Marilyn Manson has released “Front Toward Enemy,” the second single from his forthcoming fourteenth studio album, One Assassination Under God – Chapter 2. co-produced and co-written with longtime collaborator Tyler Bates, the album is due August 14 via Nuclear Blast Records — days before the start of Manson’s late-summer co-headline tour with Rob Zombie.
“Front Toward Enemy” follows “Exit Wound,” the album’s first single, which arrived in June 2026.
Manson’s current touring band features guitarist Nick Annis — previously known for his work with Dorothy and Kesha — alongside bassist Tim Skold, who first played with Manson’s group between 2002 and 2008 before returning. Piggy D., originally the band’s bassist, has moved into a co-lead guitar role alongside Annis.
One Assassination Under God – Chapter 2 arrives as the follow-up to its predecessor, One Assassination Under God – Chapter 1, which was released in November 2024 via Nuclear Blast. Standout tracks from that record included “Sacrilegious,” “Raise The Red Flag” and “As Sick As The Secrets Within,” the latter of which marked Manson’s first release under his deal with the German label. Both chapters were recorded and produced with Bates.
Manson returned to the stage on August 2, 2024 at Hersheypark Stadium in Hershey, Pennsylvania — his first live performance since before the pandemic — as part of Five Finger Death Punch’s summer arena tour. Before that, he had not played live since the conclusion of his fall 2019 headlining tour. His previous co-headline run with Rob Zombie, the “Twins of Evil: Hell Never Dies” tour, wrapped on August 18, 2019.
Over the past several years, Manson — born Brian Warner — has been named in a series of civil lawsuits alleging sexual, emotional and physical abuse. Most notably, actress Evan Rachel Wood publicly identified him as her alleged abuser in 2021. Manson has denied all allegations, countersued several accusers, and a number of the lawsuits against him have been dismissed by courts.
Anyone else done with summer yet? Now, we’re not saying we hate the long, glorious hours of daylight, but a bit of crepuscular cooling wouldn’t go amiss. Still, we’re right in the thick of it so far as festival season is concerned, with Inkcarceration happening in the US this week, while Wacken, Bloodstock and ArcTanGent are all to come in the next few weeks.
But, we digress. We’re here to talk about new music, so let’s round-up the results of last week’s vote! Indian prog metallers Fallen Letters sailed into third place with A Familiar Absence, while thrash legends Anthrax nabbed second with The Edge Of Perfection. Our overall winners however were Japan’s Hanabie., Life Is Short, O Brave Girl almost taking double the votes of the competition.
It’s all to play for this week as we have returning metal veterans and exciting new talent alike with the likes of Mastodon and In This Moment up against Burner, Brat and Loathe. Don’t forget to cast your vote in the poll below, and have an excellent weekend!
Loathe – No Stranger To You
It’s been a long wait for a proper follow up to I Let It In And It Took Everything. But Loathe are back and swinging for the fences on new album A Stranger To You, latest single No Stranger To You capturing the band at their most shoegaze inspired with a sense of both heft and gorgeous, weightless melody.
Mastodon – Snakes For Dinner
Speaking of new albums with a lot of hype and interest, Mastodon have announced their upcoming ninth album. Titled Marrow Deep, it’s their first without founding member and lead guitarist Brent Hinds, and will be out August 28. The retooled ‘Don have been out on the road since last summer so we kind of already knew they were still firing on all cylinders, but Snakes For Dinner confirms it with delightful gusto, the band even drafting in Josh Homme for a surprise guest vocal that fits surprisingly well amidst their cosmic-yet-earthy sound.
In This Moment – Crawl
With some real pop’n’lock industrial beats, In This Moment are getting good and sweaty in the club on new single Crawl. Taken from new album Witch, due August 28, it’s a seriously infectious track that makes us want to shimmy and headbang till our spines crumble like stale cookies.
Red Method – Detonate
Championing the heavier end of the nu metal revival, Red Method are in full feral force on newest single Detonate. Tight, claustrophobic grooves are met with what sounds like a wolverine operating a turntable, old school record scratches fitting in well amidst this delightfully vicious showing from the band’s new EP As In Life, which is out today.
Bury Tomorrow – Sx
While this isn’t the first time Bury Tomorrow have made a stylistic shift, we’ll admit we were pretty surprised to hear them swinging for some industrial thump on new single Sx. Coming with the announcement they’ve launched their own independent label imprint Death Records, it sounds like the British band are tiring of the metalcore pool and looking to expand their sonic horizons.
