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  • EXHORDER & SKINLAB Announce April U.S. Tour

    Exhorder

    Groove metal pioneers Exhorder hit the road with Skinlab for an intense spring run starting April 2.

    The post EXHORDER & SKINLAB Announce April U.S. Tour appeared first on Metal Injection.

  • Colter Wall Takes “Indefinite Hiatus From Live Music” For Mental Health Reasons

    Colter Wall is a Saskatchewan-raised singer-songwriter who makes old-school country music and who famously works on his ranch when he isn’t doing music stuff. Wall released his album Memories And Empties last year, and he’s been touring behind the album for much of this year. He’s not doing that anymore.

    The post Colter Wall Takes “Indefinite Hiatus From Live Music” For Mental Health Reasons appeared first on Stereogum.

  • LAMB OF GOD – “Into Oblivion” (Album Review)

    Welcome to pure sonic oblivion.

    With just over 25 years now in the rearview, or more than 30 if counting their formative years in the mid to late 90s under the moniker Burn The Priest, Virginian natives Lamb Of God have seemingly explored the furthest extremes of America’s post-80s metal landscape.

    Often credited as the outfit to carry the groove-oriented style pioneered by Pantera and Exhorder into the 20th century and make it more palpable to the punk sensibilities of the concurrent metalcore scene explosion, they’ve never been one to pull their punches in terms of both sonic and lyrical heaviness, leaving few topics untouched while adding a more kinetic, thrashing character to the stylistic template first codified by the aforementioned bands’ 1992 offerings in Vulgar Display Of Power and The Law respectively.

    Now 10 full-length studio albums deep into their career, their latest entry, Into Oblivion, finds a band sticking close to their stylistic home while still managing a few surprises here and there.
    Sticking to a highly concise and methodical approach to songwriting, this quintet dishes out an auditory smorgasbord of bite-sized crushers that fall mostly in line with where things have been since original drummer Chris Adler’s exodus from the fold and the release of the 2020 eponymous album.

    For his third go behind the kit in the studio, Art Cruz proves just as formidable as his predecessor in making an explosive ruckus and gelling seamlessly with bassist John Campbell’s dark thuds to form a truly colossal foundation. The guitar duo of Mark Morton and Willie Adler remains a highly effective pair of killing machines in the riff department, delivering one crushing pass after the next in the same spirit as Dimebag Darrel Abbott with a healthy side order of Bay Area thrash stylings, the former also serving up numerous fits of bluesy shredding to further complement an already highly kinetic arrangement. And the impresario at the center of it all, namely vocalist Randy Blythe, continues to steal the show with his overwhelmingly aggressive growls and shrieks in true berserker fashion.

    While the individual performances of this evenly yoked union of seasoned veterans amount to a veritable force of nature, the anthems of fury and discontent that they weave strike a surprisingly disciplined and methodical tone. The opening trifecta of neck-destroying power to kick things off artfully blurs the lines between this band’s obvious 90s groove metal roots and the more rapid-fire style. Be it the generally fast-paced and harsh opening foray of the album’s title entry “Into Oblivion”, the blazing rage of “Parasocial Christ” or the sludgy crawl turned frenzied thrashing mayhem of “Sepsis”, there is a continual balance of 90s southern punch and 2000s Bay Area revivalism at play.

    Other similarly ferocious shots across the bow, like “The Killing Floor” and “St. Catherine’s Wheel,” follow the same scheme in a slightly more drawn-out and elaborate fashion, with Campbell’s bass work being especially auspicious on the latter, and Morton delivers one of his flashier solos about a minute before its conclusion.

    Though compared to some of the more expansive opuses during their middle era, this is a more streamlined undertaking, Into Oblivion is pretty far from a one-dimensional musical affair. Amid all of the cynical and shout-steeped sonic carnage stands a dreary fit of balladry with an occasional bite in “El Vacio” that sees Blythe explore cleaner, crooning territory, while the guitar tapestry painted by Morton and Adler takes on a far more nuanced and haunting tone, culminating in a sort of 2020s answer to Pantera’s “This Love”.

    On the other end of the spectrum, the hyper-kinetic riff machine “Bully” sees the technical chops of the aforementioned guitar duo shine extra bright at every groove-thrashing turn; ditto the slightly shorter closing hurrah “Devise/Destroy”. But insofar as coup de grace moments, both in terms of musical execution and earworm hooks, the difference is split between the mid-paced groove with enough cowbell to sate Christopher Walken via “A Thousand Years”, and the crushing thrasher with a menacing edge, “Blunt Force Blues”.

