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Thrash Mob played their first show in January 2026. By August, the West Midlands five-piece were appearing on Bloodstock’s New Blood Stage. Now they are preparing their debut EP, Hate, Rage And A Whole Lotta Killin’, for release on 20 November 2026. Along the way, the band have supported King Parrot and Solitary, building their […]

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Live Review: Ingorious – KK’s Steel Mill, Wolverhampton

17th October 2026
Support: Kira Mac, White Skies
Words & Photos: Tim Finch

There are some albums that deserve to be celebrated in their entirety, and for Inglorious, their self-titled debut is the perfect excuse to bring the original line-up back together for one night only. KK’s Steel Mill in Wolverhampton played host to a special evening of classic hard rock, with fans gathering to witness a reunion that revisited the record that first put the band on the map.

White Skies opened the evening with a set that wasted little time getting things moving. Kicking off with ‘Righteous Zone’ and ‘88 Crash’, they brought a lively hard rock sound to the stage, setting the tone for what was to follow. ‘If This Is It (Get Ready)’ and ‘Shouting At The Hurricane’ kept the momentum going.

There was a classic feel to their performance, with enough punch to make an impression on those arriving early. ‘Money To Burn’ and ‘What Do You Know About Love’ rounded off a solid opening set.

Kira Mac followed, bringing a noticeably heavier and grittier edge than in previous performances. From ‘Hated’ onwards, there was a real bite to the band’s sound, with a darker intensity running through the set. ‘Caught Inbetween’ and ‘Chemicals’ helped establish that mood, while ‘Magnetic’ and ‘Haunt Me’ continued to build the atmosphere.

‘Climbing’ and ‘Loyalty’ brought Kira Mac’s set to a close, leaving a strong impression ahead of the main event. The heavier approach suited them well, adding a sense of urgency and grit to their material.

When Inglorious took to the stage, the significance of the occasion was clear. This was no ordinary gig, but a one-off celebration of the band’s debut album, featuring the original line-up reunited for the first time in this special setting. The crowd had come to hear those songs played live again, and the band wasted little time delivering exactly what was promised. ‘Breakaway’ and ‘High Flying Gypsy’ got things underway, immediately transporting the audience back to the sound that established Inglorious as a force in modern British hard rock.

The set was packed with the band’s self-titled debut, with the familiar combination of muscular guitar work, big hooks and powerful vocals providing the backbone of the performance. ‘Taking the Blame’, ‘Read All About It’ and ‘Bleed for You’ demonstrated the strength of the original material, while ‘Girl Got a Gun’, ‘Wake’ and ‘Warning’ kept the energy flowing. There was a real sense of occasion in hearing these songs performed by the musicians who originally brought them to life, with the reunion giving the material an added significance beyond a standard album playthrough.

The covers were well chosen, too, adding a few familiar favourites to the evening without distracting from the album celebration. Whitesnake’s ‘Fool for Your Loving’ fitted naturally into the set, while Deep Purple’s ‘Burn’ gave the band an opportunity to lean into the classic hard rock influences that have always been part of their sound and Toto’s ‘Girl Goodbye’ provided another welcome change of pace.

As the set progressed through ‘You’re Mine’, ‘Unaware’ and the title track ‘Inglorious’, the importance of the debut became increasingly apparent. These songs captured the qualities that made the record such an appealing release in the first place: strong melodies, confident musicianship and a vocal-led approach that favours substance over gimmicks. ‘Holy Water’ and ‘I Don’t Need Your Loving’ helped bring the main set to a close, with Nathan james talking a walk through the crowd during the former.

There was still time for an encore. ‘Until I Die’ and ‘Hail Mary’ provided a fitting final chapter to an evening that had been all about revisiting the band’s beginnings.

Ultimately, this was a celebration of a particular moment in Inglorious’ history, and the original line-up made it one worth remembering.

Photo credits: Tim Finch

For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.

The post Live Review: Ingorious – Wolverhampton appeared first on The Razor's Edge.

Live Gallery: Inglorious – KK’s Steel Mill, Wolverhampton

17th October 2026
Support: Kira Mac, White Skies
Photos: Tim Finch

We look back at the epic Inglorious show through the eyes of our photographer Tim Finch!

Inglorious

Kira Mac

White Skies

Photo credits: Tim Finch

For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.

The post Live Gallery: Inglorious – Wolverhampton appeared first on The Razor's Edge.

