LOSE MY MIND is a high-energy house cut built for late-night movement and instant connection. Jack Bailey pairs punchy drums with a groovy, rolling bassline, while bright, polished synths drive the track’s infectious momentum. The production is clean and club-ready, striking a balance between euphoric lift and rhythmic control. There’s a sense of forward motion throughout, making it an easy fit for dancefloors and feel-good playlists alike. Catchy without overcomplicating things, LOSE MY MIND delivers exactly what it promises: a vibrant, no-frills house anthem that keeps the energy flowing.
Album Review: Hell Trepanner – The Consecration of Eternal Impurity
Reviewed by Sam Jones
We hearken over to South America for this one, where Hell Trepanner finally unveil their debut full length album, exciting longtime fans newcomers alike. Formed originally in 2013 out of Lima, Peru, the band went originally by Neciazo until 2015 where they changed themselves to Hell Trepanner. The following years would see them unleash a slew of Demos, a Split, Compilation, a 2021 EP titled Unholy Proclamations Of Death And Darkness, before things would go quiet. But to the alleviations of many Hell Trepanner announced that after five years of silence their debut full length, The Consecration Of Eternal Impurity, would see a release date of March 20th. Officially picked up too by Awakening Records this stands as Hell Trepanner’s first major opportunity internationally to garner a wider fanbase and to show the rest of South America’s insatiable extreme metal scene what they’re made of.
Right out of the gate, Hell Trepanner demonstrate their affinity with all things macabre and reviled with an introductory track that pulls no punches nor alludes anything other than the sense of damnation you came here to experience. They champion this feeling with a guitar tone that that’s seemingly wrought out of the depths of madness itself, where their guitars are formed not by fretboards but spines. One will experience the organic, depraved soundscape Hell Trepanner perform with but there’s also this scraping, clawing aesthetic wherein their sound isn’t thrown at us but rather forced upwards through serrated channels that scar and scratch every note thus played. I also appreciate that whilst their sound is fast and their riffs don’t wait for you to comprehend their complexities, the tempo is slow enough that you’ll fully understand every lick and riff segment the band conjure. It draws us only further within and as the record progresses, individual tracks have a greater likelihood of easier recall.
South America’s extreme metal scene is bristling with activity, and remembering this is Hell Trepanner’s debut album after a decade of existence, its no wonder there’s little reprieve to be discovered. From the word go Hell Trepanner unleash their entire arsenal of weaponry upon you regardless whether you’re ready or not, forcing your attention over towards them where other acts may be content into letting you wander. It must be noted though that while their assault is relentless its not so heinous you can’t recognise where you are. You’re allowed to breathe, the senses are far from overloaded. Since this is the case the band have greater rein to dish out these malicious licks, with soundscapes summoned seemingly from Dante’s Inferno directly. Sometimes you want a band to just cut loose and Hell Trepanner do precisely that, wielding guitars like scythes killing and lacerating with solos pleading for sanity.
For such an explosive album where little is nailed to the floor, i respect the band for making sure their drums can be heard and followed at every instant even as the band’s intensity reaches its climax. Listen to the snare drums and understand the strength going into these strikes, showcasing not solely the energy but likewise the passion thrown into the instrumentation herein. I know many aren’t fans when drummers apply a tinnier sound but Hell Trepanner’s drumming works because the performance isn’t in conflict with the vocals or riffs. You’ll also hear the drums break out into sudden triplet strikes, meandering into blast beats that may slow the pace into a more conventional pattern. Though this is a work of death metal the drums harbour a surprising variety of patterns to keep you invested in Hell Trepanner’s ever-changing tracks. The double bass drums too possess their own spotlight but aren’t vying for it; the bass drums are lower in the mix, along the same plane as the bass guitar, so the bass drums whilst being these mammoth engines aren’t looking to bulldoze your face but actually layer the band’s sonic foundations.
