Blog

When Zakk Wylde first pulled together Black Label Society, it didn’t feel like a carefully planned side venture.

The post Black Label Society, ‘Engines Of Demolition’ — Album Review appeared first on Audio Ink Radio.

TL;DR

James Monteith (Cage Fight, Tesseract) joins the Loaded Radio Podcast to break down the band’s devastating second album, Exuvia. Released on May 1, 2026, the record signals a massive evolution for the UK outfit, blending visceral hardcore with new melodic depths. This episode also features a massive news breakdown, including an exclusive Type O Negative song discovery and Jason Newsted’s clean bill of health.

LONDON, UK — Heavy music is currently witnessing a tectonic shift as Cage Fight officially launches their second studio album, Exuvia, via Spinefarm Records. Guitarist James Monteith, also known for his technical mastery in Tesseract, recently sat down with Loaded Radio to discuss the band’s transformation from a lockdown bedroom project into one of the most vital forces in the modern hardcore scene. The new record, which arrived May 1, marks a “moment of rebirth” for the quartet, featuring a more collaborative writing process and a fearless exploration of personal trauma and resilience.

Listen To The Podcast Below:

 

The Evolution of Cage Fight: From Lockdown to “Exuvia”

Cage Fight originally formed as a nostalgic outlet for Monteith and bassist Jon Reid to pay tribute to the 90s hardcore bands of their youth, such as Slayer, Terror, and Biohazard. However, the addition of French vocalist Rachel Aspe—whose ferocious growls first caught Monteith’s attention on Instagram—solidified them as a permanent entity.

The band’s sophomore effort, Exuvia, moves beyond the “vicious aggro” of their 2022 debut. James noted that while the thrash-infused hardcore foundation remains, the new material incorporates more melody and atmosphere. This shift was heavily influenced by Aspe’s decision to write lyrics based on her own harrowing life experiences, turning the album into a raw document of healing and survival.

Musical Influences and The “Clear-Headed” Approach

During the interview, James delved into the influences that continue to shape his riff-writing. While his work in Tesseract is synonymous with progressive precision, Cage Fight allows him to return to the raw power of Metallica’s Black Album and the bone-crushing intensity of Machine Head’s Burn My Eyes. He emphasized that for this band, it’s about “attitude and energy” over clinical precision.

Monteith also touched on who he is listening to now, reflecting a diverse taste that feeds into the “bigger, tighter, and more epic” sound found on Exuvia. The band even experimented with unexpected inspirations, such as a French pop melody that was transformed into the crushing track “Pick Your Fighter” featuring Julien Truchan of Benighted.

We Also Recommend – SONIC TERROR: The 13 Most Insane Extreme Metal Subgenres You (Still) Haven’t Heard

Hard Rock and Metal News Breakdown

The second portion of the podcast features host Scott Penfold delivering a “Nuclear” update on the biggest stories in the genre:

• Jason Newsted Cancer Free: Former Metallica bassist Jason Newsted recently announced he is “free and clear” after a year-long battle with throat cancer.
• Type O Negative Exclusive: In a massive discovery first revealed on Loaded Radio, Johnny Kelly and Kenny Hickey have unearthed a previously unreleased song from the October Rust sessions.
• The End of a Godsmack Era: The band has released Live at the Mohegan Sun, marking the final recorded performance of the classic lineup following the retirement of Shannon Larkin and Tony Rombola.
• Godsmack on the Road: The band is currently embarking on “The Rise of Rock World Tour” with Stone Temple Pilots.

A New Skin for a New Era

The title Exuvia—referring to a cast-off skin or shell—is the perfect metaphor for where Cage Fight stands in 2026. They have shed the limitations of a “side project” and emerged as a headline-ready powerhouse. As they prepare for a summer of high-profile dates, including a sold-out launch at Blondies and major UK festival appearances, the band is proving that metal is at its best when it is raw, honest, and completely unapologetic.

STAY LOUD: Catch the full breakdown of the Cage Fight interview on the Loaded Radio Podcast, or crank the hard rock and metal on our digital stream at LoadedRadio.com.

The post Cage Fight’s James Monteith Talks “Exuvia,” Hardcore Roots, and The Future of UK Metal on The Loaded Radio Podcast appeared first on Loaded Radio.

Essex-based punk duo The Meffs have unveiled their latest track, “Disorder (Wake Up)”, giving fans a second glimpse into their upcoming sophomore album Business. Scheduled for release on 11th September via FLG, the record follows a whirlwind 2025 that saw Lily (vocals/guitar) and Lewis (drums) grace stages at Glastonbury, Download, and 2000trees. Pre-order the album … Continue reading The Meffs reveal searing new single “Disorder (Wake Up)” ahead of second album – tons of tour dates too!

