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Having just recently released their banger of an album Para Bellum last year, you’d think legendary thrash outfit Testament would take it a little easy. Maybe go touring on the back of that record for a while and let those tunes excite the crowds a bit before looking to the next album. But nope — they’re apparently barreling towards yet another release with some even newer songs already in the can.

In a recent interview with Elliott Fullam of Little Punk People, Testament frontman Chuck Billy chopped it up about Para Bellum and the fact that the band’s already working on its follow up.

“It’s actually working so well. Eric and Chris actually have been working on a future record. I got a call from Eric yesterday saying ‘Oh, me and Chris got about six more tunes ready to go’ and they already had two to start. So they’re already on their way to another record, ya know?”

Six songs is usually about half a whole record, so that’s a lot of work already done. Now, that’s not to say that all six are album worthy and won’t get left on the cutting room floor, but for now it’s a good sign.

Later on in the interview, Billy was asked what the most poignant or proudest moment he can remember in the nearly 40 years of the band’s existence. And while I’m sure there are tons of great moments for him to choose from, Billy said it was his personal bout with cancer that stands out to him.

“That battle with cancer was really a blessing because I really didn’t think I was gonna play music anymore. I thought it was done, I’d look in the mirror and go ‘That’s not the singer of Testament.’”

For those that don’t remember, Billy received a cancer diagnosis in 2001. At the time, he was forced to step down from music for a while to deal with his health. Eventually, he was able to return to the fold, leading to a triumphant moment back on stage with the guys.

“We had a reunion. It was the first time that we all had seen each other and played together a song, and it kind of opened the door.”

Thankfully that all went the day it did, because now we have Testament putting out killer records and touring all over the place. Speaking of which, they have a ‘Thrash of the Titans U.S. Tour’ scheduled to kick off next month with Overkill and Destruction. You can find the dates below and get your tickets today.

Testament tour dates

3/14 Portland OR Roseland Theater
3/15 Boise ID Treefort Music Hall
3/16 Salt Lake City UT Rockwell at The Complex
3/18 Denver CO Summit Music Hall
3/20 Milwaukee WI The Rave
3/21 Minneapolis MN The Fillmore
3/22 Chicago IL Ramova Theatre
3/24 Detroit MI St Andrews Hall
3/25 Cleveland OH Agora Ballroom
3/27 Worcester MA The Palladium
3/28 Sayreville NJ Starland Ballroom
3/29 Reading PA Club Reverb
3/31 Atlanta GA Buckhead Theatre
4/1 St Petersburg FL Jannus Live
4/3 Houston TX House of Blues
4/4 Dallas TX The Bomb Factory
4/5 San Antonio TX Aztec Theatre
4/8 Phoenix AZ The Van Buren
4/9 Los Angeles CA The Belasco
4/10 Berkley CA The UC Theatre (no Overkill)

The post Testament is Already Working on Their Next Album appeared first on MetalSucks.

Melodic black metal band Cult Of The Moon has just released their debut album "Lunar Eclipse".

The album starts with the title track as atmospheric clean guitar melodies create a hautning, ambient introduction to the song. Soon enough, heavy guitar tones are introduced alongside hard-hitting drum grooves, instantly creating a sense of contrast between the melodic clean guitar and modern metal instrumentals. Rapid guitar tremolos, speeding blast beats, and raw, echoing screams showcase the band's black metal influences at the forefront of their sound. The band creates a certain catchiness through the melody of clean guitar before eventually fading with an outro similar to the track's intro.

"Sun Suffering" wastes no time, catapulting straight into fast tremolos and thrash-worthy blast beats. While the instrumentals sound quite clear, the band's vocals take the form of "lofi", slightly distant, shrill growls and screams that are characteristic of black metal music. Drawing influence from acts like Deafhaven, Behemoth, and Uada, Cult Of The Moon showcases a traditional black metal sound while adding a melodic contrast to the music that keeps things interesting. An ambient bridge introduces thumping bass lines and groovy drum beats before launching back into full intensity. "Sun Suffering" fades out with a dark piano piece, introducing classical piano for the first time in the album thus far.

