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The post Charli XCX Brings Out Chappell Roan, PinkPantheress, & Adéla At The Forum, underscores Brings Out Jane Remover appeared first on Stereogum.

System of a Down just announced their only U.S. show for 2027, and it's happening at the Rose Bowl. Pierce the Veil opens. Continue reading…

Who Is Tanchjim?

If you've spent any time in budget-audiophile IEM circles, you know the name. Tanchjim has been building in-ear monitors since 2015, and the brand made its real name with the Oxygen — a wired IEM that leaned hard into Harman target tuning and earned a cult following among people who wanted "correct" sound without spending flagship money. Since then, Tanchjim's catalog has grown into wired IEMs like the Origin, Hana, and One, along with the occasional dip into true wireless with sets like the Mino. The Revo marks something new for the brand, though: it's Tanchjim's first open-ear true wireless earbud, aimed squarely at the "I want music but I also want to hear my life happening" crowd.

What Is the Tanchjim Revo?

The Revo is an ear-hook style open-ear earbud, meaning it clips around your outer ear and sits just outside the ear canal instead of sealing inside it. That's the same general format as the Shokz OpenFit line, Soundcore's AeroFit series, or Baseus's Eli Sport buds—the pitch is all-day wear, situational awareness, and no ear fatigue. Where Tanchjim differentiates is on the audio hardware: an 18x11mm racetrack-shaped dynamic driver with an LCP dome and PU surround, a 16Ω rated impedance, and support for LDAC over Bluetooth 6.0. Those aren't numbers you typically see attached to a $39 open-ear earbud, and it's the main reason this one is worth a look for anyone who's been avoiding open-ear buds because they assumed the sound would be an afterthought.

Build Quality and Design

The Revo's shells are lightweight—Tanchjim lists them around 9 grams per side— with liquid silicone ear hooks reinforced by a nickel-titanium alloy wire core. That combination is the current gold standard for open-ear comfort: flexible enough to contour to your ear, but with enough shape memory that the hooks don't go limp after a few weeks of use. The earbuds carry an IPX5 rating, so sweat and light rain are a non-issue, though don't take them into the shower.

Charging is via USB-C, and the case holds roughly three additional full charges, for about 29 hours of total playback against 9.5 hours per bud on a single charge. Tanchjim also lets you pair two devices simultaneously, which is a really useful feature if you're bouncing between two devices. The one omission is wireless charging, which some competitors in this price range are starting to include.

Sound Quality

Overall Sound: For an open-ear design, the Revo leans into a warmer, slightly bass-forward signature out of the box, which tracks with Tanchjim's history of avoiding thin, treble-heavy tunings on its budget gear. The larger racetrack driver is doing real work here—Tanchjim claims it moves roughly double the diaphragm surface area of a standard round 10mm driver, and that extra surface area is the difference between open-ear "bass" that's just a vague suggestion and bass you can actually track a kick drum through.

Bass: This is the Revo's headline feature. Open-ear designs almost always sound bass-light because there's no seal to reinforce low frequencies against your eardrum, but the bigger driver and Tanchjim's EQ are built specifically to compensate. You'll feel double kick and bass melodies more than many other open earbuds—but don't expect sealed-IEM rumble because it currently isn't possible to have the same bass isolation in an open-ear headphone.

Mids: Given Tanchjim's Harman-leaning house sound, the midrange stays relatively present rather than getting scooped out to make room for bass and treble, which matters if you listen to a lot of vocal-forward death growls, cleans, or riff-driven rhythm work that lives in the 500Hz–2kHz range.

Treble: Open-ear designs are prone to a hot, splashy top end because there's nothing physically damping the sound before it hits your ear canal. Tanchjim's PEQ and preset curves (including Harman and their own JM-1 target) give you a way to tame that if cymbals and blast-beat splash start to feel fatiguing on longer sessions.

Timbre, Soundstage, and Imaging: Open-ear earbuds have a natural advantage in perceived soundstage simply because sound isn't being funneled directly into a sealed canal—it arrives with more of the room's natural character intact, which can make instrument separation and a sense of "space" easier to achieve than on comparably priced sealed IEMs. Imaging precision, though, tends to be a weaker point across the whole open-ear category.

Comfort and Awareness

At roughly 9 grams per side with adjustable silicone hooks, this is built for multi-hour wear, and the Revo does exactly that; it manages to stay very comfortable during long use. Because there's no seal, you'll hear outside noise exactly as clearly as you would with no earbuds at all, which is the biggest appeal of open-ear buds.

Final Verdict

The Tanchjim Revo is a smart bet for anyone who's wanted to try open-ear earbuds but wants cutting-edge bass and tuning control. Tanchjim's IEM pedigree shows up in ways that budget open-ear competitors usually don't—a bigger driver, LDAC, and real PEQ software. I think as far as open-ear earbuds go, this is one of the best I've tried. Subbass still feels a little lacking, but to be fair, this is a limitation of current open-ear earbuds since they can't create a physical seal. At just under $40, for someone who wants to listen to music all day long while still being aware of their surroundings, this is one of the best choices on the market.

Technical Specifications

• Driver: 18×11mm racetrack-shaped dynamic driver
• Diaphragm: LCP dome with PU surround
• Driver impedance: 16Ω
• Total harmonic distortion: <0.45% @ 1kHz, -10dBFS
• Frequency response: 20Hz–20,000Hz
• Bluetooth version: 6.0
• Supported codecs: SBC, AAC, LDAC (up to 990kbps)
• EQ: 9-band PEQ with Harman and JM-1 target presets via Tanchjim app
• Battery life: ~9.5 hours per charge, ~29 hours total with case
• Charging port: USB-C
• Charging input: 5V/0.5A
• Water resistance: IPX5
• Weight: ~9g per earbud
• Multipoint: Simultaneous connection to 2 devices
• Wireless working range: ~15m (line of sight)
• Price: Approximately $39

Posted on October 19th 2026, 3:32pm

“Rise of the Roach Tour” launches in May

Source

by Geoff Bailie

Some bands explode out of the starting blocks with the energy of a sprinter, only to fade as quickly as they arrived – or worse, never regain their initial speed. Others possess the stamina of a marathon runner, their endurance forged over decades, and are still able to move at a pace undiminished by the miles behind them. Big Big Train are most definitely the latter!

