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Buke & Gase are hanging up their self-made instruments for good. The duo of Arone Dyer and Aron Sanchez became cult favorites making fascinating experimental rock music using bespoke instruments of their own making: the buke (a six-string former-baritone ukulele) and the gase (a hybrid guitar-bass). They’ve been collaborating since the early 2000s and doing it as Buke & Gase since 2008, but they’re ending the group after a pair of farewell shows in April.

The post Buke & Gase Announce Breakup, Farewell Shows appeared first on Stereogum.

Metallica are headed to Las Vegas to take over the Sphere! And we have your chance to win a trip to see two shows on Oct. 1 and Oct. 3. Continue reading…

Metallica are headed to Las Vegas to take over the Sphere! And we have your chance to win a trip to see two shows on Oct. 1 and Oct. 3. Continue reading…

– February 25th, 2026 –

“Screams From Beneath The Surface” To Drop Next Month + European Headlining Tour Announced

Photo by Tim Hubbard

Watch / stream MONSTROSITY’s “The Atrophied” HERE

“The Atrophied” is the latest single from US death metal loyalists MONSTROSITY. The uncompromising track comes off the band’s Screams From Beneath The Surface full-length, set to drop on March 13th on Metal Blade Records.

This vicious release – their first in seven years – showcases the band’s signature blend of aggression, technical precision, and intensity. Led by drummer, founder, and primary songwriter Lee Harrison, MONSTROSITY is reinvigorated with a formidable lineup: long-tenured guitarist Matt Barnes, the triumphant return of original bassist Mark Van Erp, and vocalist Ed Webb (ex-Massacre), whose guttural, visceral delivery injects electrifying new energy into the band’s sound. Screams From Beneath The Surface not only solidifies MONSTROSITY‘s hallmark death metal ferocity but also pushes the genre’s boundaries, forging a path that is both innovative and true to their roots.

The second single from Screams From Beneath The Surface, “The Atrophied,” is the first track written for the album, delivering an intense extreme metal voyage.

Elaborates Harrison, “‘The Atrophied’ contains all the hallmarks of a classic MONSTROSITY song. From the opening drum rolls and Mark Van Erp’s spiraling bass intro, it surges forward with ferocious blasting energy, then weaves through a dynamic landscape of devastating riffs and intricate rhythmic shifts. This was an important song for us to get right, and I feel the guys really pulled through with this one. Our new vocalist Ed Webb commands the storm, shifting seamlessly from guttural depths to razor sharp highs and lending the performance a gripping, almost cinematic intensity. Matt Barnes unleashes chaotic and spiraling melodic runs that echo the band’s most iconic moments, with additional crushing guitar work by Justin Walker. I aimed to craft the lyrics as a haunting narrative of decay and collapse, perfectly framed by the forceful and punishing production from Audiohammer and Morrisound Studios. ‘The Atrophied’ delivers MONSTROSITY at our most direct and ferocious!“

Adds Barnes, “‘The Atrophied’ came together through our usual working method, but it delivered an unexpected result in the end. Lee brought the song to the table in a stripped down, skeletal form. We spent a lot of time sending demos back and forth, adding transitions, tweaking riffs, changing a few notes… the usual. But something happened along the way. Once we finished writing it and everyone had their parts locked in, when we finally played it all together, it felt more like an epic saga than just another death metal song. ‘The Atrophied’ may be the most musically and emotionally complex song MONSTROSITY has ever recorded. Don’t get me wrong, we’ve had songs that were more complex in terms of pure technical nuts and bolts, real fretboard acrobatics, but those tracks are usually locked into one mood, one color. ‘The Atrophied’ for me, carries the feel of a 15-minute Rush or Iron Maiden epic, yet it’s tightly condensed, unpretentious, and, as always, unabashedly death metal.”

Stream MONSTROSITY‘s “The Atrophied” HERE.

Watch the band’s previously released video for first single, “The Colossal Rage,” HERE.