    Into Oblivion is one of those albums that checks all the obligatory boxes for what one looks for in a textbook Lamb Of God album. In many ways, it channels the same spirit of unmitigated fire and fury through a controlled lens that first put this fold on the mid-2000s map with Ashes Of The Wake, though it ultimately plays things a bit safe in the innovation department and largely winds up in the solid territory that was the 2020 self-titled album and 2022’s Omens.

    It’s a well-rounded listen that lends itself well to being heard from beginning to end without the need of the skip button, yet one can’t help but come away feeling that they’ve heard something that’s very good rather than something life-changing. To the uninitiated, it might come off as a less pretty version of what typified metal in the mid-2000s, but to those who have been riding this groove train since said time period, this is business as usual, even though what passes for business as usual with Lamb Of God’s name on it seems to be anything but that

    Release Date: March 13th, 2026
    Record Label: Epic Records
    Genre: Groove Metal

    Musicians:

    • Randy Blythe / Vocals
    • Mark Morton / Guitars
    • Will Adler / Guitars
    • John Campbell / Bass
    • Art Cruz / Drums

    Into Oblivion Tracklist:

    1.    Into Oblivion
    2.    Parasocial Christ
    3.    Sepsis
    4.    The Killing Floor
    5.    El Vacío
    6.    St. Catherine’s Wheel
    7.    Blunt Force Blues
    8.    Bully
    9.    A Thousand Years
    10. Devise/Destroy

    Order the album here.

    The post LAMB OF GOD – “Into Oblivion” (Album Review) appeared first on Sonic Perspectives.

  • CORROSION OF CONFORMITY Drop “You Or Me” Music Video From Upcoming “Good God / Baad Man” Double Album

    Corrosion of Conformity have unveiled the video for “You Or Me,” the latest single from their upcoming double album Good God / Baad Man, due April 3rd via Nuclear Blast. The clip was directed by visual artist Costin Chioreanu, with additional footage shot by Mike Holderbeast.

    The band offered their own take on the collaboration: “Deep from within the forests of Romania and the twisted mind of our dear friend Costin Chioreanu comes his twisted visions put to Corrosion‘s music. It’s a match made in purgatory. There’s some special additions from [director] Mike Holderbeast‘s crew as well.”

    The band said the “You Or Me” quote came from the band Lucifer, who described the track as “a blistering, Sabbed out track” and “an angry acid trip into the origins of the human condition since the dawn of man. In these primitive times, it’s clear to say they haven’t learned much. So, Black it’s Blue.”

    Pre-orders are underway at this location.

    The single follows “Gimme Some Moore,” the album’s lead track, which featured backing vocals from Ministry‘s Al Jourgensen and Madonna guitarist Monte Pittman.

    Good God / Baad Man was produced by Grammy winner Warren Riker (Fugees, Down, Cathedral), recorded at Blak Shak Studios in Riffissippi, USA, Dockside Studios in Maurice, Louisiana, and Barry Gibb‘s home studio in Miami, Florida. Cover art is by New Orleans artist Scott Guion.

    The album arrives as a double record, and that format was a natural outcome of the writing process. “As we went on, we had such a crazy plethora of songs, it was almost like two different directions,” vocalist and guitarist Pepper Keenan explains. “We knew we had to split it into two different albums. Then we came up with this concept.”

    Each half has its own identity. “Good God leans toward the heavier/pissed end of the spectrum. Baad Man is more on the throwdown rock scope. As we went along, it became clear which songs went on which album.”

    Warren Riker had his own take on the project: “Our producer kept calling it Dark Side Of The Doom,” Keenan recalls. “In my head, it’s a weird love letter to all things rock ‘n’ roll.”

    The record marks the band’s first since 2018’s No Cross No Crown, a period shadowed by loss. Drummer Reed Mullin passed away in January 2020, and bassist Mike Dean later departed amicably. Keenan and guitarist Woody Weatherman regrouped, hunkering down at Keenan‘s Mississippi home and absorbing everything from Discharge to ZZ Top to Black Sabbath before the writing began. “With a lot of these songs, we’re trying to make Reed Mullin proud,” Keenan says. “He was a badass and a one-of-a-kind drummer. And the stakes were high.”

