On his new single “Can’t Erase,” our friend Ricky Rochelle isn’t holding back. He’s weighing in with full fury on this dark chapter of history we’re living through right now. “Bad news swirls all around, ” he sings in the first line of the song. “Not in my conscience to avoid it.” And so he tears into this real-life dystopian nightmare and all that it encompasses: disinformation spreading like wildfire, the normalization of hate speech, a pointless culture war tearing the people apart, a free society devolving into a police state, and blood spilling as a result of all of it. This isn’t just a song — it’s a call to resistance! In collaboration with Billy Pfister, Ricky Rochelle has crafted perhaps his most modern-sounding track to date. This is leaps and bounds past his Ramones-inspired sound of old and heavily reminiscent of 2000s/2010s pop-punk with even a little touch of metal. The hard-crunching sheen of this track definitely amplifies the intensity of the lyrics. Ricky is singing his heart out because he means every word. This is certainly the most mosh pit–friendly track he has ever released, and it’s also his most urgent anthem so far. The whole point is to crank up the volume, pump your fist in the air, and get inspired to take action. Last year with Second Layer, we heard all sorts of new sides to Ricky Rochelle. Clearly that progression is still very much on-going.
At least 51% of music-related press releases are utterly cringeworthy. But this inspired spiel from Spaghetty Town Records on the new album from The Stripp was absolutely speaking my language: “Life Imitates Art sounds like the Aussie missing link between AC/DC, Cosmic Psychos, Radio Birdman and The Onyas.” Well that sold me! On its second long player, the Melbourne-based foursome steps up from the straight-forward (albeit blistering) action rock of its debut and turns loose a powerhouse rock ‘n’ roll record with hooks for days. A co-release with Ghost Highway Recordings (Spain) and Beluga Records (Sweden), Life Imitates Art would be absolutely massive if they still played real rock ‘n’ roll on the radio.
Fundamentally, The Stripp hasn’t veered much at all from its steamrolling, high-energy approach to music. If you’re looking for scorching lead guitar and a killer groove, you will be not be disappointed. But while this album brings just as much rock, it delivers a lot more roll. Certainly tracks like “Gotta Go,” “Gone,” and “MF from Hell” will have the action rock crowd thrashing in firm approval. Yet other songs find the band building off of the fast and furious punk rock ‘n’ roll blueprint in very satisfying ways. “If You Want Me To” and “Turn Back Time” would not sound out of place on your Joan Jett Pandora channel. “So Long” is kick-ass garage rock of the highest caliber. “Good for Me” is a great modern-sounding rocker with a chorus that will be stuck in your head all week. Album-closer “The End” is measured and haunting and totally unlike anything this band has done before. Bek Taylor has got insane pipes and undeniable star power, and I can absolutely see this album elevating The Stripp to a whole new level of recognition. Not an ounce of energy has been sacrificed, but the more polished production and progression in songwriting really works for this band. I don’t have to say “I bet these songs would sound great live” because they also sound great on record! I can’t wait to hear what Ted thinks of this album!
Upstate NY/Canadaprogressive metalcore act Sky of Ghosts released their debut single "Live Leaves" on December 29th, 2025. Composer Nicholas Perry creates all instrumentals, while Jay Wells L'Ecuyer is the man behind the vocals.
"The song recounts a traumatic event involving the loss of a good friend, and the subsequent battle with PTSD." – Sky of Ghosts
"Life Leaves" starts with an immediate breakdown as chunky double bass drumming and guitar chugs lead into galloping riffs as brutal screams are matched by bright guitar leads. Sky of Ghosts reminds me a lot of early metalcore, creating a sound that is nostalgic but still feels modern. "Life Leaves" has a little bit of rawness to the production, furthering the old-school vibes, but as the song continues, explosively heavy breakdowns lead into modern prog melodies as shredding guitar leads showcase the band's technical proficiency.