Screams From Beneath The Surface was crafted with meticulous attention to detail, reflecting Harrison’s monstrous vision and the band’s seamless chemistry. The recording process spanned multiple studios to achieve sonic perfection. Drums, bass, and mixing were handled at Audiohammer Studios under the expert guidance of producer Jason Suecof (The Black Dahlia Murder, Deicide, Job For A Cowboy), while vocals, guitars, and mastering took place at the legendary Morrisound Studios, where MONSTROSITY reunited with revered producer Jim Morris (Iced Earth, Warrant, Savatage), alongside Mark Prator and BJ Ramone. This combination of cutting-edge and classic production techniques ensures a punishing sound that is honoring the band’s storied history while embracing modern death metal’s evolution. The album’s striking cover art, created by artist Timbul Cahyono, is a wholly organic creation, free from AI or computer-generated renderings, embodying the raw, authentic spirit of MONSTROSITY‘s music. With Screams From Beneath The Surface, the band not only upholds the brutal tradition established by their previous works but also charts bold new territory, delivering a release that is as innovative as it is devastating.

Screams From Beneath The Surface will be released on CD and digital formats as well as vinyl in the following color variants:

Gray marble vinyl (US Exclusive)
Orange smoke vinyl (US Exclusive)
180g Black
Luminous Orange Marbled
Silver Black Splatter
Lilac Blackdust

Find pre-orders at: metalblade.com/monstrosity

MONSTROSITY will return to European stages this Spring on the Screams Across Europe Tour 2026 with support from Bio-Cancer, Reject The Sickness, and Deadwood. Tickets are on sale now. See all confirmed dates below.

MONSTROSITY w/ Bio-Cancer, Reject The Sickness, Deadwood:
4/18/2026 Metalstorm Festival – Luzern, CH
4/19/2026 Rockhouse – Salzburg, AT
4/21/2026 Vintage Industrial Bar – Zagreb, HR
4/22/2026 Alchemica Music Club – Bologna, IT
4/23/2026 L’Usine – Geneva, CH
4/25/2026 Brutal Swamp Saint – Omer, FR
4/28/2026 DVG – Kortrijk, BE
4/29/2026 Hall of Fame – Tilburg, NL
4/30/2026 Fluor – Amersfoort, NL
5/01/2026 Turock – Essen, DE
5/02/2026 F Haus – Jena, DE
w/ Bio-Cancer, Reject The Sickness:
5/03/2026 Bolko – Świdnica, PL
5/05/2026 Zaścianek – Krakow, PL
5/06/2026 Rude Boy – Bielsko-Biała, PL
5/07/2026 Pink Whale – Bratislava, SK
5/08/2026 Rock Cafe – Jablunkov, CZ
5/09/2026 Colosseum – Košice, SK
5/10/2026 Fabryka Kultury Zgrzyt – Lublin, PL

MONSTROSITY:
Ed Webb – vocals
Matt Barnes – guitars
Mark Van Erp – bass
Lee Harrison – drums

https://www.monstrosity.us
https://www.facebook.com/MonstrosityOfficial
https://www.instagram.com/monstrosityflorida
https://www.conquestmusic.com

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The heavy metal pioneers will bring their two-show "no repeat" set lists to the innovative venue. Continue reading…

Photos by Meredith Goldberg

Last Saturday, Chicago’s Bottom Lounge came alive with ICE OUT: a powerful showcase of Chicago’s vibrant music scene united in solidarity with Minnesota after the murder of Renée Good, a Minneapolis resident brutally murdered by an ICE agent in January 2026. The lineup featured local punk & rock legends, including Deanna Belos of Sincere Engineer, Josh Caterer of the Smoking Popes, Scott Lucas of Local H and Stubhy Pandav / Pat Gilroy of Lucky Boys Confusion & OneLife.

I sat down with Deanna, Josh, and Stubhy to talk ICE before the benefit show, where we grew to share our thoughts about Chicago, rock music, and how the recent events in Minneapolis are a testament to how we must all come together in trying times.

