In another, better, universe, Moonspell would be absolutely massive. Granted, they’ve not done badly for themselves – five number one records and a Gold Certification in their home country of Portugal for 2006’s Memorial – but as a band who’ve been namechecked by HIM as an influence and were part of the 90s goth metal boom, they certainly deserve better than the smattering of support slots that’s consistuted their UK tours this decade thus far.
So, we’ve sacked the UK off and come to Portugal to see them on home turf. Ish. Playing up the road from their homebase of Lisbon in the mountainous region of Sintra, Moonspell are playing the first gig of its kind in the grounds of a stately home. There’s a couple thousand fans milling around, only its all gone tits up.
Partway through opener Cross Your Heart, everything cuts out and everything is plunged into darkness. It takes a good 35 minutes before Moonspell return to the stage – we’re later told one of the production hires for the gig had inadvertently plugged a light into an amp, causing a blowout – but thankfully the crowd is an eager (if somewhat captive) audience and grumbling is kept to a bare minimum. When they do return, Moonspell show what they’re made of.
Portugal’s biggest metal band, they take to the occasion with a sense of pomp and theatricality that is begging for TikTok take off. Hey, if it can happen for Crowbar, it can happen for anyone. Not that there’s any novelty production: the papier-mâché bats have been left in the belfry and Moonspell are letting their songs do the talking, reaching an appropriately vampiric, otherworldly peak on the likes of Mephisto and Vampiria. Playing new album Far From God in its entirety, they chuck in the vast majority of 1996’s Irreligious (only intro Peverse… Almost Religious and dancey interlude Subversion skipped) as an added bonus.
Early on, new songs Cross Your Heart and Far From God prove fine additions to the Moonspell catalogue, easily as hooky and slick as fan-favourites like Opium or Alma Mater (which thankfully gets an inclusion in the set, even with the focus on other records). Elsewhere, there’s the stomping heft of For A Taste Of Eternity that hints towards their extreme metal past, and even a headlong plunge into 80s synthpop territory on For The Love Of Mortals and Raven Claws, the latter seeing vocalist Mariangela Demurtas hop on for the most satisfying new romantics revival this side of Paradise Lost’s Smalltown Boy cover.
Set against the dramatic backdrop of Quinta da Ribafria and with a light show that would do Jeff Wayne proud, the show has a genuine sense of occasion. Moonspell might still be goth metal’s best kept secret, but for one night in Portugal, they feel like the kings of lusty, dark allure.
Testament singer Chuck Billy has confirmed that a remixed version of the band’s 1990 album Souls of Black is in the works and on track for release in 2027. In a new interview with Metal Express Radio (as transcribed by Blabbermouth), Billy explained the background: “Me and (Testament guitarist) Eric (Peterson) took back all the Atlantic records, the six records we did with Atlantic. Now we took them back. Next year we get The Ritual (1992) back, and a few years later we’ll get Low (1994) back. But right now we have The Legacy (1987), The New Order (1988), Practice What You Preach (1989), and now Souls of Black.
“And we remastered all the others — The Legacy, The New Order, and Practice — because we couldn’t find the two-inch master reels, so we just did a remastering. But for Souls Of Black, we had all the tracks, so we went in there and remixed it, and it sounds great. I can’t wait for people to hear it. It sounds so good. Really modern sound and raw. It sounds good.”
Asked what led to the original version of Souls of Black sounding the way it did, Billy said: “Well, we put our faith in the producers, engineers, people mixing it. We were young, and we put a record out every year and toured. We didn’t know the studio or any of that stuff. We were just writing songs and recording, so we left it up to the people in charge. In the end, we wanted it to sound better, but we didn’t know how to make it sound better.
“It took us 35, 40 years later for us to get in a studio and put up the tracks again and go, ‘Oh, God, that sounds bad. Let’s fix that.’ So now that’s what we’ve done, and it just sounds… I hear the songs way different now, because you can really hear the guitars are so heavy and the vocals aren’t all wet and reverbed out. We pulled a lot of stuff back and made it really raw and hit you a lot harder. So, yeah, it’s way better.”
