“Native”, “Ex-Prayers” and “Never Home” have all been revisited in the studio.
The post Kaonashi Announce Box Set Featuring Re-Recorded Versions Of Their Early EPs, Release “Flow” Music Video appeared first on Theprp.com.
Category: news
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Asking Alexandria’s Danny Worsnop Defends His Decision To No Longer Scream: “I Don’t Like Doing It. I Also Don’t Think It Represents Who I Am”
“I reached a point where I was sacrificing doing the thing I love to do, which is singing, for the sake of something I don’t like doing.”
The post Asking Alexandria’s Danny Worsnop Defends His Decision To No Longer Scream: “I Don’t Like Doing It. I Also Don’t Think It Represents Who I Am” appeared first on Theprp.com.
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Premiere: THE HU ‘Horsemen’
Fresh from sharing the stage with Iron Maiden in the UK and standing at the cusp of what is promising to be their boldest creative chapter yet, Hunnu Rock pioneers THE HU — Galaa (morin khuur, throat singing); Jaya (tumur khuur, tsuur, throat singing); Enkush (morin khuur, throat singing); and Temka (tovshuur, throat singing) — […] -
Complete List Of Joe Walsh Songs From A to Z
Joe Walsh has always sounded as though he is discovering the song while playing it, bending hard-rock riffs, blues phrasing, studio experimentation, and dry humor into a style no one else quite owns. His catalog stretches from the James Gang and Barnstorm through a long solo career, defining Eagles performances, soundtrack work, collaborations, live recordings, and unexpected musical detours. This A-to-Z list serves it all up. Joe Walsh’s path through rock and roll has never followed a straight line. Born in Wichita, Kansas, and raised in several parts of the country, he found an important musical home in Ohio while
The post Complete List Of Joe Walsh Songs From A to Z appeared first on ClassicRockHistory.com.
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Malkotron No Paradise Review
Malkotron No Paradise Review
The album opens with “Woeful Dusk,” an atmospheric piece that feels intimate and elemental. Various sounds intertwine, creating a mesmerizing and hypnotic ambiance. This opening track gracefully paves the way for the musical journey that follows. It is an invocation of ancient emotions interspersed with modern expression.
Next, we delve into “Sleep is Free,” which showcases the artist’s expansive and visionary artistic expression. The composition embraces a slightly futuristic style, incorporating reversed chords mixed with classic arrangements. The vocals resonate like an oracle, guiding listeners through this unique sonic environment. This track stands out for its innovative blend of the contemporary and the timeless.
The third track, “Lost and Found,” begins with a particularly distinctive guitar strumming. The sound of the guitar carries an enigmatic quality that draws listeners in. As the voice enters, ethereal visions envelop the listener once more. In the artist’s compositional style, influences of iconic bands like Pink Floyd and Radiohead can be detected, adding depth to the experience.
No Paradise – Sound and Atmosphere
Following this is the beautiful ballad “Slender Threads.” This piece reflects unique sophistication, taking the listener on a journey that feels suspended in time. The illusions created in this song evoke a sense of flight through imagination, encouraging listeners to lose themselves in daydreams. The artistry here is marked by its elegance and intricate melodies.
One of the strongest tracks, “Cogs Grinding Bones,” seems to emerge from the future. This piece exudes intensity and energy, immersing the listener in layers of pads reminiscent of a John Carpenter film. Yet, despite its cinematic quality, the amalgamation of sounds transports listeners to vast cosmic realms. The track invites exploration of unfamiliar galaxies, feeling vast and intimate at once.
The album concludes with “Another Day,” offering yet another sonorous journey. This track features an exquisite melody. The chorus shines with beautiful harmonies that resonate deeply, touching the soul. The emotional weight of the song creates a lasting impression and enhances the album’s overall impact.
No Paradise – Performance and Production
Throughout “No Paradise,” the lyrics read like poetry. Each track boasts high-quality chord progressions that envelop the listener. These musical compositions lead to a unique auditory voyage, marked by themes of exploration, longing, and the interplay of sound and silence.
This album is a remarkable achievement in music. The artist demonstrates a deep understanding of musical form and emotional expression. “No Paradise” is a journey filled with moments of reflection, introspection, and transcendence. The seamless transitions from one track to the next create a flow that feels intentional and cohesive.
“No Paradise” invites listeners to engage with the unknown. It explores themes of dreams and realities, and each track offers a distinct experience. This is not merely music; it is an exploration of what is possible within a sonic framework. Malkotron has crafted an album that will resonate with those in search of depth and meaning in their musical explorations.
