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FOR IMMEDIATE RELEASE
Korrosive Land Major Video Premiere for “Khaos Unbound” at Decibel Magazine
Toronto, Canada – Canadian extreme thrash metal force Korrosive continue the rampage surrounding their latest album Katastrophic Creation with a major new milestone. The band has officially landed an exclusive video premiere for their track “Khaos Unbound” at the legendary metal publication Decibel Magazine , putting the spotlight squarely on one of the album’s most relentless tracks.
Known for championing the heaviest and most uncompromising acts in metal, Decibel Magazine describes “Khaos Unbound” as a full-speed thrash assault packed with blistering riffs, pummeling drums, and venom-spitting vocals rooted in the most chaotic corners of thrash metal’s lineage. The track appears on Korrosive’s latest album Katastrophic Creation , released through CDN Records and available now on CD, vinyl, and all major streaming platforms.
The new video was directed and edited by guitarist Jack Neila , with cinematography by Michael Jari Davidson , whose résumé includes work with Alice in Chains . The performance-driven clip captures Korrosive locked into the same furious intensity that fuels the track itself, delivering a stark and aggressive visual experience that perfectly mirrors the band’s no-compromise approach to modern thrash.
Lyrically, “Khaos Unbound” takes aim at the machinery of war and the expendable role forced upon those sent to fight it. Vocalist Rad Zarei explains that the song explores the moment when those used as pawns in conflict begin to realize the truth behind the systems controlling them.


“The idea behind the song is about war and society,” says Zarei. “It’s written from the perspective of someone realizing they’re just cannon fodder. Those in command never face consequences, but when the pawns push back, chaos is unbound.”


Taken from Katastrophic Creation , the track stands as a prime example of the album’s relentless approach. Produced by Ben Erikson , the record pushes Korrosive’s sound further into extreme territory while staying rooted in the speed, aggression, and razor-sharp riffing that define classic thrash.
With this latest premiere at Decibel Magazine , Korrosive continues to prove that their mission is simple: maximum velocity, zero compromise.
Fans can watch the “Khaos Unbound” video now via Decibel Magazine at this link https://www.decibelmagazine.com/2026/03/18/video-premiere-korrosive-khaos-unbound/ and experience Katastrophic Creation on all streaming platforms or pick up physical copies through CDN Records . https://cdnrecords.com/shop/korrosive-katastrophic-bundle/
For media inquiries or interview requests, please contact: zach@metaldevastationradio.com

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About eight years ago, Jack Harlow trolled the fuck out of me. Or, at least, it felt like he did. Visiting XXL’s midtown Manhattan office for a video freestyle, pre-glow-up Jack — glasses, unwieldy curly hair and all — sat down in our video room with his publicist for a listening session. The point was obviously for him to play me his music so I could get a sense of where he was headed artistically. So then, I was a little … bewildered when he began playing Frank Ocean instead. After I told him the deal, he politely switched to his own tunes and the visit resumed as it was supposed to. Since then, his career’s played out the same way. Harlow’s always been unsure what to present us. 

The post <em>Monica</em> Is Jack Harlow’s Identity Crisis. It’s Also His Best Album. appeared first on Stereogum.

Geoff Tate has dropped “Power”, the lead single from Operation: Mindcrime III, due out on 05/03. The track was co-written by Tate and guitarist/producer Kieran Robertson, with a lineup that includes Rich Baur on drums, Disturbed bassist John Moyer — who also co-produced the album — Dario Parente and Amaury Altmayer on guitars, and Tate and Robertson handling synths and strings. Juan Urteaga handled mixing and mastering at Trident Studios in Pacheco, California. Listen to the track below.

The record is released under Tate‘s own name, not the Queensrÿche banner. Like its predecessors, Operation: Mindcrime III is a concept album built around Nikki, Dr. X, and Sister Mary — but this time, the story is told from Dr. X‘s point of view. Tate explained the shift in a recent appearance on the “Let There Be Talk” podcast with host Dean Delray: “We’ve only heard it from Nikki‘s point of view, and he’s been sort of this victim throughout the whole story. And Dr. X‘s perspective is completely different, ’cause he’s not the victim at all. So it’s very aggressive.”

