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Power Trip have just signed to a brand new record label run by previous Roadrunner Records executives.

The post Blue Grape Music Welcome POWER TRIP To Their Roster appeared first on Metal Injection.

Actor Javier Bardem named the heavy bands he'd play if he were the DJ during a red carpet interview at the 2026 Oscar Awards. Continue reading…

Interview by Ali Williams Alien Weaponry might have been speaking to HEAVY from Barcelona only a couple of hours after leaving the stage, but there was nothing flat about the energy. If anything, the interview captured a band running on that familiar touring cocktail of adrenaline, sleep deprivation and sheer gratitude for being able to […]

It’s been over a decade since A Perfect Circle toured Australian and 22 years since their last time playing New Zealand.

The post A Perfect Circle & Puscifer Booked For Rare Australian/New Zealand Tour appeared first on Theprp.com.

Here are the new releases for March 15th to 21st. Releases reflect proposed North American scheduling, if available.

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Upcoming Metal Releases: 3/15/26 – 3/21/26

Gutvoid — Liminal Shrines | Profound Lore Records | Death Metal | Canada (Toronto)

The Canadian act explores death metal’s outer layers on their second album, pursuing the astral and evocative while rationing the chunky hedonism of old school death metal between progressive rock compositions (albeit heavily downtuned and distorted progressive rock).

–Colin Dempsey

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Galvanist — The Silence Between the Stars | Independent | Sludge Metal + Black Metal + Doom Metal | United States (Bozeman, MT)

Galvanist received a large write-up in our recent Fire in the Mountains preview, detailing how Montana’s geography shapes their lonely take on doom metal. Their second record, The Silence Between the Stars, takes them to darker places as they lean into black metal mysticism, mutating into a sludgier–and harder hitting–outfit.

–Colin Dempsey

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Iron Firmament — In the Land of Pre-Human Kings | Wergild | Black Metal | United States (Washington)

What an album title, right? It connotes an ancient mysticism and savagery that perfectly suits Iron Firmament’s third full-length album. In the Land of Pre-Human Kings sees the shadowy duo welcoming fellow Wergild member and live bassist Artificer into their ranks, marking a new era of collaboration amongst the already tight-knit collective. On this third full-length album, Iron Firmament represents the very best that Wergild has to offer: frigid yet majestic black metal that conjures images of icy battlefields where giants once strove with gods (to borrow from Seamus Heaney). Epic opener “The Coast of Worlds” sets sail through treacherous waters as cascading arpeggios glow overhead, while the pinch harmonic stabs and martial stomp of “Purged of All Southern Influence” capture the clattering din of combat.

Note: “In the Land of Pre-Human Kings” released digitally on March 13 and physical copies will be available March 20.

–Alex Chan

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The Silver — Looking Glass Hymnal Blue | Gilead Media | Post-Black Metal | United States (Philadelphia, PA)

The Silver is a supergroup consisting of members from Crypt Sermon and Horrendous. On their sophomore album, they create some fascinating black metal that’s much heavier and more riff-based than what’s expected from a post-black album. It’s haunting and otherworldly, with a sad, ragged beauty running through it.

–Kevin Zecchel

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Egregore — It Echoes In The Wild | 20 Buck Spin | Death Metal | Canada (Vancouver, BC)

From the same sorcerers that brought us Mitochondrion and Auroch, Egregore’s sophomore effort, It Echoes in the Wild, is an unhinged, occult death metal journey. The guitar riffs cascade in a relentless procession, never sitting still, while the frenetic drumming underscores the tapestry with anxiety. This isn’t your dad’s meat and potatoes death metal–it’s something far wilder and more unknowable.

–Kevin Zecchel

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Exodus — Goliath | Napalm Records | Thrash Metal | United States (San Francisco, CA)

Bay Area thrash legends Exodus are set to unleash their 12th full-length beating upon eager metalheads around the globe. Goliath, the grizzled unit’s first for Austrian indie Napalm Records, is generating a nice, healthy buzz on multiple fronts. The first being that it marks the return of former vocalist Rob Dukes, in what will be his first appearance on a slab of Exodus wax since 2010’s Exhibit B: The Human Condition. The second is the band views Goliath as the most “collaborative record in their four decade-plus history,” with cameos on tap from Hypocrisy’s Peter Tagtgren and violinist Katie Jacoby. On top of that, guitarist/talisman Gary Holt characterized the record as “crushing” before proudly declaring, “every song is an anthem.”

