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  • Skindred announce nu-metal tour with Alien Ant Farm, Spineshank and Orgy

    Skindred have announced a nu-metal-themed UK and Ireland headline tour.

    Joined by Alien Ant Farm, Spineshank and Orgy at select dates, the trio will celebrate their impending album You Got This with fans up and down the country this autumn – including a whopping 10,000 of them at London’s Alexandra Palace on Halloween.

    We wanted to do something really special to support the release of our new album You Got This,” enthuses drummer Arya Goggin. After touring with our friends Alien Ant Farm in Europe last year, we had to bring them to the UK to join the Skindred party! 

    Halloween is always such a special night, for both us and our fans, so this year our annual Night of the Living Dred’ show will be its biggest-ever at London’s Alexandra Palace! Along with Alien Ant Farm we have Spineshank and Orgy joining us. It’s going to be a really special night with loads of surprises.”

    Catch them live at the following:

    Skindred You Got This UK/Ireland headline tour

    October

    24 Nottingham Rock City
    30 Birmingham O2 Academy
    31 London Alexandra Palace

    November

    6 Dublin 3Olympia
    7 Belfast Telegraph Building
    13 Glasgow Barrowlands 

    Tickets go on general sale this Friday, March 27 from 10am.

    Skindred 2026 UK Ireland headline tour London Alexandra Palace Alien Ant Farm Spineshank nu metal poster

    Posted on March 25th 2026, 10:14a.m.

  • Violet Grohl Announces Debut Album Be Sweet To Me And Shares New Single 595

    Violet Grohl has announced her debut album Be Sweet To Me, set for release on 29 May 2026

    Violet Grohl has announced her debut album Be Sweet To Me, set for release on 29 May 2026 via Auroura Records and Republic Records. Alongside the announcement, she has shared the new single 595, accompanied by a video.

    The album was recorded between late 2024 and early 2025 at producer Justin Raisen’s Los Angeles studio, drawing influence from alternative music of the late 1980s and early 1990s. Artists such as Pixies, Soundgarden, PJ Harvey, and Alice In Chains have helped shape the album’s sound. “I’ve listened to that stuff since I was a kid,” Grohl says.

    “There’s something so powerful about that period of music,” Violet says, “from the messaging to the visuals, it’s authentic and raw.”

    Grohl’s songwriting blends raw emotion with cinematic textures, inspired in part by the work of filmmaker David Lynch. Tracks like THUM and Applefish have already introduced listeners to her distinctive style, while 595 delivers a bold and provocative edge.

    The album will be available on CD and multiple vinyl formats, including exclusive editions. Grohl is also set to perform at the Shaky Knees festival in Atlanta later this year.


    In addition to CD, Be Sweet To Me is available to preorder in black, blueberry jam (exclusive to indie retailers) and ivory vinyl (exclusive to the official artist store). Pre-Save + Pre-Order via violetgrohl.lnk.to/besweettomePR.

    Violet Grohl has announced her debut album Be Sweet To Me, set for release on 29 May 2026
    Violet Grohl has announced her debut album Be Sweet To Me, set for release on 29 May 2026

    Violet Grohl – Be Sweet To Me – Tracklist

    1. THUM
    2. 595
    3. Bug In A Cake
    4. Last Day I Loved You
    5. Big Memory
    6. Mobile Stars
    7. Often Others
    8. Applefish
    9. Cool Buzz
    10. Pool Of My Dream
    11. Plastic Couch

    The post Violet Grohl Announces Debut Album Be Sweet To Me And Shares New Single 595 first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.
  • Ranking Every George Harrison Top 40 Song

    Each single issued over his first five solo years reached the Billboard Top 40 – and two of them hit No. 1. Continue reading…
  • Bekor Qilish – Consecrated Abysses Of Dread Review

    [Cover art by STRX Art]

