Failure announce Location Lost, their seventh studio album, featuring nine new tracks including lead single “The Air’s on Fire” and a spring tour.
The post FAILURE Return With Seventh Album Location Lost & North American Tour appeared first on Metal Injection.
(written by Islander) The labels Rotted Life and Gurgling Gore have joined forces for the first time in a collaborative release of a debut album named Abyssurge by the Ukrainian band Strup, with a street date of February 20th. They describe the band as “a death grind assault unit blending the surgical brutality of death […]
The post AN NCS ALBUM PREMIERE (AND A REVIEW): STRUP — “ABYSSURGE” appeared first on NO CLEAN SINGING.
Franck Carducci has announced his new album ‘Sheeple‘, which will be released on April 10th via Cherry Red Records. Known for his electrifying live performances, virtuoso guitar work, and theatrical progressive rock sound, Franck Carducci has successfully melded classic and progressive rock influences with a powerful modern approach to his music and intelligent lyrics throughout […]
The post Franck Carducci Announces His New Album ‘Sheeple’ appeared first on ROCKPOSER DOT COM!.
Shinedown will release their eighth studio album “Ei8ht” on May 29, 2026 via Atlantic Records.
Shinedown’s next era is officially underway.
New album Ei8ht arrives May 29.
New single “Safe And Sound” is out now.
A 54-date world tour launches across North America and Europe.
Shinedown aren’t entering 2026 quietly — they’re storming into it.
Fresh off one of the most dominant stretches of their career, the band has announced their eighth studio album, Ei8ht, alongside the release of the latest single, “Safe And Sound.”
If the past year proved anything, it’s that Shinedown’s grip on modern rock hasn’t loosened — it’s tightened.
Frontman Brent Smith described the record as a defining creative push:
“This album is over a year in the making. Without question, as a band we pushed ourselves like never before,” Smith explained.
He reserved particular praise for Eric Bass, longtime bandmate and producer of the album, highlighting Bass’s role as:
• Producer
• Engineer
• Mixer
• Songwriter
• Musician
The message is clear: Ei8ht isn’t just another release — it’s a fully realized evolution.
The newly released “Safe And Sound” continues the band’s tradition of blending emotional tension with arena-scale impact.
Positioned within a sprawling 18-track album, the song reinforces a pattern Shinedown perfected over the last cycle:
Anthemic hooks Emotional accessibility Cross-format appeal
Over the past year, Shinedown delivered four major songs:
• “Dance, Kid, Dance”
• “Killing Fields”
• “Three Six Five”
• “Searchlight”
• “Dance, Kid, Dance” → No. 1 at rock radio
• “Killing Fields” → No. 1 at rock radio
• “Three Six Five” → No. 1 Alternative / Top 10 Hot AC / Top 20 Top 40
In the process, the band extended their historic records:
Most No. 1 Songs In Billboard Mainstream Rock History (21) Most No. 1 Songs In Mediabase Active Rock History (23)
That level of consistency is nearly unheard of in modern rock.
Shinedown made unexpected history with “Searchlight.”
During their Grand Ole Opry debut, Brent Smith introduced the song with a reflection that instantly resonated: “Sometimes when you listen close enough to the universe… a song can come out of thin air. We didn’t find this one, it found us.”
The performance became one of the night’s most talked-about moments.
Blending:
• Rock
• Americana
• Rhythm & Blues
• Bluegrass
• Outlaw Country
Yet retaining unmistakable Shinedown DNA.
Shinedown’s impact hasn’t gone unnoticed.
• Rock Artist Of The Year
• Duo/Group Of The Year
• Rock Song Of The Year (“Dance, Kid, Dance”)
This follows their major wins at the 2025 iHeartRadio Music Awards, where they claimed:
Rock Artist Of The Year Rock Song Of The Year (“A Symptom Of Being Human”)
Back-to-back recognition. Rare air.
Shinedown’s recent live cycle delivered another milestone:
A career-defining achievement.
But the tour’s impact extended beyond ticket sales.
Through a $1-per-ticket donation, helping launch a new bedside music program in partnership with HCA Florida Healthcare.
