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New parts, pride, looks outside windows and more.

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Santa Rosa (CA) – Strap in for an inter-dimensional journey through space and time, fueled by catchy riffs and heavy metal melodies! Coffin Hunters are back! The band is set to release their third full-length album, Cosmic Dawn, on July 17 via Bitter End Records.

A lyric video for the album’s first single, “Skeleton Key,” is available now at:

youtu.be/duaor2P9aY8 

The song is also available on Bandcamp, Spotify, and Apple Music.

Known for passionate and energetic live performances and songwriting, Coffin Huntersdraw inspiration from traditional heavy metal, science fiction and fantasy. On Cosmic Dawn, the band explores themes of death, existentialism, and mythology. Blending classic Rock and Roll hooks and melodies with Heavy Metal energy and attitude, Coffin Hunters are ready to take you from the depths of the grave to the the pinnacles of the cosmos. 

“A chill, fist-bangin’ time will be had by all, as Cosmic Dawnskilfully blends 1970s, ’80s, and ’90s influence into a sleek heavy metal/hard rock hybrid. The biggest musical references are Blue Öyster Cult, Uriah Heep, Manilla Road, Angel Witch, Tank, and a helpful dose of Death for good measure.” – Decibel

Cosmic Dawn will be available on limited edition vinyl LP (250) and CD (500), as well as on digital format.

Pre-order:

coffinhunters1.bandcamp.com/album/cosmic-dawn

Hail to the Coffin Lord! 

Track Listing:

1 – Isle of the Dead

2 – Skeleton Key

3 – Last Nail in the Coffin 

4 – Cosmic Dawn

5 – Give Up the Ghost

6 – Red Horizon 

7 – Blood Moon 

8 – Nightmare Mass 

Line-up:

Vocals – Sean Rivera
Guitars – Eric “Swede” Harriman
Bass – Brian Crites
Drums – Brennan Kunkel

FFO: Judas Priest, Thin Lizzy, Deep Purple, Dio, Crypt Sermon, Night Demon, Blue Oyster Cult 

Album Credits:

All songs written and performed by Coffin Hunters.
All lyrics by Sean Rivera.
Engineered, Mixed, and Mastered by Greg Wilkinson at Earhammer Studios, Oakland, CA.

instagram.com/coffin_hunters

facebook.com/coffinhunters

coffinhunters1.bandcamp.com

open.spotify.com/artist/4CRtLshtoaeVWESm7rM1hs

instagram.com/bitter_end_records

Source: ClawHammer PR

Take in a ‘precursor’.

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Expanding the empire.

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R.I.P..

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Fernando Perdomo 2026 Six-string nocturnes knock compromised tranquility out of the sky to create riveting narrative without a single word. For all the variety of his year-spanning series, always perceived “Waves” and “Clouds” as multi-instrumental vehicles for visually inspired insights … Continue reading →

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Words by Jenn Broich-Smith

There are concerts… and then there are nights that remind you who you are. Thursday night at Frost Bank Center wasn’t simply a stop on Triumph’s long-awaited reunion tour. It felt like a city-wide reunion between San Antonio and a piece of its soul.

For one night, the spirit of classic rock completely took over the building. Leather jackets. Vintage concert shirts. Couples holding each other during power ballads. Fans young enough to be discovering these songs for the first time, standing beside silver-haired rock veterans who originally lived them during the Joe Anthony and KISS FM era.

And somehow, none of it felt dated. It felt timeless. The atmosphere already felt electric by the time the lights dropped for April Wine. The Canadian rock veterans walked onto the stage like seasoned pros who knew exactly what this crowd came to hear. Led by guitarist and vocalist Brian Greenway, the band tore straight into “I Like to Rock,” instantly turning Frost Bank Center into a flashback to 1979.

April Wine’s set was loaded with classics, including “Big City Girls,” “Enough Is Enough,” “Roller,” and the emotionally charged “Just Between You and Me.” It wasn’t hard to imagine these same people hearing the song during first loves, first dances, road trips, and wild nights long before adult responsibilities took over. You could actually feel people reconnecting with younger versions of themselves.