    If you listen to metal for long enough, you will inevitably encounter at least one of a plethora of solo projects. The modern state of recording tools has only made that option more accessible with each passing year. On one hand, that ensures more exceptional creative voices are able to enter the fold and share a vision that would never otherwise be experienced. On the other hand, that means every jackoff with enough money and bad ideas can slop out a bunch of nonsense. Most one-person bands end up somewhere in the middle. The biggest problems you’re likely to encounter in a one-person circus are overindulgence and a lack of self-editing. Luckily, Bekor Qilish mastermind, Andrea Bruzzone, does not fall into that trap and managed to make album number three a tidy, fraught and engaging 30-minute affair. But, there must be SOME self-indulgence, right? Ok, well, Bruzzone is clearly a fan of Crimson II and Catch Thirtythree both in certain sonic choices and because this 10-track album is intended to be viewed as a single composition. It works, I swear!

    Release date: March 27, 2026. I, Voidhanger Records.
    As is the case with pretty much all music coming from I, Voidhanger, Consecrated Abysses Of Dread unleashes the kind of music that would’ve landed Bruzzone in an asylum had it been released anytime before Black Sabbath hit the scene and set our lives on a better path. “Emptiness-Wrought Cognition” skips any pretense and goes straight to electrocuting your brain with slicing guitars, aggressive drumming and froggy vocals. Before it even hits the halfway point, there’s a synth passage that will have you asking if Bruzzone has brain worms. Then it fires off a sick guitar lead that lasts longer than expected and throws in some Cynic-esque cleans just for the hell of it. At three minutes and 45 seconds, the opener is one of the longer tracks; the Edge Of Sanity love is real.

    Consecrated Abysses Of Dread has consistent undercurrents and influences, such as a steady diet of Krallice huffing angel dust, but each track does take its moment to shine. “No Solace At The Eschaton” hews closer to the Meshuggah influence with some guitar parts that have the cleaner, siren effect and squiggliness of Fredrik Thordendal. Roughly half of “Fatal Remedy Of The Unyielding Plague” is a deranged breakdown that sounds like the album is having a panic attack. While “Everlasting Advent Of Eternal Forms – Part 2” is not short on pummel, it also closes feeling almost grandiose. There’s a stretch on “The Harmless Mask Of Disembowelment” that sounds almost traditionally Japanese with the instrumentation. The synth-focused opening of “The Abyss’ Voice Grows Distant” is like a campy 80’s horror movie picked a fight with a buddy-cop film. While all of these moments give each track a distinct flavor, they never feel out of place or overly jarring when they come in.

    Bruzzone may be the main maestro, but he also brought in some quality guest musicians to help bolster his work. In terms of some of the more recognized names from the guest list, Mick Barr (Krallice) contributes the previously mentioned lead on the opening track, and Lisa Voisard (Anachronism) and Gabriele Gramaglia (Cosmic Putrefaction) contribute an excellent array of vocals on the closing track to give it a violent death metal finish. Bekor Qilish should be credited for doing an excellent job in bringing in outside voices that retain their makers’ quality while still feeling like a part of the designed vision. You wouldn’t immediately assume a guest is present. The album does seem to rely on a drum machine/programming, which may be a deterrent for some. Perhaps one day Bruzzone will add a session drummer that can add some extra oomph to the proceedings, but I don’t personally view the programming as a shortcoming here.

    All in, Consecrated Abysses Of Dread is a buzzy, strange and wily little adventure that’s perfect for the I, Voidhanger roster. It’s well-paced, giving listeners breathers from the chaos right when it’s needed, has an eclectic blend of influences, and was created by someone with the vision to know that at least some outside input and contributions would help elevate it. Why not get a little dissonant and weird in the middle of the week?

    The post Bekor Qilish – Consecrated Abysses Of Dread Review appeared first on Last Rites.

  • Tuk Smith And The Restless Hearts Announce UK Tour Dates

    Tuk Smith And The Restless Hearts have announced a run of UK tour dates

    Tuk Smith And The Restless Hearts have announced a run of UK tour dates, bringing their brand of high-energy heavy rock ‘n’ roll to audiences across the country. Following their date with Maid Of Stone Festival, the band will kick off the tour in London before heading to Southampton, Wolverhampton, Leeds, and Glasgow, with an additional date yet to be announced.