    The current lineup features Stanton Moore on drums — who previously appeared on 2005’s In The Arms Of God — and bassist Bobby Landgraf, known from his time with Down and his own band, Honky.

    Good God / Baad Man is available for pre-order on digipak CD, digital, and vinyl in the following formats:

    • Gatefold 2xLP w/ Belly Strip – Black Vinyl (Retail)
    • 2 Separate Jacket LPs w/ Belly Strip – LP 1 Blue / LP 2 Red (Mail Order + Band Exclusive)

    The post CORROSION OF CONFORMITY Drop “You Or Me” Music Video From Upcoming “Good God / Baad Man” Double Album appeared first on Sonic Perspectives.

  • Album Review: NO/MÁS – No Peace

    Album Review: NO/MÁS – No Peace

    Reviewed by Eric Clifford

    No/Mas. “No/More” in English. What genre but grind is better suited to embody the defiance, the enraged resistance of those words? The bitterness, the anger, the unwavering conviction that enough is fucking enough and change will come to pass even if it must be forced there. But anger is naught stripped of direction; the fury must be moulded and channelled, aimed as a means to an end beyond impotent self destruction. Sometimes though, there’s nothing more cathartic than giving in to a mountainous tempest of supressed discontent. In these moments, it must be grind and only grind to give voice to this fulsome hatred of the way things are. American grind sovereigns Brutal Truth” titled a live album “For the Ugly and Unwanted, This is Grindcore”, and there has never been a more apropos mission statement for an entire genre ever penned. And thus, the time has come to ask: do No/Mas carry forth the blinding flare, or the guttering ember of the genre?

    Listening to their prior album I felt as though No/Mas provided something of an easy onboarding station for grindcore, if such a thing is possible. Energetic thrash riffs rained from it, and the grouchy-but-clear production sell it as a clear step forward in extremity terms but nonetheless with enough familiar points of reference to potentially hook the unsuspecting and reel them in to deeper waters. I have similar feelings about this one – the thrash is still readily available in spades, but to my ear what they’ve really cranked up is the hardcore influence. The result is work like “Leech”, that would sit well with fans of Integrity or Ringworm and other such merchants of blunt force trauma. Grooves like bricks against riot shields stake irrefutable claim to your attention whenever and wherever they land, so much so that the album begins to feel rather less a grind album than a grind-adjacent one. An honorary member of the tribe for sure, yet one less concerned with the relentless oppression of blastbeats and quadruple digit tempos as it is with taking it’s time over with the beatings. This is especially true of the midsection of the release, wherein reside acts of continent-spanning two-step induction like “Ley Indígena” and “Choke Point”.

    Album Review: NO/MÁS - No Peace

    This can have the effect of somewhat bowing the album’s momentum at the waist. Bookends like “Manic” and “No Peace” are far happier to yank the control rods out the nuclear reactor and let the spiralling power blow the whole thing to bits. This lent the full release an unfortunate – if entirely personal – level of frustration, as I’m much more a grindcore fan than a hardcore one. But even beyond a simple preference for crackhead cheetah speeds, there are components here that I quibble. “Act of Killing” is effectively a 1-minute breakdown. It feels underdone and a little redundant considering the presence of more developed and effective passages of similar type elsewhere, and even at it’s current brevity I’m not convinced that anything it does justifies its inclusion. Also, “Choke Point” and “Spineless” close and open respectively with scornful ingrates of chunky riffs at close tempos, but as one follows the other the impact of both is blunted. Given all the above it’d be fair to say that I wasn’t exactly overwhelmed with the belly of “No Peace”, but the thing is, the bulk of that lukewarm reception does come down to taste. If hardcore is more your thing than it is mine, then the combination of rigorous midpaced skull fractures and steel-forge blasting on display here might well prove a dangerously enticing prospect.

    And it’s for that reason that I still think that No/Mas are still an ideal hopping-on point for those yet to dip a toe into grindcore, with the next stop ideally being a similarly blunt group of grinders like Ground, for example. The production is crunchy and confrontational but readable nonetheless, with a marvellous bass tone that thrums and twangs along with each note like the bunched deltoid hurtling a straight right on collision course with your ever-so-frail orbital bone. It vomits groove and thrash along with the formidable grind broadside that I’m primarily invested in, that same grind they perform so well as to make me mourn the sharing of it’s seat with the hardcore elements that draw less interest from me, but might well speak to you with more mellifluous, tempting tones. This, then, is the crux I would have you bear away with you should you have already borne with me so far: No/Mas continue to demonstrate their vitality and power here, even if their present direction is one I find less immediately engaging than I have in years gone by. For those of you not yet familiar with the joys of grindcore (and especially if hardcore is more your typical fare), I would urge you to give this album a go; “No More” is the last thing you’ll be saying.

