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Nihilo – Sign With Xtreem Music
Swiss death metal ensemble Nihilo has joined forces with Xtreem Music for the release of their fifth studio album, Abyss, set to be unleashed on November 3rd, 2026. More info coming soon.
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āTwo iconic albums! One unforgettable night!ā Thirty Seconds To Mars announce A Beautiful Lie vs This Is War arena tour
Jared Leto’s band line up extensive arena tour -
Love Rarely ā āPain Travelsā
Covering themes of generational trauma and toxic familial relationships, ‘Pain Travels’ seems a particularly apt title for the debut album of Leeds-based mathcore/post-hardcore quintet Love Rarely. Written and recorded by the band over the course of a year, Love Rarely admit themselves that the album took a darker turn lyrically than initially intended. The result in a record that at first sounds upbeat. Dig deeper, however, and a far more emotionally candid and vulnerable experience reveals itself. Music as catharsis is of course nothing new, but Love Rarely have managed to channel their pain into an album of gloriously life-affirming songs that sound refreshingly distinctive. Having recently supported The Callous Daoboys on their sellout UK tour, and with slots at major UK festivals this summer including 2000 Trees, Love Rarely are perfectly poised to capture a wider audience.
From its very first notes, āPain Travelsā grabs the listeners’ attention with the infectious, clean and clipped riffs of single āI Willā, reeling you in with a swathe of hooky heartfelt melodies. Soaring parallel to the music is powerhouse vocalist Courtney Levitt, whose smooth cleans and direct screams cut through the abrasion and well-executed chaos effortlessly. The affecting āSeveredā walks the emotional tightrope of aggression and sensitivity, tackling the subject of cutting out an addictive and abusive family member with lyrics like āPain travels down when you decide to ruin everythingā, acting as the albumās emotional core. Similarly, the dreamy, melancholic āDormantā is a song Levitt penned about losing a loved one to dementia, and features some of her most plaintive and affecting vocals.Ā
Elsewhere, other highlights include āI’ll Tryā, a three-minute maelstrom of emotion that flaunts the band’s flawless playing to dizzying effect as the initial rage-filled passages break down into sensitive, atmospheric sections, providing the perfect foil for Levitt’s more delicate vocal lines to take centre stage amidst the lilting shoegazey arpeggios of guitarists Taylor and Dan Dewsnap. Outside the albumās more melancholic tracks, the band are able to dial up the chaos too, particularly on the albumās shorter, overtly mathier tracks, like the neck-breaking scattergun riffage of āWhiplashā, which sounds like a funk-infused Converge. Equally impressive is the barely one-minute āRepulseā, which manages to cram as many left turns as it can into its ferocity-filled run-time. The initially subdued āThrough Familiesā closes the album in heart-rending fashion, capturing some of Levittās most powerful vocals on the album. The bandās musical chemistry sparkles once again, with the expressive bass playing of Dan Wilson weaving through Dewsnapp and Taylorās moving guitar lines. āI canāt change you, but I triedā croons Levitt towards the song’s end, a line which feels like the album’s emotional resolution.Ā
āPain Travelsā is often reminiscent of self-titled era Paramore and the sadly disbanded Ithaca, bands who are similarly able to channel darker emotions into vibrant and uplifting music. Throughout the album, the angular guitar work that is the hallmark of mathcore is ever present, but there’s an emotional sensibility here that sets the band apart, giving them their own sound and identity. Coupling their youthful confidence with an emotional directness and maturity beyond their years, āPain Travelsā is the sound of a band already comfortable in their own skin. Nothing feels left to chance; the emotions are raw but the playing is precise and the songwriting tightly focussed. Produced entirely by guitarist/second vocalist Taylor, the record is unfussy, crisp and shines bright whilst managing to stay raw and heartfelt. To hear a band this self-assured and in command of their songwriting prowess on a debut album is thrilling, marking them out as a band with a very promising future indeed.
ADAM FIRTH
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Dimmu Borgir- To Headline Norway’s ‘Unholy Halloween’ Event
Dimmu Borgir have announced a Halloween homecoming dubbed ‘Unholy Halloween’. The Norwegian symphonic black metal outfit will headline a special event at Spektrum Arena in Oslo on October 31st 2026 together with Satyricon and Enslaved.
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Abuser – Drop ‘Painbringer’ Song
In wake of their forthcoming debut full-length release Blood Marks, Polish thrashers Abuser have premiered a visualizer video for another new track in preview called “Painbringer”.
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Plini – Reveal New Single
Australian prog virtuoso Plini will release his third studio album, An Unnameable Desire, on April 24. You can watch a music video of the title track “An Unnameable Desire” below.
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Sevendust announce first UK headline tour in eight years
Grammy-nominated metal veterans Sevendust have announced their first UK headline tour in eight years. Fresh off an arena support slot with Alter Bridge in March, the Atlanta quintet will return this winter for an extensive 16-date run across Europe, the UK, and Ireland. The tour comes in support of the band’s milestone 15th studio album, … Continue reading Sevendust announce first UK headline tour in eight years -
Foo Fighters Unveil Thrashing New Track āOf All Peopleā
Foo Fighters’ new album ‘Your Favorite Toy’ is getting closer and closer, and the band have shared another piece of it to tide you over.

