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The Arsenics new track Queen of Paranoia is a wild song that explores the paranoia within all of us, presented in a glamorous way. In the music video, the musicians are swept away by a waltz of madness and ultimately come to dominate it. A much darker, more destructive, gothic rock take on a Bridgerton-style […]

Emerging darkwave project Those Things Silver continue to build momentum in 2026 with the release of two new singles, “Nothing Left To Hear”, unveiled on March 2nd, and “Sovereign Of The World”, released yesterday, Friday, April 3rd.

With these latest tracks, the project further develops its signature sound — a blend of atmospheric electronics, melancholic textures, and cinematic storytelling. Both songs highlight a refined and immersive approach, balancing minimalism with emotional intensity while maintaining a strong visual and conceptual identity.

“Nothing Left To Hear” leans into a more introspective tone, driven by haunting melodies and a sense of quiet resignation, while “Sovereign Of The World” expands the project’s sonic palette with a more assertive and expansive atmosphere, suggesting a thematic contrast between vulnerability and control.

These releases are part of a steady stream of new material throughout 2026, positioning Those Things Silver as a consistently evolving presence within the alternative and dark electronic scene. Among the other singles unveiled this year are “The Moth And The Marigold”, “Without You” (feat. Joey Doell), “The Flame” (feat. Joey Doell), “Paper Moons”, and “Midnight Show”, showcasing both versatility and a clear artistic direction.

Rather than following a traditional album format, Those Things Silver appear to embrace a continuous release strategy, gradually shaping a broader narrative through individual tracks.

Both “Nothing Left To Hear” and “Sovereign Of The World” are now available on all major streaming platforms.

• Bandcamp
• Instagram
• Facebook

The post Those Things Silver release new singles “Nothing Left To Hear” and “Sovereign Of The World” first appeared on FemMetal – Goddesses of Metal.

Montix73 is an independent Italian artist and writer blending melodic metal with cinematic atmospheres and emotionally driven storytelling. His music explores themes of inner conflict, resilience, and transformation, combining modern production tools with a strong personal artistic direction. Check out Inside me below.

Following its official release on April 3, the debut album from Crucifera, Exostential, is now available across all major streaming platforms. This 100% independent, solo female transmission has already begun to resonate within the industrial and dark electronic underground. The launch is supported by the lead single Labyrinth of Fools, a track that showcases Danielle […]

Fan voting is now underway.

The post Deftones, Linkin Park & Sleep Token Among Nominees For 2026 ‘American Music Awards’ appeared first on Theprp.com.

Incandescent Trance Ritual forge a dark yet irresistibly danceable sound, fusing the raw aggression of black metal with the pulse of electronic dance music. The duo — Marius (electronic producer/DJ, currently located in Cologne, Germany) and Luca (black metal vocalist of Gravpel and Vigljos, located in Basel, Switzerland) — first connected as radio hosts at […]

The legendary musical The Phantom of the Opera, with music by Andrew Lloyd Webber, will be performed at the Auditorio Víctor Villegas in Murcia from 7 to 10 May 2026, as part of its first-ever tour across Spain.

The production, presented by LETSGO in collaboration with Amigos Para Siempre (APS), brings one of the most iconic musicals in theatre history to Spanish audiences following highly successful runs in Madrid, where it attracted more than 300,000 spectators across two seasons.

Murcia is one of over 20 cities included in the national tour, marking a major milestone for the internationally acclaimed production.

The lead roles will be performed by a prominent cast from Spanish musical theatre:

• Daniel Diges (Les Misérables, Kinky Boots) as Erik, the Phantom

• Ana San Martín (Mar i Cel, El Médico) as Christine Daaé

• Rubén López (The Bridges of Madison County) as Raoul Chagny

The production also features Manu Pilas as alternate Phantom and Judith Tobella as alternate Christine.

Additional cast members include Marta Pineda as Carlotta, Enrique R. del Portal and Eduardo Santamaría as Monsieur André and Firmin, Mario Corberán as Piangi, Isabel Malavia as Madame Giry, and Sofía Esteve as Meg Giry, alongside a large ensemble and swings.

The musical direction for the tour is led by Miquel Tejada.

