Limited-Edition “Signed In Blood” Merch Available at Band’s Store
Metal Blade Records is proud to announce the addition of Lafayette, Louisiana thrashers, VOID, to their prestigious roster.
“Metal Blade has been a cornerstone for heavy metal for decades,” the band comments, “so joining the roster is an absolute honor and we feel right at home. We are sharpening the fangs for our most vicious material yet. It’s about to get bloody.”
To commemorate the signing, the band has released a limited-edition Metal Blade “Signed In Blood” Merch drop, available HERE. Each order comes with a signed 8×10 print, while supplies last.
Forged in 2019 by vocalist Jackson Davenport, VOID is a haunted, technically sharp thrash/heavy metal force. Blending razor-edged aggression with eerie atmosphere and narrative ambition, VOID stands at the crossroads of classic thrash intensity and dark, theatrical heavy metal.
The band made its first major statement with their debut album Horrors Of Reality in early 2023. The record introduced VOID‘s uncompromising sound – fast, intricate riffing, commanding vocals, and a sinister edge – and was followed by a relentless stretch of touring that hardened the band on the road and built a growing underground following.
That momentum led to VOID signing with Shadow Kingdom Records in the Summer of 2024. Throughout late 2024 and 2025, the band focused their efforts on crafting their most ambitious work to date, Forbidden Morals, a full-length concept album centered on a lost traveler’s descent into the castle of Vlad The Impaler. Dark, cinematic, and technically ferocious, the album marked a turning point for the band placing VOID firmly on the map and opening the door to larger tours and wider recognition.
Following the release of Forbidden Morals, VOID became a sought-after presence on the road, sharing stages with genre legends and earning their place alongside some of thrash metal’s most respected names, including Dark Angel, Forbidden, Sacred Reich, and Exhorder as well as appearing at Hell’s Heroes, Blade Of Steel, and the Keep It True Festival. With a lineup locked in and a sound that balances precision, menace, and storytelling, VOID continues to carve their path as one of the most compelling new voices in modern traditional metal.
VOID Live:
3/13/2026 Bay Area Hard Rock Fest – Tampa, FL
3/14/2026 Bay Area Hard Rock Fest – Tampa, FL
3/21/2026 Hell’s Heroes – Houston, TX
3/26/2026 Brass Mug – Tampa, FL *
3/27/2026 Conduit – Orlando, FL *
3/28/2026 Boggs Social – Atlanta, GA *
3/29/2026 East Room – Nashville, TN *
3/30/2026 Mag Bar – Louisville, KY *
3/31/2026 State St. Pub – Indianapolis, IN *
4/01/2026 Fubar – St Louis, MO *
4/02/2026 Renos Chop Shop – Dallas, TX *
4/04/2026 Feed N Seed – Lafayette, LA *
5/01/2026 Legions Of Metal Fest – Chicago, IL
5/16/2026 San Luis Metal Fest – Mexico City, MX *w/ Phantom, Herakleion
VOID:
Aaron Landry – drums
Gabe LeJeune – guitars
Jackson Davenport – vocals
Blake Adams – bass
Chris Braune – guitars
Covers can be fun. Covers can be interesting. Yet sometimes, covers can be unique, thought-provoking pieces that take the original subject material and make it their own. Such is the case for Israeli progressive/alt-metal outfit SUBMASQ, whose iteration of Rammstein’s “Mutter”, which takes the German industrial metal titans’ music and turns it into something else entirely.
Previously known as Subterranean Masquerade, SUBMASQ is releasing a covers EP titled Oedipus this Friday. In it, the band cover Danzig’s “Mother”, Genesis’ “Mama”, and the aforementioned Rammstein cover of “Mutter”. I’m sure you can gather what the band’s overarching theme is for this release…
“We love making covers. We wanted to make something special for our followers just before the official new album arrives. We know it takes time, but we want to do it right—so in the meantime, this EP, all rocking and rolling, is for you.”
As you can hear in the cover below, “Mutter” is transformed from a melancholy, yet epic song of loss and maternal betrayal to a more bizarre take on the song. Translated into Yiddish, the song somehow feels more downtrodden, more pained in its delivery. And while it definitely starts off slow and demure at first, there definitely comes a point where the more metal arrangement bursts in. It gets louder, more accusatory at times.
SUBMASQ vocalist Vidi Dolev said he worked with some outside help to translate “Mutter”.
