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Will Ramos, the man who redefined deathcore vocals with Lorna Shore, has once again shifted the goalposts. In a move that highlights his incredible melodic range, Ramos has released a professional studio cover of “The Line”—the Twenty One Pilots track from the Arcane (League of Legends) soundtrack. This “evolved” version marks a significant melodic milestone for the vocalist, proving he is far more than just a “demon-voice” screamer.

A Familial Collaboration: The Evolution of ‘The Line’

This isn’t just a casual home recording. The cover is a massive collaboration between Will Ramos and his Lorna Shore bandmate, guitarist Andrew O’Connor. O’Connor didn’t just play on the track; he handled the full instrumentation, production, mixing, and mastering, creating a cinematic backdrop for Ramos’ clean vocals.

“Hey yall! Back again with another cover from one of my favorite newly animated series, Arcane,” Ramos shared on social media. “For those of you that have listened to the first version on my Patreon, this is the newly evolved and finished version of ‘The Line’ by 21 Pilots.”

The accompanying music video takes a sharp turn away from the typical “forest and blood” deathcore aesthetic. Filmed at Englishtown Raceway Park, the video celebrates car culture and drifting, featuring special thanks to Kansei Wheels and MA Motorsports.

We Also Recommend – Lorna Shore Albums Ranked: From 2015 Deathcore Roots to the Latest ‘Everblack’ Mastery

Catch Will Ramos and Lorna Shore Live in 2026

While the cover showcases a softer side, Ramos is currently back on the road delivering his signature brutal intensity. Lorna Shore is in the midst of a packed North American schedule, including headlining dates and a massive summer slot supporting Motionless In White.

Get your tickets here.

Headlining Dates (w/ Paleface Swiss & Signs of the Swarm)

• 04/22 – Bozeman, MT @ The ELM
• 04/24 – Edmonton, AB @ Edmonton Convention Centre
• 04/25 – Calgary, AB @ Grey Eagle Event Centre
• 04/27 – Winnipeg, MB @ Burton Cummings Theatre
• 04/29 – Green Bay, WI @ EPIC Event Center
• 05/01 – Waukee, IA @ Vibrant Music Hall
• 05/02 – East Moline, IL @ The Rust Belt
• 05/03 – Wichita, KS @ The Cotillion
• 05/04 – Kansas City, MO @ The Midland Theatre

Summer Tour (Supporting Motionless In White)

• 07/14 – Bridgeport, CT @ Hartford HealthCare Amphitheater
• 07/18 – Bristow, VA @ Jiffy Lube Live
• 07/21 – Charlotte, NC @ Truliant Amphitheater
• 07/31 – Los Angeles, CA @ The Kia Forum
• 08/09 – Morrison, CO @ Red Rocks Amphitheatre
• 08/15 – Sterling Heights, MI @ Michigan Lottery Amphitheatre

Check This Out – Who Is Will Ramos? The Private Life, Viral Shock, and History of the Lorna Shore Singer

Analysis: Why This Cover Matters for the Genre

Will Ramos continues to be the primary bridge between extreme metal and the mainstream alternative world. By tackling artists like Twenty One Pilots, Sleep Token, and Bring Me The Horizon, Ramos is effectively “de-stigmatizing” deathcore for a younger, broader audience. His ability to switch from melodic sensitivity to “To the Hellfire” levels of intensity in the same breath is why he remains the most discussed vocalist in modern metal.

For more updates on Will Ramos and the latest in the metal scene, stay tuned to LoadedRadio.com or listen to the Loaded Radio Daily Podcast.

TL;DR

• Will Ramos releases a clean-vocal cover of twenty one pilots’ “The Line” from Arcane.
• Produced and performed alongside Lorna Shore guitarist Andrew O’Connor.
• Lorna Shore is currently on a North American headlining tour through May.
• The band joins Motionless In White for a massive summer amphitheater run.

The post Will Ramos Ditches the Gutturals: Lorna Shore Frontman Stuns Fans with Melodic Twenty One Pilots Cover appeared first on Loaded Radio.

An English singer and guitarist, he wrote classic-rock mainstays like “Feelin’ Alright?” and “Only You Know and I Know.” He also had a successful solo career, singing “We Just Disagree.”