Introspective
If you love this music: Discover More
For fans of:
Pink Floyd • Radiohead
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Align the Tide JINN Review
Align the Tide JINN Review
The song begins with an explosive impact, like an avalanche crashing down. It’s powerful and forceful yet atmospheric. The rhythm is steady and strong, with fast guitar riffs creating an unstable, grand atmosphere. As the track progresses, the verse truly engages listeners. The vocalist’s voice emerges like a roar, delivering a fierce presence. His voice is layered, incorporating screamo and growl techniques that create an infernal scream.
The intensity escalates dramatically in the chorus. The rhythm becomes more pronounced, and the guitars unleash their full might. The harmonic and rhythmic variations throughout showcase the band’s technical abilities. These musicians are exceptionally skilled in blending technology and music, resulting in a refined listening experience.
At around the two-minute mark, the bridge introduces a remarkable musical transition. This segment is a demonstration of the band’s impressive technical prowess. The transition is a visionary moment, evoking genuine emotion with its pure technique and effervescent creativity. The song conveys a raw and intense metal spirit, making it a recommendation for everyone to listen to.
JINN – Sound and Atmosphere
Align the Tide’s “JINN” captivates with its powerful dynamics. The production elevates each component, ensuring no detail is overlooked. As the song unfolds, it is clear that the musicians are not only focused on mathematics but also on crafting an emotional journey. The song embarks on a thrilling ride, punctuated by sudden changes in pace and mood.
The combination of singing styles adds depth and diversity, creating a well-rounded experience. The screamo and growl elements work in tandem, enhancing the aggressive undertones of the instrumental sections. This dynamic interplay brings an exciting edge to the performance, keeping listeners engaged throughout.
With its aggressive riffs and relentless drumming, “JINN” showcases the quintessence of modern metal. The instrumentation remains tight and cohesive, allowing for a seamless flow of energy that propels the song forward. The rhythmic build-up invites headbanging while leaving no room for complacency.
JINN – Performance and Production
The chorus elevates the collective energy even further. Here, the guitars layer additional textures, creating an intricate tapestry of sound. Each member of the band displays skill and commitment, contributing to the overall force of the piece.
The bridge serves as a moment of introspection within the chaos. It contrasts the aggressive earlier sections with a more melodic passage. This unexpected turn reveals the band’s artistic range, showing that they can explore different emotional landscapes. The intricate arrangement speaks volumes about their creativity and willingness to experiment with form.
The relentless approach maintains excitement up until the final note. The closing moments serve as a powerful reminder of the energy and emotion that “JINN” encapsulates. It is a robust statement of intent from Align the Tide, firmly establishing their place in the contemporary metal scene.
“JINN” is a profound exploration of sound, energy, and emotion. The track is not just a collection of musical notes but a full-bodied experience that resonates. Every twist and turn keeps the listening experience fresh and invigorating.
Align the Tide’s “JINN” is an exhilarating ride through sound. It touches on many emotional notes while maintaining a raw intensity. The technical skill and creativity shine through, making it an essential listen for metal fans. Everyone should give it a spin; it promises to leave a lasting impact.
Wild
If you love this music: Discover More
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KING DIAMOND Welcomes Legendary Guitarist Gus G. To The Band!
Photo by Akis Douzlatzis KING DIAMOND is thrilled to announce the addition of guitar virtuoso Gus G. (Firewind, ex-Ozzy Osbourne) to the band’s lineup. Gus G. joins as guitarist and will compose, record, and tour with KING DIAMOND going forward, marking an exciting new chapter in the band’s storied history.
The band extends their deepest gratitude and utmost respect to Andy LaRocque, whose extraordinary 40-year contribution to KING DIAMOND has left a permanent and irreplaceable mark on the band’s legacy and on heavy metal as a whole. Andy’s musicianship, dedication, and artistry have been an essential part of what makes this band what it is, and that will never be forgotten.
Comments KING DIAMOND, “It’s a big honor for me to welcome Gus G. as our new guitarist. Gus will still continue with all his current projects, Firewind, solo project, etc. No restrictions, just careful planning. We are already working with Gus and I simply can’t wait for you to hear all the new KING DIAMOND music with him playing guitar on it! STAY HEAVY — King.”
One of heavy metal’s most celebrated and in-demand guitarists, Gus G., born Konstantinos Karamitroudis in Thessaloniki, Greece, has built one of the most impressive resumes in the genre. As founder and driving force behind Firewind for over two decades and ten studio albums, and as Ozzy Osbourne’s lead guitarist from 2009 to 2017, contributing to the Grammy-nominated album Scream (2010), Gus G. has proven himself to be one of the most versatile and technically gifted players in metal.