“Together with a poet specializing in Yiddish, my grandmother’s tongue, we re-created the song as ‘Mame,’ exploring the space between the Yiddishkeit image of the ‘Jewish mother’ and a possible transgressive subtext. The result is a respectful, concept-driven reinterpretation rather than just a cover.
“We also produced a low-budget music video for the piece, which is included below. While modest in production, we hope it reflects a spirit and intensity inspired by Rammstein’s work.”
Oedipus will be released on all digital platforms this Friday, February 13, but you can preorder your copy today.
Polish extreme metal giants Behemoth have addressed the sudden cancellation of their planned concerts in Turkey, pointing to outside pressure and government intervention as the reason the dates were pulled.
The band was scheduled to perform in Istanbul and Ankara, but local authorities made the final call to shut the events down. In a statement to fans, Behemoth made it clear they pushed hard to keep the shows alive: “To our fans in Istanbul and Ankara, we are deeply disappointed to confirm that our scheduled performances in Turkey have been cancelled. Despite exhausting every possible avenue throughout the day and engaging in extensive discussions, the decision from the local authorities remains final. There is simply nothing further we can do to overturn it.”
According to the group, the cancellations followed complaints from religious factions who labeled their work as unacceptable: “The cancellations come after pressure from religious groups who have characterized our art as satanic propaganda and deemed it unacceptable. This is another example of ideology being used to suppress artistic expression and restrict cultural freedom. Behemoth has always stood for creative independence and the right of artists to express themselves without censorship. Music is not a threat, but silencing it should concern anyone who values freedom of expression.”
The band also offered an apology directly to supporters who were preparing to attend: “To those who planned to attend, who travelled, and who stood ready to share this night with us, we are truly sorry. We fought to make these shows happen and we share your frustration and disappointment. Turkey has some of the most passionate and dedicated fans in the world and we hope the day will come when we can return to Istanbul and Ankara and perform for you without interference. Until then, thank you for your unwavering support.”
The Beşiktaş District Governor’s Office officially canceled the Istanbul and Ankara concerts, saying the events clashed with public sentiment after online backlash and accusations of satanism.
“The events were found to have caused public reaction due to their incompatibility with our societal values,” the governor’s office said in a statement.
The office also cited legal grounds for wider restrictions in the area: “Based on Law No. 2911 on Meetings and Demonstrations, all concerts, festivals, group and ticketed events, and similar activities within Zorlu PSM and Zorlu Center have been banned for two days,” the office said.
İstanbul governor Davut Gül backed the decision publicly, repeating the district’s stance that “no activity that corrupts society has ever been allowed in İstanbul, and none will be allowed in the future.”
Reports from Turkiye Today noted that the ruling affected more than just Behemoth, canceling “all concerts, festivals, and ticketed public events at Zorlu PSM and the wider Zorlu Center complex” for the same two-day window.
The controversy also spread beyond one band. A pro-government Islamist broadcaster recently targeted both Behemoth and Slaughter To Prevail, whose February 10 Istanbul concert was also canceled, accusing them of promoting satanism:
“Bands named Slaughter To Prevail, who preach satanism and steal the faith of young people, and Behemoth, who blatantly oppose religion with their satanic attire, are coming to Turkey,” the broadcaster remarked. “These two groups are banned in Russia. We call on the authorities to act urgently and cancel these events that poison our children and youth,” he said.
While Behemoth has faced controversy throughout its career, the band last played Istanbul back in 2019 at the Volkswagen Arena. For now, Turkish fans will have to wait and see if the group gets another chance to return without interference.
It’s been roughly four years since they last burst onto the scene with their debut album self-titled album, but London-based female-fronted hardcore/crossover band Cage Fight is back with some new music and the announcement of their sophomore offering Exuvia.
Released earlier today, the lead single off their forthcoming album is “Un Bon Souvenir”. And while I don’t know exactly what that means in French, vocalist Rachel Aspe explains what the track means for the band itself.
“Don’t bite the hand that feeds. This song is a reference to a previous experience in a band controlled by a toxic, manipulative person. It’s a reminder that bringing people down won’t elevate you. A challenging experience, but as he once said, it’s still a good memory, ça reste un bon souvenir.”
