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“Iβm taking Sunday off and excited to be working on new Nine Inch Nails music Monday β Iβll see you when I come up for air.”
The post Trent Reznor Details Nine Inch Noize’s Debut Album, Confirms New Nine Inch Nails Is In The Works appeared first on Theprp.com.
Since time immemorial, humanity has been fascinated by the question of how we got here, and why we exist. But we’ve also been enthralled by pondering the reverse: How will it all come to an end? Thoughts about this subject have rained down from our minds across the ages, fertilizing the ground of inspiration β and providing the ideal muse for purveyors of extreme forms of expression. Like death metal.
The two-man supergroup of Matt Tluchowski (Doctor Smoke) and Alan Cassidy (The Black Dahlia Murder) has their own perspective on the matter, exemplified by the new video for “Inexorable Oblivion.” I think it’s clear the song takes a dim view of how the story all wraps up, but in case you weren’t sure, here’s one of my favorite lines: “No mystic or empiric conception of man could foresee our designless demise.” Stylistically, the song should be a satisfying slice of cosmic Armageddon for fans ofΒ Origin, Obscura, Decrepit Birth, and Necrophagist.
Check out the video for “Inexorable Oblivion” below. The band will release Unfathomable Mutagenic Abominations on Friday via Silent Pendulum Records. You can also check out more of the band’s material at their Bandcamp page.
The post Video Premiere: Infestuous – “Inexorable Oblivion” appeared first on Decibel Magazine.
Edgar Allan Poe is not just a writer from the past. His influence continues to shape modern culture, from fashion to film, from literature to identity.
The influence of Edgar Allan Poe on modern culture can be seen in literature, fashion, film, and digital aesthetics.
More than a century after his death, Poeβs themes of obsession, loss, and psychological darkness remain deeply relevant. His work speaks to something timeless in human nature. Poe is widely recognized as a pioneer of psychological horror and gothic literature (source).
This is why Edgar Allan Poe still influences modern culture today.
Edgar Allan Poe transformed literature by focusing on the human mind. Instead of external monsters, he explored fear, guilt, and obsession.
Stories like The Tell-Tale Heart and poems like The Raven introduced psychological horror long before it became a genre.
Read our analysis of The Tell-Tale Heart
Modern horror relies heavily on atmosphere and psychology. This approach can be traced directly back to Poe.
Instead of relying on shock, Poe created tension through repetition, symbolism, and emotional depth.
As a result, many modern creators follow his blueprint without even realizing it.
The gothic aesthetic that is trending in 2026 is deeply connected to Poeβs work. His imagery defines what darkness looks like in art and fashion.
Ravens, shadows, decay, and romantic tragedy all originate from the emotional tone Poe established.
Explore why gothic aesthetic is trending
Dark aesthetic clothing and gothic fashion are not random trends. They reflect the same themes Poe explored: individuality, depth, and emotional intensity.
In 2026, people use fashion to express identity. Poeβs influence provides the language for that expression.
Learn how to dress gothic in 2026
Poeβs work remains powerful because it focuses on universal emotions. Fear, love, grief, and obsession are experiences that never disappear.
His writing captures these emotions with clarity and intensity. That is why new generations continue to discover his work.
Poeβs influence has expanded beyond books. Today, it appears in art, clothing, and design.
Symbols like the raven or the eye have become visual representations of deeper ideas.
Explore Poe-inspired designs and products
Edgar Allan Poeβs influence is not fading. It is evolving.
His work continues to inspire creators, shape trends, and define what darkness means in art and culture.
Read our full analysis of The Raven
That is why Edgar Allan Poe still influences modern culture today.
The post Why Edgar Allan Poe Still Influences Modern Culture appeared first on Edgar Allan Poets – Noir Rock Band.
(written by Islander) Recently we have been reminded by photos from the vicinity of the Moon that in many respects the Earth is a verdant, beautiful, and serene place. Closer to ground level, however, it still often remains ugly, violent, saturated with suffering, and shrouded by death. Of that we don’t need reminding, because the […]
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Fresh off the release of the driving new single “Lest We Fall” and a string of strong live dates alongside Heaven Shall Burn and The Black Dahlia Murder, melodic death metal outfit The Halo Effect have confirmed plans for a European tour in 2027.
The Swedish band, whose members helped shape the Gothenburg sound during the 1990s, will headline shows across Europe in February and March. Theyβll be joined by special guests Lacuna Coil, with Omnium Gatherum opening the run.
