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Few musicians have had a greater impact on European power metal than Kai Hansen. Through his work with Helloween and later Gamma Ray, the German guitarist, vocalist and songwriter helped establish many of the genre’s defining characteristics.

Now Hansen is stepping back into the spotlight with Born With A Hammer, his first solo album since XXX – Three Decades In Metal, released under the Hansen & Friends banner. The new record is scheduled to arrive on September 18 through earMUSIC.

Spanning ten tracks, Born With A Hammer draws from the many influences that have shaped Hansen throughout his career. The album blends traditional heavy metal, hard rock, punk-inspired energy and melodic songwriting, all driven by his recognizable guitar style and vocal delivery.

According to the announcement, the material was written without compromise and reflects a straightforward approach centered on a passion for heavy music. The result is a record that presents Kai Hansen in a direct and personal setting while staying firmly rooted in metal.

Production duties were handled by Eike Freese, who also contributes guitar work to the album. The lineup further includes Alexander Dietz of Heaven Shall Burn on guitar, Dan Wilding of Carcass on drums and Tim Hansen of Induction on guitar. Wilding previously worked alongside Hansen on XXX – Three Decades In Metal.

Coinciding with the album announcement, Kai Hansen has released the first single, “Feeding The Beast”. Serving as the opening track on Born With A Hammer, the song arrives with an accompanying music video and offers an early preview of the album’s direction. Built around sharp guitar riffs, strong melodies and a fast-paced approach, the track delivers a classic heavy metal feel while showcasing the energy behind the new project.

The release follows a particularly active period for Hansen, who has spent recent years touring globally as part of Helloween‘s reunion-era lineup. While those performances reconnected him with one of the most celebrated chapters of his career, Born With A Hammer gives him space to focus on material under his own name.

Born in Hamburg in 1963, Kai Hansen first gained attention in the late 1970s when he joined forces with future Iron Savior co-founder and producer Piet Sielck in the band Gentry. He later co-founded Helloween alongside guitarist Michael Weikath in 1983, contributing to the band’s formative years and helping create landmark releases including Keeper Of The Seven Keys Part I and Keeper Of The Seven Keys Part II.

After leaving Helloween in 1989, Hansen launched Gamma Ray, a band that would become one of Germany’s most respected and long-running power metal acts. Over the decades, he has also collaborated with artists and bands including Blind Guardian, Angra, Michael Kiske, Hammerfall, Storm Warrior and Unisonic.

Having returned to Helloween in 2016 and once again performing on major stages worldwide, Kai Hansen continues to balance his role within the legendary band while pursuing new creative outlets. With Born With A Hammer, he adds another chapter to a career that has influenced generations of metal musicians.

The post HELLOWEEN And GAMMA RAY Legend KAI HANSEN Opens A New Chapter With New Solo Album “Born With A Hammer” appeared first on Sonic Perspectives.

The masked, hyperactive UK dance duo Two Shell released a surprise album called IIcons last summer, and they followed it with a pair of double-sided singles earlier this year. Now, Two Shell announce the impending release of their new album Infinite Now. It’s got some memorably ridiculous ultra-retro cover art that honestly does suggest the duo’s supercharged Y2K pop sound; you can really hear that on their new single “Thing About You.”

The post Two Shell Announce New Album <em>Infinite Now</em>: Hear “Thing About You” appeared first on Stereogum.

Somebody put them back together.

The post Billy Gould Confirms Faith No More Reunion Tour: “I Think That We Can Do It For A Few More Years, And We Can Do It The Right Way, So We’re Gonna Give It A Go” appeared first on Theprp.com.

Few luminaries in metal can suckerpunch you right in the feels quite like Patrick Walker of 40 Watt Sun and the legendary Warning. Seriously, he could be singing to you about proper chinchilla care, and many would be left a sobbing, blubbering mess as he caterwauls about what treats and bathing clay to get for your new furry little friend. If you need proof of this, go give 2006’s sorrowful masterpiece (and recent Yer Metal is Olde inductee) Watching from a Distance 45 minutes of your time, and when you’re done splashing cold water on your face to remove the tears and redness, you’ll be hard-pressed to disagree. No one could predict that Walker would resurrect the project, as he seemed happy(?!) and content to continue with 40WS, but with its 2016 resurrection and now new album Rituals of Shame, all eyes are on Walker and crew to deliver.