The final show of the Woodcut and Other Stories European tour took place in the legendary Shepherd’s Bush Empire theatre, BBT’s first time here and one of the largest non-festival shows they have played. The first set is the “Other Stories”, about an hour of music from the earlier parts of their catalogue. With BBT only recently starting to tour for longer runs, there are a huge amount of songs, many of which have never been played live. Thankfully, the Passengers (the collective name for BBT fans) crave hearing these cuts, and so the opening of “Salisbury Giant” from the Folklore album is greeted with rapturous applause. The on-stage (and studio) band has now settled on a 7-person line-up. Longtime member Nick D’Virgilio sets the pace for the brooding intro of this song, joined by founding member Greg Spawton’s pulsating bass. Claire Lindley’s violin is joined by Rikard Slojblm’s guitar and Oskar Holdorf’s keys before singer Alberto Bravin bounds on stage and … well, he doesn’t stay still all night! The band have a superb, if slightly unusual compared to the norm, stage set-up: Claire, Greg and Paul Mitchell, who adds horns and all sorts of other instruments to the set, are on a small riser at the back in front of a large LED screen mostly used in the second half of the show. NDV’s drums are on the right, with Rikard, Alberto and Oskar filling across the stage. This has the great benefit of giving the audience a great line of sight of all the players.

Sticking with Folklore’s 10th anniversary year, “London Plane” is next, returning after a long hiatus from live sets. I overheard someone at the show comment, “They’re more rock now than folk”. While the music certainly has some heavier moments, for me, what makes BBT unique is the way they can seamlessly shift from the light and pastoral to the anthemic and intense – and this track is a great example of that. It comes across really powerfully on stage, with Oskar, Paul and Claire adding their touches to a song they didn’t originally play on, and Alberto singing in his unique way, yet honouring and respecting the original vocal. The set then flips back to English Electric 2 with a sing-along “Swan Hunter” greeted as the old favourite it is, and it was lapped up by a hugely appreciative audience, as was the performance of the very deep cut, “Lost Rivers of London” later in the set – BBT not afraid of playing a CD EP “b-side” and the crowd loving every moment!

Special mention must be made of “Kingmaker”, which was also part of this set. Greg Spawton has called this the band’s oldest song, and it featured on their second demos CD, The Infant Hercules, in an early form. Revisited and rewritten in 2011, it has been performed live in the Longdon and now the Bravin era. The epic tale of Queen Eadgyth (get the Time & Tide book to find out more) is a large slice of powerful, classic prog, and a firm fan favourite that was rapturously received. Taking a glance around the venue at the interval, I did notice almost as many former BBT band members as there were on stage! Rachel Hall and Sean Filkins were spotted as well as early band members Andy Poole, Ian Cooper and Steve Hughes, who must have felt a lot of pride in hearing this song, which originated in their era, being played and received so well!

Back in the days of the BBT brass band, the horn and drum solo was always a highlight. Nick and Paul have worked up a great “Drumpet” for this tour which serves as a drum solo with trumpets interlude. Of course, watching NDV on the kit is always a pleasure, and Paul’s additions with some effects pedals and various sound manipulation make it a fun section of the show.

Oskar kicking off the piano intro to “East Coast Racer”, from the English Electric 2 album, is, I suppose, as close to a “Greatest Hits” moment as you get in a BBT show. This epic track is cherished by the fans and was greeted and responded to accordingly. Social media had helped orchestrate a coordinated “hands in the air” moment on the iconic “She flies!” line towards the end of the song, which I’m sure will look great on the promised Blu-ray of the show. Ending a Big Big Train set with a prog epic about a big big train is poetic, and the performance was one for the books. The last time I saw the band play this track was in 2019, with 13 musicians on stage. This time, the skill of those on stage, the arrangement and Rob Aubrey’s skilled sound management delivered a performance of equal power and brilliance.

The second half of the set is dedicated to a full play-through of the Woodcut album. The album was released about 8 months ago and I’ve no doubt it will feature in a big way when the best of 2026 polls get drawn up. From a fan perspective, it has also been incredibly well received and so anticipation levels were high for this full performance. The stage had a large LED backdrop which showed the full Crystal Spotlight animation which visualises the story of The Artist told in the album. It was a welcome addition to the show even if, sitting near the front as I was, it’s hard to take your eyes off the musicians! (Surely a stand-alone release of the whole video is required or at the very least inclusion on the bluray?) It struck me that while “Other Stories” was a historical journey through the band’s back catalogue, Woodcut is the music created by the 7 people who are on stage tonight, and much of which was recorded live – I certainly had a feeling that I was hearing Woodcut as it’s meant to be heard, as a living organic piece of music, much like the world that “The Artist” created. And like that world it has its own light and shade that take the audience on the narrative journey.

I find it hard to pull out particular highlights because the whole thing was amazing… but here are some of the memorable moments!

