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  • New Music Review: JESS BY THE LAKE ‘HUMAN’

    Rating: 8.5 / 10 Stars JESS BY THE LAKE is: Jasmin Lempinen (vocals/guitar), Marianne Heikkinen (drums), Sampo Leksis (guitar), Oliver Karttunen (bass) REVIEW – There is something immediately human about HUMAN, the sophomore album from […]

    The post New Music Review: JESS BY THE LAKE ‘HUMAN’ appeared first on INFRARED MAGAZINE.

  • LOADED BILLY Return To THE GOV With WICKED EMPIRE And LEADWORM

    South Australia’s own hard rock wrecking crew Loaded Billy return to The Gov Gibson Stage for a night of loud amps, cold beers and plenty of toe tappin head bangin riff driven musical pleasure. Returning to the Gibson stage with special guests Wicked Empire and Leadworm supporting, this will be a night where rock rebels […]

  • Castle Mountain Moon: A Layman’s Guide to Unobtainium Review

    Castle Mountain Moon comprises the duo of Ropp Kohler and Dirk Krause. A Layman’s Guide to Unobtainium is their second album and it’s just been released (September 2026). Ropp and Dirk kindly sent a CD to me via the always reliable AC at Bad Dog Promotions. My thanks to both. The blurb sheet with the […]

    The post Castle Mountain Moon: A Layman’s Guide to Unobtainium Review first appeared on New Wave of British Heavy Metal.

  • The Darkness Announce New Greatest Hits Compilation ‘Crock Of Hits’

    The Darkness are gearing up for their ‘The Best of The Darkness’ tour this Winter with the announcement of a greatest hits compilation to accompany it.


    ‘Crock of Hits’ will be released on November 27th via Warner Music. It compiles tracks from all eight of the band’s studio albums, spanning from 2003’s classic ‘Permission To Land’ to last year’s chart-smashing ‘Dreams on Toast’. It will also include their festive staple ‘Christmas Time (Don’t Let The Bells End)’.

    Vocalist/guitarist Justin Hawkins had this to say about the announcement:

     “Listen upon our works ye mighty and rejoice! “Crock of Hits“ will startle you. Hold you as you tremble. And gently force you to succumb to its aural splendour. A “best of” curated by us, so you can be certain it’s the bestest of the bestiest. Suck it up, people…”

    The collection will be released in various formats, most notably as 3CDs with an extended amount of treats, including a new version of Masters Of The Universe’ featuring Queen’s Brian May and a whole load of live tracks and radio sessions too.

    The tracklist for that extended version of ‘Crock of Hits’ looks like this:

    CD1
    1. I Believe In A Thing Called Love
    2. Love Is Only A Feeling
    3. Growing On Me
    4. Get Your Hands Off My Woman
    5. Black Shuck
    6. Friday Night
    7. Christmas Time (Don’t Let The Bells End) 
    8. I Love You 5 Times
    9. One Way Ticket (Radio Edit)
    10. Is It Just Me?
    11. English Country Garden (Live)
    12. Knockers
    13. Every Inch Of You
    14. She Just A Girl, Eddie
    15. Street Spirit (Fade Out) (BBC Session)

    CD2
    1. Barbarian 
    2. Open Fire 
    3. Hammer & Tongs 
    4. Million Dollar Strong
    5. Roaring Waters
    6. All The Pretty Girls
    7. Bucaneers Of Hispaniola (Live)
    8. Solid Gold
    9. Japanese Prisoner Of Love
    10. Lay Down With Me, Barbara
    11. Rock ‘N Roll Deserves To Die
    12. How Can I Lose Your Love
    13. Heart Explodes
    14. We Are The Guitarmen
    15. Confirmation Bias

    CD3
    1. Welcome Tae Glasgae
    2. Nobody Can See Me Cry
    3. Motorheart
    4. You Don’t Have To Be Crazy About Me… But It Helps
    5. Speed Of The Nite Time
    6. The Longest Kiss
    7. I Hate Myself
    8. Rock And Roll Party Cowboy
    9. Hot On My Tail
    10. Walking Through Fire
    11. Masters Of The Universe (Full Version)
    12. Mortal Dread
    13. Masters Of The Universe (Featuring Brian May)

    Whilst the artwork looks like this:


    If that wasn’t enough, the band will also be playing a very intimate show at London’s Moth Club. That’s just 300 people.

