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The post Suicidal Tendencies, Enter Shikari, Counterparts, Etc. Set For 2026 ‘Vans Warped Tour’ appeared first on Theprp.com.

Hailing from the Mikkeli–Jyväskylä–Helsinki axis, this four-piece melodic death metal powerhouse, Deadvoid Inc., are set to release their debut album ‘Chapters’ on March 13th 2026 via Inverse Records. The last single ‘Drowned in Pain’ is unleashed today and it’s available on all essential streaming services: https://push.fm/fl/deadvoid-inc-drowned  Guitarist/composer Tuomas Torikka comments: “Melodically, the song moves through deeply melancholic and minor-key […]

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Julia Wolf has shared a new track, a collaboration with producer John Summit, and the result is absolutely stunning.

Titled ‘WITH ME’, it’s a pulsating slice of modern big room house music that is sure to fill up a dancefloor or two. Yet what sets it apart is Julia’s ethereal style of delivery and lyrical cadence. Haunting, romantic and ever so gorgeous, she allows the song to fit within the alternative space rather than just the EDM one. A beautiful clashing of cultures that showcases just how many different feathers Julia can wear in her hat.

John Summit had this to say about the song, stating, “I’ve been a big fan of Julia’s voice and indie alternative sound for a while so I asked her if she’s ever been on a dance record and she said no… so I invited her to my Miami studio and we merged our sounds to make something I think is truly unique.. I really don’t know what genre to call this but whatever it is there’s no rules and that’s what I love about dance music.” 

Julia released her second album ‘PRESSURE’ in 2025, and has had huge viral success off the back of its single ‘In My Room’.

Here it is.

Julia will be touring the UK and Europe as support for mgk next month. Here are all the dates.

FEBRUARY

15 – BOLOGNA Unipol Arena
17 – MUNICH Olympiahalle
18 – VIENNA Wiener Stadthalle
20 – KRAKOW TAURON Arena
21 – PRAGUE O2 arena
24 – BERLIN Uber Arena
25 – HAMBURG Barclays Arena
27 – PARIS adidas arena

MARCH

2 – COLOGNE LANXESS arena
3 – AMSTERDAM Ziggo Dome
5 – LONDON O2
7 – MANCHESTER Co-op Live
8 – GLASGOW OVO Hydro
10 – BIRMINGHAM Utilita Arena Birmingham
12 – DUBLIN 3Arena

The post Julia Wolf Teams Up With John Summit For Gorgeous New Track ‘WITH ME’ appeared first on Rock Sound.

Pantera and Down frontman shuts down false blood cancer claims, teases new projects with Down, En Minor, and King Parrot.

The post PHIL ANSELMO Dismisses A.I. Health Rumors, Says He Doesn't Have Blood Cancer appeared first on Metal Injection.

FOR IMMEDIATE RELEASE
METAL DEVASTATION PR CLIENTS FEATURED IN THE LATEST ISSUE OF Bathory Magazine — FEATURING Holy Moses ON THE COVER
Metal Devastation PR is proud to announce that multiple clients have been spotlighted in this month’s issue of Bathory Magazine , a respected voice in the underground metal community. This killer edition, headlined by thrash legends Holy Moses on the cover, digs deep into a diverse lineup of heavy hitters from across the globe.
Here’s a look at the artists representing the Metal Devastation PR roster:


Autumn Lies Buried (Deathcore/Slam)

Hailing from Tennessee, Autumn Lies Buried delivers an explosive fusion of mathcore precision, slam brutality, and hip hop swagger. In the feature, the band opens up about crafting a visceral sound shaped by the tension and contradictions of life in the Bible Belt.
They also discuss their upcoming “Beasts Of The East” tour kicking off in March 2026 alongside FILTH, and their firm stance on physical media in an era they see as oversaturated by disposable digital content. For them, an album is meant to be a complete, indestructible experience, not just a playlist of singles.


Black Reuss (Doom/Gothic Metal)

The Liechtenstein based project led by Maurizio Dottore takes center stage as he reflects on Death , the final chapter in a conceptual tetralogy that began in 2018 with Metamorphosis . The series explores themes of identity dissolution, acceptance, and the inevitability of the end.
While this chapter closes a narrative arc, Black Reuss is far from finished. Maurizio reveals plans to continue with a more spontaneous, moment driven creative direction and future live performances.