Asked whether he was tempted to re-sing any vocal tracks to improve them, Billy said: “I thought I would. But I was very happy with all the vocals. It was actually a very strong performance on all the tracks. There was no… Nothing, when we listened to it, said, ‘Oh, oh, I wanna change that,’ or, ‘Oh, I don’t like that.’
“All of it was… I had a good performance on that record, so that helped. I didn’t have to fix anything.”
On the release timeline, Billy commented: “That’ll be next year sometime. Right now we’re still pushing the original version with Nuclear Blast. And then next year, once that’s done and we’ve got really cool packaging put together, that’ll come out next year.”
Souls Of Black was originally released in October 1990 via Atlantic Records, making it the band’s fourth studio album. Testament and guitarist Eric Peterson reclaimed their first four Atlantic albums — The Legacy, The New Order, Practice What You Preach, and Souls of Black — and entered a new partnership with Nuclear Blast in 2023 to reissue the catalog in the United States. The band’s latest album, Para Bellum, was released last October via Nuclear Blast.
The post TESTAMENT’s CHUCK BILLY Announces Remixed Version of “Souls of Black” Coming in 2027 appeared first on Sonic Perspectives.
(written by Islander) “[M]erging the ferocious thrash attack of prime Kreator with the soaring melodies of Nevermore and Vektor.” That’s a very quick introduction to the sound of the Italian band Adversor and their forthcoming fourth album This Mortal Coil, which is set for release on November 6th by Selvajaria Records. But we have a […]
The post AN NCS VIDEO PREMIERE: ADVERSOR — “SHATTERED VISIONS” appeared first on NO CLEAN SINGING.
Colin Moulding is not the frontman of the UK psychedelic new wave cult heroes XTC; that’s Andy Partridge. But Moulding has played bass, and sometimes sung lead and written songs, for the band since they first formed in 1972, and he’s responsible for some of their best-known songs, including “Generals And Majors” and “Making Plans For Nigel.” Moulding has also been in XTC side projects the Dukes Of Straosphear and TC&I. But Moulding does not make fully solo music very often. Today, he puts out the second solo release of his decades-long career.
The post XTC’s Colin Moulding Shares Second-Ever Solo Release <em>Want It Bad (The Pep Talks And Playing Fields Of Old England)</em> appeared first on Stereogum.
Reviewed by Oli Gonzalez
Some bands like to play the long game with their releases. Some like to have a more regular release cadence. Then there’s Crown Magnetar! The dust barely settling since their blistering EP “Punishment” dropped in early 2025, the Colorado deathcore bruisers are back with a full length effort “The Hollowing Of Godflesh”. All part of the band’s commitment to release new music every calendar year! In today’s age, that’s arguably how you stay relevant! They tour hard as well, and come to the UK and Europe this autumn alongside Archspire and The Zenith Passage. So, let’s have a sneak preview of what we can expect on this tour and on the 25th September release day.
Going under the deathcore banner, this is in many ways everything you’d expect from a band in this genre. Especially when they drop the hammer with the filthiest of slams during ‘Godkiller’ or the album’s title track. Yep, this is going to cause carnage when they come to Europe this autumn! The band draw influence from bands they consider to be the OGs; Suffocation and Dying Fetus, bands who ‘slam as hard as they shred’, whilst vocalist Dan Tucker cites brutal death metal acts like Putridity and Brodequin as inspiration. These influences are easy to see as “The Hollowing Of Godflesh” is as muscular as it is devastating! Examine ‘Dead Crown’ for a lesson in brutality with some disgusting guitar tones piercing through the mix!
The use of backing tracks adds extra dimension to the music, but merely as an enhancement and not being the melodic focal point, in the same way a band like Shadow Of Intent would do. Take ‘Desecration Infinite’ as an example of layering extra atmosphere but not taking the limelight through background synths.
Though in many ways, they hold an ace up their sleeve that separates them from their genre peers. See, many deathcore bands fall into the trap of dropping 10 ton slams every minute and lie to themselves by calling it ‘heavy’. You need something else. Crown Magnetar has that. They have a more technically refined edge, mostly due to the recruitment of Rob Maramonte. Having spent time in Fallujah and The Zenith Passage, you can see some passages being executed in odd time signatures whilst keeping crazy mechanical flow and tightness, whilst not sacrificing that sheer atomic heaviness. ‘Domination’ allows Crown Magnetar to flex their technical muscles, whilst ‘Torture Engine’ demonstrates some advanced shredding!
