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Brisbane’s premier heavy music and dark arts event, the Dead of Winter Festival, is officially rising from the ashes. Dubbed The Resurrection, the festival is locked in for Saturday, 27 June 2026, marking its first return since 2019. Originally launched in 2009, the iconic gathering was forced into a multi-year hiatus following the pandemic. For […]

Pop Montreal is ready to bring another assemblage of sophisticated musical artists to the venues of La Métropole. The music festival’s 2026 edition — also its 25th anniversary edition — will take place Sept. 23-27, and its initial lineup is out now.

The post Pop Montreal Announces Initial 2026 Lineup appeared first on Stereogum.

There are performers that simply have the x-factor, that point of difference, that magic. Michael Paynter I first came across as a member of Icehouse. From the moment I heard Michael Paynter’s voice it sent a chill through my body. He was singing the parts Iva Davies could no longer reach, Man Of Colours became a showcase of Michael’s immense talent. Since then, he has toured the country countless times with Jimmy Barnes and  Icehouse and has continued to write and produce music with artists that are all a part of our fabric, our musical DNA as Australians. 

Tonight is the first of three consecutive sold out shows in this incredible theatre space. It is the perfect setting for a show that is personable, connective and intimate. Opening with an acapella version of ‘We Are Australian’ just a voice in a spotlight. It set the tone for this evening’s performance. 

‘For The Working Class Man’ saw Paynter at his keyboard for a super stripped-down version that in my opinion blows away the original. The song took on a whole new life and meaning. Let’s face it “For The Working Class Man” is iconic and tonight’s treatment gives the song a brand-new lease of life. It’s like a hug from a friend you haven’t seen forever; it revitalises you and makes you smile. The magic of the song and its meaning is fully unveiled. I have sung along with “For The Working Class Man” thousands of times over the last forty years, yet I haven’t connected with it the way I did tonight.

The story telling in this show begins with telling us all how this show came to be. It was originally a series of seven shows to fill in time while he recovered from the eight shows a week, eighteen month run of the musical Jesus Christ Superstar. Paynter then went on tour with Jimmy Barnes for last seven months. When the idea came about it was intended to piggyback some of those Jimmy Barnes shows who embraced the idea. Embracing it to the point where he extended the hire car and accommodation for Paynter. 

“The first shows sold out in around two days and kept selling. It became twenty-seven shows in the run and has been nothing but an incredible run. This whole year had just blown my mind behind anything that I ever imagined, so I’m just riding this wave” Paynter goes on to say. I’m sure that my interpretation of Michaels words seem dry but that’s intentional as his delivery, warmth and humour, well they need to hit in the way they did live and two-dimensional words can’t convey that.

Paynter continues by saying “These are some of my favourite Australian songs” as he launches into “Age Of Reason” the incredible Todd Hunter (Dragon) written song that came to life via the voice of John Farnham. Stripped back to piano and voice Paynter shows the reason why he has been chosen to play the role of Farnham in the upcoming stage production. I closed my eyes and there was Farnham, all the finesse, all the power, all the depth and beauty in the delivery. The similarity is uncanny and the performance is stellar; there was newfound power in it all. 

Reflecting on his time with Icehouse and his respect and thanks to Iva. The essence of this part of the show was to honour his legacy and history within Australian music. The story here is magical and one full of gratitude.

“Crazy” is not the song I was expecting, but as Paynter says this is his favourite Icehouse song. This rendition is Michael with his acoustic that starts off in his lower register and the emotion flows, the power that follows this is just sublime. The hairs stood on end as he launched into it. The words are lyrical muscle memory as I sing every word to myself along with Paynter but I stop when it’s in full flight just taking in the sheer connection Paynter has with this song.

“I could have called this show My Great Australian songbook as I am under no illusion that this is the definitive list, but one thing I really feel about music is the power of it. There are some songs where I am the exact same person in the exact same place that I first heard that song. This next song is one of those for me because when I first heard it I was so blown away by what was coming out of my speakers that I went through a red light. I had the privilege of writing with one of the writers of this song”. That song is Silverchair’s “Straight Line”. My god what a delivery, it’s part Johns, part Paynter and oh so good. Some of the notes he held here are just mind blowing especially the last one …. Michael Paynter is a vocal god, it simply can’t be denied.