    Justin had this to say about that particular show:

    “The first rule of Moth Club is, don’t fly into the lightbulb. Just kidding – nocturnal Lepidoptera rejoice! We’re coming to play at the Moth Club. That thing about burning yourself to a crisp is more of a guideline than a rule, so come celebrate The Darkness on this special night…”

    It will be taking place on September 17 and tickets will be on sale from right here.

    If you can’t make that occasion though, you can catch The Darkness playing some much bigger rooms in December. Here are the dates:

    DECEMBER

    08 – GLASGOW OVO Hydro
    09 – LEEDS FD Arena
    11 – MANCHESTER AO Arena
    12 – BIRMINGHAM Utilita Arena
    13 – CARDIFF Utilita Arena
    15 – BRIGHTON Brighton Centre
    16 – LONDON The O2

    The post The Darkness Announce New Greatest Hits Compilation ‘Crock Of Hits’ appeared first on Rock Sound.

  • Radiohead Announce 2027 Shows In Australia & Japan

    Ed O’Brien was telling the truth. Back when the Radiohead guitarist announced his solo album Blue Morpho, he revealed that his longtime bandmates had developed a plan for touring going forward. In 2025, Radiohead played their first shows in seven years, a series of multi-show residencies in European cities. O’Brien explained that they’d like to keep doing that every year starting in 2027, choosing a different continent each time. Now we know where they’re headed next year.

    The post Radiohead Announce 2027 Shows In Australia & Japan appeared first on Stereogum.

  • MALHKEBRE – B.A.M.N.

    The cover of B.A.M.N. depicts a weaponised megaphone spewing flames. The image points directly to the central role of the vocals. Eklezjas’Tik Berzerk dominates the music for almost the entire album with his furious, sermon-like delivery, while the slow-building, heavy instrumental foundation creates an oppressive atmosphere around him. Released by Battlesk’rs Productions, B.A.M.N. contains seven […]

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  • Dying Scene Album Review: Chat Pile – “Who Loves the Sun”

    Oklahoma City noise rock outfit Chat Pile has been on a meteoric rise since they broke onto the scene with dual EPs This Dungeon Earth and Remove Your Skin Please in 2019. The band then dropped critically acclaimed albums in 2022 (God’s Country) and 2024 (Cool World), cementing their place as one of the most exciting bands in the alternative rock scene.

    Chat Pile hasn’t just experienced critical success but has also attracted a growing legion of fans interested in the group’s grotesque soundscape. The band’s continued success makes the release of their next album, Who Loves the Sun, an anticipated release.

    Dying Scene had the opportunity to check out the album before its releasing September 4th release, and we’re happy to report the release is another gripping chapter in the group’s catalog.

    From the album opener, “Creature,” it’s clear that Chat Pile is committed to delivering an abrasive, unpleasant experience. The track is immediately recognizable to those familiar with the group’s output. Vocalist Raygun Busch gives a ferocious performance over an oppressively heavy instrumental.

    That isn’t a criticism. The inherent ugliness of Chat Pile’s sonic palette is a feature, not a bug. The band uses the distinctive sound to mirror the bleakness of their lyrics. Simply put, the world can be a profoundly ugly place. On Who Loves the Sun, as they have on previous albums, the band holds up a mirror.

    Fans of Chat Piles crushing repertoire and bleak songwriting will be glad to find that in spades on Who Loves the Sun. Cuts like “PEN I S MALL,” “Deep Blue,” “Christabel ’26,” and “Intruder” are particularly frantic and heavy, making them highlights for those who are drawn to the band’s crunchy and desperate sound.

    On the lyrical front, the band’s work explored the decay and blight of American society and the world at large. This record expands upon those themes to aim at the epidemic of indifference. Listeners will find explorations of climate change, modern work culture, and the over-optimization of data particularly incisive.

    While Who Loves the Sun is authentically a Chat Pile experience, that isn’t to say that there isn’t a lot of innovation on the record. On the contrary, the band continues to push their sound in ways they haven’t on previous outings. Bassist Stin commented on the band’s varied influences and how they played out on the album.

    “I feel like this album has more of a classic alt rock or indie rock vibe than our previous records. Luther’s guitar work is the most XTC-sounding it’s ever been, and (lead singer) Raygun is definitely approaching this album with more hooks in mind.”

    As Stin says, some of the most apparent changes come from the vocal performances and guitar work. There’s far more singing vocal work put onto this album than in past work, with genuine craft being put into the hooks. The approach brings more balance to the project and accentuates the moments when Raygun devolves into his distinctive primal-screaming passages.