    For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.

    The post Album Review: NO/MÁS – No Peace appeared first on The Razor's Edge.

  • Hyd Announces New Album Hold Onto Me Infinity: Hear “Angel”

    Hyd is Hayden Dunham, a New York-based multi-disciplinary artist and former PC Music affiliate. Back in 2014, Hyd co-created QT the PC Music future-pop avatar who release “Hey QT.” In 2022, Hyd released her solo debut CLEARING, which included collaborations with people like Caroline Polachek. Now, Hyd is coming back with a new album called…

    The post Hyd Announces New Album <em>Hold Onto Me Infinity</em>: Hear “Angel” appeared first on Stereogum.

  • David Ellefson is Pissed Off at Dave Mustaine Again Over Drama: “F*ck Off. Just F*ck Off.”

    Mustaine Ellefson

    Things are heating up in the war of words between ex-Megadeth bassist David Ellefson and his former bandmate/Megadeth founder Dave Mustaine. In a recent interview with Argentine rock journalist Gustavo Olmedo on the Quemar Un Patrullero podcast, the topic shifted to Ellefson’s rocky relationship with Mustaine and things ultimately got heated.

    During the conversation, Ellefson reflected on times with Mustaine when things were good, even familial at times. It was right around the time when Ellefson came back to the band after an eight-year hiatus. It was during that period, Ellefson said, that the two bandmates shared a sort of fraternal bond forged over decades.

    “When I went back to Megadeth in 2010, Dave and I were close – we were really close. I was helping him with some personal things. He became a good friend to me during that time. So there were periods of closeness as men, as brothers.

    “And I found those opportunities were always the best when it was just me and Dave, when there wasn’t another person in the room. We didn’t have to sort of be on stage performing for anyone. It was just me and him being brothers, [at] Starbucks drinking coffee, whatever. And those moments were genuine, they were sincere, they were heartfelt.”

    As we all know though, things would eventually fall apart in 2021 after a sex scandal surfaced online involving Ellefson. That whole kerfuffle ended up with footage of the bassist masturbating on camera and an embarrassing situation for Ellefson and those close to him. Mustaine eventually fired Ellefson as a result.

    With Ellefson fired, Mustaine opted to have the bass parts for The Sick, The Dying… And The Dead! re-recorded by Steve DiGiorgio. Ellefson said in the interview that he “could tell [Mustaine] resented me” and that’s why his contributions were cut from the final product.

    Ellefson said he also wrote a ballad for that album, as well as some lyrics for the song “Soldier On!” but those were also scrapped. All those decisions to cut him out of that new record has led Ellefson to compare his firing to Mustaine’s famous ousting from Metallica and in his eyes, one event is certainly more unfair than the other.

    “When Dave got fired from Metallica, at least they kept his words and his music and they paid him and gave him credit. Dave wasn’t so kind to me. He kicked me out, took my performances off the record, and took my lyrics and everything off the record. So I think I have a horse in that race when I speak about how properly Metallica handled things and how I think improperly things were handled on my behalf. ‘Cause I saw it; I lived it.”

    Given how he feels his things went down, Ellefson said he considers his final goodbye from Megadeth as the 2018 tour and his contributions to the 2016 album Dystopia. It was that ability to see those moments as closure that Ellefson said he doesn’t have the same resentment that Mustaine carried all those years for Metallica.

    Ultimately, Ellefson hit back at Mustaine over a recent comment the frontman made on SiriusXM‘s “Trunk Nation With Eddie Trunk” last December where he felt he couldn’t have surviving ex-band members on stage because of “what one person did”. That stance, Ellefson basically said, was bullshit.

