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Ending in a pair of shows with Mammoth.

The post 10 Years Reveal U.S. Summer Headlining Tour appeared first on Theprp.com.

Swedish glam rockers Hardcore Superstar have announced an extensive touring across their homeland with a couple of shows in Finland and one in Estonia.
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Not that Cable, though.

The post Surfaced & Cable To Tour Together In July appeared first on Theprp.com.

Slayer will celebrate the 40th anniversary of Reign in Blood by performing the album in its entirety on a Latin American tour this fall, with five dates running Oct. 21 through Dec. 17, 2026. Kreator supports on four of the five dates.

In Los Angeles, a second Kia Forum show has been added on Nov. 14 after the Nov. 13 date sold out during Citi and artist presales. The two Kia Forum shows will mark Slayer‘s first Los Angeles concerts in seven years. The band will also headline a “Reign in Blood” anniversary show at Mystic Lake Amphitheater in Shakopee, Minn., on Sept. 4. These three U.S. headline dates are the only domestic shows at which Slayer will perform Reign in Blood in full; festival appearances throughout the year will feature different sets.

Slayer “Reign in Blood” 40th anniversary Latin American tour dates:

• Oct. 21 — Palacio de los Deportes — Mexico City, Mexico (with Power Trip)
• Dec. 5 — Vive Claro — Bogotá, Colombia (with Kreator and Ultra Legends)
• Dec. 10 — Estadio Santa Laura — Santiago, Chile (with Kreator and Avernal)
• Dec. 14 — Movistar Arena — Buenos Aires, Argentina (with Kreator and Criminal)
• Dec. 17 — Allianz Parque — São Paulo, Brazil (with Kreator and Korzus)

Slayer U.S. headline and festival dates:

• Sept. 4 — Mystic Lake Amphitheater — Shakopee, Minn. (with Down, Suicidal Tendencies, Hatebreed)
• Sept. 6 — Rocklahoma — Pryor, Okla.
• Oct. 24 — Sick New World Texas — Fort Worth, Texas
• Nov. 13 — Kia Forum — Inglewood, Calif. (with Cannibal Corpse, Cavalera, Crowbar)
• Nov. 14 — Kia Forum — Inglewood, Calif. (with Cannibal Corpse, Cavalera, Crowbar)

The lineup for all of Slayer‘s comeback shows in 2024 and 2025 was the same as the one that last toured in 2019: guitarist Kerry King and drummer Paul Bostaph, alongside bassist/vocalist Tom Araya and guitarist Gary Holt. In 2025, the band performed at Hersheypark Stadium in Hershey, Pa. (30,000-seat capacity, Sept. 20), Louder Than Life in Louisville, Ky., Blackweir Fields in Cardiff, U.K., Finsbury Park in London, and the Festival D’été De Québec in Canada. The band also played a six-song set at Black Sabbath‘s sold-out “Back to the Beginning” final concert on July 5, 2025, at Villa Park in Birmingham, England.

Reign in Blood was released on Oct. 7, 1986, via Def Jam Recordings and marked the band’s first collaboration with producer Rick Rubin. Kerrang! magazine described it as “the heaviest album of all time” and a breakthrough in thrash metal and speed metal. The album was the band’s first to enter the Billboard 200 chart, debuting at No. 94, and was certified gold by the RIAA on Nov. 20, 1992, for sales in excess of 500,000 copies.

The release of Reign in Blood was delayed due to concerns over its graphic artwork and lyrical subject matter, particularly the opening track “Angel of Death,” which refers to Josef Mengele and describes acts committed at Auschwitz. Allegations of Nazism followed, though the band repeatedly stated they did not condone Nazism and were solely interested in the subject as a documentary. Guitarist Jeff Hanneman previously said: “‘Angel of Death’ was a big problem… Sony wasn’t going to release it. I remember being at home, pissed, throwing things… I didn’t think anything was wrong with ‘Angel of Death’ or anything else we did; it’s a documentary! There’s no ‘Heil Hitler’ or ‘white people rule,’ it’s a documentary; grow up, people.”

The post SLAYER Announces “Reign In Blood” 40th Anniversary Latin American Tour, With KREATOR On Select Dates appeared first on Sonic Perspectives.