    “I’ve always had a special place in my heart for the UK ever since I first started playing here a decade ago with my previous band,” Tuk Smith told us “This is my first proper UK tour as a solo artist, and I’m just as excited now as I was back then!”

    July

    20jul7:30 pmTuk Smith & The Restless Hearts, LondonThe Grace

    22jul7:30 pmTuk Smith & The Restless Hearts, SouthamptonThe 1865

    23jul7:30 pmTuk Smith & The Restless Hearts, WolverhamptonKK’s Steel Mill

    24jul7:30 pmTuk Smith & The Restless Hearts, LeedsThe Key Club

    26jul7:30 pmTuk Smith & The Restless Hearts, GlasgowThe Classic Grand

    Punk maverick from rural Georgia, Biters frontman, producer and solo artist, Tuk Smith has seen the best and worst of a music industry in constant flux.

    He has been critically acclaimed, poised for stadiums, dropped, burned out, back in the game and beloved by those for whom rock is still everything. Now based in Nashville, and with his own label Gypsy Rose Records, he creates from a more real place than most.

    “I want to do something that means something to people,” Tuk says, “because a lot of shit nowadays is so disposable and so plastic. I just don’t connect with that. I’d like to do things that impact people positively.

    “It’s a weird time on the planet, so to have songs about hope, but not be cheesy about it, it’s something I think we need with songwriting. That’s the kind of music I want to hear.”

    With the Troubled Paradise EP out now, and 2025 seeing Tuk on the road with Danko Jones, as well as playing Planet Rockstock, 2026 will see the mild-mannered frontman back out strutting his stuff.

    “Rock ‘n’ roll is essentially the illusion of not giving a fuck, right? Like, you know, Axl Rose was doing sit-ups and jump rope, and Paul Stanley was on a cardio machine, and they come out and act like it just happens.

    “The point is I sit at that piano many hours, working on this stuff.”

    Tickets are on sale from 27 March 2026 via https://www.tuksmithandtherestlesshearts.com.

    Tuk Smith & The Restless Hearts UK Tour 2026 Poster
    Tuk Smith & The Restless Hearts UK Tour 2026 Poster
    The post Tuk Smith And The Restless Hearts Announce UK Tour Dates first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.
  • Amberian Dawn Introduce New Singer, Nicole Willerton

    Finnish symphonic metal band Amberian Dawn is headed for a new era: not only do they announce their ninth album, ‘Temptation’s Gates‘, which will be released on June 26th, 2026 via Napalm Records, but they also introduce a new singer with it. Swedish-English musician Nicole Willerton is taking over from previous frontwoman Capri, who sadly […]

    The post Amberian Dawn Introduce New Singer, Nicole Willerton appeared first on ROCKPOSER DOT COM!.

  • Zürich’s FUELED BY FEAR Reinterpret A-HA’s Classic Hit ‘Take On Me’ with Official Music Video!


    Zürich’s FUELED BY FEAR have released their reinterpretation of A-HA’s 1985 classic hit song ‘Take On Me’, unveiling another emotional layer hidden beneath the surface. The track is taken from the band’s new EP “Ordinary Evil” (released on January 31st 2026), produced by Oscar Nilsson (The Halo Effect, The Haunted), bringing the characteristic Gothenburg metal sound to perfection at Bohus Studio. His extremely broad and uncompromisingly hard production gives Fueled By Fear their final edge – like the missing puzzle piece of their sound.

    Watch the official video here: https://www.youtube.com/watch?v=ZwQoz6jjRzQ

    Daniel Zopfi (Guitar) on ‘Take On Me’:
    “We grew up with “Take On Me” by A-HA.  it’s one of those songs that everyone knows, but we always felt there was another emotional layer hidden beneath the surface. With our version, we wanted to bring out the darker side of that feeling . the tension, the urgency, and the sense of stepping into the unknown. The video reflects that idea: being pulled between worlds, between safety and risk. It’s not just nostalgia. it’s about what that song feels like today, through our lens. We didn’t want to copy the original we wanted to reinterpret it in a way that feels honest to who we are as a band!”