And deliver, they did. Just like its immediate and legendary predecessor, Rituals is 45 minutes of a band taking its dear, bittersweet time to wrest every milliliter of sadness out of you. From the opening seconds of the title track, Walker and 40WS bandmate Wayne Taylor smother you flat with subdued riffs and simplistic yet effective melodies, even before a single word is muttered. But once Walker begins singing, ho-boy, that familiar yearning ache returns in full depressing force. Weathered by years of life experiences, Walker’s bellowing vibrato haven’t lost an ounce of effectiveness. In fact, they’ve become more potent over time, channeling that feeling that can only be delivered by someone who’s been through various wringers and back through honest conviction. It feels like they never disbanded, only resting until the time is right.

The other four songs also ensure that no light escapes or gets in. Closer “Teacher” hits with the same level of effectiveness as “Bridges” and “Footprints” did on Watching, but not taking as long to do so. Returning bassist Marcus Hatfield and new drummer Andy Prestidge (also of 40WS) added just enough variations of fills, rhythms, and flourishes, but mostly kept to a simple, heavy, and driving sound, again amplifying the anguish conveyed by Walker, his lyrics, and voice. And that’s the key to the effectiveness of Rituals and Warning as a whole; you don’t need flashiness, technical proficiency, or tricks and studio wizardry to be effective. Sometimes, brutally transparent honesty, wide-open space for your instruments to breathe and reverberate, and your emotions in the here and now are more than enough to get your message across.

It doesn’t hurt that Rituals is a massive improvement in some areas in terms of mastering and production. You can hear and feel Hatfield’s bass, and Prestidge’s drums don’t have that annoying “My Dying Bride in an empty bathroom” sound¹ that permeated on Watching, so kudos to Tom Dring for engineering the drums perfectly. Thankfully, Chris Fullard and Adam Gonsalves left the guitars and Walker’s voice alone, as what wasn’t broken sure as hell didn’t need fixing. The only drawback to Rituals is this isn’t something I could listen to all that much. Not because of the quality, which is stellar, but it hurts to listen to on an emotional level. If you were in a good mood before listening to this, you sure as shit won’t be when you’re done. That said, if you need to purge and get whatever the fuck is making you sad out, I can’t think of a better album to do so with.

And that’s the… I refuse to say “appeal,” but I’m at a loss for words otherwise, of Warning. You don’t go into their music for gains at the gym, to romance your significant other, or to bask in someone’s ability to up and down a fretboard as fast as humanly possible. You listen to Warning to reflect, to purge, and to feel. And if you’re anything at all like me, you’ve been waiting a damn long time for a worthy follow-up to Watching from a Distance. Thankfully, Warning gave us exactly that. Welcome back.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Relapse
Websites: warningdoom.bandcamp.com | facebook.com/warningdoom | instagram.com/warningdoom
Releases Worldwide: June 19th, 2026

The post Warning – Rituals of Shame Review appeared first on Angry Metal Guy.

Simulation Defect is a duo between Tom 'Dexta' Hey of TDH Studios, who does the production, all instrumentals, and lyrics, and Ceilingsintheireyes commanding the vocals. The band just released their newest single, "Within the Mountain" on June 1st, 2026.

The track starts with a rapid synth pad melody that has a vibe that reminds me of a mix between cyberpunk and a retro arcade. With no time wasted, slamming drum grooves and distorted lead guitar riffs are soon introduced before speeding into blast beats and galloping guitars. Soon, vocals are introduced as low growls, and screams add the icing on top of the brutal sound. Simulation Defect does an excellent job of letting instrumentals breathe as vocals cut in and out, making both the vocals and instrumental sections more impactful.

Tom Hey's multi-instrument talents are shown during the track's 2:35 runtime as technical death metal solos and rapid shredding lead guitar is sprinkled throughout the song. Simulation Defect does an excellent job of capturing a classic technical death metal sound while using synth pads and high guitar leads to create a melodic sense that keeps things interesting.

You can stream "Within the Mountain" available on streaming platforms now.

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Platinum-selling powerhouse Motionless In White will release their new album Decades on July 17 via Roadrunner Records, and the band has shared the new song “R.I.P.” featuring Skylar Grey. The video was directed by Jensen Noen, who also lensed the “Werewolf” and “Sign Of Life” videos.

The track evokes the power of a lover’s lament inscribed on a headstone. Piano twinkles through the haze of funereal synths, where the dual male-femal vocals entwine on an epic chorus boosted by soaring harmonies. It’s everything you want, love, and expect from Motioneless In White.

“Skylar’s voice brought it to another level that I never could have achieved on my own,” says singer Chris Motionless. “I really love the lyrics for this song. Even though I wrote it through a romantic lens, I love that it can be applied to any moment in your life when you’ve had a falling out with someone you deeply care about, whether that’s a best friend, family member, or romantic partner.”