Firstly, the vocals: BBT have evolved to the point where each band member is now a singer and everyone has a vocal place in the band. Alberto leads and contributes everything a front-man should bring, delivering mesmerising vocals, while also being cheerleader, playing guitar, keys and percussion, and generally looking like he’s having the time of his life on stage. While they all contribute throughout, the careful crafting of this album means that Claire (“The Sharpest Blade”), Rikard (“Dead Point”), Oskar (“Chimaera”) and Nick “(Warp and Weft” and also a part of “Last Stand” which is an addition for the live version) all have their vocal spotlight. Each of these was recognised and applauded by the crowd, but none more so than the “Lay bare your heart” section of “Counting Stars” sung by Greg. Far from being a “Ringo’s gonna sing one now” moment, for me, this section is the emotional heart of Woodcut. The fact that it’s sung by Greg in natural and unadorned style feels almost like a “breaking the fourth wall” moment as the story resolves to its ultimate message. The fans also know this is Greg going a bit outside of his personal comfort zone, and the section was greeted with great audience appreciation. And I haven’t even mentioned the inter-twining / Gentle Giant style vocals of “Dreams in Black and White”, where everyone plays a part!

Rikard Slobjom joined BBT with already well-established prog credentials, but in an era when Dave Gregory covered most of the lead guitar. The various line-up changes mean Rikard now fully occupies that role, and his soloing is a vital part of the band’s sound, on Woodcut in particular. The closing solo of Counting Stars was an absolute stand-out for me, but equally was just one of many guitar highlights including great interplay with Alberto on Cut and Run.

In the current stage configuration, Oskar is on the left and, as I was sitting more to the right, he was less visible. But being the mostly sole BBT keyboard player is an enormous task, and he ensured all bases were covered. Some fantastic soloing during Woodcut were notable moments, but I think a lot of credit should go to Oskar for the range and variety of sounds he adds to the band. Equally, Claire and Paul, while mostly residing at the back, were switching between violin, guitar, percussion, keyboards, and vocals. Their skill and versatility is a key part of the band line-up, and they bring their own energy and vibe to the show, particularly when they’re “allowed” to come to the centre stage area and play along with their band-mates in close company.

Greg has called Alberto the band leader, and it’s clear that on stage he’s the commander in chief! In the rare moments where he isn’t playing an instrument or singing, he’s encouraging other band members or the audience. For a band who doesn’t tour for months on end, making the switch to a 24-day run of shows with 4 off/travel days can create big issues for singers. But Alberto hit every high note and performed with power and confidence at every moment.

The 20-ish minute run that closes Woodcut, from “Dreams in Black and White” through to the end, is truly exceptional, drawing together not only the narrative, but also all of the musical themes which have been peppered throughout the piece. “Cut and Run” on the live stage is truly breathtaking, with NDV in particular inhabiting the shifting grooves and tempos of the piece in a fully seamless way. The audience, and I assume the band, catch their breath in the orchestral “Hawthorn White”, leading into “Counting Stars”. At the start of this song, Alberto came and sat on the front of the stage. BBT are a band whose fans really feel connected to their music and mission, and this connection is reinforced by moments like this. As the song builds, the band unleash their full arsenal and the performance is dazzling!

As much as “Counting Stars” feels like the grand finale, “Last Stand” plays the key part in bringing Woodcut to a close. As I mentioned earlier, it brings musical and lyrical/narrative resolution, and I saw the audience fully engaging with this ending, even the odd tear being shed (it was just something in my eye, honest). “There’s gold in the skies – find it. Keep moving on.” Judging by the reaction the close of this song received, there are many, many people who want BBT to absolutely keep moving on in their musical journey. There was no need for the “just one more?” encore ritual because the band had delivered it all to an audience who, without exception, were on their feet applauding.

Chatting to fans and looking online, I’ve seen similar reactions to every show BBT performed on this tour. So while this one was special for those present and symbolic of the end of a successful run of shows and is ultimately one we hope to re-experience on the Blu-ray, it’s just a glimpse of what this band can consistently deliver. I certainly hope there are more shows, beyond the Cruise, so the evidence of what they can do can be seen many more times. I’m also excited for what this combination can produce next – there doesn’t seem to be a ceiling to their progression. While the current sprint has boosted their progress, the marathon is most definitely not finished yet: keep moving on!

Set 1: Other Stories

Sailsbury Giant
London Plane
Swan Hunter
Kingmaker
Lost Rivers of London
Drumpet
East Coast Racer

Set 2: Woodcut

The Artist
The Lie of the Land
The Sharpest Blade
Albion Press
Arcadia
Second Press
Warp and Weft
Chimaera
Dead Point
Light Without Heat
Dreams in Black and White
Hawthorn White
Counting Stars
Last Stand

The post Concert Review: Big Big Train – Shepherd’s Bush Empire, London – Oct 17th, 2026 appeared first on The Prog Report.

DELTA DOOM FEST TAKES OVER MEMPHIS: A NIGHT OF DOOM, UNDERGROUND METAL, AND A SURPRISE WINO FLASHBACK

Metal Devastation Radio celebrates Delta Doom Fest with a doom-heavy Zach Moonshine Show, a classic 2017 interview with Wino, and an unforgettable weekend of underground metal in Memphis.
Sometimes the best moments happen when you least expect them.
Friday night, we fired up the Zach Moonshine Show on Metal Devastation Radio for an unofficial Delta Doom Fest pre-party. There were no interviews scheduled, no elaborate plans, just a whole lot of heavy music, deep cuts, and excitement for the killer lineup heading to Memphis the following day.
We were digging into some classic doom, including music from the legendary Wino, when someone in the chat room suggested it would be cool to get him on the show.
I laughed and told them we’d actually interviewed Wino back in 2017. Naturally, I had to dig through the archives and bring that conversation back to life. What started as a night celebrating Delta Doom Fest turned into an unexpected trip down memory lane with one of the most influential figures in doom metal.
But that was just the cherry on top.
The real celebration was all about the underground, the bands, the friends, and the community that keeps this scene alive. We played music from several bands scheduled to perform at Delta Doom Fest, building the anticipation for what turned out to be one hell of a show in Memphis the next day.
And when Saturday rolled around, Delta Doom Fest delivered in every way that matters.
DELTA DOOM FEST: AN INCREDIBLE NIGHT FOR THE UNDERGROUND

