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Papa Roach frontman Jacoby Shaddix has revealed his sobriety journey has been strengthened by his faith

Internationally acclaimed guitarist, singer, and songwriter Philip Sayce sets the stage ablaze once again with the announcement of his explosive new live album, ‘Scorched Earth: Volume 2 Live in LA / London‘. To mark the news of the highly anticipated new live album, Sayce releases the album’s latest single, ‘Morning Star (Live)‘, available now on […]

The post Philip Sayce Announces New Album ‘Scorched Earth: Volume 2 Live in LA / London’ Ahead Of UK Tour appeared first on ROCKPOSER DOT COM!.

Bodysnatcher have continued their ascent to the very top with another slice of deathcore perfection, taken from their upcoming album ‘Hell Is Here, Hell Is Home’.

The track is called ‘Violent Obsession’ and is a savage showing from a band that never lets the ante slip. Crushing riffs, gargantuan growls and the sort of breakdowns that tear the flesh right off the bone, it is violence incarnate. A further showcase of how you put the core in deathcore.

Plus, the mosh call is a future classic. Keep those ears open for it.

Guitarist Kyle Carter had this to say about it: “‘Violent Obsession’ to me expresses hate for a person to the extreme. It’s about revenge and what you wish you could do to this person who’s abused you, or taken advantage of you. It’s about obsessively living in that headspace of hatred and wanting them to feel how they made you feel.”

‘Hell Is Here, Hell Is Home’ will be released on April 10 via MNRK Heavy.

You can check out previously released taster, the pure evil ‘The Maker’, below.

The band will be hitting the road for a UK and European tour alongside Ingested, PSYCHO-FRAME and Big Ass Truck. Here are the dates.

MARCH

04 – SOUTHAMPTON Engine Rooms
05 – BRISTOL The Fleece
06 – MANCHESTER Club Academy
07 – GLASGOW Slay
09 – BELFAST Limelight 2
10 – DUBLIN Whelans
11 – LEEDS The Key Club
12 – NOTTINGHAM Rescue Rooms
13 – BIRMINGHAM Asylum
14 – PLYMOUTH The Depo
15 – LONDON The Garage
17 – BERLIN Hole44
18 – COPENHAGEN Pumpehuset
19 – HAMBURG Logo
20 – HANNOVER Faust
21 – PRAGUE Rock Cafe
22 – WARSAW Hydrozagadka
24 – VIENNA Szene
25 – MUNICH Backstage
26 – AARAU KiFF
27 – EINDHOVEN Dynamo
28 – BOCHUM Matrix
29 – ANTWERP Trix Club

The post Bodysnatcher Share Unrelenting New Track ‘Violent Obsession’ appeared first on Rock Sound.

“Valkyrie”, the second advance single from Kate’s Acid‘s oncoming debut full-length effort Hellbender, has premiered online in the form of a lyric video. Check it out.
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Dusk have been at it for a while now, toiling in the shadows to scrape together an acid concoction of abrasive noise and screaming menace. But who hasn’t? Newcomers to the blog, or the metal scene in general, may not have enjoyed of the deep sadness of early-2010s underground metal, when the promo pit burst with bedroom black metal from a seemingly inexhaustible trove of men who owned a guitar and made up for their lack of talent, and bandmates, and vision by pure profligacy. Though we’re now blessed with far more in the way of interesting music, the Vardans of the world are still out there, now and again transformed by their toil into something worthy of remark. And the crisp mashup of industrial synthesizers and black metal intensity has been worth a listen for the last decade in which Dusk have operated. Now it’s worth a few more.

Bunker is the Costa Rican band’s seventh record, and sixth this decade, masterminded by the eponymous producer who has had the Dusk aesthetic down to a science; enveloping low-end rumbles, echoing synths, spares instructions for his attendant vocalist and string-slingers, and a grim sense of inevitability. With the sound palette sorted out, it’s up to Dusk’s compositional skill to make Bunker worthwhile. It’s all too easy for electronic music to lean heavily into repetition; the infinitely replicable nature of composition in the medium lends itself towards riding extended grooves while adding and subtracting new elements. While Dusk certainly use this to their advantage in the latter half of the album, Bunker is front-loaded with two exciting tracks that move much faster than their tonal palette would suggest. “BUNKER I” begins in noisy ambience before introducing an Author & Punisher beat as its other sounds warp and stutter. A sudden blast of tremolo picking by guitarist Implacable gives way to more complex industrial beats and a simple, martial guitar riff, and then it’s over, transitioning into the Anaal Nathrakh-meets-Bliss Signal “Bunker II,” which vacillates between electronic blasts and subdued keys, with a lonely sonar ping accompanying both. Neither element ever overstays its welcome, and just six minutes in to Bunker, I was hooked.