    Mauro Galasso (Drums) adds:
    “The idea to cover “Take On Me” came up about four years ago, and at first, I honestly thought: what the hell? Turning an 80s pop classic into a metalcore / melodic death metal track just didn’t seem to make sense. At least not to me. That changed the moment I actually heard it. Once the arrangement came together, everything clicked. For the video, we leaned into that contrast. We embraced the 80s aesthetic, added a bit of parody, and mixed it with our heavier sound. It’s a tribute, but definitely not a traditional one. We shot the entire video in a single day in a small location, keeping things raw and simple, focusing on vibe over perfection. What started as a random idea turned into something we didn’t see coming. And probably not what you expect when you hear “Take On Me.”

    ++++++

    Stream, download and add to your playlists the “Ordinary Evil” EP: https://open.spotify.com/playlist/1fI2HcU1Xn3qdXXiMGAu0g

    Mauro Galasso (Drums) on “Ordinary Evil”:
    “The title Ordinary Evil is inspired by Hannah Arendt’s book Eichmann in Jerusalem and her idea of the banality of evil. The realization that evil often doesn’t appear as an obvious monster, but emerges through conformity, thoughtlessness, and the abdication of personal responsibility.
    These thoughts feel disturbingly relevant today. Authoritarian tendencies, power figures, and oversimplification show how quickly history repeats itself when people stop thinking for themselves and find resistance too exhausting.
    This confrontation also shaped our work on the EP. During the creative process, we completely questioned ourselves musically and personally. What defines us? Where do we want to go? It was a process that forced us to let go of the familiar and approach things differently. There were moments when it would have been easier to give up rather than face this confrontation. This is exactly where Ordinary Evil comes in: Don’t give up. Keep going. Face the repetitions,
    defend your own path, and don’t let indifference win. It’s worth staying committed. Creatively, humanly, defiantly. Ordinary Evil is our statement for that”

    Manuel Elber (Guitar) continues:
    “Imagine making a dough, only to discover that you don’t like the texture. You put it back into the fridge. The next day you add a little bit of this, a little bit of that, and after processing, your dough still sucks, but not so much to scrap it. So you put it back in the fridge, thinking about what to change. Then you try to learn all the insights a baker learns in a crash course. You add your dangerous half-assed knowledge you gained and surprisingly it starts to feel better. You keep
    going, learn, each time adding more to the dough and finally you have a bake-worthy consistency, so far from where you started, that it seems like magic.
    For context: “Ordinary Evil” took about four years to come to life. Scrapped more times than I can count. Cost us blood, sweat and tears, caused literal breakdowns, frequent questioning of the reason why we do this. But it shaped us as musicians, as a family, as a team. The amount of things we learned, technical, recording-wise, in persistence, in constructive criticism, is something no one can take from us. And as for all endeavours this heap of maniacs is tackling: it’s always evolving, always changing, following the heart with an open mind. This one, we’re especially proud of!”

    Daniel Zopfi (Guitar) adds:
    “Ordinary Evil was written out of frustration, anger, and watching the same systems fail us over and over again. It’s about how cruelty gets normalized, how power hides behind routine, and how people learn to live with injustice as long as it’s quiet enough. This EP isn’t subtle and it’s not meant to be comfortable. It’s confrontational by necessity. These songs come from a place of distrust toward empty promises, authority without accountability, and a world that keeps demanding silence and obedience. It’s loud, raw, and uncompromising, fueled by everything we’re done ignoring: the hypocrisy, the violence beneath the surface, and our own complicity in letting it happen. This is us calling it out, refusing to soften the message, and turning that anger into sound exactly as we feel it right now.”