Then came “Sign of the Gypsy Queen,” and everything exploded. The crowd roared during the massive drum breakdown while guitar picks flew through the air and fans screamed the lyrics back toward the stage. Greenway’s guitar tone sounded massive all night, while the band’s dual harmonies remained shockingly tight and powerful. Closing with “Roller,” April Wine left the crowd on its feet and proved exactly why these songs have survived for generations.

More than anything, their performance served as a reminder that rock n roll does not expire with age, and neither do the people who love it!

During intermission, Triumph spotlighted Sounds Unite, the music education initiative founded by drummer Gil Moore alongside Brendan Emmett, son of Rik Emmett, supporting free music education for future generations. It was a meaningful pause before the emotional weight of the night fully arrived. Because when Triumph hit the stage, San Antonio lost its mind.

This wasn’t just another concert stop for the band. San Antonio helped build Triumph’s legacy. Back in the late 70s and early 80s, KISS FM and legendary DJ Joe Anthony (known locally as the Godfather of Rock), championed Triumph long before the rest of the country caught on. The city embraced the band as family, much like it did with Rush, Judas Priest, Scorpions, and countless others during San Antonio’s rise as the Heavy Metal Capital of the World. And Thursday night proved that history still matters here.

Hit after hit, from “Spellbound” to “Hold On,” scenes of San Antonio lit up the massive background screens while the crowd screamed every lyric.

Generations collided everywhere you looked. Small children waving their hands in the air, cheering, sitting beside lifelong fans in vintage band tees and faded jeans. Entire sections stood for nearly the entire show, which, honestly, is not a common sight for an older crowd in these parts. Even the arena suites were packed, giving the building the same kind of energy usually reserved for Iron Maiden or Spurs playoffs.

At 72 years old, Rik Emmett remains an absolute monster on guitar. The second he stepped out carrying his iconic white Flying V while proudly repping the Canadian flag colors across his gear and sporting the red and white motif, the arena erupted. His playing throughout the night wasn’t impressive “for his age.” He proved once again that talent doesn’t fade with age, and neither does the spirit of rock n roll.

It was simply world-class.

During “Rock & Roll Machine,” Emmett delivered one of the most jaw-dropping guitar performances this building has seen in years. The solo twisted through blazing legato runs, jazz phrasing, classical-inspired passages, volume swells, and pure theatrical flair. At one point, he waved his picking hand through the air like a magician conducting chaos before diving right back into impossibly fluid fretwork. It was the kind of solo that reminds you why guitar heroes mattered in the first place.

Meanwhile, Gil Moore sounded phenomenal behind the kit and on vocals, especially during the heavier material. The chemistry between Moore and Emmett remained the emotional center of the performance all night long. Watching the two veterans embrace after extended jams felt bigger than nostalgia. It felt like surviving life together.

The expanded touring lineup also brought fresh energy without sacrificing authenticity. Phil X injected explosive personality into the show, trading solos and harmonized guitar runs with Emmett while Todd Kerns handled vocals and bass duties seamlessly. Brent Fitz absolutely leveled the arena during his drum solo, locking in seamlessly with Gil Moore throughout the night and turning the dual-drummer setup into one of the most explosive and unforgettable sights of the entire show.

And perhaps most importantly, the band never hid behind technology. No obvious backing tracks. No fake perfection. No overproduced shortcuts. Just five musicians standing onstage, earning every moment in real time.

“Lay It on the Line” became one of the night’s biggest sing-alongs as Phil X and Rik Emmett traded vocals and guitar harmonies effortlessly. “Magic Power” sent pyro blasting overhead while thousands sang in unison. Then came the emotional knockout.

“Fight the Good Fight.” As four-part harmonies echoed throughout the arena and the final pyro blasts exploded above the stage, Triumph closed the night in a massive group embrace while San Antonio roared back with gratitude.

But the defining moment may have come earlier when Rik Emmett paused and looked out across the crowd. “San Antonio, you do not disappoint a rock and roll heart,” he told the audience emotionally. “You restore my faith and my hope.” And honestly, judging from the emotion inside that building, the feeling was mutual.

Scrolling through social media the next morning, it was obvious this was far more than just another reunion tour stop. Fans from all over San Antonio and across Texas flooded their feeds with concert photos and emotional captions. Because underneath all the pyro, screaming guitars, and classic rock anthems, this show became about something bigger: Hope. Connection. Youth. Survival.

