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The second single from their upcoming fourth studio album

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Death To All will be celebrating the music of Death with a recently-announced tour of Australia, set to take place in January 2027. Support will come from none other than legendary thrashers Dark Angel, who are continuing to support last year’s Extinction Level Event and reportedly already have been working on new material for another album. Drummer Gene Hoglan will pull double duties for both bands.
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Here’s an unexpected surprise. A new album from Apocalypse. It’s titled Last Man Standing and due out via High Roller Records on 25 September 2026. Our New Wave of British Heavy Metal history reminds us that Apocalypse formed around 1980. They recorded a demo and the well-received Stormchild single back then before changing name to […]

The post Apocalypse: Last Man Standing NWOBHM first appeared on New Wave of British Heavy Metal.

There’s much more than this plane of existence.

Are you willing to listen?

A few years ago, one of the more obscure bands on my year-end list happened to be Germany’s Ch’ahom and their debut full-length LP Knots of Abhorrence. Released via Sentient Ruin Laboratories, I expected some sort of war metal record, and, of course, that’s what I found.

However, the record also ventured into this weird, psychedelic territory — not due to the swirling riffs or wall of sound primarily — but because the songs were indeed seeping some actual DMT or ayahuasca-induced vibes into our little dimension.

Sadly, I did not encounter the machine elves.

Nonetheless, these folks have now signed with 20 Buck Spin for their second album, Anthropic Rites of Sublimation, which has an even more bizarre narrative; this time centered around humanity’s urge toward self-destruction and how that impulse shapes culture. Through themes of sacrifice, mutilation, enslavement, and surrender, it imagines societies built around an impending encounter with annihilation.

HAPPY STUFF, ya know? But also kinda relevant?

Anthropic Rites of Sublimation was unleashed with the single “Cult of Xaman.” In many ways, it keeps the same tone and ferocity as the debut. The tribal drum patterns, vocals sitting just behind the rhythm section and guitars in the mix, and chaotic lead playing maintain that otherworldly tone — think of it as a combination of Timeghoul and Profanatica. Meanwhile, “Reign of Nohol” allows Ch’ahom to incorporate technicality in the vein of Gorguts’ Obscura, built upon a foundation of weird time signatures, ping-ponging between blastbeats and breakneck grooves, all while lathering it up with a juicy bass tone straight out of the ‘Guts playbook.

While not out of the ordinary for contemporary extreme metal bands to incorporate influences from the groups mentioned above, the German outfit finds a way to really capture individuality, and much of that, as you’ll find, lies within the tasteful addition of South American native instrumentation — see “Priests of Lik’in.” I mentioned the drum patterns earlier, but all of that, combined with heavy emphasis on reverb, captures the ritual of sound the band leans into. The cosmic tech-death leads are sick on this track, too, and not to mention the breakdown reminiscent of something off Blood Incantation’s Starspawn weaves its way in there.

Overall, the album sits around 30 minutes, and a third of it lies within the confines of the final track, “Insemination.” The most cinematic offering on the record, throughout the first half, chants of “sacrifice” build up to an atmospheric instrumental break before an onslaught of straight war metal drowns the sound waves, akin to the Sri Lankan cult-favorite Genocide Shrines. From their EPs, demos, and first full-length, this one sounds like everything they’ve been building towards. If there’s any track that truly captures the essence of Ch’ahom, it’s this one. And I understand that isn’t a hot take considering the more than 10-minute runtime. But it’s done really well, especially with the interlude to break things up.

Anthropic Rites of Sublimation is a welcome second full-length from Ch’ahom and, honestly, a pretty damn strong statement from, in my humble opinion, one of the strongest up-and-comers in the scene. They’ve taken what worked on Knots of Abhorrence and expanded on it without losing that weird, ritualistic quality that made the debut so interesting in the first place. It’s chaotic, psychedelic, technical and, at times, just downright strange.

Exactly what the shaman ordered.

There’s much more than this plane of existence, and after two full-lengths, Ch’ahom is getting closer and closer to proving it.

How do I know?

I was just willing to listen.

Are you?

The post Ch’ahom – Anthropic Rites Of Sublimation Review appeared first on Last Rites.

Germany is definitely one of my favorite places to go to for shows and festivals. And also because they have the best bands ever, like Wüstenberg, which I’ve had the pleasure of interviewing during Wacken Open Air.

Benedetta

I’m here with the amazing Wüstenberg. You are playing in the 35th anniversary of Wacken Open Air. How does it feel?