"Sheol" starts with perhaps an ode to Metallica's "For Whom The Bell Tolls" fashion, as fire crackles and a distant church bell can be heard chiming. Soon drop-tuned guitar is introduced alongside vocals that gradually grow in volume before the track bursts into full action. I notice the lofi effect on the instrumentals slightly more in this track than the previous two, as lightningh fast blast beats really sell the black metal sound. "Sheol" is the longest song of the album at just over 6 minutes in length. The track takes its time to build anticipation in its intro before full intensity leads into a groovy bridge, beforeonce again jumping into blistering action.

Next is "Curse" which begins with a drum fill as the band leads into distorted chords and impactful drum beats. Soon, screams are brought into the fray as delay bounces around the soundscape. In the bridge, booming bass and drums are pushed to the forefront before gentle guitar melodies add a contrasting sense of melody. Eventually, Cult Of The Moon jumps back into full-on black metal destruction to finish out the song.

"Under the Wings Of Divine Presence" begins with a cinematic intro, suiting its name as dark strings and reverbed clean guitar soon make way for slamming guitar riffage and explosive drums. Chunky instrumentals soon lead into full speed thrash sections that give that tell-tale sign of black metal. A shredding guitar solo shows technical ability before ending with a final burst of brutality.

"Beneath My Leaves" starts with bright guitar and energetic drums that give me a hint of early metalcore vibes. Dynamic guitar leads cut through the mix as tempos speed up and fierce vocals are brought back to the front. So far, I enjoyed the mix of 2000's melodic metal with black metal in this track the most and found it to be one of the most memorable songs so far.

"Retribution" keeps it short and action-packed with a 3 and a half minute runtime that bursts straight into black metal pacing before slowing things down for a bending guitar solo. From start to finish, "Retribution" keeps a high level of energy that will leave you bobbing your head.

"The Dawn That Never Comes" starts with dramatic chugging as symphonic choirs and string hits create a clear symphonic sound that really levels up the sound. Speeding thrash sections are contrasted by held-out chords and orchestral elements that change things up from the norm. After a soaring guitar solo, the song fades out with a final burst of energy. I really enjoyed the orchestral elements added in this track and find that it breaks up the straight black metal influences nicely. I'd love to see more of the orchestral elements throughout their music, as it matches the band's sound very well.

The final track, "Lonely God" sets itself up with a haunting lullaby-esque melody as melodic guitar grows in volume before metal guitars are introduced. Bright dual guitar lead harmonies are brought in, creating a dynamic sound that really matches the chugging underneath very well. Slowed groove sections soon make way for electrifying double bass drumming and guitar tremolos before the lullaby outro is brought back to fade out the song.

With "Lunar Eclipse" Cult Of The Moon showcases a visceral black metal sound that blends melodic atmospheres, orchestral elements, and deep soundscapes with a familiar black metal sound. Filled with crushing instrumentation, explosive vocals, and a dynamic sense of contrast between melody and heaviness, Cult Of The Moon delivers an exciting sound with their debut release.

You can stream Cult Of The Moon's debut album "Lunar Eclipse" available on all streaming platforms now. Fans of symphonic metal, melodic death metal, and black metal should check this out!

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In the midst of a recent metal deep-dive, Romania’s Scythe skulked out from a Bandcamp back alley and bludgeoned me with the flat side of their blade, knocking me senseless with scuzzy shenanigans. We weren’t graced with a promo for Scythe’s self-released debut, but Boiled Alive packs in so much grimy panache that after my first listen, I had it shortlisted as someThing You Might Have Missed. Rather than wait several months before bringing attention to Boiled Alive, though, I volunteered to burn some midnight oil and write about this quartet from Constanța. Why did Boiled Alive get me so hot and bothered? Scythe’s brand of death metal grips you by the throat and never relents, evoking many influences while creating something uniquely their own. After the dry spell I’ve had with death metal lately, I finally found something I unapologetically adore. So step right up, put your head on the chopping block, and let Scythe have a whack at your earhole.