Promising 11 new tunes, Exuvia was recorded at by Sam Bloor at Lower Lane Studios and mixed by Jim Pinder, whose credits include Sleep Token and Malevolence. The band describes their forthcoming album as a piece that contains the band’s “raw, old school hardcore heart…vibrating with meaty grooves, pummeling rhythms, plus a wave of furious anger that feels like a punch to the gut.”
20-Mar – Shipley @ Kirkgate Community Centre 21-Mar – Edinburgh @ Mash House 22-Mar – Newcastle @ ThinkTank 23-Mar – Sheffield @ Yellow Arch 24-Mar – Norwich @ The Waterfront Studio 25-Mar – Milton Keynes @ The Craufurd Arms 26-Mar – Wolverhampton @ KK’s Steel Mill 27-Mar – Southampton @ The Joiners 28-Mar – Cardiff @ Clwd Ifor Bach
Announced festivals:
02 May – Dark Reign, UK 27 Jun – Basinfire Festival, CZ 26 Jul – Mozhell Open Air, FR 31 Jul – Radar Festival, UK 01 Aug – Xtreme Fest, FR 02 Aug – Sylak Festival, FR 14 Aug – Motocultor Festival, FR 21 Aug – Furiosfest, FR
John 5 is set to bring his guitar firepower back to Europe in May 2026, marking his first proper solo run across the region since a handful of appearances back in 2016. For fans of shred-heavy hard rock, this tour is shaping up to be a major moment.
With a career spanning more than three decades, John 5 has built a reputation as one of the most respected and versatile guitar players in the business. His resume includes time on stage and in the studio with names like Rob Zombie, Marilyn Manson, David Lee Roth, Lynyrd Skynyrd, Meat Loaf, and Dolly Parton, and he currently holds down guitar duties as part of Mötley Crüe.
The upcoming trek will feature 12 dates across the U.K., plus additional stops in Germany, the Netherlands, Belgium, Poland, and the Czech Republic, giving European fans plenty of chances to catch his solo performance up close.
John 5 shared his excitement in a statement: “I don’t think I’ve ever been more excited for a tour than this one coming up. I haven’t been there in so long and I can’t wait to say hello and have a great time with everyone. Super SUPER excited.”
Tickets and VIP meet-and-greets will officially go on sale Friday, February 13 at 10 a.m. GMT here.
Photo by Ross Sewage âThe Iron Graveyardâ is the latest slabs of sonic obliteration from gore metal masters EXHUMED. The track comes off the bandâs impending Red Asphalt full-length, set for release on February 20th via […]
Late last year, Uada announced a tour with a peculiar line-up. The Witches of Dystopia Tour MMXXVI is set to run this April and May across Canada and the United States. It’s touted as the ten-year anniversary of Uada’s debut album Devoid of Light. Joining them is the dungeon synth progenitor Mortiis, whose record The Smell of Rain is celebrating its 25th anniversary, the neofolk project Rome, and Wraith Knight.
Depending on the school of black metal, this bill would make sense on the basis of vibes, but Uada are neither ghoulish castle dwellers or Appalachian folk minstrels. As Jake Superchi–Uada’s singer, guitarist, and creative lead–put it, they are closely related to rock music. Of all the blasphemous hymns to ancestors or daemons that black metal claims to channel, Uada preserve the only most rocking, cleaning up the grime and discordance that characterizes the genre for something more streamlined. This has only gotten more obvious since Devoid of Light, which itself held tightly the melodic black metal playbook. So then, what was the logic behind the tour bill?
The answer only came recently. Uada announced a new album, Interwoven, with acoustic interpolations of some of their songs. On the variation of “The Rending Fire” released as a single, Superchi revels in his grunge influences. A week later, Uada explicitized these grunge connotations through a pagan folk interpretation of Nirvana’s “Something in the Way.” There’s also the fact that Ceremonial Castings will perform on the tour, Superchi’s original group that indulges black metal’s symphonic side. The line of influence from Emperor to Ceremonial Castings cannot run straight without bumping into Mortiis. It’s from here that the Witches of Dystopia Tour MMXXVI line-up begins making sense. It’s a web of Uada influences that do not come out on record unless directly summoned; musicians who impacted Superchi yet fall outside typical black metal bills. What better way to celebrate Devoid of Light’s anniversary than with those who helped Superchi survive this long?
We spoke with Superchi about the tour, Ceremonial Casting’s reunion, grunge, and more.