On “Power” itself, Tate was straightforward: “It’s a cool track. ‘Power’ is the first — I don’t know — we call ’em singles nowadays. It’s the first release on the album. And, yeah, it’s a really cool song — very, very energetic, very up, and kind of says a lot in a very short time, which I like.”

When Delray noted that the track “sounds like Queensrÿche“, Tate didn’t dodge it: “Yeah. Well, part of the whole writing process was keeping the music in the universe of ‘Mindcrime‘, writing within that style, I guess you’d say.”

Tate laid out his songwriting approach to Delray in some detail, describing how he plots out the narrative before breaking it into chapters that become individual songs: “I sort of look at it as a story, and I write the story out first of what is happening, and then I kind of dissect it and create chapters, and those chapters turn into songs. And then I kind of work to link them all together and follow a storyline that makes sense. And then you gotta kind of factor in musically how you’re gonna tie it together. Does it make sense musically and melodically to put this song before this song, before this song, before this song? ‘Cause that’s a big thing too, is making it flow, so it doesn’t seem obtrusive and people don’t have to turn the page back to find out what happened, and they’re kind of following along in a chronological order.”

The 13-track album was recorded piecemeal across the globe as Tate toured — hotel rooms, backstage at venues, and at least one church. One highlight: a crumbling Italian castle where Casanova was once held prisoner. “It had this one room that was just incredible,” Tate said. “Big, high ceilings, open environment, big stone walls, and that kind of thing. But it added a really unique sound to the song.”

Speaking to Canada’s The Metal Voice earlier this month, Tate spoke about why he returned to the Mindcrime universe at this stage of his career: “I’m interested in it. It’s a subject I’ve always been interested in, the ‘Mindcrime’ saga, the story of these three characters, really: Nikki, Dr. X, and Sister Mary. A fascinating triangle there of… Oh, it’s an interesting relationship between all three of them. And Nikki‘s story has really been kind of chronicled on ‘Mindcrime I‘ and ‘Mindcrime II’, and nothing has really been written about Dr. X. Like, who is he? What’s he all about? Why is he the way he is? What got him to this place he’s at? And I just found the subject to be interesting. And especially at the age I’m at now, where I’m probably very close to Dr. X‘s age, I’m looking at life differently now, and [I have] different goals, [and I have] a different reason to be, really, which I think probably happens with people as they age and get older.”

He confirmed the album runs parallel to — not after — the original story: “It’s happening in time at the same time as ‘Mindcrime I’. It’s X‘s perspective.”

On the production, Tate was effusive, particularly about the low end: “The sound, especially of the rhythm section — oh, it’s phenomenal. It’s really, really crunchy, punchy, big… I think it’s miles above ‘Mindcrime I’ — absolutely. Especially the bottom end — the bass and drums, rhythm section. It’s so modern, so huge. If you listen back to the ‘Mindcrime I’ album, it sounds like… I think it was one of the first digital recordings made, and so it has a brittleness to it that you just don’t hear anymore, ’cause the technology has gotten so much better now. The analog-to-digital converters are so much more sophisticated now. So, yeah, it sounds miles about that. I’m very happy, very happy with it.”

He also had a clear recommendation for how to hear it: “I just hope everybody can give it a spin, check it out. And especially with headphones. It’s a wonderful headphone album.”

The original Operation: Mindcrime, Queensrÿche‘s third studio album, arrived in May 1988 and was certified platinum in the U.S. by 1991. It landed on “Top 100 Metal Albums Of All Time” lists at both Kerrang! and Billboard, and Rolling Stone later noted that “nearly 30 years after its initial release, ‘Mindcrime’ feels eerily relevant.” Its 2006 follow-up, Operation: Mindcrime II, landed to a more divided reception — seen by many as an unwelcome addition to a near-perfect legacy, despite having its defenders.

