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A band releasing a self-titled album can signify many things. Dropping a self-styled debut is a classic move, and has been utilized by legendary acts like Black Sabbath and Iron Maiden. Similarly, reserving your namesake for a swan song can be a poignant end to a storied career (Megadeth). Beyond the bookends, self-titled albums typically represent either a shift in musical direction (Metallica) or what a band believes is the apotheosis of their sound (Flotsam and Jetsam). With this in mind, Forbidden lives at a crossroads of past and present. Their debut, Forbidden Evil, referenced the quintet’s original name, and their newest album, Forbidden, marks the beginning of a new epoch. After another decade-long stretch of inactivity,¹ 2023 witnessed Forbidden mainstays guitarist Craig Locicero and bassist Matt Camacho resurrect the thrash stalwart, this time without founding vocalist Russ Anderson.² Alongside newcomers guitarist Jeremy von Epp (The Watchers), drummer Chris Kontos (ex-Machine Head), and vocalist Norman Skinner, the Bay Area vets serve a dish of thrash-a-roni heralding a new chapter of Forbidden. Grab a seat as we dig in to find out whether Forbidden is a platter paired with a chalice of goods.

Though Forbidden’s quality doesn’t entirely hinge upon it, Forbidden’s fandom will inevitably look to Russ Anderson’s successor as a proxy for quality. From the early thrash stylings of Forbidden Evil and Twisted into Form to Green’s groove metal angst and Omega Wave’s Nevermore-informed, fiery melodies, Russ established a high bar for versatility and charisma. Skinner’s voice renders a different chemistry with Forbidden, sometimes engendering different moods and reference points despite maintaining the band’s general trajectory. For instance, “Psyclops” conjures Annihilator vocal phrasing as Skinner’s voice oscillates between dreamy cleans and raspy, tough-guy barks—the latter evoking a mashup of Cowboys-era Phil Anselmo and Chuck Billy. Meanwhile, “Sycophantasy” again elicits Testament-like snarls in between higher-pitched bouts recalling Sanctuary and Nuclear Assault. Even with the disparate vocal references, though, Forbidden never strays far from the band’s core identity.

While all moments on Forbidden sound like Forbidden, the extremes of the album hit hardest. Opening triad “Single Point Failure,” “Burning the Lungs of Earth,” and “Divided by Zero” commence with an effective merger of thrash and heavy metal, acting as a natural continuation from 2010’s Omega Wave. Locicero and von Epp weave together fusillades of barbed riffs (“Divided by Zero”) while Camacho’s bass purrs underneath. Chris Kontos’s drumming urges with hammering grooves and tom-heavy fills, and “Burning the Lungs of Earth” evidences a particularly potent performance. But it’s the closing duo of “Sol Grave” and “Flower of Life” that Forbidden lands their stride with fresh directions and inspired songwriting. Though both tracks trend long, each feels complete with intra-song diversity, and combined they rejuvenate the last quarter of the album with novel ideas.

Considering the strength of the album’s best material, inessential moments drag Forbidden’s momentum down, especially during its middle. “DCLXVI”³ begins with a slow build of clean guitars and orchestral flourishes, but never gets out of first gear as tempos languish in slinky grooves and background chorals repeat the slightly goofy refrain of ‘DCLXVI’ over and over. Like “DCLXVI,” Psyclops starts promisingly but doesn’t cover enough ideas to justify its five minutes, and follow-up “Jisei” feels like an expendable three-minute interlude. By the time “Mutually Assured Dysfunction” kicks off with a welcome injection of vigor, it’s burdened with pulling the ship out of the doldrums and back into the sailing lane. Unfortunately, at over six minutes, its impact gets spread too thin, and it’s not until “Sol Grave” that we’re once again at cruising speed. In all, Forbidden proves they can still thrash and smash convincingly, but often get in their own way with a lack of self-editing.

Though Forbidden is a flawed album, there’s enough happening on it to get excited about what Forbidden’s future could be. The loss of Russ’ irreplaceable pipes is felt, although Skinner capably steps in and lays down a sufficient (if often safe) performance. In all, Locicero and Camacho reignite Forbidden’s flames and tap talented musicians who shake the ground with heavy metal thunder. At over an hour long, Forbidden is an album that I’ll revisit more in parts rather than as a whole, but there’s enough promise to hope that, with more carefully considered songwriting, the next studio album might unbridle the full glory of Forbidden’s late-career magic.