Saturday brought us to Memphis for Delta Doom Fest, featuring a lineup packed with heavy riffs, crushing tones, and bands representing the best of the underground doom scene.
Ninja Witch, Red Sun Sermon, Stonewielder, Ponddigger, Megaton Communion, Burnt Witch, and Ruined God all brought their own sound and energy to the stage. Every band crushed it, the sound was amazing, and the atmosphere was exactly what you hope for when you head out to support an independent metal show.
Beyond the music, one of the best parts of the night was reconnecting with old friends and making plenty of new ones. That’s what makes these events special. It’s not just about standing in front of a stage and watching bands play. It’s about the people, the conversations, the shared love of heavy music, and the community that continues to keep this scene alive.
Huge thanks to everyone who put Delta Doom Fest together and everyone who came out to support the bands. Putting together an event like this takes time, effort, and people who genuinely care about the music and the scene.
Memphis showed up, the bands delivered, and everybody had a hell of a time.
And speaking of doom, let’s rewind to Friday night, when an unexpected trip into the Metal Devastation Radio archives gave us another reason to celebrate the music and the people who helped build this scene.
A SURPRISE TRIP INTO THE METAL DEVASTATION RADIO ARCHIVES: WINO ON A LIFETIME OF DOOM

While digging through classic doom tracks during Friday night’s unofficial Delta Doom Fest pre-party, we found ourselves revisiting the music of Scott “Wino” Weinrich, one of the most influential musicians in the history of underground heavy music.
That led to a suggestion from someone in the chat room about getting Wino on the show.
The funny part? We’d already done it.
Back in 2017, we had Wino on the Zach Moonshine Show, and the original interview was sitting there waiting to be rediscovered. With the show already leaning heavily into doom metal, it was the perfect opportunity to pull that conversation out of the archives and give it another spin.
Listening back reminded us why Wino’s story is worth revisiting. His dedication to music, his early influences, the evolution of The Obsessed, and his thoughts on the doom and stoner rock underground all made for a conversation that still resonates years later.
It was an unexpected bonus during a show built around celebrating Delta Doom Fest, and it fit the night’s atmosphere perfectly.
A LIFE DEDICATED TO ROCK AND ROLL

For Wino, music has never been just a hobby or a career. It’s a calling that has shaped his entire life, and he spoke about that responsibility with the conviction you’d expect from someone who has spent decades creating music on his own terms.
“I’ve lived my entire life to play rock music. I believe that I was given a birthright and that it is my duty to bring music to enrich people and uplift people in their lives and mine also.”
That statement gets to the heart of what makes Wino such a compelling figure. His music has always carried a sense of purpose, whether through the crushing riffs of The Obsessed, his work with Saint Vitus, or his contributions to the broader doom and stoner rock landscape.
For Wino, heavy music is more than volume and distortion. It’s something that connects people, gives them an outlet, and stays with them long after the amps go silent.
That dedication is something you can hear throughout his work, and it’s a philosophy shared by many of the musicians who continue to build the underground today.
THE BLACK SABBATH SHOW THAT CHANGED EVERYTHING

Every musician has an origin story. For Wino, one of the defining moments came when he was just 13 years old.
“I saw Black Sabbath on my 13th birthday in ’72… in between Paranoid and Master of Reality. That completely changed my life.”
Think about that for a second. A young kid walks into a Black Sabbath concert in 1972, right in the middle of the band’s legendary early run, and experiences something that would help shape his entire future.
The importance of that moment goes beyond childhood fandom. Black Sabbath helped establish the musical language that doom metal would continue to develop: massive riffs, dark atmospheres, blues-based heaviness, and a willingness to slow things down until every note feels like it weighs a ton.
Wino took that inspiration and helped build something of his own. His playing and songwriting would go on to influence countless bands that followed, proving that the seeds planted by those early Sabbath records could grow into an entire underground movement.
It’s a reminder that the music we discover when we’re young can stay with us for a lifetime, shaping not only what we listen to but what we create.
THE OBSESSED: WHEN THE CHEMISTRY FINALLY CLICKED

The history of The Obsessed is a major part of Wino’s legacy, and the 2017 conversation offered insight into the band’s return and the circumstances that helped bring the lineup together.
Reunions had happened before, but something was missing.
“I did a couple test reunions over the years, but the chemistry never felt 100% right until me and Brian hooked up again… we had a kind of an accidental jam, if you will, and that’s when the seed was planted.”
Sometimes the best things happen without a master plan. One jam, the right people in the room, and suddenly the spark is back.
That chemistry matters. You can rehearse until your hands bleed, but there’s something different about a band that genuinely connects when the instruments come out. With The Obsessed, that connection helped reignite a project with deep roots in American doom metal.
The band’s return also represented something important for longtime fans: another opportunity to experience the music of a group whose influence had grown far beyond its original audience.
For musicians who have spent decades working together, stepping away and reconnecting can bring a new perspective. Sometimes the timing simply has to be right.
VINTAGE GEAR, MODERN RECORDING, AND A $30,000 MICROPHONE