Aiding the band’s chaotic style is the mix. The mix is easily one of the strongest technical elements the band have going for them here for the choices they made ensured this record would be far from rigid. Its no secret that many metal records can be mixed and packaged into overly organised and controlled shape; this was not Hell Trepanner’s goal. Wherever you are across the record, the band’s sound will hardly feel uniform. Instead, the entirety of the band’s power is projected forthwith with every member performing their maximum ability at every moment, pending songwriting necessity. This could have been a mess as many a band have thrown everything and the kitchen sink at us beforehand but Hell Trepanner have just enough fingers on the panel to keep it from flying totally out of control; i can see many comparing Hell Trepanner to Angelcorpse and a plethora of nineties-era death metal where that studio-captured chaos was the norm for a time.
In conclusion, Hell Trepanner’s first album, after years of effort, comes a greater success to the band. The comparisons to Angelcorpse and more unhinged bands of the like will certainly come to a plethora of people, introduced the first time to this record. I think The Consecration Of Eternal Impurity will go down well with people looking for something that little more uncontrolled and primal. There’s an innate savagery to Hell Trepanner that’s been missing from extreme metal this early part of 2026, and given South America’s rapport for seething extreme metal its yet another notch on that part of the globe’s capacity to destroy fans the world over. Though some tracks are longer than others it never comes across as overly long nor does its stay feel overdone. It comes in, rips the flesh off your face and leaves with zero abandon. Its well worth checking out.
Black Label Society, the heavy metal band founded and fronted by Zakk Wylde, kicks off 2026 with Engines of Demolition, their first studio album since 2021, out March 27, 2026.
BLS’ heavy hitting newest single and video ‘Name In Blood’ is out now.
Zakk began writing Engines of Demolition in 2022 during his relentless Pantera Celebration World Tour and continued through 2025, when he wrote his most personally profound and heartfelt ballad to date, “Ozzy’s Song,.” A song for the man who started this all for Zakk.
“‘Engines of Demolition’ is a sincere ride through the peaks and valleys of the last four years from start to finish, some of the highest highs and lowest lows and everything in between,”, says Wylde.
Engines Of Demolition Tracklist
1. Name In Blood
2. Gatherer of Souls
3. The Hand of Tomorrows Grave
4. Better Days & Wiser Times
5. Broken and Blind
6. The Gallows
7. Above & Below
8. Back To Me
9. Lord Humungus
10. Pedal To The Floor
11. Broken Pieces
12. The Stranger
13. Ozzy’s Song
Black Label Society have announced a run of UK headline shows with support from Venom inc. The list of shows is as follows:
Thu May 28 2026 – GLASGOW O2 Academy Glasgow
Fri May 29 2026 – LONDON O2 Forum
Sat May 30 2026 – BOURNEMOUTH O2 Academy Bournemouth
Sun August 09 2026 – Bloodstock festival*
*festival appearance
About Black Label Society
Zakk Wylde will tell you that everything Black Label Society begins and ends with the riff.
For more than 25 years, Black Label Society has stood as one of heavy music’s most unshakeable pillars, delivering album after album of blues-soaked grooves, hard-hitting riffs, and soul-baring ballads. “Engines of Demolition” makes no exception to the steady rule of unrelenting commitment to pure, uncompromising, hard rock.
In 2022, Wylde was invited to honor his fallen brothers, the late great Dimebag Darrell Abbott and his brother Vinnie Paul, as part of Pantera Celebration. Writing and recording with Black Label Society over these last four years is when Engines of Demolition was born.
Engines of Demolition follows the release of four singles, “The Gallows” (2024), “Lord Humungus” (2025), “Broken and Blind” (2025) and “Name In Blood” (2026), and marks the first full-length album release since Doom Crew Inc. (2021).
Black Label Society is the pure expression of the paradox of Zakk Wylde’sWylde darkest, loudest riffs and softest soul-crushingsoul crushing ballads. BLS is a relentless heavy, bluesy, unhinged hard-rock-metal circus quartet summoning caffeine-fueled cacophony on records and the stage. BLS songs are odes to celebration and mourning from the darkest depths to the highest of highs.
