(written by Islander) We heartily welcome the return of Connecticut-based Xenosis, who will have their fifth album Hermetic Transmutation released by Transcending Obscurity Records on June 5th. We also enjoy imagining the looks on people’s faces when they get their brains scrambled by the music. Brain-scrambling will likely occur even among listeners who got their […]
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It seems you should get ready to relive the Skeletour in IMAX.
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Texan five-banger Frozen Soul crept into my promo pile back in 2021 with their glacially imposing Crypt of Ice. Unfortunately, I missed covering the improved follow-up Glacial Domination properly, relegating it to a Filter blurb instead. But that’s no excuse for Century Media to withhold No Place of Warmth from me when it was time. No matter, because Frozen Soul deserve a full-bodied tongue bath from this hot-blooded sponge, and I intend to give it with great relish.
The Frozen Soul formula carries over into No Place of Warmth, but evolves incrementally just as Glacial Domination did three years prior. As these homo glaciali continue their ascent into a full upright stance, their Bolt Thrower-meets-Sanguisugabogg-meets-Rotpit riff orgy enters a new realm of ferocity, carrying a murderous momentum and relentless grooves across a dick-skin-tight 35 minutes. Vocalist Chad Green puts down a vicious performance of caveman roars, rancid rasps, and infectious barks. Matt Dennard pounds the mammoth skins with a single-minded bludgeoning that oozes blood, pus, and attitude. Bassist Samantha Mobley, always rumbling beneath these well-tread tundras, anchors the affair in muscular heft and scalpel precision (though the unforgiving compression in the mix makes her great work difficult to make out in many listening environments). Most importantly, however, are guitarists Chris Bonner’s and Michael Munday’s unflappable riffs and infectious hooks. Familiar perhaps to a fault but nonetheless brutally effective, Frozen Soul’s guitar work crests a summit on No Place of Warmth, generating heaps of energy with minimal tooling and using it to slam skulls into each other with devastating impact.
What more could you ask for in a stripped-down, meat-and-potatoes death metal record? A better mix, sure, but not much else. “Invoke War (ft. Machine Head)” brings Bolt Thrower aggression, anvils, and icepicks to my cranium with cold prejudice, leaving me a drooling mess whose only joy in life demands MOAR RIFFS. Thankfully, the slamtastic “Absolute Zero,” “Dreadnought (ft. Sanguisugabogg),” and “Skinned by the Wind,” along with mid-paced stompers “Chaos Will Reign,” “DEATHWEAVER,” and “Frost Forged” shoot overdoses of riff-laced adrenaline directly into my veins, reducing me to animalistic mindlessness. As that progresses, the urge to zoom becomes a new inconvenience in daily life, but Frozen Soul prepared for that. Rippers “No Place of Warmth (ft. Gerard Way),” “Eyes of Despair,” “Ethereal Dreams,” and “Killin Time (Until It’s Time to Kill)” roar and rage through flesh and bone with sleazy grooves that fit right at home at any local bar brawl, giving my overflowing energy reserves an outlet through fist and boot.
You might notice a rare occurrence in the preceding paragraph: I highlighted every song on No Place of Warmth to extol their virtues. This was no accident, as every track has something memorable and engaging to take away, but No Place of Warmth isn’t perfect. As mentioned earlier, No Place of Warmth is crushed pretty heavily. Consequently, Samantha’s bass struggles for audibility—despite offering ample textural heft—behind chunky guitars and ferocious roars. With a little less compression and a few tweaks to instrumental positioning, her input would be heard more fully and thereby make even greater impact. Additionally, Matt Dennard’s bass kick feels a bit plastic, creating a bit of tactile unpleasantness during initial spins. In other areas, the album’s various guest spots don’t stand out as distinctly as a guest spot should. It took a few spins to nail down Machine Head’s contributions to “Invoke War,” especially, and Gerard Way’s unexpected blackened rasps deserve greater presence, too. I still can’t confidently pick out Sanguisugabogg in “Dreadnought,” though it is a killer tune. As a criticism, this mostly points to a thoughtfulness in features that Frozen Soul neglected, but that they might easily rectify with more intentional writing that gives those features more significance and definition going forward.
All told, No Place of Warmth is more than just rock-solid Bolt Thrower worship. It is a consistently entertaining record tailor-made to ensure gains in the gym, incite massive mosh pits in any given venue, and cause spinal trauma to any receptive passers-by. It’s nothing new, and nothing groundbreaking, but its tectonic grooves and boundless vitality crack the crust regardless. Should you be in need of more quality death metal this year—and we all know you can never have too much—No Place of Warmth is a worthy part of a balanced breakfast rotation.
Rating: Very Good!
DR: 4 | Format Reviewed: PCM
Label: Century Media Records
Websites: Bandcamp | Official | Facebook
Releases Worldwide: May 8th, 2026
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Cyber alt-rock swagger meets gothic Metalcore as Smash Into Pieces headline London’s The Electric Ballroom with support from Enemy Inside and Dark Divine. It is a good thing The Electric Ballroom is in Camden, because the desire to raid Cyberdog’s rails becomes an urgent need by the time Smash Into Pieces have had their way. And good luck singing anything that was not on tonight’s setlist for at least a week.