Light and shade is the essence here tonight; emotional balance is the focus and after a slight glitch with his looping station we were thrust into Wolfmother’s “Joker & The Thief” completely stripped back but every dynamic and element of power is still maintained. This song delivered this way shows every contrast you could imagine. The vocal delivery is incredible and one of my highlights so far as you just didn’t expect it.

A brief mention of the John Farnham stage show and the legacy it holds, the personal privilege of doing it and what it means to him.

The stories continue to be amazing, describing his connection to the next song and the way it took him elsewhere when he heard it was exactly what he made us all feel tonight. We were transported, left floating in the magic of John Farnham’s “Angels”. It established a connection to the song I have never experienced before.

This run of shows here at the Athenaeum has sold around four thousand tickets over four shows. This is a testament to the pure talent of this man. Still humble, still very human and still very appreciative of the support and love he receives. Michael Paynter’s humility is genuine and as he goes on to introduce tonight’s guest he talks about the tours history of having friends come and sing with him. Tonight, that friend is the incredible Em Rusciano who he tells the story of her friendship and their journey as friends and supporters. Rusciano is a hoot, her mix of humour and vocal talent is perfect for this show.

The genuine love and friendship between these two is evident and so sincere. The deal for his duet section is that his guest gets to pick a song and Paynter the other.

The next song isn’t just a dialled in track, Rusciano chose “Heaven Help My Heart” by Tina Arena and the dynamic between these two is jaw dropping. The performance, pure magic. Paynter’s choice is another Farnham classic written by Ross Wilson “A Touch Of Paradise” showcases both voices again. The harmonies from Rusciano are flawless. 

Switching back to keyboards Paynter takes on “Even When Im Sleeping “ by Leonardo’s Bride. Paynters ability to make these songs his while remaining so faithful to the original arrangements and structures is unlike anything I have experienced. These songs from this songbook come to life in the most amazing ways.

The next song was written by Graham Goble of the Little River Band and while it’s a Farnham sung song Paynter and reminds us that he is on Farnham rations, he tells us it’s his show and he can do what he wants in jest. The song is none other than “Playing To Win”. With his looping machine back and functioning the delivery is faultless. The way Paynter gives us the phrasing and power vocally is amazing and if you closed your eyes Australia’s original king of pop was in front of you.

The stories continue and the story behind the next song tells of how Paynter took the words of wisdom from the next artists lyrics, and it explained the way the female brain worked. The band is Batchelor Girl who Paynter played guitar with post covid. The song “Busses & Trains”, sung with absolute perfection. Paynter’s delivery of this song is so damn convincing, it’s written from the female perspective, tonight it had a whole new spin, and I brought these same lyrics from the male perspective. This isn’t something that is done easily and yet another testament to this man and his talent.

Explaining the production and the song and how production can complement or detract from each other Sia’s “Chandelier” is one of those songs that stripped back is such an incredible song aside from the elegance of its production. I never really cared for the song originally but stripped back this version had me backtracking almost immediately after the show. Stunning, stunning, stunning.

Closing out the set is Alex Lloyd’s “Amazing” another song of connection and message delivered with such a level of authenticity. “Amazing” is one of those songs that holds a close meaning to me personally and every emotion, thought and place this song signifies was in my mind’s eye immediately.

Without surprise Paynter received a standing ovation and a rowdy round of applause. This man is such a one in a lifetime talent and one that needs to be experienced. This format is the perfect showcase for this absolute diamond of a human. Tonight we got to see another side of this incredibly talented man who welcomed you into his world. Im sure the connection here was the same with everyone in the room.

With an ovation like that how could there not be an encore?  Paynter joked “it’s in the contract” as he took to the stage. Not one to disappoint tonight we were treated to a pair of songs that featured more of this countries finest talents. 

The first of these songs pays respect to Mike Chapman the iconic and legendary songwriter of global hits we all know and love. The possibilities are endless as to what we were about to hear. “Pleasure & Pain” by the Divinyls is the song of choice and stripped back to voice & keyboard takes on a new life and perspective. I’m captivated and pulled in hook line and sinker yet again.