Wino also talked about the recording process, describing a studio environment that combined modern technology with the kind of vintage equipment that makes gearheads stop and pay attention.
Working with engineer Frank Marra, known as “The Punisher,” the band had access to a high-end digital recording facility while still embracing the character of classic recording equipment.
“We had the best of both worlds… state-of-the-art digital recording facility with kick-ass vintage gear. I was singing into a $30,000 World War II era German microphone.”
A $30,000 microphone? That’s one hell of a piece of studio equipment.
But the interesting part isn’t simply the price tag. It’s the approach. Modern recording technology offers precision and flexibility, while vintage equipment can bring its own character and personality to a performance.
The goal isn’t to chase nostalgia for its own sake. It’s to capture a sound that feels alive, powerful, and true to the music.
Wino also described the attention paid to individual recording details, including selecting custom snares for different tracks. Those choices reflect the kind of care that can make a record feel cohesive without making every song sound exactly the same.
For music built around tone, texture, and atmosphere, those details matter. The right equipment can help, but it still comes down to the musicians, the performances, and the people behind the recording desk.
THE GODFATHER OF DOOM? WINO GIVES CREDIT WHERE IT’S DUE

Wino’s influence on doom metal and stoner rock is difficult to overstate. His name frequently comes up whenever people discuss the architects of underground heavy music, and generations of musicians have drawn inspiration from his work.
Still, he approached the subject with humility.
“I’m very honored to be named as an influence… People call me the Godfather of Doom or whatever, but of course, we all know that’s William Snider.”
That last line carries a little humor, but it also says something about Wino’s perspective on the scene.
Heavy music wasn’t built by one person. It’s a lineage of musicians, promoters, record labels, artists, and fans who kept the sound alive, often without mainstream recognition or much financial reward.
Wino also acknowledged Frank Kozik, the influential artist and founder of Man’s Ruin Records, when discussing the development of the scene.
Man’s Ruin became an important name in underground stoner rock, releasing music that helped connect bands and listeners across the heavy underground. The scene grew through those connections, with musicians building on what came before them while creating something new.
Wino may be one of the names most closely associated with that legacy, but his willingness to recognize the people around him is a reminder that underground music has always been a collective effort.
That’s part of what makes festivals like Delta Doom Fest so important. They provide a place for bands to carry that tradition forward, for fans to discover new music, and for the community to keep growing.
A SETLIST BUILT FOR THE DIEHARDS

At the time of our 2017 interview, The Obsessed were preparing for an extensive run of live dates, with a setlist designed to satisfy longtime followers while showcasing the band’s newer material.
“We’re playing a pretty long set… playing six or seven songs off the new record, and then we’re playing the rest old stuff too—going all the way back to the first test single.”
That sounds like the kind of setlist longtime fans dream about: new material alongside deep cuts reaching back through the band’s history.
For a band with The Obsessed’s catalog, there’s no shortage of ground to cover. Balancing new songs with older material gives fans a chance to hear where the band is going while reconnecting with the music that helped establish its reputation.
The tour discussed in the interview was also set to feature support from Karma to Burn, Lowrider, Weedeater, and Primitive Man. That’s a serious lineup of heavy hitters, bringing together different corners of the doom and stoner metal underground.
It was another reminder that the scene Wino helped influence had grown into a thriving community of its own.
KEEPING THE UNDERGROUND ALIVE

Looking back on the weekend, there’s a common thread running through the Delta Doom Fest experience and our rediscovered conversation with Wino: the importance of keeping underground music alive.
Friday night’s show was an opportunity to celebrate the music, revisit an old interview, and get people fired up for the festival. Saturday brought the community together in Memphis for a night of crushing performances, great sound, and the kind of atmosphere that makes independent metal shows worth traveling for.
The Wino interview was never the main event. It was an unexpected bonus that fit perfectly into the celebration.
But revisiting that conversation also reminded us how much the underground owes to the musicians who helped establish its foundations. The bands playing clubs and festivals today are part of a tradition built over decades by people who believed in the power of heavy music, often long before the rest of the world caught on.
The influence of Black Sabbath, The Obsessed, Saint Vitus, and countless other pioneers can still be heard in the riffs coming from stages across the country.
And the next generation is out there right now, building on that legacy, one show and one crushing riff at a time.
Huge thanks to everyone who put Delta Doom Fest together, all the bands who performed, and everyone who came out to support the underground. It was an incredible weekend, and we’re already looking forward to the next one.
If you missed Friday night’s Zach Moonshine Show, catch the broadcast featuring our Wino interview flashback, deep doom cuts, and music from bands who hit the Delta Doom Fest stage.
Dig into the archives, crank up the volume, and pay respect to the legends who helped pave the way.
Stay heavy. Support the underground. Keep doom alive.
The Wino interview was originally recorded in 2017 for Metal Devastation Radio and was revisited during the October 2026 Zach Moonshine Show broadcast ahead of Delta Doom Fest in Memphis.
Full Show Track List:
Battle Of the Bands Top Six Winners:
1 – Trivan – CROWNED WITH DREAD AND POWER
2 – Mistress – Terrified eyes
3 – Soul Of Sheol – Paradise Is Not For Us
4 – Voidmaker – Of Digital Creation
5 – Solitary Sanity – Andromeda
6 – The Pharmacist Pageant – BloodAndInk
The Zach Moonshine Intro
7 – Ola Englund – Game Over/World Rift
8 – Feared – Song Of The Dead
9 – Power Trip – Precinct 3/Scavenger
10 – Blind Illusion – Smash the Crystal
11 – Plusminuszero – WASTED
12 – Down – The Myth/Blood Oath
13 – Motorhead – Ace Of Spades
14 – Tony Iommi – Stormwatcher
15 – Black Altar – Qliphotic Death Acolyte
16 – Ruined God – KINGDOM OF DISEMBOWELMENT
17 – Stonewielder – The Needle
18 – Ninja Witch – Star Ghost
19 – Burnt Witch – We Hate You – (Electric Wizard Cover)
20 – Orchid – Black Funeral/Silent One
21 – The Oath – Night Of The Demon (DEMON cover)
22 – Wino – Secret Realm Devotion
23 – Noctum – Liberty in Death/The Revisit
The Obsessed – Interview archive 2017 featuring The Way She Fly/Punk Crusher
24 – The Gates of Slumber – Death March/The mist in the mourning
25 – Hour Of 13 – Soldiers Of Satan
26 – Watain – Stellarvore/A Fine Day to Die (Bathory cover)/Fuck Off, We Murder (GG Allin Cover)
27 – B.A.I.B. – Dance With The Devil
28 – Awaiting Abigail – Backstabber
29 – Zach Moonshine – Barbarian/Elizabeth/The Devils Whiskey
Streaming now on Mixcloud!

