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🔥 Who Will Rise as This Week’s Champion on the MDR Battle Of The Bands? 🔥
And who will dominate next month as Band of the Month on Metal Devastation Radio?
Last month’s winners, TRIVAN  , crushed the competition with a staggering  6,396,074 VOTES , claiming the title of Band of the Month on Metal Devastation Radio! You can check them out HERE !
This is the weekly championship edition of the Band Of The Month – Battle Of The Bands that we host every month on MDR!
How does it work?
Every Monday, we launch a new poll featuring bands that submit music each week on metaldevastationradio.com. Voting runs until Friday at 9PM EST .
Each Friday night , at the start of The Zach Moonshine Show , I’ll be spinning the Top Six weekly winners , and announcing the #1 band of the week live on air — getting thousands of listens on Mixcloud !
At the end of the month , all weekly votes are added up, and the band with the highest total votes becomes our Band of the Month !
Winning Band of the Month gets:
A featured post on our Facebook page, reaching thousands of fans
A front-page spotlight on metaldevastationradio.com , which pulls in hundreds of thousands of views every month
A free PR email blast from Metal Devastation PR, hitting 40,000+ contacts including labels, zines, stations, and more
Airplay every hour during general rotation
Tons of social media shares and exposure across our network
If you want the world to know who your band is, this is the easiest way to make it happen!
💥 Want in on the next battle?
Comment below with your band name and we’ll add you to next week’s poll — or email me at zach@metaldevastationradio.com with “Battle Submission” in the subject line.
Bands can compete as many times as they want , and if you enter multiple weeks in the same month, your votes combine toward the Band of the Month title!
👇 Click on the bands below to vote as many times as you like, or add your own! Poll closes Friday, June 19th at 9PM EST!




Who Will Rise as This Week’s Champion on the MDR Battle Of The Bands?? 06/15/26 – 06/19/26

French band Mourir’s second full-length album, Nous, le venin, will be released on July 10 via Pelagic Records, and even at first glance it promises to be a record that does not move within the usual boundaries of black metal. Mourir’s black metal is raw and restless, but the weight of sludge and the broader […]

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Last year, Amanda Seyfried went viral for her brief cover of Joni Mitchell’s “California” on the dulcimer, which left Jimmy Fallon, his audience, and the entire internet stunned. Now, we finally have answers about it. In a new GQ interview, the actress revealed that she had been preparing for a biopic about the legendary singer-songwriter that ultimately never materialized.

The post Amanda Seyfried Reveals Viral Dulcimer Performance Stemmed From A Shelved Joni Mitchell Movie appeared first on Stereogum.

More than six years after the death of Neil Peart, Rush members Geddy Lee and Alex Lifeson are still sharing stories about the drummer’s unique personality and the role he played in shaping one of progressive rock’s most influential bands.

In a new interview with PROG, the two musicians reflected on their longtime friend and bandmate, who passed away on January 7, 2020 after battling glioblastoma, an aggressive form of brain cancer. While the conversation carried an obvious sense of loss, both musicians also recalled the lighter moments that defined their decades together.

Looking back at Neil Peart‘s arrival in Rush in 1974 following the departure of John Rutsey, Geddy Lee admitted that the young drummer initially seemed very different from the rest of the group.

“Oh yeah,” said Geddy Lee. “We’d talk about him all the time like he was an alien, ’cos he seemed kind of like an alien. He was very different to anyone else we hung around with. His hair was too short, and he would talk about things we never talked about – big, weighty subjects. And he was reading all the time.”

According to Geddy Lee: “We read things like Lord Of The Rings. We read the fun shit. He read everything.”

Alex Lifeson added: “He was deep, all the time.”

Geddy Lee continued: “He was so verbose. He could talk about anything. And that’s when me and Al said, [conspiratorial whisper], ‘Hey, he reads books. Let’s make him do lyrics.’”

Alex Lifeson recalled Neil Peart‘s response: “He was a little reluctant, but then he said, ‘Yeah, OK, I’ll give it a try.’”

Geddy Lee concluded with a laugh: “It worked out OK, I think!”

The decision proved to be a defining moment for Rush. Beyond his reputation as one of rock’s most respected drummers, Neil Peart became the band’s primary lyricist, helping establish the identity that carried the group through decades of success. His contributions extended far beyond the drum kit, becoming an essential part of the chemistry between Peart, Lee, and Lifeson.

While Rush officially ended with Neil Peart‘s passing, Geddy Lee and Alex Lifeson have launched their Fifty Something world tour on June 7 at the Kia Forum in Los Angeles, joined by German drummer Anika Nilles and keyboardist Loren Gold.