Scythe doesn’t make grand statements about existentialism or introspection, nor do they redefine a genre. First and foremost, Scythe is here to serve up sickly, sticky licks with blithe recklessness. This fearsome foursome drops track titles that ooze with enough viscera (“Liquified Entrails,” “Of Pure Goriness”) to squelch onto a Cannibal Corpse setlist while harkening to soundscapes defined by Pestilence and Autopsy. Throughout Boiled Alive, the pace oscillates between frenzied paroxysms and plodding crawls, often within the same song (“Necrophilic Corpse Orgies”). Though it would be easy for these dynamics to jostle listeners, the savvy songwriting avoids clumsy transitions and affords an entrancing experience. Ultimately, Scythe guides listeners through a curated gallery of horror that’s as thrilling as it is fulfilling.

Interweaving Asphyxiating drudges with Mercilessly hectic eruptions, Scythe concocts a unique brew all their own. Boiled Alive simmers with ever-shifting tempos, imbuing the album with vivacity and a disarming blend of chops and accessibility.¹ Where “Liquified Entrails” opens with a cannonade evoking an unholy union of Priest’s “Riding on the Wind” and Merciless’ “Souls of the Dead,” “Of Pure Goriness” flits between a mid-paced slink and rabid surges of hostility, and sounds like the crossbred bastard of Cannibal Corpse and Dismember. “Necrophilic Corpse Orgies” and “Tenebrous Decease” expose Scythe’s ability to nimbly jump between accelerated clips and more measured velocities, electrifying with their seamless agility as they navigate whipsawing tempo changes with a sophistication that is all the more impressive considering the band has no other projects or credits to their names.²

The musicianship on Boiled Alive is especially tight for a band formed just three years ago, and the mix highlights the band’s technical acumen. Rather than feature the glossy veneer popular with bigger labels, Boiled Alive sports a dry, natural texture that allows Scythe’s instrumentation to glisten. Reminiscent of the production on Invictus’s release last month, every whack on a tom and clang on the bass is afforded an organic timbre, imparting a raw aesthetic that lets Scythe sizzle. Whether rattling off meticulous snare rolls (“Necrophilic Corpse Orgies”), punky, snare-kick combos (“Plastered in Phlegm”), or playful cymbal splashes (“Of Pure Goriness”), David Rolea flays the skins on every track. Meanwhile, bassist and vocalist Andrei Constandache wields a gorgeously fat low-end tone³ as he assaults the mic with a menacing rasp. Not to be outdone, guitarists Mihai Panait and Andrei Oglan buzzsaw their way through Boiled Alive’s eight tracks, focusing on knotty riffs over wankfest solos. While the drums are the star of the show, Scythe suffers no weak links.

Part-thrashy, part-doomy, and all deathly, Scythe swings for the fences on Boiled Alive. And dammit, it’s Great. This beast writhes and squirms with purulent pizzazz, and I’m guilty many times over of restarting Boiled Alive as soon as the final track concludes. I wish solos were more prevalent across the album, and Constandache’s vocals, while effective, could use some variety, but these nitpicks should be taken as wishlist items for ol’ Grin rather than anything inherently off with Boiled Alive. Scythe discharges riffs and fun with an enviable effortlessness that should have death metal dealers and appreciators paying attention. In a genre with so much competition, Boiled Alive stands above the rabble, and I anxiously await the next time the Scythe comes down.

Rating: Great
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Self-Released
Websites: Bandcamp | Instagram
Releases Worldwide: February 1st, 2026

The post Scythe – Boiled Alive Review appeared first on Angry Metal Guy.

Is Testament Already Working On Another Album?

Yes — Chuck Billy confirms Eric Peterson and Chris Dovas have new material underway.

TL;DR:

Testament frontman Chuck Billy revealed the band is already building its next album, with “about six more tunes ready to go.” The update came during a candid interview touching on new music, AI anxieties, and Billy’s emotional reflection on beating cancer.

Bay Area thrash icons Testament aren’t exactly known for sitting still.

But even by their standards, this is fast.

In a brand-new interview with Elliott Fullam of Little Punk People, frontman Chuck Billy dropped a bombshell that should have fans paying very close attention: “It’s actually working so well. Eric and Chris actually have been working on a future record. I got a call from Eric yesterday saying ‘Oh, me and Chris got about six more tunes ready to go’ and they already had two to start. So they’re already on their way to another record, ya know?”

