In a move that has sent shockwaves through the global heavy music community, Bring Me The Horizon has officially announced a full-scale re-recording of their seminal 2006 debut album, Count Your Blessings. Titled “Count Your Blessings | Repented,” the project is being described by frontman Oli Sykes as a “reactivation” of the record that launched the deathcore explosion two decades ago.

Set for release on July 10, 2026, the album features a complete sonic overhaul handled by Sykes and guitarist Lee Malia in collaboration with acclaimed producer/mixer Buster Odeholm. The goal? To take the raw, chaotic energy of their teenage years and sharpen it with the world-class production standards of 2026.

A One-Night-Only Ritual at Outbreak Festival

To celebrate the release, BMTH will perform Count Your Blessings in its entirety for the first time in over a decade. The performance will take place on July 10 at the B.E.C. Arena in Manchester, UK, as a special curated event for Outbreak Festival.

The lineup for the “Repented” showcase is a “who’s who” of modern heavy music, featuring Static Dress, Rolo Tomassi, Dying Wish, Heriot, Car Underwater, and the hardcore supergroup Still In Love. Organizers are calling it “the most requested and mythologized single show of the last decade,” aimed at bridging the gap between original 2006 fans and the new generation discovered during the Post Human era.

We Also Recommend – Every Bring Me The Horizon Album Ranked—And Why Fans Still Can’t Agree On The Best One

TL;DR: BMTH ‘Count Your Blessings’ Reactivation

• Release Date: July 10, 2026.
• The New Title: Count Your Blessings | Repented.
• The Twist: A full re-recording with Buster Odeholm; features the song “Liquor & Lost Love” under its original title, “Dragon Slaying.”
• Live Event: Manchester B.E.C. Arena (Outbreak Presents) on July 10.
• Tickets: Pre-sale starts today (April 13) for album pre-orders; General on-sale April 17.

Fans looking to catch Bring Me The Horizon live in 2026 can click here.

Information Gain: The Buster Odeholm Factor and the Deathcore Renaissance

The decision to bring in Buster Odeholm is the most significant detail for gearheads and production nerds. Odeholm is a pioneer of “Thall”—a subgenre characterized by bone-crushing low-end and surgical precision. By pairing his mixing style with BMTH’s foundational deathcore tracks like “Pray For Plagues,” the band is effectively “modernizing” a genre they helped invent.

In 2026, the deathcore landscape has shifted toward “high-fidelity violence.” With bands like Lorna Shore and Slaughter to Prevail pushing the boundaries of what a mix can handle, the original 2006 Count Your Blessings production—often criticized for its “thin” and “tinny” drum sound—needed a massive structural update. Odeholm’s involvement suggests a shift toward the “wall of sound” approach, utilizing modern sub-bass technology and digital clarity that simply didn’t exist when a teenage Oli Sykes was screaming into a budget microphone in Sheffield.

Furthermore, this “reactivation” allows the band to address the evolution of Sykes’ vocals. Having spent years rehashing his technique to save his voice, “Repented” provides an opportunity to showcase how a mature, arena-ready vocalist handles the gutturals of his youth. This isn’t just a trip down memory lane; it’s a professional reclamation of a legacy that many critics originally dismissed as a “flash in the pan.”

Check This Out – Deathcore Bands Ranked: The Top 13 That Still Define Heavy Music Right Now

From São Paulo to Manchester: A Global Dominance

The announcement comes on the heels of the band’s record-breaking “L.I.V.E. In São Paulo” concert film, which documented their massive 2024 stadium show in Brazil. While that film showcased the band as a polished, electronic-rock juggernaut, Repented serves as a stark reminder of the Sheffield quintet’s aggressive origins.

For fans, the return of the working title “Dragon Slaying” (for the track “Liquor & Lost Love”) is a nod to the deep lore of the band’s early days. This isn’t just a cash grab; it’s an archival project designed to give the album the “sharper, heavier” finish that 2006 technology simply couldn’t provide. By co-curating the Outbreak show with underground tastemakers, BMTH is ensuring that their 20th anniversary feels like a “defining moment for a generation” rather than a standard nostalgia tour.

The Monday Morning Verdict

Bring Me The Horizon has spent the last decade running away from their past, evolving into a genre-bending pop-metal force. Count Your Blessings | Repented feels like a victorious lap back to where it all began. By choosing Manchester’s Outbreak Festival—a bastion of underground hardcore—rather than a standard arena tour, they are signaling that this “reactivation” is for the culture, not just the charts. In the 2026 landscape of heavy music, authenticity is the highest currency, and BMTH just bought the bank.