    On the EP artwork Mauro Galasso shared:
    “The cover of Ordinary Evil visually captures the central idea of the EP: Hannah Arendt’s realization that evil often doesn’t appear as an obvious monster, but hides behind an ordinary facade. The ancient bust, whose surface crumbles to reveal a demonic face, is deliberately chosen. Ancient busts are a core element of my visual language as an artist, but here an additional layer emerged: They represent history and human patterns that repeat themselves. The monumental
    decays and releases what has been repressed.
    We had various approaches that were either conceptually too complex or didn’t properly convey the message. When I returned to my own visual language, it became clear: The rawness, the epic quality, and the bold impact of this visual language reflect exactly the musical identity we developed with this EP.
    The series was planned from the beginning. With each release, the facade crumbles further until the true face is fully visible at the end. A visual evolution that runs parallel to the EP. That my own style represents the band best has confirmed me as a graphic designer and as the drummer of Fueled By Fear: We have taken the right creative path.”

    With their new EP, Fueled By Fear deliver their most mature and uncompromising work to date. The five tracks move between dark groove steamrollers and melodically dense anthems – harder, more powerful, and more forceful than all previous productions. The band has sharpened their sound: hardness meets groove, tempo meets aggression, while melodic passages merge with modern pressure. The result is songs with enormous chorus quality and real singalong potential – dark, but irresistibly catchy.

    BIO:
    FUELED BY FEAR from Zurich have been combining the intensity of metalcore with the melodic depth of melodic death metal since 2011. The band manages to merge melodic passages with grooving rhythms into a sound that can both strike brutally and touch emotionally. Support performances for In Flames, Sepultura, and even Pantera underscore their international relevance. Their debut “Two By Eight” reached #5 on the Swedish rock charts and #22 in Switzerland.
    Fueled By Fear stands for authentic metal without filters!

    For Fans Of:  Heaven Shall Burn, In Flames, Caliban, Darkest Hour, At the Gates, The Haunted, Bleed From Within

    Photo credit: Marcel Bruderer

    Line-up:
    Vocals: Marco Böhlen
    Guitar: Manuel Elber
    Guitar: Daniel Zopfi
    Bass: Josh De Souza
    Drums: Mauro Galasso

    Social Media Links:
    https://www.instagram.com/fueled_by_fear_official/
    https://www.facebook.com/fueledbyfear/
    https://www.youtube.com/@fueledbyfear2516
    https://www.tiktok.com/@fueled_by_fear_official

    Streaming Links:
    https://open.spotify.com/intl-de/artist/6trMH3h5QEeV4RkGJUTKkH
    https://music.apple.com/ch/artist/fueled-by-fear/1175459666
    https://soundcloud.com/fueledbyfear
    https://music.youtube.com/channel/UChy74syl4Mi2XG03J0qyWkw
  • Zürich’s FUELED BY FEAR Reinterpret A-HA’s Classic Hit ‘Take On Me’ with Official Music Video!


    Zürich’s FUELED BY FEAR have released their reinterpretation of A-HA’s 1985 classic hit song ‘Take On Me’, unveiling another emotional layer hidden beneath the surface. The track is taken from the band’s new EP “Ordinary Evil” (released on January 31st 2026), produced by Oscar Nilsson (The Halo Effect, The Haunted), bringing the characteristic Gothenburg metal sound to perfection at Bohus Studio. His extremely broad and uncompromisingly hard production gives Fueled By Fear their final edge – like the missing puzzle piece of their sound.

    Watch the official video here: https://www.youtube.com/watch?v=ZwQoz6jjRzQ

    Daniel Zopfi (Guitar) on ‘Take On Me’:
    “We grew up with “Take On Me” by A-HA.  it’s one of those songs that everyone knows, but we always felt there was another emotional layer hidden beneath the surface. With our version, we wanted to bring out the darker side of that feeling . the tension, the urgency, and the sense of stepping into the unknown. The video reflects that idea: being pulled between worlds, between safety and risk. It’s not just nostalgia. it’s about what that song feels like today, through our lens. We didn’t want to copy the original we wanted to reinterpret it in a way that feels honest to who we are as a band!”