    The album’s indie rock and new wave influences are also fairly evident. The guitar work on “Shrine” and “Same Rules” would sound at home on a Chameleons UK record, and the excellent post-punk production brings out a very impactful quality.

    Overall, the band has another real winner with Who Loves the Sun. Check out the record if you enjoy bands like Big Black, The Jesus Lizard, Shellac or Unsane. Whether you’re looking for crushing noise rock, infectious hooks or a stomach-churning sonic experience, Who Loves the Sun has plenty to offer.

  • “This is what we just finished recording the new record with…”: Korn have recorded drums (and maybe more) for their long-awaited new studio album

    Korn have recorded drums for their upcoming 15th studio album.

    During drummer Ray Luzier’s recent appearance on YouTube channel Drumeo, his drum tech, Mark Bennett, shows off Luzier’s setup and lets slip that he’s tracked his parts for the follow-up to 2022’s Requiem.

    “This is what we just finished recording the new record with,” Bennett says while lifting a Pearl Copper Free Floating snare. “They discontinued this drum. You can’t get it anymore. Thankfully, we have five of them.”

    Bennett doesn’t offer any more details on the upcoming album, including whether or not other members of the pioneering Bakersfield nu metal band have recorded yet.

    Updates on Korn’s new album have been thin on the ground, but in April the five-piece released Reward The Scars, their first new song in four years, in collaboration with role-playing video-game Diablo IV and its expansion pack Lord Of Hatred. Talking to Loudwire in February, guitarist Brian “Head” Welch said that the band were in no rush to put out another record.

    “I really love the fact that it’s taking a long time,” he said. “I always told management that I wish that we would wait a little bit between albums. We’re just so addicted to the studio that we get in there and we’re putting albums out every two or three years, ever since I rejoined. And so I love that there’s been delays.”

    Korn’s impending album will be their first without longtime bassist Reginald “Fieldy” Arvizu, who parted ways with the band shortly after recording Requiem. On the Shady Characters podcast earlier this year, he revealed that his refusal to get the COVID-19 vaccine, and his resultant inability to tour internationally, caused the split.

    “COVID happened,” he said. “That’s it. I’m like, ‘I’m not going out there.’ That’s what happened, ’cause it was new. Now. I didn’t get vaccinated or anything – but when you reflect on it, that’s what happened. They’re like, ‘We’re going to Florida,’ and I’m like, ‘I’m not going to get vaccinated. I’m not going.’ I go, ‘People, this is weird right now.’”

    Even though Korn have yet to announce their new album, they’ve confirmed a headline run across Europe, their first time touring the continent in more than a decade, from October to November. The shows kick off Hanns-Martin-Schleyer Halle in Stuttgart on October 18 and conclude at the Unipol Forum in Milan on November 21.

    Architects will support, with Youth Code opening up to November 4 and Pixel Grip replacing them for the remainder of the shows. Full list of dates below. Buy remaining tickets via the Korn website.

    Korn 2026 European tour dates:

    • Oct 18: Stuttgart Hanns-Martin-Schleyer-Halle, Germany
    • Oct 19: Munich Olympiahalle, Germany
    • Oct 21: Cologne Lanxess Arena, Germany
    • Oct 23: Paris Accor Arena, France
    • Oct 26: Leeds First Direct Arena, UK
    • Oct 28: Birmingham Utilita Arena Birmingham, UK
    • Oct 30: Newcastle Utilita Arena Newcastle, UK
    • Oct 31: Manchester AO Arena, UK
    • Nov 02: Dublin 3Arena, Ireland
    • Nov 04: London The O2, UK
    • Nov 08: Amsterdam Ziggo Dome, Netherlands
    • Nov 09: Antwerp AFAS Dome, Belgium
    • Nov 11: Hamburg Barclays Arena, Germany
    • Nov 13: Hanover ZAG Arena, Germany
    • Nov 14: Berlin Uber Arena, Germany
    • Nov 16: Prague O2 Arena Prague, Czech Republic
    • Nov 17: Krakow Tauron Arena, Poland
    • Nov 19: Vienna Wiener Stadhalle, Austria
    • Nov 21: Milan Unipol Forum, Italy

  • Infra Hands – U Kišama Meteora LP (Discom)

    We’ve all been in those situations when we got excited after hearing news about the formation of various

  • Reviews: Nephila, Fen, Miscreance, Korpse (Rick Eaglestone, Matt Bladen, Mark Young & Spike)

    Nephila – Huldra (Majestic Mountain Records) [Rick Eaglestone]

    Nephila are a band that treats the 1970s not as a museum piece but as a doorway.