Check out the interview archive here: 
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Super massive shout out to the 124,342 metal maniacs from around the world who tuned in to the live broadcast Friday night on Metal Devastation Radio!

DELTA DOOM FEST TAKES OVER MEMPHIS: A NIGHT OF DOOM, UNDERGROUND METAL, AND A SURPRISE WINO FLASHBACK

Metal Devastation Radio celebrates Delta Doom Fest with a doom-heavy Zach Moonshine Show, a classic 2017 interview with Wino, and an unforgettable weekend of underground metal in Memphis.
Sometimes the best moments happen when you least expect them.
Friday night, we fired up the Zach Moonshine Show on Metal Devastation Radio for an unofficial Delta Doom Fest pre-party. There were no interviews scheduled, no elaborate plans, just a whole lot of heavy music, deep cuts, and excitement for the killer lineup heading to Memphis the following day.
We were digging into some classic doom, including music from the legendary Wino, when someone in the chat room suggested it would be cool to get him on the show.
I laughed and told them we’d actually interviewed Wino back in 2017. Naturally, I had to dig through the archives and bring that conversation back to life. What started as a night celebrating Delta Doom Fest turned into an unexpected trip down memory lane with one of the most influential figures in doom metal.
But that was just the cherry on top.
The real celebration was all about the underground, the bands, the friends, and the community that keeps this scene alive. We played music from several bands scheduled to perform at Delta Doom Fest, building the anticipation for what turned out to be one hell of a show in Memphis the next day.
And when Saturday rolled around, Delta Doom Fest delivered in every way that matters.
DELTA DOOM FEST: AN INCREDIBLE NIGHT FOR THE UNDERGROUND

Saturday brought us to Memphis for Delta Doom Fest, featuring a lineup packed with heavy riffs, crushing tones, and bands representing the best of the underground doom scene.
Ninja Witch, Red Sun Sermon, Stonewielder, Ponddigger, Megaton Communion, Burnt Witch, and Ruined God all brought their own sound and energy to the stage. Every band crushed it, the sound was amazing, and the atmosphere was exactly what you hope for when you head out to support an independent metal show.
Beyond the music, one of the best parts of the night was reconnecting with old friends and making plenty of new ones. That’s what makes these events special. It’s not just about standing in front of a stage and watching bands play. It’s about the people, the conversations, the shared love of heavy music, and the community that continues to keep this scene alive.
Huge thanks to everyone who put Delta Doom Fest together and everyone who came out to support the bands. Putting together an event like this takes time, effort, and people who genuinely care about the music and the scene.
Memphis showed up, the bands delivered, and everybody had a hell of a time.
And speaking of doom, let’s rewind to Friday night, when an unexpected trip into the Metal Devastation Radio archives gave us another reason to celebrate the music and the people who helped build this scene.
A SURPRISE TRIP INTO THE METAL DEVASTATION RADIO ARCHIVES: WINO ON A LIFETIME OF DOOM

While digging through classic doom tracks during Friday night’s unofficial Delta Doom Fest pre-party, we found ourselves revisiting the music of Scott “Wino” Weinrich, one of the most influential musicians in the history of underground heavy music.
That led to a suggestion from someone in the chat room about getting Wino on the show.
The funny part? We’d already done it.
Back in 2017, we had Wino on the Zach Moonshine Show, and the original interview was sitting there waiting to be rediscovered. With the show already leaning heavily into doom metal, it was the perfect opportunity to pull that conversation out of the archives and give it another spin.
Listening back reminded us why Wino’s story is worth revisiting. His dedication to music, his early influences, the evolution of The Obsessed, and his thoughts on the doom and stoner rock underground all made for a conversation that still resonates years later.
It was an unexpected bonus during a show built around celebrating Delta Doom Fest, and it fit the night’s atmosphere perfectly.
A LIFE DEDICATED TO ROCK AND ROLL

For Wino, music has never been just a hobby or a career. It’s a calling that has shaped his entire life, and he spoke about that responsibility with the conviction you’d expect from someone who has spent decades creating music on his own terms.
“I’ve lived my entire life to play rock music. I believe that I was given a birthright and that it is my duty to bring music to enrich people and uplift people in their lives and mine also.”
That statement gets to the heart of what makes Wino such a compelling figure. His music has always carried a sense of purpose, whether through the crushing riffs of The Obsessed, his work with Saint Vitus, or his contributions to the broader doom and stoner rock landscape.
For Wino, heavy music is more than volume and distortion. It’s something that connects people, gives them an outlet, and stays with them long after the amps go silent.
That dedication is something you can hear throughout his work, and it’s a philosophy shared by many of the musicians who continue to build the underground today.
THE BLACK SABBATH SHOW THAT CHANGED EVERYTHING