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Rating: Mixed
DR: 5 | Format Reviewed: 320 kbps mp3
Label: BLKIIBLK Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: October 23rd, 2026

The post Forbidden – Forbidden Review appeared first on Angry Metal Guy.

Posted on October 22nd 2026, 5:14pm

Looking back at the last song 15 rock and metal bands played before they disbanded or stopped touring forever. Continue reading…

For Svart, the appeal of “In Silence” lies in the way memorable melodies coexist with brutality and furious blast beats. The KALT VINDUR guitarist and bandleader describes the song as a demonstration of metal’s ability to balance extremes. “It never allows the listener a moment of boredom, delivering a powerful dose of pure, aggressive energy […]

Source

There's only one thing about Back to the Beginning that bothered him. Continue reading…

Polyphia are set to release their new album “Be Not Afraid” tomorrow, October 23rd. I’ve been a fan of the band since I heard “G.O.A.T” back in 2018 and have followed the band closely since then, so when I got the chance to check out their new album ahead of release, I was very excited. Let’s talk a little about the idea behind the album before we get into my full review.

Tim Henson says that this is the “most meaningful thing they’ve ever written,” and the album’s sound, which has been described as a “collision of otherworldly metal, prog, and pulsating house,” was made by the band with no compromise as a reinvention of their sound, with the goal of pushing their instrumental delivery to its limits. Polyphia features no lead vocals and instead focuses on electrifying lead guitar work as genres like EDM, trap, prog, and more are blended together.

The band is sitting at well over 1.2 million monthly listeners and released 3 early singles with “Can You Feel It,” “Power In The Blood,” and “With Eyes To See,” with the latter showing visuals of a world turned inside out as flashes of redacted Epstein files and societal collapse are interwoven throughout the video.

Review

From the very first song, “Let There Be Light,” there is a clear shift in sound that is quite dramatic compared to Polyphia’s earlier work. Hard-hitting guitar riffs still drive the songs, but overdriven EDM bass hits create an overdriven, “clipping” sound that distorts the sound as the song shifts between metal guitar tones, trap beat grooves, and, interestingly, dramatic gospel choirs and religious lyrics. If you weren’t familiar with the band, you might think they are religious, but in previous interviews, they have stated that they are not a Christian band, and I assume that many of the religious, angelic, and demonic themes throughout the album are used for irony.

When “With Eyes To See” starts, I think it steals the show from the first track, as bass-boosted guitar chugging mixes EDM and extreme metal intensity while a chopped singing sample adds melody over top of the heavy undertones. Before long, bright, screeching guitar leads cut through the mix in classic Polyphia style. The bridge of the song features a clip of Mike Tyson talking, which was an unexpected sample that feels memorable. As the song continues, it descends into a series of mixed synth/metal breakdowns that deliver an unconventional sound that feels new to the album.

Next is “Screwtape,” a short 2-minute track that is one big shredding guitar journey from start to finish. The song clips a viral sound bite from Alex Jones where he screams, “I don’t like ‘em putting chemicals in the water that turn the freakin’ frogs gay! … I’m sick of being social engineered. It’s not funny.”

“Power In The Blood” was one of the single releases ahead of the album and starts with multiple guitar layers that pan from left to right, creating a hectic and rapid-paced sound. The song brings the ironic religious themes as distorted pastor samples are sprinkled throughout the track. The song builds into an epic finale as a massively overdriven synth and guitar sound creates an explosive sound.

“They Know Not What They Do” threw me for a loop, as horns and guitar melodies build a sound that reminded me of Mariachi music a little before wild guitar riffs take the forefront of the song. The song builds into a booming breakdown that blends metal with crushing 808s before ending with percussive, muted guitar picking and another pastor quote.

“Mark Of The Beast,” as you might imagine, shifts the religious samples to focus on demonic themes as guitar leads take a darker melodic shift and trap beats back up the instruments to create a groovy but ominous sound.