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You speak to this tour’s bill as carrying “deep personal history and influence for me, while also embodying some of the most cherished milestones of my own musical journey.” How do each of the acts here (Mortiis, Rome, Wraith Knight) connect to your journey?
Yes, absolutely—there’s a deep connection rooted in decades as both a musician and a dedicated fan. In the early days of Ceremonial Castings (CC), my brother and I discovered Mortiis’ Født til å Herske album without knowing its ties to Emperor. The music was—and remains—uniquely inspiring, leaving a lasting impression. In 2023, CC contributed to a Mortiis tribute album by covering the second track from that record.
Regarding covers, when UADA decided to record an experimental acoustic album, I insisted on including a version of Rome’s “Der Brandtaucher.” That song helped me through an extremely difficult period years ago, and Rome remains one of my favorite artists to this day. The idea of touring together emerged after I reached out to Jerome Reuter to share our cover, seek his permission, and offer it as a tribute on the album. It still feels surreal.
Wraith Knight is the project of my brother Nick Superchi, who is also the other half of Ceremonial Castings. While working on a 2021 anniversary release, I encouraged him to explore a dedicated dungeon synth project—a style he had long incorporated into his CC instrumentals. In my view (without bias), he is an artist who truly deserves wider recognition. It’s an honor to have him join this tour, and I believe his work will be a pleasant surprise for many attendees who may not yet be familiar with it.
Now that Ceremonial Castings has reformed and released new music, how have your aims and approaches with that band changed since Uada?
Ceremonial Castings is nearing completion of our first new album since 2014. We both feel this is some of our strongest material to date, and we’re genuinely excited to be creating music together again.
The writing process for this album differed significantly from my previous approaches. Traditionally, I would compile concepts, titles, lyrics, and riffs over months before shaping them into songs. This time, I revisited many unused riffs from years past that still held potential. Rather than playing them as originally written, I reinterpreted them through my current perspective and skill level. This sparked fresh inspiration, leading me to record songs in real time as they took shape—rather than gathering ideas first. Once the music was complete, lyrics and titles remained undecided.
I can’t definitively say whether UADA has changed how CC operates, but it has certainly influenced my patience, execution, and overall approach. That growth may also stem from age and spiritual development.
If you had to guess, why do you think Uada found a larger audience than Ceremonial Castings?
Ceremonial Castings, often described as a symphonic black metal band, has historically appealed to a more niche audience. While both UADA and CC draw from diverse musical influences, UADA tends to attract a broader listenership, including many outside traditional black metal circles. Although UADA is categorized as black metal, to me, it carries a strong rock ’n’ roll energy.
That said, timing and circumstances likely play a role. CC has had notable live performances in the past, but never pursued touring on the scale that UADA has. This difference largely comes down to maturity, readiness, and the practical ability to commit to extensive touring.
You said in this interview: “Iremember when writing the first album that I felt as if I had killed a part of myself before starting anew. It was a complete ego death and I felt as if I did not exist.“ Do you recall what about the experience made it feel so intense?If so, how do those feelings affect how you see Devoid of Light now, 10 years after the fact?
Placing Ceremonial Castings on hold after 18 years to pursue new directions was a major factor. In a way, my identity had become deeply intertwined with the project, yet at that point, I no longer fully connected with it or the music. There was an undeniable internal shift—something in the air that demanded change.
While Devoid shares stylistic similarities with CC, it is notably more stripped-down. It will always hold special significance for what it achieved and how widely it resonated. Like much of my past work, however, I now analyze it critically and believe we can improve. Fortunately, that drive to refine and create keeps me motivated.
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Based on how you wrote the first lyrics of Crepscule Naturaand how Uada was formed (“Without thought or meaning to speak out loud I asked, ‘What am I supposed to do?’ It came without force but almost as if something was speaking through me and before I could even understand what had happened, someone or something was answering my question. There I sat in this chair staring out the window and a voice spoke to me the simplest of words.”), it seems as if ideas often speak through you or put words into your mouth for music. How often do you trust those impulses, and how often do you put them under scrutiny/try to edit them?
Moments like these are profoundly eye-opening, and I never take them lightly. I believe everything occurs for a reason, and messages often carry deeper meaning than they initially appear—even in everyday conversations that may seem ordinary at the time. These exchanges can provide valuable insights for personal growth and future endeavors.