A charismatic hard rock and metal marauder recognized as a living legend and guitar icon, Wylde rose to prominence when Ozzy Osbourne chose him as his loyal axe man Wylde rose to prominence when Ozzy Osbourne chose him as his loyal axe-man. Multi-platinumMulti platinum albums, countless guitar magazine covers, Worldwide sold out tours, his own guitar and coffee brands add to Wylde’s ever-growingever growing legacy. He gets as much joy from fronting his Black Label Society as he did playing on stage with his hero, Ozzy Osbourne, to his Black Sabbath cover band, Zakk Sabbath.
“Less is more with everything, “Except the guitar solos and coffee!”
Stephen Wilson Jr. announced the second leg of his Gary The Torch Tour, which adds West Coast, Southeast and EU/UK dates to the completely sold-out tour that kicked off earlier this month. 10/19 – Glasgow, UK – O2 Academy Glasgow 10/22 – London, UK – O2 Academy Brixton 10/23 – Bristol, UK – The Prospect […]
Kid Bookie has once again joined forces with the legendary Corey Taylor, kicking off a brand-new era with explosive single ‘Blame’.
With the pair’s creative partnership now spanning over a decade, their latest venture is as grippingly raw and emotional as you might expect. On ‘Blame’, there are no egos involved, with both musicians stripping it back and confronting personal truths, accountability and growth.
Speaking on the meaning behind the track, Kid Bookie has shared:
“Over the years, facing myself and the reflection that comes with the mirror isn’t always an easy one. Accountability is the removal of ego and pride to see beyond your own nose, to allow yourself the room to grow via ownership of your actions. I’m around some of the best people who practise that in more ways than one. Corey and I have been working with each other for nearly a decade, but I feel this record is a coming of age, even for us. New territory, but a familiar approach to make sure we embolden each other through music. This song is almost a therapy session for me, and not just via my own lyrics, but to how Corey has made me feel by exposing himself so bare in this record, truly an honour to keep pushing the envelope with someone who has just pushed it as far as it can go, but has completely revamped what the envelope fucking is.”
And on teaming up with his friend once more, Corey has said:
“Books is one of my favourite people, not just artists, and every time he comes to me with an opportunity to create with him, I’m always excited because I know I’m going to hear something I’ve never heard before. ‘Blame’ was so good the first time I heard it, I signed on without even knowing what I’d do! I’m proud of the song, and I’m proud of him, and grateful to be involved.”
Take a listen to the thought-provoking collaboration below:
The start of a fearlessly confident new era for Kid Bookie, ‘Blame’ sets the stage for the arrival of his forthcoming album, which is expected to drop later in 2026.
If you’ve missed out on his previous collabs with Corey, you can catch yourself up below:
“Over the years, facing myself and the reflection that comes with the mirror isn’t always an easy one,” Bookie shares of the meaning behind Blame. “Accountability is the removal of ego and pride to see beyond your own nose, to allow yourself the room to grow via ownership of your actions. I’m around some of the best people who practise that in more ways than one.
“Corey and I have been working with each other for nearly a decade, but I feel this record is a coming of age, even for us. New territory, but familiar approach to make sure we embolden each other through music. This song is almost a therapy session for me, and not just via my own lyrics, but to how Corey has made me feel by exposing himself so bare in this record, truly an honour to keep pushing the envelope with someone who has just pushed it as far as it can go, but has completely revamped what the envelope fucking is.”
“Books is one of my favourite people, not just artists, and every time he comes to me with an opportunity to create with him, I’m always excited because I know I’m going to hear something I’ve never heard before,” adds the Slipknot legend. “Blame was so good the first time I heard it, I signed on without even knowing what I’d do! I’m proud of the song, and I’m proud of him, and grateful to be involved.”