NUNSLAUGHTER have outlived trends, scenes, and more “next big things” than anyone can count. As Satanic Chaos Legions arrives, Don looks back on nearly forty years of Devil Metal, talks religion, death metal authenticity, chaos, and why hooks matter just as much as blasphemy.

Hail Don! Satanic Chaos Legions description mentions a space somewhere between Seasons in the Abyss and Earth A.D. – two records that balance violence with hooks. Do you consciously think about memorability when writing, or does catchiness almost irritate you in extreme metal?
Thank you. Yes, hooks is what makes the music memorable and NunSlaughter has lots of hooks in our music. Even dating back to the 80’s songs. Frankly it irritates me when music does not have a hook.

“Jesus Fucking Dies” is about as subtle as a hammer to the face. Do you still enjoy provoking people directly, or has society become too fragmented and desensitized for shock to function the way it once did?
We are not worried about shock value. There are extreme metal bands out there pushing the envelope. We are focused on writing good songs that people can remember.

NUNSLAUGHTER has always had a very direct anti-Christian stance, but a lot of modern “blasphemous” bands feel theatrical rather than genuinely confrontational. What separates authentic disgust from aesthetic cosplay to you?
I believe longevity has something to do with it as many bands started blasphemous and then became watered down. We have not backed down in fact I believe we have increased the blasphemy over the years. Theatrics are great but many times it is used to distract you from just how fucking boring the music really is.

Christianity is no longer the dominant cultural force it once was in many places. Does attacking it still feel rebellious in 2026, or has the meaning of blasphemy changed completely since NUNSLAUGHTER started?
Here in the United States it is becoming an increasing problem. There people over here actually think this nation was founded on Christianity. I mean pick up a book, idiots. Our main export is stupidity.

You’ve kept the “DEVIL METAL” identity uncompromising for decades, while many peers eventually drifted toward abstraction, philosophy, or irony. Was there ever pressure to become more “intellectual” about the band’s themes?
I am not sure who would pressure us, but no. We make the music we want and damn everyone else.  I mean this is death metal. Who the fuck wants to talk about philosophy or some lame abstract idea. Give me Satan or Give me Death.

NUNSLAUGHTER emerged before extreme metal had clear genre borders. When you started, did “death metal” actually feel like a movement, or was it just a handful of maniacs accidentally inventing something simultaneously?
It seemed to gain a real foothold in 1985 /1986 with bands finally getting a full length album out and people began to recognize it as a valid form of music. There were many bands before that but at least from what I can remember those were some defining years.

A lot of early death metal musicians talk about discovering extremity through isolation – hearing terrible-quality demos and imagining something even more evil than what was actually on tape. Do you think mystery and limitation helped make extreme metal more dangerous back then?
I have not heard that but I do agree. Sometimes its what you don’t hear makes the recording. I had a few recording from tape trading that I really liked, but many years later when it was remixed and officially released, it did not have the same impact.

You’ve been operating long enough to watch death metal go from tape-traded obscurity to algorithm-fed content. What’s been lost in that transition – and what, surprisingly, got better?
Accessibility is better and so is the ability to record a solid sounding recording. I do think the desire to make money and to manipulate the metal community has become an issue. People become “hive” minded. That is to say, when presented with a mediocre band if its marketed correctly then the band becomes a hit.

You’ve released an absurd amount of demos, rehearsals, splits and live material over the years. Did that flood of releases come from compulsion, preservation, chaos… or from never wanting NUNSLAUGHTER to feel too polished or “official”?
I admit it is a compulsion. I have to release or I begin to believe NunSlaughter is fading away. Most of the releases have their own charm and we have had the opportunity to reach metal heads all around the world be the sheer amount of release and that make me very proud.

Jim Sadist’s death clearly marked a turning point for the band. Looking back now, did grief make NUNSLAUGHTER more determined, or did it permanently change the chemistry and emotional intent behind the music?
It changed the chemistry of the band. Jim was a force, stubborn but a force none the less. He had a huge impact on me personally and the metal world as a whole. His passing made us more focused in the mission. Create death metal and that is what we have continued to do.