Words: Lucy Dunnet
Photography: Aggie Anthimidou
“Let’s have some fucking fun,” roars Dark Divine’s vocalist Anthony Martinez, before launching into a performance that’s chock full of screaming earworms and untethered gothic obsession. And there’s nothing like a band sporting futuristic Halloween outfits, haunting black makeup and white contact lenses to ignite the excitement of a crowd of alternative kids on a Wednesday evening.
Add in the announcement that Dark Divine have been collaborating with Motionless In White on a song, Blood Rave, from the Metalcore kings’ upcoming album, Decades, and no wonder some particularly excited fans sounded like they are about to climax amid all the screaming.
Alternating between pig squeals that give Will Ramos of Lorna Shore a run for his money, guttural roars that shake the very ground beneath your feet and utterly entrancing cleans, Anthony’s vocal range is…beautiful. As are the drum blasts that enunciate every impassioned “blegh” and the darkened futuristic synths that weave atmosphere into every crevice.
This is a band that can be sang along to and raved to, whether you have listened to Dark Divine before or not, so fun and instantly catchy is every note of their setlist.
After untangling himself from the mic wires, much to the giggling amusement of the crowd, Anthony announces it’s time for some crowd participation.
“When I say ‘it’s a long way to hell’ you’re gonna say…” the crowd interrupts: “YOU BETTER START DIGGING!” Dark Divine had better start digging a grave for their support band selves, because these Floridians are needed by headline slots, the world over.
A quick crowd karaoke round of Bon Jovi’s Livin’ On A Prayer keeps spirits spinning, until the huge symbol in the centre of the stage begins flashing white – Enemy Inside are going to appear any minute, and the anticipation sizzles.
Unfortunately, it’s probably one of the most exciting moments of their set, as, despite having more cool outfits and flashy production, some technically great vocals from Nastassja Giulia and a couple of songs that verge on being catchy, their performance lacks any real spark or charisma.
However, their newest single, R.I.P., hits shiveringly hard. Nastassja reaches the impassioned levels of ex-Battle Beast vocalist Noora Louhimo in her power choruses and maniacal, harsh vocals, which add a much-welcome, evil depth. More of this, please.
A mini pit gets going, proving that not the entire crowd has zombified, and the band’s energy definitely ramps up a notch. They finish with Phoenix, whose unpredictably tasty guitar solo helps leave a couple of positive thoughts floating about as Enemy Inside are clapped off the stage.
Smash Into Pieces have an arsenal of infectious anthems that sit teasingly at the intersection of synth-pop and alternative rock. As if this arsenal was not enough to take over London with, they have also brought with them four screens of hypnotic futuristic scenes and a shit-ton of cyber-Nickelback swagger.
The Swedish alt-rockers are decked out in gear that sits somewhere between dystopian warrior, Tron extra and club DJ, and they glide about the stage with just as much versatility, while APOC, the drummer, serves as the masked narrator of this futuristic rock ‘n’ roll rave.
They start the night with Man or Machine, the first of many, many bangers. Venom sees the whole Electric Ballroom bouncing, and Six Feet Under opens up the voice boxes as darting laser lines transform the ceiling into a stormy neon sky.
Benjamin Jennebo and Emanuel Magnil are a magnetic duo on the guitars, with Benjamin oozing cheeky cheerfulness out of every orifice and through every riff, and Emanuel shredding like a sophisticated, lusted-after young space warrior.
When the cityscapes morph into flickering orange flames all across the stage, Smash Into Pieces bring out their country groove with All Eyes on You. Chris Adam Hedman Sörbye’s vocals get gritty, the riffs roll with Southern charm, and there’s even some cowboy whistling.
Then the crowd sing-alongs continue with Arcadia, Trigger and Heroes Are Calling, and it is an entirely too addictive visual and aural experience.
When things turn acoustic for Somebody Like You, which they admit they fucked up once before, “so hopefully not twice tonight,” laughs Chris, emotions threaten to bubble up.
Chris thanks their amazing crew not once, not twice, not three times, but at least four times. He shouts out all the other bands multiple times and says how much they love the VIP meet and greets.
Basically, Smash Into Pieces are some of the loveliest musicians, and they are not afraid to get cheesy with emotion and gratitude. One can only dream of a world full of people Like This!
The final round of anniversary shows for that record.
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Bring Me The Horizon frontman Oli Sykes was left visibly injured and “dizzy” after being struck in the temple by a flying cell phone during the band’s headlining performance at the Enterprise Center on Monday, May 11. The shocking incident occurred just four tracks into the set during the performance of “Happy Song,” with the impact reportedly leaving Sykes with a swollen, scratched temple and potential concussion symptoms.