A pair of dates have been set for the big announcements.

The post Queens Of The Stone Age Tease Their Upcoming Tour Announcements appeared first on Theprp.com.

The post Spirit Ghost – “Dungeon Crawler” appeared first on Stereogum.

Papa Roach have announced the dates of a huge tour across the US, taking place at the start of Summer in 2027.

‘The Rise Of The Roach’ tour will makes it way across the country with support coming from Ice Nine Kills and Ninth Key.

So that’s a load of this:

Then a whole load of this:

And then, of course, a whole heap of this:

Vocalist Jacoby Shaddix had this to say about the trip:

“We can’t wait to get out there and infest America again. Bringing our horrifyingly entertaining friends Ice Nine Kills is overdue, and we’re excited to introduce our fans to Ninth Key, a band we’re big fans of. These shows are going to be unforgettable”

Whilst INK frontman Spencer Charnas had this to add:

 “Jacoby’s cameo in the ‘Hip to be Scared’ video is already legendary among our beloved Psychos, and it’s an absolute honor to get invited to tour with Papa Roach. We can’t wait to put our blood-soaked stamp on the stage before P Roach blazes through their monster catalog of hits. It’s going to be several nights to dismember!” 

Here are all the dates:

MAY 2027

11 – BILOXI Mississippi Coast Coliseum
13 – ALPHARETTA Ameris Bank Amphitheatre
15 – TAMPA MIDFLORIDA Credit Union Amphitheatre
16 – MIAMI FPL Solar Amphitheatre
18 – CHARLOTTE Truliant Amphitheater
19 – BALTIMORE The Paramount Baltimore
21 – BROOKLYN Barclays Center
22- UNCASVILLE Mohegan Sun Arena
24 – PITTSBURGH Citizens Live at The Wylie
26 – INDIANAPOLIS Everwise Amphitheater at White River State Park
27 – MILWAUKEE BMO Pavilion
29 – CINCINNATI Riverbend Music Center
30 – CLARKSTON Pine Knob Music Theatre

JUNE 2027

02 – BOSTON Leader Bank Pavilion
03 – CAMDEN Freedom Mortgage Pavilion
05 – SCRANTON The Pavilion at Montage Mountain
06 – CUYAHOGA FALLS Blossom Music Center
08 – CHICAGO The Pavilion at Northerly Island
09 – ST. LOUIS Saint Louis Music Park
12 – AUSTIN Moody Center
13 – THE WOODLANDS The Cynthia Woods Mitchell Pavilion
15 – ALBUQUERQUE First Financial Credit Union Amphitheater
16 – PHOENIX Talking Stick Resort Amphitheatre
18 – ONTARIO Toyota Arena
19 – LAS VEGAS PH Live at Planet Hollywood Resort & Casino
21 – MORRISON Red Rocks Amphitheatre
22 – WEST VALLEY CITY Utah First Credit Union Amphitheatre
24 – SACRAMENTO Golden 1 Center
26 – RIDGEFIELD Cascades Amphitheater
27 – AUBURN White River Amphitheatre

The post Papa Roach Announce 2027 US Headline Tour appeared first on Rock Sound.

HELGRIND have signed with Time To Kill Records for the release of Shadows of Souls, a ten-track album recorded in 2024 and subsequently tested on stages in Germany, Austria and the UK. The partnership opens the next chapter for the British thrash band, whose history stretches back to 2000. A release date and the first […]

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The post Slapshot Play Farewell Show, Bring Out Fiddlehead’s Pat Flynn appeared first on Stereogum.

A short, direct song built to release its energy in front of an audience: that was WINGLESS’ intention with “The Gnosis of Decay”, the second single from their forthcoming sixth album, Vision Beyond Form. The Polish death metallers premiered the track on 19 October through Selfmadegod Records. Guitarist and founding member Grzegorz Luzar describes it […]

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Here are the new releases for October 18th to 24th. Releases reflect proposed North American scheduling, if available.