    Mauro Galasso (Drums) adds:
    “The idea to cover “Take On Me” came up about four years ago, and at first, I honestly thought: what the hell? Turning an 80s pop classic into a metalcore / melodic death metal track just didn’t seem to make sense. At least not to me. That changed the moment I actually heard it. Once the arrangement came together, everything clicked. For the video, we leaned into that contrast. We embraced the 80s aesthetic, added a bit of parody, and mixed it with our heavier sound. It’s a tribute, but definitely not a traditional one. We shot the entire video in a single day in a small location, keeping things raw and simple, focusing on vibe over perfection. What started as a random idea turned into something we didn’t see coming. And probably not what you expect when you hear “Take On Me.”

    ++++++

    Stream, download and add to your playlists the “Ordinary Evil” EP: https://open.spotify.com/playlist/1fI2HcU1Xn3qdXXiMGAu0g

    Mauro Galasso (Drums) on “Ordinary Evil”:
    “The title Ordinary Evil is inspired by Hannah Arendt’s book Eichmann in Jerusalem and her idea of the banality of evil. The realization that evil often doesn’t appear as an obvious monster, but emerges through conformity, thoughtlessness, and the abdication of personal responsibility.
    These thoughts feel disturbingly relevant today. Authoritarian tendencies, power figures, and oversimplification show how quickly history repeats itself when people stop thinking for themselves and find resistance too exhausting.
    This confrontation also shaped our work on the EP. During the creative process, we completely questioned ourselves musically and personally. What defines us? Where do we want to go? It was a process that forced us to let go of the familiar and approach things differently. There were moments when it would have been easier to give up rather than face this confrontation. This is exactly where Ordinary Evil comes in: Don’t give up. Keep going. Face the repetitions,
    defend your own path, and don’t let indifference win. It’s worth staying committed. Creatively, humanly, defiantly. Ordinary Evil is our statement for that”

    Manuel Elber (Guitar) continues:
    “Imagine making a dough, only to discover that you don’t like the texture. You put it back into the fridge. The next day you add a little bit of this, a little bit of that, and after processing, your dough still sucks, but not so much to scrap it. So you put it back in the fridge, thinking about what to change. Then you try to learn all the insights a baker learns in a crash course. You add your dangerous half-assed knowledge you gained and surprisingly it starts to feel better. You keep
    going, learn, each time adding more to the dough and finally you have a bake-worthy consistency, so far from where you started, that it seems like magic.
    For context: “Ordinary Evil” took about four years to come to life. Scrapped more times than I can count. Cost us blood, sweat and tears, caused literal breakdowns, frequent questioning of the reason why we do this. But it shaped us as musicians, as a family, as a team. The amount of things we learned, technical, recording-wise, in persistence, in constructive criticism, is something no one can take from us. And as for all endeavours this heap of maniacs is tackling: it’s always evolving, always changing, following the heart with an open mind. This one, we’re especially proud of!”

    Daniel Zopfi (Guitar) adds:
    “Ordinary Evil was written out of frustration, anger, and watching the same systems fail us over and over again. It’s about how cruelty gets normalized, how power hides behind routine, and how people learn to live with injustice as long as it’s quiet enough. This EP isn’t subtle and it’s not meant to be comfortable. It’s confrontational by necessity. These songs come from a place of distrust toward empty promises, authority without accountability, and a world that keeps demanding silence and obedience. It’s loud, raw, and uncompromising, fueled by everything we’re done ignoring: the hypocrisy, the violence beneath the surface, and our own complicity in letting it happen. This is us calling it out, refusing to soften the message, and turning that anger into sound exactly as we feel it right now.”

    On the EP artwork Mauro Galasso shared:
    “The cover of Ordinary Evil visually captures the central idea of the EP: Hannah Arendt’s realization that evil often doesn’t appear as an obvious monster, but hides behind an ordinary facade. The ancient bust, whose surface crumbles to reveal a demonic face, is deliberately chosen. Ancient busts are a core element of my visual language as an artist, but here an additional layer emerged: They represent history and human patterns that repeat themselves. The monumental
    decays and releases what has been repressed.
    We had various approaches that were either conceptually too complex or didn’t properly convey the message. When I returned to my own visual language, it became clear: The rawness, the epic quality, and the bold impact of this visual language reflect exactly the musical identity we developed with this EP.
    The series was planned from the beginning. With each release, the facade crumbles further until the true face is fully visible at the end. A visual evolution that runs parallel to the EP. That my own style represents the band best has confirmed me as a graphic designer and as the drummer of Fueled By Fear: We have taken the right creative path.”