    “To have it end where it did, and then [for Mustaine] even recently to say, ‘Oh, because of what one person did, I can’t bring anyone back.’ You know what? Fuck off. Just fuck off. Who is that one person? It wasn’t me, ’cause I didn’t do anything that would prevent me from coming back at all. At all. And so this sort of deflectionary thing, to sort of get on some moral high ground, it’s, like, gimme a break. Really? And look, I had rock stars much bigger than Dave coming to my side and coming to my aid, standing by me, saying, ‘Man, just let me know if you need anything at all. That’s really fucked up.’ It’s fucked up about how I was handled being discarded. People saying, ‘I’m really disappointed that they chose business over brotherhood,’ ’cause at the end of the day, the brotherhood will always last beyond the business of owning a rock band — especially something we started and built together.”

    The post David Ellefson is Pissed Off at Dave Mustaine Again Over Drama: “F*ck Off. Just F*ck Off.” appeared first on MetalSucks.

  • Screamer Magazine Features Awaiting Abigail as Texas’ Next Major Hard Rock Breakout – @thebeast

    FOR IMMEDIATE RELEASE
    Screamer Magazine Features Awaiting Abigail as Texas’ Next Major Hard Rock Breakout
    Dallas/Ft. Worth, TX – March 11, 2026 – Texas hard rock rising stars Awaiting Abigail are making waves nationwide, earning top media attention with their debut EP, Bad Mind . Featured on the high-traffic Screamer Magazine website, the six-piece band is being recognized for their powerful riffs, soaring vocals, and unapologetic attitude—proving they’re more than just another local act.
    Formed in 2024, Awaiting Abigail has quickly attracted national press praise:
    “Kicks in like a wrecking ball wrapped in velvet… demands to be heard, felt, and turned up way past eleven.” — Illustrate Magazine
    “Arguably the most exciting metal newcomers to emerge in a long time.” — SONGSCOPE
    “Every single song would be worthy of being played on Rock radio stations.” — Metalheads Forever Magazine
    Their debut EP Bad Mind delivers a blend of classic-metal-inspired riffs and radio-ready vocals across four tracks, including I Hate You , Falling Under , and the title track Bad Mind . The band’s dynamic sound and stage presence have also earned them features in Power Play Magazine , Decibel Magazine , and a landmark live performance at Whisky A Go Go alongside L.A. Guns.
    Awaiting Abigail’s music is rooted in resilience, tackling themes of empowerment, personal struggle, and the fight to rise above adversity. With growing national and international radio play, strong press traction, and a rapidly expanding fanbase, the band is positioned for a major breakout.
    Fans can join their free fanlist for early access, exclusives, and behind-the-scenes updates at: https://fans.awaitingabigailband.com
    About Awaiting Abigail
    Formed in Texas in 2024, Awaiting Abigail combines heavy, chugging instrumentation with melodic, emotionally charged vocals. Drawing comparisons to Halestorm , The Pretty Reckless , Evanescence , and In This Moment , the band has quickly established a distinct identity in modern hard rock. With national media praise, growing radio traction, and standout live performances, Awaiting Abigail is shaping up to be one of the next breakout names in hard rock.
    Media Contact: zach@metaldevastationradio.com
    Check out the feature here: https://screamermagazine.com/press-releases/awaiting-abigail-rise-as-texas-next-major-hard-rock-breakout/

    Follow them on social media for updates, new releases, and tour dates!
    https://awaitingabigailband.com/
    https://www.facebook.com/awaitingabigail/
    https://www.instagram.com/awaitingabigail
    https://www.youtube.com/@awaitingabigail
    https://awaitingabigail.bandcamp.com/album/bad-mind
    https://music.apple.com/us/artist/awaiting-abigail/1781286595
    https://open.spotify.com/artist/0ak3NTLLBbiAxQ1LLNd5a3

  • A View From The Back Of The Room: Napalm Death (Mike Chew & Nat Sabbath)

    Napalm Death, Whiplash, Varukers & Dopelord: The Campaign for Musical Destruction, O2 Institute, Birmingham, 01.03.26


    Some tours are just line-ups. Others feel like a genealogy chart for an entire genre. The Campaign for Musical Destruction tour falls firmly into the latter category. Doom, punk, thrash; three musical forces that collided violently in the 1980s to create grindcore, all represented on one bill before the genre’s undisputed pioneers took the stage. In Birmingham, the birthplace of heavy music itself, it felt especially fitting.

    Four bands. Four different flavours of aggression. One absolutely relentless night.

