A Journey Through Tension, Power, and Melodic Redemption
Live in Colors open their album Peace Dies First with Pieces of Fairytales, a track that begins with an atmospheric introduction before being shattered by powerful riffs that immediately raise the tension. The guitars soon take control, pushing forward with determination while atmospheric solos expand the sonic space. As an instrumental piece, it balances energetic passages with more melodic moments, setting a strong foundation for what follows.
Live in Colors – Peace Dies First
With Fools Parade, the band makes a bold statement. The opening riff hits like an avalanche, showcasing their technical ability right away. Their sound blends metal with progressive elements, and the rhythmic shifts feel precise yet unpredictable. Here, the vocals finally emerge, appearing at key moments with epic and almost ancestral melodies that add depth without overpowering the instrumentation.
Solitary Sword carries a distinct ‘80s metal influence, wrapped in a slightly dystopian atmosphere. The vocal line feels nostalgic, giving the track an emotional weight that contrasts well with its heavier sections. This balance between past and present becomes one of the album’s defining traits.
A standout instrumental moment arrives with Funeral, Pt. 2. This track leans heavily into atmosphere, guiding the listener through a delicate yet intense melodic journey. The inclusion of strings elevates the composition, creating a sense of elevation and distance, almost as if the music is drifting somewhere beyond reach.
The energy returns in full force with Echoes of the Broken. Fast rhythms and dynamic changes push the intensity to its peak. The band demonstrates a high level of technical skill, weaving intricate harmonies together with precision. Each section flows naturally into the next, maintaining cohesion despite the complexity.
Closing the album, Song for Freedom delivers a melodic guitar solo that feels like a final breath of hope. The track stands as an emotional resolution, offering a sense of release after the tension built throughout the record. Its expressive lead work leaves a lasting impression.
Peace Dies First is a powerful and cohesive album that highlights the strength and versatility of Live in Colors. Their ability to merge technical precision with emotional depth makes this record an engaging listen from start to finish.
Evanescence release their first new song of 2026, underground doom heroes Warning make a comeback and beleagured nuns Dogma offer a defiant new sound in this week’s best new metal songs
New York death metal icons Immolation have unleashed their twelfth studio album, Descent. This monumental release arrives on the eve of the band’s North American takeover.
To commemorate their new release, the band has unleashed their latest single, “Bend Towards The Dark”. The track is a sonic assault, fusing the band’s trademark sound with menacing leads and a barrage of merciless blasts.
Immolation comments: “We are excited to get one more single out as our new album Descent is finally released! “Bend Towards The Dark” is definitely one of the more ambitious tracks of the record. It has just about every element you would expect from Immolation, but takes things a bit further. It’s intense and heavy, yet becomes very epic and almost orchestral at times, really embodying a lot of feeling and emotion throughout. We really look forward to having “Bend Towards The Dark” out there to ignite the release of Descent! We hope everyone enjoys it!”
Descent was captured across two locations: Justin Passamonte tracked guitars, bass, and vocals at Jpass Music, while drums were recorded at Mercinary Studios with Noah Buchanan. The production was a collaborative effort between the band and long-time engineer Zack Ohren, who also handled the mixing and mastering. The result is a muscular, high-fidelity production that captures the band’s most fiery and brooding moments with equal clarity. To call Descent “heavy” or “brutal” is an understatement; this is death metal with a unique, elevated voice that stands entirely alone.
Visually, the band has once again tapped Eliran Kantor to craft a haunting cover masterpiece—a true hallmark of the Immolation aesthetic— complemented by Santiago Jaramillo’s (Triple Seis Design) internal booklet illustrations. With this release, Immolation reinforces their status as one of the most enduring and vital forces in the genre.
Immolation are currently trekking across North America for their Spring 2026 run. The tour features the band alongside Behemoth on the massive The Godless IV lineup, joined by Deicide and Rotting Christ, with several additional dates interspersed throughout the journey.
From the very first note, “Like Poles” by phytö catapults listeners into a vibrant realm reminiscent of 80s arcade games. The opening sounds recall the blips and beeps of retro gaming, immersing the audience in a space that feels nostalgic and slightly delirious. This introduction sets the stage for a song that balances playfulness with an underlying emotional depth.
