
Audiotree Live on YouTube have just uploaded a brand new set from the Southern Californian death-metal group SPITE.
The post New SPITE Set Featured On Audiotree Live Series appeared first on Metal Injection.

Audiotree Live on YouTube have just uploaded a brand new set from the Southern Californian death-metal group SPITE.
The post New SPITE Set Featured On Audiotree Live Series appeared first on Metal Injection.
Seven years ago this month, the South Central LA rapper and philanthropist Nipsey Hussle was shot and killed at age 33 outside Marathon Clothing, the store he opened in Hyde Park. After his death, fans quickly started a petition to rename the nearby intersection of Slauson Avenue and Crenshaw Boulevard of to Nipsey Hussle Square. On the day of Nipsey’s funeral, city council said they’d be going forward with the decision. That finally came to fruition on Saturday.
The post Nipsey Hussle Square Unveiled In LA Seven Years After City Approval appeared first on Stereogum.
Ranking Rob Zombie’s solo catalog isn’t nostalgia. It’s an argument.
For nearly three decades, Rob Zombie has carved out one of the most recognizable identities in heavy music — industrial groove, B-movie horror, grindhouse sleaze, and riffs built for arenas. Since stepping away from White Zombie in 1998, he hasn’t chased trends. He’s doubled down on his own universe.
The question isn’t whether he’s influential.
The question is: Which album actually hits hardest from start to finish?
This ranking isn’t about sales numbers or cultural moments.
It’s about replay value.
No skips. No filler. No mercy.
Ranking Rob Zombie isn’t about nostalgia. It’s about durability.
Since stepping out of White Zombie’s shadow in 1998, he hasn’t chased radio trends or modern metal shifts. He built his own universe — grindhouse horror, industrial stomp, sleaze-rock groove, and riffs engineered for festival fields.
Some records are airtight. Some wander. All of them carry his fingerprint.
This list isn’t about sales.
It’s about which albums actually rip from track one to the closer without forcing you to reach for the skip button.

The most controversial record in the catalog — and still the hardest to place.
After years of industrial stomp and carnival chaos, Zombie pivoted into something far more stripped down. The electronics were toned back. The production leaned organic. The horror aesthetic felt less neon and more dust-covered desert.
“American Witch” absolutely rips. “Let It All Bleed Out” grooves hard. And this marked the true emergence of John 5 as a monstrous creative force in the band.
But here’s the issue: it lacks that unmistakable spookshow adrenaline. It feels like a transitional record — interesting, occasionally brilliant, but missing that blood-pumping pulse that defines peak Zombie.
It’s the most mature album.
It’s also the least explosive.

This was the comeback-to-form album.
After the stylistic shift of Educated Horses, Zombie clearly wanted to remind everyone what made the original Hellbilly Deluxe untouchable. The riffs came back thick. The samples returned. The horror carnival atmosphere was fully restored.
“Jesus Frankenstein” and “Sick Bubblegum” are built for festival crowds. The band sounds tight, rehearsed, confident.
But here’s the honest take: it sometimes feels like it’s chasing the lightning instead of creating new thunder. It’s strong, consistent, and live-ready — but it doesn’t redefine anything.
It’s a reliable monster movie sequel.
And sometimes that’s enough.

The title is absurd.
The album is focused.
Clocking in just over half an hour, this thing is a blast of psychedelic chaos. Produced by Zeuss, it’s packed with twitchy samples, distorted textures, and hyperactive riffing.
“Well, Everybody’s Fucking in a U.F.O.” is ridiculous — and somehow completely undeniable. The groove swings. The guitar work is frantic. The pacing never drags.
The only reason it doesn’t rank higher is length. It feels like a fever dream that ends just as you’re settling into it.
Still, pound-for-pound, it’s one of the tightest entries in the discography.

This is the sleeper heavyweight.
The opening punch of “Dead City Radio and the New Gods of Supertown” alone justifies revisiting this album. It’s aggressive without being cluttered. It sounds hungry.
The production is thicker. The riffs feel sharper. The band sounds less concerned with aesthetics and more focused on impact.
This was the moment where Zombie’s partnership with John 5 hit a creative peak — not flashy for the sake of it, but precise and dangerous.
It doesn’t get talked about enough.
It probably should.