Artist exclusive presale starts tomorrow, Thursday, April 16, followed by the general on-sale beginning Friday, April 17. Check for tickets here.
The Halo Effect guitarist Niclas Engelin says: “Halos in Europe, we can’t wait to be back on the road in 2027! This time we bring the almighty Lacuna Coil and Omnium Gatherum with us, who we have been friends with for a long time. We look forward to an amazing time with you all!”
Since breaking through in 2021 with the track “Shadowminds”, The Halo Effect have remained a consistent name in modern death metal. Their lineup features vocalist Mikael Stanne (Dark Tranquillity), guitarists Jesper StrΓΆmblad (represented live by The Haunted‘s Patrik Jensen) and Niclas Engelin, bassist Peter Iwers, and drummer Daniel Svensson. Together, they lean into the melodic foundation they helped establish while layering in newer elements like orchestral textures and atmospheric keys.
The post THE HALO EFFECT Sets European Tour With LACUNA COIL And OMNIUM GATHERUM appeared first on Sonic Perspectives.
Disclaimer: I received this product in exchange for my honest review. The Metalverse is an independent website, and all opinions expressed are our own. We thank the team at Fosi Audio for giving us this opportunity. When you purchase through a link on our site, we may earn an affiliate commission.
If you've spent any time in budget audiophile spaces, Fosi Audio needs very little introduction at this point. Founded in 2017, the brand has carved out a serious reputation for building well-engineered gear at prices that genuinely shock people when they hear what they're getting. They started out primarily with speaker amplifiers, but over the past few years, they've been expanding aggressively — DACs, headphone amps, preamps, IEMs, and now fully stacked desktop systems.
The Fosi Audio ZH3 is a desktop DAC, headphone amplifier, and preamplifier all rolled into a single compact unit, priced at $199 USD. Think of it as the audiophile-focused sibling to the K7 — less about gaming versatility and more about clean, pure audio performance for a dedicated listening setup. Where the K7 targeted gamers and content creators with Bluetooth, a mic input, and a bold DJ-booth aesthetic, the ZH3 is aimed squarely at people who want a capable desk hub for their headphones and powered monitors.
Inside, it's built around an AKM AK4493SEQ 32-bit DAC chip paired with an XMOS XU316 USB processor and four OPA1612 operational amplifiers in a fully balanced, complementary push-pull headphone amp design. The result on paper: ultra-low noise at just 1.9µV, channel separation of around 117dB, and up to 2,570mW of balanced output power at 32Ω. Those are impressive numbers — not just for $199, but frankly for any price. The ZH3 supports PCM up to 768kHz/32-bit and DSD512 over USB, and up to 192kHz/24-bit over optical and coaxial — well beyond what you'll ever actually feed it in daily use, but good to know the headroom is there.
The ZH3 also comes with a feature Fosi hasn't included in most of their previous DAC/amps: a proper infrared remote control. More on that in a bit.
Fosi's Z-Series has a consistent visual identity — clean, minimal, and understated — and the ZH3 fits right in. The chassis is made from a single block of CNC-machined aluminum alloy and finished in matte black coating. Despite measuring about 6" wide × 6" deep × 2" tall, it weighs a reasonable 12 ounces. The rubber feet underneath keep it planted, and the overall feel of the unit is noticeably premium for the price range.
The front panel layout is clean and intentionally symmetrical: a circular 1.5-inch LCD display on the left side, and the large orange volume knob on the right. It's a surprisingly distinctive look — circular screens are uncommon in desktop audio, and Fosi made good use of it. At a glance, the display shows your current volume, input source, sampling rate, filter selection, and output mode. That's a solid amount of information in a small, elegant package.
Below the display, you'll find the 6.35mm single-ended headphone output and 4.4mm balanced headphone output sitting side by side. The volume knob doubles as a menu navigator when clicked, and the five digital filter modes plus bass/treble EQ settings are all accessible directly on the device — no app required.
Around the back, things get impressively comprehensive. You get USB-C, optical TOSLINK, coaxial S/PDIF, and RCA analog inputs; balanced XLR and RCA preamp outputs; and 12V trigger in/out ports for system automation with other Z-Series components. That level of I/O connectivity at $199 is genuinely unusual — most competitors at this price either give you XLR or RCA outputs, not both, and trigger connectivity is typically reserved for significantly pricier gear.