He continues: “The song really hones in on the deafening silence that follows after you’ve said hurtful things to one another that you wish you could take back. It’s meant to capture the tension that exists in that quiet space of separation. You want to apologize and make things right, but you don’t know how. You want to tell them you love them more than anything and can’t live without them, but there’s a lot of pain on both sides that has to be confronted first. All the while, you’re left with the crippling uncertainty of whether the relationship can ever recover and move forward, or if it’s destined to be laid to rest and gone forever.”

Motionless In White recently wrapped a Spring 2026 arena tour with Bring Me the Horizon that saw them obliterate NYC’s Madison Square Garden. The band will next return to the road on the headline The Sweat and Blood Tour, promoted by Live Nation. Lorna Shore, Fit For A King, and Static Dress will serve as support. The North American tour is the band’s first American headlining tour in nearly three years and kicks off on July 14 in Bridgeport, Connecticut, with stops in Charlotte, Houston, Austin, Los Angeles, Phoenix, Oklahoma City, and more before wrapping up on August 15 in Sterling Heights, Michigan. It also includes a stop at Red Rocks, the band’s first time headlining the venue.

But it doesn’t stop there. Motionless In White have also announced the second leg of The Sweat and Blood Tour. Dayseeker will serve as direct support. The Devil Wears Prada and Dark Divine will also appear. This leg fittingly kicks off the night before Halloween in Worcester and runs through November 20 in Pittsburgh. All tickets are available here.

Motionless In White are at home in the dark. For over 20 years, the quintet, Chris Motionless on vocals, Ricky Olson on guitar, Ryan Sitkowski on guitar, Vinny Mauro on drums, and Justin Morrow on bass, have resided in their own shadowy corner of alternative music and culture. The group’s uncanny alchemy of metal, hardcore, goth, industrial, and electronic has magnetically attracted an ardent audience, fueling a quiet rise out of the Rust Belt and into arenas as a headlining force of nature. Their D.I.Y. work ethic drives the evolution of an immersive world where stunning visuals match the scope of the sound. The collective comes full circle on their seventh full-length offering Decades. For as much as it conjures their signature style, the LP sees them continue to confidently cut a path through uncharted territory, spreading a little darkness in their wake.

Decades features several high-profile and eclectic guest appearances. In addition to Taylor, Sklyar Grey, and Dark Divine‘s Anthony Martinez also features on the album. The band recorded Decades in Upstate New York and Los Angeles with co-producers Drew Fulk and Justin “JD” deBlieck, ultimately incorporating their past, present, and future sounds into one cohesive sound. This is Motionless at their very best.

“We were never afraid to take risks,” observes Chris. “This band has not only lasted two decades, but we’ve also outlasted all of the obstacles we’ve faced. We’re still grinding. No matter how far we expand the universe that is Motionless In White, we’re going to preserve the heart, soul, and roots of where we came from. We are never going to abandon heartfelt, emotional, and heavy songs. We are never going to abandon what mattered to us the most when we started. We’re finding new ways to emphasize those stories with exciting sounds and looks, but the vision is the same. It’s always been this grand, dramatic, and theatrical entity. I’m proud we haven’t gotten comfortable.”

He finishes: “Decades is definitely heavier than some of our past albums. Our current world breeds more aggressive energy, anger, and resistance.”

Pre-order Decades it here.

The post MOTIONLESS IN WHITE Shares “R.I.P” Featuring SKYLAR GREY From Upcoming Album Decades appeared first on Sonic Perspectives.

The incident is said to have occurred prior to Guns N’ Roses’ headlining set.

The post Police Launch Investigation After Couple Filmed Engaging In Sexual Act On The Ferris Wheel At 2026 ‘Download Festival’ appeared first on Theprp.com.

 Having witnessed their suffocating performance at Prague Death Mass and with a new LP on the way; it seemed a great time to talk to France’s Viande!

1. Greetings Viande! Please introduce yourselves! Also, what is the significance of the band name “meat” (in English). It’s quite unusual and yet in French it’s a very striking word.

The “meat” (and actually, the “flesh”) is what is corruptible and destined to the grave, it’s what remains of man once God has abandoned him.

2. You formed back in 2013 and released your first EP in 2015. What inspired the initial music and how was it recorded?

We wanted to create music with strong evocative power, something that would leave vivid mental images. The recording process of our first demo was carried out in a very rudimentary way, using our own means. Certain parts and arrangements were improvised, in fact this is a habit we have kept to this day.

3. 2017 saw the release of a second EP. Was the process the same for this one or did much change in the time between?

For our second demo, we pushed the writing process a bit further, and elements of noise music began to integrate our sound. The recording method remained the same and the result was more obscure. It’s quite an extreme recording in its own genre.