    Opening the night were Poland’s riff-obsessed doom merchants Dopelord, and they wasted absolutely no time dragging the room into a thick haze of fuzz and slow-burn heaviness. Their set opened with a surprise nod to psychedelic blues history with It Is So Nice to Get Stoned, originally by Ted Lucas, which they transformed into a lumbering doom invocation. From there, the band leaned fully into their Sabbath-worshipping DNA.

    Tracks like The Chosen One and Headless Decapitator showcased the band’s ability to balance crushing heaviness with hypnotic groove. Their tone is enormous, bass rumbling like tectonic plates shifting beneath the floor while the guitars delivered creamy blues-soaked leads that floated above the riffs rather than cutting through them. The comparison to a doom-laden version of Mastodon isn’t far off, but Dopelord’s sound feels deliberately more lo-fi and ritualistic.

    The highlight for many came when Hail Satan kicked in, instantly getting the Birmingham crowd chanting along with the band. It was one of those moments where doom’s theatricality met genuine crowd participation. Reptile Sun and Doom Bastards closed the set in glorious slow motion, riffs echoing off the venue walls like ancient machinery grinding into life.

    Heavy, smoky, hypnotic doom; the perfect way to start a night dedicated to musical extremity.

    The Varukers arrived like a Molotov cocktail thrown into the middle of the room. From the opening blasts of How Do You Sleep? and Led To The Slaughter, the band delivered a masterclass in politically charged hardcore punk. 

    Rat was on fiery form throughout, both vocally and in spirit, and early in the set he paid tribute to Birmingham’s own Ozzy Osbourne, dedicating Endless Destruction Line to the Prince Of Darkness, a moment that drew a roar of approval from the home crowd.

    The band’s set was relentless. Die For Your Government, Murder, and Tortured By Their Lies landed like blunt force trauma, their themes of corruption, power and injustice feeling depressingly relevant decades after they were first written. When Rat introduced Nothing’s Changed, the point felt painfully clear.

    Songs like Massacred Millions, Deadly Games, and Allegiance To None kept the momentum blisteringly fast, with the crowd responding in kind as the pit grew increasingly chaotic. The closing run of I Don’t Wanna Be A Victim and Protest To Survive was classic UK hardcore, defiant, furious and utterly uncompromising.

    Short, sharp, and politically explosive, exactly how punk should be.

    Next up were thrash veterans Whiplash, and if anyone in the room needed reminding why the genre exploded in the 80s, this set was the perfect refresher.

    The band wasted no time tearing into Last Man Alive and Killing On Monroe Street, unleashing razor-sharp riffs and breakneck tempos that instantly lifted the room’s energy. Tony’s guitar tone was pure old-school thrash (biting and aggressive) while the rhythm section locked in with surgical precision.

    One of the night’s standout moments came with Spit On Your Grave, its vicious riffing sending the pit into overdrive. Red Bomb and The Burning Of Atlanta followed, showcasing the band’s knack for combining technical thrash precision with sheer adrenaline.

    Birmingham’s own Exorcism were spotted watching from side stage, a neat passing of the torch moment. Meanwhile, Will’s finger-picked bass passages were a joy to behold, pulling the mind back to Cliff Burton and his enduring influence on thrash’s musicality. It added a welcome musical depth among the speed and aggression.

    The closing barrage of Walk The Plank, Thrashquake, Nailed To The Cross, and the immortal Power Thrashing Death turned the room into a full-scale thrash celebration.

    The drummer turned into a signing booth post-set, autographing anything thrown his way; CDs, clothing, arms, and yes, even cheeks. Try getting that at a seated show!

    Let’s get the bias out of the way early: Napalm Death are one of the most important bands in extreme music, and one of my personal favourites, nights like this make it very clear why.

    From the moment they launched into Instinct Of Survival the room exploded. The opening run of Strong-Arm, Continuing War On Stupidity, and Everyday Pox was relentless — a blur of blast beats and politically charged fury delivered at warp speed.

    Barney, as always, was in constant motion. Watching him perform is like witnessing someone who never stopped running laps in school PE, either that or he genuinely believes the stage floor is lava; his energy never dropped for a second. The band acknowledged bassist Shane Embury’s absence, with Adam Clarkson stepping in admirably and clearly enjoying every second of the chaos.