Employed To Serve – A Moment Gone Too Soon
It’s always oh so gratifying to hear Employed To Serve let rip. Whether it’s the booming swing of I Spend My Days or the Araya-like howl of Treachery, they’ve shown they know how to go hard in a satisfying way, and new single A Moment Gone Too Soon is no exception to that form. From it’s blast like opening to the steady rhythmic bombardment that lends it a sense of infectious invigoration, it’s exactly the kind of tune that’s made for sweaty club pits. Lucky that there’ll be plenty of chances to see them on tour in the UK in November, then.
Scene Queen – Metalicious
They don’t call her the queen for nothing. Bimbocore pioneer Scene Queen is offering up a crash course in the subgenre on newest single Metalicious, taking 00s pop and culture then brutalising it with some thick, thumping grooves and riffs. It’s short and straight to the point, and while it might not have the killer hook of 18+ or Finger, it has an addictive quality that’ll have the refrain “I’m hitting the mosh” sticking in your head for days. The full Metalicious EP is coming September 11.
Brat – Manslayer (Hell Hath No Fury)
Surely a Brat/Scene Queen tour would be a slam dunk? Granted, Brat profess to be champions of Barbiegrind rather than bimbocore, but we reckon the overlap between two audiences is nothing to sniff at. Nor is Brat’s latest single, for that matter, Manslayer (Hell Hath No Fury) a straight ahead brute of a track that shows Brat aren’t fucking about when it comes to the nasty stuff with lashings of 90s death metal chucked in for good measure.
The Ocean – Belligerence
We’re starting to get a real sense of what this new line-up of The Ocean is all about now. Where previous single Light Pollution was based heavily on melody, Belligerence balances the melody out with the seismic, crashing-tectonic-plate riffs that were so prevalent on their earlier records when the band leaned harder towards post-metal than prog. New album Solaris is coming on September 25 and promises to be an odyssey.
Burner – What Will You Give? (ft. Josh Middleton)
After gatecrashing their way into Hammer‘s Top 50 albums of 2023 with their debut It All Returns To Nothing, Burner are back with a new record. Titled No One Is Coming To Save Us, it’s due September 25 and first single What Will You Give shows off some deft extreme metal nuances, one minute a slavering, death metal brute, the next chucking hardcore pace-shifts like Hatebreed gorging on Cannibal Corpse. With a guest appearance from Sylosis’ Josh Middleton, they’re clearly looking to stake their territory in the British metal landscape.
Soulgrind – Jylhä metsämies
Careening in on a hard riff and then unleashing some of the gnarliest, tumorous vocals we’ve heard in a hot minute, Soulgrind might take the prize for the hardest single of this week. The Finnish extreme metallers clearly delight in chucking out curveballs: kicking around since the 90s, they started out doom but these days have more of a blackened bent, albeit with surprise forays into prog that add a nice twist to their sound. New album Ad Pulchram Mortem comes on August 14 – stick it on if you want your brain melting a bit.
Native James – Never Been Scared (ft. Frisco)
Grime metal is still in its infancy, but Native James looks to be stepping up as one of the subgenre’s stars. Intense flows meet clanging, juddering riffs as James spits his flows with guest vocalist Frisco. The pair debuted the track at this year’s Download Festival and if you’re looking for a harder strain of rap metal, you’d do well to give this a spin.
AVULSED‘s journey through the darkest roots of Scandinavian Death Metal reaches its 4th chapter with a brutal rendition of “Spawn of Flesh“, taken from the demo recorded by Sweden’s MACABRE END (pre-GOD MACABRE) in 1990. You can listen to the song here:Youtube: https://youtu.be/Lq7c1-ZTu2wDigitals: https://music.imusician.pro/a/axE3rmvF Dave Rotten himself comments the following about this song: “Some of you may be wondering […]
After the ’80s rock ‘n’ roll scene was over, it took quite a while for it to resurface. Luckily, here in 2026, we can still relive a few of our favourite bands from that era, one being Mike Tramp, who brought the Songs Of White Lion last Friday night to Northfield Park Casino in Northfield, Ohio, just south of Cleveland.
Mike Tramp – Songs Of White Lion – Northfield Park Casino, Ohio – 10 July 2026. Photo: Jim Balentine/MetalTalk
Mike Tramp has carried on the White Lion Legacy since returning to music in the mid-2000s, and he sounds and looks just as good as he did in 1989.