Serpico (Hard Rock)

Finland’s Serpico celebrates the re release of The Chosen Four , doubling down on their commitment to a 100 percent analog recording process. In a world drowning in digital shortcuts and pitch correction, Serpico stands firm in delivering raw, authentic rock and roll.
The re issue includes the bonus track “Heat Of The Moment,” originally intended for a 2022 Japanese edition, and the band highlights their strong partnership with Golden Robot Records in expanding their global reach.


Patriarchs in Black (Doom/Heavy Metal)

Featuring Dan Lorenzo and Johnny Kelly of Type O Negative, Patriarchs in Black discuss their limited run of 200 orange vinyl copies, reinforcing their belief that music only feels official when it exists in physical form.
The project also boasts an impressive lineup of guest vocalists including Karl Agell and Rob Dukes. Their creative process flips the script by choosing the vocalist first, then crafting or selecting a track to match the voice.


Hellfrost (Blackened Death Metal)

Representing the ferocity of Florida’s extreme metal lineage, Hellfrost dives into their new album Bestial Rage . The band strives to strike a balance between memorable hooks and destructive intensity, drawing inspiration from the historic Naples and Tampa death metal scenes.
With a focus on faster, more violent compositions, Hellfrost aims to keep their live energy completely indomitable.


Bitter Price (Heavy Metal)

Formed in 2024 in Berlin’s legendary Orwohaus rehearsal complex, Bitter Price channels a true DIY spirit. Their debut EP, The Orwohaus Tapes , was released on cassette as a tribute to the building’s history as a tape manufacturing site during the former GDR era.
The band credits the creative atmosphere of Orwohaus for shaping their sound and identity from day one.


Banished Truth (Extreme Metal)

This India based solo project showcases one musician handling all production duties, fusing 80s shred inspired by Children of Bodom with the unrelenting brutality of Deicide and Morbid Angel.
In the interview, the artist speaks candidly about the challenges of finding fellow metal musicians in India and the frustration of navigating sociopolitical injustice as an extreme music creator.


Metal Devastation PR continues to champion artists who honor metal’s roots while pushing the genre forward with authenticity and grit. Being featured in this powerhouse issue of Bathory Magazine alongside genre legends is a testament to the strength and diversity of the roster.
For interviews, press inquiries, or more information about these artists, contact: zach@metaldevastationradio.com
Grab the digital copy of the zine here: https://drive.google.com/file/d/10S9JOn_FjPH2amCUE4zFzT_-zQ1sjVaN/view

Do Perfect Metal Albums Actually Exist?

Yes — but they’re brutally rare.

TL;DR

Most metal albums, even classics, carry at least one skippable track. The records below don’t. These are front-to-back listens where every song earns its place. Ranked from 13 to 1.

Perfection in metal isn’t about sales or nostalgia alone. It’s about flow, consistency, replay value, and the absence of that subconscious urge to jump ahead. A true no-skip album holds its grip from the opening note to the final fade.

13. Lamb Of God – Ashes Of The Wake

“Ashes Of The Wake” captures Lamb Of God at a moment of absolute creative alignment. The riffs are razor-tight and purposeful, the drumming hits with explosive precision, and Randy Blythe delivers a performance that feels venomous yet disciplined. The album balances groove, aggression, and clarity without drifting into excess.

What makes it unskippable is momentum. There’s no pacing collapse, no experimental detours that fracture the experience. Each track either escalates tension or detonates it, giving the record a relentless forward drive. Even the deeper cuts carry the same voltage as the standouts, making the album feel like a sustained assault rather than a highlights reel.

Find 2026 Lamb Of God Tickets Here

12. Type O Negative – October Rust

“October Rust” proves heaviness doesn’t require speed. Type O Negative crafted a lush, immersive record drenched in atmosphere, melancholy, and dark romanticism. The guitars shimmer and brood, while Peter Steele’s baritone glides between menace, humor, and vulnerability. The album feels less like a collection of songs and more like an emotional environment.

Its no-skip power lies in immersion. The interludes, tonal shifts, and pacing deepen the mood rather than disrupt it. Skipping a track feels like breaking a trance. There’s remarkable variety here — doom, melody, gothic drama — yet everything serves the same hypnotic identity.

Loaded Radio Recommends – Remembering The Green Man: 13 Unforgettable Facts About Type O Negative’s Peter Steele

11. Slipknot – Iowa

“Iowa” is relentless psychological pressure. Slipknot abandoned accessibility for something darker, uglier, and far more confrontational. The guitars grind, the percussion batters, and Corey Taylor sounds genuinely unhinged. The album radiates hostility without losing structure.
What locks it into no-skip territory is cohesion. There’s no tonal safety net, no obvious breather designed for comfort. Every track feeds the suffocating tension, making the experience feel like a single descent. Even at its most chaotic, the songwriting remains intentional and sharply defined.