    Formed in Arvika, deep in the Värmland forests, back in 2017, the masked seven-piece made their name on a heady brew of vintage heavy rock, psych and space-rock strut – two women trading vocal lines over a pair of guitars and a churning organ. 

    Their self-titled 2021 debut did well enough to land a P3 Guld nomination and now Five years on, Huldra arrives as the follow-up, and it is a markedly darker, stranger beast.

    Huldra is a concept album, and a genuinely ambitious one. It takes its cue from the skogsrå – the Hulda of Nordic folklore, the forest spirit who lures wanderers off the path with a lovely face and, depending on which telling you believe, a hollow back or a cow’s tail hidden under her skirts. 

    Nephila run each of the record’s nine tracks as another chapter in her story, but the clever move is what they make her stand for. 

    In the band’s reading she is less a monster than a mirror: a figure for every woman ever feared or hounded for the sin of belonging to only herself, for wanting independence, or power, or simply the freedom of the treeline over the tidy expectations of the village. 

    It is folklore pressed into service as something pointedly modern, myth as a way of talking about autonomy and about our nervous fascination with everything that lives beyond the fence.

    The grooves that made the debut so moreish are still present and correct, but they have been dragged somewhere colder and heavier, the vintage warmth traded for something that broods. 

    It helps that Nephila are, frankly, a lot of band: two vocalists in Josephine Asker and newest recruit Linn Edlund, two guitarists in Hellenrud and Anton Athley, Charlie Andersson Vistbacka on bass, Johan Larsson’s organ fattening the middle and Johan Lööf driving the lot from the kit. 

    When they lean in, the result is a proper wall of sound; when they pull back, those two voices do genuinely eerie things in the gaps. 

    Anyone raised on Graveyard, Lucifer or Blues Pills will find plenty to grab hold of, though Huldra is a grimmer prospect than any of them. They spring from the same fertile Swedish retro-heavy seam as Graveyard and Witchcraft before them, but where a good deal of that scene is content to bask in warm analogue nostalgia, Nephila are actively trying to escape its gravity, and this, for the most part, is the sound of them managing it.

    Mother Of The Woods opens the record, and reads as the album’s invocation, the summoning of the spirit before the story proper gets going. but a concept record this considered is unlikely to squander its first move on anything less than scene-setting, and I would expect it to lay out the ground rules: the groove, the gloom, and those two voices calling into the dark. 

    The title alone – mother, woods, the source from which the rest of the story flows – suggests an origin point, the record handing you its mythology before it starts complicating it.

    In Her Hands is one of the more immediate things on offer, a rolling, insistent groove that wears its hooks on the outside. It’s the sort of track that lets you into the record before it starts asking the harder questions, and that parenthetical subtitle tells you plenty about where the album’s head is at: seduction and captivity, the Huldra’s two faces, folded straight into the chorus.

    The Hidden Folk is where the folklore really takes hold, all creeping menace and close harmony, the two singers circling one another like something half-glimpsed between the trunks. It is a fine advert for what this incarnation of Nephila does that the old one didn’t – the retro swagger survives, but it has been iced over, and the effect is a good deal more unsettling for it.

    Ash Their Bones promises the record’s nastiest turn – a bonfire of a track, if there’s any justice, and shrewdly placed at the album’s quarter mark to stop the mood settling into mere prettiness. On a record about what the forest does to those who wander in, a song named for burning bones is unlikely to be a lullaby.

    Capercailles Hymn borrows its name from the capercaillie, the great booming forest grouse whose dawn courtship is one of the eeriest sounds in the Scandinavian woods, a nice bit of folklore-nerdery that suggests the band have done their reading. 

    Sight unheard, I would wager it for one of the album’s quieter, more ritual moments: the hush in the clearing before the back half turns dark again.

    Huldra, the title track and lead video, is the thesis in miniature and the best possible shop window for the new sound. It sets the band’s old rolling groove against a guitar tone with real teeth and an atmosphere that slides from mystical to menacing and back, the two vocalists selling the spirit’s double nature – alluring one moment, predatory the next with impressive control. 