    Highlights came thick and fast: Suffer The Children had the crowd roaring along, Greed Killing and Incinerator detonated the pit once again, and Scum remains one of the most iconic grindcore tracks ever written. The band even unleashed You Suffer, still famously the shortest song in the world, which somehow still manages to generate one of the biggest cheers of the night. Their cover of Nazi Punks Fuck Off by Dead Kennedys was delivered with ferocious conviction, the entire crowd shouting the chorus back loud and proud. 

    Closing with Persona Non Grata / Smear Campaign, Napalm Death left the stage having delivered exactly what the tour promised: musical destruction. And on Birmingham soil, it felt especially powerful.

    Barney has spoken recently about stopping when it feels forced. On this evidence, that time is nowhere near. Whether it was the last night of the tour, the pull of home turf, or simply a band still utterly in love with what they do, Napalm Death were unstoppable.

    Four genres. Four bands. One lineage.

    A spectacular display of musical destruction ; delivered with precision, passion and just enough chaos to remind us why this music matters in the first place.

  • Six Feet Under to Unleash “Next to Die” Full-Length on April 24th Through Metal Blade Records

    – March 11th, 2026 –

    New Single Now Playing, Pre-Orders Available + North American Tour Announced!

    Watch / Stream SIX FEET UNDER’s “Unmistakable Smell Of Death” HERE

    American death metal pioneers SIX FEET UNDER will unleash their Next To Die full-length on April 24th through Metal Blade Records.

    Next To Die marks a new creative high for SIX FEET UNDER, its dozen songs marking the band’s fifteenth album since 1995′s Haunted. “It started out as an album full of death metal songs with speed and aggression,” says guitarist Jack Owen. “Then [vocalist] Chris [Barnes] had the brilliant idea to keep half of those death metal songs and add some groovier songs in the vein of the early SIX FEET UNDER material. Chris emphasized tempo, so keeping with the beats per minute for early SFU classics, I wrote a side of tasty groove-laden music with Chris doing all the lyrics.”

    Photo by Jack Webb

    The creative collaborative approach sees Next To Die essentially broken down into two different sides – Death and Groove – resulting in an aural masterwork that satisfies SIX FEET UNDER as artists, while also offering something for every fan.

    The record was produced by Owen and Barnes and mixed and mastered by Mark Lewis of MRL Studios in Nashville, Tennessee, and follows 2024′s Killing For Revenge. It’s the third record that Barnes and Owen have created together since reuniting in 2017. “We don’t discuss lyrical themes, we each write what we’re feeling,” explains Barnes. “We each just write what we find interesting.”

    SIX FEET UNDER was initially formed as a side project for Barnes during his final years with the band that he co-founded, Cannibal Corpse. It became the frontman’s sole focus in 1995, coinciding with the release of their debut, Haunted. The current lineup of Barnes, Owen, lead guitarist Ray Suhy, bassist Jeff Hughell, and drummer Marco Pitruzzella make for a devastating unit.

    That sonic devastation shines on lead single, “Unmistakable Smell Of Death,” which sees Owen owning his blast and fast riffs with dynamic pull-offs and stop sections. “This song began musically before I had any lyrical ideas in mind,” says Owen. “I dug through my riff archive for some blast and fast riffs and updated them with some pull-offs and stop sections. The middle section riffs were also from my riff archive. I do scratch leads on my demos, but Ray always does a much better job with the leads.

    “Lyrically, I’m writing from the perspective of a killer who toys with a victim and unties them, allowing them to fight. He underestimates their ability to fight, and they get the better of the killer, ultimately impaling and beheading him. The ‘Unmistakable Smell Of Death’ is now that of the killer!“

    Watch SIX FEET UNDER‘s visualizer for “Unmistakable Smell Of Death” HERE.

    Next To Die comes swathed in the cover art of Sandy Rezalmi and will be released on CD and digital formats as well as vinyl in the following color variants:

    180g Black (EU)
    Red w/ Black Smoke (US)
    Bone Brown Marbled (EU – Ltd. 500)
    Blue Grey Marbled (EU – Ltd. 300)
    Blood Splatter (EU – Ltd. 300)
    Bone White Green Splatter (EU – Ltd. 200)

    Find all pre-orders at: metalblade.com/sixfeetunder

    Next To Die Track Listing:
    01. Approach Your Grave
    02. Destroyed Remains
    03. Mister Blood and Guts
    04. Mutilated Corpse in the Woods
    05. Unmistakable Smell of Death
    06. Wrath and Terror Takes Command
    07. Skin Coffins
    08. Mind Hell
    09. Naked and Dismembered
    10. Grasped from Beyond
    11. Next to Die
    12. Ill Wishes

    SIX FEET UNDER will return to stages this Summer on a North American headlining tour. Set to begin on July 8th in Detroit and run through August 11th in Chicago, the tour features support from Kataklysm and Wormhole.