Dusk can pack detail into songs even when they’re allowed to stretch out, and Bunker succeeds on meticulous sound design. In the doomy, menacing “Bunker III,” Dusk re-uses beats and samples dozens of times, but never outright repeats the same combinations of elements, making full use of the tools available to them. Though the song is slow-moving, subtle crescendos, particular spacing of instruments across the sound stage, and slowly adjusting cutoffs that amplify the intensity of a clip of breaking glass combine to keep this reprieve interesting for as long as the first two tracks lasted.

At twenty-three minutes, Bunker is an exercise in restraint that pulls ahead of the band’s back catalog in part on the strength of its concision. These songs move through ideas quickly enough to never grow stale, but there’s also a nagging feeling that Dusk’s compositions are somewhat automatic; each new idea that the songs explore is a small one, introduced almost scientifically so as to see just what that little tweak will do in the context surrounding it. No bizarre riff, jarring melody, or impressive performance could maintain this paradigm. Bunker, like most records Dusk put out, is something of a mood piece, hewing closely to a particular exploration of what this industrial/black metal hybrid can be without producing standout songs that make the sound creatively compelling. I’m left wanting something a bit less well-considered, something vital that’s often difficult for me to find in electronic music.

Nevertheless, Bunker is a compelling introduction to Dusk for anyone who hasn’t encountered the group before, and it stands as a concise exploration of their sound. Its damp, brooding atmospheres contrast expertly with moments of screaming static, and it’s all bolstered by enveloping production. Among the band’s now lengthy back catalog, Bunker’s combination of concision and vision stands out, but it’s only the sum of its many intricate but unimpressive parts. For Dusk to break through, they’ll have to break their own carefully-constructed mold.

---

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps MP3
Label: Self-Released
Websites: duskvt.bandcamp.com
Releases Worldwide: February 20^th, 2026

 

The post Dusk – Bunker Review appeared first on Angry Metal Guy.

Later this year, in autumn, Mongolian folk metal band The Hu will embark on headline European tour. As main support throughout the entire run they will be joined by the French neofolk ensemble Skáld.
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Swedish heavy metallers Dead Kosmonaut are excited to announce that they have signed a new deal with Edged Circle Productions for the release of their next studio album entitled Retrospectre. The long-awaited new offering will receive its release in June. More updates coming soon.
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Tonight marks Deftones’ second London gig in as many years, but the appetite is clearly still there — the arena is quickly filling up well before the first support slot begins. Bittersweet anticipation hangs thick inside The O2 Arena. Deftones are wrapping up their UK tour in support of their tenth studio album ‘Private Music’, and with the band notoriously guarded about what comes next, tonight carries a quiet weight. Of course, there’s plenty of bands who’ve returned from silence with something that justifies the wait, but tonight is it for Deftones in terms of this run of UK dates. It adds a gravity to our excitement, a laser focus on drinking in every second of this —  losing ourselves in Chino Moreno’s howl and Stephen Carpenter’s riffs, alongside a few thousand other people, who understand exactly what this band means.

The night starts with Drug Church, whose blend of punky, post-hardcore-y, alt rock-y goodness shows they’re determined to earn their place on this bill. Frontman Patrick Kindlon has already declared to every crowd on this run that it’s the opening band’s job to set the tone, and set it they do. ‘Fun’s Over’ hits the O2’s cavernous space with a force that has no right to feel this intimate, and ‘Weed Pin’ sends the first wave of bodies over the barricade. Kindlon holds court between songs with the cadence of a man who has been given a pulpit and is absolutely going to use it. Drug Church give us neither the headliner’s sensuality nor the main support’s anarchic energy, but what they bring instead is something pricklier and more relentless. ‘Myopic’ and ‘Grubby’ deliver in ways that feel both urgent and oddly wise, and by the time they’re done, several thousand people who arrived as strangers to Drug Church are leaving as converts.