Commercial success + meaningful contribution.
That balance matters.
Shinedown’s 2026 global run spans:
11 countries
54 dates
Major arenas & festivals
• Coheed And Cambria
• Black Stone Cherry
• From Ashes To New
• Those Damn Crows
• DJ Rock Feed
North American tickets → On sale Feb 20
European tickets → On sale Feb 27
Before 2026 closes, Shinedown will debut their first-ever curated festival:
Miramar Beach, Florida October 23–25, 2026
Featuring:
• Two Shinedown headlining sets
• Bush
• Hanson
• Flyleaf (with Lacey Sturm)
• Living Colour
• From Ashes To New
Destination festival energy meets Shinedown’s brand of emotional spectacle.
01. At The Bottom
02. Dance, Kid, Dance
03. Burning Down The Disco
04. Three Six Five
05. Young Again
06. Dizzy
07. Imposter
08. Machine Gun
09. Outlaw
10. Safe And Sound
11. Searchlight
12. Bear With Me
13. Deep End
14. Killing Fields
15. Back To The Living
16. Wide Open
17. So Glad That You Asked
18. The Pilot
An 18-track statement album — ambitious by design.
May 29, 2026 via Atlantic Records.
“Safe And Sound.”
18 tracks.
54 dates across 11 countries.
Coheed And Cambria, Black Stone Cherry, From Ashes To New, Those Damn Crows, and DJ Rock Feed on select dates.
North America → February 20
Europe → February 27
Shinedown’s first curated festival event in Miramar Beach, Florida (Oct 23–25, 2026).
Formed in 2001, Shinedown have become one of the most commercially successful and emotionally resonant rock bands of the modern era. Known for balancing hard rock intensity with deeply personal themes, the band holds the record for the most No. 1 songs in Billboard Mainstream Rock history. Their catalog spans explosive rock anthems and crossover hits, anchored by Brent Smith’s unmistakable vocal delivery and the band’s relentless touring presence.
The post New Shinedown Album “Ei8ht” Announced, Band Drops “Safe And Sound,” And Unleashes Massive 2026 World Tour appeared first on Loaded Radio.
In 2024, experimental London post-punk band Black Midi announced that they’re “indefinitely over.” Last month, original guitarist Matt Kwasniewski-Kelvin suddenly and tragically died at the age of 26. Kwasniewski-Kelvin’s former bandmates are now making music in different configurations. Geordie Greep released his solo debut The New Sound in 2024, and now My New Band Believe,…
The post My New Band Believe Announce Self-Titled Debut Album: Hear “Numerology” appeared first on Stereogum.
Reviewed by Sam Jones
Amidst the flurry of stoner/doom bands stepping forth in the last twenty years, one has often been in my mind and, through good grace, Belzebong finally return with their first studio album in eight years. Formed in 2008 out of Kielce, Poland, Belzebong committed to something their contemporaries may have considered yet never followed through with: they removed the vocal aspect entirely. In a subgenre where the riff is king and fans listen in to experience the aesthetic and atmosphere more than anything else, I understand why Belzebong took such a route. With records like Sonic Scapes & Weedy Grooves, Greenferno and Light The Darkness, Belzebong have established themselves a strong repertoire in stoner/doom metal. Returning to a record label, now with Heavy Psych Sounds Records, the band are poised to unleash album four with a February 20th date in mind. After nearly a decade it’s great to return to Belzebong’s weed-laden world and to discern what these instrumental pieces can deliver.
While Belzebong strongly align with the stoner side of metal, I appreciate how they inject other elements into their soundscape. The guitar tone is fuzzy as one would naturally expect from such a band yet its far from domineering and doesn’t conflict with the drums or bass to grab your attention. It rests just below that ridge where their sound could war with the rest of the band and as a result, their sound feels tightly controlled and manoeuvred to where Belzebong require their songwriting to be. Given the total absence of vocals the guitar work assumes higher command of the band’s direction, and since they haven’t thrown their riffs into overdrive it enables us to follow them with pinpoint accuracy. When Belzebong do break out into freeform playing the tone rises, assuming a more grandiose, near cosmic vibe that provides a nice break from the stoner metal aesthetic most will presume is king herein.
