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Nonpoint frontman Elias Soriano is this week’s guest on the Loaded Radio Podcast, and he’s not playing it humble — he calls The Last Word, the band’s eleventh studio album due September 18 via their own 361 Degrees Records, his favorite Nonpoint record ever made. In the interview, Elias digs into reuniting with past members, why he brought in Sumo Cyco’s Skye Sweetnam for the new single “Red Yeti,” and where Nonpoint goes from here.

STREAM THE FULL NONPOINT INTERVIEW NOW:

Scott Penfold goes deep with Elias Soriano on this week’s Loaded Radio Podcast — the making of The Last Word, the Skye Sweetnam collab, old bandmates coming back into the fold and the future of one of nu-metal’s great survivors. Hit play above, and download the free Loaded Radio App on Apple iOS and Google Play to take the show everywhere you go.

His Favorite Nonpoint Record. Hands Down.

Twenty-nine years in, most bands are protecting the catalog. Elias Soriano is talking like a guy with something to prove — except he’ll tell you flat out that Nonpoint has nothing to prove. What they have is the best batch of songs of their career. The band reportedly wrote more than 23 tracks for this record and kept ten. That’s not padding an album. That’s cutting until only the killers are left.

And the title isn’t an obituary. The Last Word is Nonpoint grabbing the pen back from an industry that loves to write endings for veteran bands. When we last had Elias on the show, he was already talking about the freedom of running 361 Degrees Records on the band’s own terms. This album is what that freedom sounds like with the amps on.

The rollout backs up the swagger, too. Lead single “Is It” landed as the most-added track at Active Rock radio the week it dropped and climbed into the Mediabase Top 50. Not bad for a band that formed in Fort Lauderdale back in 1997, when half the industry still couldn’t decide if nu-metal was a genre or a phase.

Why Skye Sweetnam Got The Call For “Red Yeti”

Here’s where it gets fun. “Red Yeti” arrived in two versions — one pure Nonpoint, and one featuring Skye Sweetnam of Canadian chaos merchants Sumo Cyco. Sweetnam is flat-out one of the most electric frontwomen in heavy music, and anyone who’s caught Sumo Cyco live already knows it. We’ve been beating that drum since Sumo Cyco came on the podcast around the release of Initiation.

The pairing didn’t come out of nowhere, either. Nonpoint and Sumo Cyco shared stages on this spring’s Outta Control Tour, where the two singers were already trading verses on “Red Yeti” live before the studio version ever hit streaming. In the interview, Elias breaks down exactly why Skye was the voice he wanted on that track — and after one listen, you won’t argue.

Old Faces, New Chapter

The Last Word era has also turned into a bit of a family reunion. Back in May, founding bassist Ken MacMillan walked out on stage with Nonpoint at Welcome To Rockville for a monster version of “Bullet With A Name” — his first appearance with the band in 15 years. On the podcast, Elias gets into what reconnecting with past members has meant to him, and why this chapter of the band feels more aligned than anything that came before it.

That’s saying something for a group that has survived every industry cycle since 1997, celebrated the anniversaries of Statement and To The Pain on a full tour, and turned a Phil Collins cover into one of the most argued-about recordings in their catalog. The current lineup — Soriano, drummer and co-founder Robb Rivera, guitarist Rasheed Thomas, bassist Adam Woloszyn and lead guitarist Jaysin Zeilstra — is out on the Even More Outta Control Tour right now with support from Spineshank, (hed)p.e. and Soil on select dates, running into early September before the album lands.

The Last Word arrives September 18 via 361 Degrees Records. Presave it, then hit play on the interview above.

TL;DR

• Elias Soriano of Nonpoint is this week’s Loaded Radio Podcast guest, and he calls The Last Word his favorite Nonpoint album ever.
• The Last Word is Nonpoint’s eleventh studio album, out September 18, 2026 on the band’s own label, 361 Degrees Records — their first full-length since 2018’s X.
• The band wrote over 23 songs and kept ten; lead single “Is It” debuted as the most-added track at Active Rock radio.
• New single “Red Yeti” comes in two versions, including one featuring Skye Sweetnam of Sumo Cyco, who toured with Nonpoint this spring.
• Elias also discusses reuniting with past members — including founding bassist Ken MacMillan’s onstage return at Welcome To Rockville — and Nonpoint’s future plans.