Eyewitnesses claim the energy of the show shifted instantly as a frustrated Sykes confronted the crowd, demanding to know “who the f* threw that” before tossing the device to security. While the band managed to finish the concert, Sykes reportedly abstained from all physical crowd interaction for the remainder of the night, leading fans to condemn the “disgusting” lack of concert etiquette that resulted in a shortened setlist and a “wilting” performance from the injured singer.
The incident unfolded during the band’s current North American “Ascension Program” tour. As Sykes was hyping the St. Louis crowd, a device hurled from the audience struck him directly in the side of the head. Video footage captured Sykes recoiling in shock, picking up the phone, and briefly venting his frustration to the audience before declaring, “Cheers, though, that was sick”.
However, the aftermath was far from positive. Reports from fans at the barricade suggest Sykes told the crowd he felt “dizzy” and was seen repeatedly holding his head and stumbling throughout the later half of the set. One fan noted that Sykes’ “color was draining from his face” as he struggled to finish his vocal lines.
The physical toll on Sykes led to immediate changes in the show’s production. Normally known for his high-energy “catwalk” runs and jumping into the crowd during the song “Drown,” Sykes remained isolated on the main stage for the rest of the night. The band also reportedly cut the track “YOUtopia” from the setlist entirely as Sykes’ energy dwindled.
The regrettable incident has sparked a firestorm on social media, with “Bring Me The Verizon” trending as fans used dark humor to mask their outrage over the growing trend of artists being targeted by projectiles. Similar recent incidents have involved icons like Eric Clapton, who cut a Madrid show short on May 7 after being struck by a flying record.
Fans Looking to see Bring Me The Horizon live in 2026 can get ticketing info at this location.
Was Oli Sykes injured during the St. Louis show? Yes. Fan reports and close-up footage indicate Sykes was hit in the temple, resulting in a scratch, swelling, and symptoms consistent with a concussion.
Did Bring Me The Horizon cancel the concert? No. Despite the injury, Oli Sykes and the band finished the set, though they reportedly cut at least one song (“YOUtopia”) and Sykes stopped interacting with the crowd.
What song was the band playing when it happened? The incident occurred during “Happy Song,” which was the fourth song in the band’s May 11 setlist.
Is the person who threw the phone in custody? Sykes tossed the phone to security immediately after the hit, but it has not been officially confirmed by local authorities if the individual was identified or arrested.
STAY LOUD: Catch the full breakdown of today’s stories on the Loaded Radio Daily Podcast, or crank the hard rock and metal 24/7 on our live digital stream at LoadedRadio.com.
Oli Sykes was hit in the head by a phone thrown by a fan in St. Louis. He finished the show despite a visible injury and “dizziness,” but stopped interacting with the crowd and cut the setlist short.
Like what the fuck WHO DOES THIS AT SHOWS??? Oli hasn’t come down catwalk since this :/ pic.twitter.com/oMoO39LGxY
— alice (@heavenishiding) May 12, 2026
The post BRING ME THE HORIZON ATTACK: Oli Sykes Struck in Head by Projectile Phone During Chaotic St. Louis Set appeared first on Loaded Radio.
An official release date has been announced for the Green Day inspired comedy movie ‘NIMRODS’.
Set to arrive in theatres on August 14, ‘NIMRODS’ focuses on the story of three friends who journey to Los Angeles, mistakenly believing that their band is opening for Green Day on New Year’s Eve.
Following their rowdy road trip, it’s partly based on the exploits of Green Day and their years of living in a tour van prior to their breakout success in the early 90s.
The band’s members, Billie Joe Armstrong, Tre Cool and Mike Dirnt, all serve as producers on the project.
It’s being released by Inaugural Entertainment in partnership with Legion M, the world’s first fan-owned entertainment company.
On the news, Legion M co-founders Jeff Annison and Paul Scanlan have shared:
“Green Day wouldn’t exist without the fans, and we’re excited to give those fans the opportunity to own a stake in the film as we work with the incredibly talented teams at Inaugural, Live Nation and Green Day to bring it to audiences. NIMRODS is exactly the kind of film we’re built for. It’s bold, original and designed to be experienced together. When our community rallies behind something they love, it has a real impact, and we’re excited to put that to work here.”
Founder and CEO of Inaugural Entertainment Kevin Weisberg has said:
“NIMRODS is the kind of film that audiences are going to want to experience together in a theater. It captures the humor, chaos and rebellious spirit that made Green Day such a cultural force, while telling a genuinely entertaining coming-of-age story. We’re thrilled to partner with Legion M and Live Nation Studios to help bring this film to fans nationwide on August 14.”
Check out the trailer below:
Mason Thames, Kylr Coffman and Ryan Foust will star as those three friends. The cast also features ‘The Office’ stars Jenna Fischer and Angela Kinsey.
On the movie, Billie Joe has said:
“Van days rule. You will drive all night on no sleep then play a show for 10 kids in a basement of a friend of a friend’s house 50 miles east of anywhere you’ve ever heard of. But you’ll do it again the next day, and the one after that. Because you’re doing it with your bandmates who become your family and it’s unlike anything you’ve ever known. It’s electric. Let the music and mischief ensue.”
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