Let that sink in.

Testament’s latest record Para Bellum barely had time to settle — and the next chapter is already forming.

Get Testament tickets now — best seats available!

Momentum In The Testament Camp

Thrash bands often talk about “writing constantly.”

Few actually deliver on that promise with this level of immediacy.

Billy’s comments make it clear:

• Riffs are being written
• Songs are being shaped
• The next album is not hypothetical

It’s happening.

And in Testament’s world, that usually means one thing:

Expect something heavy.

Loaded Radio Recommends – Metallica & Testament Tour: Alex Skolnick Finally Answers The Question On Every Fan’s Mind

Chuck Billy On Artificial Intelligence: “That’s A Scary Question”

The conversation shifted gears when Fullam asked about the track “Infaticide A.I.” and Billy’s views on artificial intelligence.

Billy didn’t sugarcoat it: “Dude, that’s a scary question. AI is playing a part in everything. The scary part is, ya know, when is it too much? And it’s gonna retain too much information and backfire on us and start thinking for itself. That’s the scary thing. And I dunno if people designing it, if that’s their goal? ‘Hey, let’s try to make it think for itself’ and I dunno, I’m kind of against that.”

Classic Chuck Billy — honest, grounded, and speaking from instinct rather than trend.

The concern mirrors a broader tension already creeping into heavy music:

Technology vs humanity.

The Most Powerful Moment: Survival, Not Sales

Perhaps the most striking part of the interview arrived when Billy was asked about his proudest Testament moment.

Not albums.
Not tours.
Not milestones.

Survival.

“That battle with cancer was really a blessing because I really didn’t think I was gonna play music anymore. I thought it was done, I’d look in the mirror and go ‘That’s not the singer of Testament.’”

Billy’s 2001 cancer diagnosis forced him into a fight far bigger than music.

What followed became one of metal’s most inspiring comebacks.

“And then we had a reunion. It was the first time that we all had seen each other and played together a song, and it kind of opened the door.”

That door never closed again.

Para Bellum Still Roaring — And A Tour Incoming

Testament’s Para Bellum, released in October, reminded fans exactly why the band remains a thrash institution.

Now they’re taking it back to the stage.

Testament have announced the Thrash Of The Titans U.S. Tour 2026, alongside Overkill and Destruction.

Tour Highlights

Kickoff: March 14 — Roseland Theater, Portland, OR
Final Show: April 10 — The UC Theatre, Berkeley, CA

Stops include:

Portland • Boise • Salt Lake City • Denver • Chicago • Detroit • Atlanta • Houston • Los Angeles • San Francisco Bay Area

That’s not a nostalgia run.

That’s a statement of dominance.

Why This Album Update Matters

Thrash fans know the pattern:

Long gaps
Slow writing cycles
Endless speculation

Testament just flipped that script.

Six new songs already brewing signals:

Creative surge
Band chemistry firing
No slowdown in sight

For a band decades into their career, that’s impressive.

For Testament?

It’s brand-consistent excellence.

Check This Out – Thrash Metal Titans: The 13 Best Bands of All Time Ranked (2026 Edition)

FAQ

Is Testament Recording A New Album?

Not yet — but Chuck Billy confirms multiple new songs are already written.

How Many New Songs Are Ready?

Billy says Eric Peterson and Chris Dovas have “about six more tunes ready to go.”

What Did Chuck Billy Say About AI?

He described AI as “scary” and voiced concern about it becoming too powerful.

When Does The 2026 Tour Start?

March 14, 2026 in Portland, OR.

Band Bio – Testament

Formed in the Bay Area thrash explosion, Testament became one of the genre’s most enduring forces, blending technical precision with crushing aggression. Albums like The Legacy, Practice What You Preach, and The Gathering cemented their status, while Para Bellum continues their modern-era resurgence.

The post New Testament Album Already Taking Shape? Chuck Billy Reveals “Six More Tunes Ready To Go” appeared first on Loaded Radio.

In a new interview with Jonathan Cornell of Immersive Audio Album, Steven Wilson shared a substantial update on the album he is building after The Overview. The short version is that the record is close to done, but the direction is intentionally different from what he released last year.