Because I view such moments as significant, I accept them as they arise. Altering or forcing them could divert the path in unexpected ways or lead to entirely different outcomes. As long as what emerges aligns with my identity, my path, and my inner resonance, there is no need to change its authentic voice.
The occult has been a theme throughout a few Uada albums. I read that you don’t have a ton of time to research and study it, so I’m curious: how has your knowledge of the subject deepened since Devoid of Light?
I believe the knowledge found in any occult text already exists within and around us. True “knowing” is simply a matter of learning to listen. Ultimately, though, what does any of us truly know? I can only speak from my own experiences and practices.
These days, I engage in focused ritual work, but such practices cannot be forced—they manifest in varied forms. Sometimes it’s a deep meditative state; other times, it feels as though something external speaks through me or guides my actions to fulfill what is required in the moment. While this may not directly relate to music, it consistently influences my writing and creative direction.
Is Uada now where you always wanted it to be? Did you envision that, 10 years on, the group would grow this large?
Yes and no. If I’ve learned anything over the years, it’s that we are always exactly where we are meant to be. The past decade has been far from easy, filled with highs and lows. I’ve made mistakes and, at times, been too open—sharing things that were later exploited, distorted, and damaging to my mental health. Yet I recognize those experiences were necessary for growth. Everything serves as a lesson. While some wounds have taken considerable time to heal mentally and physically, I have no regrets about remaining true to myself and my path.
Your new rendition of “The Purging Fire” has a bit of grunge influence in the vocals. You’ve said many times that Nirvana and other grunge acts are big influences on you, so I’m curious about what you learned from them musically and how it impacted Uada?
Of course. Growing up in the 1980s and early 1990s—before my teenage years—music was constantly playing in the background via radio or MTV during its golden era. ’80s “hair” metal dominated the airwaves; while some of those bands remain consistent influences, many felt corporate, plastic, and driven by popularity rather than substance. Over time, much of it began to seem stale, overplayed, and lacking genuine message.
In 1991, at age nine, everything shifted when I first heard Nirvana’s “Smells Like Teen Spirit” on the radio. The impact was immediate and unforgettable. It was gritty, dark, depressing, and conveyed raw, real-life struggle—unlike anything I’d encountered before. I sought out the album right away. It changed my life in profound ways, making Nirvana my first favorite band and Kurt Cobain my first musical idol. Though certain aspects of his life were beyond my understanding at that young age, the raw emotion he expressed helped me realize others felt the same inner turmoil I did.
Today, many view Nirvana as a mainstream band, but that was always the paradox—they never intended to be, by their own standards. Regardless, Kurt remained true to his expression, and in my view, nothing is more vital for an artist. Staying authentic and honest with oneself is paramount, which is why I will always acknowledge the profound influence Nirvana—and Kurt—had on my life and musical development.
Interview With Antique Curse – West Heat #1 The Bunkhouse, 15.02.26
1. Please introduce yourself for anyone who may not know you. Tell us
a little bit more about you as a band?
We are Antique Curse a true heavy metal band based in Cardiff, the lineup consisting of Aberddon on vocals and guitar, James on guitar, Rhys on drums and Liam on bass. With our recent single “The Curse”, we prove that true heavy metal is still standing strong. With a blend of traditional heavy metal, prog rock and speed metal, we are building our own unique brand of heavy metal
2. What made you want to participate in the Metal To The Masses South Wales 2026 campaign? Have you had previous experience? Or is this your First time?
Most of the band has played M2TM with other bands in the past, we’ve found it’s a great opportunity to connect with bands who we may never have seen or interacted with before. This will be the first time for Antique Curse, and we’re looking forward to seeing some new and old faces in the crowd
3. M2TM is all about supporting your local scene. How important is the local scene to you as a band? It’s incredibly important to support the local scene, sometimes the best way to learn how to function as a band is to see how other bands do it, and learn from them, or how not to do it. Without supporting each other grassroots music would die
4. We have a slightly different set up this year with Heats/Quarters/Semis taking place at Bunkhouse & Green Rooms. Have you played the venue before or is this your first time? Are you excited to get on those stages?
Members of the band have played in The Bunkhouse before, with other bands, and love it. It’s a great stage for a local venue, and the sound is handled extremely well, providing the necessary power for true heavy metal
5. What are your expectations from being a part of M2TM?
With M2TM, we’re looking to connect with more local bands, help further the scene and grow and to perfect our playing and stage show
6. What would getting to our Day Of Wreckoning final and the possibility of playing Bloodstock Festival 2026 mean to you?
