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Emily Kolltveit will be known to many UK metalheads as the former frontwoman of Pythia, but her life took a surprising turn

Anthrax return with their 12th album, “Cursum Perficio,” and lead single “It’s For the Kids,” a thrash-metal blast that’s equal parts nostalgia, aggression, and fan love.

The post Anthrax Announce New Album, ‘Cursum Perficio’ — And the First Single Hits Hard appeared first on Audio Ink Radio.

Dave Mustaine built his career out of anger, technical precision, and an almost relentless drive to prove himself after one of the most famous dismissals in rock history. His aggressive rhythm guitar style, politically charged songwriting, and sharp musical discipline helped define thrash metal during the 1980s and beyond. He was born David Scott Mustaine on September 13, 1961, in La Mesa, California, and grew up in a difficult household shaped by financial instability and family tension. Music became an outlet early in life, especially after discovering hard rock bands such as Led Zeppelin, Black Sabbath, Judas Priest, and Motörhead.

The post Complete List Of Dave Mustaine Bands And Musical Projects appeared first on ClassicRockHistory.com.

Bombastic progressive rock/metal Canadian duo Crown Lands follow up their excellent 2023 album Fearless with an equally excellent Apocalypse. This continues the ongoing Fearless/Starlifter concept/storyline with the bio sheet stating that Apocalypse a century before before Starlifter. As well as being Canadian, Crown Lands’ style is essentially late 1970s/early 1980s Rush – and that’s no […]

The post Crown Lands: Apocalypse Review first appeared on New Wave of British Heavy Metal.

[Album artwork by Harshanand Singh]

The third album is in some ways a litmus test for a band’s longevity. Three albums is a sufficient sample size—you can generally tell where a band is headed, whether they’ll last, whether they speak to you … or don’t. And Yoth Iria and I have maintained a healthy line of communication over their first two albums: As the Flame Withers and Blazing Inferno, respectfully. Strange, given that Yoth Iria’s Jim Mutilator had already left Rotting Christ by then, but the band’s sound has always felt somewhat like a cousin to the latter’s particularly melodic mid-period form, when Rotting Christ was cheat-coding their way through four favorites of mine in just five years; Sleep of the Angels (1999) – Sanctus Diavolos (2004), for the record.

Though Yoth Iria’s sophomore effort, Blazing Inferno, felt initially like a more melodic and purposeful version of the debut, As the Flame Withers, it didn’t quite have as much staying power. Dust settled, it felt less urgent. It channeled less of the anxiety and moments of panic inherent in mid-period Rotting Christ. The pace was a little too stunted. Less varied. Granted, Blazing Inferno is still a fantastic record. That it ranked on my year-end list, and quite high, is no coincidence. But with distance it feels like the lesser record.

Gone with the Devil by Yoth_Iria

So having now wasted two paragraphs with context, I won’t beat around the bush—Yoth Iria’s Gone with the Devil is a potent amalgamation of the prior two records’ strengths and proof of the band’s continued inspiration moving forward.

One of Blazing Inferno’s few weak points was its flow. It felt too single tone. There’s nothing wrong with a well-crafted, uber-melodic mid-pace song, of course. But the strongest Hellenic black metal albums are those that balance brooding melodicism and a more sinister intensity. Blazing Inferno parked its chair a little too long in the former, at the expense of the latter. And Gone with the Devil is the slight course correction Yoth Iria needed. Granted, the marker distinguishing Gone with the Devil from Blazing Inferno isn’t as obvious upon first listen. But it is there. And it becomes more apparent with time.

The shift from Blazing Inferno to Gone with the Devil is not so much mid to fast pace but single to multi-tone. Gone is simply more expressive in the ways that matter. “Woven Spells of a Demon,” for instance, is as mid-paced as anything on Blazing Inferno, but there are layers here that aren’t present on at least some of Blazing. The rhythm and the chorus stick, no doubt. But there’s an underlying intensity in the drums and the vocals that give “Woven” its backbone.

Gone with the Devil by Yoth_Iria

At the risk of committing to a needless comparison, what Yoth Iria do for or with Hellenic black metal is not too unlike what Kreator have done with Teutonic thrash on Enemies of God, Phantom Antichrist, and, to a lesser extent, Krushers of the World. The band seizes on a few key elements and through its collective experience projects a more melodic and accessible but still quite deep vision of a well-established genre’s sound. Though it goes down easy, it’s also quite substantive. Simple, in some respects. Rewarding all the same.

Some of Yoth Iria’s riskier takes—the ones that only vaguely sound like Hellenic black metal—are its strongest. “3 am,” for example, has an almost industrial-like, pounding rhythm. It’s moody. Somber. Maybe even a little poppy. And if you’re looking for something that resembles Medieval Demon or Varathron, you’ll be disappointed. It’s not an outlier, either. “Harut, Government, Fallen” and “Blessed Be Who Enters” are at least spiritually similar.

Less a seismic shift than a tonal recalibration, Gone with the Devil is Yoth Iria in peak confidence. A cheap (pulp) and romantic reimagining of Hellenic black metal, its best songs stick to the darkest corners of your gut. Almost celebratory in its gloominess. Cathartic.

The post Yoth Iria – Gone With The Devil Review appeared first on Last Rites.

Rick Wakeman will also release his autobiography, The Wizard Of Prog, in October

Interview by Kris Peters Gargoyle of the Garden State, the highly anticipated debut solo album from Skid Row co-founder and bassist Rachel Bolan, releases on 12 June 2026 via earMUSIC. Stepping into the spotlight under the moniker BOLAN, this record marks a monumental milestone in the musician’s four-decade career. Driven by a desire to craft […]

The post Live Review: Karnivool – Manchester appeared first on The Razor's Edge.

Posted on May 18th 2026, 10:48a.m.

Bring Me The Horizon made sure that their headline set at Sonic Temple this weekend was one to remember with a very special guest joining them.

That guest was MAPHRA, the incredible vocalist who has gone viral for her cover of the band’s 2015 track ‘Doomed’. The version has spent the last nine weeks in first and second position on the Billboard Hot Hard Rock Songs Chart, only recently been knocked off the top spot by mgk and Fred Durst’s ‘Fix Ur Face’. It has racked up over 19 million streams on Spotify alone, and the one-take video on YouTube has been viewed over 21 million times.

Basically, it is a phenomenon.

And for BMTH to notice and appreciate what is taking place with their song showcase just how they continue to have their ear to the ground in terms of what is going on in the scene. So, on stage at Sonic Temple in Columbus, OH, the two worlds collided in a spine-tingling, unifying, triumphant manner. With Oli Sykes and MAPHRA pushing each other further and further vocally, the result is undeniable. It also demonstrates what happens when you put yourself out there. Your heroes do take notice, you know?

You can check out fan footage of the performance below:

And here is the cover in its own right, because it deserves to have even more eyes on it:

The post WATCH: Bring Me The Horizon Bring Out MAPHRA For ‘Doomed’ At Sonic Temple appeared first on Rock Sound.