Denzel Curry takes to the stage wearing a balaclava-like snood and barely stops moving for the entirety of his set. Frankly, it’s a masterclass in how to occupy an arena stage as a solo rapper. The crowd naturally divides into two separate, invisible groups: Group A, ‘who the f*ck is this’, and Group B, ‘he’s an odd choice to support Deftones, but I’m having a fantastic time’. ’RICKY’ hits like a thunderclap and ‘GOATED’ follows with rhymes and confidence that match the song’s self-billing. DJ Poshtronaut adds crucial texture beside him as the pair bounce off each other in ways that keep the crowd perpetually on their toes. Curry’s ability to hold a crowd that’s ostensibly here for alt-metal is remarkable in and of itself, but a shout-out to Rage Against The Machine’s Zack De La Rocha before an absolutely scorching cover of ‘Bulls on Parade’ settles the question of whether he belongs on this bill (he does). Next, Deftones. Here we go!

‘Be Quiet and Drive (Far Away)’ opens with the kind of slow-burn grandeur that renders the O2’s size irrelevant. Suddenly, this is the most intimate room in London, and Chino Moreno’s voice is doing things to the atmosphere that the projections and light rigs can only dream of. Speaking of which: the visuals form a striking backdrop of short looping clips that cycle behind the band, pulsing and breathing with the music. It is in fact so striking, it’s hard to look away, making it surprisingly easy to forget the people on stage creating all this noise, forcing the crowd to periodically correct the subject of their attention.

Chino is a man of remarkably few words, with “welcome”, ”thank you” and “you feeling good over there?”, being about the limit. The Deftones live experience offers an almost cult-like quality, a sense that the music is the sermon and additional commentary would only dilute it. ‘locked club’ and ‘Rocket Skates’ keep the temperature climbing, and ‘Diamond Eyes’ sends the first properly delirious surge through the crowd. The newer ‘Private Music’ cuts sit comfortably alongside the catalogue, as ‘ecdysis’ unfurls with that familiar gauzy menace, and ‘infinite source’ holds its own in a setlist that includes ‘Digital Bath’ and ‘Change (In the House of Flies)’ — no small feat.

Then, mid-intro to ‘my mind is a mountain’, Chino stops. Something’s happened in the crowd that appears to be a medical emergency. Chino handles it with quiet authority, waiting it out, watching, and only when the situation is resolved does the band ease back in. It briefly strips the theatre away from a gig and reminds you that these things happen in rooms full of people. They recover without missing a step. ‘Sextape’ drifts past like a fever dream, ‘Genesis’ rattles the chest cavity, and ‘milk of the madonna’ – bleeding into a ‘souvenir’ outro – feels like being slowly lowered into warm water, closing the main set with a kind of aching grace that leaves the room briefly speechless.

There’s something lovely happening tonight, as teenagers who’ve clearly arrived via TikTok’s recent and apparently insatiable appetite for Deftones stand beside the parents who’ve been listening to ‘Around the Fur’ since 1997. When ‘Cherry Waves’ opens the encore, the volume from the floor gets suspiciously, magnificently louder, and you can tell exactly which songs those newer fans came for. Nobody begrudges them for it. Mostly. ‘7 Words’ ends it all with the fury the night earned. Moreno screams, Carpenter’s guitar does something prehistoric to the air, and then it’s over. They walk off and leave the lights to do the talking. It’s more than enough.

Deftones return to the UK to headline All Points East presents Outbreak in August, and if tonight is anything to go by, whoever’s lucky enough to be in that field better be ready.

KATHRYN EDWARDS

Photo: Clemente Ruiz

Tonight marks Deftones’ second London gig in as many years, but the appetite is clearly still there — the arena is quickly filling up well before the first support slot begins. Bittersweet anticipation hangs thick inside The O2 Arena. Deftones are wrapping up their UK tour in support of their tenth studio album ‘Private Music’, and with the band notoriously guarded about what comes next, tonight carries a quiet weight. Of course, there’s plenty of bands who’ve returned from silence with something that justifies the wait, but tonight is it for Deftones in terms of this run of UK dates. It adds a gravity to our excitement, a laser focus on drinking in every second of this —  losing ourselves in Chino Moreno’s howl and Stephen Carpenter’s riffs, alongside a few thousand other people, who understand exactly what this band means.