When asked what the opportunity to play this show meant to them, Josh Caterer explained that standing in solidarity with Minneapolis felt like extending an arm to a Midwest neighbor. Something so horrible happening so nearby felt so personal, and this show was the amalgamation of all of those feelings.

During Trump’s first term, when “the wall” between the United States and Mexico became a huge part of his campaign, Caterer explained that it felt like our fights could only take place over the internet. Having events like these transpire in our Midwestern backyard felt so close, and they needed to do something about it. That’s why when the chance to play Bottom Lounge’s ICE OUT benefit show arose, Caterer immediately opted in.

Kaustubh “Stubhy” Pandav was alive with passion when speaking about his personal experiences with immigration in his family. He spoke about union, food, and the privilege of growing up in a community with such a vivacious cultural background to share with friends from outside cultures. But from those joys came triumph and hardship, dating back to his own father’s journey to America.

“My father was invited over after the Civil Rights Act passed in the 60s,” Pandav recounted. “What [the government] did was they cherry-picked people from China, India, and the Philippines, and those were the first people to come over. And my father was a part of that. So growing up in the 80s in all of this, it was real tough.” We spoke more. Pandav went on to say, “Back then, I remember there being a lot of ‘go back to your own country,’ and I remember thinking… ‘you fucking invited us’.”

I wondered if there was any hesitation or anxiety in accepting this opportunity, like the idea that social media comments might turn into real-life hate at this show, to which Belos said, “Honestly, saying yes was a no-brainer. I’m happy to do my part – our part – in something that feels more than just yelling online.”

I asked about the context of Belos, Caterer, and Pandav’s music in reference to the present, or ultimately, whether or not performing these songs that were written in the past became a different experience in the context of the current political and social climate. To which Caterer replied, in perhaps breaking news to the fans of the Smoking Popes (or at least to the room I was in), revealing that “Simmer Down” off of the 2016 EP Simmer Down (and their subsequent 2018 full-length Into The Agony) was written about the excitement surrounding Bernie Sanders’ campaign. 

He went on to explain that he had never written a political song until that song was released, noting that the results of the 2016 election certainly played a part in his motivation. We spoke about how the 2016 presidential election changed the political climate entirely, eventually just snowballing into the calamity that ensues daily in the United States, including but not limited to the death of Renee Good. 

“I never realized how much I love America, and how patriotic I felt until this guy came along and started trying to dismantle democracy.” Continuing, Caterer remarked, “We need to protect these precious freedoms. These are freedoms that have been fought for, and now we’ve handed the keys to a guy that’s going to try to burn them all down.” We all highlighted how liberating it was to see Chicago host so many protests about ICE, to which Belos, Caterer, and Pandav all spoke on how beautiful it is for people to come together and to share their voice nonviolently. These protests singlehandedly prove that change can be made peacefully but still loudly and prominently – an act that is attempting to be recreated at a show like ICE OUT.

Pandav expressed, “We’ve seen this shift to extreme madness; some people are always going to be extreme, but there are a lot of people here that we can convince with things like this.” Passionately said, Pandav stated, “Hopefully, people like us can inspire other people to change.”

A sound like Sincere Engineer’s allows fans to release their energy through the vessel of music, so I decided to ask Belos whether or not she feels like she channels that when performing songs like “Fireplace” or even “Overbite.” Belos explained, she loves to make something that’s an escape for people. She aims to create something that’s “life-affirming and communal”.

Caterer went on to add that he believes that one of the functions of their art is to give people a collective voice, something that is released once but is enjoyed millions of times over, giving a demographic of people a feeling. The amount of money raised from the ICE OUT show would be donated to help people in Minneapolis through these trying times, in an attempt to “encourage participation in a movement that is resistant to what we are seeing in the world right now,” in Caterer’s own words.

“This won’t be the last benefit show that we do for something. I hope that it’s the beginning of many efforts to do that.”

Written by Waverly Cayo, @scenesicknessradio for Dying Scene. Photos by Meredith Goldberg

Heavy metal has produced legendary artists celebrated for groundbreaking music, powerful live performances, and innovative sounds. Yet, some bands receive accolades and acclaim that many feel surpass their actual musical contributions. Here’s an opinionated yet balanced look at ten metal bands frequently labeled as “overrated” by critics and listeners alike.