Next is “Can You Feel It,” which is, in my opinion, the strongest song on the album. When I first heard the song, I wasn’t sure how I felt about it, but I’ve found that many songs that I end up really enjoying feel polarizing at first. The main vocal sample creates a catchy backbone to the song as the guitar shifts between heavy chugging and rapid, high-pitched leads. The use of synth elements adds a lot of melody and contrast to the guitar that keeps things interesting throughout. “Can You Feel It” is a very unique mix of progressive rock, metal, and dance/house music that I’ve never heard before and makes for a highly distinct sound. This track feels like the reinvention that the band was aiming for and, in my opinion, is the best example of the album’s sound. The sample on this track is actually a really interesting cut from a ’90s public access TV commercial where a man made his own segment in which he would curse at the devil in the name of Jesus.

“Near Death” is the shortest track on the album and features a house beat as guitar and synth leads blend together into one sound, as the band has demonstrated throughout the album. It’s a quick, upbeat track that builds an energetic sound from start to finish.

“J-Bomb” switches things up as it starts with a beat and vocals that remind me of old-school Memphis rap, which many people recognize in modern phonk music. Soaring guitar melodies and upbeat tempos eventually lead into an interesting vibe change as the guitars change to a clean tone with a jazz-esque sound, while booming 808s and pitch-shifted riffs create a mellower sound that still feels electronically driven.

“Deny The Flesh” is the longest track on the album at just over 5 minutes, and it starts with speeding guitar and thumping bass lines as rapid trap beats fill in the background. The bridge introduces drop-tuned religious samples before jumping into guitar that grows more and more electronically altered before making way for a cinematic section that emphasizes dramatic choirs and slamming war drums. When the song drops, it’s a screeching guitar riff, with dubstep effects used across the guitar to create a really interesting sound.

“Devil Get Behind Me” features a series of electronically influenced guitar leads and trap beats that all lead toward the outro, with a malfunctioning, robotic voice that continues the dark religious themes of the album so far.

The final song, “Fear God,” starts with booming synths, classic Polyphia riffage, and some clean guitar parts that remind me of lo-fi slightly. A singing sample is introduced, adding additional harmony to the instrumentals, which eventually leads into a synth-guitar breakdown. The main riff is brought back before the album slowly fades out.

Overall, Polyphia has made a major shift in their sound that will be polarizing to many people. I found that the shift is interesting, and the heavy house influences mixed with their progressive and metal foundation created a distinct sound that was consistent throughout the album. By the end of the album, though, the sound started to feel almost too consistent, with some of the songs starting to blur together for me. With that being said, the high points of the album were very high, with “Can You Feel It,” “With Eyes To See,” “Let There Be Light,” and “Power In The Blood” standing out to me particularly. I enjoyed the album and think Polyphia has achieved their goal of reinventing their sound and blending together a unique mix of genres, even if some of the songs didn’t catch me quite as well as others.

You can stream “BE NOT AFRAID” here once all songs are available on October 23rd, and any fan of progressive music should certainly check out Polyphia.

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FOR IMMEDIATE RELEASE
Ukrainian Metal Band KB Projeckt Unleash Powerful EP “Малюнок (Malynok)” Recorded Amid the War
Blending Alternative Rock and Heavy Metal with Old-School Riffs, Memorable Melodies, and a Story of Perseverance
Hailing from Ukraine, KB Projeckt deliver a powerful combination of alternative rock and heavy metal on their EP, “Малюнок (Malynok),” released December 1, 2025. Driven by heavy guitar work, melodic passages, and a sound that recalls the spirit of 2000s rock and metal, the release showcases a band determined to keep creating music despite extraordinary circumstances.
The EP carries a story that reaches far beyond the music itself. Recorded during the war in Ukraine, the sessions took place amid missile explosions, constant power outages, and an exceptionally difficult winter for the country. Despite the challenges surrounding them, KB Projeckt pushed forward and completed the record.
For the band members, the experience of making the EP was inseparable from the reality of life in a country at war. Yet, rather than allowing those circumstances to silence their creative work, the band persevered and brought the release to life.
“Малюнок (Malynok)” consists of five conceptual songs exploring addiction and its consequences. The EP examines the destructive outcomes associated with addictive behaviors, giving the release a thematic foundation that extends beyond its heavy instrumentation. Combined with the band’s guitar-driven sound, the concept adds another dimension to a record created under extraordinary circumstances.
Musically, “Малюнок (Malynok)” looks back to the sound and spirit of 2000s rock and metal, with a particular emphasis on guitar solos and the kind of instrumental work that longtime fans of the genre continue to appreciate. The band’s sound combines the weight of heavy metal with the accessibility and alternative edge of hard-hitting rock.
Ukrainian music media have compared KB Projeckt’s sound to Godsmack, Rage, and Black Label Society, offering listeners a starting point for understanding the band’s approach. However, KB Projeckt bring their own identity to the table, shaped by their musical influences, guitar-driven songwriting, and the circumstances under which this EP was created.
The band has also received praise from Ukrainian music media for its command of its chosen style, with coverage highlighting the difficulty of finding comparable acts within the country’s music scene.
“Малюнок (Malynok)” was recorded, mixed, and mastered at KS Records, bringing the EP’s heavy instrumentation and melodic elements together in a cohesive production.
More than a collection of songs, “Малюнок (Malynok)” stands as a testament to persistence, creativity, and the determination to keep making music when circumstances are anything but ordinary. For fans of riff-driven rock and metal who appreciate strong guitar work, thought-provoking themes, and a connection to the genre’s early-2000s sound, KB Projeckt offer a release worth exploring.
Listen to “Малюнок (Malynok)”