The post GEOFF TATE Streams “Power”, The First Single From Upcoming “Operation: Mindcrime III” Album appeared first on Sonic Perspectives.

The guitarist opens up about streaming, touring economics, and the pressure surrounding Lamb Of God’s early major-label breakthrough.

The post LAMB OF GOD's MARK MORTON Reflects On 30 Years In Music: "The Business Changes – You Have To Adapt" appeared first on Metal Injection.

One of the greatest Scottish singers-songwriters of a folk stripe, Dick Gaughan stopped performing ten years ago, after suffering a stroke, but his status has been incessantly growing in scope since then, so an idea emerged of compiling the veteran’s … Continue reading →

The post Dick Gaughan’s Live Rarities See The Light Of Day appeared first on DMME.net.

(In January of this year the Swedish/French duo Enshine released their first new album in more than a decade. The odds or DGR failing to review it have been slim or none, and at last he has done so.) Tenured readers of the NoCleanSinging hallowed halls will recognize the name Enshine as one we have […]

The post ENSHINE: “ELEVATION” appeared first on NO CLEAN SINGING.

She’s spent years looking through late dad Eric Woolfson’s archive, so Joel McIver’s book is full of never-previously-seen material

Canadian progressive rock duo Crown Lands have steadily emerged as one of the genre’s most ambitious modern voices. Now, the band deliver their new studio album Apocalypse, their most demanding and fully realized work to date, set for release on the 15th May 2026.

Today the band launch their new single ‘Through The Looking Glass’, alongside another evocative video clip from collaborator Luke Paron.

Kevin comments:
“Through the Looking Glass features rolling 12-string arpeggios, Mellotrons, and a 7/8 bridge featuring Moog Leads full proggy fun while also serving up a big chorus. I love this one.

We wanted this song to show the might of the Dragon-Riders before the arrival of the Syndicate on Fearless’ planet. Is there anything cooler than heavy rock ballads about dragons? I think not.”

Cody adds:
“This song is one of my favorites we’ve written of this new record. It was a song that came together with our good friend Nick Raskulinecz at his studio in Nashville. We had such a blast writing and recording the whole thing from start to finish and hope y’all enjoy the journey through Karagon’s past!”

Watch the band perform the epic title track ‘Apocalypse’, live and in full, here: https://youtu.be/AE8nWVT0EQk

Musically and creatively, Apocalypse marks a clear turning point. After completing Rituals entirely in their home studio, the band gained the confidence to take near-total control of the production process. Guitarist/bassist/keyboardist Kevin Comeau explains, “That record gave us the confidence to realize we could make a Crown Lands album in our own space, without a major-label budget or a big, fancy studio.” That confidence carried directly into Apocalypse, with much of the album written and recorded in the same room the band has worked in since 2020. To enhance the album’s most crucial moments, Crown Lands selectively collaborated with producers Nick Raskulinecz and David Bottrill.

Apocalypse’ will be released as a Ltd CD Edition, Gatefold Neon Yellow LP, Limited Gatefold Neon Green LP & as Digital Album.

Pre-order now here:
https://crownlandsmusic.lnk.to/Apocalypse-Bio

1. Proclamation I 1:22
2. Foot Soldiers of the Syndicate 4:20
3. Through the Looking Glass 3:45
4. Blackstar 4:00
5. The Fall 4:31
6. The Revenants I 5:29
7. Apocalypse. 19:01

****

MAR 20 – Kingston, ON – Kingston Grand Theatre
MAR 21 – Milton, ON – FirstOntario Arts Centre Milton
MAR 24 – Ottawa, ON – Shenkman Arts Centre
MAR 25 – North Bay, ON – Capitol Centre
MAR 27 – Guelph, ON – River Run Centre
MAR 28 – London, ON – Wolf Performance Hall
MAR 31 – Richmond Hill, ON – Richmond Hill Centre for the Performing Arts
APR 1 – Oakville, ON – The Oakville Centre for the Performing Arts
JUL 4 – Miramachi, NB – New Maritime Music Festival

The post Crown Lands release new single ‘Through The Looking Glass’ appeared first on The Prog Report.