Look, there’s been some heavy releases this year, especially from the likes of Ov Sulfur, A Night In Texas, and Ingested. “The Hollowing Of Godflesh” ranks right up there with the most destructive releases for 2026! A band still young in the grand scheme of things but who are beginning to realise their terrifying potential!
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The post Album Review: Crown Magnetar – The Hollowing Of Godflesh appeared first on The Razor's Edge.
Frankie Palmeri says he was standing side stage at Louder Than Life in Louisville watching Pantera when he attempted to start a conversation with Glenn Danzig — and that Danzig’s security then demanded he be removed from the stage and stripped of his access pass. The Emmure frontman posted about it the same night, and the reaction was not measured. What makes it land harder than a standard backstage story is that Palmeri had performed at the same festival hours earlier.
STREAM THE METAL BREAKDOWN DAILY NOW:Scott Penfold covers the Danzig incident on today’s Metal Breakdown Daily — what Palmeri says happened, why the detail about his own set that day changes it, and the thing in his post that nobody else has noticed. Download the free Loaded Radio App on Apple iOS and Google Play and get it every weekday morning.
His account, posted the same night.He was side stage at Louder Than Life, watching Pantera — and he’s careful to explain why that mattered to him. He’s previously been asked to cover Pantera songs live as a tribute to Dimebag Darrell and Vinnie Paul.
His words: he has a lot of love for Pantera, and for Phil.He got, by his own description, a split second of the set.Then, in his words: “I made the mistake of attempting to strike a conversation with Glen Danzig…while side stage…which lead to his security demanding I be removed from the stage and stripped of my access pass.”And then the question that’s the actual heart of the post:“For what? Being a human being and asking about a mutual friend?”
He closes with three sentences aimed at Danzig, Danzig’s security, and the stage manager, in that order. I’m not going to reproduce them — there’s a word in there I won’t print — but the temperature is roughly what you’d expect from a man writing at one in the morning with a revoked laminate in his pocket.Danzig has not commented, and on past form probably won’t.
LIVE & LOUD: Stream the World’s Hardest Radio Station 24/7Here’s what most coverage of this is going to miss.Palmeri wasn’t a guest with a spare pass. He’d played that festival the same day.
He joined The Acacia Strain on stage during their Louder Than Life set — footage of it was circulating before this story broke. So the man being walked off the side of the stage by somebody else’s security had, hours earlier, been standing on a Louder Than Life stage himself, performing.
Which recasts the one line in his post that isn’t swearing. He said the stage manager acted as though he wasn’t worthy of being there.That’s not wounded ego about a laminate. That’s a working musician being told he doesn’t belong at an event he’d played that afternoon, and it explains why the reaction was as hot as it was.
I want to flag this because it’s genuinely the funniest part of the whole business and it’s going straight past everybody.
In the middle of the rant, Palmeri spells Danzig’s name wrong. Twice. Two different ways.“Glen Danzig” once. “Glen Danzing” the second time.
Look — I’ve written things at one in the morning that I regretted by breakfast, and I suspect most people reading this have too. But if you are going to publicly dismantle a man in front of your entire following, take the extra four seconds and spell-check the man. The typo is now permanent and it’s doing considerably more damage to the post than to Danzig.
Fair question, and the honest answer is that nobody who has followed this man’s career for forty years is remotely surprised.
Glenn Danzig has one of the most thoroughly documented reputations in heavy music, and almost none of it involves being easy to approach. He has a long-standing and well-known objection to being photographed without arrangement. He has walked off stages. He has had extended public disagreements with former Misfits bandmates that ran for decades. And the single most circulated piece of footage in his entire catalogue isn’t a music video — it’s the 1996 incident in Tuba City, Arizona, where he was knocked down by a promoter and the clip became one of the internet’s founding memes.
So an artist’s security removing somebody from the side of the stage isn’t an aberration. It’s consistent.
None of which means Palmeri is wrong to be annoyed. Both things can be true: Danzig’s team acted entirely in character, and a fellow performer got treated badly. Those aren’t in conflict.It also belongs squarely in the long, well-populated tradition of metal’s most infamous feuds — though this one is considerably smaller than most of them and will probably be over by the weekend.