10. Death – Symbolic

“Symbolic” stands as a masterclass in progressive death metal. Chuck Schuldiner fused technical precision with melody and emotional weight, creating songs that feel intricate yet deeply human. The riffs challenge, the solos speak, and the performances feel inspired rather than mechanical.
Its perfection comes from balance. There’s no sterile virtuosity, no filler disguised as musicianship. Each track expands the album’s sonic and emotional scope while remaining memorable. The record flows like a statement of purpose — intelligent, sharp, endlessly replayable.

Loaded Radio Recommends – Every Death Album Ranked: The Definitive Guide to Chuck Schuldiner’s Perfection

9. Iron Maiden – Powerslave

“Powerslave” captures Iron Maiden at peak confidence and cinematic ambition. Galloping riffs, soaring vocals, and epic storytelling collide across an album that feels massive yet perfectly paced. The band sounds energized, adventurous, unstoppable.
Its no-skip status comes from consistency. Even non-singles feel like headliners, carrying the same energy and identity as the classics. The closing epic “Rime Of The Ancient Mariner” doesn’t exhaust — it completes the journey, strengthening the album’s cohesion rather than testing it.

8. Black Sabbath – Paranoid

“Paranoid” helped blueprint heavy metal itself. Tony Iommi’s riffs remain eternal, Geezer Butler’s basslines groove with sinister weight, and Ozzy’s vocals float between eerie detachment and raw emotion. The album feels foundational yet timeless.
What makes it flawless is economy. No wasted experiments, no filler, no momentum drift. Each track lands with purpose and identity. The songs feel immortal because they’re built on pure fundamentals: riff, groove, atmosphere.

7. Pantera – Vulgar Display Of Power

Pantera weaponized groove metal on “Vulgar Display Of Power.” Dimebag’s riffs are brutally direct, Vinnie Paul’s drums hit like blunt force trauma, and Phil Anselmo sounds feral. The album radiates aggression and swagger.
Its no-skip strength lies in impact consistency. There’s no pacing collapse, no stylistic drift. Every track hits with conviction, maintaining intensity without fatigue. Even deeper cuts feel essential to the album’s identity.

6. Judas Priest – Painkiller

“Painkiller” is pure heavy metal adrenaline. Halford delivers a career-defining vocal performance, the drumming is turbocharged, and the guitars blaze with renewed ferocity. Priest sound revitalized, urgent, dangerous.
What makes it unskippable is sustained intensity. The album never drifts into autopilot. Each track carries energy, speed, and identity, making the record feel like a triumphant rebirth rather than a late-career entry.

5. Megadeth – Rust In Peace

“Rust In Peace” is technical thrash perfection. Razor-wire riffs, jaw-dropping precision, and Marty Friedman’s dazzling solos create a record that feels impossibly sharp. The musicianship is extraordinary yet never sterile.
Its perfection lies in memorability. Despite its complexity, the album remains explosive and engaging. Every track contributes to the architecture. No filler. No sag. Just relentless brilliance.

4. Iron Maiden – The Number Of The Beast

“The Number Of The Beast” is where Iron Maiden stopped being a rising force and became a global metal institution. Bruce Dickinson’s debut behind the mic injected a new level of theatrical power and range, instantly reshaping the band’s identity. The riffs gallop, the choruses soar, and the energy never loosens its grip.

What makes this album feel genuinely unskippable is its balance of aggression, melody, and pacing. There’s no filler tucked between the classics. Each track carries its own weight, whether it’s a towering anthem or a darker, mood-driven cut. The album flows with the confidence of a band fully locking into its destiny.

Beyond the hits, the deeper tracks reinforce why this record remains untouchable. The songwriting is sharp, the performances electrifying, and the atmosphere charged with urgency. “The Number Of The Beast” doesn’t merely contain legendary songs — it sustains a legendary experience.

3. Slayer – Reign In Blood

“Reign In Blood” is concentrated extremity. Slayer stripped thrash down to its most violent, efficient form. No breathing room, no filler, no wasted seconds. Every riff feels iconic. Every transition lethal.
Its placement this high reflects execution perfection. The pacing is ruthless, ending before fatigue can exist. There is no sag, no disposable moment. The album feels like a sustained blast that permanently reshaped extreme metal.