D. Edge comes through with TVLK THVT TVLK, a sharp, bar-heavy hip-hop cut built on confident delivery and razor-edged wordplay. Driven by theycallmeParker’s crisp, minimal production, the track leaves space for layered punchlines, slick sports and cultural references, and dynamic cadence switches that keep things engaging from start to finish. There’s a clear Brooklyn energy in its DNA—gritty yet controlled—balancing attitude with technical precision. With strong replay value and a steady rhythmic bounce, TVLK THVT TVLK stands as a bold statement of style, skill, and lyrical intent.

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ALT BLK ERA have shared the final single from their upcoming EP ‘My World’, showcasing everything wonderful about their genre-smashing sound.

It’s called ‘Silhouettes In The Mirror’, and it’s the perfect example of why this duo are at the centre of so much buzz right now. Melding an alt-rock intensity with high-energy electronica and some deeply infectious hooks, it’s another absolute smash from the pair with a vital message at its core.

On the track, Nyrobi Beckett-Messam has shared:

“We wrote this song because the level of violence and injustice we are witnessing feels so disorientating. The chaos and turmoil has an impact on all of us and we have to ask what have we become as a people? ‘Silhouettes In The Mirror’ shows how this exposure shapes us and how it leads us to see distorted reflections of ourselves because of the impact of a distorted world”

The track is set to appear on the band’s upcoming EP ‘My World’, which will be released on May 22 via LAB Records. It will also feature previously released tracks ‘Tissues’ and ‘Lost In The Back Of My Mind’.

The duo will also be hitting the road across the UK to celebrate the EP’s release. Here are the dates:

MAY

21 – LONDON Islington Academy
22 – LEEDS The Wardrobe
24 – GLASGOW The Garage (G2)
27 – MANCHESTER The Deaf Institute
29 – BRISTOL Thekla
30 – NOTTINGHAM Rescue Rooms

The post ALT BLK ERA Drop Hypnotic Single ‘Silhouettes In The Mirror’ appeared first on Rock Sound.

The connection between rock music and cannabis runs deeper than the stereotypes suggest. It’s not just imagery and backstage stories; it’s a decades-long cultural dialogue that shaped songwriting, album cover aesthetics, concert experiences, and the broader public conversation about both … Continue reading →

The post Rock Music and Cannabis: A Cultural History of an Enduring Pairing appeared first on DMME.net.

The End bring the brooding melancholia of a Massive Attack and the technocrat digi dark energy of New Order.

The post The End ‘California Dreaming’ : album review appeared first on Louder Than War.

Volthalla’s Ultra Mercury is a driving, cinematic instrumental that thrives on tension and momentum. Rooted in synthwave but stretching into darker industrial and IDM territories, the track unfolds in evolving movements, gradually building intensity through layered textures and pulsating rhythms. Its spacious production allows each sonic element to breathe, creating a hypnotic atmosphere that feels both futuristic and introspective. Moody yet propulsive, Ultra Mercury plays like a late-night journey through neon-lit landscapes—an immersive electronic piece that balances precision, emotion, and raw energy with striking control.

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Casey have announced a run of shows to celebrate the 10th anniversary of debut album ‘Love Is Not Enough’.

The band will be playing a handful of shows across the UK and Europe, and they’ll be playing the album in full at each one.

Support on all dates will come from Downswing, and a donation from each UK ticket will go to the charity Rise Above Cancer.

Check out the full list of dates below:

SEPTEMBER

22 – LONDON Scala

23 – GLASGOW Slay

24 – CARDIFF The Globe

OCTOBER

1 – COLOGNE Die Kantine

2 – SAARBRUCKEN Garage

3 – VIENNA Flex

4 – LEIPZIG Werk 2

Tickets will be on sale this Friday (24 April) at 10am GMT.

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The post Casey Announce 10th Anniversary Shows For ‘Love Is Not Enough’ appeared first on Rock Sound.

Rosie Frost dives into cinematic intensity with The Conqueror of Caelid, a melodic metal track that channels the epic scale and emotional weight of its Elden Ring inspiration. Blending atmospheric passages with crushing guitars, the song builds momentum as it unfolds, erupting into powerful riffs and dynamic shifts that mirror the tension of a boss battle. There’s a strong balance between heaviness and melody, with expressive vocals adding depth to its dramatic arc.

Both immersive and adrenaline-fueled, The Conqueror of Caelid stands as a bold fusion of gaming mythology and modern metal energy.