Every musician has an origin story. For Wino, one of the defining moments came when he was just 13 years old.
“I saw Black Sabbath on my 13th birthday in ’72… in between Paranoid and Master of Reality. That completely changed my life.”
Think about that for a second. A young kid walks into a Black Sabbath concert in 1972, right in the middle of the band’s legendary early run, and experiences something that would help shape his entire future.
The importance of that moment goes beyond childhood fandom. Black Sabbath helped establish the musical language that doom metal would continue to develop: massive riffs, dark atmospheres, blues-based heaviness, and a willingness to slow things down until every note feels like it weighs a ton.
Wino took that inspiration and helped build something of his own. His playing and songwriting would go on to influence countless bands that followed, proving that the seeds planted by those early Sabbath records could grow into an entire underground movement.
It’s a reminder that the music we discover when we’re young can stay with us for a lifetime, shaping not only what we listen to but what we create.
THE OBSESSED: WHEN THE CHEMISTRY FINALLY CLICKED

The history of The Obsessed is a major part of Wino’s legacy, and the 2017 conversation offered insight into the band’s return and the circumstances that helped bring the lineup together.
Reunions had happened before, but something was missing.
“I did a couple test reunions over the years, but the chemistry never felt 100% right until me and Brian hooked up again… we had a kind of an accidental jam, if you will, and that’s when the seed was planted.”
Sometimes the best things happen without a master plan. One jam, the right people in the room, and suddenly the spark is back.
That chemistry matters. You can rehearse until your hands bleed, but there’s something different about a band that genuinely connects when the instruments come out. With The Obsessed, that connection helped reignite a project with deep roots in American doom metal.
The band’s return also represented something important for longtime fans: another opportunity to experience the music of a group whose influence had grown far beyond its original audience.
For musicians who have spent decades working together, stepping away and reconnecting can bring a new perspective. Sometimes the timing simply has to be right.
VINTAGE GEAR, MODERN RECORDING, AND A $30,000 MICROPHONE

Wino also talked about the recording process, describing a studio environment that combined modern technology with the kind of vintage equipment that makes gearheads stop and pay attention.
Working with engineer Frank Marra, known as “The Punisher,” the band had access to a high-end digital recording facility while still embracing the character of classic recording equipment.
“We had the best of both worlds… state-of-the-art digital recording facility with kick-ass vintage gear. I was singing into a $30,000 World War II era German microphone.”
A $30,000 microphone? That’s one hell of a piece of studio equipment.
But the interesting part isn’t simply the price tag. It’s the approach. Modern recording technology offers precision and flexibility, while vintage equipment can bring its own character and personality to a performance.
The goal isn’t to chase nostalgia for its own sake. It’s to capture a sound that feels alive, powerful, and true to the music.
Wino also described the attention paid to individual recording details, including selecting custom snares for different tracks. Those choices reflect the kind of care that can make a record feel cohesive without making every song sound exactly the same.
For music built around tone, texture, and atmosphere, those details matter. The right equipment can help, but it still comes down to the musicians, the performances, and the people behind the recording desk.
THE GODFATHER OF DOOM? WINO GIVES CREDIT WHERE IT’S DUE

Wino’s influence on doom metal and stoner rock is difficult to overstate. His name frequently comes up whenever people discuss the architects of underground heavy music, and generations of musicians have drawn inspiration from his work.
Still, he approached the subject with humility.
“I’m very honored to be named as an influence… People call me the Godfather of Doom or whatever, but of course, we all know that’s William Snider.”
That last line carries a little humor, but it also says something about Wino’s perspective on the scene.
Heavy music wasn’t built by one person. It’s a lineage of musicians, promoters, record labels, artists, and fans who kept the sound alive, often without mainstream recognition or much financial reward.
Wino also acknowledged Frank Kozik, the influential artist and founder of Man’s Ruin Records, when discussing the development of the scene.
Man’s Ruin became an important name in underground stoner rock, releasing music that helped connect bands and listeners across the heavy underground. The scene grew through those connections, with musicians building on what came before them while creating something new.
Wino may be one of the names most closely associated with that legacy, but his willingness to recognize the people around him is a reminder that underground music has always been a collective effort.
That’s part of what makes festivals like Delta Doom Fest so important. They provide a place for bands to carry that tradition forward, for fans to discover new music, and for the community to keep growing.
A SETLIST BUILT FOR THE DIEHARDS

At the time of our 2017 interview, The Obsessed were preparing for an extensive run of live dates, with a setlist designed to satisfy longtime followers while showcasing the band’s newer material.
“We’re playing a pretty long set… playing six or seven songs off the new record, and then we’re playing the rest old stuff too—going all the way back to the first test single.”
That sounds like the kind of setlist longtime fans dream about: new material alongside deep cuts reaching back through the band’s history.
For a band with The Obsessed’s catalog, there’s no shortage of ground to cover. Balancing new songs with older material gives fans a chance to hear where the band is going while reconnecting with the music that helped establish its reputation.
The tour discussed in the interview was also set to feature support from Karma to Burn, Lowrider, Weedeater, and Primitive Man. That’s a serious lineup of heavy hitters, bringing together different corners of the doom and stoner metal underground.
It was another reminder that the scene Wino helped influence had grown into a thriving community of its own.
KEEPING THE UNDERGROUND ALIVE