Your records often sound like they could collapse at any moment, but never actually do. How much of NUNSLAUGHTER’s identity comes from controlling chaos rather than simply playing aggressively?
Bands are usually best when they are almost going off the rails but somehow keep it going. That is where NunSlaughter spends most of our time. It adds to the aggression and keeps posers at bay.

You’ve played everything from tiny sweatbox clubs to major extreme metal festivals. Where does this music feel most dangerous to you now – in front of 50 die-hard fans or thousands of people treating it like an event?
I am more of a club guy, but I can’t speak for the rest of the band.  It is cool to be able to perform in front of a few thousand people so that you can get the message across to a swarm. There are only so many days you can perform, and the fests are where the most damage is done, but for me, it’s in front of 100 people going nuts in a club.

There’s a strange longevity to bands built around hatred and negativity. Why do you think anger ages better in extreme metal than idealism or optimism?
Many are nihilists and that adds to the fury of the music. Many people / bands mellow with age and I can understand it. At some time you get tired of fighting the system or you have other ideas that preoccupy your mind.

After nearly forty years of NUNSLAUGHTER, what still disgusts or inspires you enough to keep writing genuinely hostile music instead of becoming nostalgic about your own legacy? Thank you for your time!
Religion of all kinds but mainly Christianity because it directly affects my life. It hasn’t steered me wrong yet. You are welcome for the interview, thank you.

https://ffm.bio/nunslaughter-satanicchaoslegionsalbum

https://nunslaughter.bandcamp.com/

Yikes! SXSW London kicks off today, and it is not going great. The multi-faceted festival lost Earl Sweatshirt due to an injury, and political commentators Hasan Piker and Cenk Uygur won’t be there either because of a UK entry ban.

The post SXSW London Loses Earl Sweatshirt To Injury, Hasan Piker & Cenk Uygur To UK Entry Ban appeared first on Stereogum.

Julia Jacklin last released an album in 2022 with Pre Pleasure, and man was it good. It seems the good people at 4AD Records have noticed. They’ve added Jacklin to their roster, a revelation that comes today along with lots of tour dates on both sides of the Atlantic. It seems like by the time this tour kicks off in October we’ll have a new Julia Jacklin album out on 4AD, yeah? Just dream about the possibilities while you survey the dates below.

The post Julia Jacklin Signs To 4AD, Announces Extensive Tour appeared first on Stereogum.

Filmed in March of 2025.

The post Devin Townsend Releases “Prepare For War”/”The Big Snit” Live Video With The North Netherlands Orchestra And Choir appeared first on Theprp.com.

We can always count on Hurry for some wistful, jangly goodness, and the Philly power-pop combo learned many of their most powerful tracks from genre champions Teenage Fanclub. So it’s quite pleasant to hear Teenage Fanclub’s Gerard Love pop up on the latest single from Hurry’s Zoned Out. Hurry announced the album last month and…

The post Hurry – “Moving After You” (Feat. Teenage Fanclub’s Gerard Love) appeared first on Stereogum.

With ’90s rock unexpectedly having a moment in the 2020s, Spanish trio Green Water Desert‘s timing couldn’t be better for the upcoming release of their third full-length, Eerie Meadows. The track we’re premiering from that effort, “Woodcutter,” combines the groove of old-school Pearl Jam with the stoner vibe of Kyuss or Monster Magnet. These dudes—Juan Arias García (bass), Dani Barcena (drums/percussion), Kike Sanchís (guitar/vocals)—have the sound dialed in, from the snaky blues riffs to the psychedelic touches. There might even be a little cowbell in there.

Eerie Meadows was co-produced by Diego Martinez and Sergio Tutu. Recording and mixing was done by Sergio Tutu at Tutu Estudios, Corvera (Asturias, Spain), while mastering was performed by Chris Goosman at Baseline Audio Labs, Ann Arbor, Michigan. It’s set for release on vinyl (via Kozmik Artifactz), CD and digitally via Small Stone Recordings on June 19. Place your preorder here.

The band had this to say about the lyrical approach behind its new single:

“‘Woodcutter’ speaks of a journey from sadness to light, through the deepest valleys and the highest mountains. It’s about feeling suffocated by loneliness, until you finally find home near where the light hides, and you can feel how the thrill comes.”

The post Track Premiere: Green Desert Water – “Woodcutter” appeared first on Decibel Magazine.