As the song progresses, it transitions into a solid groove, driven by a funky bassline that invites movement. The rhythm is infectious, compelling listeners to sway along in time with the beat. This vigorous foundation showcases the band’s skill in effectively applying rhythmic changes. Each shift feels natural and enhances the song’s overall momentum, keeping the energy high and engaging throughout.
Punk spunk intertwined with a funk foundation gives the track a lively swagger. The rhythmic intricacies evoke shades of the Beastie Boys, blending rap and catchy hooks in a way that feels refreshingly original while still embracing its influences. The bass dances through notes with precision, creating a compelling interplay between the instruments and the infectious beat.
Like Poles by phytö – Sound and Atmosphere
Phytö also excels in creating a colorful atmosphere through various sonic effects. The playful and sprightly use of sound retains that classic 80s vibe. There’s a childlike excitement in these moments, reminding listeners of an era when music was often about fun and experimentation. Yet, this is paired with a contemporary flair that showcases their artistry and originality.
The structure of the song follows a distinct journey. Transitions between the energetic verses and choruses are seamless, making each section feel cohesive and intentional. This well-executed balance showcases how thematic content can intertwine with musicality.
“Like Poles” by phytö stands out as an impressive single. The track navigates the nostalgia of the 80s through vibrant groove and chord progression.
On May 7, the new album In Conspiracies We Trust by the North German thrashers Extinct will be released. Eager fans can get an early taste of the nine new songs on April 24, when the band celebrates their record release party at Mosh im Mai in Kiel, where the album will be available for […]
All good things must come to an end, and while the span of 10 years might seem a fairly short run when measured against the decades that some of heavy metal’s prime movers have been at the game, the prolific road paved in the studio by Austin, Texas’ own Spirit Adrift has been nothing if not formidable.
Led by the guitar and vocal chops of multi-instrumentalist and mastermind Nate Garrett, whom also lent his skills at the six-string to the iconic death metal staple Gatecreeper, this epic and traditionally grounded doom metal institution has scarcely gone a year since their 2015 formation without fielding a substantial studio opus that has won them praise from such noted outlets as Decibel, Revolver, Metal Hammer and Kerrang!
Now, having already marked their March 20th date opening for Crowbar, Eyehategod, and Black Magnet as their last live appearance, the final sonic chapter of this grand tale set to odes of existential woe has been codified via their 6th studio LP, Infinite Illumination.
To the already initiated, this well-rounded opus of dense, forbidding odes recapitulates the unique blend of 80s epic doom, traditional heavy metal, and occasional fits of thrashing sludge that has typified this outfit’s stylistic approach since their sophomore studio outing, namely 2017’s Curse Of Conception. The generally slow-trudging mixture of atmospheric density and melodic consonance inspired by the likes of Candlemass and Solitude Aeturnus seamlessly mingle with a more Sabbath-centered sense of archaic melancholy featured in the seminal work of Trouble and The Obsessed, occasionally giving way to swifter and more aggressive fare that points to the likes of Corrosion Of Conformity and High On Fire.
In essence, Garrett’s artistic vision is nothing if not a multifaceted one, and the crop of high-caliber musicians surrounding him, including bassist Sonny DeCarlo (Goya), drummer Mike Arellano (M.O.D.), and recently recruited Alaska-born guitarist Jason Dahlke, perform masterfully in bringing that vision to life.
Never an outfit to shy away from going long, Spirit Adrift hit the ground with a thunderous dirge of a title entry in “Infinite Illumination”, clocking in at just less than 8 minutes and balancing a towering down tempo punch with hazy, atmospheric respites and chaotic bursts that effectively run the gamut of this fold’s stylistic toolset. At the helm, Garrett also exemplifies the tormented beauty that often comes with an epic doom approach, avoiding the overt operatic character of Messiah Marcolin or Dio-like bombast of Robert Lowe, but also having a soaring quality that makes for a more dramatic listen than what tends to go with modern traditional doom.
A similar musical story is told in a more dissonant, heavy and almost liturgical manner with the 7 minute mystical slough “You Will Never Hold The Key”, while the utterly dark and dreary crunch of “I Am Sustained” leans heavily into the heavy-ended and menacing metallic formula that made Epicus Doomicus Metallicus a pinnacle offering of the subgenre, not to mention showcasing the sort of wild virtuosic guitar soloing stunts that kept it firmly rooted in the 80s.