1. Deep Purple

Despite Deep Purple’s crucial role in shaping hard rock, many argue the band’s frequent lineup changes and inconsistent musical direction weakened their overall impact. Albums like “Machine Head” are iconic, but critics suggest the band’s studio albums often fail to capture the electrifying energy showcased in live performances such as “Made in Japan.” Their inconsistent songwriting further contributes to perceptions that Deep Purple’s influence may be slightly exaggerated compared to contemporaries like Black Sabbath.

2. Led Zeppelin

Led Zeppelin is often heralded as one of rock’s greatest acts, yet many argue their reputation eclipses their actual contribution to metal. Though undeniably influential, detractors highlight how Zeppelin’s excesses off-stage sometimes overshadowed their music. Additionally, critics point out that Zeppelin borrowed heavily from blues and other musicians, raising questions about originality. While undeniably influential, Led Zeppelin’s mythical status may exceed their musical contributions.

3. Blue Öyster Cult

Blue Öyster Cult, known for their sophisticated lyrics and cult following, have an uneven discography. Fans celebrate classics like “(Don’t Fear) The Reaper,” but less-inspired records, including “Club Ninja,” undermine claims of consistent brilliance. Critics argue that while they were pioneers of dark themes in rock, their inconsistent songwriting and fluctuating musical quality diminish their legacy as metal innovators.

4. Jethro Tull

Despite Ian Anderson’s unique flute-driven sound, Jethro Tull’s ambitious compositions are frequently labeled pretentious or overly indulgent. Many listeners find the band’s fusion of rock, classical, and folk inaccessible. Their divisive Grammy win for Best Hard Rock/Metal Performance in 1989 (beating Metallica) further fueled perceptions of overrated status, highlighting how they often feel misplaced within metal circles.

5. Metallica

Metallica unquestionably defined thrash metal’s early days but have been criticized for drifting toward a more mainstream, radio-friendly style post-“Black Album.” Fans frequently cite their legal battle with Napster and subsequent shift in musical direction as signs of the band’s departure from their aggressive roots, leading to criticisms of authenticity and relevance.

6. Hollywood Undead

Hollywood Undead’s mix of rap, rock, and nu-metal earned them commercial success, but critics argue their music quickly became repetitive and overly reliant on shock value. While initially capturing youthful rebellion, many listeners find their lyrics derivative and superficial, questioning their lasting significance in metal.

7. Sleep Token

Sleep Token’s mystique and enigmatic frontman Vessel gained attention, but critics question whether their atmospheric style is truly innovative or merely a refined imitation of bands like Tool and Deftones. The band’s mysterious persona, while intriguing, might overshadow the actual depth of their music, raising doubts about their staying power.

8. Slipknot

Slipknot’s aggressive performances and distinctive masks made them icons of nu-metal. However, many claim their popularity rests more on shock value and theatrics than musical complexity. While the band undeniably revitalized interest in heavy music, detractors point out their sound sometimes lacks the nuance and depth present in other metal subgenres, suggesting Slipknot’s reputation might outshine their musical innovation.

9. Avenged Sevenfold

Avenged Sevenfold achieved significant commercial success with catchy melodies and polished production. Yet, some fans and critics accuse them of excessively borrowing from influential bands like Metallica and Iron Maiden. Their evolution from metalcore to a more mainstream rock sound further fuels arguments that their popularity exceeds their originality and creative substance.

10. Five Finger Death Punch

Critics frequently describe Five Finger Death Punch as overly formulaic, accusing them of recycling song structures and lyrical themes. Their consistent commercial approach to music has drawn accusations of selling out and prioritizing profit over artistic innovation. Although undeniably successful, the band faces frequent criticism for lacking musical evolution and relying on repetitive, crowd-pleasing formulas.