FAQ

Nonpoint fans, this one’s for you — does The Last Word have a shot at being their best album ever, like Elias says? Drop your pick for the greatest Nonpoint record in the comments, and follow Loaded Radio for daily rock and metal news.

The post Elias Soriano Tells The Loaded Radio Podcast Why The Last Word Is The Best Nonpoint Album In 29 Years — And Why Old Bandmates Are Suddenly Back In The Picture appeared first on Loaded Radio.

I love album art you can hear, and fittingly, Coffin Hunters’ Cosmic Dawn churns with a groovy, psychedelic fusion of hard rock and heavy metal that spills off the cover. Plus, how can I resist a sassy reaper rooted in a strawberry-lemonade backdrop featuring a gateway to an alternate dimension? Cosmic Dawn is Coffin Hunters’ third album in under a decade, and on their previous LPs the Los Angeles foursome dispensed reliable earworms with a rockin’ retro swagger. On Cosmic Dawn, the crew adds a healthy dollop of synth into their formula and dips their toes into acid rock waters. With a new twist on Coffin Hunters’ recipe, is this the Cosmic Dawn of a triumphant new era?

While it’s clear that influences play a pivotal role in Coffin Hunters’ sound, it’s just as clear that the band works to establish an identity all their own. Debut The Fire Knight leaned heavily into throwback, traditional heavy metal and saw Coffin Hunters embracing bass-forward boogies and monster grooves that conjure the likes of Saxon, Jag Panzer, and Iron Maiden. Follow-up Wake the Dead shed the raw edges of The Fire Knight and adopted slicker riffs and a more polished production, even adding touches of southern flair recalling Molly Hatchet and some punchy bassmanship that reminds me of Mike Dirnt’s 90s Green Day contributions. On Cosmic Dawn, Coffin Hunters push their boundaries even further, fusing the synth stylings of The Doors and Uriah Heep into their collective personality and capping it with Floydian psychedelia. The sum total is an intriguing melting pot that incorporates seemingly disparate ingredients into a surprisingly cohesive dish.

Over the last decade, Coffin Hunters has retained their core contributors while exploring ever-expanding shades of hard rock and heavy metal. Other than replacing original drummer Jorge Guzman in 2020 with Brennan Kunkel, Coffin Hunters boasts remarkable lineup stability, and you can hear the effortless give and take during their well-crafted arrangements. Guitarist Eric Harriman’s fuzzy crunch strums and swirls around Brian Crites’ bass, which punctuates compositions with often understated yet always alluring performances, particularly on “Skeleton Key” and the title track. Keyboards round out Cosmic Dawn’s instrumentation, making an indelible mark as they imbue each song with hooks embedded so deeply and central to the album’s character (“Isle of the Dead”) that I marvel how Coffin Hunters wrote two albums without them. Vocalist Sean Rivera delivers a solid performance as well, guiding listeners through the album’s eight tracks with his steady croon.

Although Coffin Hunters nails most songwriting elements on Cosmic Dawn, evaluating the album in its entirety reveals a few cracks. Foremost is the lack of songwriting dynamics, as pacing and tempo consistency keep Cosmic Dawn’s forty-three minutes within too narrow a band and inhibit Coffin Hunters’ adventurousness. To be fair, “Last Nail in the Coffin” supplies an early downshift in pacing; however, it’s not enough to combat the uniformity that permeates the rest of the album. Even though most songs radiate head-bobbing energy on their own, strung together they too easily pass by in a pleasantly tame blur. Injecting a show-stopping moment or two that stretches the even-keeled energy into peaks and valleys would go a long way towards reinforcing Cosmic Dawn’s impact. Also, while Rivera’s vocals serve the music well enough, they tend to be a bit one-note and lack the bite of earlier albums. Exploring other styles, resurrecting The Fire Knight’s vocal grit, or bringing in a guest vocalist for a song or two would further aid Coffin Hunters in tackling Cosmic Dawn’s homogeneity.

In the end, Coffin Hunters winningly conjures the echoes of earlier generations. Their commitment to bringing the past into the present reminds me of what I love about Lynx’s Trinity of Suns and, to a lesser extent, Chalice and Owl’s releases from earlier this year. Unfortunately, Cosmic Dawn sticks too closely to its core sound over its runtime, leeching memorability through the back half. Even so, Coffin Hunters wholehearted embrace of keyboards is cause for celebration, as they add delightfully retro textures and cement a gnarly identity for the band. With a stronger emphasis on songwriting and performance diversity their next time around, Coffin Hunters might just strike gold.