This is the album that proved Zombie still evolves.
It’s weird. It’s layered. It’s packed with textures — sitars, acoustic interludes, buried samples, strange transitions. But it never forgets the stomp.
“The Triumph of King Freak” feels like a victory lap. “The Eternal Struggles of the Howling Man” shows he can still craft atmosphere without sacrificing momentum.
This record rewards repeat listens more than any other in the catalog. There’s detail here. Intent. Experimentation that doesn’t collapse under its own ambition.
Late-career artists rarely sound this engaged.
Zombie did.

This is the most disciplined Zombie record in years.
Where some past albums leaned into maximalism — layers, samples, chaos — this one tightens the screws. The riffs hit faster. The songs breathe better. The hooks feel deliberate.
It’s aggressive without being overproduced. Confident without sounding nostalgic.
There’s a sense of clarity here — like Zombie knows exactly what works in 2026 and trims everything that doesn’t.
It doesn’t dethrone the classics.
But it absolutely earns its spot near the top.

The big-budget horror epic.
If Hellbilly Deluxe was the breakthrough, The Sinister Urge was the coronation. Bigger production. Massive hooks. Orchestral brass. Ozzy Osbourne guesting on “Iron Head.”
“Feel So Numb” and “Never Gonna Stop” weren’t just singles — they were era-defining heavy radio staples.
This album feels cinematic. Expansive. Like Zombie had the keys to the kingdom and used every resource available to build a full-blown arena spectacle.
It’s polished.
It’s muscular.
It’s still dangerous.

Still undefeated.
From the second “Dragula” kicks in, it’s obvious this wasn’t just another solo debut. It was a cultural shift. Industrial pulse fused with 70s heavy groove and horror theatrics that somehow felt both absurd and unstoppable.
“Living Dead Girl.”
“Superbeast.”
“Demonoid Phenomenon.”
There isn’t a weak stretch.
Scott Humphrey’s production remains crisp and aggressive decades later. The sequencing is flawless. The momentum never dips.
Every artist gets one album where everything aligns.
For Rob Zombie, this was it.
And it still sounds alive.
What is the best Rob Zombie solo album?
Hellbilly Deluxe remains the definitive Rob Zombie album. It’s his most influential, most consistent, and culturally impactful solo release.
Where does The Great Satan rank among Rob Zombie albums?
The Great Satan lands in the upper tier of his catalog. It’s widely viewed as a focused, aggressive return that trims excess while keeping the groove intact.
What is Rob Zombie’s most underrated album?
Venomous Rat Regeneration Vendor is often overlooked despite containing some of his strongest songwriting and riff work of the 2010s.
Is Rob Zombie still touring?
Yes. Rob Zombie continues to tour globally with his long-running live lineup, delivering high-production theatrical performances that remain festival staples.
Did Rob Zombie reunite White Zombie?
No. White Zombie disbanded in 1998, and Rob Zombie has repeatedly stated there are no plans for a reunion.
What are Rob Zombie’s biggest songs?
“Dragula,” “Living Dead Girl,” “Superbeast,” “Feel So Numb,” and “Never Gonna Stop” remain his most recognizable and enduring tracks.
How many solo albums has Rob Zombie released?
Rob Zombie has released eight solo studio albums to date.
Rob Zombie is one of the most distinctive figures in modern heavy music. Emerging first as the founder and frontman of White Zombie, he helped define the industrial-groove metal explosion of the 1990s before launching a solo career that would eclipse even that success.
His 1998 debut Hellbilly Deluxe went multi-platinum and established a formula that blended horror-film aesthetics, electronic pulse, classic heavy metal groove, and carnival-level spectacle. Since then, Zombie has built a solo catalog that balances arena-ready hooks with experimental detours, all while maintaining a fiercely recognizable identity.
Beyond music, Zombie has carved out a parallel career as a filmmaker, directing cult and mainstream horror films including House of 1000 Corpses, The Devil’s Rejects, and reimaginings of Halloween. He remains one of the rare artists to achieve sustained success in both music and cinema.
With millions of albums sold worldwide and a touring production that rivals any hard rock act on the road, Rob Zombie continues to operate in his own lane — unapologetic, theatrical, and groove-driven.
The post Rob Zombie Albums Ranked: Every Solo Record From Worst to Best (2026 Update) appeared first on Loaded Radio.

The Warped Tour 2026 lineups grew even more lethal with the recent additions of Thursday and Varials.
The post THURSDAY And VARIALS Amidst Another Wave Of Artists Added To Warped Tour 2026's Lineup appeared first on Metal Injection.