11. Disturbed

Disturbed rose to mainstream prominence with their debut single “Down with the Sickness,” instantly becoming one of the most recognizable acts in early 2000s metal. However, critics argue that beyond a handful of signature tracks, the band’s catalog relies heavily on a predictable formula of chunky riffs, David Draiman’s distinctive vocal delivery, and anthemic choruses designed for arena sing-alongs. Their viral cover of Simon & Garfunkel’s “The Sound of Silence,” while commercially massive, further divided opinions.

Some praised its emotional range, while others saw it as evidence that the band’s original material lacks comparable depth. Detractors suggest Disturbed prioritizes accessibility and spectacle over genuine musical progression, with later albums offering little evolution from their established blueprint. While their influence on introducing younger audiences to heavy music is undeniable, many within the metal community feel Disturbed’s commercial dominance overstates their artistic contribution to the genre.

Conclusion

While each of these bands contributed significantly to metal’s evolution, their elevated reputations are often debated. Labeling bands “overrated” isn’t necessarily dismissive but encourages critical discussion about innovation, authenticity, and the enduring impact on the heavy metal genre.

The post 11 Most Overrated Metal Bands in Music History appeared first on Metal Shout.

The post EGREGORE: “Servants Of The Second Death” Video/Single From Feral Vancouver Occult Black/Death Metal Entity Now Playing; Second LP, It Echoes In The Wild, Nears March 20th Release On 20 Buck Spin appeared first on INFRARED MAGAZINE.

(Here’s DGR’s review of the latest album by Rémi Gallego in his guise as The Algorithm – a record released last November.) Last of the 2025 releases Sometimes you cover artists purely because you want to have some sort of written record that you can backtrack to in order to follow how your opinion of […]

The post THE ALGORITHM: “RECURSIVE INFINITY” appeared first on NO CLEAN SINGING.

What Does Iron Maiden’s 2026 Rock Hall Nomination Really Mean?

It’s a cultural flashpoint more than a career milestone — because few bands have been as openly skeptical of the Rock And Roll Hall Of Fame while simultaneously being impossible to ignore.

TL;DR

Iron Maiden are once again nominees for the Rock And Roll Hall Of Fame’s 2026 induction class. Despite decades of eligibility and massive global influence, the band has historically shrugged at the institution — with Bruce Dickinson famously dismissing it and Steve Harris repeatedly downplaying awards. Their nomination reignites the long-running debate: how is one of heavy metal’s defining bands still waiting?

Iron Maiden’s relationship with the Rock And Roll Hall Of Fame has become its own genre of controversy. And here we are again.

Iron Maiden now stand among the 17 Performer nominees for the Rock And Roll Hall Of Fame’s 2026 class, alongside names spanning genres and generations, including The Black Crowes, Billy Idol, Mariah Carey, Lauryn Hill, INXS, Sade, Shakira, Oasis, Wu-Tang Clan, and others.

But this isn’t just another nomination headline.

This is about legacy, friction, and a band that has never played the approval game.

Catch Iron Maiden Live In 2026 – Get Ticket Info Here

The Nomination That Never Stops Feeling Strange

Iron Maiden have been eligible since 2004.

Let that sink in.

Two prior nominations (2021, 2023).
Multiple snubs.
Endless fan frustration.

Meanwhile, the band’s influence stretches across:

Generations of metal bands
Stadium tours worldwide
One of the most iconic mascots in music (Eddie)
Albums that reshaped heavy metal’s trajectory

Yet every year the same question returns:

How are they still “nominees” instead of “inductees”?

Loaded Radio Recommends – Iron Maiden Albums Ranked From Worst to Best: The Definitive 17-Album Verdict

Bruce Dickinson vs The Rock Hall

Bruce Dickinson has never exactly softened his stance.

His past comments about the Rock Hall became legendary — not because they were diplomatic, but because they were brutally on-brand.

He framed rock music as a living, breathing force, not something that belongs sealed behind museum glass.

That sentiment resonated deeply with metal audiences who’ve long felt the Hall struggles to understand heavier genres.

Dickinson’s frustration was never “Why aren’t we in?”