The remote control requires AAA batteries that aren't included in the box. For a $199 device, that's a small but easy-to-fix quality-of-life change.
The ZH3's sonic character is best described as neutral with a slight organic warmth. It doesn't have that artificially bright feel that some DACs in this price range have, and it doesn't lean into an overly colored warmth either. Instead, it sounds like a well-tuned instrument: accurate, balanced, and tonally honest. Across genres — jazz, electronic, rock, orchestral — the ZH3 maintains a stable, coherent presentation that rewards your listening. It's got a crisp sense of cleanness to its sound reproduction and has a noticeable difference in quality from cheaper DACs or standalone headphones.
The AKM DAC chip contributes to a natural, organic character that makes instruments sound like themselves rather than digital approximations. Soundstage is wide and open for a device at this price point, feeling realistic and spacious. Imaging is accurate and reliable, with good instrument placement across the stereo field. For both music listening and gaming audio (via the preamp outputs to speakers), positioning feels natural and believable. The ZH3 also handles dynamics very well, with a balance between gentler and more impactful sections of music.
As far as EQ goes, the ZH3 lets you adjust bass and treble by + or – 12dB as well as having 6 filter choices: Power Dynamics, Neutral Balance, Extended Highs, Well Defined, Natural Smoothness, Precise Analysis, as well as a Bypass mode so you can turn all EQ and filters off and on easily. Between the filters and bass/treble EQ options, you can customize the sound of your headphones quite significantly and dial in a sound that you really like. There is also a Bypass filter which will turn off all EQ and filters. I found this particularly useful for saving your preferred EQ settings and then turning the Bypass filter on/off for when you want to listen with full neutrality without erasing your EQ settings.
Since this is a pre-amp and amp as well as DAC, the ZH3 also has a low, medium, and high gain setting, allowing you to adjust the amount of power output depending on your headphone.
The remote control is the standout quality-of-life feature — being able to switch inputs, adjust volume, and toggle outputs without touching the unit is a feature you quickly wonder how you lived without. The ZH3 also remembers your volume settings independently for each output, so switching between headphones and your speaker preamp outputs doesn't result in a sudden volume jolt. That's a thoughtful design choice that matters in real-world use.
The menu system navigated through the volume knob is logical and intuitive after a short learning curve. The circular display is crisp and readable at a glance. The device is completely plug-and-play on macOS and Linux, and on Windows, it works without a driver in UAC 1.0 mode. For UAC 2.0 (required for DSD playback and the highest PCM rates), a Windows driver install is needed — same as virtually every device in this class.
One specific limitation worth flagging: not all features are accessible in every input/output combination. For example, EQ and bypass mode are only available in certain configurations, and optical/coaxial inputs lose some filter options when routed to specific outputs. This is outlined in the manual, but it's worth knowing so you don't sit there wondering why a setting has greyed out on you.
This is the most direct comparison since they're the same price from the same brand. These two are siblings, not rivals — they serve genuinely different audiences. The K7 is for gamers and mixed-use setups: it has Bluetooth 5.0, a microphone input, aptX HD wireless, and a more gaming-forward design. The ZH3 is for dedicated audiophile listening: it offers XLR outputs, 12V trigger connectivity, an RCA analog input, a remote control, and meaningfully more balanced output power (2,570mW vs. 2,100mW). Sonically, there is very little difference between the 2 choices (though I slightly prefer the sound of the ZH3). Both are clean, neutral, and highly capable. Your choice between them comes down almost entirely to use case: gaming/streaming = K7, pure listening/speakers = ZH3.
The FiiO K7 BT costs $50 more and is a worthy competitor — it's well-built, has solid power output, and carries FiiO's reputation for reliable audio hardware. However, the ZH3 pulls ahead on several fronts: it has more balanced output power, XLR preamp outputs, an RCA analog input, six digital filters, a remote control, and 12V trigger support. The FiiO K7 BT has Bluetooth, which the ZH3 completely lacks. If wireless audio is important to your setup, the FiiO wins that specific battle. For pure wired performance and feature depth, the ZH3 offers more at a lower price.