By the same token, this is a band that knows when to play things more concisely, and along for the ride with the extended jams are some merciless bangers that match accessible melodic hooks and shorter lengths with that same dank aesthetic. The more up-tempo yet highly menacing “Window Within” presents a tighter and punchier take on the doom question, playing off a fairly static riff set and allowing Garrett’s lofty voice to guide things through a generally straight musical path.
The chunky riff machine “Born In A Bad Way” goes even heavier while also taking a highly minimalist approach for its short duration, leaning towards that sludgy sound yet still feeling epic in demeanor. The tempo is kicked up to a mighty metallic roar on “White Death”, which could almost pass for a lost track off of Black Sabbath’s Dehumanizer save for Garrett’s more conventionally gritty vocal approach and a wetter guitar tone. But for a truly harrowing walk through the chambers of auditory woe, the closing epic “Where Once There Was An Ocean” balances the catchier elements of this album’s shorter entries with the grandiose atmospheric quality of the more drawn-out ones.
Amid the titans of modern doom metal that include the likes of Crypt Sermon, Pallbearer, Khemmis, and Wolftooth; Spirit Adrift was always a name that stood no less as tall and provided a bridge between the disparate expressions of the subgenre and the epic offshoots of the New Wave of Traditional Heavy Metal that leaned into a similar aesthetic. Infinite Illumination marks one of the better offerings in a highly consistent discography, channeling a similar kind of magic to the one that made seminal albums like Ancient Dreams, King Of The Dead, Beyond The Crimson Horizon, and Run To The Light the standard by which the new generation is measured.
It’s a bittersweet conclusion to a mighty tale that seemed to have only begun a short while ago, but given the magnitude of what has been committed to recording by this Texas quartet, this is an end that is sure to give rise to many new beginnings, be they by some of these musicians under a different moniker or a new crop inspired by this colossal coup de grace.
Release Date: April 10th, 2026 Record Label: Independent Genre: Sludge / Doom / Heavy Metal
Are you ready for a unique journey? Celestial by Behrang Ghodrati opens the gates to an ethereal and magical dimension where time feels suspended. The album begins with Way to Heaven, where a delicate solo blends with atmospheric pads that recall the sonic visions of Pink Floyd. From the very beginning, the direction is clear: this is music that breathes rather than rushes.
With Aphrodite, the experience transforms into a harmonic mirage. The refined sound design creates a space beyond time, almost unreal. Each note seems to float, guiding the listener into a contemplative state. Moreover, the production remains clean and precise, allowing every detail to shine.
Between Space and Memory
Cloudier Than the Sky opens with an ethereal arpeggio that slowly expands. The solos take their time, unfolding naturally. Here, silence becomes part of the composition. It echoes the stillness found in the paintings of Edward Hopper, where every pause carries meaning. This balance between sound and space creates a deeply immersive experience.
With Angel, the tone shifts slightly. The structure feels more traditional, yet it retains a strong identity. The guitar explores faster scales, evoking warm Mediterranean atmospheres that feel both intimate and vibrant. It is a grounded moment that still carries emotional depth.
Towards the Infinite
When I Look at the Sky expands the sonic horizon even further. The listener is surrounded by a vast and open harmonic space. The desire to escape and ascend becomes tangible. It feels like looking at the sky and realizing that there are no real limits.
The album closes with a piano-driven piece that highlights the artist’s compositional strength. The notes fall like drops on a still lake, creating gentle ripples of emotion. It is an intimate and powerful ending.
Behrang Ghodrati represents an ancient culture like the Iranian one, translating it into a universal musical language. His work connects different worlds and brings people closer through shared emotion. Celestial invites deep listening, away from distractions.
A refined and sincere album that I strongly recommend to anyone searching for something authentic and timeless.
Grammy-nominated guitarist and singer Samantha Fish will release Paper Doll Live via RounderRecords on Friday June 12th, her first official live album, capturing the electrifying stage presence that has made her one of the most compelling performers in modern blues and roots music.
A leading guitarist of her generation, Fish is known for her bold musicianship, emotional depth, and fearless song writing. A multi-award-winning festival headliner, she has built her reputation on explosive live performances that blend raw guitar power with deeply expressive vocals. Following the critical success of her Grammy-nominated album Paper Doll, the new live record showcases the intensity and chemistry that define her shows night after night.
“Truly, this is for the fans,” Fish says of making her first official live record. “We’ve had numerous requests over the years. Paper Doll felt so great on stage — it felt like the perfect time to showcase the band and our live show.”