Directed by Federico Bellone with musical supervision by Julio Awad (winner of the 2024 Talía Award), this staging has been widely praised by critics and audiences. The Spanish adaptation includes lyrics translated by Silvia Montesinos, while costumes designed by Chiara Donato have received the BroadwayWorld Spain Audience Award.

Since its premiere at Her Majesty’s Theatre in London’s West End in 1986 and its Broadway debut in 1988, The Phantom of the Opera has been seen by more than 160 million people worldwide, across 195 cities and 21 languages, winning over 70 major theatre awards.

The Murcia performances continue the legacy of Andrew Lloyd Webber’s masterpiece, which remains one of the most enduring and recognizable musicals in global theatre history.

Performances will take place at the Auditorio Víctor Villegas in Murcia from 7 to 10 May 2026. Tickets are currently on sale here: 

Tickets: https://www.bacantix.com/Entradas/WebForms/Forms/Evento.aspx?id=AuMurcia&Recinto=000002&Espectaculo=002918&ActivePage=0&Seleccionar=1

Follow: https://www.instagram.com/musicalelfantasmadelaopera?igsh=am50aWcyejNhNDEz

The post The Phantom of the Opera arrives in Murcia as part of its Spanish tour first appeared on FemMetal – Goddesses of Metal.

HANABIE. – Belasco Theater – Los Angeles – April 13, 2026

I had no idea what to expect Sunday night at the Belasco Theater, where HANABIE. would be playing their second night in a row. I had only recently heard of the four-piece all-female Japanese group that combines metalcore music with Harajuku fashion aesthetics, or Harajuku-core as they call it. It sounded like an interesting mix, but what would it be like live, and how would the audience react?

Let me start off by saying this was one of the most fun concert-going experiences I’ve ever had. On the surface, their Harajuku sensibilities seemed at odds with the kind of heavy music coming out of the PA system. In the largely male-dominated world of metal, where everyone comes to concerts wearing black shirts, this was something very different. Smiles from the stage, fist bumps to passing crowd surfers, bright colors, and lack of guitar-face while playing fast and complicated music was the first sign that things were different. Small children riding on the shoulders of parents while wearing hearing protection was another, and surprisingly, so was the makeup of the audience. I would have suspected a large female contingent, but the crowd was mostly men, many in their 40s, 50s and above.

As mentioned, it was odd at first seeing young women dressed in bright colors killing it with heavy music and aggressive vocal stylings to match, but I got past that quickly and moved on to how awesome the show was and what a good time I was having. Unlike BABYMETAL, HANABIE. doesn’t feel like a corporate product put on stage to sell shirts and concert tickets. HANABIE. is a great band that has killer songs and attitude, and their fans were there to celebrate with them. Despite singing in Japanese, people everywhere in the audience sang along with each song.

After my three songs in the photo pit, I went to the upstairs balcony to observe the rest of the show from above, where I could get a good handle on both the band and crowd, and what I saw surprised me. I locked in on one man on the floor – he was tall, had white hair, and was probably mid-60’s. He would alternate between getting throttled and knocked to the ground several times in the pit, before standing just in front of the pit singing every single lyric at full volume despite them not being in English, air drumming in perfect time with each drum fill, and pumping his fist in the air on beats of punctuation, obviously knowing each song by heart. He wasn’t the exception to the rule.

The mosh pit was one of the most aggressive I’ve ever seen. The demographic bent older than most shows, and I likened it to watching a nature documentary about bighorn sheep during mating season, with the young bucks trying to showcase their strength and youthful energy to win over the females by running head-to-head into the older and more established males. Youth is favorable in many cases, but old-man-strength can’t be underestimated, and the older rams often beat the youngsters back into their place in the pecking order. Documentary films aside, that’s exactly what the HANABIE. mosh pit at the Belasco was like – a bunch of big old dudes crashing into one another and the occasional lightweight twenty-year-old with great force – it was not a place for the timid, but everyone seemed to be having a blast, and there were hugs and high-fives after each song. There was also a wall of death at the midway point – this band and these fans weren’t just going through the motions.

Sunday night’s show was the last of HANABIE.’s headlining tour of America, and they celebrated near the end by bringing out the opening bands for a toast and a drink. Guitarist Matsuri sang an impromptu song, “I like to drink tequila”, and Dickie Allen of Nekrogoblikon and Travis Worland of Enterprise Earth stayed on stage to sing “L.C.G” with the band.

