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FOR IMMEDIATE RELEASE
KÜNTSQUÄD Unleash Banned and Uncensored Video “Piss N Purge”
A Savage, Satirical Gut-Punch from Satan’s Cock
Melbourne, Australia – If subtlety is your thing, turn back now. KÜNTSQUÄD are kicking the door clean off with their latest visual assault, the banned and uncensored video for “Piss N Purge.” Pulled from their notorious full-length Satan’s Cock , the clip arrives as the second entry in a series of five videos already deemed too extreme for standard streaming platforms. Naturally, that just makes it hit harder.
Watch “Piss N Purge” (Uncensored Official Video):

Originally flagged and forced into censorship for mainstream outlets, “Piss N Purge” stands as one of the band’s most confrontational pieces to date. Beneath the chaos, there’s a razor-sharp message. The track tears into the normalization of excess, dragging humanity’s obsession with disposable consumption into the spotlight and smashing it to pieces.
This isn’t just about drugs or reckless living. KÜNTSQUÄD zoom out and take aim at the bigger machine. The same mindset that fuels self-destruction on a personal level also feeds a wider system built on greed, class warfare, and the expendability of human life. Acquisition, consumption, domination… all sold as necessary. The end result is always the same: someone gets purged.
And yeah, they make it ugly on purpose.
Visually, the clip leans hard into grotesque humor and raw, unfiltered imagery. It’s the kind of thing that’ll make some people laugh, others squirm, and a few slam the laptop shut. The “rockstar lifestyle” gets dragged through the mud and left there, exposing the absurdity of it all through a lens that’s equal parts satire and straight-up filth.
Musically, it’s everything you expect from KÜNTSQUÄD and then some. Filthy, down-tuned riffs. D-beat fury. And Paula VC Damnzal delivering vocals like a possessed preacher at the end of the world. It’s loud, fast, and hits like a bar fight you didn’t see coming.
For those playing it safe, a censored version is available via the band’s official YouTube channel. For everyone else, the uncensored cut is where the real damage gets done.
STREAM THE ALBUM — Satan’s Cock:
https://orcd.co/scalbum
Already stirring up controversy across the underground, Satan’s Cock continues to earn praise for its unapologetic extremity, even landing the top spot on Sentinel Daily’s Top 30 Chart. Love it or hate it, it’s not going quietly.


ABOUT KÜNTSQUÄD
KÜNTSQUÄD (pronounced Kountskard) are Melbourne’s resident degenerates, fusing crust, deathpunk, and blackened satire into one unholy racket. Known for pushing boundaries both sonically and visually, the band thrives in the space where bad taste meets brutal honesty.
For fans of Autopsy, Discharge, Nunslaughter, Sadistik Exekution, and anything that spits in the face of good manners.
Lineup:
Paula VC Damnzal – Guitar, Vocals
NikronomiconSatanik – Lead Guitar
Brett Eldridge – Bass
Adam Holmes – Drums
Label: Wormholedeath Records
Recorded/Mastered: Goatsound Studios (Jason Fuller & Jamie Collic)
Cover Art: Rok (Sadistik Exekution)
Management: Black Roos Entertainment


PRESS & CONTACT
For interviews, media requests, or promotional inquiries:
Zach Moonshine – zach@metaldevastationradio.com

  Follow Küntsquäd:
https://www.facebook.com/kuntsquad666
https://www.instagram.com/kuntsquad_cdmetal/
https://open.spotify.com/artist/28anif90N0jw54NXcLlh4M
https://kuntsquad.bandcamp.com/track/psychotropic-lyfe
Contact: Paula VC Damnzal – pauladamnzal@gmail.com

Coming in hot right behind his 2025 Blues Music Award for Blues Rock Album of the Year with Life Is Hard, Mike Zito is back and still breathing fire.

His new album includes four new tunes and seven covers, and he’s chosen them well. Staying away from the over-played standards, Zito has included some of the best by past masters. Not only are they discriminating choices, but they also lend themselves well to Zito’s guitar and style. And, whether covers or originals, each song is illuminated by Zito’s display of guitar pyrotechnics.

Besides being a fine musician and writer, Zito has a history of being a great blues-rock showman and choosing extraordinary collaborators. Working in the past with Devon Allman and Cyril Neville, collectively known as Royal Southern Brotherhood, and frequently teaming up with Albert Castiglia (and sometimes Bill Murray) as the Blood Brothers, it’s his name alone on the marquee of this one. With Outside Or The Eastside, he’s offering up his fourth solo album for Gulf Coast Records.

He wastes no time drawing the listener in with the title track. It’s a fun, upbeat shuffle driven by Zito’s guitar, punctuated by Lewis Stephen’s piano. “Outside Or The Eastside” is the perfect opener with a clever and highly infectious refrain.

The second track is a Lonnie Brooks composition, entitled “Don’t Take Advantage Of Me.” Guitar solos with a fuzzy edge are backed by the drums of Matthew R. Johnson, who provides a driving undertone and slick fills.