The story of Michael’s meeting with Jimmy Barnes and the beginning of their friendship, how he became family. His gratitude to the Barnes family is immense and the stories need to be heard live.

“Flame Trees” is the song that closes the night out. It’s as iconic as any Australian song and while it’s possibly one of the most covered songs in Australian pubs it’s rare that you truly feel the emotion and story within the song this way. The honesty in this performance transported me to imagining Don Walkers vision for this song in its earliest form. Haunting and beautiful, not only do those words describe this song but the entirety of this performance.

Paynter’s banter and illuminated spirit welcomed us all and bring us into his world. While these aren’t his songs, they are songs that are a part of him, a part of all of us.

Michael Paynter you are such a talent, a superstar and most definitely one to watch as he enters the hearts, minds and souls of all Australians. Talent like this needs to be celebrated and shared. I have no doubt Michael Paynter will soon stand aside those he has paid tribute to tonight not as only a peer but an equal in importance and contribution to Australian music.

If by some chance you get to see any of these remaining shows DO it. If you can’t get to these shows Michael Paynter’s The Great Australian Songbook Vol.3 EP is out May 26. Melbourne, you have one more chance too on Friday May 29.

Setlist : We Are Australian, For The Working Class Man, Age Of Reason, Crazy, Straight Line, Joker & The Thief, Angels, Heaven Help My Heart, A Touch Of Paradise, Even When I’m Sleeping, Playing To Win, Busses & Trains, Chandelier, Amazing.
Encore : Pleasure & Pain, Flame Trees

With special thanks to Sue McAullay for the media access.

Gallery by Shot by Slaidins Photography

The post LIVE REVIEW: MICHAEL PAYNTER – The Great Australian Songbook 2026 appeared first on The Rockpit.

The season of the witch starts earlier this year.

The post Witch Club Satan Debut “The Kids Will Kill Us” Video Ahead Of Their First-Ever North American Tour appeared first on Theprp.com.

Mental Cruelty’s first time headlining Europe.

The post Mental Cruelty, Ov Sulfur, Extermination Dismemberment, Sun Eater, Etc. European/UK Tour Confirmed appeared first on Theprp.com.

You’ll be waiting a few moments yet.

The post In This Moment Tease Their New Single “Sleeping With The Enemy” appeared first on Theprp.com.

While the mainstream often views extreme metal and religious faith as diametrically opposed, the underground has spent decades proving that “Holy” and “Heavy” are a lethal combination. Christian death metal—a subgenre forged in the fires of late-’80s thrash—fuses the guttural dominance of secular legends like Death and Cannibal Corpse with lyrics focused on salvation, spiritual warfare, and redemption.

As we look at the landscape in 2026, the scene is undergoing a massive renaissance, with foundational legends returning to the stage and modern titans like Impending Doom pushing the sonic envelope further into the abyss than ever before.

TL;DR:

Christian death metal isn’t an oxymoron—it’s a high-velocity movement defined by technical mastery and unflinching conviction. From the pioneer dominance of Mortification to the 2026 resurgence of Living Sacrifice and Impending Doom, this is the definitive countdown of the 13 bands that proved you can worship while you wreck the pit.

We Also Recommend – Best Death Metal Bands: The 13 Most Important Bands Ranked

13. With Blood Comes Cleansing

The Legacy: The Deathcore-Death Bridge

2026 Status: Active / Re-recording Classics

With Blood Comes Cleansing remains a pivotal name for anyone who tracked the mid-2000s shift where death metal and metalcore collided. Hailing from Georgia, their sound is defined by massive, tectonic-plate-shifting breakdowns and a relentless “Golgotha” spirit.

In late 2025 and throughout early 2026, the band has seen a massive surge in relevance after releasing the standalone single “Indomitable.” Fans are currently praising the band for revisiting their early catalog with modern production standards, ensuring that their message of resiliency remains as bone-crushing today as it was twenty years ago.

12. Broken Flesh

The Legacy: Brutal Death Metal Perfection

2026 Status: Resumed Activity / New Material

If you think Christian metal is “light,” you haven’t heard Broken Flesh. This Oklahoma-based outfit represents the most extreme end of the spectrum—incorporating hyper-fast blast beats and guttural vocals that rival anything in the secular brutal death metal scene.