It was closer to:

“Why does this matter so much to everyone else?”

Steve Harris’ Consistent Perspective

If Dickinson was fiery, Steve Harris has been calmly unmoved.

Across interviews, Harris repeatedly returned to the same grounded philosophy:

• Awards are nice
• Recognition is flattering
• None of it defines the mission

Iron Maiden’s purpose, in Harris’ eyes, has always been:

Make great records
Deliver unforgettable live shows
Keep pushing forward

Not chase industry validation.

There’s something almost defiant in that consistency.

The Bigger Metal Conversation

Iron Maiden’s nomination always sparks a wider genre debate.

Because historically, metal’s Rock Hall representation has felt… selective.

Among metal or metal-adjacent acts already inducted:

Black Sabbath
Metallica
Judas Priest
Kiss
AC/DC
Led Zeppelin
Deep Purple
Van Halen
Rush
Guns N’ Roses
Ozzy Osbourne

Each deserved.

But Maiden’s absence continues to feel like an unresolved chapter in that story.

The Fan Vote Memory Still Lingers

In 2023, Iron Maiden placed fourth in the fan vote.

Support was there. Loudly.

Yet the final induction class told a different story — reinforcing the perception that metal enthusiasm doesn’t always translate into Hall results.

That disconnect is exactly why this year’s nomination hits harder again.

Does Induction Even Change Anything For Maiden?

Here’s the uncomfortable truth:

Iron Maiden’s legacy is already bulletproof.

Rock Hall induction would:

Validate cultural recognition
Please fans
Generate headlines

But it wouldn’t:

Increase their influence
Rewrite their history
Suddenly legitimize their impact

Because Maiden never needed institutional approval to become Iron Maiden.

Check This Out – The Tragic Truth Iron Maiden’s ‘Lost’ Singer Finally Wants the World to See

What adds to the sense of disrespect for many fans is that while the Rock Hall kept waiting, life didn’t. The 2024 passing of former Maiden singer Paul Di’Anno closed the door on something that can now never happen — a chance, however unlikely, to see a crucial piece of Maiden’s origin story share that stage.

That’s the part critics of the institution keep circling back to: the Hall moves slowly when it comes to metal legends, yet somehow always finds urgency when it’s time to spotlight global pop royalty. Fair or not, that contrast fuels the perception that heavy music isn’t just underrepresented — it’s perpetually deprioritized.

And Yet… It Still Feels Like It Should Happen

Even knowing the band’s indifference.

Even understanding Harris’ perspective.

Even agreeing with Dickinson’s philosophy.

There’s still that lingering feeling among fans:

“Yes, but come on… it’s Iron Maiden.”

Some bands benefit from Rock Hall recognition.

Others expose its blind spots.

Maiden arguably do the latter.

FAQ

When Will The Rock Hall Announce 2026 Inductees?

The official induction class will be revealed in April 2026.

How Long Has Iron Maiden Been Eligible?

Since 2004, following the Hall’s 25-year eligibility rule.

How Many Times Have Maiden Been Nominated?

This marks their third nomination (after 2021 and 2023).

Do Iron Maiden Care About The Rock Hall?

Publicly, the band has consistently downplayed awards and recognition, with members expressing varying degrees of skepticism.

Why Do Fans Care So Much?

Because Iron Maiden’s influence, longevity, and cultural footprint make their absence feel historically inconsistent.

Band Bio

Iron Maiden are one of heavy metal’s most influential and enduring bands. Formed in 1975 by bassist Steve Harris, the group helped define the New Wave Of British Heavy Metal and expanded metal’s global reach through landmark albums, theatrical live shows, and the instantly recognizable Eddie mascot. The modern lineup features Bruce Dickinson, Steve Harris, Dave Murray, Adrian Smith, Janick Gers, and Nicko McBrain. Across decades, Maiden have remained creatively restless, commercially dominant, and fiercely independent.

The post Iron Maiden Nominated Again For Rock Hall — But Do They Even Care? appeared first on Loaded Radio.