The night starts with Drug Church, whose blend of punky, post-hardcore-y, alt rock-y goodness shows they’re determined to earn their place on this bill. Frontman Patrick Kindlon has already declared to every crowd on this run that it’s the opening band’s job to set the tone, and set it they do. ‘Fun’s Over’ hits the O2’s cavernous space with a force that has no right to feel this intimate, and ‘Weed Pin’ sends the first wave of bodies over the barricade. Kindlon holds court between songs with the cadence of a man who has been given a pulpit and is absolutely going to use it. Drug Church give us neither the headliner’s sensuality nor the main support’s anarchic energy, but what they bring instead is something pricklier and more relentless. ‘Myopic’ and ‘Grubby’ deliver in ways that feel both urgent and oddly wise, and by the time they’re done, several thousand people who arrived as strangers to Drug Church are leaving as converts.

Denzel Curry takes to the stage wearing a balaclava-like snood and barely stops moving for the entirety of his set. Frankly, it’s a masterclass in how to occupy an arena stage as a solo rapper. The crowd naturally divides into two separate, invisible groups: Group A, ‘who the f*ck is this’, and Group B, ‘he’s an odd choice to support Deftones, but I’m having a fantastic time’. ’RICKY’ hits like a thunderclap and ‘GOATED’ follows with rhymes and confidence that match the song’s self-billing. DJ Poshtronaut adds crucial texture beside him as the pair bounce off each other in ways that keep the crowd perpetually on their toes. Curry’s ability to hold a crowd that’s ostensibly here for alt-metal is remarkable in and of itself, but a shout-out to Rage Against The Machine’s Zack De La Rocha before an absolutely scorching cover of ‘Bulls on Parade’ settles the question of whether he belongs on this bill (he does). Next, Deftones. Here we go!

‘Be Quiet and Drive (Far Away)’ opens with the kind of slow-burn grandeur that renders the O2’s size irrelevant. Suddenly, this is the most intimate room in London, and Chino Moreno’s voice is doing things to the atmosphere that the projections and light rigs can only dream of. Speaking of which: the visuals form a striking backdrop of short looping clips that cycle behind the band, pulsing and breathing with the music. It is in fact so striking, it’s hard to look away, making it surprisingly easy to forget the people on stage creating all this noise, forcing the crowd to periodically correct the subject of their attention.

Chino is a man of remarkably few words, with “welcome”, ”thank you” and “you feeling good over there?”, being about the limit. The Deftones live experience offers an almost cult-like quality, a sense that the music is the sermon and additional commentary would only dilute it. ‘locked club’ and ‘Rocket Skates’ keep the temperature climbing, and ‘Diamond Eyes’ sends the first properly delirious surge through the crowd. The newer ‘Private Music’ cuts sit comfortably alongside the catalogue, as ‘ecdysis’ unfurls with that familiar gauzy menace, and ‘infinite source’ holds its own in a setlist that includes ‘Digital Bath’ and ‘Change (In the House of Flies)’ — no small feat.

Then, mid-intro to ‘my mind is a mountain’, Chino stops. Something’s happened in the crowd that appears to be a medical emergency. Chino handles it with quiet authority, waiting it out, watching, and only when the situation is resolved does the band ease back in. It briefly strips the theatre away from a gig and reminds you that these things happen in rooms full of people. They recover without missing a step. ‘Sextape’ drifts past like a fever dream, ‘Genesis’ rattles the chest cavity, and ‘milk of the madonna’ – bleeding into a ‘souvenir’ outro – feels like being slowly lowered into warm water, closing the main set with a kind of aching grace that leaves the room briefly speechless.

There’s something lovely happening tonight, as teenagers who’ve clearly arrived via TikTok’s recent and apparently insatiable appetite for Deftones stand beside the parents who’ve been listening to ‘Around the Fur’ since 1997. When ‘Cherry Waves’ opens the encore, the volume from the floor gets suspiciously, magnificently louder, and you can tell exactly which songs those newer fans came for. Nobody begrudges them for it. Mostly. ‘7 Words’ ends it all with the fury the night earned. Moreno screams, Carpenter’s guitar does something prehistoric to the air, and then it’s over. They walk off and leave the lights to do the talking. It’s more than enough.

Deftones return to the UK to headline All Points East presents Outbreak in August, and if tonight is anything to go by, whoever’s lucky enough to be in that field better be ready.

KATHRYN EDWARDS

Photo: Clemente Ruiz

Posted on March 3rd 2026, 12:00p.m.