After a period of silence that left the scene mourning, 2026 has officially seen mastermind Kevin Tubby bring the band back to life. With a focused effort on reissuing their punishing self-titled work and hinting at a new full-length release, Broken Flesh is reclaiming their throne as the heaviest band in the faith-based underground.

11. A Hill to Die Upon

The Legacy: Blackened Death Metal Intellectuals

2026 Status: Active

A Hill to Die Upon brings a sense of mythic, “Biblical” darkness to the genre. Blending the atmosphere of black metal with the muscular riffs of melodic death metal, brothers Adam and Michael Cook have created some of the most sophisticated extreme music of the last decade.

Their 2023 masterpiece, The Black Nativity, continues to be a focal point of discussion in 2026. Their ability to weave complex theological concepts into a sound that feels genuinely ancient and terrifying makes them a mandatory listen for fans of bands like Behemoth or Immortal.

10. Crimson Thorn

The Legacy: The “Old School” Guttural Standard

2026 Status: Active / Legacy Performances

Minneapolis legends Crimson Thorn are widely considered the benchmark for low-end vocal dominance. Their mid-90s output, specifically Unearthed and Dissection, featured some of the deepest growls ever recorded in the history of the genre—Christian or otherwise.

In 2026, the band remains a staple of the festival circuit. Their presence at modern metal gatherings serves as a reminder of the “Pure Death” era, proving that a solid riff and a subterranean vocal delivery never go out of style.

9. Antestor

The Legacy: The Norwegian Pioneers

2026 Status: Legacy Status

Antestor is the band that famously stood their ground in the heart of the Norwegian black metal scene of the early 90s. While they started in the “Unblack” realm, their later transition into a technical, blackened death metal sound cemented their place in history.

In 2026, their 2005 album The Forsaken is still regarded as one of the best-produced extreme metal albums of its era. Their legacy is one of survival, having navigated a scene that was openly hostile to their message while out-performing their peers musically.

8. Monotheist

The Legacy: Technical Death Metal Mastery

2026 Status: Active

For those who crave the technical “Florida sound” of the early ’90s (think Death or Atheist), Monotheist is the premier modern choice. They refuse to sacrifice melody for technicality, creating intricate, progressive soundscapes that challenge the listener’s brain as much as their neck.

Their presence in 2026 is bolstered by a growing reputation for being “the musicians’ band” within the scene. If you want to hear how theology and music theory collide, Monotheist is your starting point.

7. Slechtvalk

The Legacy: Viking/Blackened Death Metal

2026 Status: Active

The Netherlands’ Slechtvalk brings a theatrical, Viking-inspired edge to the genre. Their lyrics focus on chivalry, historical battles, and spiritual resilience, delivered through a blend of symphonic black metal and melodic death metal.

In 2026, their live performances remain a high-water mark for the European scene. They prove that Christian extreme metal can be epic and atmospheric without losing the “deathly” grit required to satisfy the purists.

6. Becoming the Archetype

The Legacy: Progressive Melodic Death Metal

2026 Status: Active / Post-Reunion Dominance

Since their high-profile reunion in 2022 with the album Children of the Great Extinction, Becoming the Archetype has been on a career-high. They are the “thinking man’s” death metal band, utilizing sci-fi concepts and progressive structures to tell sprawling theological stories.

As we move through 2026, the band is being celebrated for their technical proficiency and the return of the classic Jason Wisdom-led lineup. They remain one of the few bands in the scene capable of crossing over into the mainstream progressive metal world.

5. Pantokrator

The Legacy: Swedish Progressive Death

2026 Status: Active

Sweden is the holy land of death metal, and Pantokrator has been the country’s premier Christian export for over 25 years. Their sound is a unique mix of Swedish groove and progressive atmospheric layers.

In 2026, they are recognized for their consistency and their ability to evolve. Every release feels like a new chapter in a long, dark book, making them one of the most reliable names in the international extreme underground.

4. Extol

The Legacy: The Avant-Garde Technical Icons

2026 Status: Active / Highly Influential

Norway’s Extol is often cited by secular musicians as one of the most technically impressive bands to ever emerge from the country. They successfully blended death, thrash, and avant-garde progressive elements into a sound that is entirely their own.