Along with guitar extraordinaire Marcus Nand, who has been with the band for a few years and can deliver the great Vito Bratta’s guitar licks, and long-time band members Jerry Best on bass guitar and Troy Patrick Farrell on drums.
Mike Tramp – Songs Of White Lion – Northfield Park Casino, Ohio – 10 July 2026. Photo: Jim Balentine/MetalTalk
The band performed a powerful set, opening up for great white, playing all of the classics that fans know and love.
It took Mike Tramp over a decade to come to the realisation that people want to hear White Lion music, and he decided a few years ago to go back out on tour first with just Marcus and a backing track of drums and bass.
Mike Tramp – Songs Of White Lion – Northfield Park Casino, Ohio – 10 July 2026. Photo: Jim Balentine/MetalTalk
Now, for the past three years, he has produced a full band and has played all over the world, including festivals in Europe.
The third in a trilogy of Songs Of White Lion albums was released last year. “For me, the point of re-recording the old classic White Lion songs was all about letting the audience know HOW the band would sound if they came to see us live,” Mike Tramp said, “bringing the sound up today and away from a world no more.”
Mike Tramp – Songs Of White Lion – Northfield Park Casino, Ohio – 10 July 2026. Photo: Jim Balentine/MetalTalk
For Tramp, the initial plan was not for a trilogy, but having completed this, he feels it makes all the more sense. “If I have to be active playing White Lion in 2026 and onward, there’s got to be a natural progression in every way. That is exactly what this Trilogy is all about.”
Mike Tramp – Songs Of White Lion – Northfield Park Casino, Ohio – 10 July 2026. Photo: Jim Balentine/MetalTalk
Tonight was exceptional, with Mike Tramp and Co bringing the songs back to life with the passion, perspective, and authenticity that only decades of experience can deliver.
The Band really enjoys each other up on stage, and after the show, they will gladly sign autographs and take pictures at no cost because that is how much they care about their fans.
Mike Tramp – Songs Of White Lion – Northfield Park Casino, Ohio – 10 July 2026. Photo: Jim Balentine/MetalTalk
The Songs Of White Lion tour continues, and we fully expect them to go overseas again soon. So make sure you come and see the band and relive all the great songs from the late ’80s and early ’90s.
Mike Tramp has reclaimed and honoured his legacy with Songs Of White Lion.
Release Date: July 17, 2026
I’ve had the pleasure of spinning Initium Mortis for the last few months thanks to the band sending me an advance copy, and let me tell you, this thing has been in regular rotation ever since. As a lifelong fan of the early days of DEATH and the entire old school death metal movement, this album hits exactly where it needs to.
From the mind of gore metal pioneer Matt Harvey, LEFT TO DIE continues its mission of paying tribute to the legendary Chuck Schuldiner and the earliest days of DEATH. Featuring original DEATH members Terry Butler and Rick Rozz alongside Harvey and Gus Rios, Initium Mortis brings some of the earliest Mantas and DEATH material to life with modern production while keeping the raw spirit completely intact.
The album wastes no time getting down to business.
“Legion Of Doom” kicks things off with a riff that instantly makes me visualize a circle pit exploding right in front of the stage. It has that whipping, headbanging energy that grabs you immediately and refuses to let go.
“Archangel” picks up the pace with a faster attack that leans further into speed metal territory while still carrying that unmistakable early DEATH vibe.
“Power Of Darkness” throws you straight back into the 1980s. It’s one of those fist-in-the-air anthems where you’ll find yourself shouting the chorus along with the band. Sometimes the simplest hooks are the most memorable, and this one absolutely sticks.
Then comes “Zombie,” opening with clean guitars that give your ears a brief moment to breathe before the band stomps the gas pedal and launches back into fast, ripping death metal mayhem.
One of my personal favorites is “Witch Of Hell.” I absolutely love the way the vocals echo across the speakers when Matt screams, “Witch of Hell… Hell!” It’s those little production touches that make songs memorable. I’ve always appreciated details like that. They stick with you long after the album ends.
“Rise Of Satan” is simply badass. No fancy explanation needed.
“Summoned To Die” opens with a cool bass guitar and bass drum stomp before erupting into controlled chaos, while “Mantas” storms in with fury and a huge “Woooow!” scream that sounds like the soundtrack to marching into battle.