“Kiss You All Over” is a funky, sexy original featuring pulsating rhythm and melody underscored by Zito’s seductive guitar work and tempting vocals.

Next up is “Downtown at Midnight.” Zito’s writing comes to the fore here as the opening riffs immediately summon visions of a dark, downtown scene. Lyrics bolster the feeling in what he calls “Confronting the consequences of addiction and broken trust with brutal honesty.” Through both mood and metaphor, Zito delivers a tour de force classic with this track.

Still rooted in experience, “Grand Avenue” is described in the liner notes as “Grit, rhythm, and reality of everyday life in St. Louis.” The funky bass of Scot Sutherland opens the track and is followed by Zito’s well-placed guitar phrasing and lyrics dripping with reality.

The aforementioned pyrotechnics figure strongly in Zito’s cover of the Buddy Guy tune, “Too Broke To Spend The Night.”

Following is “Just Like I Treat You,” a Willie Dixon composition. But Zito makes this version far more upbeat than the original Howlin’ Wolf version. It’s been covered many times, from Hubert Sumlin to the Rolling Stones, but Zito manages a worthy version helped along by Stephen’s piano and some more thrilling guitar.

It seems likely that not including an Albert King song would be tough for a blues guitar virtuoso like Zito. And he doesn’t disappoint with his cover of “Down Don’t Bother Me.”

More surprising is the inclusion of “Do I Move You,” a reworking of the Nina Simone song from 1967. Zito maintains the original sultry, shuffle feel, ably anchored in organ work from Stephens but definitely punctuated by his signature guitar work.

Another Willie Dixon-penned tune follows. “Close To You,” first offered by Muddy Waters, is updated in the opening bars by Zito’s guitar, and the more driving feel is maintained throughout. The pace is, once again, complemented by Stephen’s underlying piano providing a base to the blistering guitar work.

Closing out the 11-track album is another befitting homage, this time to Roy Buchanan. Zito is able to imbue a fatter sound than Buchanan on his cover of “The Blues Lover.” But there’s no doubt he had fun recording this song. He seized the opportunity to honor the master while flexing his own considerable finger muscles as they danced along the fretboard. All the while, Zito throws in some soulful and funky blues-rock while still finding time to leave behind some permanent crimps in the strings, victims of his formidable string-bending mastery.

The Review: 8.5/10

Can’t Miss Tracks

– Kiss You All Over
– Outside Or The Eastide
– Grand Avenue
– Downtown at Midnight

The Big Hit

– Downtown at Midnight

The post Mike Zito: Outside Or The Eastside Review appeared first on Blues Rock Review.

Equal Vision Records, Dine Alone Records and The Flatliners are excited to present “Pulpit,” the latest single to be lifted from the Friday, May

Here are the new releases for April 19th to 25th. Releases reflect proposed North American scheduling, if available.

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Upcoming Metal Releases: 4/19/26 – 4/25/26

Devoid of Thought — Devoid of Thought | Avantgarde Music | Death Metal | Italy

Out of all the creature forms death metal can assume, Devoid of Thought’s is not from this world. It’s an extra-terrestrial that kills as a means of processing information. This is to say, Devoid of Thought is deadly but not malicious, a prying interpretation of death metal, interested in the space between molecules and apathetic to the human race.

–Colin Dempsey

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Lynx — Trinity of Suns | Dying Victims Productions | Hard Rock + Progressive Rock | Germany (Giessen, Hesse)

From Colin Dempsey’s track premiere of “Island Universe”:

“Island Universe” showcases Amy Zine’s vocal prowess as one of Lynx’s new singers and synth players. Her warm and commanding vocals solidify the track’s first half as a would-be radio rock staple. It’s perfect highway music, imparting the freedom of the open road. However, on the song’s back half, Lynx shift into an ethereal gear. In it, they’re unbothered by immediacy but still cognizant of structure. It’s here that they reveal their progressive rock interests, though only enough to tease what lies beyond the horizon. They soon return to earth with a heart-pounding climax, reprising the chorus and promising more expansive affairs on their second album, Trinity of Suns, which is set to arrive next month.

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At The Gates — The Ghost of a Future Dead | Century Media Records | Melodic Death Metal | Sweden (Gothenburg)

The seventh record from At the Gates arrives bittersweetly as it’s the group’s final album with vocals from Tomas Lindberg. The Ghost of a Future Dead was written and recorded before Lindberg lost his battle with cancer last year, and it hangs heavier because of that fact, with tracks like “The Dissonant Void” feeling especially sullen.

–Colin Dempsey

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Blood Countess — Imperatrix Sanguinis | Dominance of Darkness Records | Black Metal | United Kingdom (Darlington, England)

The bonds that bind Blood Countess’ second record have existed for over 30 years and have spilled their ink on black metal across the globe. Imperatrix Sanguinis espouses the misanthropic comfort the genre has settled into, activating the same parts of your brain as always, even if it’s not novel in the grand scheme of things.