“Yeah, it’s almost finished, actually. It’s a very strange record. It’s the complete opposite of The Overview, which was a very lush, very big record and also about a very large — well, the largest possible subject matter you can imagine, literally the cosmos as we know it. This is a much more insular record. It’s still very conceptual. It’s still very experimental, and the pieces are — well, it feels like another single piece of music to me, in that sense. But it’s much more angular and experimental in a way that I’m really excited about. And that’s all I can really say at the moment. Very different again,” Wilson described (as transcribed by Blabbermouth).

For listeners in the prog and heavier space who follow Wilson for detail and atmosphere, his comments on production are probably the biggest takeaway. He described a studio approach that stays layered, but leans harder into sound design, mono placement, texture, and contrast rather than pure scale.

“The way I make records is, by definition, pretty layered. I love the possibilities of the studio. I love overdubbing. Now, on this particular new record I’m making, there’s a lot of what I would call sound design elements. Now, that’s not to say they haven’t been on all my records, but let’s just say I’ve taken it to another level on this record. There’s a lot of sound design. There are a lot of sound effects that kind of place you in a particular place and a particular feeling. And there’s a lot of use of lo-fi sounds as well, keeping things sometimes in mono… But I’m making a lot of decisions on this album to keep things very small and mono, but also knowing that those things can be just as impressive in surround because you’ve got something very small and mono. You can place it very discreetly in a particular place in the room,” he explained.

“Sometimes when you have things that have been tracked four or five times, they’re kind of coming from everywhere. But sometimes what’s also nice in spatial audio is having something that’s just mono and being able to place it very, very particularly in a particular place. And that can be just as effective in spatial sound as the big immersive sound. So I’m using a lot of mono reverbs, spring reverbs. It all kind of relates to the concept of the record, which I can’t really talk about at the moment, but keeping things sounding almost old and rusted. And I think those are gonna be really effective in spatial audio, because I’ve got a lot of those kinds of elements. I’m playing a lot of instruments I’ve never played before. I’m playing the drums on some tracks myself. I’m playing violins, oboes, and harmoniums. It’s a very — I don’t wanna say it’s a nostalgic-sounding record, because it isn’t. There’s a lot of use of modern technology, too. But, yeah, it’s gonna be a strange record, and I think it’s gonna be a really interesting — the kind of [Dolby] Atmos mix I’ve never done before, in the sense of all these little details and things that will be very discreetly, particularly placed in a speaker or a position in the room,” Wilson added.

Outside the new studio album, Steven Wilson also launched Headphone Dust, a new platform focused on high-resolution stereo, 5.1, and Atmos/spatial editions of his catalog. The first title there is Impossible Tightrope: Live In Madrid, capturing the final night of the 2025 European leg of The Overview tour as a full two-hour show in Stereo, 5.1, and Atmos, and he confirmed it has no physical edition planned.

Headphone Dust also now carries a new Dolby Atmos mix of The Raven That Refused to Sing, plus high-res versions of The Overview, The Harmony Codex, and more. A new Atmos mix of Hand. Cannot. Erase. is expected “soon.”

The post STEVEN WILSON Talks “Almost Finished” New Album: “It’s A Complete Opposite Of ‘The Overview’, Much More Angular And Experimental” appeared first on Sonic Perspectives.

Every band’s got that one song that just propelled them to their highest heights. Metallica’s got “Enter Sandman”, Black Sabbath had “Iron Man”, and for New York City’s own Prong, it’s definitely “Snap Your Fingers, Snap Your Neck.” So it only makes sense that while promoting an upcoming live album, they would release a live video of that song.

Set for release on March 6 via Steamhammer, Live And Uncleansed is comprised of recordings from seven shows that took place between July and August 2025. Naturally, that means you’re only going to hear the best takes of each song from those shows. Such was the case, naturally, for Prong’s biggest track “Snap Your Fingers, Snap Your Neck,” which was recorded at Wacken Open Air that year.

Looking back on that performance and the accompanying music video posted below, Tommy Victor said it was the perfect way for old and new fans alike to get a feel for what a Prong show is like.

“This live version of ‘Snap Your Fingers, Snap Your Neck’ is raw, high energy, and unpolished. If you want to get exposed to Prong or you want to get a taste of the explosive live show, this song is a must!”

