Akron sludge titans Radian explore tyranny, collapse, and survival in their immersive new album, out March 20 on El Burno Records.
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The band were challenged with covering it on the spot during a day in the studio.
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With unprecedented access to official band archives, Iron Maiden: Burning Ambition charts five decades of one of the most iconic journeys in music history and the trailer for the film, set to hit cinemas worldwide for a limited time only from 7 May 2026, has been released this afternoon. Tickets are on sale today at ironmaidenfilm.com/intl/.
Directed by Malcolm Venville (Churchill at War) and produced by Dominic Freeman (Spirits in the Forest – A Depeche Mode Film), the feature-length documentary charts Iron Maiden’s remarkable five-decade journey.
“Ultimately, Iron Maiden: Burning Ambition is about endurance,” Director Malcolm Venville told MetalTalk, “a band that refused to follow the changing fashions of music and a global audience that found identity, friendship and meaning in their music. It is the story of a shared culture, built over fifty years, between a group of musicians from East London and millions of listeners around the world.”
Alongside the band, the documentary features on-camera reflections from prominent admirers, including Javier Bardem, Lars Ulrich and Chuck D, each speaking about Iron Maiden’s influence on music, culture and generations of fans worldwide.
Iron Maiden’s Burning Ambition documentary delivers a full-scale look at the band’s 50-year career, combining rare footage, behind-the-scenes access and interviews with major figures across music and film.
Iron Maiden aren’t being documented at the end of their story — they’re being captured while still operating at full scale. That alone makes this one different.
The first look at Burning Ambition doesn’t feel like a typical retrospective.
Directed by Malcolm Venville and produced by Dominic Freeman, the film is being framed as a no-holds-barred look at the rise and evolution of Iron Maiden.
That positioning matters. Most band documentaries lean heavily on celebration. This one is being set up as something more complete — and potentially more revealing.
The list of voices featured in the film immediately shows how far Iron Maiden’s influence extends.
Confirmed appearances include:
That range — from Hollywood to metal to hip-hop — isn’t something most bands can pull off. It reinforces the idea that Iron Maiden’s impact goes far beyond their genre. You can watch the trailer below or at this location.
Timing is everything here.
Iron Maiden are currently deep into their 50th anniversary run, and instead of slowing down, they’re scaling up.
Their ongoing “Run For Your Lives” tour focuses exclusively on material from their first eight albums — the era that built their legacy.
The next leg stretches across Europe, North America, South America, Australia and Japan, reinforcing just how global their reach still is.
One of the biggest moments of the tour happens July 11 at Knebworth Park.
Dubbed “Eddfest,” it’s not just a concert — it’s a full festival-style takeover featuring:
along with a full weekend of Iron Maiden-themed experiences.
Fans interested in catching Iron Maiden live in 2026 can find tickets here.
The guest list is strong. The scale is there.
But that’s not what will define this documentary.
Iron Maiden’s history is layered — lineup changes, creative tension, reinvention across decades. That’s the real story.
If Burning Ambition leans into that honestly, this could stand alongside the most important music documentaries ever made.
If it plays it safe, it won’t land the same way.
That’s the difference — and fans will feel it immediately.
Burning Ambition hits cinemas on May 7, 2026.
The film includes Javier Bardem, Lars Ulrich, Tom Morello, Chuck D and Iron Maiden themselves.
They are currently on the “Run For Your Lives” world tour celebrating their early catalog.
Eddfest is a special Iron Maiden festival event at Knebworth Park on July 11 featuring a full lineup and fan experiences.
Iron Maiden formed in London in 1975 and became one of the most influential heavy metal bands of all time. Known for their theatrical live shows, iconic mascot Eddie and relentless touring schedule, they have sold over 100 million albums worldwide and remain a dominant global force decades into their career.
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Thursday might’ve prayed, prayed every single day, to avoid any situation where they’d have to cover the 4 Non Blondes song “What’s Up,” but those prayers did not come true. The music lessons app Musora has a video series where they challenge bands to come into the studio and figure out how to cover songs that fall far outside their comfort zones. Past hits include jazz combo Generation Y covering Nirvana, folk-pop duo Fionn covering System Of A Down, and Norwegian prog-metallers Leprous covering a-ha. Now, it’s Thursday doing 4 Non Blondes’ unkillable 1993 smash.
The post Thursday Accept Challenge To Cover 4 Non Blondes’ “What’s Up” appeared first on Stereogum.
The film will open in theaters in May.
The post First Trailer For New Official Iron Maiden Documentary ‘Iron Maiden: Burning Ambition’ Released appeared first on Theprp.com.
Starting today, you can buy your tickets to the upcoming Iron Maiden documentary, Iron Maiden: Burning Ambition. As such, the official trailer for the damn thing came out today, focusing on the band’s early years and the more tumultuous times within the band. It’s all chock full of drama and some familiar faces, as well.
Featuring footage from the band’s personal archives, this documentary follows Iron Maiden’s 50+ years, including all the ups and downs that would make a film like this one as interesting as it is. And that includes footage from the band’s early years in the late 70s and early 80s.
Directed by Malcom Venville and produced by Dominic Freeman, the documentary picks up as Iron Maiden is out on tour for their ‘Run For Your Lives’ world tour. As such, it juxtaposes the band’s iconic huge stadium tours to the band’s early years.
As you can see in the trailer below, the documentary also features testimony from some of rock and metal’s biggest names, including Metallica drummer Lars Ulrich, Rage Against The Machine guitarist Tom Morello, and Public Enemy’s Chuck D.