Get ready for the heaviest release of the summer. Stream the best of BMTH and the new wave of deathcore 24/7 on Loaded Radio.

The post ‘PRAY FOR PLAGUES’ REBORN: Bring Me The Horizon Announces 20th Anniversary Re-Recording of ‘Count Your Blessings’ appeared first on Loaded Radio.

Here at Stereogum, we haven’t had too much to say about the Icelandic jazz-pop singer Laufey, but she is a very big deal now. She’s got five platinum singles, and her 2024 album A Matter Of Time won the Grammy for Best Traditional Pop Vocal Album. At the Olympics, gold medal-winning figure skater Alysa Liu skated to Laufey’s song “Promise.” On Sunday, Laufey played one of the main stages at Coachella. Now, Laufey’s name is turning up in all sorts of weird places.

The post Laufey Unveils “Madwoman” Video, Erewhon Smoothie, Electric Lexus Honoring Miles Davis For Amazon appeared first on Stereogum.

Cherry Red [Release date : 24.04.26] CD1 : Live From The Bottom Line, Nagoya Japan, 1993 Part One. CD2 : Live From The Bottom Line, Nagoya Japan, 1993 Part Two CD3 : Live From The Bottom Line, Nagoya Japan, 1998 … Continue reading →

The post Album review : PRAYING MANTIS – The Official Bootleg Boxset Vol 1 – Live In Japan appeared first on Get Ready to ROCK!.

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Two decades ago there used to be this amazing band in Columbus called El Jesus de Magico. One of their best songs was called “New Moses.” The first time I saw them perform it in 2005, I just about lost my mind. (That was around the same time I was getting into their peers Times…

The post Truck Violence Announce New Album <em>The Weathervane Is My Body</em>: Hear “New Jesus” appeared first on Stereogum.

EP Review: Ape Unit – Sticks

Reviewed by Eric Clifford

You know that bit in Full Metal Jacket when the sergeant demands to see a recruit’s “war face”? Good grindcore should command the same of you. There should be a need to scream your lungs out, to engage in unrestrained, gratuitous violence the second the blastbeats hit. That’s the standard I apply whenever I’m reviewing a grind release – less a checklist of attributes to be scored, but a more basic, primitive criteria that boils down to a single question: “does this make me want to break shit”? I cannot listen to last year’s Sulfuric Cautery or Barren Path releases while driving for I am an impulsive creature, and I do not trust myself to defy the urge to begin plowing through solid objects. Now the same is to be asked of Italy’s own Ape Unit. So; how safe is the world when you listen to this?

Some bands mete out intensity through relentless punishment; Ape Unit do it via a jittery, spasmodic approach to rhythms, twitching between tempos and metres in an 11 minute bout of frantic heart arrhythmia. It’s flighty and hyperactive, as boundlessly energetic as a toddler shot full of raw cane sugar. But this strain of barely-controlled chaos takes skill to unleash – skill that Ape Unit have in abundance. They’re tight, burying you beneath a vicious allostatic load comprised of endless facets all clicked into place with molecular precision. At it’s best it feels something like a mathcore progenitor accelerated to eyewatering speeds, something like Botch or Cave In gnawing through crack rocks for breakfast instead of corn flakes. Tracks like “Where the Smile Lives” smear a malformed death/thrash grease into the cyclone, bolstered by an erratic mania spree of harsh vocal approaches used with fantastic effect throughout. The obligatory zany samples rear their demented heads throughout, yet are never so long as to feel like padding or a diversion from the bug eyed lunacy of the actual music itself. Despite the dwarven shortness Ape Unit are working within, the band still find time to dabble in different tones and textures – “Plower Rangers” featuring a curious bass (I think) effect that makes it sound like something between an Atari 2600 and a mallard rap battle, which is explored further on “Old Style Garibuya”. And speaking of which…

Really, the only thing I don’t care for is “Old Style Garibuya” – a needless bit of fx-pedal meddling that snaps the album’s flow like an advert break. It’s longer than every other song for one thing, yet feels aimless despite that and adds almost nothing for it’s relatively drawn out runtime. It’s not as though the release is lengthy enough to warrant a breather even given it’s hurtling pace, and while there’s possibly an argument to be made that it fits with the band’s penchant for taking the piss a bit, I still wouldn’t miss this one if it fell off the tracklist. But at the risk of making something of a mountain out of a molehill, it is after all just one track, and what’s more it’s one track sandwiched between hulking slabs of schizophrenic grind that otherwise ensnares your attention from the jump. When a “Withnail and I” clip heralds a siege of blastbeat-propelled atonal chords bolting up and down the strings only to swanton bomb into a histrionic Voivod-in-a-veyron riff on “Lieutenant Tennents” a few fleeting minutes away, then it’s hard to begrudge a singular stumble out of the whole set.