    Comments Barnes, “July and August are gonna get ultra brutal on our headline tour of North America in support of our new album Next To Die, with our old friends in Kataklysm, and special guests Wormhole. Very psyched to get back on the road in the States, and really, really looking forward to playing Canada on this tour. I think it’s our first time in Canada in decades… You do not want to miss these shows! See you all this Summer!“

    The North American journey will follow the band’s previously announced European headlining tour this June with support from Embryonic Autopsy.

    Presales begin Thursday, March 12th password: GRAVE. General onsale date is Friday, March 13th. See all confirmed dates below.

    SIX FEET UNDER w/ Kataklysm, Wormhole:
    7/08/2026 Sanctuary – Detroit, MI
    7/09/2026 Lee’s Palace – Toronto, ON ^
    7/10/2026 Fairmount – Montreal, QC ^
    7/11/2026 Overflow – Ottawa, ON ^
    7/12/2026 Palladium Upstairs – Worcester, MA
    7/13/2026 Space Ballroom – Hamden, CT
    7/14/2026 Gramercy Theatre – New York, NY
    7/15/2026 Broken Goblet – Bensalem, PA
    7/16/2026 Chapel of Bones – Raleigh, NC
    7/17/2026 Albatross – Jacksonville, FL
    7/18/2026 Culture Room – Fort Lauderdale, FL
    7/19/2026 Conduit – Orlando, FL
    7/21/2026 Scout Bar – Houston, TX
    7/22/2026 Come and Take It Live – Austin, TX
    7/23/2026 Jake’s – Lubbock, TX
    7/24/2026 Lauter Haus – Farmington, NM
    7/25/2026 Nile – Phoenix, AZ
    7/26/2026 1720 – Los Angeles, CA
    7/27/2026 Strummer’s – Fresno, CA
    7/28/2026 Cornerstone – Berkeley, CA
    7/29/2026 Goldfield – Roseville, CA
    7/30/2026 Shredder – Boise, ID *
    7/31/2026 Hawthorne Theatre – Portland, OR
    8/01/2026 El Corazon – Seattle, WA
    8/02/2026 Rickshaw – Vancouver, BC ^
    8/04/2026 Arrowhead – Calgary, AB ^
    8/05/2026 Starlite Room – Edmonton, AB ^
    8/06/2026 Black Cat – Saskatoon, SK ^
    8/07/2026 Park Theatre – Winnipeg, MB ^
    8/08/2026 Skyway Theatre – Minneapolis, MN
    8/09/2026 The Annex – Madison, WI
    8/10/2026 Madison Theater – Covington, KY
    8/11/2026 Reggies – Chicago, IL
    * No Kataklysm
    ^ Kataklysm headlines

    European Tour w/ Embryonic Autopsy:
    6/03/2026 Mystic Festival – Gdańsk, PL
    6/04/2026 Franz – Berlin, DE
    6/05/2026 Pitfest – Maastricht, NL
    6/06/2026 Gebäude 9 – Cologne, DE
    6/07/2026 The Garage – Saarbrücken, DE
    6/10/2026 Colosseum – Košice, SK
    6/12/2026 Nova Rock- Nickelsdorf, AT
    6/13/2026 A38 – Budapest, HU
    6/14/2026 Orto – Bar Ljubljana, SI
    6/16/2026 Kaminwerk – Memmingen, DE
    6/17/2026 Backstage Halle – Munich, DE
    6/19/2026 Colo-Saal – Aschaffenburg, DE
    6/20/2026 Graspop Festival – Dessel, BE
    6/21/2026 Hellfest – Clisson, FR
    6/23/2026 Logo – Hamburg, DE
    6/24/2026 Copenhell – Copenhagen, DK
    6/26/2026 Basinfire Festival – Spálené Poříčí, CZ
    6/27/2026 Abyss Festival – Hauteville, CH

    SIX FEET UNDER:
    Chris Barnes – vocals
    Jack Owen – guitars
    Marco Pitruzzella – drums
    Jeff Hughell – bass
    Ray Suhy – guitars

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