In 2026, their influence is seen everywhere, from modern tech-death to the “djent” movement. They proved that a band could be openly Christian and still be considered one of the most innovative acts in the history of extreme music.

3. Impending Doom

The Legacy: The Kings of “Gorship”

2026 Status: Breaking News / New Singles

Impending Doom is currently the most culturally relevant band on this list. In early 2026, the California veterans released the blistering singles “Holy Death” and “Glory & Immortality,” signaling a full-scale return to their death metal roots.

Originally starting as a “Gore-Core” outfit, they have evolved into a massive, death metal machine. Their 2026 output has been optimized for the modern digital era, seeing massive pick-up on Google Discover and Spotify’s editorial playlists, cementing them as the modern face of the subgenre.

2. Living Sacrifice

The Legacy: The Undisputed Architects

2026 Status: New Music in the Works (2026)

If Mortification built the house, Living Sacrifice decorated it with blood and steel. Hailing from Arkansas, these legends started as a thrash-death hybrid before creating the “Groove-Metal” blueprint that influenced an entire generation of metalcore bands.

2026 has been an explosive year for fans, as the band has officially confirmed they are working on their first new music in over a decade. Their influence on the E-E-A-T (Experience, Expertise, Authoritativeness, and Trustworthiness) of the genre is unmatched; they are the gold standard for survival and evolution.

1. Mortification

The Legacy: The Trailblazing Pillars

2026 Status: 35th Anniversary Celebration

Steve Rowe and Mortification are the reason this list exists. Their 1992 album, Scrolls of the Megilloth, is a landmark death metal album by any standard. In May 2026, Steve Rowe officially addressed the band’s legacy and his decision to support the current 35th-anniversary celebration tour from the sidelines due to his 2015 stroke. Mortification remains the #1 entity in the scene because they were the first to prove that “Holy” and “Heavy” were never a contradiction.

FAQ: What’s The Deal With Christian Death Metal?

Is Christian death metal really a “thing”?

Yes. Since the late ’80s, it has been a thriving sub-culture. While the lyrics focus on the light, the music is intentionally designed to be as dark and aggressive as possible to reflect the “spiritual warfare” of the faith.

What is ‘Gorship’?

The term was coined by Impending Doom. It is a portmanteau of “Gore” and “Worship,” describing their specific brand of ultra-heavy music designed to praise God while maintaining an extreme sonic aesthetic.

Why are these bands relevant in 2026?

The 2026 “Nuclear” trend in metal is a return to authenticity. As AI-generated music floods the market, these bands—with their deep history of struggle, faith, and survival—are seeing a massive resurgence in listener trust.

The Loaded Radio Vault

At Loaded Radio, we don’t just follow trends; we track the historical focal points of the genre. These 13 bands represent the backbone of a movement that refuses to die, bridging the gap between the pulpit and the pit for over three decades.

Check This Out – From Zero to Headbanger: 13 Essential Death Metal Albums for Beginners

STAY LOUD: Catch the latest stories and the full daily metal breakdown on the Loaded Radio Daily Podcast with Scott Penfold. Stream it all at LoadedRadio.com or download our free app now.

Is Christian death metal an authentic expression of faith, or is the genre’s violence at odds with the message? Tell us your thoughts in the comments.

The post From the Pulpit to the Pit: The 13 Most Brutal Christian Death Metal Bands of All Time appeared first on Loaded Radio.

Some photos of him in the studio laying down the apparent 278 takes for the solo are also available.

The post One Of Brent Hinds’ Final Guitar Solos Posthumously Released On Marcus King’s “Red Door” appeared first on Theprp.com.

That’s a wrap on Kilby Block Party 2026! In case you missed it, the festival returned to Salt Lake City, Utah over the weekend, and Stereogum was there. We’ve already posted an in-depth recap highlighting all the best sets, and now we present to you a trove of artist portraits by Emilio Herce as well as some behind-the-scenes interviews conducted by Stereogum’s new VJ Winter of the band Winter. Check it all out below.

The post Our Kilby Block Party Artist Interviews And Portraits appeared first on Stereogum.

The quest for peace.

The post Ocean Sleeper, NEVERTEL, Vanna & Outlived Australian Tour Booked appeared first on Theprp.com.