Looking back on the weekend, there’s a common thread running through the Delta Doom Fest experience and our rediscovered conversation with Wino: the importance of keeping underground music alive.
Friday night’s show was an opportunity to celebrate the music, revisit an old interview, and get people fired up for the festival. Saturday brought the community together in Memphis for a night of crushing performances, great sound, and the kind of atmosphere that makes independent metal shows worth traveling for.
The Wino interview was never the main event. It was an unexpected bonus that fit perfectly into the celebration.
But revisiting that conversation also reminded us how much the underground owes to the musicians who helped establish its foundations. The bands playing clubs and festivals today are part of a tradition built over decades by people who believed in the power of heavy music, often long before the rest of the world caught on.
The influence of Black Sabbath, The Obsessed, Saint Vitus, and countless other pioneers can still be heard in the riffs coming from stages across the country.
And the next generation is out there right now, building on that legacy, one show and one crushing riff at a time.
Huge thanks to everyone who put Delta Doom Fest together, all the bands who performed, and everyone who came out to support the underground. It was an incredible weekend, and we’re already looking forward to the next one.
If you missed Friday night’s Zach Moonshine Show, catch the broadcast featuring our Wino interview flashback, deep doom cuts, and music from bands who hit the Delta Doom Fest stage.
Dig into the archives, crank up the volume, and pay respect to the legends who helped pave the way.
Stay heavy. Support the underground. Keep doom alive.
The Wino interview was originally recorded in 2017 for Metal Devastation Radio and was revisited during the October 2026 Zach Moonshine Show broadcast ahead of Delta Doom Fest in Memphis.
Full Show Track List:
Battle Of the Bands Top Six Winners:
1 – Trivan – CROWNED WITH DREAD AND POWER
2 – Mistress – Terrified eyes
3 – Soul Of Sheol – Paradise Is Not For Us
4 – Voidmaker – Of Digital Creation
5 – Solitary Sanity – Andromeda
6 – The Pharmacist Pageant – BloodAndInk
The Zach Moonshine Intro
7 – Ola Englund – Game Over/World Rift
8 – Feared – Song Of The Dead
9 – Power Trip – Precinct 3/Scavenger
10 – Blind Illusion – Smash the Crystal
11 – Plusminuszero – WASTED
12 – Down – The Myth/Blood Oath
13 – Motorhead – Ace Of Spades
14 – Tony Iommi – Stormwatcher
15 – Black Altar – Qliphotic Death Acolyte
16 – Ruined God – KINGDOM OF DISEMBOWELMENT
17 – Stonewielder – The Needle
18 – Ninja Witch – Star Ghost
19 – Burnt Witch – We Hate You – (Electric Wizard Cover)
20 – Orchid – Black Funeral/Silent One
21 – The Oath – Night Of The Demon (DEMON cover)
22 – Wino – Secret Realm Devotion
23 – Noctum – Liberty in Death/The Revisit
The Obsessed – Interview archive 2017 featuring The Way She Fly/Punk Crusher
24 – The Gates of Slumber – Death March/The mist in the mourning
25 – Hour Of 13 – Soldiers Of Satan
26 – Watain – Stellarvore/A Fine Day to Die (Bathory cover)/Fuck Off, We Murder (GG Allin Cover)
27 – B.A.I.B. – Dance With The Devil
28 – Awaiting Abigail – Backstabber
29 – Zach Moonshine – Barbarian/Elizabeth/The Devils Whiskey
Streaming now on Mixcloud!

Check out the interview archive here: 


Super massive shout out to the 124,342 metal maniacs from around the world who tuned in to the live broadcast Friday night on Metal Devastation Radio!

British thrash metal crew HELGRIND have signed with Time To Kill Records for the release of their new album, Shadows of Souls.

Featuring ten new tracks, the record captures a band shaped by decades of experience both in the studio and on stages across the UK and Europe, delivering a focused, hard-hitting take on thrash metal. Its track-list alternates between high-speed assaults and more elaborate compositions, with a notably bleak atmosphere reflecting the troubled times we live in. Meticulous riff work and seasoned performances drive the album, drawing on the classic traditions of American and German thrash while injecting leaner, more direct passages with a punk-inspired edge.

Shadows of Souls marks the next chapter in a career that began in 2000 and has seen HELGRIND steadily build their reputation through releases and relentless touring.

Further details about the album, including its release date and first audio previews, will be announced in the coming weeks.

Biography:

Formed in the UK in 2000, HELGRIND emerged during a period when thrash metal was losing ground in the mainstream, developing an aggressive, punk-inflected take on the genre that helped them establish a loyal following across the British and European underground. After several years of live performances, the band released their debut album Denial in 2005, laying the foundations for a career built on relentless riffing, uncompromising energy and a strong connection with their audience.

The group continued to refine their sound with the Fallen Prophet EP in 2007 and the second full-length, Religious Persecution, in 2008, introducing melodic and clean guitar passages alongside their thrash metal foundations. Their third album, Inquisition, followed in 2010, while Insurrection, written in 2015, was eventually released in 2021 through Metal Rocka Records after a lengthy delay caused by label disagreements.

Extensive touring has remained central to HELGRIND‘s history, taking them across the UK and continental Europe through festival appearances and headline shows. Despite the interruption caused by the COVID-19 pandemic and a serious accident that required vocalist Paula Nelson to relearn how to walk, the band returned to the stage in 2022 and continued to build momentum.

In 2024, they recorded their fourth studio album, “Shadows of Souls”, a ten-track collection conceived as a fast, heavy and unrelenting statement. New material was road-tested in Germany, Austria and the UK in 2025 and 2026, as the band prepared for their next chapter.

Line-up:

Paula Nelson – Vocals
Simon James Ellis – Lead Guitar
Rob Stedman-Lloyd – Lead Guitar
Michael Worsley – Bass
Michael O’Neill – Drums

HELGRIND:

https://helgrinduk.bandcamp.com/

https://www.instagram.com/helgrindmetal/

https://www.facebook.com/HelgrindUK/

Time To Kill Records:

https://timetokillrecords.bandcamp.com/

https://www.instagram.com/timetokillrecords/

https://www.facebook.com/timetokillrecords/

https://timetokillrecords.com/

Confirming speculation sparked by mysterious Los Angeles projections over the weekend

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