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Straddling the line between power metal and thrash, Anubis returns two years removed from their debut to unveil full-length follow-up Anthromorphicide. According to the promo materials,¹ this translates to ‘the death of the human form,’ with Anubis mastermind Devin Reiche (Hatchet) clarifying that Anthromorphicide captures a band in flux as they ‘evolve in real time.’ Anubis formed back in 2018, and between then and now, they’ve released six EPs as well as 2024 LP Dark Paradise. The band maintains a steady course with Anthromorphicide, yet power thrash is niche enough that newer bands struggle to escape comparisons to its cornerstones (namely, Iced Earth). Given Anubis’ claim of continuously maturing their sound, how far do they extend past the limits imposed by themselves and the genre?

Anthromorphicide brims with influences and inspirations, yet Anubis transcends mere mimicry. Instead, they call upon dozens of bands to inform a love letter to the fusion of power and thrash. Most immediately, Anubis’ theatrics remind me of Helloween, with Reiche’s vocals sidling comfortably between Kiske and Mystic Prophecy’s R.D. Liapakis. Musically, Anthromorphicide traverses a varied landscape, covering the likes of Kreator’s rabid power thrash attack (“Anthromorphicide,” “Reptile Eyes”), Persuader’s sprightly riffing (“Nuclear Dawn”), and DragonForce’s knack for hooky choruses and histrionics (“Celestial,” “Battalion”). And going back to Iced Earth, “Ancient at Birth” could slot nicely into one of the Something Wicked installments. Even with all these reference points, though, Anubis manages to craft an engaging affair that injects the familiar into an original and diverse collection of songs.

Considering the lineup turbulence Anubis has weathered, Anthromorphicide evinces a natural progression. Each of their releases combines power metal’s anthemic songwriting with thrash’s chugs and aggressive riffing, and while Anthromorphicide is no different, it feels more vibrant and deliberate. Fun abounds when songs strong-arm listeners into singing along, such as the “Moonchild”like opening to “Ancient at Birth” or the candy-coated, synth-driven bop “My Favorite Cage,” elevated by Zhariah’s guest vocals. Anthromorphicide isn’t chintzy, singalong cheese, though, and Anubis adds plenty of heart and grit into the formula. “Celestial” conjures Follow the Blind-era Blind Guardian with kinetic drumming and furious riffing, while longtime bassist Will Buckley buffets with his buttery bottom-end. “The Arcanist” in particular highlights Buckley’s fluid grooves, recalling D.D. Verni’s (Overkill) in-your-face aesthetic. Through it all, Ulises Hernandez (Judicator) flits and wails in tandem with returning guitarist Justin Escamilla, ensuring a dual-axe flurry that rarely misses.

Anubis shimmers during Anthromorphicide’s best moments, yet small snags hold it back. The first and final thirds of the album bristle with energy and deft execution, but the middle third sags compared to the bookends. The opening triad purrs with engrossing riffs and memorable melodies, but “The Fire Inside” slows proceedings with a seven-minute ballad that stalls Anthromorphicide’s momentum. Slow, contemplative numbers have their place, but just because it’s slow doesn’t mean it should be long. Paces accelerate from there, but it’s not until “My Favorite Cage” that I’m properly back in the groove. And that’s not to suggest that the intervening songs aren’t good, mind—just that they lack the show-stopping moments needed to reignite the flames left smoldering after “The Arcanist.” On the production front, Anthromorphicide sounds a bit thin and glossy. The bass drum and toms, contributed by David Velez, work well, but the cymbals get buried in the mix while the snare sounds flat and lifeless. Anubis commits no glaring sins, but the sum total of the minor gripes inhibits the album’s staying power.

A single listen through Anthromorphicide exposes Anubis’ sturdy songwriting and technical chops, and my appreciation grows with each spin. Anthromorphicide presents a crisp forty-two minutes of power thrash drama that’s easy to get lost within, and despite its flaws, rewards return visits. Although Anubis weaves scads of references together, each track possesses a core identity, and while some are more memorable than others, it gives Anubis a secure foundation to build upon. If they can preserve what works, with a few small tweaks, Anubis could tip the scales and unload an undeniable power thrash triumph with their next outing.

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Rating: Good
DR: 6 | Format Reviewed: 192 kbps mp3
Label: M-Theory Audio
Website: Bandcamp
Releases Worldwide: April 24th, 2026

The post Anubis – Anthromorphicide Review appeared first on Angry Metal Guy.