Lastly, stop me if you heard this before, the titular song is being touted as possibly “the heaviest thing” Exodus has ever done. While this seems to be an obligatory statement for bands past a certain point in their career arc, early returns suggest that there may be fire beneath that smoke. “Goliath” is a hefty, creepy, crawling dirge unlike anything else in their catalog. Whereas, lead single “3111,” a song about Cartel murders in Juarez, brings the pain in more traditional Exodus fashion. Dukes’ reemergence definitely seems to have galvanized the troops.

–Dennis Seese

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Eclipsed Moon Apparitions — En les ombres, malson espectral… | En Claustre | Raw Black Metal + Dungeon Synth | Spain (Catalonia)

The mysterious Catalonian black metal aliens Eclipsed Moon Apparitions will release their first proper full-length, En les ombres, malson espectral later this week. It seems to be the brainchild of M.W. (a.k.a. Manel Woodcutter), who earns credit for all instrumentation. M.W. is perhaps more widely known in the global underground for their Amargor project. They’re joined only by Trencalos, who is responsible for “veus i poesia.” To all the Yanks, that’s “voices and poetry.” I’m definitely in. If the title track is to be believed, you can expect seven tracks of primitive croaks, glitchy primeval clatter, and unsettling atmospherics that border, at times, on achieving actual beauty.

–Dennis Seese

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Shawn Crahan was just another anonymous American teenager until he found Clown

Their tour with Kublai Khan TX, Fit For An Autopsy & Sanguisugabogg kicks off this week.

The post Lamb Of God Premiere “St. Catharine’s Wheel” Music Video appeared first on Theprp.com.

Needing a follow-up to one of the biggest albums of the 2000s, Amy Lee wrote some brutally honest lyrics and a classic song to soundtrack them

Wild Kingdom Records is proud to announce the signing of Swedish rock ’n’ roll trailblazers Glorious Bankrobbers, who returned with their new studio album, Intruder, on Feb 27, 2026. Recorded at House of Voodoo in Stockholm during spring 2025 and mixed by Robert Pehrsson at Studio Humbucker, Intruder delivers 12 fresh tracks that showcase the […]

Bands:	Lamb Of God
Release:	Into Oblivion
Genre:	Metalcore / Groove Metal
Country:	USA
Release Date:	13th of March, 2026
Released via	Century Media / Sony

New logos always imply a new stylistic direction for a band — especially if said band is a longstanding household name with a unique signature sound. So what do Lamb Of God want to tell us? Shall we expect a complete 180 with acoustic ballads and power metal vocals on their tenth full-length record entitled Into Oblivion? Or is this more of the same we’ve come to love from the Richmond powerhouse?

To answer these questions right from the start, Into Oblivion is another worthy addition to the band’s catalogue and no one should be worried that they’ve lost their bite and vigor. Randy Blythe is still pissed off by the state of modern society, Mark Morton and Willie Adler still ambush you with their signature southern-tinged thrash riffs, and Art Cruz still underlines the songs with his groovy and song-oriented drumming skills. This is apparent as soon as the striking title track opens the record with a thunderous breakdown, pinch harmonics, infectious hooks, and a vicious madman at the wheel. The track also serves as one of the record’s strongest cuts. While being nothing the band hasn’t done before, it still grips you in the right way — especially the added harmonies and leads throughout the second half.

Most of these attributes can also be applied to the record’s other tracks, as the LOG playbook is as well known among metal fans as a grandmother’s cooking skills. Therefore, a lot of the tracks start reminiscing about other older cuts (for instance see “Parasocial Christ” vs. The Wrath’s “Contractor”), which certainly isn’t a bad thing but makes the record come off as a little safe overall. But that doesn’t mean these new songs do not bang. “Sepsis“, with its sludgy bass intro and more relaxed tempo in the first half, serves as a nice contrast to the harsher and faster cuts such as further strong points “The Killing Floor” and “St. Catherine’s Wheel”, while El Vacío offers some more atmospheric clean sections from Randy akin to Sturm und Drang’s “Overlord“. Although the latter does not quite reach its ten-year-old spiritual predecessor’s quality due to its weaker melody, “El Vacío“ still serves as a nice dynamic shift. The second half of the concise 40-minute onslaught comes across as a little less engaging than the record’s first but still offers enough urgency and quality to make you bang your head.

Into Oblivion is a statement that the band is not willing to slow things down but also does not offer the same level of innovation or excitement that the band’s legendary three-album run from As the Palaces Burn onwards did. But in the end, which band can? With their tenth record, Lamb Of God prove that they’re still among the most competent and pissed-off combos in the realm of mainstream metal. The difference between being consistent and being interesting is getting smaller, though.