The EP is available on major digital music platforms.
Listen to the EP: https://album.link/wgnqtwm6hskt5
Watch the “Malynok” music video: [jrEmbed module=”jrYouTube” youtube_id=”06eeFiwbDMo”]
Малюнок by KB projeckt

About KB Projeckt

KB Projeckt is a Ukrainian band combining alternative rock and heavy metal, with a sound built around heavy riffs, melodic guitar work, and influences from the 2000s rock and metal scene. The band features Konstantin Bublik on guitar and keyboards, Danylo Dikiy on bass and vocals, and Andriy Momot on drums.
Their five-song conceptual EP, “Малюнок (Malynok),” released December 1, 2025, explores addiction and its consequences while capturing the band’s determination to create music amid the realities of wartime Ukraine.
Band Lineup:
Konstantin Bublik: Guitar, keyboards
Danylo Dikiy: Bass, vocals
Andriy Momot: Drums
Production Credits: KS Records, recording, mixing, and mastering.

For media inquiries: zach@metaldevastationradio.com
Follow KB Projeckt

Linktree: https://linktr.ee/kbprojeckt
Facebook: https://www.facebook.com/profile.php?id=100094218583082
Instagram: https://www.instagram.com/kb_projeckt/
Bandcamp: https://kbprojeckt.bandcamp.com/
Contact: Konstantin Bublik
Email: kbprojeckt@gmail.com

FOR IMMEDIATE RELEASE
Ukrainian Metal Band KB Projeckt Unleash Powerful EP “Малюнок (Malynok)” Recorded Amid the War
Blending Alternative Rock and Heavy Metal with Old-School Riffs, Memorable Melodies, and a Story of Perseverance
Hailing from Ukraine, KB Projeckt deliver a powerful combination of alternative rock and heavy metal on their EP, “Малюнок (Malynok),” released December 1, 2025. Driven by heavy guitar work, melodic passages, and a sound that recalls the spirit of 2000s rock and metal, the release showcases a band determined to keep creating music despite extraordinary circumstances.
The EP carries a story that reaches far beyond the music itself. Recorded during the war in Ukraine, the sessions took place amid missile explosions, constant power outages, and an exceptionally difficult winter for the country. Despite the challenges surrounding them, KB Projeckt pushed forward and completed the record.
For the band members, the experience of making the EP was inseparable from the reality of life in a country at war. Yet, rather than allowing those circumstances to silence their creative work, the band persevered and brought the release to life.
“Малюнок (Malynok)” consists of five conceptual songs exploring addiction and its consequences. The EP examines the destructive outcomes associated with addictive behaviors, giving the release a thematic foundation that extends beyond its heavy instrumentation. Combined with the band’s guitar-driven sound, the concept adds another dimension to a record created under extraordinary circumstances.
Musically, “Малюнок (Malynok)” looks back to the sound and spirit of 2000s rock and metal, with a particular emphasis on guitar solos and the kind of instrumental work that longtime fans of the genre continue to appreciate. The band’s sound combines the weight of heavy metal with the accessibility and alternative edge of hard-hitting rock.
Ukrainian music media have compared KB Projeckt’s sound to Godsmack, Rage, and Black Label Society , offering listeners a starting point for understanding the band’s approach. However, KB Projeckt bring their own identity to the table, shaped by their musical influences, guitar-driven songwriting, and the circumstances under which this EP was created.
The band has also received praise from Ukrainian music media for its command of its chosen style, with coverage highlighting the difficulty of finding comparable acts within the country’s music scene.
“Малюнок (Malynok)” was recorded, mixed, and mastered at KS Records , bringing the EP’s heavy instrumentation and melodic elements together in a cohesive production.
More than a collection of songs, “Малюнок (Malynok)” stands as a testament to persistence, creativity, and the determination to keep making music when circumstances are anything but ordinary. For fans of riff-driven rock and metal who appreciate strong guitar work, thought-provoking themes, and a connection to the genre’s early-2000s sound, KB Projeckt offer a release worth exploring.
Listen to “Малюнок (Malynok)”