The name is ‘Of All People’, and it is a track spiked with plenty of spite and malice between its caustic riffs. Delivered with a sneer and a shake, Dave Grohl deals out the sort of performance that you wouldn’t want to be on the other end of, whilst the band produce a litter of slick riffs and infectious melodies. It’s a song that, on the surface, is a dancefloor-filler, but dig a little deeper, and it finds the band at their most cutting and crushing.
Nothing else to do but get stuck in good and proper.
‘Your Favorite Toy’ will be released on April 24 via Roswell Records/Columbia Records. It will also feature ‘Caught In The Echo’, which sounds a lot like this:
You’re going to be able to catch the band dealing out all these new bangers, as well as the classics, as they make their way around Europe this Summer.
Here are the dates:
JUNE10 ā OSLO Unity Arena
12 ā STOCKHOLM Strawberry Arena
15 ā WARSAW PGE Narodowy
17 ā MUNICH Allianz Arena
19 ā PARIS Paris La DĆ©fense Arena
25 ā LIVERPOOL Anfield Stadium
27 ā LIVERPOOL Anfield Stadium
JULY1 ā BERLIN Olympiastadion
3 ā VIENNA Ernst-Happel-Stadion
5 ā MILAN Ippodromo Snai La Maura (I-Days Milano)
8 ā MADRID Mad Cool Festival
10 ā LISBON NOS Alive Festival
The post Foo Fighters Unveil Thrashing New Track ‘Of All People’ appeared first on Rock Sound.
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Reviews: Magenta, Sugar Horse, Dimwind, Nick Oliveri (Matt Bladen, Cherie Curtis, Mark Young & Joe Guatieri)
Magenta – Tarot (Tigermoth Records) [Matt Bladen]Welsh prog unit Magenta are about to get medieval on your ass! In quite a literal sense as their new album, their tenth(?), studio recording Tarot is inspired by the the band Renaissance, who have always been a huge influence to main writer Rob Reed. So with this being their 25th Anniversary as a band they do a bit of retrospection to their debut album Revolutions where the inspiration of Renaissance, Yes and the UK Neo-Prog acts like Marillion and Pendragon impacted the style of the band on that debut record.
Since that debut they have added all sorts of elements to the band from alternative rock, symphonic cinematics, massive conceptual pieces, heavy rock and more, but it seems that with this milestone in their history coming up, the idea of this record was to bring it all back to where they began, one distinct style based around the Neo-Prog journeying of Renaissance, et al.
Basing the songs on the characters that appear on Tarot cards, with four folksy Ćtudes splitting their labyrinthine cuts, featuring flute from Katie Axelsen and oboe from Sam Baxter, some harpsichords and a lot of Nylon string guitar fit for Henry VIII’s court. Those nylon strings and soaring, expressive lead guitar moments are still the reserve of Chris Fry, who plays with feeling, emotion and virtuoso skill, throwing in Gilmourisms, Hackett classicism and even a bit of jazz on The Empress.
The rest of the instrumentation meanwhile come from Rob Reed who plays the keys, organs, synths, piano, rhythm guitar, the ever present guitar which is high up in the mix like it should be and even some recorder for more folking. Though he doesn’t provide the drums, so it’s a good job they have all round tub thumper extraordinaire Nick DāVirgilio to do that in between his stints with Big Big Train and Steve Hackett.
Reed has also said that this is the first album he’s written explicitly for singer Christina Booths voice, and she gives a brilliantly emotive performance, perfectly pitched for the romantic notions of the past and fate explored on this album, joined on the gospel tinged title track by Peter Jones and Steve Balsamo. Tarot plays the cards out in the open, with a record of brilliantly delivered prog rock that sees Magenta in nostalgic and celebratory mood after a quarter of a century. 9/10
Sugar Horse – Not A Sound In Heaven (Fat Dracula Records) [Cherie Curtis]
Sugar Horse offers a fresh new perspective on modern metal. Its cinematic, loud and chaotic with the grandeur of a perfect storm.Not A Sound In Heaven brings thunderous instrumentals and heavy breakdowns with their own spin by carefully sprinkling in some euphoric harmonised choruses and highly technical beats. Sugar Horseās title track, Not A Sound In Heaven, is a light and airy with glorious technical symphonies without the harsh metal vocals of the rest of the album that’s more to serve the concept while capturing the atmosphere.All throughout you’re being pushed pillar to post by the vocal range between soft and harsh with hardcore bone shaking metal vocal sustains complimented by hard-hitting drums giving the album a modern-day alt rock twist. Sugar Horse is an interesting fever dream and not at all what i expected, i found myself on the fence a couple of times before being drawn back in by complex dynamic builds of intensity that makes for a well-articulated piece.Overall, this one is strong and wondrous. It wonāt get you into a moshpit but I donāt think it’s supposed to as for me, itās an album to accompany you on a moody day and the vibe feels summery yet pessimistic, allowing you to fester in melancholy comfortably. 7/10
Dimwind – The Carrion Waltz (Self Release) [Mark Young]
Entering the arena with an album that moves with ease and grace between different musical approaches is Swedenās Dimwind. They are one of those bands where you can give them a tag, say āpost metalā or āprogressiveā or āsludgeā and it doesnāt really tell the full story of what they sound like or indeed what one can expect from them. They can be a lot of things to a lot of people; such is the spectrum they ride with The Carrion Waltz.