Wüstenberg

Well, it’s insane obviously, because this festival has so many legendary stories. I mean, people all over the world know this festival for obvious reasons. So we’re very lucky that, you know, hard rock gods and metal gods invited us to play at their festival. And I’m fairly sure at this point I got more congratulations messages than for my wedding.

Benedetta

So since you have a lot of experience in playing in live shows, but you also have experience in studio and recording, do you think that the life of an artist is lonely? Is lonely? Yeah.

Wüstenberg

If you want to spend time with your family, yes. If you want to spend time with good people, no. Yeah, I think it depends on in which state you are, because I think you meet so many great people, but you only meet most of them for a short amount of time. In a festival you meet people, you say hi, you drink a beer, and that would be the long version of meeting people. And then you travel further. I mean, it has some loneliness aspects to it, but then again you’re in your band, you’re in your peer group, and those people are closest to you, and most bands I guess for a reason say this is my second family, because you share a lot, you fight a lot, because there’s so much closeness and you have to agree on things. So I wouldn’t say it’s lonely, it’s very special. For me, in a way of looking at it, we are very lucky, because we are traveling with at least 12 people, so it’s a lot of good people around, you’re never lonely, no. And I think a very great aspect of that is, I don’t know if you know the feeling, but when you’re in a group of people, it can drain your social battery a lot, and it feels exhausting. But the great thing is, with this group, it feels like it recharges my batteries. Being with these folks is amazing.

Benedetta

Do you think that we will ever reach equality between men and women in the metal world?

Wüstenberg

Honestly, I don’t have the feeling that it’s unbalanced. I come from classical music, that’s why I know a lot of women, like Anne-Sophie Mutter, or Hilary Hahn, Julia Fischer, those are my idols. For me, it’s not unbalanced. In metal, there are a lot of men, but I can’t really think about it. It’s not my world, that’s why I can’t really think about it. I don’t really know. I think in the last years, it got closer to equality. But I’m not sure if we’re going to reach equality. So, I’m a lot on tour as a sound engineer, which is always like, “What’s going on? A woman on sound?” It’s always like, “Yeah, so what?” I’ve got the same ears as a man. And it gets more accepted. So, I started maybe 10 years ago, and it was way more often to get those questions than it is now. So, I guess we’re getting closer. Yes, definitely. Because, I don’t know why. So, I would at least hope that we get to equality sometime. Metal started off very chauvinistic in the 70s, 80s. The funny side note is that Rob Halford brought in all the looks, and he brought it from the gay scene. But that put aside, it started off very chauvinistic. And for the musicians, it left the heads at least around 2000, with metalcore and stuff. Men came in who weren’t looking at it like that. But as you said, it’s stuck in the heads with promoters, with labels and all that. If they see women, maybe it’s not conscious, but they think it’s not as worthy. And it’s terrible, absolutely terrible. Because women can do everything that men can. I mean, to state it for this year, there was Thundermother, which is a band only of women. I like them very much. They’re more hard rock than metal, I guess. But still, it’s a fantastic band. I guess I would have liked Nightwish too.

Benedetta

Guys, thank you so much for taking the time to do this with me. Is there anything else that you want to add to our readers of FemMetal?

Wüstenberg

Thank you, Benedetta, for having us.

The post “I would at least hope that we get to equality sometime” – interview with Wüstenberg first appeared on FemMetal – Goddesses of Metal.

British blues rock guitarist and singer-songwriter Ben Poole will release his new single, “Time Has No Mercy,” on August 28 via Gypsy Soul Records.

The song is the third single from Poole’s upcoming studio album, Post-Midnight Behaviour, which arrives September 25. The album marks his first studio release of entirely new material in eight years, following 2018’s Anytime You Need Me.

“Time Has No Mercy” takes a more upbeat direction than some of the darker material Poole and his collaborators had been developing for the new record.

“’Time Has No Mercy’ was one of the last songs that we wrote for the album,” says Poole. “The idea was to react against what we had written to this point. We had been working up a few emotionally darker, heavier tracks and the idea with ‘Time Has No Mercy’ was to write something lighter and more upbeat.”

“It’s an empowering song, rather than a brooding or melancholic thing which we had just drowned ourselves in for the previous few weeks’ worth of writing. The whole idea came from the riff which is at the very end of the song now. It’s funny how that happens sometimes. The spark for the whole song came from a tiny outro section.”

The song also finds Poole incorporating a more direct punk rock influence into his guitar work, particularly during the choruses. Despite initially wondering whether the approach strayed too far from his established sound, Poole ultimately found ways to bring the song back into the musical world of the album.

