CRAWLERS have unleashed a new track, taken from their upcoming EP ‘TURN OFF YOUR TV’.
Titled ‘COOL’, it is a bass-heavy tune full of catchy poetry and shimmering admissions. It shows off the band at their most cheeky and confident, every second dripping with decadent intent and thoughtful prowess. Ebbing and flowing between spiky and caramel smooth, it’s a sign of just how little they are holding back in this brand new era. Because the world is burning, so why would we just sit back and let it happen?
Vocalist Holly Minto had this to say about it:
“COOL” is all about the pressure to constantly keep up appearances and pretend everything’s fine, even when you’re falling apart inside. Peers’ encouragement when you’re indulging in self-harming behaviour, then being stuck in this performance of having it all together, using distractions like alcohol and trying to stay “cool” to cope with the weight of it all. But it’s exhausting and unsustainable.
“It’s about being self-aware enough to know that the obsession with being “cool” is a way to survive, but it’s also a facade. There’s a constant battle between wanting to be real and honest versus staying fake to protect yourself. But the pressure is building, and they can’t keep up the act forever. There’s also a strong awareness of the world’s problems—the climate, politics, everything is burning up—and asking, “How can I keep playing it cool when everything’s falling apart?”
‘TURN OFF YOUR TV’ will be released on August 14 and can be pre-saved right here.
The artwork looks like this:
Whilst the tracklisting is more like this:
1. AFRAID TO DIE 2. STAY ALIVE 3. COOL 4. ALL WE HAVE IS US
The band will also be playing a special show at London’s Village Underground on November 20. Tickets are available from right here.
Stand Atlantic have announced the details of their new full-length album, the follow-up to 2024’s album ‘WAS HERE’.
Set to be titled ‘GODBREATH’, it will be released on October 23 via Virgin Music Group.
The artwork looks like this:
Whilst the tracklisting is a little bit more like this:
1. LUCID 2. NEXT2U 3. Velcro 4. SO COOL 5. Favourite Flavour 6. finger 7. d.L.M.A 8. EDGE OF VEGAS 9. teeth 10. HeadRush 11. Gimme A Show
As well as featuring recent single ‘Velcro’, you can also check out the opening track right now as well.
That is ‘LUCID’, a bright, breezy and bold piece of crossover pop-punk that speaks as much to the band have been in years past as who they have been in recent times. Finding a suitable middle ground, it is an irresistible and iridescent slice of catchiness.
Vocalist Bonnie Fraser had this to say about it:
“This was a hard track to figure out. ‘LUCID’ was one of the last songs we wrote for this record and I was kind of done. I felt like I was running out of things to say that wouldn’t feel super contrived. So I went plain and simple, I thought ‘I’m not going to overthink this, let’s go with what self-sabotage feels like’, and explored that lyrically.”
Lost Fire started by recording raw demos in a room by the crashing waves of the Chilean coastline. They then moved to a recording studio in San Francisco, where they laid down the final record in just four days. The album features Josef’s powerful vocals and Tomás’s intense guitar work, supported by a solid rhythm section that includes Gawain Mathews on bass and Kyle Caprista on drums.
Rejecting the sterile, over-edited, and hyper-quantized trends that dominate modern airwaves, Lost Fire remained committed to the classic analog philosophy of “first take, best take.” Driven by pure and unfiltered improvisational synergy, they captured almost every track on the album in just one or two takes. It is 100% human, recorded live, and bursting with kinetic, physical energy. “We had an incredible amount of fun tracking these songs, and you can feel that absolute freedom and exuberance in the playback,” Josef reflects. “We just let the tape roll and let the music explode. It’s the ‘Lost Fire’ songwriting style, stripped down to the bones with the volume turned all the way up.”
Lead single Have A Good Time from upcoming 15-track LP, Weeds In the Astroturf”. I love the riffs, the energy, the sound, the authenticity and the performance. It’s a very straightforward track, recorded with attitude and no frills. A very cool one, give it a go by clicking on the Spotify player below and follow Lost Fire if you like what you hear.
After nine years away from UK stages, the question was not whether System Of A Down could still deliver, but whether the crowd still felt the same fire. Selling out two nights at a 65,000‑capacity stadium suggests the appetite never really faded, even if the band themselves have spent the better part of a decade in silence.
System Of A Down
Tottenham Hotspur Stadium, Night One – 13 July 2026
Maybe the political climate has once again called SOAD to arms, or maybe absence has simply made the heart grow louder. Either way, North London became a pilgrimage site for fans who have survived on two charity tracks and nostalgia alone.
Walking up to White Hart Lane as a West Ham fan is enough to make anyone feel queasy, but when you are surrounded by thousands of System Of A Down devotees filling the bowl to capacity, it is surprisingly easy to swallow.
System Of A Down – Tottenham Hotspur Stadium – 13 July 2026. Photo: Aggie Anthimidou/MetalTalk
Tottenham was awash with Metalheads in the merch of their Nu‑Metal heroes, buzzing with the kind of camaraderie only a long‑awaited reunion can spark. Even transport carnage, giving EDDFEST a run for its money, could not keep a good Metalhead down.