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Rating: Good
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Bitter End Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: July 17th, 2026

The post Coffin Hunters – Cosmic Dawn Review appeared first on Angry Metal Guy.

Japanese quartet Broken By The Scream has recently put out an official music video for their newest single, “花鏑[Hanakabura]”, the first offering for their new label Metal Blade Records.
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The singer-songwriter, 83, has also had surgery to treat basal cell carcinoma on her face, making her “self-conscious about being seen in public,” she said.

11 years after the release of their last LP Dornig, German gothic/folk rockers Ragnaröek are now located at Hell-Sounds Tonstudio where they are recording new material for their next music output. More info in due time.
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French garage-psych outfit PRISONER will release its self-titled debut album on August 7, 2026, via Wicked Cool Records. Visceral, immersive, and

Save Us have shared a track set to appear on their upcoming new album ‘Death To Something’, and it is absolutely unstoppable.

It’s called ‘Seraphim’, and demonstrates how heavy and electronic music have more in common now than ever before. A relentless blend of metalcore urgency and drum and bass intent, it blurs lines and destroys boundaries like it is second nature. Brimming with as much anger as neon-stained euphoria, it’s deals out surprise after surprise.

Vocalist Miguel Owls had this to say about it:

“’Seraphim’ is the absolute face melter of the record. It has some of the heaviest moments we’ve ever written, and it hits hard right from the start. What makes this one really stand out is the contrast. The verses go full aggression, then the chorus flips everything into this dreamy, almost floating vibe. Vocally, it’s a wild shift from nonstop screaming into something way more atmospheric, and it just works. This one is built for the live show. I already know it’s going to move crowds.”

The band’s new album ‘Death To Something’ is set to be released on October 16 via Solid State Records.

The artwork looks like this:

Whilst the tracklisting is more like this:

1. Chains
2. Last Of Me
3. Mente Fragmentada
4. No Holding Back
5. Seraphim
6. Far
7. Runaway
8. Bruised
9. Cry
10. Numb
11. Death To Something
12. Stasis

Here is how the previously released title track is sounding:

And if that wasn’t enough, the band are going to be joining Saosin on the Self Titled 20th anniversary tour later this year.

Here are the dates:

OCTOBER 2026

23 – ANAHEIM House of Blues Anaheim
24 – TEMPE Marquee Theatre
25 – ALBUQUERQUE Sunshine Theater
27 – SAN ANTONIO Vibes Event Center
28 – DALLAS House of Blues Dallas
29 – HOUSTON House of Blues Houston
30 – NEW ORLEANS House of Blues New Orleans
31 – PENSACOLA Vinyl Music Hall

NOVEMBER 2026

01 – ORLANDO House of Blues Restaurant & Bar
03 – NASHVILLE Brooklyn Bowl Nashville
04 – RALEIGH The Ritz
06 – SAYREVILLE Starland Ballroom
07 – NEW YORK Webster Hall
08 – WORCESTER Palladium
10 – PHILADELPHIA Brooklyn Bowl Philadelphia
11 – BALTIMORE Nevermore Hall
13 – BUFFALO Town Ballroom
14 – DETROIT The Majestic Theatre
15 – CHICAGO House of Blues Chicago
17 – MILWAUKEE The Rave / Eagles Club
18 – MINNEAPOLIS The Fillmore Minneapolis
20 – DENVER Summit Music Hall
21 – SALT LAKE CITY The Complex
22 – BOISE Knitting Factory
24 – SEATTLE Showbox SoDo
25 – PORTLAND Roseland Theater
27 – LOS ANGELES The Novo
28 – SAN DIEGO SOMA

The post Save Us Share Pulsating New Track ‘Seraphim’ appeared first on Rock Sound.

Emerging from the industrial Mecca that is Cleveland and recording in their studio housed in a 140-year-old drill

Marshall continues to find fans with its domesticated Bluetooth wireless speakers, but the Bromley 450 is something else entirely. Stablemate to the formidable Bromley 750, it packages the same party speaker swagger into a moderately more compact, and affordable, cabinet.

Design

Styled like a classic Marshall guitar amplifier, the Bromley 450 wears the company’s familiar woven mesh grille, script logo and textured finish with obvious pride. A metal control panel offers an array of brass knobs and build quality is reassuringly solid. The plywood cabinet is protected by substantial over-moulded rubber corners. It’s as rugged as they come.

