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  • Somnent – Share New Track And Lyric Video

    “King Of Ruin”, the final advance single from the Somnent‘s soon-to-be-released third LP Heirloom, has debuted online in the form of a lyric video. The latter was filmed and edited by Radiana Piț.
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  • Complete List Of Parker McCollum Songs From A to Z

    Parker McCollum songs

    Parker McCollum emerged from the Texas country scene with a voice that could deliver a bruised-heart ballad as convincingly as a loud, guitar-driven country rocker. Born in Conroe, Texas, McCollum began writing songs as a teenager and built an independent following through performances around the state. His early music drew on traditional country, Americana, Texas songwriting, and the influence of rock music, giving his songs a combination of polish and rough edges that connected with fans. His first EP, A Red Town View, arrived in 2013, followed by the full-length debut The Limestone Kid in 2015. With Probably Wrong in

    The post Complete List Of Parker McCollum Songs From A to Z appeared first on ClassicRockHistory.com.

  • Lamb Of God’s Randy Blythe deleted his social media accounts to avoid trolls

    Lamb Of God frontman Randy Blythe has confirmed he has deleted his social media accounts, telling internet trolls “you don’t exist.”

    The vocalist says online criticism of him or his band is no longer a concern since he came off of all major social media platforms.

    He only communicates with fans online via his Substack, which requires a paid subscription.

    Asked by The Break Down With Nath & Johnny how he feels when people post negative comments online, Blythe says: “They can’t, because I deleted my social media.

    “Bad news for you guys. You don’t exist. I’m not on social media.

    “I have a Substack, but only paid subscribers can comment. Beause if you’re gonna insult me, you gotta pay me. And then I’m gonna still block you.

    “But you’re still paying me. Pay me, motherf***er. This is a business.”

    Meanwhile, Lamb Of God have released pro-shot footage of them performing the track Blunt Force Blues during their headline slot at Bloodstock festival in the UK in August.

    Metal Hammer’s review of the set says the band’s live energy and performance levels “set the bar for live metal” music.

    Lamb Of God released their latest album Into Oblivion earlier this year.

    Lamb of God live dates 2026/2027

    Oct 30: Headbangers Boat, Miami, FL
    Dec 05: Knotfest, Mexico City, Mexico

    Jan 16: Manchester AO Arena, UK
    Jan 17: Glasgow OVO Hydro, UK
    Jan 19: Dublin 3Arena, Ireland
    Jan 22: BP Pulse Arena, Birmingham, UK
    Jan 23: London The O2, UK
    Jan 26: Dusseldorf PSD Arena, Germany
    Jan 27: Hamburg Barclays Arena, Germany
    Jan 29: Lodz Atlas Arena, Poland
    Jan 31: Budapest Barba Negra, Hungary
    Feb 02: Munich Olympiahalle, Germany
    Feb 04: Stuttgart Hanns-Martin-Schleyer-Halle, Germany
    Feb 06: Luxembourg Esch-sur-Alzette, Luxembourg
    Feb 07: Amsterdam AFAS Arena, Netherlands
    Feb 08: Brussels Vorst National, Belgium
    Feb 10: Paris Accor Arena, France
    Feb 12: Zurich Hallenstadion, Switzerland
    Feb 14: Vienna Arte Hotel Wien Stadthalle, Austria
    Feb 16: Berlin Uber Arena, Germany
    Feb 17: Copenhagen Royal Arena, Denmark
    Feb 19: Fornebu Unity Arena, Norway
    Feb 20: Stockholm Avicci Arena, Sweden
    Feb 22: Helsinki Veikkaus Arena Parkhallen, Finland
    Jul 25: Soldier Field, Chicago, IL

  • Septicflesh – To Tour Poland With Decapitated

    Septicflesh and Decapitated are to embark on their co-headline ‘The Final Assault Tour’ in Poland next March. Joining them on the road as support are going to be Frontside and Damnation.
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  • Butcher Babies / Nightbloom: Survival, Reinvention And A New Era

    Butcher Babies enter a bold new chapter with Nightbloom, embracing melody, resilience and reinvention.

    During my recent conversation with Heidi Shepherd, one word surfaced repeatedly while discussing the new Butcher Babies album, Nightbloom. Survival.

    Butcher Babies – Nightbloom

    Release Date: Out Now

    Words: Rhys Tagg

    Heidi Shepherd explained that the record was focused on what comes after suffering rather than the suffering itself. Described as “a love letter to my past”, Nightbloom draws from heartbreak, uncertainty and deeply personal experiences.

    Butcher Babies - NIGHTBLOOM, released 2 October 2026 via Judge & Jury Records
    Butcher Babies – NIGHTBLOOM, released 2 October 2026 via Judge & Jury Records

    Opening the album is Lost In Your Touch, one of the singles released ahead of Nightbloom. The opening moments carry some of the aggression longtime fans will recognise immediately, but there is a stronger emphasis on melody this time around, and overall the record is more radio-friendly and heavily produced. 

    The chorus does much of the heavy lifting. The guitars hit with force, while the vocal hook lingers once the track finishes. Anyone coming to Nightbloom expecting the relentless attack of the band’s earlier records may need a little time to adjust.

    That becomes even more apparent on Sincerity. For me, this is where the album really starts to reveal itself. The soaring vocals showcase a cleaner side of Shepherd’s voice that often sits in the shadows behind the band’s heavier reputation. There is still plenty of weight here, but the song succeeds because it gives the melody room to breathe.

    With Carla Harvey no longer part of the line-up, there was always going to be curiosity around how Butcher Babies would sound as a single-vocalist outfit. Credit to Shepherd, she never sounds uncomfortable carrying that responsibility. Nightbloom gives her more freedom to explore different approaches across the record than ever before.