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Upcoming Metal Releases: 10/18/26 – 10/24/26

Grief Cathedral — The Graves We Hold Inside | Morbid and Miserable Records | Funeral Doom + Death Metal + Doom Metal | United States (Louisville, KY)

Grief Cathedral deliver a dynamic funeral doom record with their debut, The Graves We Hold Inside. Its five lengthy songs explore different moods and tempos. The title track stands out, opening with delicate piano and Victoria Graves’ ethereal clean vocals before building into more energetic doom, with JD Hall’s roars providing a compelling counterpoint. “At the Threshold of a Dying Season” introduces the album’s melancholic atmosphere with reverberating guitar notes and a slow, steady drum rhythm. Graves’ breathy vocals complement the subdued instrumentation before thick, distorted riffs and Hall’s rough growls take over. Vocally, it’s an unlikely combination. Imagine Portishead meets Cannibal Corpse. “The Tongue That Cursed the Light” brings a harsher intensity and quicker tempo. The record’s greatest strength is how organically the band navigates such contrasting sounds. Jerry Barksdale’s guitar work is a highlight, with enchanting melodies that amplify the heavier riffs.

–Lily O’Delia

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Dis Fig — What to Make of These Mortal Hands | Thrill Jockey Records | Industrial | Germany (Berlin)

Dis Fig’s last album, a collaboration with industrial metal elites The Body titled Orchards of a Futile Heaven, ends on one of the most emotional notes of her career as Dis Fig begs someone not to die while walls of sound crash around them. It’s a precursor to what she does on her second solo album, What to Make of These Mortal Hands, which is far harsher than her debut PURGE and reveals her true desire as an artist: to give you a headache.

Dis Fig’s bass is bigger than what makes cars rumble, houses shake, or tinnitus-causing eruptions. Her bass brings about earthquakes. Melded with squelching glitches and shattering electronics, the colossal bass pushes headphones to their limits as Dis Fig’s harrowing voice wraps itself around the entropy. On lead single “The Account,” she taps the wind between for a nihilistic collaboration, articulating, “I survived by devising my own take on piety and heaven”. Dis Fig hides in a heaven of her own creation: one she calls out from with a wounded voice.

–Aidan Sibley

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Fvneral Fvkk — Indecent Idols | Dying Victims Productions | Doom Metal | Germany (Hamburg)

From Colin Dempsey’s track premiere of “The Beasts of Speyer”:

Glum doom metal with Catholic overtones is the game here, and Fvneral Fvkk somehow resist buckling under the weight. Simon Schorneck bears the heaviest burden. His vocals animate the track, with the rest of the instrumentation supporting his crisis rather than staking out on their own.

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Iommi — From the Dark | BMG | Heavy Metal | United Kingdom (Birmingham)

Content to be Sabbath’s sole burning flame for 50+ years, Iommi’s hallowed name has only ever commanded top billing via solo records a scant handful of times. Remarkably, the brand new From the Dark is Iommi’s first stand-alone effort since 2005’s Fused. Initially conceived as an instrumental project, From the Dark morphed into a more traditional concern when the guitarist started collaborating intensely with veteran Norwegian vocalist Jorn Lande. The album is fleshed out with bass work from Mercyful Fate’s Becky Baldwin, percussion courtesy of Karl Brazil and multifaceted contributions from longtime Iommi consigliere Mike Exeter, who also co-produced the set. Lande co-wrote all the tracks and the “existential questioning” within his lyrics seem a perfect match for the ruminative 78 year old musician as he ponders his own mortality in the wake of Ozzy Osbourne’s passing last summer. Chunky trad metal warhorses like “World Alone” and the haunting maritime doom of “Stormwatcher” highlight the depth of their writing partnership. The vibe is similar to Heaven and Hell’s The Devil You Know. What else do you need?

–Dennis J. Seese

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The Blood Mountain Black Metal Choir — Songs from a Dying Empire | Fiadh Prod | Black Metal | United States (Atlanta, GA)

TBMBMC’s debut full-length expands on what made their 2025 demo so great. It’s unapologetically wrathful about the state of the world and sorrowful for what’s been lost, and what never was in the first place. It channels the anger into explosive and expansive black metal, interspersing it with more delicate and atmospheric moments of sadness.

–Kevin Zecchel

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Wolves in the Throne Room — Estuary | Relapse Records | Black Metal | United States (Olympia, WA)

The latest album from the USBM legends takes a theme that’s been an undercurrent in their music for decades and makes it explicit: apocalypse. While previous works hinted at the grief over a vanishing biosphere, Estuary sets itself in a post-apocalyptic world. The music matches the grim setting, being the band’s heaviest record yet. The trademark long tremolo-picked passages are here, but Wolves in the Throne Room have also evolved into a much more riffy band over the years. Haunting, atmospheric, and deeply impactful.

–Kevin Zecchel

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