That’s one reason why I think many enjoy and return to Belzebong as they allow the audience to become fully invested into the instrumental journey thereupon taken. Though not a word is uttered you’ll feel as if you’ve been thrown unto a quest thats had a stark beginning, development and conclusion with each track ventured into. Each track possesses its own atmosphere as if constructing soundscapes accompanying the next great bong hit, giving soundtrack to the kaleidoscopic visions one could experience after a heavy trip. This is where Belzebong’s allure emanates; its practically atmospheric stoner metal as we don’t get told about what’s occurring, rather we feel it. In doing so the audience gets more enjoyment because they’re having to delve head first into the sound rather than have the experience dictated to them.
But I think the mix works well for The End Is High as whilst their guitar tone is deliciously crunchy and occupies a strong position amidst the band, their drums can be heard at every moment, and should a listener wish to listen more keenly to the drumming they could certainly do so; the riffs don’t interfere with the drumming because the songwriting has managed to fuse the two distinct aspects together, aspects that often conflict in contemporary stoner metal when all focus is derived towards guitars solely. What’s more is the bass thrown into the record as drum strikes come off with taut resonance, there’s nothing tinny going on here. The bass drums may not hit with the most violent presence yet it doesn’t need to; the purpose behind the drumming here is to carry you, the listener, across this psychotropic plain as upon a magic carpet whilst the riffs do their magic on you. The calm fervour they’re struck with too is hypnotic as one experiences the gradual rate drum strikes come at you by. The drums aren’t out for blood but you’ll find yourself under their spell, willingly.
In fact this goes for the whole record. As one pushes on you’ll find yourself remarking how The End Is High doesn’t attempt to rush you through any track. Granted there are just four on record and thus they want to make the most of every second, but when most here are upwards of eight to ten minutes apiece its striking how on board, and quickly so, you’ll be knowing the faster pace is utterly forsaken here. This is a record by a band that knows the magic in not rushing, yet not bringing things to a crawl, just let the music play and play it loud. It never demands any specific level of attention, it merely lets you explore their sound in whatever regard you so choose because they understand you’ve come to the right place, knowing what Belzebong offer. There’s a particularly old school vibe to Belzebong which is likely another factor why many gravitate to them. This is a record where you can just get thoroughly lost within their soundscapes, swaying your head to and fro, eyes closed, simply basking in the haze they’ve created. In some sentimental manner this record is akin to a good friend; you may not see it for a while, you won’t know you’ll need them, but its a mighty fine feeling when you and your friend share that blessed time together. The End Is High is just a good time.
In conclusion, The End Is High is not only a great, fun experience to be had, but is proof that when stoner metal is written well it can easily go toe-to-toe with its more destructive subgenre kin. At thrity-five minutes long I think its excellently paced and is long enough, by the record’s end, for us to feel wholly satisfied with what’s been received. If anything the band could have thrown an additional ten minutes, an extra track, into the mix and I’d say the album wouldn’t suffer one morsel. With no vocals to work with the band’s emphasis has to go towards songwriting and its what focus on writing that really lets Belzebong shine, for the audience therefore clings to the instrumentation from start to finish. Myself personally I didn’t have any favourite track for the total record could be viewed as the experience following, as aforementioned, a strong hit of the bong, and this music is the result. The End Is High is simply a great time and having not visited Belzebong in a hot minute, its a needed reminder why I fell in love with their left-field approach to stoner metal initially. Its one hell of a trip, so to speak.
The post Album Review: Belzebong – The End Is High appeared first on The Razor's Edge.
Meet Sloome, an upbeat shoegaze crew based in Modesto, California. Originally the solo project of vocalist G Curtis Walls, Sloome has expanded into a full band with additional members Miles Ishmael, Max Basso, Gaius Geranio, and Cyrus Vandenberghe (who also plays in Welcome Strawberry). Today, they announce their third album Blue Fire Doom. Blue Fire…
The post Sloome Announce New Album <em>Blue Fire Doom</em>: Hear “Raw Power” appeared first on Stereogum.