    Howard Benson’s production helps to strike somewhat of a balance, but at times it can be overkill. Overall, the album sounds modern, and there is still enough grit in the guitars to stop the heavier moments from losing their edge.

    Not every experiment lands equally well, as some of the electronic flourishes are more effective on certain songs than others. Broken & Beautiful benefits from its electronic opening because it immediately grabs attention and establishes its own identity. Are You Waiting Up arrives at exactly the right moment in the running order, slowing the pace and allowing the record some breathing room.

    Black Clouds Over Georgia caught my attention for different reasons. The heavy electronic introduction initially points one way before Shepherd’s vocal performance takes the song somewhere else entirely. The Southern flavour in her delivery gives the track a distinct personality with her heavy enunciation.

    Lyrically, the strongest material arrives late in the album. I found myself returning to Leaving California more than any other song here. There is a tension running through the track, caught between letting go and holding on. The chorus is huge, the emotion feels earned, and by the time it reaches its conclusion, it is easy to understand why listeners may gravitate towards it.

    If Nightbloom has an overarching anthem, this is probably it, though critically it does suffer from the aforementioned production and radio-ready leaning.

    The album closes with Black Dove, which likely offers the most familiar-sounding track of the lot. After some of the stylistic detours elsewhere, it provides a reminder that the band’s heavier instincts remain.

    Nightbloom will almost certainly divide opinion among sections of the fanbase and wider audience. Some listeners will undoubtedly miss the full-throttle aggression and dual vocals that defined earlier releases.

    Others will welcome the increased focus on melody and songwriting.

    Either way, Butcher Babies sound comfortable in the space they have created for themselves here, and that confidence carries the album a long way.

    Butcher Babies released their new album, NIGHTBLOOM, on 2 October 2026 via Judge & Jury Records. For more details, visit ffm.to/nightbloom. The album single Blame It On The Wind has already surpassed one million Spotify streams.

    The post Butcher Babies / Nightbloom: Survival, Reinvention And A New Era first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.

  • Obsidian Church – ‘Specter Of Despair’ Song Revealed

    Italian epic doomers Obsidian Church have released “Specter Of Despair”, the second single from their upcoming debut album Stonebound.
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  • Fir Bolg – Will Put Out New Full Length Next Month

    French black metal band infused with Celtic mythology, Fir Bolg, will unleash their next full-length effort Triskelion on November 27 through Schwarzdorn Production. The 13-piece music output was engineered and mixed by David Argi. Mastering was handled by Damien Rainaud.
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  • 50 Years In, What’s the Point of U2? Bono and the Edge Have Answers.

    The longtime friends and creative partners on what U2 still means — and what would make them call it quits.

  • Meet Getdown Services, the self-proclaimed best band in Britain

    Getdown Services are enjoying one of those drastic upward surges that rarely happens to new bands. In the past year they’ve toured Australia, New Zealand and America, appeared on Later
 With Jools Holland and been booked for two headline nights at London’s Roundhouse. Harry Styles and Harry Hill are both fans. It’s a long way from the youth centres, skittles alleys and village fĂȘtes of their early gigging years in and around Minehead.

    “We’ve crammed it in this year,” guitar-playing half Josh Law says. “It’s only July and we’ve spanned continents. We’re like migratory birds.”

    “But much, much less beautiful
” co-conspirator/old friend Ben Sadler deadpans.

    That self-aware humour (the duo’s Bandcamp page proclaims them to be “Britain’s Best Band”) is key to Getdown Services’ appeal, combined with biting, socially alert lyrics that invite comparisons to Sleaford Mods and Beastie Boys. But it’s not all snark and beats. They’re audibly rockers at heart, in love with the likes of AC/DC, The White Stripes and T.Rex (so many of Law’s guitar parts are pure Bolan). By turns funny and heartbreaking, acerbic and tender, their new LP Massive Champion reflects it all.

    “We get away with ripping T.Rex off far too much,” Law says, grinning. “But the Sleadford Mods comparisons, I think that happens because of the way we do it live – it’s a laptop and two English guys swearing.”

    Law and Sadler met in middle school, where they played bass and drums in a band with another singer, covering the likes of Blur, White Stripes and Kasabian. Realising the chemistry between them, the pair left to do their own thing. Six years of small gigs, different names and generally feeling out of place followed. Bruised, albeit enthused, they got day jobs and left music for weekends.

    “Josh played banjo in a folk trio, I played drums in an indie band,” Sadler says. “But we’d been so crushed by our experience of being absolute freaks when we were younger, we weren’t so arsed about trying to do it properly again for a while.”

    Covid changed that. Suddenly with time to spare, they restarted and rebranded, free of the pressure to be successful that marred their teens. In time they toured extensively, prioritising overlooked towns. Things escalated.

    For now they’re keeping the guitars ’n’ laptop gig set-up (initially a means to create full sounds on the cheap), filling stages with livewire presence and DIY anthems about real life, everyday insecurities, even love. Music that makes ‘lo-fi’ feel huge.

    “We’ve had to think about whether we’re going to go that way,” Josh says, “or are we going to fill the stage with more people or equipment. But there’s something to be said for less is more.”

    Massive Champion is out now via Breakfast Records. Getdown Services tour the UK in November and December. For dates, visit Seated.

  • Lana Del Rey’s Country Duet and 9 More Songs We’re Talking About

    The singer joins Zach Bryan’s new single, Olivia Rodrigo teams up with Chappell Roan, Fireboy DML vows longevity and more.