The streets smelled of beer, burgers and BBQ. Fans laughed, swapped stories, and occasionally cursed the heat or the trains. What stood out most was the generational mix, older fans who had seen it all before standing shoulder‑to‑shoulder with kids who were not even born when SOAD last released an album.
Inside, the stadium’s club shop had been transformed into a Metal mecca, stacked with a huge SOAD merch range on top of the pop‑up store already running in central London.
System Of A Down – Tottenham Hotspur Stadium – 13 July 2026. Photo: Aggie Anthimidou/MetalTalk
Acid Bath kicked things off with a short, sharp shock of a set, a jolt of energy through opening track Tranquilized to wake the crowd from its sunny siesta. The early sound was slightly muted, and the bowl was still filling, but by the time they closed with Paegan Love Song and The Mortician’s Flame, the mix had improved, the crowd was moving, and the band looked genuinely pleased.
Queens Of The Stone Age followed with a lengthy, swaggering slot that rewarded their faithful and warmed up the rest. Kicking in with Regular John and rolling through Sick, Sick, Sick, they even made time for the rarely‑heard The Fun Machine Took A Shit and Died. Surprising, but welcomed. A loose, smiling performance from a band who have seen it all. No One Knows erupted the now‑full stadium into a mass singalong before QOTSA climaxed on A Song For The Dead.
System Of A Down – Tottenham Hotspur Stadium – 13 July 2026. Photo: Aggie Anthimidou/MetalTalk
When System Of A Down finally hit the stage to the melody of Soldier Side, the stadium snapped into focus. Daron Malakian’s unhinged intros, Serj Tankian’s deadpan delivery, and Shavo Odadjian’s relentless drive all felt both familiar and feral. John Dolmayan held the back line with a focused, driven presence throughout the night.
B.Y.O.B. gripped the crowd early, its lyrics as true now as ever, before the band trundled through bangers like Prison Song and Aerials. Serj went full Maneki‑neko with his “meow, meow, meow” moment, sending the stadium into hysterics, a reminder that absurdity has always been part of SOAD’s power.
The pits were pure, unadulterated chaos. A couple of fans emerged battered and bloodied, hopefully not from brawls (the antithesis of System), but from sheer over‑excitement. Even a medic stationed on the steps could not help smiling, dancing and clapping along.
System Of A Down – Tottenham Hotspur Stadium – 13 July 2026. Photo: Aggie Anthimidou/MetalTalk
Daron offered the crowd the “System of a Down style of rock ‘n’ roll,” and the roar back said everything. Visuals emphasised ongoing global struggles and the social‑media era, punctuated by the slogan: Human Suffering Now in 4K.
When Serj paused to take in the crowd, it seemed like fewer voices rose back at him than you might expect from a band of SOAD’s stature. The songs still resonate, absolutely, but after nine years away, more than a decade since a UK tour, and two decades without a new album, you can feel a generational shift.
The band’s armour is not dented, but the audience may have changed. Some fans are further removed. Others are discovering SOAD for the first time. What is undeniable is that the evening was a headbanger’s ball.
System Of A Down – Tottenham Hotspur Stadium – 13 July 2026. Photo: Aggie Anthimidou/MetalTalk
It was fantastic to hear Daron lead the crowd into an “ass” chant, “pull Oasis out of your ass”, after weeks of being subjected to Oasis at the end of England’s World Cup matches. And more importantly, for all those US bands out there, Metalheads do not want Oasis covers. Ever. The moment led perfectly into the classic track Needle.
System Of A Down – Tottenham Hotspur Stadium – 13 July 2026. Photo: Aggie Anthimidou/MetalTalk
This was anything but stadium rock, a night of catharsis and a reminder of what System Of A Down have always stood for, wrapped in two hours of pure joy. Lonely Day and Lost In Hollywood brought beautiful, passionate moments, and the chemistry between the band felt alive, Serj even telling Daron, “I love you, man.”
System Of A Down – Tottenham Hotspur Stadium – 13 July 2026. Photo: Aggie Anthimidou/MetalTalk
The eerie DAM led seamlessly into War, before the band sent the stadium into one final frenzy. The biggest circle pits of the night erupted for Toxicity, and Sugar closed the show in a blast of chaos.
Night one did not disappoint. Whether you returned for night two or night two was your first show, it promised to be another monumental chapter in what has become an unprecedented summer of heavy music for the UK.
Whether every word was sung back or not, System Of A Down proved they still hit with the force of a band who shaped a generation and are not done.
The band members Steve Lacy and Syd, both of whom have new solo albums out now, reunite with the producer Matt Martians to discuss achieving TikTok fame, writing a Beyoncé song and staying a family.
As Iced Earth’s founder continues to defile the legacy of the band he started by being a complete MAGA mentalist, there are plenty of bands willing to fill that void, delivering the potent US power thrash riffs, progressive touches and massive vocals that were all part of IE appeal for me.
