The post KALLOHONKA: Decibel Magazine Premieres Lazer Blood From Self-Proclaimed Slug Metal Outfit; Debut To Drop Friday, March 13th Via Memory Terminal Records appeared first on INFRARED MAGAZINE.
Following a string of setbacks, barriers, and logistical complications, Aussie progressive rock/metal juggernaut Karnivool finally return with their hotly anticipated fourth opus, In Verses. After nearly thirteen years between drinks, the crafty quartet, from the far reaches and musical hotbed of Perth, Western Australia, make a welcome return for prog aficionados and longtime fans of the veteran collective, who flourished from crunchy alt metal and nü flavored beginnings, into a revered progressive band through three previous LPs of high quality. From the clever arrangements and blockbuster hooks of 2005’s Themata, through to the accomplished, complex Toolisms and evolving textures of stunning sophomore platter Sound Awake (2009), to the rawer, experimental edge of 2013’s Asymmetry, Karnivool’s discography is sparse yet undeniably excellent.
Approaching In Verses feels a little strange initially. Karnivool’s curious decision to gradually drip-feed half the album’s songs across numerous months lends a familiarity to those without the willpower to give in to temptation, ensuring several of the songs are well lived in before giving the entire opus full attention. Take, for instance, the stormy rhythmic thrust and instantly gratifying hooks of lead single “Drone” (released in July 2025) or the revamped, stuttering crunch of “All It Takes,” originally released back in 2021. These higher energy songs are scattered throughout an album that pivots into more measured, subdued progressive pathways, courtesy of several longer form melodic odysseys, rich in detail, slow burning builds, and emotive, gorgeous vocals from silky voiced frontman Ian Kenny.
Opener “Ghost” unfurls at a relaxed pace, ramping up tension before a delightfully heavy, Middle Eastern-esque groove kicks in. After doing the rounds in their live shows, it is cool to finally hear the song in its studio form. Its complex arrangement and grinding edge lend a darker, off-kilter punch before the infectious burst of “Drone” makes its impressive mark. In Verses largely maintains momentum, sequencing quibbles aside. The softer material and prog power balladry roughly consume half the album, finding Karnivool snaking down introspective, heartfelt pathways, while compromising elements of Karnivool’s signature heavier, energetic fare, leading to pangs of initial disappointment. Over time, these feelings subsided as the brooding tones, glistening melodies, and gentle swells washed over. Soaring mid-album cut “Conversations” comes replete with delicate guitar work undercutting earworm hooks that cut deep. From noodling, melancholic builds, to crunchier undertones and hooks that eventually penetrate the brain and prove tough to dislodge, “Reanimation” culminates with an epic, soul-tingling solo from prog veteran Guthrie Govan (The Aristocrats, Steven Wilson).
Following the infectious grooves and bright melodies of “Remote Self-Control”, In Verses wraps up with a pair of wrenching, lighter in the air ballads (“Opal,” and haunting, bagpiped-adorned “Salva”). Again, displaying the slow-burning unfurl, structural subtleties and pop sensibilities featuring prominently across the album’s mellower cuts. Kenny’s powerhouse singing has been a staple of the Aussie music scene for decades now, both with Karnivool and high-profile rockers (now the questionably pop-inclined) Birds of Tokyo. It’s another highlight reel performance, bolstering Karnivool’s muscular, progressive rock/metallic core with blockbuster hooks, singalong anthems, and an emotionally raw delivery. Drummer Steve Judd and bassist Jon Stockman lay a mighty foundation, through a complex, tightly synced mix of tricky rhythms and driving grooves, paving way for guitarists Drew Goddard and Mark Hosking to delve into their bag of tricks. Supplementing crushing bursts of technical riffage and chunky grooves with understated layers of texture and noodling prog excursions, the duo perform impressively.
Over an hour-long runtime, Karnivool mostly get things right, though astute editing in patches and sequencing to more effectively disperse the mellower fare and energetic numbers, creates lingering nitpicks. Thus, In Verses proves difficult to score. Much of the material achieves, or at least teeters on the cusp of greatness, though the minor bloat, uneven pacing, and ballad-heavy approach compromise the album’s undeniable strengths. Regardless, In Verses marks a nuanced, introspective step in Karnivool’s evolution, rewarding patience, while retaining the signature hallmarks, intelligent songwriting, and hooky accessibility curated over the past couple of decades. Definitely a grower, In Verses won’t change the minds of listeners previously unmoved by Karnivool. Another singular entry into the band’s outstanding repertoire, In Verses stays true to the winning facets that have led to Karnivool’s revered status. Falling narrowly short of the lofty heights of Themata or Sound Awake, flaws and all, In Verses triumphs on its own merits.