Recorded at the historic Bijou Theatre in Knoxville, Tennessee, Paper Doll Live captures a band fully locked in and feeding off a packed crowd. The venue’s natural warmth and acoustics created an ideal setting for the recording, elevated even further by the addition of Nashville gospel legends The McCrary Sisters, whose soaring harmonies bring added depth and emotion to the performance.
“Their voices lifted every song,” Fish says. “I love beautiful backing vocals — they pack an emotional punch. I’ve been a fan of them for years, so that was really special for me.”
Fans travelled from across the country to attend the recording, creating an atmosphere of anticipation and celebration inside the theatre.
“Our fans aren’t afraid to travel,” Fish says. “When we announced the show, people got excited. I think that build-up always helps make a better show.”
The result is a performance that feels both ferocious and communal — a moment where the band, the songs, and the audience meet in real time. While the studio album Paper Doll marked a breakthrough in Fish’s artistic confidence, the live setting strips away polish and leaves only instinct.
“There’s a fire that comes across in live performance that doesn’t always translate in studio albums,” Fish says. “The stage lays all of that bare.”
Songs evolve and expand in the live environment. Outros stretch. Studio fade-outs become powerful climaxes. Tracks like “Lose You” build with relentless momentum, while “Sweet Southern Sounds” allows Fish to lean into her hypnotic North Mississippi-inspired guitar phrasing. The title track “Paper Doll” lands as a defiant anthem night after night, igniting crowds with its refusal to conform.
And when the band launches into a blistering cover of MC5’s “Kick Out the Jams,” the room detonates.
For Fish, the difference between studio and stage is elemental. “The studio is where you build and create your sound,” she says. “The stage is where you execute all of that. Having a crowd takes you out of your head and gives you something to play off.”
Emerging from Kansas City’s blues lineage and shaped by influences ranging from Prince and Leonard Cohen to the legends of Mississippi Hill Country blues, Fish has long treated performance as her proving ground. From cold-calling bars as a teenager to headlining international festivals, she has developed a live show that balances catharsis and control, boldness and vulnerability.
With Paper Doll Live, she isn’t reinventing herself — she’s documenting the power of what she and her band do every night. “I just wanted to capture what we do every night,” Fish says. “It wasn’t about chasing something new. It was about capturing the thing that has connected so deeply over the years.”
PJD Explores Psychedelic Depths in “On New Horizons”
Some songs feel like a destination. Others feel like the beginning of a journey. This one moves between both states.
“On New Horizons” opens with an ethereal and almost ancestral intro. Subtle futuristic tones merge with ethnic textures, creating an atmosphere that feels suspended between eras. This introduction immediately establishes a sense of mystery, inviting the listener into a space where time loses its structure.
As the vocals enter, PJD presents himself with confidence and character. There is a clear psychedelic imprint in the delivery, giving the voice a guiding presence throughout the track. The melody unfolds naturally, while maintaining a hypnotic pull that keeps the listener engaged from start to finish.
The rhythm builds around a looping structure that provides stability and flow. This repetition becomes a strength, allowing the listener to fully sink into the track’s atmosphere. Meanwhile, keys and pads expand the sonic landscape, opening a wide and immersive space where each sound finds its place.
Layers overlap with precision, forming a rich and detailed composition. The result is a futuristic sound that still carries echoes of the past. There are clear psychedelic rock influences, yet they are reshaped into something more fluid and modern. This balance between nostalgia and innovation gives the track its identity.
At its core, “On New Horizons” reflects a constant search for something beyond what we already know. It captures that restless desire to move forward, driven by curiosity and hope. This emotional direction adds depth to the listening experience, turning the track into more than just sound.
Fans of Bill Nelson, Gary Moore, and Eric Clapton will recognize subtle influences in tone and composition. However, PJD maintains a distinct voice, shaping a sound that feels personal while still expansive.
The man behind Asterise Bartlomiej Mezynski International power metal band Asterise released a new single ‘Fractal’ on April 10th 2026. Fractal is an almost six‑minute track featuring extensive lead guitar work and epic vocals. The song marks the first collaboration with Herbie Langhans (Avantasia) on vocals and Ronny Milianowicz (Shadowquest) on drums. A playthrough video will accompany the release, offering a closer look at the performance behind the […]
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