4. After 5 years we got a debut full length in 2022; “L’abime dévore les âmes”. This record sounds enormous. Were these years spent busily concocting the album or were other forces at play?

For “L’Abime ” we approached things differently. The main change was the addition of a drummer. It took us quite a while to find a musician who could truly commit to the band and this was followed by a period of transformation. As the band geometry evolved, we had to rethink the way we conceived our music. Where the drum machine had allowed us to do extremely radical things, we now had to adapt our songwriting to this new constraint while remaining faithful to our original vision. This period also conceded with our first live performances.

5. Can you elaborate on the creation of “L’abime dévore les âmes”. What went into the actual writing, production, mixing, artwork and everything? It’s a very unique and atmospheric listen with a strong evil presence. It would be great to hear the details on how you achieved this.

The composition of this record, although fairly long, was relatively straightforward. We alternated between rehearsals and more experimental sessions. It was during this period that we began to incorporate keyboards and developing the more atmospheric side of our music with Beherit’s “Drawing Down the Moon”  in mind, shifting the cursor from our initial maximalism to toward stranger territories. Drums and vocals were recorded in a studio, while we produced the rest by our own means. The album was mixed by Cédric Lerges at Studio La Forge with the formal instruction:”more darkness and menace”. Everything on this album is excessive. The sound is obese, the vocals are repulsive and the atmosphere nauseating. The artwork reflecting this soundscape of misery and morbidity is the work of our vocalist.

6. I saw you at Prague Death Mass and thoroughly enjoyed the show. Blending the full intensity of an underground black / death metal band with those noise elements, it felt very raw and spontaneous. What does playing live mean to you as a band and which shows are your favourite ones you have played?

Playing live is a way for us to test ourselves as musicians and to present the most chaotic side of Viande. PDM was great and sharing the stage with some of the people who shaped our music culture is alway rewarding . Nevertheless, the band I most enjoyed sharing the stage with was probably Sister Iodine, an institution of French noise rock. The concert in Liestal with Hadopelagyal is also an important memory. Probably the most chaotic gig we have ever played, people who were there that night could attest to that.

7. France, to me, has one of the best histories in heavy metal. From the classics such as Sortilège, ADX, High Power and so on, through to some of the most unique black and death metal bands. Do you feel a strong connection to the French music world and furthermore can you recommend any worthwhile underground bands to listen to?

The french scene I feel closest to is probably the Parisian scene of the early 2000’s, both for its music and its attitude. Bands like Antaeus and Arkhon Infaustus clearly redefined things at a time when black and death metal had lost their sacred fire.

8. Before we get onto the new LP, this is a simple question but often one that yields interesting answers. Which bands inspired the music of Viande?

To keep it short and stay within the scope of the interview, I would say:

-The early Autopsy for the repulsive aspect.
-Teitanblood for their ability to create highly visual and evocative music.
-The Cold Meat Industry school, with bands like Brighter Death now and Archon Satani for the industrial austerity.
-Swans or Burning witch for Swans for the more adventurous parts.

You will also find here and there details drawn directly from the Beherit’s “source”. I would also mention Voivod, not so much for the music itself, but for the fierce determination to create according to their own code.

9. Now we are up to speed, let’s get into your second full length album “Monument aux morts”. It shares a lot from the sound and visuals of its predecessor but has its own unique feel too. Can you explain the creation of the record. Any interesting stories from the writing and recording sessions?

This is where things become complicated…

The creation of this album was extremely complicated. First of all, it was very difficult to stabilise a line up. Our drummer at the time was going through a terrible period that forced him to leave the band and this episode marked the beginning of an endless batch of problems.

Psychiatric wards, intensive care, drunk brawls leading to serious health problems, accidents, recovery… Some of us paid a very heavy price. Not to mention the fragile musicians who fled before the monument of hostility that Viande has become. Eventually, we integrated O et I, two musicians from the Swiss Black metal scene. Things finally turn in our favour.

Within a few months, we completed the composition and recorded our second album. Seven days were needed, this time with Cyrille Gachet behind the soundboard for the recording and mixing. As usual when we record an album, we isolated ourselves in order to create the proper conditions for its elaboration, with the mantra: “maximum austerity”.

This album carries all the forces that were working against us, it is one more step into the darkness.

10. Thank you for the answers, last words are yours. Feel free to warn us of coming events or anything else you like!

By the time your zine comes out, “Monument aux morts” should be available. A split release should follow later in the year, presenting a more experimental side of Viande. Few  concerts are also planned for this autumn. Thanks for your attention, that’s all for now.