Rating: 3.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Cymatic Records
Websites: Official | Facebook
Releases Worldwide: February 6th, 2026
The post Karnivool – In Verses Review appeared first on Angry Metal Guy.
For the first time in almost two decades, Japanese experimental metal act Sigh will be coming back to the U.S. for a handful of shows this summer. With the main reason for their return being the Fire In The Mountains festival out in Montana this July, the band added a couple more stops along the west coast to make the trip worthwhile.
For just one week, Sigh will play shows in Seattle, Portland, Sacramento, Berkeley, and Los Angeles. Along the way, they’ll be sharing the stage with Denver-based progressive metal outfit Dreadnought.
Speaking of the band’s return to the States, Sigh frontman Mirai Kawashima said there was a palpable excitement among the ranks.
“I am really excited that Sigh are finally touring the US again. We played at some US festivals, but the last ‘tour’ was in 2008, so this is going to be the first US tour in nearly 2 decades!
“I am 100% sure that now we have the strongest line-up ever during our 36-year career. Definitely you have never seen a stage like ours before. Don’t miss this opportunity to experience the Asian horror theater.”
As for Dreadnought, Kelly Schilling expressed just how excited the band was, offering up a little hint of what’s coming next from the band.
“We are honored to join the legends Sigh on tour following our Fire in the Mountains appearance! We will be performing new music in anticipation of something new to come…”
7/23 Blackfeet Nation MT Fire in the Mountains
7/26 Seattle WA El Corazon
7/28 Portland OR Star Theater
7/29 Sacramento CA Cafe Colonial
7/30 Berkeley CA Cornerstone
7/31 Los Angeles CA 1720
The post Sigh Announce Return to the U.S. for the First Time in Nearly 20 Years appeared first on MetalSucks.
Outside of hitting festivals and opening for Metallica & Gojira.
The post Knocked Loose Confirm Summer 2026 European/UK Touring Plans appeared first on Theprp.com.
An early ascension.
The post Bring Me The Horizon Announce April Los Angeles Show With Dying Wish appeared first on Theprp.com.
Industrial metal veterans Fear Factory have announced a U.S. tour scheduled for November 2026. The run, titled the Cybernetic Domination tour, will feature support from Darkest Hour and Brotality. The shows will begin right after Fear Factory wraps up its upcoming co-headlining tour with Mushroomhead, the masked metal act from Cleveland, Ohio.
Guitarist Dino Cazares shared a short message about the upcoming dates: “We’re hitting places we haven’t played in a while, and we can’t wait to play with our friends in DarKest Hour and the newcomers Brotality.”
He continues: “The tour launches in Wichita, Kansas and ending in our hometown Los Angeles. To close it out, Fear Factory will perform TWO nights at the legendary Whisky A Go Go, two completely different albums in its entirety. First night Demanufacture, second night Obsolete (Los Angeles only).
“Pick up something at our merch table and we’ll gladly sign it and take photos with you after the show (wherever the venue allows it).”
The band also continues work around its next studio release. Fear Factory’s long-awaited new album is expected later this year through Nuclear Blast. The upcoming record will be the first to feature vocalist Milo Silvestro and drummer Pete Webber, both of whom have spent the past several years performing with the band on tour.
Nov. 13 – Wichita, KS @ Wave
Nov. 14 – Denver, CO @ Oriental Theater
Nov. 15 – Colorado Springs, CO @ Black Sheep
Nov. 17 – Billings, MT @ Pub Station
Nov. 18 – Great Falls, MT @ The Newberry
Nov. 20 – Seattle, WA @ El Corazon
Nov. 21 – Portland, OR @ The Hawthorne Theatre
Nov. 22 – Boise, ID @ Shrine Social Club
Nov. 24 – Fresno, CA @ Strummers
Nov. 25 – San Diego, CA @ House of Blues
Nov. 27 – Pomona, CA @ The Glass House
Nov. 28 – Los Angeles, CA @ Whisky A Go Go
Nov. 29 – Los Angeles, CA @ Whisky A Go Go
The post FEAR FACTORY Announces Fall 2026 U.S. Dates With DARKEST HOUR And BROTALITY appeared first on Sonic Perspectives.