For us, it’d be an incredible opportunity to show a different side of heavy metal, and show people a new sound that we see is lacking for bands, especially in Wales
7. We encourage all the bands in M2TM to try and check out the other bands, who are you most looking forward to? Who should your fans also try to catch?
We’re fans of the band Paroxism, they have a great sound and stage show, we highly encourage checking them out
8. Tell us in five words why people should come and see your band? Loud, fast, classic heavy metal
With a little over a week left before the release of their new album Red Asphalt, deathgrind outfit Exhumed have returned with yet another taste of the carnage to come with their latest single “The Iron Graveyard”. And if you’ve been following along, then you already know the chaotic brutality that awaits you.
Coming in at about the halfway point of the new record, “The Iron Graveyard” is an unrelenting ripper. Set to footage of vintage cars crashing and the devastation that lays on the asphalt afterward, the video also sees Exhumed tearing it up on stage. From start to finish, it’s the kind of sonic head-on collision that really ties the whole thing together.
Speaking of the track, Exhumed’s Ross Sewage shares a little about “The Iron Graveyard.”
“The hits keep coming, and coming, and coming, and smashing your car into a twisted chrome and steel tomb in our latest single, ‘The Iron Graveyard.’ Put the pedal to the metal and jam this during the commute to your daily grind while dodging the road-raging maniacs all around you on the highway. After listening, we think you’ll agree that the local street cleaner is grossly underpaid for all the gore and carnage they have to clear from the benighted streets of America.”
Red Asphalt will be released on February 20 via Relapse Records, but you can preorder your copy today. If you’d like to catch ’em live, there are a lot of tour dates scheduled. You can find those below too and get your tickets today.
EXHUMED Live w/ Oxygen Destroyer, No/Más:
2/19/2026 The Ritz – The Ritz San Jose, CA 2/20/2026 Brick By Brick – San Diego, CA 2/21/2026 Nile Underground – Mesa, AZ 2/22/2026 Dive Bar – Las Vegas, NV 2/24/2026 O’ Death – San Antonio, TX 2/25/2026 The Lost Well – Austin, TX 2/26/2026 The End – Houston, TX 2/27/2026 Siberia – New Orleans, LA 2/28/2026 Merry Widow – Mobile, AL 3/01/2026 The Masquerade – Atlanta, GA 3/03/2026 Super Rad Arcade – Lynchburg, VA 3/04/2026 Chapel Of Bones – Raleigh, NC 3/05/2026 The Wormhole – Savannah, GA 3/06/2026 New Brookland Tavern – Columbia, SC 3/07/2026 Conduit – Orlando, FL 3/08/2026 The Orpheum – Tampa, FL 3/09/2026 The Handlebar – Pensacola, FL 3/10/2026 The Pit – Lafayette, LA 3/11/2026 Double Wide – Dallas, TX 3/12/2026 89th St.- Oklahoma City, OK 3/13/2026 The Garden – Lubbock, TX 3/14/2026 The Launchpad – Albuquerque, NM 3/15/2026 The Rock – Tucson, AZ 3/18/2026 Humdinger Brewing – San Luis Obispo, CA 3/19/2026 Moroccan Lounge – Los Angeles, CA 3/20/2026 Café Colonial – Sacramento, CA 3/21/2026 DNA Lounge – San Francisco, CA
w/ Gruesome:
4/04/2026 Lords Of The Land Festival – Glasgow, UK 4/05/2026 The Grove – Newcastle, UK 4/07/2026 Rebellion – Manchester, UK 4/08/2026 Exchange – Bristol, UK 4/09/2026 The1865 – Southampton, UK 4/10/2026 The Black Heart – London, UK 4/11/2026 Backstage By The Mill – Paris, FR 4/12/2026 DVG Club – Kortrijk, BE 4/13/2026 Little Devil – Tilburg, NL 4/14/2026 Pitcher – Düsseldorf, DE 4/15/2026 Logo – Hamburg, DE 4/17/2026 2Progi – Poznan, PL 4/18/2026 Barrak – Ostrava, CZ 4/19/2026 Escape – Vienna, AT 4/21/2026 Kornfehl – Solothurn, CH 4/22/2026 Backstage (Halle) – Munich, DE 4/23/2026 Cafe Central – Weinheim, DE 4/25/2026 Traffic Club – Rome, IT 4/26/2026 Slaughter Club – Milan, IT 4/28/2026 Rex – Toulouse, FR 4/29/2026 Groove Club – Portugalete, ES 4/30/2026 SWR Fest – Barroselas, PT 5/01/2026 SWR Fest – Barroselas, PT 5/02/2026 Revi Live – Madrid, ES
End Tour