Static X is the soundtrack of a new video game trailer from ‘Stage Tour,’ a game created with the help of some Guitar Hero developers.
The post Some Creators Of The GUITAR HERO Franchise To Launch New Guitar-Centered Video Game, Stage Tour; STATIC-X Music Used In New Game Trailer appeared first on Metal Injection.
No. He says he will not work with former members again and that chapter is permanently closed.
Reunion speculation follows heavy bands like a shadow. It doesn’t matter how many times it’s answered — it resurfaces.
This week, Dino Cazares confronted it head-on.
On February 28, he posted a direct statement clarifying that while he holds no hatred toward former members, he will not be working with them again. “What’s done is done,” he wrote. “That chapter is permanently closed. I’ve moved forward and remain focused on the present and the future.”
He later added that he continues addressing the topic only because fans keep asking — and that people seem upset whether he answers or not.
That tone matters. It wasn’t hostile. It wasn’t emotional. It was definitive.
The fractures didn’t begin with a social media post.
In a November 2024 appearance on the Life Is Peachy podcast, Cazares detailed the legal battles that followed the band’s return years earlier.
After releasing four albums, both Cazares and original vocalist Burton C. Bell were sued individually by former bassist Christian Olde Wolbers and drummer Raymond Herrera over money owed.
Cazares says he won his case.
Bell did not.
According to Cazares, Bell was ordered to pay approximately one million dollars. Bell later filed for bankruptcy in an effort to avoid payment. Cazares alleges false information was presented in that filing, which led to additional court proceedings and the bankruptcy being invalidated. Assets were reportedly seized as a result.
Cazares also clarified a persistent misconception: he did not sue Bell. Wolbers and Herrera filed separate lawsuits against both him and Bell individually.
Legal conflict on that scale rarely resolves into creative reconciliation.

Industrial metal has seen its share of reunion tours and anniversary cash-ins. The expectation is almost automatic — enough time passes, wounds cool, classic lineups resurface.
But Cazares’ language signals something different.
He isn’t framing this as “never say never.”
He’s framing it as finished.
And that reframes the narrative around Fear Factory entirely.
If you’re following the current era of the band, that clarity matters. The focus isn’t backward. It’s on what the band sounds like now — and where it’s headed next.
If you’ve been riding with the new lineup, you already know the shows aren’t built as tribute sets. They’re built as continuation. You can hear that in the precision and intensity of recent performances — something we’ve kept in rotation on the Loaded Radio stream because the present version of the band deserves that spotlight.
Fear Factory’s current configuration includes:
The band played its first headlining show with Silvestro and Webber on May 5, 2023 at the Whisky A Go Go in West Hollywood.
That night wasn’t marketed as a reunion.
It was a reset.
What stands out most about Cazares’ recent statement is what it doesn’t contain.
There’s no name-calling.
No reopening of wounds.
No invitation for debate.
Just a boundary.
Some fans will always want the chemistry of the 1990s restored. Others believe evolution is survival.
But at this point, the direction from Cazares is unmistakable.
The real question isn’t whether a reunion will happen.
It’s whether fans are ready to embrace what Fear Factory is becoming instead of what it once was.

Did Dino Cazares sue Burton C. Bell?
No. According to Cazares, Christian Olde Wolbers and Raymond Herrera sued both him and Bell separately.
Why did Burton C. Bell leave Fear Factory?
Following the legal and financial fallout from the lawsuit, Bell exited the band in 2020.
Is a classic Fear Factory reunion happening?
Based on Cazares’ latest public statement, he has ruled out working again with former members.
Who sings for Fear Factory now?
Milo Silvestro has been the band’s vocalist since 2023.
Formed in Los Angeles in 1989, Fear Factory helped define industrial metal by fusing mechanical precision with aggressive riffing and dystopian themes. Albums like Soul of a New Machine, Demanufacture, and Obsolete became foundational releases in the genre. While lineup shifts and legal battles have marked different eras, founding guitarist Dino Cazares has remained the band’s central creative force as it enters its current chapter with Milo Silvestro, Tony Campos and Pete Webber.
The post Fear Factory Reunion Rumors Surge After Dino Cazares Addresses Former Members appeared first on Loaded Radio.


Stream / Download “Freedom Concept”: https://sonataarctica.rpm.link/freedomPR
Finnish power metal pioneers SONATA ARCTICA have unleashed a brand-new single titled “Freedom Concept.” The track arrives as a powerful statement in the band’s 30th anniversary year, followed by an extensive touring schedule, and delivers the melodic intensity and energy fans have come to expect.
“Freedom Concept” captures the signature blend of soaring melodies, driving rhythms and emotional depth that has defined SONATA ARCTICA for three decades. At the same time, the song explores a thoughtful and timely subject: the complex idea of freedom and the responsibility that comes with it.