At just under 4 minutes, "Life Leaves" stays energetic and exciting throughout as dynamics change from bright screaming choruses to down-tempo breakdowns, to lightning-fast progressive riffage. In a final breakdown, a talking sample and screeching guitar dissonance leads into a slamming double bass drumming outro as visceral guitar riffs close out the track on a brutal note.
Fans of progressive metal, early metalcore, and modern metal will enjoy the impressive sound that Sky of Ghosts has for so early in their discography. You can stream "Life Leaves" available on all platforms now!
With a history this rich and expansive, trying to pinpoint the single moment when heavy metal hit its absolute apex is, frankly, a fool’s errand. Yet when the conversation turns to the marriage of pure craft with overt theatricality and conceptual storytelling, Queensrÿche’s groundbreaking third studio LP, Operation: Mindcrime, remains one of the clearest and strongest contenders.
Nearly four decades after that landmark release, the iconic voice at the center of it all — Geoff Tate — exercised his exclusive right to perform this late-’80s opus of Orwellian-infused metallic grandeur in full. Backed by an entirely new troupe of supporting musicians, he brought the complete album experience to the masses at the beautiful Parker Playhouse theater in Broward, Florida, on January 29, 2026.
No corners were cut, and no meaningful detail was left on the table in either arrangement or execution. From top to bottom, the production was engineered to give the audience an experience fully worthy of the original studio material’s colossal sound. To pull that off, Tate assembled what could only be described as the heavy metal equivalent of a big band.
The guitar front alone was massive: Scottish axeman Kieran Robertson, Irish six-string assassin James Brown, and Italian guitar virtuoso Dario Parente formed a three-pronged attack, each rotating seamlessly between lead and rhythm duties. From there, the mandatory rhythm section and keyboards were tightly locked in, while the addition of violin, cello, and featured vocalist Clodagh McCarthy — taking on the role of Sister Mary — expanded the sonic palette into something almost orchestral. Counting Tate, the stage held ten performers in total, and every one of them had a purpose.
Even before the frontman appeared, anticipation had already reached a fever pitch. As the opening bombast of prelude “Anarchy X” filled the open air, everyone within earshot was visibly electrified. The visual of this wide cast of instrumentalists moving across the stage matched the kinetic synchronicity of the sounds they were generating. But when Tate finally emerged — 65 years old, dressed head-to-toe in black with a sleeveless vest, shades, and a cowboy hat like a country outlaw gone full metal — the place erupted. The explosive launch into “Revolution Calling” was pure detonation: Tate’s voice sounded shockingly intact after more than forty years on the road, bolstered beautifully by McCarthy’s soaring harmonies and reinforced by gang vocals from multiple band members.
From that opening blast onward, the full unfolding of Operation: Mindcrime felt seamless; less like a setlist and more like a continuous act of sonic storytelling. Mid-paced crushers like the title track and “The Mission” landed with dazing force, with voices and instruments interwoven so tightly they moved as one unified juggernaut. Tate, for his part, chose his moments with precision, waiting for the perfect opening before unleashing those trademark wails above the storm.
The up-tempo assaults “Speak The Word,” “Spreading the Disease,” and “The Needle Lies” somehow retained equal precision despite the near-chaos onstage, with almost every mobile player prowling in constant motion. The guitar solos from Kieran, James, and Dario were ripped out with conviction, faithfully echoing the originals while preserving the youthful exuberance that defined a late-’80s Queensrÿche show at full throttle.
As with the source material itself, the performance only gained power as it progressed. Tate’s quasi-operatic delivery grew more impassioned by the minute, climbing in emotional intensity as the narrative darkened. And while Clodagh’s tone is naturally less raspy and jagged than Pamela Moore’s, her performance opposite Tate on “Suite Sister Mary” lacked for nothing. It stood as one of the evening’s true centerpieces, framed by wailing guitars, layered voices, and ritualistic Latin chants that gave the piece its full dramatic weight.