A celebrated solo artist with six albums to his name, he has also appeared as a guest on records by Bruce Dickinson, Arch Enemy, Doro Pesch, In This Moment, and many more. He has graced the covers of Guitar World, Total Guitar, Metal Hammer, and Young Guitar, and earned accolades including Metal Hammer’s Golden God Award for Best Shredder. His addition to KING DIAMOND represents a pairing of two of heavy metal’s most iconic forces.
KING DIAMOND and Gus G. are already deep in the creative process together, working on what promises to be one of the most anticipated new chapters in the band’s career. Fans can expect new music from the full lineup in the future. Stay tuned for further announcements.
Follow Gus G.:
https://www.instagram.com/gusgofficial
About KING DIAMOND:
KING DIAMOND is quite possibly the most recognizable and prolific personality ever in heavy metal. Revered by icons as big as Metallica and Pantera and inspiring newer upstarts globally, KING DIAMOND, the man and the band, have left an indelible mark on the history, and now again, the future of heavy metal.
In August of 2008, KING DIAMOND joined Metallica on stage at Ozzfest in Dallas to perform the Mercyful Fate medley made famous from the Garage, Inc. album. Additionally, KING DIAMOND was featured alongside Motörhead’s Lemmy Kilmister as a playable character in Guitar Hero: Metallica in 2009.
By 2012, KING DIAMOND was prepared to return to the stage for a select number of shows. The band’s triumphant return were the highlights of both the Hellfest and Sweden Rock festivals in France and Sweden. Fans were treated to the largest and most involved stage production in the band’s storied history.
KING DIAMOND continued to hit the stage from 2013 to 2018 including performances at Rock Hard Festival (DE), Copenhell (DK), Graspop (BE), Bloodstock Open Air (UK), Loudpark (JP), Wacken Open Air (DE), and Psycho Las Vegas (US), among many others.
In 2019, after the release of KING DIAMOND‘s first new single in twelve years, “Masquerade Of Madness,” the band hit the road with a series of live shows across Europe and North America.
In 2024, KING DIAMOND completed a massively successful North American headlining tour, during which they premiered new material live for the first time in years, including the brand-new track “Electro Therapy,” before an ecstatic fanbase. On December 17th, 2024, the band released “Spider Lilly,” their first new single in five years and the first single and video taken from their forthcoming new Horror Trilogy, of which part one is titled Saint Lucifer’s Hospital 1920.
Mixed and mastered by Arthur Rizk and directed by David Brodsky of My Good Eye Visuals, with footage filmed at the notoriously haunted Pennhurst Asylum outside of Philadelphia, the single features a special guest appearance by Danish vocalist Myrkur. Written entirely by KING DIAMOND, “Spider Lilly” was met with an enthusiastic global response, reaffirming the band’s place at the forefront of heavy metal and whetting fans’ appetites for the full trilogy to come.
KING DIAMOND‘s 40+ year musical career is one of the most storied in the history of heavy metal, but the tale is not yet over. The most recent album, 2007’s Grammy-nominated Give Me Your Soul…Please, stands as one of the most critically acclaimed albums in an already iconic discography. Future albums will feature entirely new horror stories, concepts, haunting orchestrations, and the band’s signature brand of heavy metal. Many more albums, tours, and ventures lay ahead.
KING DIAMOND Lineup:
King Diamond – vocals
Gus G. – guitars
Mike Wead – guitars
Pontus Egberg – bass
Matt Thompson – drumshttps://www.instagram.com/kingdiamond
https://www.facebook.com/kingdiamond
Source: EARSPLIT PR
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FLESH PARADE Return with Remastered Grindcore Assault – @thebeast
FOR IMMEDIATE RELEASE
FLESH PARADE Return with Remastered Grindcore Assault
2026 Remastered Edition of Classic Release and New CD Single “Repercussions” Out Now via Mainstay Entertainment & Haunted Hotel Records
FFO: Napalm Death, Discordance Axis, Carcass, Brutal Truth, Terrorizer
Flesh Parade return with a brutal double offering, delivering the 2026 remastered edition of their classic 1997 release alongside the crushing new CD single “Repercussions.” Both releases are available now via Mainstay Entertainment in collaboration with Haunted Hotel Records, reaffirming the band’s place as one of the enduring forces in American grindcore.
Born from the extreme underground of New Orleans in the early 1990s, Flesh Parade built their reputation on chaos, speed, and raw intensity. Over the decades, the band has remained a respected name within the underground extreme music community, delivering uncompromising grindcore alongside legendary acts that helped define the genre.
A Tribute Through Impact
The new single “Repercussions” marks both a powerful return and a deeply personal tribute. The track honors late bassist Jorge Caicedo , whose passing in 2026 deeply impacted the Flesh Parade family.