The film will finally make its debut in theaters across the U.S. and Canada for a limited time on May 7, with a much wider general release planned for the rest of the planet. For information about where the documentary will be screened and how you can get your tickets, head over to the documentary’s official page for more detail.
The post Tom Morello, Scott Ian, Lars Ulrich and More Featured in Iron Maiden Documentary Trailer appeared first on MetalSucks.
Reviewed by Eric Clifford
I’ve a cautious relationship with melodeath (yes, yes, I know that’s not the genre tag they bear on Metal Archives, but for me it fits them much better than the alternatives I’ve seen). For me it often as not seems to describe music that takes aspects of extreme metal and contrives to make them as toothless as possible. There are obviously exceptions to this, and the genre has fans enough that this aversion is definitely more a “me” thing than a failing of the style itself, but even so, I hear the word “Melodeath” and I’m instantly wary, on guard like I’m creeping through a forest wearing pants made of bacon and someone just unleashed a pitbull. Maybe it’s just an entirely uncharitable level of musical bigotry on my part; it feels to me that a lot of melodeath lacks in a certain testicular fortitude, which grates for any number of reasons but as much as anything you don’t need to sacrifice your balls to be melodic. Take Nile for example – brutally heavy, but between “Annihilation of the Wicked”, “Masturbating the War God” and a hundred others ready proof is in abundance that you can still be unreasonably aggressive while containing deep melodicism. I bring all this unquestionably ignorant scribbling up to underline a point: Melodeath isn’t really my “thing”. So when I say that Abyssius are a good melodeath band, it should communicate one thing: If you like melodeath, you will have a hell of a time with this band.
Somewhere between older In Flames and Fit for an Autopsy, the band bolt an anthemic melodeath chainmail to the plate armour of modern metalcore and deathcore subgenres. Close your eyes when “Death Drive” is on and if you didn’t know better you could be smack bang in Gothenburg. If you love “The Jester Race” more than life itself, then there feels to be much about Abyssius that will also speak to that undying love of yours. For me though, it’s always the heavy that shall rule, and as it happens I’m in luck for Abyssius have that base covered too. “Black Dogs” is just vile. The swell of the high notes like air raid sirens while syncopated grooves gouge hasty bomb shelters out beneath you. A scattershot solo ratchets a panicked tension ever higher – klaxons and red strobes as the rumble of razing earth pushes down to terrified human huddles waiting helpless in hovels a stray hit from becoming a tomb. You can’t really have too many inches of concrete between yourself and high explosives, but if you had to put a number on it, you’d probably rather it wasn’t however much is “cost efficient”.
I’ve seen the band referred to as a tech-death group, and while I disagree with that label Abyssius are obviously a gifted bunch. They like their pyrotechnics, shredding their fretboards at frequent intervals with huge dramatic hooks everywhere else. It tries for explosive catharsis, big emotional swells and anthemic choruses. It is, for the most part, a winning combination – “Hesitation” has all the propulsion you’d expect from a death metal relative but packs in as much sugary catchiness as it can, coming across as an adrenaline shot buried in a glazed doughnut. There’s earnestness, such honest affection for the music subsumed within every second that the album becomes impossibly endearing in spite of it’s missteps – of which there is a small but pernicious handful. “Patricide” fumbles one of the best riffs on the album by sitting it next to a verseful of awkward, unseemly whisper-mumble vocals that sound a bit too similar to Jonathan Davis from Korn chuntering uncomfortable sweet nothings to me about nibbling my earlobes and threading spaghetti through my toes. Clean vocals are in general a weak spot, though thankfully a sparse one. “L’ Appel Du Vide” fares a bit better with them owing to the blackened mood of it being a more harmonious fit with the attempts at grandeur that the vocals make on the track, but those sections still stick out as unflattering. The same, alhamdulillah, cannot be said of the harsh vocals, which are uniformly grotesque in the best possible ways. The lofty peaks of sundered-air screeches to the chasm floor gutturals and all that wanders betwixt, when the roars come forth they do so with implacable authority. On the other hand, something about the drum sound felt off to me; performed excellently, no problems there, but it sounded a bit flat and so consistent that I initially took it to be a drum machine. It seems as though the band do in fact have a real boy for a drummer, so perhaps this is more of a production quirk that I’m not especially enamoured with.
Nonetheless, “Vermin” is overall good stuff, touching on a few genres while dodging the straightjacket of rigid adherence to any of them in full. The result is an album that feels familiar without ever incurring too heavy a debt to it’s influences to stand on it’s own two feet. It’s not faultless, and some of it’s flaws do feel frustrating in how much they can besmirch otherwise great material adjacent to it, but the all-important love for the music shines through and helps plaster some of those cracks closed. Maybe you’re one of those melodeath fans whose tastes I was somewhat dismissive of in my first paragraph; if so, thank you for bearing with me so long – and give Abyssius a go while you mull over what variety of ignominious execution my words have earned me, because their talent deserves your attention, because they’re evidently passionate about their craft and most importantly – because they’re fucking good.
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Olympia’s Some Velvet Sidewalk made a lot of noise between the years of 1987 and 1997. Founded by Al Larsen on vocals and guitar and the late Robert Christie on drums, the DIY band put out a bunch of lo-fi rock albums on K Records, at times recruiting associates like future Bikini Kill co-founders Tobi…
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