    If you want to know in four minutes whether this darker Nephila is for you, start here. It’s also, tellingly, the track they chose to lead with visually. The accompanying video leaning hard into the band’s mask-and-shadow theatre and doing a neat job of selling the album’s world before you’ve heard a second of the rest of it.

    Solar Eclipse brings a wider, more cosmic sweep, the space-rock end of Nephila’s palette given room to drift before the pull of the earth (and the forest) hauls it back down. It’s a useful reminder that, for all the Nordic-folk framing, this is still a band with one boot planted firmly in the psychedelic cosmos.

    Living Grave is the album’s psychological gut-punch and, for my money. Built on a lurching, dissociative groove, it dramatises the moment you catch your own reflection and find something else looking back – the self-coming quietly apart as the forest closes in around it. 

    The dual vocals are put to genuinely disquieting use here, one voice the person and the other the thing wearing their face, and the heavier, brooding direction pays off completely. If the rest of the record hits like this, Huldra is a triumph.

    F.I.N.N closes the album, and it delivers a great ending to what have been overall some great storytelling.

    Trading the easy warmth of retro heavy rock for something colder, weirder, and considerably more demanding has been gamble that appears to have paid off handsomely. There is a related danger in the atmosphere itself: lean too hard on gloom and cinematic sweep and you can end up admiring a record rather than loving it. 

    But the folklore-as-feminism reading hands Huldra a spine that a lesser concept album would lack, and a seven-piece with two voices this strong has more tools than most for keeping the thing alive across its full running time.

    Coming from a band who could have played it safe and pointedly didn’t, Huldra shapes up as one of the more intriguing releases of the year a record that walks willingly into the dark and, on the strength of what I’ve heard, seems in no great hurry to come back out. 8/10

    Fen – Elemental Part One: Mourning Earth (Prophecy Productions) [Matt Bladen]

    Atmospheric black metal, post black metal, there’s a whole list of genre tags you could use for East Anglian band Fen but they’ve always been a band who are unafraid to shift their creative boundaries.

    With seven previous albums behind them, the founding duo of The Watcher (vocals/guitar/synth) and Grungyn (bass/vocals) have been guiding the ever shifting extreme fringe metal of Fen since its creating in 2006. Since 2020 they’ve been joined by drummer JG and with Elemental Part One: Mourning Earth they seek to follow up the fantastic 2023 release Monuments To Absence.

    It’s a record that sees them return to their roots, to the fens that they take their name from, mystical and mythical, they move away from the metallic intensity that was their last album allowing this one to breathe a lot more as they step back into the style they first emerged with, though with the knowledge of 20 years of what Fen should be.

    Recorded live to allow it to undulate and evolve naturally, Mourninal Earth feels elemental, as if drawn from the world around it and conducted through this trio of creatives, it means that when things need to breathe they can as lucid atmospherics and clean moments of wonder taking in the sheer beauty of the landscape while benath it lies danger and a sense of dread created by the destructive black metal assault.

    It’s a record where you can’t focus on individual phases, you have to take it all in as a whole joint the band on this sonic journey as they have intended, through nearly 47 minutes of magnificence. If you’re still hungry for more then the special edition features two more original tracks along with covers of W.A.S.P, The Cure and Crosby, Stills And Nash.

    If the varied nature of the artist covered doesn’t tell you how versatile Fen are as a band then I don’t know what to say, just let Elemental Part One: Mourning Earth wash over you with it’s excellence, here’s hoping the next part isn’t too far away. 9/10

    Miscreance – Reminiscence (Season Of Mist) [Mark Young]

    Despite their protestations in the accompanying bio, there is a large debt to death amongst others within Miscreance’s sound, and I think its important to get that out of the way first. Protestations is probably too strong, but I liked it and have managed to shoehorn it into this review twice. 

    Their nod to the ‘classics’ is clear but that doesn’t mean that they just copy and approximate with no talent of their own. Trait d’Union starts in their own fashion, an introduction that is ill-fitting to an album of death metal until they remember what they should be doing and break out the technical rhythms in a way that confirms that there is so much more to them than just technical death metal. 

    There is a section here that owes more to Mastodon than anyone else, a mesmeric guitar line that comes in like a spider weaving an oversized web. It’s all familiar yet new, and personally if they are looking at amping up the classics then I’m all for it. 

    As the opener fades Vision drops in and they display more of that technical aggression. It follows a classic arrangement – fast riffs, then faster before they decide to turn things back on itself. Its not that they are playing fast and loose, its more that they just happen to know what works and what doesn’t. 