The band also shared a message with fans alongside a new photo captured by renowned rock photographer Ross Halfin, marking another chapter for the surviving members as they continue moving forward while honoring the legacy of their late friend.

The post ALEX LIFESON & GEDDY LEE Reflect On NEIL PEART’s Lasting Impact On Rush appeared first on Sonic Perspectives.

On the heels of the release of their fourth full-length, Sons of the Abandoned, we gave Spanish melodic death metal quintet Bloodhunter the opportunity to take us track-by-track through their new album, which was issued by ROAR (a division of Reigning Phoenix Music) on June 12. The fivesome—Diva Satanica (vocals), Dani Arcos (guitar), Guillermo Starless (guitar), Fabian Tejeda (bass), Adrian Perales (drums)—together since 2008, offered this summation of the album as a whole and then went on to talk about each track individually.

“Overall, Sons of the Abandoned feels like one of the most complete and honest albums we have made so far. It combines the speed, aggression, and melodic guitar work that define Bloodhunter with new textures, stronger dynamics, and a wider emotional range.

“Across the album, we move from direct and intense songs to more complex arrangements, including a fully acoustic instrumental piece and even a bonus tribute to Annihilator. Lyrically, the record explores themes such as life on the road, identity, toxic environments, generational disconnection and the feeling of being lost in a world driven by individuality and superficial values.”

“The Devil’s Own”

The first track of the album goes straight to the point. It was the first single we released from Sons of the Abandoned, and the reaction was really positive from the start. Musically, it shows a slightly more direct and accessible side of the band, while still keeping the speed, aggression and melodic guitar work that define our style.

This is the first time in my career that I’ve approached lyrics from a personal, first-person perspective rather than hiding behind the symbolism and metaphors of occultism. The song deals with life on the road: the cities, the distance, the exhaustion, and the contrast between what people see from the outside and what is really behind it. At the same time, the song also carries a sense of strength, connection and belonging, especially through the energy shared with the audience.

It is also the first Bloodhunter song to feature keyboards. Interestingly, the chorus had actually been written years earlier, even before our second album, The End of Faith, was released in 2017. At the time, only Dani was convinced by the idea, as the rest of us felt it sounded too melodic for the band. However, once we began working on the vocal pre-production, the song took on a completely new dimension and eventually became one of our favorite tracks on the album.

“The Outspoken”

This one started almost like a rhythmic puzzle, built around shifting patterns of 3+2, 2+3, 3+3 and 2+2, but it eventually evolved into one of the most melodic songs on the album. Lyrically, it speaks about standing your ground when others are waiting for you to fail, and about staying true to your values in the face of frustration, judgement and selfishness.

The guitar solo is one of the song’s most special moments for us. Instead of following the classic “one guitarist solos, then the other responds” approach, we exchanged short phrases between both guitars, almost like a conversation. It was a very different way of writing a solo section, and it gave the track a unique personality.

“Threshold of Hell”

This will probably become one of the standout tracks for many listeners, as it brings together several different sides of the album: groove, aggression, atmosphere, a deeply dramatic guitar solo, and the collaboration of Fernando Ribeiro from Moonspell, whose presence adds a completely different weight to the song.

Lyrically, it serves as a warning about the direction humanity seems to be heading. The song addresses themes such as war, power, fear, social control, and the way people are pushed into silence while those in power continue feeding the same destructive cycle. It is far from a heroic war anthem; quite the opposite. There is no glory here, only greed, manipulation and collapse.

We also experimented extensively with sounds on this track. Some of the effects were recorded at home using a cooking pot filled with metal cutlery—inspired by the classic effect in “Metal Gods” by Judas Priest—which gave the song a raw, almost ritualistic texture.

“Ephemeral Youth”

This is probably the fastest song on the album, and definitely the one with the most demanding riffs to play. Fast, direct and relentless, it is the kind of track that will make us sweat on stage night after night.

Lyrically, the song deals with identity, the passing of time, and the pressure to become what others expect from you. At its core, “Ephemeral Youth” is about remaining true to yourself before time, fear, or outside judgement cloud your vision and make you lose who you really are.

“Sons of the Abandoned”

This could well be the most important song on the album. Musically, it was deliberately built around very classic metal riffs, while the real contrast comes with the chorus, which is probably the strongest we have ever written. It carries a powerful emotional and dramatic weight — the kind of chorus that immediately makes you want to go back and listen to the song again.

Lyrically, the track represents the emotional core of the album. It speaks about feeling like orphaned souls, searching for meaning, truth and light in a world that feels increasingly unstable and broken. There is a deep sense of pain throughout the song, but also a feeling of revelation, resilience and endurance.