One such band is Black Sites whose previous albums have all scored highly with me due to their similarities to Iced Earth and that whole US scene but unlike Mr Schaffer they seem to have more of steady head on their shoulders with tracks such as Aquarius Betrayed taking aim at previous generations who “reaped the benefits of a socially liberated and progressive era, then quickly turned their back on them when they became inconvenient.”
Vocalist/guitarist Mark Sugar has been joined by a totally updated line up of Lee Smith (guitar), Chris Black (drums) and José Salazar (drums) on this record and this injection of new blood has again shifted the influences of Black Sites as their classic heavy metal foundation is built upon by goth, doom, thrash and more, it’s a broader range of sounds that come on For Eternity without abandoning the heavy metal heart.
This fifth album also spreads it’s lyrical inspiration widely with UFO cults in their native Chicago (Cosmic Circle Of Fellowship), through to those dealing with mental health battles on Silent Wars, inspired by Robin Williams and anyone who struggles with their mind being their worst enemy.
A revamped line up, some more additions to their traditional metal sound as they build on the prog from their last record but Black Sites still fly the flag of heavy metal on For Eternity. 8/10
Holystone – Accepting Omega (Self Released)
Desert doom from Down Under now with the second album from hypnotic rockers Holystone. Despite only releasing their debut in 2024, the trio of Wolfe Peterson (guitar/vocals), Madison Morris (bass/vocals) and Jonny Pickvance (drums) have built up quite a formidable musical history in their native country with other bands.
As Holystone the have been taking to stages across Australia in support of Brant Bjork Trio, Yawning Man and Witchskull, along with numerous big riff festivals. There’s a depth to Holystone that a lot of bands could really pay attention too. On the surface it’s doom and psych that are the major points of reference but Holystone make their music makes you feel uneasy, it’s brooding and ominous.
Ritualistic in their stage performance this transfers into their music as the vocals of Wolfe and Madison, blend together in union against the often discordant, rhythmically repetitive riffs. Within this mind bending psych doom there’s also garage, grunge fuzz and even some dark Americana.
Holystone create sounds befitting the cinematic style of Alejandro Jodorowsky or The Stand by Stephen King, both having a strong impression on Accepting Omega a record where themes of existentialism, morality and depression are paramount, as it’s an album about accepting the end and only then ultimately knowing who you are as a person.
I could describe all the songs on this record but it’s one of those you need to listen to front to back, let is enter your psyche and work it’s black magic on you. Accepting Omega is Holystone at their most apocalyptic yet. 7/10 Ruthless – Curse Of The Beast (Fireflash Records)
Heavy metal never dies and Ruthless are one of those bands who have taken a familiar path in the heavy metal world.
Formed in the 80’s to reasonable success, they broke up only to reform again in the 2010’s. Since then they’ve released three studio albums, the last one, The Fallen, on Fireflash Records and now with their fifth record Curse Of The Beast they return to Fireflash for more heavy metal mania.
Ruthless play US heavy metal, in the style of Jag Panzer, Metal Church and Exciter, owing inspiration to Accept and Judas Priest, they’ve even thrown in a cover of Metal Gods on this album. Their own tracks though are tough, heavy metal slabs, the American way with heavier riffs and rougher vocals than many of their European neighbours.
Speed metal often bowls over into thrash, for example the double shot of the Title Track and Raging Violence, however it’s not all intensity as Blood Coalition opens with melodic guitars and heavy chug, continued on Killed By Fate but the majority of Curse Of The Beast puts it’s foot on the gas and doesn’t ease off until the very end.
Ruthless by name, Ruthless by nature, Curse Of The Beast is more thrashing heavy metal from these US veterans. 7/10
Mothertomb – Dying To Live (Death Box Records)
A band from Michigan singing about Welsh folklore? Well sign me up as it worked for Fleetwood Mac, however unlike ‘The Mac’ Mothertomb are a much heavier and formidable group of forest dwellers formed after a colossal ice storm in 2025.
Cut off from the outside world with just music, the spirits and their own psyche for company Mothertomb crafted this debut record of transcendental occult doom, where hypnotic riffs, stoner fuzz, gothic atmospheres and glacial movements are all used to capture the attention and keep your head banging.
Dying To Live as I’ve said takes inspiration from Welsh Folklore but also more tangible issues such as suffering, the struggle between dark and light and the fight with inner demons rather than those that come from hell. Inspirations come from Sabbath obviously, but also Pentagram, Windhand and Acid King, combining various flavours of the doom world without running too far from low and slow.
Alton Minor (bass) and Mike Benitez (drums) create a black hole of a groove, the drumming expressive, with double kicks taking you by surprise and lots of cymbal work for ambience on Cythraul. The bass is the thundering bottom end, but adds the psychedelic grooves to Mountain Hag and the title track.
The bass lingers beneath the guitar of Chance Gawlinski, who can conjure mind warping passages with reverb and echo and fuzzy/distorted riffage from doom 101. Mothertomb is fronted by the brilliant vocal power of Alice Gawlinski who sails between ghostly wails and demonic snarls adding more dynamics to these already by casting the vocal spells.
Mothertomb may be Dying To Live but this debut kicks open their frozen tomb with some heavy occult psych doom. 7/10