Italian modern metallers New Disorder are back with their brand new single “Static”, released on 1st May. Hailing from Rome and formed in 2009, the band has carved out a solid reputation across the European alternative scene for their explosive live energy and a sound that refuses to be pinned down to a single sub-genre. … Continue reading New Disorder return with hard-hitting new single “Static” – video streaming now

https://www.metalourgio.com/wp-content/uploads/2026/03/geoff-tate-acoustic-performance-poster-768×540.jpg

Seeing Calva Louise at The Garage Attic in Glasgow felt less like a standard gig and more like stepping into their own strange, cinematic universe…and I cannot tell you how packed it was! I’ve been to a few sold out shows in the Attic but this one was so damn busy even for the support … Continue reading Gig Review: Calva Louise / Knife Bride – Garage Attic, Glasgow (1st May 2026)

(written by Islander) As you can see, I have selected the music of six bands today, all of them coincidentally brandishing one-word names. I’m leading off with a group of singles from forthcoming records and concluding with a recently released EP that I think qualifies as “saving the best for last”. In the case of […]

The post SHADES OF BLACK: FAUSTIAN, VERZAUBER, ISHIMURA, VERTEBRAE, NECROBEAST, SVRM appeared first on NO CLEAN SINGING.

Highlander director Russell Mulcahy on swords, Sean Connery and Freddie Mercury‘s breakfast-making skills

The New York Yankees have made a Ben Rice decision during the Orioles game.

The post Yankees Make Ben Rice Decision Amid Orioles Game appeared first on Audio Ink Radio.

With the relative success of 1980’s No Place To Run, UFO followed up with 1981’s The Wild, The Willing And The Innocent. This time, however, instead of bringing in super producer George Martin to guide the way, as he did on No Place To Run, the band decided to produce the next record themselves. Having found their stride with guitarist Paul Chapman and the addition of keyboardist and guitarist Neil Carter (who is credited but didn’t play on the record), UFO molded the eight songs comprising The Wild, The Willing And The Innocent, with its Springsteen-inspired title, to align with the more melodic, mainstream hard rock sound of the early 80s, an transitional period later known as the New Wave of British Heavy Metal (NWOBHM) with frontrunners like Def Leppard and Iron Maiden leading the way.

The Wild, The Willing And The Innocent, remastered and reissued as a deluxe triple LP and double CD set, offers listeners a tight collection without the extended crash-and-burn guitar histrionics of the 70s. That doesn’t stop the heavy and catchy riff that drives “Chains Chains.” The difference is the economy of the arrangement with a simple solo to stretch out the chorus with little time to supplement to the allotted three minutes. The formula seems to apply to most of the record.

“Long Gone” takes it a little further with its tight turnarounds starting and stopping for over five minutes becoming the longest song on the album. The added strings add a bit more sophistication than most UFO fans are used to. Maybe it’s thrown in to prepare listeners for the title track that follows. Filled with all the makings of powerful epic rocker “The Wild, The Willing And The Innocent” turns on the axis of Chapman’s opening lead before its blossoms into a fine fabric on which singer Phil Moog can dispel his melodic magic with biting consequences.

The record continues to go deeper with headier themes. “It’s Killing Me” leans inward with a steady, mid-tempo stance, while “Makin’ Moves” pulls off the shades with a reliable hook and little to hide. “Lonely Heart” could almost cut the rug with classics like “Love To Love,” even though the competent sax work (Carter’s lone, last-minute contribution) might twist some of the more heavier disciple’s panties into a knot.

“Couldn’t Get It Right” is a nifty riff that fits into your pocket without asking for change, while “Profession Of Violence” finishes off the record in grand style that reeks of pretentious ambitions. Drowning in orchestration at the outset, it morphs into a showcase for Chapman to stretch out and show the naysayers there is life in UFO after Michael Schenker. By the song’s end, there’s little reason to disagree. That’s more based on the album as a whole than its individual parts.

Original 7” edits of “Couldn’t Get It Right” and “Lonely Heart,” plus an alternative mix of “It’s Killing Me” are included on the reissue, along with a brand-new mix of the previously unreleased Live at the Hammersmith Odeon, recorded on January 29th, 1981. It’s a rare treat to hear UFO’s live takes of “Long Gone,” “Chains Chains” “Lonely Heart,” and “Mystery Train,” largely misplaced years later in favor of songs from the Schenker era, which fill out rest of the set here. That’s where it might get tricky for those brought up on Strangers In The Night, UFO’s highest charting record that’s often cited as one of the greatest live albums of the 70s.

With drummer Andy Parker and bassist Pete Way setting up the foundations, there’s little deviation from what always worked for UFO on the concert stage. Chapman has no problem angling Schenker’s parts on songs like “Rock Bottom,” albeit with a little less of a salt-and-vinegar snarl and more of a blues slinging approach. And that seems to work when it comes tom the mechanics. Moog struggles vocally here and there, and that, along with a rather sundry delivery of “Doctor Doctor” may be what’s most off the mark. “Shoot Shoot,” the third song on this collection with a one-word-twice title, certainly helps in cleaning up the damage. Really, any live material from UFO from this period in their wayward journey manages to conjure up the best of memories. Perhaps the same could be said, without saying much more, for everything about The Wild, The Willing And The Innocent.  

~ Shawn Perry

Purchase
The Wild, The Willing And The Innocent