Billie Eilish is set to make her movie acting debut. The alt-pop superstar is in advanced talks to star as lead character Esther Greenwood in Oscar-winning director Sarah Polley’s adaptation of Sylvia Plath’s The Bell Jar, Deadline reports. Focus Features is reportedly in line to back and distribute the movie. Joy Gorman Wettels, Plan B Entertainment, and StudioCanal will produce.
The post Billie Eilish In Talks To Make Movie Acting Debut In Sarah Polley’s <em>The Bell Jar</em> Adaptation appeared first on Stereogum.
New York death metal legends Immolation are reaching a fever pitch as they prepare to unleash Descent. Their twelfth studio album arrives April 10th via Nuclear Blast Records, just as the band kicks off a North American tour alongside label mates Behemoth.
The band has release the second single, “Attrition”, a masterclass in tension. Defined by its crushing groove and volatile tempo shifts the track opens with a crawling, mid-paced groove that eventually gives way to stunning tempo shifts, culminating in a bone-shattering finale. This is dark death metal at its most cinematic—equal parts atmospheric depth and sheer, crushing brutality proving Immolation remains the gold standard of the genre.
Immolation comments: “We are excited to release, “Attrition”, another new track from our upcoming album, Decent. This song is a dark, powerful heavy track with plenty of intensity. “Attrition” has a dismal, hopeless atmosphere…as it focuses on the senseless wars and battles for territory that mankind seems to constantly repeat, no matter what the cost. The drum work by Steve Shalaty is a key component in this song as it emphasizes the overall emotion of the track, with not only a militant feel, but unique rhythmic cymbal work and other twists that bring the musical parts to life. “Attrition” is a good example of the diverse nature of Descent. A catchy, yet explosive track with all the Immolation elements. We hope you enjoy “Attrition””
Descent was captured across two locations: Justin Passamonte tracked guitars, bass, and vocals at Jpass Music, while drums were recorded at Mercinary Studios with Noah Buchanan. The production was a collaborative effort between the band and long-time engineer Zack Ohren, who also handled the mixing and mastering. The result is a muscular, high-fidelity production that captures the band’s most fiery and brooding moments with equal clarity. To call Descent “heavy” or “brutal” is an understatement; this is death metal with a unique, elevated voice that stands entirely alone.
Visually, the band has once again tapped Eliran Kantor to craft a haunting cover masterpiece—a true hallmark of the Immolation aesthetic— complemented by Santiago Jaramillo’s (Triple Seis Design) internal booklet illustrations. With this release, Immolation reinforces their status as one of the most enduring and vital forces in the genre.
Immolation will join headliners and label mates Behemoth on their The Godless IV 2026 Tour with Deicide and Rotting Christ.
04.14.2026 US San Diego, CA @ The Observatory North Park
04.15.2026 US San Francisco, CA @ The Regency Ballroom
04.17.2026 US Portland, OR @ Roseland Theater
04.18.2026 CAN Vancouver, BC @ The Vogue Theatre
04.19.2026 US Seattle, WA @ Showbox Sodo
04.21.2026 US Salt Lake City, UT @ Union Event Center
04.22.2026 US Denver, CO @ The Fillmore
04.24.2026 US Milwaukee, WI @ The Rave
04.25.2026 US Chicago, IL @ The Vic Theatre
04.26.2026 US St. Louis, MO @ The Pageant
04.28.2026 US Norfolk, VA @ The Norva
04.30.2026 US Silver Spring, MD @ The Fillmore ~
05.01.2026 US Worcester, MA @ The Palladium ^
05.02.2026 US New York City, NY @ The Palladium
05.04.2026 US Buffalo, NY @ Buffalo Riverworks
05.05.2026 US McKees Rock, PA @ The Roxian
05.09.2026 US Charlotte, NC @ The Fillmore
05.11.2026. CAN Toronto, ON @ History
05.12.2026 CAN Montreal, QC @ L’Olympia
05.14.2026 US Columbus, OH @ Sonic Temple*
05.15.2026 US Nashville, TN @ Brooklyn Bowl
05.16.2026 US Atlanta, GA @ The Masquerade
05.18.2026 US Dallas, TX @ The Bomb Factory
05.20.2026 US Phoenix, AZ @ The Van Buren
05.21.2026 US Los Angeles, CA @ Hollywood Palladium
~No Rotting Christ
^No Deicide
*Festival date
Festival Dates:
07.27 – 31.2026. RO. Brasov @ Rockstadt Extreme Fest
08.05 – 08.2026 CZ. Josefov @ Brutal Assault
The post IMMOLATION Drops New Single “Attrition” Ahead Of US Spring Tour appeared first on Sonic Perspectives.