People genuinely had a good time at this concert. HANABIE. was active the entire time – jumping in the air, high-kicking, running around the stage, high-fiving everyone in the front row against the barricade, and fist-bumping the constant stream of crowd surfers, all while maintaining smiles on their faces. Good music, good people, and good times. It was refreshing to see that not every band has to look or dress the same in order to have a positive effect – it was a killer show, and I will definitely be back the next time HANABIE. plays in Los Angeles – I’ll stick to wearing my black shirts, but I’m a fan!

HANABIE. is:

• Yukina – Vocals
• Matsuri – Guitar/Vocals
• Hettsu – Bass/Vocals
• Chika – Drums

Setlist:

1. NEET GAME
2. SUNRISE Miso-SOUP
3. Reiwa Matching-sedai
4. TOUSOU
5. Kotoshi koso Gal~Shoka ver.~
6. ICONIC
7. Spicy Queen
8. Ware Amatou
9. Watashitachi no 7kakan Sensou
10. O•TA•KU Lovely Densetsu
11. Tokimeki About you
12. Choujigen Galaxy
13. Osaki ni Shitsurei Shimasu.

Encore:

14. L.C.G (With Travis Worland and Dickie Allen)
15. Today's Good Day & So Epic

Nekrogoblikon

I had never seen Nekrogoblikon before, but knew a bit about them. Still, it was somewhat shocking when the ten-foot-tall inflatable green goblin head was revealed, and the band made its way to the stage. I knew about John Goblikon and his green mask and hands, but was unprepared for everything else, like his pink tutu, and propensity to dance like he’s opposite Uma Thurman in Pulp Fiction, or the need to hump fellow bandmate’s leg mid-song. He started off by saying “Hello Encino” (a town in the Valley – a part of Los Angeles County, but far away from downtown where the show was), and continued to refer to us as being from Encino for the rest of the night.

They were super fun, but their costumes and dress (Joseph Daniel Nelson on guitar was wearing a shirt that said “PeePee, PooPoo”) belies the fact that their brand of melodic death metal (or goblin metal if you prefer) is heavy with huge guitars and double bass drums. It’s easy to overlook the level of musicality while being distracted by a goblin humping a guitar player on stage, but that’s the contradiction of Nekrogoblikon. They are very good at what they do, and it was obvious that they were having a good time doing it, while allowing everyone in the crowd to both rock out and smile simultaneously.

Nekrogoblikon is:

• John Goblikon – Vocals
• Dickie Allen – Vocals
• Alex Alereza – Guitar
• Joseph Daniel Nelson – Guitar
• Aaron Minich – Keyboards
• Eric W. Brown – Drums

Enterprise Earth

The first thing I noticed when Enterprise Earth started up was that Travis Worland’s vocals were unbelievable – screams so loud and high that they pierced my ear protection like they weren’t there, and yells without the mic that could be clearly heard from the back of the venue. Travis also encouraged moshing, horns in the air, and calling on the audience to “bang your fucking head”…a challenge that was happily accepted. As a way of celebrating those courageous enough to take him up on his request, he made his way to the front of the stage for every crowd surfer that landed in the pit to fist bump each and every one of them.

During the second-to-last song, the tour photographer/videographer put down his camera and joined Travis on a mic, singing the heaviest of vocals in the chorus, before finishing the song and picking up his camera to film the rest of the set. This band put out an unbelievable amount of energy and was a great kick-start to a really fun night of heavy music.

Enterprise Earth is:

• Travis Worland – Vocals
• Gabe Mangold – Guitar
• Aron Hetsko – Drums
• Dakota Johnson – Bass

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The Melbourne heavy music scene has long been a breeding ground for sonic innovation, but the arrival of ANA marks a sophisticated shift toward what the quintet describes as “couture metal“. This aesthetic evolution prioritizes high-fashion theatricality alongside the punishing precision of symphonic metal. Today, the band further cements this visual identity with the release […]

*And a Seven Hours After Violet member too.

The post Left To Suffer & King 810 Members Cover System Of A Down’s “Sugar” appeared first on Theprp.com.