Weighing 12.3kg, it isn’t a featherweight, but a sturdy carry handle helps when you need to move it around. Meanwhile, around the back is a concealed connection panel. USB-C joins stereo RCA inputs for DJ mixers or turntables, while 3.5mm Aux in/out sockets allows daisy-chaining with other Bromleys. We also get twin XLR/TRS sockets, for mics or instruments.

Fully charged, a removable lithium iron phosphate battery delivers an impressive forty hours of listening when you’re off the mains. The battery charges while in situ and can be replaced easily when required – just flip open the cover and ping it out. It’s also interchangeable with the battery used in the larger Bromley 750.

Fast charging on this Marshall speaker provides around six hours of playback from just 20 minutes connected to the mains, while a full charge takes around 3.5 hours. An IP55 rating means dust, drizzle and the occasional splash won’t spoil proceedings either, making it well suited to outdoor use.

Features

Marshall has wisely avoided overcomplicating things with the Bromley 450; There’s no Wi-Fi, no Spotify Connect, o AirPlay or no network streaming. Bluetooth 5.3 provides wireless connectivity, complete with Auracast compatibility. Firmware updates arrive automatically over the air, with alerts landing in the Marshall app.

Operation is straightforward. Alongside the illuminated red power switch sit dedicated source selection, transport controls and Marshall’s familiar customisable ‘M’ button, which here can be assigned to Low Volume, which drops the volume by 30dB so acts as a quick Mute, or Stroboscope, which gives a momentary light flash (not sure why). Brass bass and treble knobs provide satisfying tonal adjustment.

The integrated lighting deserves praise for what it doesn’t do. Rather than mimicking a nightclub laser show, which can look a bit silly, Marshall nods to live stage lighting. White and amber LEDs pulse rhythmically across the front baffle in three selectable patterns. Presets one and two are fixed, while the third follows the beat.

Helpfully, you can also charge your smartphone from the speaker, via the USB-C port.

Sound quality

There’s no obvious sweet spot because there doesn’t need to be one. Instead we get an implementation of Marshall’s True Stereophonic architecture. Inside the cabinet are two 6.5-inch woofers driven by a pair of dedicated 90W amplifiers, four 2-inch full-range drivers, each with its own 55W amp, and two 8-inch passive radiators. Music is projected from all four sides of the cabinet, so the soundstage is basically omnidirectional.

Even at relatively moderate listening levels, the Bromley 450 sounds beefy. There’s a physicality to its presentation; crank up the volume and it barely breaks a sweat. There’s loads of headroom.

The Bromley 450 invites me to turn up the volume, so I oblige. A rash move. Sabaton’s ‘Templars’ storms my listening room. Power chords bludgeoned the sofa, and I’m pretty sure you could hear the massed choir half way down the street.

Low frequencies hit hard, but they stop just as quickly. The twin passive radiators have a fast, percussive character. Running through a playlist of favourites – Thunderstruck, Poison, Holy Diver, Immigrant song – my admiration for the Bromley 450 grows with every track.

But there are caveats. This isn’t a speaker that rewards close monitoring. Up close it can sound harsh. It needs space to perform. That’s when the novel Stereophonic design earns its keep. The 360 soundfield ensures everyone hears more or less the same thing. Walk around and the presentation barely changes.

How loud does it go? Considerably, I’d say. I’ve actually heard a Bromley 450 cranked up in Camden’s legendary Good Mixer boozer, and it pretty much filled the space. It’ll do much the same in a swish apartment, just don’t park one beside your bed.

The alternatives

The party speaker market is on a tear at the moment, and JBL is making most of the running. Its best-selling Partybox 710 comes with wheels and a grab hand for easy movement, is splash-proof and features a full colour LED lightshow. Sonically it boasts an 800W output and supports Bluetooth, wired inputs and microphone/guitar connections, making it suitable for karaoke, live performance or DJ sets. However it lacks a battery, so no off mains entertainment.

The Sony SRS-XV800 is rather more staid in appearance, although it still offers a light show. Features include Bluetooth, USB playback, wired input, along with an IPX4 splash‑resistance rating. Other attractions include omnidirectional party sound, and Sony’s Mega Bass mode. Like the Bromley 450 it can operate off the mains, but battery life is limited to 25 hours.

Swans will release Newly Sentient Being, an audio and video collection that captures the seminal band’s final “Big Sound”