All proceeds from “Repercussions” will benefit the American Cancer Society – Patrick F. Taylor Hope Lodge Foundation for Cancer Research & Cures .
The song reflects the band’s belief that extreme music can carry deeper meaning, transforming loss, resilience, and human connection into something powerful and lasting.
A Legacy Reforged in Blood and Noise
“Kill Whitey (2026 Remastered)” brings new clarity and power to Flesh Parade’s infamous 1997 release, originally issued through Relapse Records. The remaster preserves the original intensity while sharpening every blast beat, riff, and vocal assault with modern production.
The companion release, “Repercussions,” delivers a relentless statement of intent. Fast, punishing, and groove-driven, the track channels the band’s signature grind fury while showcasing the renewed energy surrounding Flesh Parade’s next chapter.
Lineup Renewal and Live Return
Following a difficult period of loss and uncertainty, Flesh Parade have found renewed momentum with the return of original bassist Shane Lechler , rejoining the fold for recent high-profile appearances including Milwaukee Metal Fest and Jorge Caicedo’s Memorial Fest in New Orleans.
The band is currently preparing future live announcements and continuing to develop the next era of Flesh Parade.
Production Credits
The remastered catalog spans key eras of Flesh Parade’s history, including:
Kill Whitey 7″ (1997)
Recorded at The Jimmy Ford Clinic, New Orleans
Produced by Steve Klatz, Jason Portera, and Flesh Parade
Worthless (1993 Demo)
Recorded at Side One Studios, Metairie, LA
Good Stuff (1994 Demo)
Recorded at Festival Recording Studios, Kenner, LA
Remastering:
Clock Tower Studios (2025) by René Perez
“Repercussions”
Remastered April 15, 2025 at Clock Tower Studios
All material written by Flesh Parade core members across multiple eras of the band’s evolution.
Availability
“Kill Whitey (2026 Remastered)” and the “Repercussions” CD Single are available now.
Stream and purchase:
https://www.submithub.com/link/flesh-parade
About Flesh Parade
From early demo chaos to label-backed grind assaults and decades of underground resilience, Flesh Parade continue to represent the rawest edge of American grindcore. Their legacy is built on speed, survival, and uncompromising intensity, now carried forward with renewed purpose and sharpened impact.
Management
Mainstay Entertainment
Kill Whitey (Remastered) by Flesh Parade
Connect:
https://fleshparade.bandcamp.com/album/kill-whitey-remastered
https://www.facebook.com/fleshparadenola
https://www.submithub.com/link/flesh-parade
Contact: fleshparade@mainstay-entertainment.com -
TIM “RIPPER” OWENS On Vocal Integrity: “I Don’t Cheat When I Sing. I Sing Everything How I’m Supposed To Sing It. I Don’t Dodge High Notes”
In a new interview with Brazil’s Heavy Talk, former Judas Priest and current KK’s Priest vocalist Tim “Ripper” Owens was asked whether he has to be more careful with his voice as he ages to keep hitting the high notes live. He responded (transcribed by Blabbermouth): “It’s still there. I think I sing as good now [as], if not better than, I ever have. I know I said in the press a while ago, and they ran with it, that I’ve been struggling with my voice. But when I say I’ve been struggling, that’s probably 75% for me, and it’s probably better than a lot of other people at 100%.
“But I try really hard. Every night, you just hope you can sing. But my high notes have been really great. And I just hope I can get up there and sing.”
Owens explained what he means when he says his voice has been struggling: “Today, I’ve been doing these warmups because my… When I said my voice is struggling, what I mean is I actually have to warm up for shows. I’ve never warmed up in my life, ever. Like Ronnie [James] Dio, he never warmed up. I didn’t warm up, but then I started struggling where it wasn’t warmed up, and that’s when I said that.
“Today I said, ‘You know what? I’m gonna not warm up. I’m just gonna go up and sing.’ So it worked out today. You guys were watching, so that’s scary. I could’ve sung like crap, and then you would’ve been there, filming it, probably.”
Speaking to Chile’s iRock.cl late last month about the importance of physical stamina on the road, Owens said: “Health-wise, I’m probably in the… Well, I haven’t been to the gym in a while ‘cause I’ve been on the road. But I go to the gym every day, and I lost weight and work out, and I’m probably healthier. But I just got some vocal issues. And as a singer, that happens. I mean, you can do any kind of remedy you want, but when you have vocal issues, you have vocal issues. So I’ve been trying to figure out how to sing with vocal issues, which is maybe not a bad thing.”