The UK progressive death metal band return May 1 with their fourth LP, embracing a rawer sound and a major lineup shift.

The post COGNIZANCE Streams Steamrolling New Single "A Game Of Proliferation" appeared first on Metal Injection.

Bettina Köster, formidable and trailblazing vocalist, songwriter, saxophonist, actress, and producer, has passed away on March 16th at age 66.

Köster began her music career in 1978, playing saxophone for an early lineup of Berlin-based avant-garde electronic band Din A Testbild, where she met like-minded musician Gudrun Gut. Koster was a member of German art collective genius dilettantes, members of which collaborated across several bands in a short period of time. During this time period, Köster and Gut would open Eisengrau, a shop that celebrated underground fashions, distributed fanzines, screened experimental films, and served as a hot spot for the genius dilettantes members to exchange ideas and conversation.

In the heat of the budding Neue Deutsche Welle movement, Köster and Gut (along with Beate Bartel, Karin Luner, and Eva-Maria Gößling) founded the project Mania D., a deeply influential collective that recorded a single in 1980, drawing on the experimental sides of post-punk, industrial, and music concrete. Around this time period, Köster would also record with Nachdenkliche Wehrpflichtige and Liebesgier (the latter also with Gut). After performing in New York and releasing a live record that same year, Mania D. went their separate ways. While Gößling would join an early lineup of Die Krupps and Bartel would record with Einstürzende Neubauten, Liaisons Dangereuses, and later Matador, Gut and Köster would quickly form Malaria! in 1981.

Malaria! served as a figurehead of the German post-punk and new wave scene, combining minimal electronics, experimental lyrics, and dark, abstract grooves. The duo released their first eponymous single in 1981, collaborating with percussionist Christine Hahn, who officially joined the band afterwards. The band quickly expanded to include Die Haut’s Susanne Kuhnke on synthesizer and multi-instrumentalist Manon Duursma. This solidified lineup of the band would record a session for legendary DJ John Peel in 1981. Peel would dub Köster (as well as Gut and Bartel) as the “Queens of Noise,” championing these early recordings and helping to draw attention to the fruitful NDW scene.

In true collaborative fashion, Gut and Köster would record with Rema-Rema’s Gary Asquith as Mutabor!, releasing one single in early 1982. In quick succession, Malaria! then released a series of acclaimed singles, including 1982’s “Kaltes Klares Wasser,” “Your Turn to Run,” and “How Do You Like My New Dog?” followed by the Emotion LP later that year. The success of these releases led to independent chart success throughout Europe and the United States as well as tours and supporting slots with Nina Hagen, The Slits, New Order, The Birthday Party, Siouxsie and the Banshees, and John Cale. Malaria! would dissolve in 1984, shortly after the release of the excellent Beat the Distance EP, which consisted of recordings made in 1982-1984 and featured two versions of “You You,” both of which can still be heard in clubs to date.

Köster, living in New York at the time, would embark on a solo career and branch into film, collaborating closely with Swiss director Isabel Hegner. Malaria! would reunite for a brief period in the early 90s, releasing 1992’s Elation single and 1993’s Cheerio LP before disbanding once more, with their unique and innovative work serving as heavy inspiration to punk, alternative, electronic, and gothic bands to follow.

In the early 2000s, Köster would form Autonervous with San Francisco-based musician, fellow saxophonist, and singer Jessie Evans of The Vanishing. Autonervous would release a single in 2004 and an eponymous full-length LP in 2006. While still working in film, Köster released her first solo LP in 2009, taking its title after the nickname John Peel would bestow upon her at the beginning of her career. She would continue performing live throughout Europe and the US, performing at Wave-Gotik-Treffen in Leipzig and at New York’s legendary Wierd party. She would record a follow-up, Kolonel Silvertop, in 2017.

At the time of her death, Köster was living in Italy. We truly wish her family, friends, and collaborators all the best during this sad time.

The post Bettina Köster of Mania D. and Malaria! Has Passed Away at 66 appeared first on Post-Punk.com.