The SMSL C200 Pro is a genuine value competitor at a similar price. Both deliver excellent, clean sound with fully balanced output — the sonic differences between them in blind listening tests are minimal to non-existent for most people. The SMSL has its own design language and interface approach, while the ZH3 wins on I/O breadth (particularly the XLR outputs and 12V triggers), the included remote, and the more distinctive design with its circular display. The SMSL C200 Pro has its advocates, but the ZH3 has more overall feature completeness and a premium feel at the same price.
The Fosi Audio ZH3 is strong by any standard below $300. You get a properly implemented AKM DAC, a fully balanced headphone amp with serious power reserves, XLR preamp outputs, six digital filters, a remote, and 12V trigger automation — all in a compact, premium-feeling aluminum chassis with a clean and natural sound signature.
The missing Bluetooth and mic input will be dealbreakers for some, but if you're building a clean audiophile desk setup and want a single device that can serve as a headphone amp, preamp for powered monitors, and DAC all at once for $200, the ZH3 is truly one of the best options in the market right now.
Thanks for reading!
Fire-Toolz is Angel Marcloid, a Chicago artist whose inventive and overwhelming electronic tracks smash past any and all genre conventions on their way to flooding your senses. Her new album Lavender Networks drops next month, and the catchily titled lead single “Balam =^..^= Says IPv09082024 Strawberry Head” was our favorite song of the week aβ¦
The post Fire-Toolz – “And Where Is The Heart? Iβve Searched My Entire Home” (Feat. Jennifer Holm) appeared first on Stereogum.
Killswitch Engage’s albums number nine across twenty-six years, and the remarkable thing isn’t the consistency β it’s that they survived losing their singer twice and got better both times. Nine records, two frontmen, three Grammy nominations, nearly three billion streams, and the same three men in the engine room since 1999. This is every Killswitch Engage album ranked worst to best, and the one that charted highest sits closer to the bottom than the top. I’ll explain why.
Three things: how strong the songwriting is front to back, how far the record moved the band, and whether it still hits now.
The complicating factor with Killswitch is that this is genuinely two discographies. Jesse Leach’s raw, poetic delivery on six of the nine, and Howard Jones’s operatic power on the three in the middle. They’re different bands with the same rhythm section, and pretending otherwise produces a useless list.
What I’ve not done is rank by chart position, which is why the highest-charting album isn’t in the top five.
We spoke to Jesse Leach at length about all of this β the full Loaded Radio Podcast interview is here, and it’s the reason a couple of the calls below look the way they do.
Key track: “Soilborn”
This is the primordial ooze metalcore climbed out of.
Before the Grammy nominations and the gold records, Killswitch were members of Overcast and Aftershock welding Swedish melodic death metal onto East Coast hardcore and seeing what happened. “Temple from the Within” has the whole future in it if you listen for it.
It’s last because of the production. Thin, basement-level, and it flattens riffs that deserved better. The songs are there in outline. The hooks aren’t yet.
Essential if you care about how the genre got built. Not something you put on.
Key track: “Strength of the Mind”
Now, this one needs explaining, because Incarnate debuted at number six on the Billboard 200 β the highest chart position Killswitch Engage have ever achieved. It also went to number one on both the Top Rock and Top Hard Rock charts.
Eighth. Second from bottom.
Here’s the case. It’s technically excellent and deeply personal, Adam D’s production is immaculate, and “Strength of the Mind” is a genuine live staple. Nothing on it is bad.
But it’s the safest record they’ve made. It hasn’t got the frantic danger of Jesse’s 2002 debut or the sprint of his 2013 return. It’s atmospheric and moody where their best work is urgent, and in a discography this strong “very good” gets you eighth.
Charts measure how many people bought a record in week one. This list measures whether it holds up ten years later. Those aren’t the same question, and if you rank by the first one you end up telling people Incarnate is better than Alive or Just Breathing, which is nonsense.
Key track: “Never Again”
The second self-titled, known to everyone as “KSE II” or “the Howard self-titled,” and the most deliberate commercial move of their career.
Produced by Brendan O’Brien β Pearl Jam, Rage Against the Machine, Bruce Springsteen β it leans hard into polished hard rock, and “Save Me” and “Starting Over” are enormous. Howard’s performance is technically flawless throughout.
It’s also the record where you can hear the strategy. It felt calculated at the time and it still does, and it lacks the bleeding-heart quality of everything around it. First of their three consecutive Top 10 debuts, which tells you the strategy worked.
Key track: “The Signal Fire” (feat. Howard Jones)
Twenty years in and they made a genuinely vitriolic record.