Owens continued: “Because I don’t cheat when I sing, I sing everything how I’m supposed to sing it. I don’t change the versions. I don’t dodge high notes. But now that I’ve had some vocal issues, I’m trying to learn how to not do that. I don’t do it that often because I just… Sometimes I go for that note, and something might not come out, but God, gosh darn it, I’m trying to hit that note. But I’m learning how to maybe tame it back a little bit. Maybe I can find ways to save myself ‘cause [I’m] not getting any younger.”
Asked if the pre-show excitement remains the same now as earlier in his career, Owens told iRock.cl: “Well, I still do. I still get a little nervous. Not nervous to step on stage, but nervous ‘cause I wanna sing good. I get quiet, and I pace. I never used to warm up — ever in my life, I never warmed up — but I have to warm up since my voice has been doing this. And I get nervous thinking I’m not gonna sing good. I’ve always been like that.
“But I still look forward to the show, and I love to walk out on the stage. I love to see the facial reactions of the people. That’s why I can’t stop singing the high notes. I don’t even love singing high notes and high stuff, but I love to watch the people’s reaction [and see them] smile. I watch guys and girls smile during the show when I sing, when I hit notes and I sing, and they just smile, and that’s what makes you excited about going out there.”
Owens added: “I’m a pretty quiet guy off the stage, but when I walk on stage… People used to call me ‘Clark Kent’ because I would be off the stage and be quiet, and I used to wear a suit at work, and I’d be normal, and then they watched me go on stage, and, like, ‘What the heck is this? What is this guy?’
“But you feed off the fans. When the fans aren’t very good, and they’re sitting down on their butts, and they’re eating food, it’s hard to get into the show. But when they’re just [going crazy], it’s great.”
In an October 2023 interview with The Metal Mixtape, Owens addressed the importance of reproducing studio vocals live — remarks that Blabbermouth published under the headline “TIM ‘RIPPER’ OWENS Is ‘Sick’ Of Watching Singers Who Change Their Songs To Accommodate Their Aging Voices.” Owens had said: “Everything you hear on this record I can sing live. I’m so sick of watching singers — I know they can do it, but they change their songs; they lower it, they make new melodies, and they hit a high note for a second. And it’s, like, ‘Dude, sing what you wrote. Sing what you wrote.’ I understand it gets tougher. But I can sing ‘Sermons Of The Sinner’. And these KK’s Priest songs are harder to sing than the classic Priest songs, except maybe ‘Metal Meltdown.’”
Owens elaborated: “I pride myself on whatever I did in the studio, I can do live. I mean, listen, we open out of the gate with ‘Hellfire Thunderbolt’, and if anybody’s heard it from these concerts, it goes ‘Hellfire Thunderbolt’ into ‘One More Shot At Glory’, and they sound like the record — I mean, close to the record. And that’s the other thing about doing these vocals — one minute I want it to be aggressive, one minute I want it to be high and clean, I want it to be soft and beautiful, but I can do all that live.”
Reflecting on the difference in difficulty between his solo material and the KK’s Priest catalog, Owens said: “I record everything at the top of my ability, and I always struggle with my material. Like when I tour solo, it’s pretty easy. But when my rest comes [is] when I get to sing the classic Priest songs, and I imagine it’s the same even with Rob [Halford], when he gets to sing ‘Breaking The Law’ and ‘Metal Gods’. I mean, those things are — anybody could sing them, it’s so easy and it’s a break. But this tour, you open up with ‘Hellfire Thunderbolt’, ‘One More Shot At Glory’, ‘The Ripper’… I mean, man, they sound great live.”
After Blabbermouth published those October 2023 comments, Owens took to social media to clarify that his remarks were directed at all singers who fail to reproduce what they record live, regardless of age. He wrote: “Actually it was all singers who can’t sing what they record! That’s what I don’t like. Any age [,] any singer.”
Owens joined Judas Priest in 1996 and recorded two studio albums with the band — 1997’s Jugulator and 2001’s Demolition — before the band reunited with Rob Halford in 2003. He has since fronted KK’s Priest, the project led by co-founding Judas Priest guitarist K.K. Downing, with whom he recorded Sermons Of The Sinner (2021) and The Sinner Rides Again (2023).
The post TIM “RIPPER” OWENS On Vocal Integrity: “I Don’t Cheat When I Sing. I Sing Everything How I’m Supposed To Sing It. I Don’t Dodge High Notes” appeared first on Sonic Perspectives.
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Slope Welcome Nasty On New Track “Out Of Sight”
Slope’s new album “Same Kids. Just Louder.” is due out in September.
The post Slope Welcome Nasty On New Track “Out Of Sight” appeared first on Theprp.com.