Frontman Tony Kakko comments: ”Freedom Concept”, a song about understanding and misunderstanding the concept of freedom, often forgetting it comes paired with responsibility, and how what ever values and thoughts you may have are not automatically transferred to your offspring and how in most cases that’s an effin great thing…(breath in) has been sitting on my desk for a while and we figured this kind of melodic power metal blast we’re known of would be a good way to celebrate the 30th anniversary ”tourette” we’ve started at the end of January 2026 WHILST also working on our next studio album. This song’s NOT gonna be on it. So…extra special snack in between meals. Enjoy!”
Stream/Download “Freedom Concept”: https://sonataarctica.rpm.link/freedomPR
SONATA ARCTICA:
Tony Kakko (vocals)
Elias Viljanen (guitars)
Tommy Portimo (drums)
Henrik “Henkka” Klingenberg (keyboards)
Pasi Kauppinen (bass)
SONATA ARCTICA 30th Anniversary Tour:
28.02.2026 (FI) – Kemi – Kemi Areena
09.04.2026 (SE) – Johanneshov – Slaktkyrkan
10.04.2026 (SE) – Göteborg – Pustervik
11.04.2026 (DK) – Roskilde – Gimle – Epic Fest
23.04.2026 (IT) – Ciampino – Orion Live Club
24.04.2026 (IT) – Trezzo Sull’adda – Trezzo Sull’adda
12.06.2026 (FI) – Hyvinkää – Hyvinkään Vilatehdas – Hyvinkää Rock
13.06.2026 (FI) – Vaasa – Moottorikatu Vasikiluoto – Lisää Löylyä Festival
18.06.2026 (BE) – Dessel – Graspop Metal Meeting
19.06.2026 (HU) – Székesfehérvár – FEZEN Fesztivál
25.06.2026 (SK) – Snina – Rock Pod Kamenom
03.07.2026 (FI) – Oulu – Rokki Raikaa
09.07.2026 (DE) – Balingen – RV Bang Open Air Festival
10.07.2026 (FI) – Turku – Vauhti Kiihtyy! – Festivaali
24.07.2026 (FI) – Tampere – Rokki Raikaa
07.08.2026 (FI) – Vantaa – Vauhti Kiihtyy! – Festivaali, Vantaa
13.08.2026 (CZ) – Moravsky Krumlov – Rock Castle Open Air
14.08.2026 (FI) – Lahti – Vauhti Kiihtyy! – Festivaali, Lahti
28.08.2026 (FI) – Jyväskylä – Vauhti Kiihtyy! – Festivaali, Jyväskylä
29.08.2026 (FI) – Valkeakoski – Waltikan Venetsialaiset
09.09.2026 (MX) – Chihuahua – Pistoleros House Of Show
10.09.2026 (MX) – Torreón – Centro de Convenciones de Torreón
11.09.2026 (MX) – Monterrey – Cafe Iguana
12.09.2026 (MX) – Ciudad Obregón – Centro Magno
14.09.2026 (MX) – Ciudad de México – FORO TEAMBRO
16.09.2026 (MX) – Santiago de Querétaro – Foro Arpa
17.09.2026 (MX) – León – Teatro Manuel Doblado
18.09.2026 (MX) – Guadalajara – C3 Stage
20.09.2026 (CR) – Zapote – Pepper Disco Club
22.09.2026 (CO) – Bogotá – Ace Of Spades – Club
23.09.2026 (EC) – Quito – Teatro San Gabriel
24.09.2026 (EC) – Guayaquil – Auditorio Simón Bolivar – MAAC Cine
25.09.2026 (PE) – Lima – Centro de Convenciones Teatro Leguia
27.09.2026 (CL) – Santiago – Teatro Coliseo
29.09.2026 (AR) – Buenos Aires – El Teatro Flores
30.09.2026 (UY) – Montevideo – Live Era
02.10.2026 (BR) – Limeira – Studio Mirage Eventos
03.10.2026 (BR) – São Paulo – Audio
26.10.2026 (UK) – London – O2 Forum Kentish Town – w/ Beast In Black
27.10.2026 (BE) – Bruxelles – Ancienne Belgique – w/ Beast In Black
28.10.2026 (NE) – Tilburg – Poppodium 013 – w/ Beast In Black
29.10.2026 (DE) – Leipzig – Haus Auensee – w/ Beast In Black
31.10.2026 (AT) – Wien – Gasometer – w/ Beast In Black
01.11.2026 (HU) – Budapest – Barba Negra – w/ Beast In Black
02.11.2026 (CZ) – Zlín – NOVESTA SPORT, Ltd., Sports Hall Euronics – w/ Beast In Black
03.11.2026 (PL) – Gliwice – Prezero Arena Gliwice – w/ Beast In Black
05.11.2026 (DE) – Berlin – Columbiahalle – w/ Beast In Black
06.11.2026 (DE) – Hannover – Swiss Life Hall – w/ Beast In Black
07.11.2026 (DE) – Ludwigsburg – MHP Arena – w/ Beast In Black
08.11.2026 (DE) – Offenbach – Stadthalle Offenbach – w/ Beast In Black
09.11.2026 (FR) – Paris – L’Olympia – w/ Beast In Black
11.11.2026 (ES) – Barcelona – Razzmatazz 1 – w/ Beast In Black
12.11.2026 (ES) – Madrid – Sala Riviera – w/ Beast In Black
13.11.2026 (ES) – Bilbao – Sala Santana 27 – w/ Beast In Black
14.11.2026 (FR) – Ramonville-St-Agne – Le Bikini – w/ Beast In Black
15.11.2026 (FR) – Villeurbanne – Transbordeur – w/ Beast In Black
17.11.2026 (CH) – Zürich – Komplex AG – w/ Beast In Black
18.11.2026 (IT) – Milan – Alcatraz – w/ Beast In Black
20.11.2026 (DE) – München – Zenith – w/ Beast In Black
21.11.2026 (LU) – Esch-sur-Alzette – Rockhal – w/ Beast In Black
22.11.2026 (DE) – Oberhausen – Turbinenhalle – w/ Beast In Black
23.11.2026 (DE) – Hamburg – Inselparkhalle – w/ Beast In Black
24.11.2026 (SE) – Göteborg – Eriksbergshallen – w/ Beast In Black
25.11.2026 (SE) – Stockholm – Fryshuset – w/ Beast In Black
More on SONATA ARCTICA:
Website | https://www.sonataarctica.info
Facebook | https://www.facebook.com/sonataarctica
Instagram | https://www.instagram.com/sonataarcticaofficial/
Source: C Squared Music