By the time the saga reached its closing run, “Breaking the Silence,” “I Don’t Believe in Love,” and the ultra-infectious coup de grâce “Eyes of a Stranger,” there was zero drop-off in force. Tate repeatedly tensed and coiled his body to dig deeper for every demanding high passage, and each note landed with a full-throated roar above the wall of riffs, rhythm, and groove.
After just over an hour of narrative-linked splendor with a near-cinematic edge, anything that followed could reasonably have been labeled an encore. Tate, however, grinned and told the crowd, “We’re just getting started.” He wasn’t kidding. The break was minimal, and the second half roared to life with a towering “Empire,” introduced by an extended overture featuring dueling saxophones. From there came a procession of familiar crushers from Queensrÿche’s seminal years: fist-raising anthems like “Walk in the Shadows,” “Jet City Woman,” and the inspirational power ballad “Take Hold of the Flame,” each one pushing the crowd response higher than the last.
For the final stretch, the band staged an almost symbolic yin-versus-yang finish. First came a deeply poignant take on the subdued early-’90s ballad “Silent Lucidity.” Then came the opposite extreme: a blazing, no-prisoners closeout with the early-’80s breakout beast “Queen of the Reich.” Before each song, Tate paused to reflect with the audience, speaking to the long road that had brought both artist and fans to this shared moment under the Florida night.
What ultimately sealed the night, though, was the raw physical feat at the center of it. Tate repeatedly hit that raging E5 wail cleanly and with authority, without faltering, even after nearly two hours of relentless vocal work. It was the kind of demand that would have taxed him in his twenties, and seeing it delivered now, with this much consistency and force, felt genuinely staggering. The crowd answered every one of those peaks with the loudest, most raucous reaction of the entire evening.
Like any event that marks the sunset of a long chapter, Operation: Mindcrime – The Final Chapter ended on a bittersweet note in Broward. With the remaining incarnation of Queensrÿche still charging ahead under the original band name in both studio and live settings, and with this tour title strongly implying that this is the last run for the full album experience onstage, the show carried the emotional weight of an era drawing to a close; an era spanning the better part of forty years.
And yet, this didn’t feel like a tombstone. Tate’s own hints at a potential third studio installment in the Mindcrime saga, along with other recording plans on the horizon, suggest there is still substantial creative ground ahead. If this Broward performance is any indication, the remaining dates on this run are poised to deliver the same kind of glorious, hard-earned send-off that unfolded here beneath the Florida sky.
Invictus Productions and Morbid Angle join forces to give us metal of death over the capital. Three bands whom each deliver their own distillation of evil; what could go wrong?
First up is Chaos Chant, featuring Alex previously from Inconcessus Lux Lucis (a band I greatly enjoy) with the promise of blackened heavy metal carnage. Mixing more contemporary black metal with old school heavy metal elements, this was an energetic opener to a dark evening. Debut LP coming via Invictus Productions so keep an eye and ear out for more…
Next we have London morbid metal masters Necromaniac, a band I am very familiar with both on record and in the live arena and one I know won’t disappoint. With their extremely strong debut LP under their belts, this material conjures real darkness live, something that is not easy in such a bright venue. Thankfully the concoctions of evil were fuelled by some impeccable drumming and unique riffs that call on the old gods like Törr, Tormentor and Master’s Hammer whilst the vocalist’s estranged incantations and invocations sat gloriously atop the instrumental splendour. Morbid metal to the death!
Finally Norwegian death metal savages Abhorration take the night by the throat. This band is exactly what death metal should be, on record and on stage; chaotic, violent and fuelled by only the most lethal musicianship. From the majestic riffing and barked vocals to the deathcrushing bass tone and massive drum onslaught; there is not a weak link in this band. Only four die-hard maniacs playing the oldest and truest form of death metal rooted in the late 80s but as potent now as ever. Mixing material from the “After Winter Comes War” demo and their debut LP “Demonolatry” – this set was a crushing spectacle of nuclear metal hell. Easily one of the strongest death metal bands to spat forth from the abyss in the last few years, one you would be a fool to miss. The grace of immolation blazed London in radiant hellfire tonight.