    With their new EP, Fueled By Fear deliver their most mature and uncompromising work to date. The five tracks move between dark groove steamrollers and melodically dense anthems – harder, more powerful, and more forceful than all previous productions. The band has sharpened their sound: hardness meets groove, tempo meets aggression, while melodic passages merge with modern pressure. The result is songs with enormous chorus quality and real singalong potential – dark, but irresistibly catchy.

    BIO:
    FUELED BY FEAR from Zurich have been combining the intensity of metalcore with the melodic depth of melodic death metal since 2011. The band manages to merge melodic passages with grooving rhythms into a sound that can both strike brutally and touch emotionally. Support performances for In Flames, Sepultura, and even Pantera underscore their international relevance. Their debut “Two By Eight” reached #5 on the Swedish rock charts and #22 in Switzerland.
    Fueled By Fear stands for authentic metal without filters!

    For Fans Of:  Heaven Shall Burn, In Flames, Caliban, Darkest Hour, At the Gates, The Haunted, Bleed From Within

    Photo credit: Marcel Bruderer

    Line-up:
    Vocals: Marco Böhlen
    Guitar: Manuel Elber
    Guitar: Daniel Zopfi
    Bass: Josh De Souza
    Drums: Mauro Galasso

    Social Media Links:
    https://www.instagram.com/fueled_by_fear_official/
    https://www.facebook.com/fueledbyfear/
    https://www.youtube.com/@fueledbyfear2516
    https://www.tiktok.com/@fueled_by_fear_official

    Streaming Links:
    https://open.spotify.com/intl-de/artist/6trMH3h5QEeV4RkGJUTKkH
    https://music.apple.com/ch/artist/fueled-by-fear/1175459666
    https://soundcloud.com/fueledbyfear
    https://music.youtube.com/channel/UChy74syl4Mi2XG03J0qyWkw
  • Rubbish Party – Let Me Take You / First World Villain

    If you paid attention to what’s happening on the contemporary music scene, then you probably noticed how the
  • Godsticks / Fresh, Focused And Firing On The Excellent VOiD

    Godsticks - VOiD - The quality of this band has always been there. Now it is just pushed up another two levels at least.

    Distinctive, unique, creative, clever, underrated, and passionate. All words I would happily associate with Godsticks, the Progressive Metallers who have been carving their own mark in the world of hard rock and Metal for 18 years. Seventh album VOiD is not going to change my view of them, for it is 44 minutes of music that works on every level.

    Godsticks – VOiD

    Release Date: 27 March 2026

    Words: Paul Hutchings

    The bite of aggression in their distinctive guitar work remains, and if anything, has been levelled up a notch or two. Dark and uncompromising, it reflects the disillusionment with the division in the world, and as the band put it, the loss of nuance. So, to combat that, we retreat from the noise into our own personal void. 

    With their first lineup change for aeons in situ, Francis George is now on bass in place of former member Dan Nelson, and the lineup sounds energised and fresh.

    Godsticks - VOiD - The quality of this band has always been there. Now it is just pushed up another two levels at least.
    Godsticks – VOiD – The quality of this band has always been there. Now it is just pushed up another two levels at least.

    Not that there was an issue with This Is What A Winner Looks Like, because I deemed that their best release back in 2023. But there is something more instant, more compelling about VOiD, as George locks in with drummer Tom Price and guitarist Gavin Bushell, with the lineup completed by guitarist and vocalist Darran Charles.

    So, what do the band feel about the subject matter? “It feels like we’re in an age where there’s no compromise, no centre ground, and no one really wants to consider another person’s perspective. We’re left with just two viewpoints: left or right (which are also each side’s synonyms for either ‘right’ or ‘wrong’).

    “Like many musicians, I’m arguably quite left-wing in my views, although I can’t help but feel that all the strides we’ve made as a society towards tolerance and inclusion have been undermined by efforts to shame anyone who may have used an incorrect word, whilst actually doing a very positive thing.