“It’s a little more of a punk rock approach than I would normally take, with a lot of down strummed power chords in the choruses. I was slightly worried about drifting too far away from my style. In the end, once all was said and done, I added some lead guitar, some intertwining rhythm guitar parts and my vocals. I think the result is it still feels familiar enough to sit on the album. It’s a breath of fresh air and a light departure that follows on from the previous singles ‘No Second Chances’ and ‘Empty’.”

Post-Midnight Behaviour expands beyond Poole’s blues rock foundation, incorporating elements of rock, soul, country and alternative rock. The guitarist says the album reflects the development that has come from years of extensive touring and performing.

“I wanted this album to capture just how far I’ve come as a guitarist, singer, and songwriter,” says Poole. “After years of playing more than 150 shows annually across over 20 countries, everything has grown — my guitar style, my technique, my voice, and the way I hear music. ‘Post-Midnight Behaviour’ is the sound of all those experiences coming together. It moves through Blues, Rock, Soul, Country, and Alternative Rock, but with a darker, late-night energy running through it. I still get to unleash the guitar, but this time it sits inside something more atmospheric, more reflective, and more emotionally charged. That after-hours mood is what inspired the album title.”

Poole has released several live albums in the years since Anytime You Need Me, but the extended gap between studio records gave him an opportunity to spend more time developing the songs, arrangements and performances for Post-Midnight Behaviour.

“In recent years I’ve released a few live albums, which are great snapshots of a specific moment in time,” adds Poole. “With this new studio album, I wanted to go much further. I took my time to make sure every detail was fully realized — the songs, the sounds, the arrangements, the performances, everything. My writing team and I pushed ourselves harder than ever, digging deep to make the song writing as strong, sharp, and emotionally powerful as it could be. I honestly believe fans are going to feel that energy the moment they hear it. It has been well worth the wait.”

“Time Has No Mercy” will be available across streaming platforms on August 28, accompanied by an official lyric video. Post-Midnight Behaviour will be released September 25 via Gypsy Soul Records on CD, vinyl and digital formats.

The post Ben Poole releases “Time Has No Mercy” appeared first on Blues Rock Review.

Germans Ghøstkid have unveiled a brand new track, “I Destroyed You”, that will appear on their upcoming full-length offering Follow The White Rabbit.
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Love Is Noise have announced the details of a new EP titled ‘The space between happiness and heartache’, following up their 2025 debut album ‘To live in a different way’.

The EP will be released on October 09 via Bloodblast, and is set to be a concept piece about an unnamed character crafting an artificial world as a means of escaping their real feelings.

Vocalist Cam Humphrey explains:

“The more we wrote this record, the more we realised it wasn’t really about one person’s story — it’s about how people create versions of themselves just to get through modern life. We wanted to make something that felt real. Not polished to the point where it loses its humanity, but honest about the things that people don’t always want to talk about.

“The character has built this entire world to escape how they actually feel, but we never tell you exactly why. That’s really important to us. We don’t want to give the listener a beginning, middle, and end and tell them what it means. We want people to find themselves somewhere inside it.”

The artwork looks like this:

And the tracklisting like this:

1. smile.
2. the rain that follows me.
3. crying in the dark.
4. fury.

You can check out opening track ‘smile.’ right now, a beatiful track bristling with post-hardcore intensity and caustic atmosphere. It’s everything that the band have built so far, forced through a technically thrilling and gorgeously affecting mesh, a spine-tingling way to kick off a new chapter.

It also features guest vocals from Casper Frisk of PALESKIN.

Cam had this to add about it:

“ Smile is a pursuit of happiness. An anthem for the lovers. A celebration of those who put others first. This song is a light in the dark when you forget who you are. You are worthy to someone out there, and don’t ever forget it.”

The post Love Is Noise Announce New EP ‘The space between happiness and heartache.’ appeared first on Rock Sound.

Leadfeather release new single ‘The Answer‘,out now, new EP ‘Catch The Silvertrain‘ is out 23rd October. The band also release their exclusive Vinyl release ‘Super Deluxe‘ on 5th December, featuring both EPs ‘Roll The Dice‘ and ‘Catch The Silvertrain‘. “‘The Answer‘ is a sonic trip in the 70s heavy rock, spanning from acoustic guitars and sore […]

The post Leadfeather Release new single ‘The Answer’ appeared first on ROCKPOSER DOT COM.

Posted on August 28th 2026, 10:57am