Destructor is the surprise comeback album from More. Over forty years since their two mighty albums back in the original New Wave of British Heavy Metal days – Warhead and Blood and Thunder – they fire back in 2026 with this real firecracker of a return. Make no mistake – this is not a band […]
Polish extreme metal veterans Behemoth have released a striking new music video for their track “Nomen Barbarvm,” a key song taken from their latest album, The Shit Ov God. The clip leans heavily into visual storytelling, pairing the song’s themes with imagery that is both provocative and carefully constructed.
Directed by Dariusz Szermanowiczr, the video presents a bleak, symbolic world filled with references to occult practices and reworked religious imagery. The approach aligns closely with Behemoth’s long-established creative direction. The production emphasizes cinematic detail, making use of dramatic lighting, intricate costumes, and layered visual effects to support a dark, narrative-driven presentation.
Frontman Adam “Nergal” Darski offered insight into the song’s lyrical foundation, explaining, “‘I create as I speak.’ Isn’t that, in essence, Crowley’s ‘Do what thou wilt’ — just cast in slightly different words? This idea became the lyrical leitmotif of ‘Nomen Barbarvm’, arguably one of the most melodic, yet also deeply groove-driven tracks Behemoth have ever committed to tape. In just a moment, we’ll be putting it to the test live on our upcoming tour.”
He added further context about the visual collaboration behind the release, saying, “What you’re about to see is a music video we’re immensely proud of, created in collaboration with Group 13. But you already know what that combination means — uncompromising quality and a message art vision that doesn’t compromise!”
The Shit Ov God was released in May 2025 through Nuclear Blast Records. The album was produced by Jens Bogren at Fascination Street Studios, known for his work with Emperor, Enslaved, Kreator, and Rotting Christ. Working closely with the band, Bogren helped preserve Behemoth’s signature intensity while refining the album’s sonic depth and clarity.
Golden Robot Records is proud to announce the upcoming release of ‘My Guitar’, a powerful and deeply personal single from the late John Sykes, available on all major streaming platforms on February 13.
‘My Guitar’ was recorded and updated during the sessions John worked on after signing with Golden Robot Records and forms part of the creative body of work he was actively developing at the time that he presented to the label. The track captures the unmistakable spirit, tone, and fire that defined Sykes as one of the most influential guitarists of his generation – raw, melodic, and emotionally charged.
In light of recent speculation surrounding this release, Golden Robot Records wishes to assure fans that this music is being released with the utmost respect, care, and affection for John. The release of ‘My Guitar’ is fully permitted under John’s recording agreement, and reflects the shared intention, held while he was with us, to complete and present this material properly. This is not a retrospective reconstruction, but a continuation of work that John himself began with us.
Serving as the first glimpse into a four-track EP, ‘My Guitar’ offers fans an intimate connection to John’s creative voice in its purest form. The EP, worked on during his time with Golden Robot Records, will be respectfully released later in 2026, with a clear focus on preserving the integrity of his original vision and honoring his legacy.
Best known for his iconic work with Whitesnake, Thin Lizzy, Blue Murder, and his celebrated solo career, John Sykes left an indelible mark on hard rock and heavy music worldwide. ‘My Guitar’ stands as both a tribute and a testament – an artist speaking directly through his instrument one final time.
For Golden Robot Records, this release is about honoring John, completing what we started together, and sharing his music with the fans who loved him. It is wrapped in respect, gratitude, and deep admiration for an extraordinary musician.
‘My Guitar’ is available to pre-save now, with the single arriving February 13 on all major streaming platforms via Golden Robot Records.
For fans old and new, this is more than a song – it is a moment, a memory, and a final salute to a true guitar legend.