Again, like a lot of my reviews this represents my first time with them, and as I understand it sees them add a vocalist to the mix in order to expand further. What is apparent is that the music behind the vocal lines still has priority in terms of how it lands with you. If you imagine a Mastodon where the style moves from person to person, and as a result it is changing because of that, its exactly what you get here.The difference here is that Dimwind are writing with a vigour and energy that has been missing from Mastodon. That is a different conversation so getting back on track Iāll just point you in the direction of the melodic change in the main verse of opening track The Chime. Itās a little touch but something that in the whole scheme of the song makes a massive difference to me in how I respond to it. Itās a massive way to start things off, its one of those songs where they have a lot to say, and they give it the space to unfold. Its closing moments are triumphant, moving forward in a perceived wave of positive melodic lines.As strong as that opening statement is, there is no time for resting, with My Uninvited Host trampling all underfoot, mixing groove in with its crushing arrangement. It suddenly comes to a halt, reaching backwards to lighten the mood. You know its not staying there for long and it starts to punch forward in the most satisfying way. Lovers of the riff will be at home here because its filled to the brim with them. Again, check out the closing minute or so for a prime example of this.
They have a definite knack of being able to meld good riffs with abrasive vocals and still sound like a moment of beauty. The Antagonists Speech, circa 2minutes in or Counterglow, where they gently apply the brakes and just relax for a while during the mid-point. Iām not just saying that these are relative high points, just examples within each. They balance heavy and soft in a way that seems intuitive, at least to them.What this means as a listener is that we are spoiled from start to finish. I appreciate that is quite the statement, but from my perspective itās the truth. Iām not quite sold on the whole post-metal thing, I suppose its because Its not thrash metal, but Iām not going to sit and say that this is poor because itās not played at a 1000mph. Its an album that has moments of stark beauty to it.You only have to listen to it to understand that, even I can hear it. I mentioned that audio kinship with Mastodon, where they share that similar ability to turn on a sixpence within a song. Here, they do it two or more times, and they land it every time.The closer, Absorbing The Infinite Impermanence is magnificent in how it develops, building itself until it gets to the end. Looking at those pesky tags, yes, they are all of those things, I donāt think you or they could argue with that. But to pigeonhole them to those tags, well I think you would be missing the point. 8/10
Nick Oliveri – N.O Hits At All Vol 10 (Heavy Psych Sounds) [Joe Guatieri]
There is no other way to say it, Nick Oliveri is one of my favourite musicians of all time. The man has played a big part in so many bands that I love like Kyuss and Queens Of The Stone Age and has even more projects and collaborations that heās put his name to. With his own band Mondo Generator, they have hit a height of consistency in fantastic releases also.
Today weāll be diving into Nickās long running series of compilations, N.O. Hits At All, which covers songs that heās been a part of throughout his career. I have previously reviewed the last two releases, volumes 8 and 9 which I really enjoyed, how will it fare with volume 10?
The record opens with Luv Is Fiction, a track that sees Nick singing over a song which doesnāt know whether itās Hair Metal or Hardcore Punk. The song revolves around a riff that sounds like vanilla Rage Against The Machine, yeah itās bouncy but it doesnāt go anywhere and ends up being uninspired. The chorus has what sounds like back-up singers with headbands on all singing into the same microphone whilst Nick is up front. It doesnāt match his style whatsoever and has no bite to it.
Track two presents us with Up And Down Under which is a much more welcome addition here. The instruments swirl together like a tornado with punchy drums and a smooth bass. Its classic Stoner Rock stylings stand out from being derivative as there is a big emphasis on attack in the song and thanks to its use of dynamics, it feels like that itās forever moving forwards, capturing people in its groove.
This is where my frustrations with this album come to boiling point as with the next not two but six tracks, they have all been used as part of the N.O. Hits At All series before. This is beyond disappointment and utter laziness on Nick Oliveriās part. All he had to do was type in the songs already and seen that he had picked them before, even on the last fucking release with one of them! No wonder why they started sounding so familiar as I have heard them all before.
There is one more song on here which hasnāt been on a compilation and this is track nine with Bad Boy For Love. Itās a classic acoustic song in Nickās style, a weird psychedelic synth hums in the background as the guitar sends us off to space. Then all thatās good goes to shit again, as the next two songs have once again been used on previous compilations.
Three original songs to volume 10 is a joke, itās so much more than just an admin error, it lacks any sort of common sense and feels like a blatant lie. The song Lockdown is the most egregious, it was previously used on volume 1 and it makes me want to tear my hair out, HOW?!This is a plea to Nick Oliveri himself. You can still make wonderful music that I connect with but please stop with N.O. Hits At All before itās N.O Fans At All. This isnāt a celebration, itās starvation! 1/10