    Midway there’s a switch in vocal styles which adds a manic edge to proceedings instead of pole-axing any momentum built. Two tracks in and we are looking at a band that is on top of their game in terms of picking the right riff, the right drum pattern.

    I appreciate that basing a review off the first two songs is a risky gambit, but there’s nothing to worry about with the songs that follow; Scalp Ceremony is a tight three minutes of focused bottom end riffs and melodic flourishes that concentrates on squeezing as much into this time as possible. 

    The lead break on Synaptic Cortex Dissection that flows into a riff break that reduces in bodily substance is something else. You expect them to wrap that break up by dropping into the heavy attack but nope, they go the other way. It’s that commitment to making these songs theirs that shines through. 

    For those who want to decry them as being a sound-a-like, knock yourself out. On the other hand if you want some top class technical death metal with a beating heart, then step on up. What they do is to skilfully mix hard edged guitar parts with melodic lines that spin around you. 

    Check the end of Oracle’s Rift for an example of this; a simple repetitive riff that allows them to break out the leads over the top of it. And bring bongos too.

    If you consider that at some point, they have to have a lull, a point where a song doesn’t hit the relative heights of others on here, I mean you’d think that it’s a given. And you would be wrong. 

    The later songs do follow a certain template, and I suggest that this cannot be avoided due to the music they play; the urge to be able to throw those spidery rhythm lines so they can break out the leads must be undeniable. 

    The difference is that the material is strong, Zenith Of A Dying Sun shares that common DNA with Vision but is not a carbon copy of it. It’s a band where its component parts are firing in equal measures giving you a balanced and incredibly satisfying 37 minutes of technical freak out. 

    Of course, the final song has the ability to make or break things so obviously Mirage starts like it is on a mission, one that is devoted to a song that seems to wrap in on itself until its replaced by acoustic guitars playing a repeating measure. 

    And that is that. 9 songs that represent a high standard of technical death metal that have enough of an eye to the classics to know what very good sounds like whilst stamping their own manic energy on them. They are certainly one to look out for. 8/10

    Korpse – Forbid (Unique Leader Records) [Spike]

    Sometimes you don’t need a sprawling, hour-long concept record to get the point across. You just need three tracks of pure, concentrated hostility.

    Dutch slam and brutal death metal veterans Korpse have had a rough ride over the past couple of years, weathering plenty of personal and band turmoil.

    But instead of letting circumstances derail them, they’ve channelled every ounce of that frustration straight into the amplifiers. The result is Forbid, a short, merciless three-track EP released via Unique Leader that hits with genuine, weapons-grade anger.

    The title track, Forbid, kicks down the door and sets the tone immediately with a spoken sample: “Nothing in the world is more dangerous than sincere ignorance and conscientious stupidity.” That Martin Luther King Jr. quote nails the ethos of this release right to the wall.

    It gives the track an immediate, sharp bite before Floor van Kuijk’s guitars and Marten van Kruijssen’s battering drums drop like an anvil. Sven van Dijk’s vocals remain utterly inhuman, a cavernous, guttural roar that doesn’t mask the lyrics behind studio tricks, but hurls them right into your face.

    They keep the pressure relentless on Imminent Immolation. There’s no easing off the gas here; it’s a tight, suffocating display of slamming death metal that balances sheer velocity with bone-breaking half-time grooves.

    Ante Zorić’s bass tone has a filthy, clattering presence in the bottom end that gives every slam section a physical, stomach-turning punch. It’s brutal, ugly, and played with the kind of laser focus that only comes from seasoned players who genuinely live and breathe this sound.

    Then comes the curveball to close the EP: a cover of Lamb Of God’s Now You’ve Got Something To Die For. Taking an iconic, arena-sized modern groove metal anthem and running it through a death metal meat grinder is always a risky move, but Korpse completely make it their own.

    They strip away any lingering radio sheen, slowing the main riff down into a sickening, concrete-heavy stomp and replacing Blythe’s rasp with Sven’s subterranean growl. It shouldn’t work as well as it does, but it ends up sounding like a natural extension of their own scorched-earth catalogue.

    Clocking in at just under ten minutes, Forbid doesn’t give you time to get comfortable. It’s a furious, cathartic purge from a band refusing to stay down, and it feels absolutely awesome to listen to. 

    If this is where Korpse are heading after surviving their recent hurdles, the next full-length is going to be terrifying. 9/10