    The post Altarage – Cogwheel Review appeared first on Angry Metal Guy.