The reminder that even after all these years, San Antonio still knows exactly how to rock and roll.

The post CONCERT REVIEW: TRIUMPH & APRIL WINE Bring San Antonio Back To Life At Frost Bank Center appeared first on Sonic Perspectives.

The Beartooth singer recently confirmed that he's "a proudly gay man," and now his wife, Fleur, has commented on her husband's announcement and their relationship. Continue reading…

Mob Rules have premiered a new ballad, “Above The Maelstrom”. The song appears on the group’s next EP release [band id=206760], set to land in stores on August 21st.
Read more…

Rick Rozz Talks Left To Die, Early DEATH Demos, Chuck Schuldiner Memories, And The New Album Initium Mortis

Death Metal history is alive and well in 2026, and legendary guitarist Rick Rozz is right in the middle of it.
During a recent appearance on The Zach Moonshine Show on Metal Devastation Radio, the original DEATH and MASSACRE guitarist opened up about Left To Die’s upcoming release Initium Mortis , the resurrection of early Mantas and DEATH demo material, working alongside Terry Butler, Matt Harvey, and Gus Rios, and the legacy of Chuck Schuldiner that still echoes through the underground Metal scene decades later.
For longtime fans of Scream Bloody Gore , Leprosy , and the earliest days of Florida Death Metal, this conversation was pure gold.
Left To Die Revives The Earliest DEATH And Mantas Material

Unlike a standard tribute act, Left To Die digs directly into the roots of Death Metal itself. The band features original DEATH alumni Rick Rozz and Terry Butler alongside Matt Harvey of EXHUMED / GRUESOME and Gus Rios of GRUESOME.
Their upcoming album Initium Mortis , arriving July 17, 2026 via Relapse Records, focuses heavily on the obscure 1983 and 1984 Mantas and DEATH demo era material that many fans only experienced through generations of worn-out cassette tape trading.
According to Rozz, much of the credit for reconstructing those songs belongs to Matt Harvey.


“Matt relearned all the songs from all the old demos. He literally went down the rabbit hole and pulled all those old tunes together.”


Rozz repeatedly praised Harvey throughout the interview, emphasizing how much work went into preserving the authenticity of the original material while making it powerful enough for modern listeners.


“The songs are probably 90% like they were back then. It’s basically a modern sounding demo.”


That approach is exactly why the newly released single “Archangel” feels so unique. The song carries all the raw aggression and primitive chaos of early DEATH recordings while benefiting from modern production clarity.
“Archangel” Captures The Spirit Of Early Death Metal

When asked about the newly released version of “Archangel,” Rozz explained that the mission was never to modernize the songs beyond recognition.
Instead, the goal was preservation.


“Those old Mantas and DEATH demos were recorded on a jam box outside the garage with a towel over it.”


Fans familiar with the earliest DEATH recordings will immediately recognize the influence of Slayer, Venom, and the primitive Thrash roots that helped shape Death Metal itself.
Rozz laughed while discussing how surprising it feels hearing those riffs fully realized decades later.


“I haven’t heard these songs in forever. There’s so much Slayer and Venom influence, it’s crazy.”


The end result sounds less like a nostalgia project and more like an alternate-universe DEATH album finally receiving the production it always deserved.
Rick Rozz Discusses His Classic Death Metal Guitar Tone

For guitar players and gear fanatics, the interview also delivered plenty of insight into Rick Rozz’s iconic tone.
Rozz broke down the exact amp settings and pedal combinations he has used for decades, explaining that his overall setup has remained surprisingly consistent throughout his career.


“Presence all the way up on 10. Treble around two o’clock. Mids scooped completely out. Bass all the way up and gain all the way up.”


He also discussed the impact of vintage BC Rich guitars equipped with onboard preamps, particularly during the From Beyond era with MASSACRE.


“That preamp gave it that extra sizzle.”


Despite experimenting with newer gear over the years, Rozz admitted he always ends up returning to his classic Boss Super OverDrive setup.
Old-school Death Metal players everywhere immediately nodded in approval.
Because some things simply do not need fixing.
Chuck Schuldiner Memories And Life On The Road

While many fans hoped for outrageous tour stories from the early DEATH days, Rozz kept things grounded and honest.
According to him, the reality was far less glamorous and far more human.