5/27/2026 Whammy – Auckland, NZ 5/28/2026 Valhalla – Wellington, NZ 5/31/2026 Perth Dethfest 2026 @ The Rosemount – North Perth, AU 6/03/2026 Ed Castle – Adelaide, AU 6/04/2026 Crowbar – Brisbane, AU 6/05/2026 Singing Bird Studios – Frankston, AU 6/06/2026 Stay Gold – Melbourne, AU 6/07/2026 Sydney Deathfest 2026 @ Crowbar – Sydney, AU 6/08/2026 The Baso – Canberra, AU
OR IMMEDIATE RELEASE
Metal Devastation PR Clients Featured & Reviewed in Latest Issue of Rock Hard Magazine (Metallica Cover Issue)
The latest issue of Rock Hard Magazine , with Metallica gracing the cover, shines a spotlight on the global underground metal scene—and several Metal Devastation PR clients are making serious waves with featured interviews, spotlights, and rave reviews.
From melodic death and thrash to progressive, doom, and industrial, this issue highlights the diversity and technical prowess of today’s underground metal, with multiple Metal Devastation PR artists earning praise for both their music and visionary approaches.
Featured & Reviewed Artists:
STELLAGEN – A Fraction of Infinity (Score: 8.5) Australian powerhouse Stellagen earned acclaim for their epic, cinematic take on melodic death metal. Rock Hard praised the album’s blend of aggression, melody, and technical precision, noting that the music “evokes profound emotions and emphasizes both the technical component and the immediacy of the individual compositions.” The album continues the evolution from their 2022 debut, From Dying Stars , cementing Stellagen’s reputation for theatrical, earth-shaking songwriting.
BALISTIC – The Parson’s Tale (Score: 7.5) Veteran progressive metal act Balistic returned with an ambitious concept album exploring philosophical and existential themes. The review spotlighted their complex storytelling, technical precision, and the band’s ability to rival giants of the genre while remaining relevant today.
BRAINMAZE – When Your Demons Come (Score: 7) Bulgarian composer Ivan Shishkov’s Brainmaze project was celebrated for its edge, groove, and experimental flair. The review highlighted the album’s driving bass lines and Rob Davies’ commanding vocal work, calling it “a work that certainly deserves applause for its originality.”
NECKBREAKER – Mental Void (Score: 7) Chilean thrashers Neckbreaker made an impression with their fierce, no-compromise approach rooted in Bay Area and Teutonic thrash traditions. The review emphasized the band’s political and social commentary, noting that songs like Crush Zionism “demonstrate the band’s ability to manage speed and aggressiveness without sacrificing groove.”
BLACK MOON CULT – Ophidian Future (The Children Of Yig) (Score: 7) Ohio trio Black Moon Cult impressed with their psychedelic doom/stoner hybrid, incorporating instruments like electric sitar and pipe organ. The review called the album “a sonic journey that does not bore,” with influences ranging from Black Sabbath to Kyuss and Hawkwind.
DOOMHERRE – Plaguelords (Score: 7.5) Swedish doom veterans Doomherre built on their strong debut, blending monolithic riffs, enveloping melodies, and commanding vocals to deliver a heavy, epic experience.
Additional Features & Interviews:
ILLUSIONS OF GRANDEUR – In a feature titled The Myth of the Siren , the band shared, “Choreographies, facial expressions, and the interpretation of the songs take the live show to another level… it’s a literally unforgettable experience.” The interview also revealed their myth-inspired Siren Saga , a blend of Greek and Norse legends given a theatrical twist.
TÁLTOS – Discussing their album Országrák , the Hungarian band delved into cultural critique: “Society has always been sick… we must continue to oppose it. Shamanism can be learned, while that of the táltos is innate,” they explained.
WAVES WITHOUT SOUND – Composer Phil Brown described his debut Escape as “an inner journey through isolation, fleeing toxic situations, and finding peace in nature and the ocean… each song is a connected chapter of this exploration.”