“Slaughterhouse” continues the assault with another crushing performance before the album closes with “Death By Metal,” which feels like the perfect ending to an absolutely killer record.
The advance version I received also included two bonus tracks. In my opinion, they’re among the standout moments on the entire release. I’m not sure whether they’ll appear on a future special edition or another format, but I certainly hope so because they’re too good to stay hidden.
Of course, longtime DEATH fans have heard many of these songs over the years through rough rehearsal tapes and demo recordings traded among diehard fans. That’s exactly what makes Initium Mortis so special.
As Matt Harvey explains, the goal was to let fans hear these historic songs with the production quality they always deserved. Many of the original demos were recorded on primitive equipment and became nearly impossible to make out after countless generations of cassette tape trading. Here, those same songs finally breathe with clarity while never sacrificing the grit, aggression, or authenticity that made them legendary in the first place.
The production walks a fine line that isn’t easy to achieve. It sounds modern enough to satisfy today’s listeners while still retaining that unmistakable classic death metal atmosphere. It never feels overproduced or polished to the point of losing its soul. Instead, it sounds exactly how these songs probably lived in the heads of the teenagers who first created them over forty years ago.
For fans of the earliest DEATH recordings, Mantas, or the birth of death metal itself, this album is much more than another tribute release. It’s a respectful restoration of an important piece of heavy metal history performed by musicians who genuinely understand and love the material.
As someone whose favorite era of death metal has always been those raw late 80s and early 90s releases, Initium Mortis absolutely delivers. It captures the excitement, danger, and hunger that helped define an entire genre while giving these historic songs the sound they’ve deserved all along.
Rating: 10/10
If you’re a DEATH fan, an old school death metal fanatic, or simply someone who appreciates where this genre began, Initium Mortis is essential listening. LEFT TO DIE didn’t just revisit history. They brought it back to life.
As its creators dare, modern metal music holds the unique position of having decades of realized and celebrated sounds to guide it. Whether it’s the harmonized crunch of Iron Maiden, the forlorn, minor-scale weeping of Paradise Lost, or the twisting, chiming builds of Fates Warning, classic styles like these build a world that transcends the simple attachment of a good chorus or solo. And in the lineage of NWOBHM fury, gothic sorrows, and progressive tinkering, Mark Sugar roots his long-running prog-ish, doom-ish, always heavy Black Sites project. Album after album, Sugar has explored his wide range of musical influences to capture that hard-to-attain feeling of nostalgia without ever being comfortable living in the shadow of any one band. Does For Eternity, then, as installment number five, cement the growing legacy of this recognizable Black Sites synthesis?
Like a worn body, scuffed pickguard six-string, Black Sites has aged with a trustworthy action in its idiosyncratic and progressive foundations. As our beloved DANGonce noted, earlier albums like Exile felt like a playlist of Black Sites’ favorite metal songs recreated in the Black Sites fashion—far from a misstep when the material is as quality as Sugar and co. produce. 2021’s Untrue began the path toward a more controlled vision. But then with an extra rhythmic flashiness, 2023’s The Promised Land? saw Black Sites taking greater risks on complex, longer-form tracks contrasted with slower, crowd-ready bangers. On that latter endeavor, For Eternity doubles down and adds an even more ’80s-loaded riff flair. In the construction of tracks like “Giving Up the Ghost” and “Silent Wars,” it doesn’t take much effort to hear the homage to the deadly and moody axe-led precision of classics like Dio’s “The Last in Line” or Ozzy Osbourne’s “Rock ‘n’ Roll Rebel.” Yet in the presence of these touchpoints, Black Sites never loses its course down Sugar’s own expression of heavy metal appreciation.
Throughout For Eternity, a thundering momentum defines the Black Sites attacks. In well-paced bursts of four-to-six-or-so minutes, trademarked open string punctuation in melodies finds weight in power chord progressions, tom-heavy drum drives, and growling, thumpy bass struts.1 For those desiring a pick scrape to pull-off riff-fest, “Above Soil, Beneath Sky” and “Silent Wars” stand at attention to raised horns. And if it’s Sugar’s nimble fingers ripping between muted crunch and piercing, melodic solo work, “Aquarius Betrayed” and “When Prophecy Fails” provide all the nimble fretboard action one could ask for in this context. Whatever the mass of metal movement, Sugar’s slithering and workmanlike warble push and pull on unexpected beats with a relatable melancholy dressed as attachable choruses. While never as bright and boisterous as new co-conspirator Chris Black and his work in High Spirits, this iteration of Black Sites, no matter the tempo, plows through every bar with heavy metal purpose.