We Recommend – Bad Blood and Broken Bonds: The 13 Most Infamous Metal Band Feuds
Worth a line each for anyone arriving from outside.Glenn Danzig, 71, founded the Misfits in 1977, then Samhain, then Danzig — three bands that between them shaped horror punk, deathrock and a significant portion of what heavy music looks and sounds like. “Mother” is one of the defining rock singles of the early nineties. His influence is not in dispute by anybody.
Frankie Palmeri has fronted Emmure since 2003 and is the band’s only constant member. Emmure are one of the more divisive acts in deathcore — enormously popular, frequently criticised, and Palmeri himself is no stranger to a public disagreement. He’s the sort of frontman who has always said exactly what he thinks, which is both why this story exists and why it’s being shared.
Louder Than Life is Danny Wimmer Presents’ Louisville festival and one of the largest rock events in the United States, drawing crowds well into six figures across four days. Pantera headlined the night in question.
One more piece of context.
Pantera are currently the busiest they’ve been since the reunion, and in November they headline their own two-day event — The Great NOLA Trendkill at the Lakefront Arena in New Orleans, alongside Down, Black Label Society, Corrosion Of Conformity, Crowbar, Eyehategod and Power Trip. Full details here.
Palmeri, for what it’s worth, has openly said he’d been asked to cover Pantera songs as a tribute to Dimebag and Vinnie. Whether anybody in that camp noticed what happened at Louder Than Life is not something anyone has said.If you’re mapping out the rest of the year’s live schedule, our touring guide has the wider picture.
For a split second tonight…I was able to watch the mighty @Pantera perform at @LTLFest from side stage…some years ago…I even got asked to cover Pantera songs live as tribute to Dimebag and Vinny Paul…I have a lot of love for Pantera…and Phil… I made the mistake of…
— Frankiᛊ Palmᛊri (@FrankiePalmeri) September 18, 2026
Frankie Palmeri says he was removed from the side of the stage at Louder Than Life in Louisville and stripped of his access pass after attempting to start a conversation with Glenn Danzig.
He was watching Pantera at the time, and notes he’s previously been asked to cover Pantera songs as a tribute to Dimebag Darrell and Vinnie Paul.
His account of the reason: “For what? Being a human being and asking about a mutual friend?”
He posted a furious response the same night aimed at Danzig, his security and the stage manager.
He had performed at the same festival hours earlier, joining The Acacia Strain during their set — which is why his line about being made to feel unworthy of being there lands the way it does.
He misspelled Danzig’s name twice in the post, two different ways. Danzig has not commented.
According to Palmeri, he was standing side stage at the Louder Than Life festival in Louisville watching Pantera perform when he attempted to start a conversation with Danzig about a mutual acquaintance. He says Danzig’s security then demanded he be removed from the stage and that his access pass be taken from him. Danzig has not publicly responded.
Yes. He joined The Acacia Strain on stage during their set at the same festival earlier that day, which is part of why his complaint about being made to feel he wasn’t entitled to be side stage drew attention.
He posted publicly the same night, writing that he had “made the mistake of attempting to strike a conversation” with Danzig and asking, “For what? Being a human being and asking about a mutual friend?” The remainder of the post was a profanity-heavy criticism of Danzig, his security team and the stage manager.
No. He has not commented on the incident, and he has historically not responded to stories of this kind.
The vocalist and only constant member of the American deathcore band Emmure, which he has fronted since 2003. The band are among the most commercially successful and most divisive acts in the genre.
A revoked laminate, a misspelled name twice over, and a man who’d played the same stage that afternoon. Was Palmeri out of line, or was he just saying hello? Tell me below. And keep it locked on the Loaded Radio stream — follow Loaded Radio for daily rock and metal news.
The post Glenn Danzig Had Emmure’s Frankie Palmeri Kicked Out And Stripped Of His Passes At Louder Than Life For Trying To Ask Him A Question appeared first on Loaded Radio.