ACERBIC – Death metal veterans spoke about the brutal realism behind Abhorrent Atrocities Against All Humankind : “We write about real horrors… everyday evil… and aim to create emotional conflict with our music.”
GRAVEWITCH – Returning after five years, the US blackened thrash band noted that their self-titled album reflects “heavier aggressiveness and versatility, blending various subgenres of extreme metal… every song is a unique story.”
CRUENTUS (Sweden) – Discussed nearly three decades of underground evolution and the creative cohesion on their latest album End Without End , balancing traditional black/death/thrash influences with new musical explorations.
OBVURT (Canada) – Philippe Drouin shared how personal perseverance shaped his technical death metal project: “Ten years ago, a car accident risked compromising my career… today, I explore new sounds and techniques with the double guitar.”
MONASTERY DEAD (Russia) – On Seeds of Apostasy , the band said, “The music represents a state where the ‘I’ is purified through a psychological eruption, leaving only the choice to accept a deeper fall.”
TOTAL ANNIHILATION (Switzerland) – Their album Mountains of Madness confronts human cruelty and societal repetition: “It seems almost as if humanity is incapable… or simply refuses, to learn from its own mistakes.”
THE TROUSERS (Hungary) – Zoltán Kőváry reflected on freedom and artistic evolution: “Freedom is a heavy burden, it always goes hand in hand with anxiety… many people flee from their own freedom. We want our music to be timeless.”
This issue of Rock Hard not only celebrates legendary acts like Metallica but also elevates the next generation of underground heavy music, showcasing the innovation, technicality, and passion of Metal Devastation PR’s roster.
For press inquiries, interviews, or promotional support: zach@metaldevastationradio.com
Grab a copy here: https://www.rockharditaly.com/
Check out the bands at these links:
https://metaldevastationradio.com/thebeast/blog/28437/stellagen-releases-new-album-a-fraction-of-infinity-out-now
https://metaldevastationradio.com/thebeast/blog/28054/taltos-unleashes-second-full-length-black-metal-assault-orszagrak-nation-cancer
https://metaldevastationradio.com/thebeast/blog/28458/balistic-unleash-ambitious-concept-album-the-parsons-tale
https://metaldevastationradio.com/thebeast/blog/28415/bulgarian-visionary-ivan-shishkov-unleashes-his-debut-metal-album-when-your-demons-come-under-the-project-name-brainmaze
https://metaldevastationradio.com/thebeast/blog/28386/neckbreaker-unleashes-debut-album-mental-void-out-december-12-via-witches-brew
https://metaldevastationradio.com/thebeast/blog/27829/black-moon-cult-unleashes-official-video-for-ophidian-future-the-children-of-yig-a-serpentine-descent-into-cosmic-doo
https://metaldevastationradio.com/thebeast/blog/28423/doomherre-reign-supreme-with-new-album-plaguelords-as-global-press-praise-pours-in
https://metaldevastationradio.com/thebeast/blog/26488/new-promo-illusions-of-grandeur-announces-new-single-spine-out-november-7-2024
https://metaldevastationradio.com/thebeast/blog/27528/waves-without-sound-releases-debut-album-escape-a-progressive-metal-journey-from-the-shores-of-sydney
https://metaldevastationradio.com/thebeast/blog/28342/acerbic-unleashes-death-thrash-masterpiece-abhorrent-atrocities-against-all-humankind-out-february-2026
https://metaldevastationradio.com/thebeast/blog/28302/gravewitch-unleash-self-titled-album-out-now
https://metaldevastationradio.com/thebeast/blog/28210/sweden-rock-magazine-hails-cruentus-and-their-new-album-end-without-end
https://metaldevastationradio.com/thebeast/blog/28256/obvurt-ignite-minds-with-artificial-consciousness-a-technical-death-metal-guitar-playthrough-that-redefines-precision
https://metaldevastationradio.com/thebeast/blog/28383/monastery-dead-drop-ferocious-new-guitar-playthrough-for-sick-absolution-as-their-latest-ep-seeds-of-apostasy-continues-to
https://metaldevastationradio.com/thebeast/blog/28588/total-annihilation-unleash-fourth-album-mountains-of-madness-out-now
https://metaldevastationradio.com/thebeast/blog/28343/the-trousers-unleash-new-album-necessary-evil-budapests-hard-rock-heavy-hitters-are-back-with-their-most-explosive-reco