“There’s no crazy stories, man. It was just silly kid stuff.”


Instead of destruction and chaos, Rozz shared memories of jokes, hotel room antics, and the tight friendships formed during the earliest years of DEATH and MASSACRE.
One particularly hilarious memory involved Chuck Schuldiner climbing into a baby crib inside a hotel room while the band laughed hysterically.


“Why was there a baby crib in the hotel room with four dudes? I still have the picture.”


The interview revealed a side of the early DEATH era that often gets lost beneath the mythology: young musicians simply having fun while unknowingly creating an entirely new genre.
Left To Die Continues Touring Worldwide

Beyond the album release, Left To Die is also preparing for major international touring throughout 2026.
Rozz confirmed upcoming European festival appearances and South American tour dates scheduled for later this year.


“We’re going to Europe in July and South America in September.”


Demand for the new material already appears massive, with multiple vinyl editions reportedly selling out quickly through Relapse Records shortly after announcement.
For longtime fans of classic Florida Death Metal, the response proves there is still enormous hunger for the roots of the genre.
The Legacy Of DEATH Still Lives

Throughout the interview, Rozz consistently returned to one central idea: respect for Chuck Schuldiner and the original spirit of DEATH.


“It’s all out of respect for Chuck.”


That respect radiates throughout Initium Mortis . Rather than simply replaying old songs, Left To Die is preserving foundational Death Metal history for both longtime maniacs and newer generations discovering these riffs for the first time.
And judging by the reaction to “Archangel,” fans are absolutely ready for it.
Initium Mortis arrives July 17, 2026 via Relapse Records.
Stay tuned to Metal Devastation Radio for more exclusive interviews, underground Metal coverage, and pure sonic devastation.
STAY LOUD.
Buy the record here at this link : https://www.relapse.com/pages/left-to-die-initium-mortis
Full Show Track List: 
Battle Of The Bands Top Six Winners: 
1 – Trivan – Abyss Of Crawling Shadows – (5,135,523 votes)
2 – La Paille – Aeon Dissector – (2,961,562 votes)
3 – Another Demon – Drawn and Quartered feat. James Murphy (Testament, Death, Obituary) – (1,671,781 votes)
4 – NIKOLA’S CAGE – RASCAL – (477,724 votes)
5 – Heidbekka – Völva – (73,940 votes)
6 – Soul Of Sheol – Paradise Is Not For Us – (28,447 votes)
The Zach Moonshine Intro
7 – Ozzy Osbourne feat Type O Negative – Pictures Of Matchstick Man
8 – Dimmu Borgir – AS SEEN IN THE UNSEEN
9 – Violence System – Endmother
LEFT TO DIE – Interview featuring Archangel
10 – Death – Zombie Ritual/Pull The Plug
11 – Inhuman Condition – Executioner’s Tax (Swing Of The Axe)/Whiplash
12 – Six Feet Under – Mister Blood and Guts/Deathklaat/This Suicide
13 – Tyrant – Between the Dirt and The Sky
14 – Nervosa – Ghost Notes
15 – Iron Wings – Snake eater
16 – FROLIC – CELESTIAL AVENTUS
17 – The Phoenix Within – Meat Bags
18 – Vessel of Light – Dead Flesh And Bone
19 – Primal – Infernal Nightmare
20 – VOIDMAKER – The Post Human Emergence
21 – Symphony of Destiny – The Riddle
22 – Algebra – Resuscitation (Live at RKC)
23 – Sweetland – Pariah
24 – INSCRIBED – Machinery of War
25 – Gravehuffer – Custom Of The Sea – (Live)
26 – Anderwelt – Transanimalism
27 – NetherDred – Spellbound
28 – Webb Of Deceit – Hellswithin (Feat. Dave Frost & Jason Aaron Wood)
29 – Burnt Witch – Bastard
30 – Gods & Punks – The Lighthouse
Full show streaming on Mixcloud: 


Also check out the interview segment on YouTube, Spotify etc



Super massive shout out to the 331,317 metal maniacs from around the world that tuned in to the live broadcast Friday night!