The EP is available on major digital music platforms.
Listen to the EP: https://album.link/wgnqtwm6hskt5
Watch the “Malynok” music video: Available through the band’s official media materials.
Малюнок by KB projeckt

About KB Projeckt

KB Projeckt is a Ukrainian band combining alternative rock and heavy metal, with a sound built around heavy riffs, melodic guitar work, and influences from the 2000s rock and metal scene. The band features Konstantin Bublik on guitar and keyboards, Danylo Dikiy on bass and vocals, and Andriy Momot on drums.
Their five-song conceptual EP, “Малюнок (Malynok),” released December 1, 2025, explores addiction and its consequences while capturing the band’s determination to create music amid the realities of wartime Ukraine.
Band Lineup:
Konstantin Bublik: Guitar, keyboards
Danylo Dikiy: Bass, vocals
Andriy Momot: Drums
Production Credits: KS Records, recording, mixing, and mastering.

For media inquiries: zach@metaldevastationradio.com
Follow KB Projeckt

Linktree: https://linktr.ee/kbprojeckt
YouTube: @KBProjecktband” target=”_blank” rel=”nofollow”>https://www.youtube.com/@KBProjecktband
Facebook: https://www.facebook.com/profile.php?id=100094218583082
Instagram: https://www.instagram.com/kb_projeckt/
TikTok: @kbprojeckt” target=”_blank” rel=”nofollow”>https://www.tiktok.com/@kbprojeckt
Bandcamp: https://kbprojeckt.bandcamp.com/
Contact: Konstantin Bublik
Email: kbprojeckt@gmail.com

The post Daft Punk’s Iconic Pyramid Stage Is Becoming A LEGO Set appeared first on Stereogum.

Check out the latest from Akron, Ohio sci-fi heavyweights Titans of Mars. The doomy, sludgy weirdos are sharing the track “Leviathan” ahead of Aethos, out November 7 on Roving Goliath Records.

Titans of Mars are Michael Caito Khurshid (vocals), Brian Boston (guitar, vocals), Greg Williams (guitar), Nathan Girardi (bass), and Jeff Sullivan (drums). Their debut album, Aethos, is part sermon and part sci-fi nightmare, “On the surface, it’s a world of self-appointed gods, programmed saviors, and a humanity strung along by lines it can’t see,” the band claim. “Underneath, it’s a reckoning with the monsters inside us.”

“‘Leviathan’ is a love letter to the monsters of our lives,” says Khurshid. “We all have those monsters. They eat at us eternally until we learn to accept ourselves and our faults, recognizing we are who we are because of and in spite of them.”

Aethos was recorded March 2025 at Sound by Sully Studios in Bath, Ohio, and co-produced, mixed, and mastered by the band and Sean “Sully” Sullivan. The artwork by Human Furnace depicts flayed titans, hovering saucers, and a blank-eyed multitude tethered beneath an alien sky.

Live dates:

October 17th at the Inferno Lounge Parma, Ohio.
November 7th at the AfterLife Nightclub in Akron, Ohio (album release party)

Preorder the album here.

The post Track Premiere: Titans of Mars – “Leviathan” appeared first on Decibel Magazine.