    “In recent years, people have been too quick to strip words of context and, more importantly, intent, all in the name of winning an argument or admonishing someone to make themselves look more enlightened.”

    Having emerged blinking into the light from a creative block that caused severe angst post-pandemic with This Is What A Winner Looks Like, Godsticks have spent 18 months crafting VOiD.

    That it rolls along with incredible pace is to the band’s credit. M.I.A, Hold Back and Watch It Burn all pass in a blur. This is a Progressive band who do not need to play sprawling epics. Everything is condensed into short sharp bursts. Watch It Burn clocks in at just over three minutes, yet does everything it needs to get the message across with ample time. 

    Following those three opening tracks, Godsticks ease off the frenetic pace on Master Of A Plan, a slightly more measured and expansive track that still contains all the bite necessary. Charles vocals are on point, more direct and controlled, but still with the distinctive, instantly recognisable style that makes him one of the genre’s best frontmen. The track also features some of the album’s best guitar work. 

    Allow time to explore and immerse yourself in this album, and you will find rich rewards. The songs are sharp, such as Can’t Withstand, with multiple layers to absorb and appreciate.

    The quality of this band has always been there. Now it is just pushed up another two levels at least. It is evident that the writing process has developed again, with Charles effusive about his colleagues’ contributions.

    “I cannot overstate the enormously positive impact Tom and Gavin have had on the writing process over the last few albums,” he says. “Whilst the writing methods have rarely changed for me over the years, what has changed is that their contributions are indispensable and something I genuinely look forward to incorporating.

    “I’ve lost count of the times on this album that they’ve provided or reinterpreted a part that has prevented the song from being binned because it wasn’t working. This is also the first time in 12 years that we’re working with a different bass player, too [Francis George], and that itself has offered a fresh perspective on arrangements and influenced the overall feel of the rhythm section. It’s a little different this time around.” 

    I can see that these songs will translate well into the live shows that the band have coming up. I am desperately working on how to get to one, with multiple clashes and commitments to juggle.

    However, if I can, the opportunity to see and hear Talking Through Walls Part 1 and Part 2 would be epic, for even at the tail end of the album, often where the runt of the song litter is hidden, Godsticks refuse to bow down on quality with the double parter showing another side to the band.

    The first part is more measured, precise and controlled, whilst the latter erupts into a barrage of crunching riffs and chilling lead work.

    The finale, Hope Is Burning, is a reminder of the themes and lyrical content on VOiD. It is classic Godsticks, perfectly delivered with a combined feel that is both defiant yet delicate at the same time. 

    For me, VOiD will, with more plays, likely climb to the top of the band’s discography, possibly beating my favourite, 2020’s Inescapable.

    I am going to spend more time with it for sure and continue to work out how to get to one of those Spring shows without causing too many ramifications. You should, too.

    Godsticks release VOiD on 27 March 2026 via Kscope. Pre-orders are available from godsticks.lnk.to/VOiDFA. Their tour kicks off on 17 April at the Hope & Anchor in London. Tour ticket links are available from here. The band also play SOS Festival, Oldham on 4 July 2026.

    April

    17apr7:30 pmGodsticks, LondonHope and Anchor

    18apr7:30 pmGodsticks, NottinghamThe Old Sal

    23apr7:30 pmGodsticks, ManchesterGullivers

    24apr7:30 pmGodsticks, BirminghamThe Victoria

    25apr7:30 pmGodsticks, SwanseaThe Bunkhouse

    May

    01may7:30 pmGodsticks, DundeeHidden

    02may7:30 pmGodsticks, EdinburghThe Banshee Labyrinth

    June

    27jun7:30 pmGodsticks, BristolThe Louisiana

    28jun7:30 pmGodsticks, SouthamptonThe 1865

    Godsticks - VOiD Tour Poster 2026
    Godsticks – VOiD Tour Poster 2026
    The post Godsticks / Fresh, Focused And Firing On The Excellent VOiD first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.