“The Signal Fire” is the moment that matters β Jesse and Howard trading lines on the same song, which nobody expected and which quietly ended a fandom argument that had run for fifteen years. Two men who’d been used as sticks to beat each other with, singing together, and neither trying to win.
The rest of the album earns its place. Heavy, aggressive, superbly produced, and it bridges the hardcore roots and the melodic instincts better than anything since 2006. Another number one on Top Rock and Top Hard Rock.
Key track: “Abandon Us”
Thirty-five minutes, no filler, and the most visceral Jesse Leach has sounded since 2002.
They pushed into near-deathcore territory on “Abandon Us” and it works because it isn’t a costume β it’s a band in their mid-twenties as a going concern deciding to out-heavy people half their age. “Forever Aligned” opens it, and “I Believe” went to number three on the rock chart, giving them a Top 5 single a quarter-century into the job.
Lean, mean, and the record that put them on the covers of Revolver and Outburn in the same cycle.
Fifth for now. Ask me again in five years β new albums need time to prove they last, and everything above it already has.
Key track: “The Hell in Me”
When Jesse reclaimed the microphone in 2012 the entire genre held its breath. This was the exhale.
It’s the fastest album of their career β a frantic, thrash-adjacent explosion made by a band with something to prove and a singer with everything to prove. Adam D’s production is razor-sharp, and Jesse’s performance on “In Due Time” settled the question inside four minutes.
Number one on Top Rock and Top Hard Rock, and the second of three straight Top 10 debuts. More importantly, it’s the record that made the reunion feel inevitable rather than nostalgic.
Key track: “My Curse”
The Howard Jones era at its peak, and a zero-skip record.
If The End of Heartache made them famous, this made them permanent. From the opening riff of “Daylight Dies” through to the “Holy Diver” cover β which had no business working and absolutely does β it’s the sound of a band with total confidence in an identity they’d only just built.
And then there’s “My Curse.” That song has become an anthem for an entire generation of people who found heavy music between 2006 and 2010, and it’s still the moment a Killswitch crowd loses its collective mind.
Key track: “My Last Serenade”
Modern metalcore does not exist without this album. That’s not hyperbole, it’s just what happened.
Jesse Leach recorded it while dealing with vocal cord problems and a great deal else, and the result is one of the most honest performances anyone has committed to tape in this genre. You can hear him straining. It makes it better.
The transition out of the “Numbered Days” breakdown into the melody of “Self Revolution” changed the direction of heavy music. Every band who came after spent a decade trying to write that moment again. Decibel later named it among the hundred greatest metal albums of its decade, and it’s the record that made everything else in the genre possible.
Second, and only just.
Key track: “Rose of Sharyn”
Their founding singer walked out just as the band was gaining real momentum. They gambled everything on an unproven vocalist from Blood Has Been Shed. And they made a flawless record.
This is where the formula was assembled. Swedish-inspired riffing, Justin Foley’s intricate drumming, and choruses built to be sung by twenty thousand people who’d never heard the verse. “A Bid Farewell” opens it. “Rose of Sharyn” is the emotional centre. The Grammy-nominated title track is the mission statement.
What people forget is how risky it was. Howard Jones was not a safe replacement β he was a completely different singer being asked to front a band whose entire appeal had been rawness. They chose range over grit, and it worked so completely that it became the template every metalcore band has followed for twenty years.
The gold standard. Everything else in the genre gets measured against it, including the eight albums below.
Loaded Radio Recommends: Check out our list of the Top 13 metalcore bands of all time.
9. Killswitch Engage (2000)
8. Incarnate (2016)
7. Killswitch Engage (2009)
6. Atonement (2019) 5. This Consequence (2025)
4. Disarm the Descent (2013)
3. As Daylight Dies (2006)
2. Alive or Just Breathing (2002)
1. The End of Heartache (2004)
Killswitch Engage β 2000 Β· Jesse Leach
Alive or Just Breathing β 2002 Β· Jesse Leach
The End of Heartache β 2004 Β· Howard Jones
As Daylight Dies β 2006 Β· Howard Jones
Killswitch Engage β 2009 Β· Howard Jones
Disarm the Descent β 2013 Β· Jesse Leach
Incarnate β 2016 Β· Jesse Leach
Atonement β 2019 Β· Jesse Leach
This Consequence β 2025 Β· Jesse Leach
Six albums with Leach. Three with Jones.