2. Ozzy Osbourne – Blizzard Of Ozz

“Blizzard Of Ozz” is lightning captured in a bottle. Ozzy’s first major statement outside Black Sabbath introduced the world to Randy Rhoads, whose guitar work fused classical elegance with ferocious metal energy. The riffs are unforgettable, the solos iconic, and Ozzy sounds revitalized, focused, and dangerous.

The album’s no-skip reputation comes from identity and replayability. Every track feels deliberate, distinct, and memorable. There’s no pacing collapse, no disposable experiment, no track that feels like a placeholder. The record moves with a natural momentum that keeps pulling you forward.

What elevates “Blizzard” into elite territory is its emotional range. It’s heavy yet melodic, dramatic yet tight, technical yet deeply human. Decades later, it still plays like a greatest hits collection that just happens to be a debut album.

1. Metallica – Master Of Puppets

Few albums achieve this level of precision, ambition, and replay value. “Master Of Puppets” is flawless architecture — every song essential, every transition deliberate, every riff immortal.
Front to back, it remains one of metal’s most complete listening experiences. No dips. No compromises. No skips.

FAQ

What Defines A No-Skip Album?
Consistency, flow, and zero filler tracks.

Are These Rankings Objective?
No — metal perfection is always debated.

Why So Many Legacy Albums?
Because flawless records rarely survive time. These did.

The post 13 Perfect Metal Albums With Zero Skips appeared first on Loaded Radio.

Puerto Rican doom/progressive metal band MOTHS returns with “Crown Jewel,” a commanding new single, created in direct collaboration with Puerto Rican indie wrestler Gema (who previously appeared on AEW) as her official entrance theme. Dark, theatrical, and unapologetically grand, the track is a statement of dominance and self-mythology, portraying its narrator as an untouchable force; part ruler, part deity, embracing ambition, ego, […]

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That film will open in theaters this March.

The post Bring Me The Horizon Share The First 7 Minutes Of Their ‘L.I.V.E. In São Paulo’ Concert Film appeared first on Theprp.com.

I’m a sucker for a good story. Sure, there are plenty of great songs that aren’t much beyond a chant and a chord progression. But the ones that germinate in your mind to become a part of your worldview; they’re relatable in a way that goes all the way back Aesop. Someone who’s a master […]

As thrash titans Megadeth begin their descent into retirement with the release of their final album Megadeth and plans to tour the next couple years to close things out, it’s hard for fans not to wonder “what if” on some of the former members. What if Dave Mustaine would have fully reconciled with the band’s former members like the late Nick Menza, the estranged Jeff Young, or the ousted-in-disgrace David Ellefson.

One person that’s wishing something could be done with that last name is current Megadeth bassist James LoMenzo, who was hired to replace Ellefson following a sex scandal that blew up online. In a recent interview with Stairway to Rock (as transcribed by Ultimate Guitar), LoMenzo said he was “sorry” that his predecessor wasn’t involved in the band’s long goodbye or with the band in any capacity.

“I’m sorry [Ellefson]’s not here right now. But you know, as they say, the show must go on. As things worked out, I was only supposed to be here to fill in for a while. And as we went out on that first tour [after] I rejoined, the vibe was so great that I couldn’t resist coming back. And Dave [Mustaine] was gracious enough to have me back.”

LoMenzo also recalled a moment when he met Ellefson back when he initially replaced him from 2006 to 2010. In that time, LoMenzo said his experience meeting Ellefson was a pleasant one.

“Yes, actually, I had a great time. Many years ago, we sat down…. I’d always wanted to meet [Ellefson] at the time I was in the band. We had just done United Abominations [2007]. I’m such a big fan, and I’ve learned to play all his bass lines, so that made me a bigger fan, right?

“So, yeah, I sat down and had coffee with him a while back, and I remember he was very gracious. And I told him, at the time, ‘The Megadeth fans, they always love you. You’re part of the original band.’ And I even told him, ‘You should go on the forums and just say hello, stick your head in there.’ So, fortunately, when the time came and they were going to do the ‘Big Four’ [2010 event that saw Metallica, Megadeth, Slayer and Anthrax join forces] again, when Dave and Dave had reconciled, I thought that was great.”

Whether or not any sort of reconciliation comes before Megadeth takes their final bow is up to Mustaine at this point. Only time will tell if Ellefson will ever share a stage with Megadeth again. (But I wouldn’t hold my breath…)

The post Megadeth’s James LoMenzo is “Sorry” David Ellefson Isn’t Involved with Final Shows appeared first on MetalSucks.