Herr Rosen‘s Flow is built around a sense of calm movement, with soft electronic textures unfolding gradually instead of chasing a big peak. The arrangement feels spacious and deliberately restrained, allowing subtle changes in rhythm, tone and atmosphere to carry the piece forward. There is a warm undercurrent beneath the electronic surface, giving the track a human quality while keeping its focus firmly on texture and mood. Nothing feels overcrowded, and that open space becomes part of the composition itself. As the layers settle into one another, Flow develops a hypnotic quality that works equally well as focused listening or as a soundtrack for slower moments. Its strength comes from knowing when not to add more, letting repetition and small shifts create the movement. A quietly immersive electronic piece that finds its character through patience rather than excess.
Stay still and let the sound move.
Connect:
Candlebox has announced a new single, “I Remember Everything,” due Sept. 25 — the first Candlebox music to feature guitarist Peter Klett since the band’s 2012 album Love Stories & Other Musings.
Klett’s return marks the reunion of his guitar work with vocalist Kevin Martin’s songwriting, a pairing that was absent from both 2023’s The Long Goodbye and 2024’s The Longer Goodbye (Tour Edition). The independent release was produced by Kemble Walters at Good Noise Studio and mastered by Jeremy Costa at Backward Clock Sound Studio.
Martin shared: “Super stoked to be releasing new Candlebox music and having my buddy Pete back in the saddle next to me is an absolute treat!” Klett added: “It feels so good to be writing new Candlebox music. I’m really excited for what comes next.”
Klett adds: “It feels so good to be writing new Candlebox music. I’m really excited for what comes next.”
“I Remember Everything” arrives just days into Candlebox’s Can’t Quit You tour, a 32-date North American run that launched Sept. 17 at The Pageant in St. Louis, Missouri, and continues through Oct. 30 in Sayreville, New Jersey. Support across the run comes from The Mountain Goats, Sponge, The Verve Pipe, Sweet Water, and American Blonde.
The post CANDLEBOX Announces New Single “I Remember Everything” Featuring Guitarist PETER KLETT appeared first on Sonic Perspectives.
Ice Nine Kills and AMC Theatres have announced Welcome To Horrorwood, a month-long horror film series running throughout October at approximately 300 AMC locations across the U.S. Inspired by Ice Nine Kills’ The Silver Scream and The Silver Scream 2: Welcome To Horrorwood albums and produced in partnership with horror entertainment brand Bloody Disgusting, the series pairs five classic horror films with the band’s corresponding music videos, with each screening preceded by a custom introduction from frontman Spencer Charnas.
Said Charnas: “It’s a bloody honor to present this selection of modern horror classics with the mighty AMC Theatres and our friends at Bloody Disgusting. Metal music and marquee movie mayhem. What more could we ask for this October?”
Ryan Wood, senior vice president and head film buyer at AMC, added: “Horror has long been a favorite among moviegoers, especially during the Halloween season, and we’re always looking for new ways to give fans more opportunities to enjoy these films on the big screen at AMC. These are movies people know and love, and it’s exciting to bring them back to theatres in a unique way.”
Welcome to Horrorwood takes over Friday and Tuesday nights at AMC throughout October, with all screenings beginning at 8 p.m. local time. For Halloween weekend, The Crow will screen Friday, Oct. 30, with a special Halloween night screening Saturday, Oct. 31. All tickets are available at AMC Fan Faves discounted pricing. Screening schedule:
Led by Spencer Charnas, Ice Nine Kills blends extreme metal with melody across its two breakthrough albums, The Silver Scream (featuring RIAA gold single “A Grave Mistake”) and The Silver Scream 2: Welcome To Horrorwood. The band has amassed more than two billion global streams and over 500 million YouTube views, and has toured with Slipknot and been handpicked by Metallica for the “M72” world tour. For “Halloween Horror Nights 2026,” Ice Nine Kills composed an original score for “Terror Tram Starring Art The Clown” at Universal Studios. The band’s film collaborations include contributions to Terrifier 3, Scream 7 — where “Twisting The Knife” (feat. Mckenna Grace) delivered the band’s first No. 1 at Active Rock Radio — and Ready Or Not 2: Here I Come. Tickets for “Welcome To Horrorwood” screenings are on sale now at AMCTheatres.com and through the AMC mobile app.
The post ICE NINE KILLS & AMC THEATRES Launch “Welcome To Horrorwood” Monthly Horror Film Series This October appeared first on Sonic Perspectives.