This is the part of the story that gets skipped, and it’s the reason the band still exists.
Adam Dutkiewicz, Joel Stroetzel and Mike D’Antonio have been in this band since 1999. Two singers came and went and came back. Those three have been in the engine room the entire time, with Justin Foley on drums since 2003 β meaning the rhythm section that made The End of Heartache is the rhythm section that made This Consequence twenty-one years later.
When Jesse talked to us about the band’s longevity, that’s what he pointed at. The brotherhood of the instrumental core, unchanged, while everything else moved.
It’s also why the two eras don’t sound like different bands so much as the same band with a different voice on top. Adam D produced almost all of it. The riffs come from the same two guitarists. Whatever changed, that didn’t.
Incarnate at eight is the one people will come for, and I’ve made the case above. Highest-charting album they’ve ever had. Also the least essential thing in the catalogue. Both statements are true.
The End of Heartache over Alive or Just Breathing is the real debate and it’s genuinely close. If you value influence, take the 2002 record β it invented the genre. If you value execution, take 2004. I’ve gone with the second and I’d defend it on the strength of “Rose of Sharyn” alone.
The 2009 self-titled at seven will feel harsh to anyone who came in through “Starting Over.” It’s a good record made for the wrong reasons.
This Consequence at five is provisional and I’ve said so. It’s the newest album here and it hasn’t had time to prove it lasts.
If you want more of this, the full Loaded Radio rankings archive is here, and our ranking of the thirteen bands that actually defined metalcore is the natural companion.
Busier than almost anyone.
This Consequence arrived in 2025 via Metal Blade alongside a winter and spring tour, produced a number three rock single in “I Believe,” and put them on the covers of Revolver and Outburn. Videos followed for “Collusion” and “Aftermath.”
Last summer they co-headlined the Summer of Loud run alongside Beartooth, I Prevail and Parkway Drive β one of the biggest metalcore packages ever assembled in North America.
And 2026 has been relentless. A June US headline run with Machine Head, Iron Reagan and Havok, from Detroit on the 3rd to San Francisco on the 27th, taking in Milwaukee Metal Fest and DC Warped Tour Weekend. A Canadian leg in August with Machine Head and Malevolence. And a further US run from September 19 to October 1, again with Machine Head plus Rivers of Nihil and Judiciary, including Louder Than Life and Aftershock.
That September leg starts in nine days.
Three Grammy nominations, multiple gold and platinum certifications, nearly three billion streams, and a band who came out of western Massachusetts in 2000 still headlining rooms twenty-six years later.
See Killswitch Engage live in 2026 here.
Jesse Leach β lead vocals
Adam Dutkiewicz β lead guitar, backing vocals
Joel Stroetzel β rhythm guitar, backing vocals
Mike D’Antonio β bass
Justin Foley β drums (joined 2003)
The End of Heartache, released in 2004. It was the band’s first with Howard Jones after founding vocalist Jesse Leach departed, and it assembled the formula the entire genre subsequently followed β Swedish-influenced riffing, Justin Foley’s intricate drumming and arena-scale choruses. Its Grammy-nominated title track and “Rose of Sharyn” remain the band’s defining songs. 2002’s Alive or Just Breathing is the closest challenger.
Nine studio albums: the 2000 self-titled debut, Alive or Just Breathing (2002), The End of Heartache (2004), As Daylight Dies (2006), the 2009 self-titled, Disarm the Descent (2013), Incarnate (2016), Atonement (2019) and This Consequence (2025).
Jesse Leach sings on six β the 2000 debut, Alive or Just Breathing, Disarm the Descent, Incarnate, Atonement and This Consequence. Howard Jones sings on three β The End of Heartache, As Daylight Dies and the 2009 self-titled album.
Incarnate (2016), which debuted at number six on the Billboard 200 β the band’s best chart position. It also reached number one on both the Top Rock Albums and Top Hard Rock Albums charts, as did Disarm the Descent and Atonement.
No, but they have received three nominations, including for the title track of The End of Heartache. They have also earned multiple gold and platinum certifications and their total streams are approaching three billion.
Nine albums, two singers, and a number one that beat the record that invented the genre. Have I got The End of Heartache above Alive or Just Breathing the wrong way round? Settle it in the comments. And keep it locked on the Loaded Radio stream β follow Loaded Radio for daily rock and metal news.
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