In coordination with this honed songcraft, a touch more production panache helps For Eternity wear a bigger presence than its predecessors. The Dan “The Man” Swanö mix/master effort emboldens Sugar and new axe-partner Lee Smith (Professor Emeritus) to find a warmth in tone and classy fullness in reverb that let precise pedal action and pickup shifts feel swift, seamless, and vibrant (“When It Calls,” “Aquarius Betrayed,” “When Prophecy Fails”). And despite the diversity in total attack that each song presents, a uniformity in staging helps Sugar’s sneaky array of snippy licks stick to memory no matter how intense the main refrain or soaring the solo can be (“Aquarius Betrayed,” “Above Soil, Beneath Sky,” “Silent Wars”). Again, the veteran conductor Chris Black (Dawnbringer, High Spirits, ex-Pharaoh) as a co-producer unlocks fine details like gentle synth backings and sneaky vocal layering that add depth and tension to moody intros and triumphant crescendos (“When It Calls,” “Aquarius Betrayed,” “Unanswered for Eternity”).2 Every choice matters, and every choice elevates what For Eternity has to offer.
With this level of calculated prowess, however, For Eternity doesn’t pack any surprises, or rather, doesn’t expand the Black Sites playbook by any significant value. But novelty for the sake of achieving novelty isn’t necessary for an album to succeed. As the fifth step in the Black Sites journey, For Eternity strikes with finesse. And sticking to a tested and refined palette of hooky, hammering, and harmonious heavy metal, Sugar has delivered an experience that, while easy to digest, unfolds new layers with each successive listen.
On September 8th 2026, Swedish thrashers Xion will put out their second long player dubbed When Stars Collide. The 8-piece outing was produced, mixed and mastered by Jonas Arnberg. Cover artwork was created by Par Olofsson. Read more…
Over the past few years, Devil Master, Blank Spell, and Spiter have crystallised a new wave of black metal-inspired bands in the hardcore scene. But to call them simply black metal is selling them short. While they possess that genre’s banshee screeching and diminished chords, their punk-ified speed metal riffing and erratic structures reveal something foreign and gothic. Zorn show this better than any other.
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A shadow is cast upon Zorn’s family by the so-called “Japanese punk-metal” sound that G.I.S.M. and Zouo defined in the 1980s. These groups’ Venom-throatedness, buzzing guitars, and driving drum beats were so raw that the line between them and early black metal was but a string. The foundations of Return to Castle Death, Zorn’s latest album,is a modern reinterpretation of this as it incorporates black metal’s later Norwegian developments.
Through their unconventional vocals, hardcore-focus and manic writing style, Zorn made a name for themselves as the most G.I.S.M.-leaning of their sect. What G.I.S.M. couldn’t predict, however were the elements Zorn takes from deathrock, the punk-indebted, American counterpart to goth. Zorn’s music is littered with the unorthodox chord voicings and sparse, flange-heavy guitar work blazed by Christian Death, Burning Image or Altar de Fey. Hardcore, goth, and black metal have long been intertwining, back to Celtic Frost’s love of Christian Death and Discharge or Mayhem’s Amebix and Dead Can Dance obsessions, but the flanger was overwhelmingly dismissed. Zorn even have a fascinating tendency to pluck characteristically black metal chords in ways that make them more closely resemble those of mainline British goth.
Zorn feature Cape of Bats live guitarist Eric Teofilak on vocals, a band who, a decade and a half ago, forged this same fusion. Following their hiatus in 2015, they became a phenomenon in their hometown of Philadelphia, in part through guitarist Francis Kano’s labels Grim Wind Records and Bat Magick Productions. If Cape of Bats and Haunter’s split album from last year is anything to go by, it seems to be called “black magick metal”.
Teofilak has the erratic annunciation and character voices of G.I.S.M.’s Shigehisa Yokoyama but incorporates them into more conventional black metal high-scream techniques. At times he even pushes his voice past ordinary false cord tonality into something based in his falsetto. However, when compared to Zorn’s self-titled, Return to Castle Death tunes down many of their manic qualities. Its song structures and riffs are certainly more predictable, even if that isn’t saying much when put against other bands. We’re still treated to a few maniacal laughs and screams, even gurgling on “Black Dog March”, but they’re less common, and the flanger is less present. Regardless, the organ on closer “Guest of the Mad Prince” is an unexpected treat.