Edit: After posting this piece, co-founding members Brandon Gallagher and Zak Kessler released an exclusive statement with Lambgoat that they won’t be participating in the “reunion.” Their statement has been added below.
Festival season is like Christmas coming early, and an even earlier Christmas comes towards the beginning of the year, when said festival’s start slowly announcing their lineups. Hellfest is giving us a big juicy sack of gifts with who they’ve announced so far—particularly Old Wounds, who are slated to play Hellfest New Jersey.
What’s so tea about this is Old Wounds like, never turn up anywhere. Not that they ghost on their shows or appearances, but they just don’t really perform very much, especially over the last number of years. For the record, Old Wounds hasn’t played a show since 2019, with a set at Aura fest in Savannah, Georgia. Before then, they did less than a handful of shows in 2018. The rest of the lineup so far consists of Elysia, Vision of Disorder, and First Blood. More bands will be announced at some point and I’m sure there will be a few more surprises thrown in there.
What’s so not tea is that not all of the original members will be there. Co-founding members Brandon Gallagher (drums/vocals) and Zak Kessler (guitar) won’t be participating, as revealed in a statement shared with Lambgoat:
“Just wanted to drop in a clarify a few things considering the mostly excited comments about this announcement, were focused around a record that Zak and I had written during our time with this band. This ‘Old Wounds’ reunion, is not an OG line up reunion. We know it’s confusing because they used a logo I made, one that is very representative of that era of the band, on the marketing assets.
“Last year Zak started some initial discussions about doing a reunion with the 4 of us, but it didn’t come to fruition in a way we felt was right for us. We felt like we needed to say something to avoid any disappointment who were stoked to see Zak and my involvement back with Old Wounds.”
Brandon & Zakimage
Hellfest is a collaboration from Trustkill, Ephyra, and Takedown Events. The New Jersey fest will happen over the holiday weekend of July 3–5 at The Dome at Adventure Crossing in Jackson, NJ.
Early bird tickets are sold out, but you can purchase weekend passes and regular tickets here.
The post Old Wounds to Make Rare Appearance at 2026 New Jersey Hellfest appeared first on MetalSucks.