Live And Uncleansed will be released on March 6 via Steamhammer, but you can preorder your copy today. In addition to the upcoming live album release, you can catch their live show for real if you either head over to Europe this March or go to Milwaukee MetalFest. Those dates are listed below and you can get your tickets today.

Prong Live Dates

3/5 Osnabrück, DE Hyde Park
3/6 Cologne, DE Gebäude 9
3/7 Sint-Niklaas, BE De Tijdloze
3/8 Deventer, NL Burgerweeshuis
3/9 Leuven, BE Het Depot
6/6 Milwaukee, WI The Rave / Eagles Club

Live And Uncleansed tracklist

1. Revenge…Best Served Cold
2. Inheritance
3. The Descent
4. One Outnumbered
5. No Question
6. Sublime
7. Not of This Earth
8. Home Rule
9. Ultimate Authority
10. Snap Your Fingers, Snap Your Neck
11. However It May End
12. Out of This Misery (Bonus)
13. Corpus Delicti (Bonus)
14. Whose Fist Is This Anyway? (Bonus)

The post Prong Drop a Live Video of “Snap Your Fingers, Snap Your Neck” Ahead of Live Album Release appeared first on MetalSucks.

Ghost have shared a video for ‘Umbra’, one of the highlights of their latest album ‘Skeletá’, and it is a hot watch.

The track itself embodies everything sensational about the band. Emotional synths, throwback riffs, love-laced lyrics and plenty of cowbell for good measure, it is camp, crazy and catchy as sin. A worthy song to add to their video repertoire.

And the video is as dark and seductive as such a song deserves. Two lovers making their way through a gallery, and eventually into the darkness. Always finding each other, always connected, always dancing. It’s intense, beautiful, and compelling. There’s a sexual energy permeating through it, the sort that has found its way into so much of GHOST’s music over the years, but it has never overflowed in visual form quite like this before.

The clip follows on from the surprise release of the band’s 2018 cover of Pet Shop Boys’ ‘It’s a Sin’, shared as a special little treat last month. Here it is for you to indulge in.

GHOST were winners of the 2025 Rock Sound Visionary Artist Award.

With ‘Skeletá’, Tobias Forge allowed more of his true self to poke through the shiny exterior than ever before, lifting the mask and creating some of his most deeply personal work to date. Combined with a visual aesthetic that was as cinematic and striking as ever, this latest iteration of the Papa cemented their legacy as one of the most interesting and carefully crafted performance artists of our time. Tobias takes us inside their sixth album and the challenges and crucial realisations that came with the making of it.

Get your magazine, posters and exclusive GHOST patch now at SHOP.ROCKSOUND.TV.

The post WATCH: GHOST’s Seductive New Video For ‘Umbra’ appeared first on Rock Sound.

It may be Friday the 13th, but tomorrow marks perhaps an even more important occasion — Valentine’s Day. Surely you didn’t forget, did you? Got your beau their favorite treats? Have you prepared things in the bedroom? Maybe you’re trying to win someone over. If you show half the passion on display in the newly released music video for Ghost‘s “Umbra”, you might just get lucky…

Released moments ago, the new video features a track from Ghost’s incredibly successful album Skeletá. In it, we see a man and a woman gallivanting through a spooky looking locale. Throughout, they dance around and writhe on each other. There’s grabbing and licking and even a couple nose boops for good measure. Sexy.

Directed by Amir Chamdin, the video is apparently telling the age-old tale of two star-crossed lovers seemingly unable to stay away from each other despite the potential harm it would cause to both. Throughout the video, you have some live footage of Ghost while Papa V Perpetua shows up all Queen-like. (You’ll get what I mean when you see the video.)

All in all, it’s been almost a full year since the release of Skeletá and what a huge year for Ghost it’s been. They’re in the middle of a massively successful tour, the album hit number 1 on the Billboard 200, and they’re fresh off a GRAMMY nomination. Things are only looking up from here, much to the chagrin of their haters.

The post Get Your Valentine All Hot and Bothered with Ghost’s Sultry “Umbra” Video appeared first on MetalSucks.