Zorn’s lead guitars are less menacing than would be expected by the genres they take from. There is simply a level of fun that its parents don’t share. Certainly, Zorn are dark, but perhaps “spooky” is a better description. With the style’s sound and tongue-in-cheek black metal aesthetic spreading to Texas with Haunter and Chile with Sign of Evil, it becomes increasingly obvious that none of these bands are straight-faced. Return to Castle Death‘s artwork presents the band alongside the robed horde of monks that carry Teofilak on stage in a coffin each night. Many carry a Kalashnikov, a callback to the bayoneted demon from their self-titled sleeve.
The album also features occasional callbacks to post-G.I.S.M. hardcore developments. This is particularly prevalent through grooving mosh parts, such as at the end of “Return to the Castle” or the solo of SansAmp bass tone on “Curse of the Black Witch.” While production is cleaner and instruments are more distinguishable, the self-titled’s raw, cavernous mix played up their rabid qualities in a way Return to Castle Death only grazes.
To call Return to Castle Death formulaic would be a bare-faced lie, but compared to their previous efforts, it may as well be. Zorn remain consistent in their aim to create high-energy, deathrock-infused punk-black-metal. However, somewhere along the way, they lost focus of a quality that put them a head above the rest. The album proves Zorn have found their identity, but perhaps it is one so manic, even they can’t sustain it.
Uprising X Announces Black Spikes, Hippotraktor and more.
Uprising X is the events epic tenth edition, new home, same values, same great vibes! Welcome to Uprising X, taking place at KK’s Steel Mill, Wolverhampton, on 9–10 April 2027.
But, who will be joining the line up?
Uprising X is officially underway! First up to join the lineup are Lithuania’s own modern metal heavyweights, Black Spikes. Renowned for seamlessly blending their love for all metal subgenres, the band is set to deliver an intense, intricate, and powerful live experience. UK crowds already got a taste of their ferocious stage presence during last year’s tour with Infected Rain and Butcher Babies, and they’re ready for more.
Joining the lineup are Hippotraktor, the Belgian post-metal quintet renowned for delivering deeply emotional performances driven by heavy, polyrhythmic grooves and soaring atmospheric melodies. Their sound is a masterclass in contrast; chaotic and loud, yet packed with massive hooks and brutally crushing breakdowns. As proud members of the esteemed Pelagic Records roster, they are no strangers to UK shores, having crushed sets at ArcTanGent, conquered multiple successful headline tours, and already secured a coveted slot for Damnation 2026.
Making their debut at the festival, Copenhagen’s very own progressive metal outfit Cold Night For Alligators join the lineup. The band has rapidly built a formidable UK reputation following a standout tour with MØL this past February and a highly regarded set at Radar Festival in 2022. Renowned for their precision and fierce energy, they effortlessly balance calculated chaos with sweeping, atmospheric soundscapes.
Joining the bill are fellow Belgian heavyweights Cobra The Impaler. If you were lucky enough to grab a ticket last year, you likely caught them tearing up the UK alongside Hippotraktor or early this year Psychonaut. The band seamlessly fuses raw aggression and thrash-like grooves with enchanting vocal melodies and intense screams. Driven by the critical acclaim of their albums Colossal Gods (2022) and Karma Collision (2024), they have conquered stages across Europe, including standout performances at Graspop and Bloodstock alongside multiple successful UK tours.
Making their highly anticipated debut are Brummie rockers Straight For The Sun. This energetic quintet has built a fierce reputation for delivering massive choruses and lively, unpredictable stage antics. With standout appearances at Call Of The Wild, Planet Rock Winter’s End, and Bloodstock already under their belt, festival-goers can expect a high-octane performance and a massive crowd sing-along.
The final band completing this announcement is Leicester’s own post-hardcore quintet, Reckoner. A must-see for fans of Underoath and Every Time I Die, the band has made massive waves in a relatively short amount of time. They have already earned coveted airplay on BBC Radio 1, crushed sets at Mangata Festival and Call Of The Wild, and shared stages with the likes of Coilguns, Obeyer, and The Five Hundred.
As its creators dare, modern metal music holds the unique position of having decades of realized and celebrated sounds to guide it. Whether it’s the harmonized crunch of Iron Maiden, the forlorn, minor-scale weeping of 