“No One Beats Death”

This song brings a more modern groove compared to the other tracks on the album. It is heavy, direct, and driven by a different kind of energy—less focused on speed and more on weight, rhythm and attitude. In that sense, it reveals another side of Bloodhunter while still maintaining the intensity that defines the record.

Lyrically, the song deals with awareness, acceptance and transformation. It speaks about confronting fear, breaking through denial, and understanding that life must be lived to the fullest because there is no escaping the end. However, the message is far from defeatist. Instead, it turns that certainty into fuel: no steps backwards, no surrender—give everything while you still can.

“Code Aeturnam”

This song has a very distinctive rhythmic feel, almost like a dark waltz, which gives it a unique personality within the album. We liked the idea of taking that circular, almost ritualistic pulse and bringing it into a heavier extreme metal context.

Lyrically, the track ventures into more mystical and philosophical territory, exploring themes such as the unknown, the origin of existence, nature, spirit and hidden knowledge. It feels like a search for truth beyond the visible world, and the song’s atmosphere plays a major role in conveying that feeling.

“The Path That Never Ends”

This is one of the most complex songs on the album. Laura Guldemond from Burning Witches appears on the chorus with melodic vocals, adding a different emotional layer to the track.

Musically, it is built around irregular time signatures, although we aimed to make them flow naturally rather than sound overtly technical. The drums maintain a steadier pulse while the rest of the instruments move around it, creating a hypnotic, groovy, and slightly unstable effect.

Lyrically, the song carries a dark and spiritual tone, dealing with despair, manipulation, and the feeling of being trapped on a path with no beginning or end.

“The Night Is Darker Before Dawn

Every Bloodhunter album has included an instrumental track, but they have usually been very technical pieces, full of shredding and crazy solos. This time, however, we wanted to take the opposite approach.

We decided to pause the intensity for a moment with something completely acoustic, calm and atmospheric. It works as a breath of air before the next song, which goes in the exact opposite direction.

“Master of Deceive”

This is probably the song with the strongest contrasts on the album. The verses are highly intense and driven by blast beats, while the choruses are much more melodic — almost beautiful in comparison. That contrast is a key element of the track’s identity.

These were the first lyrics to be written for this album. Some of the topics are narcissism, manipulation, toxic behavior, and the way some people use deception, victimhood or false confidence to control others. It is a very direct song, but it also carries a sense of awareness: the idea that you cannot win their game if you keep allowing them to play with you.

There is also a piano line running quietly in the background throughout the song. You may not fully notice it at first, but once you hear it, it becomes more present on later listens and adds a subtle but dramatic layer to the track.

“Human Insecticide” (Annihilator cover) bonus track

We chose “Human Insecticide” because it fits very naturally with Bloodhunter’s style. It has that blend of speed, aggression, and sharp riffing that connects well with our own sound, so it felt like a cover we could make our own without forcing it.

Since it appears as a bonus track, we did not want it to interrupt the main flow of Sons of the Abandoned, but rather serve as an extra punch at the end. It is also a way to pay tribute to a song and a band that belong to the more aggressive side of classic thrash metal, which has always been part of our musical background. The lyrics also fit very well with the main vibe of this album and serve as a manifesto against the current global situation.

Bloodhunter Live Dates:

12.06.2026  Revi Live | Madrid, ES w/Crypta

14.06.2026 Rebullón | Mos, ES w/Crypta

15.06.2026 Urban Rock Concept| Vitoria, ES w/Crypta

16.06.2026 Rock City | Valencia, ES w/Crypta

17.06.2026  Estraperlo| Badalona, ES w/Crypta

07.11.2026 Halloween Metal Fest | Kafe Antzokia | Bermeo, ES

06.12.2026 Desolation Metal Days | Marearock | Alicante, ES

The post Track-by-Track: Bloodhunter –<em>Sons of the Abandoned</em> appeared first on Decibel Magazine.

The nonprofit, established by Congress a decade ago and separate from President Trump’s Freedom 250, will bring Smashing Pumpkins and other acts to Los Angeles on July 4.

BraveWords Records is pleased to announce the signing of Storm Force for the upcoming release of their new album, ‘Truth‘, later in 2026. Greg Fraser lead guitarist and founding member: “Storm Force is thrilled to join the BraveWords Records family for the release of our new album, ‘Truth‘. We’re excited to work with a team […]

The post BraveWords Records Announces The Signing Of Storm Force appeared first on ROCKPOSER DOT COM.

Linkin Park, who has headlined England's Download Festival five times, served up a history-making performance thanks for vocalist Emily Armstrong. Continue reading…

The 2026 Download Festival gave us a festival first, some crowd chaos, a refresher on who's 'new' and some political messaging. Continue reading…

With their third album Parallel Lines, Blondie notched up five hit singles and became as famous as Abba or Pink Floyd