–Colin Dempsey

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Volcandra — Beyond the Will of Mortals | Prosthetic Records | Melodic Death Metal + Black Metal | United States (Louisville, KY)

Beyond the Will of Mortals is the exuberant, wayfaring power fantasy of heavy metal in the form of melodeath. It’s a story about citadels, warriors, marauders, and enchantresses, and treats them with reverence. This framing, which emphasizes the fantastical, subdues many of the ghastly elements taken from black and death metal, meaning that Volcandra’s latest work feels like an energetic expression rather than an extreme one.

–Colin Dempsey

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Nixil & Drouth — Toward Dead Temples | Independent | Black Metal | United States

From Colin Dempsey’s track premiere of “I Am Not Here”:

“I Am Not Here” unwinds into a slurry of gothic rock and black metal. That balance eventually shifts entirely to the latter’s favor as pleasantries and basic communication decay. While each of Nixil’s tracks on Toward Dead Temples, the Baltimore black metal band’s upcoming split alongside Drouth, aim to purge oppression from all contexts, “I Am Not Here” does so on a personal level as praxis.

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Scimitar — Scimitarium II | Crypt of the Wizard | Heavy Metal + Black Metal | Denmark (Copenhagen)

Scimitarium II arrives only a year after its predecessor, yet sounds much more confident than Scimitarium I, an achievement in itself considering how assured Scimitar already were. As the old adage goes, the sequel delivers the same good as the original, simply better. Scimitarium II is heavier, faster, darker, and more dramatic, like if Scimitarium I hopped on trenbolone.

–Colin Dempsey

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Six Feet Under — Next to Die | Metal Blade Records | Death Metal | United States (Tampa, FL)

Death metal institution Six Feet Under are set to drop their latest gore-soaked salvo on OG metal mogul Brian Slagel’s legendary Metal Blade Records. Next to Die, the group’s 15th record (!), follows quickly on the heels of the band’s extensive touring behind 2024’s Killing for Revenge. According to guitarist Jack Owen, the project started “as an album full of death metal songs with speed and aggression,” until vocalist Chris Barnes decided the band “should add some groovier songs in the vein of the early Six Feet Under material.” This decision led to Next to Die being divided equally between two extremes: death and groove.

It has been interesting to see the creative partnership between Owen and Barnes deepen since the two former Cannibal Corpse members rejoined forces in 2017. Barnes commented on this evolution to Slagel, saying that Next to Die’s lyrics were divided equally between each man and that it has been really “interesting to collaborate as a lyricist.” The duo also share co-production credits, with tracking being done in various Floridian studios, including the legendary Criteria in Miami, where Barnes laid down the latest installment in one of the most incendiary, influential and infamous vocal/lyrical legacies in the annals of metal. “Mutilated Corpse in the Woods” is a churning mid-tempo sloth with thick, blurry growls slamming into a tepid groove breakdown, while “Unmistakeable Smell of Death” is an old school Slayer-inspired ripper with melodic solos and some of trademark Barnes-ian vocal mayhem.

–Dennis J. Seese

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Vardis — 100 M.P.H. ’79 Revisited | High Roller Records | Heavy Metal | United Kingdom (Wakefield)

Germany’s High Roller Records is issuing a set of previously unreleased studio tracks from the underrated NWOBHM power trio Vardis. 100 M.P.H.’79 Revisited consists of studio versions of tracks like “100 M.P.H.,” “Destiny,” and “Blue Rock,” which appeared on Vardis’s cult 1980 denim-and-leather classic live album 100 M.P.H. The archival set is fleshed out with five additional early tracks that “represent our journey from hopefuls to recording artists,” according to bassist Alan Selway’s comprehensive new liner notes. Audio restoration and mastering were provided by Temple of Disharmony.

–Dennis J. Seese

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Three years after the release of their last full-length Five Stars Above, French prog metal ensemble Wedingoth recently revealed that they are in studio, working on the follow-up. More info in due time.
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The Mayhem vocalist talks about coming at death from a variety of aspects within the band's latest 'Liturgy of Death' album. Continue reading…

This list of songs about memories was not easy to compile. For many of us, memories can be very painful, even if they are filled with wonderful experiences. In fact, it’s the joyful times that are often the most difficult to relive because they’re long gone and will never return. It’s the sad memories that make us appreciate that we are still alive and moving forward. In the end, as I have gotten older, I have turned to my memories much less often and instead focus on the present, prioritizing the time I have left now more than ever. I

The post 10 Best Songs About Memories appeared first on ClassicRockHistory.com.

Gozu have revealed “Corinthian Leatherface”, the second single and opening track off their forthcoming long player Gozu VI. The latter is ready to hit the streets May 15 on Blacklight Media/Metal Blade Records.
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It was 1959, and the future Rock & Roll Hall of Famer was just 13 years old. Continue reading…

To celebrate 40 years of existence, the Australian thrashers Mortal Sin have announced a 3 week long touring run in Europe this August. This will be the group’s first European tour since 2011.
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