Milwaukee Metal Festival has officially unveiled the final wave of artists, completing what organizers are calling an already stacked lineup. The latest announcement adds Machine Head, two separate sets from Napalm Death, Generation Kill (Featuring Rob Dukes of Exodus), Creeping Death, and Heavy//Hitter to the bill, rounding out the roster for next year’s event.
Fans who purchase a three-day festival pass will also receive free entry to the Thursday pre-party on June 4. The kickoff night gives attendees an early start to the weekend, with performances from Acid Bath, Killswitch Engage, Obituary, Agalloch, and many more, promising what organizers describe as the “best weekend ever!”
The festival will once again take over The Rave/Eagles Club, running from June 5 through June 7, 2026, with the pre-party launching festivities the night before on June 4. Three-day passes, two-day passes, single-day tickets, and a limited selection of reserved seating options are currently available. Full lineup details, ticket choices, and ongoing festival updates can be found here.
Milwaukee Metal Fest 2026 will continue its tradition of celebrating metal in all its forms, featuring death metal, doom, hardcore, metalcore, thrash, industrial, and underground extremity. Performances will be spread across multiple stages throughout the venue, and beyond the music, fans can explore a dedicated merch and collectibles floor offering exclusive band merchandise, vinyl, rare finds, and more throughout the weekend.
In 2000, guitarist Tony Iommi, whose weighty stylings lies behind such Black Sabbath classics as “Iron Man,” “Paranoid” and “Sweet Leaf,” released his self-titled collection of hard rockers guaranteed to piss off the neighbors and incite the punks. Iommi has aligned himself with no less than 10 disturbingly different singers and personalities including Ozzy Osbourne. Also participating were Dave Grohl, Billy Corgan, Ian Astbury, Billy Idol, and the poet and tattooed every angry man, Henry Rollins.
After years of falling prey to his own lethargic legacy, it’s nice to see Iommi venture out a little to the left of his impending target. As long as Iommi doesn’t lean over too far to the side in a veiled attempt to sound like some cheap Dimebag Daryl impressionist, the material presents the guitarist in a refreshing light. With some stealth assistance from guitarist Brian May and drummers Matt Cameron, Kenny Aranoff and Bill Ward, Iommi is probably the album he should have made instead of trying to feed off the Sabbath name and reputation while others clearly proved there was life after the 70s.
The album opens up like a tidal wave ready to suck in anyone who dares to tread the water. Bolstered by an excitable riff, a solid rhythm and some insightful lyrics spewed forth by Rollins, “Laughing Man (In The Devil Mask)” easily stacks up alongside some of the more modern slammers that routinely make the rounds with younger metalheads. “Meat” pairs Iommi with the only female vocalist on the record, Skin from Skunk Anansie. There’s a degree of minimized execution until Iommi kicks in with a concise, Sabbath-like solo in the middle of the song. “Goodbye Lament” with Dave Grohl is a chunky and catchy tune that again finds Iommi somewhat refrained while a short hip-hop styled beat bridges the gaps. It may rank as one of the most significant pieces of music that Tony Iommi has been involved with in over 20 years.
Unfortunately, songs like “Time Is Mine” with Pantera’s Philip Anselmo and “Patterns” with System Of A Down’s Seri Tankian both strive to sound too much like “Electric Funeral” knockoffs while “Black Oblivion” featuring Corgan is more reminiscent of something from the Sabotage era. “Flame On” with Ian Astbury is another example of minimum fancy fretwork from Iommi, giving it room to work on several levels. “Just Say No To Love” with Type O Negative’s Peter Steele doesn’t bring much to the table. “Who’s Fooling Who” has every right in the world to sound like Sabbath because both Osbourne and Ward perform on it. The album concludes with “Into The Night” featuring a strong and sprite vocal from Idol. All in all, Iommi takes a stab with nominal risk, and delivers a fairly structured and contemporary effort. There may be a few tricks up his sleeve we have yet to see.