It’s fortunate that this release is only eleven minutes because I do not think I could suppress my urge to kill again for much longer. It’s solitary misfire aside, Ape Unit’s nervous breakdown of a grind attack is exactly the adrenaline shot I needed. It might be my ADHD, but god damn if this album doesn’t just hammer the button in my brain marked “Dopamine” over and over again. I hope and pray that they go for a full-length next – ideally sans the interlude – but whatever shape a followup of this neurotic, skittish glory takes, it will have my undivided interest.

For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.

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The Wheel Workers Live From The Attic Review

The EP opens with “Fine Time,” introduced by a distinctive guitar whistle. Immediately, the listener is immersed in an alternative rock genre that feels dystopian and mysterious. This band brings forth vibes reminiscent of Pearl Jam and R.E.M., while also drawing from gothic and punk influences. The combination of these elements sets a unique tone for their music.

Next is “Smokescreen,” which maintains those nocturnal and atmospheric vibes established in the opening track. The chord progression is impressive, showcasing the band’s ability to create intricate musical layers. There is a significant chemistry among the musicians, highlighted by their seamless collaboration. The lead vocalist has a unique timbre that stands out, defining the band’s overall sound.

Following “Smokescreen” is “Rainbows,” a track that captures nostalgia through its melodic structure. The melody evokes memories of classic R.E.M. songs, making it relatable and heartfelt. The effective use of dynamics within the song adds to its emotional weight, engaging the listener on multiple levels.

Live From The Attic – Atmosphere

“Desire” brings in elements reminiscent of the Counting Crows. The band’s refined melodies stand out as they create genuinely enchanting atmospheres. Each note resonates, and their artistic choices reflect a thoughtful approach to songwriting. The musicians draw you in with their crafted tunes, which feel both fresh and familiar.

The EP concludes with “Day After Day,” another excellent song. What is particularly surprising is that this entire EP is recorded live. The band’s proficiency shines through, as each song is executed with professionalism and skill. This live performance captures the raw energy of the group, bringing an authentic experience to the listener.

Throughout the EP, there are strong references to the sound of the 1990s, which makes the music particularly exciting. The nostalgia factor combines with their modern twist to create something truly appealing. The Wheel Workers present themselves as a band that is not only aware of their influences but also successfully pushes that envelope.

Live From The Attic – Performance and Production

 “Live From The Attic” is a superb EP that offers a blend of atmospheric melodies and influential rock sounds. The band has achieved a fantastic balance between their influences and their original style. This is a noteworthy project that showcases their talent and musical understanding.

The Wheel Workers presents a strong addition to the current music landscape. Their dedication to crafting songs with depth and emotion deserves commendation. For those who appreciate the rich sounds of alternative rock, this EP is a must-listen. It perfectly encapsulates the essence of a talented group that is ready to make an impact.

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Martin Kuiper Low On Love Review

The deep resonance of a crunching guitar opens Martin Kuiper’s single “Low On Love.” Immediately, a distinctive riff emerges, accompanied by a whistle that generates a somewhat solitary and reflective atmosphere. The rhythmic cadence is hypnotic, with prominent bass lines that create an intriguing melody. This melody bounces energetically, driving the rhythm with a sly fluidity.

Kuiper’s voice enters with a nostalgic tone, carrying an introspective quality. The chorus is particularly engaging, featuring the repeated phrase “and I never felt this way.” This repetition emphasizes a profound emotional experience, suggesting the artist’s deep realization of feelings previously unexplored.

Listeners may notice influences from icons like David Bowie and Nick Cave interwoven within Kuiper’s style. However, he brings a unique element to his music, which enhances its refined quality. After 2:10, there is a guitar solo that breaks free in an exhilarating display, where the notes seem to scream with passion.

Low On Love – Lyrics and Production

Lyrically, the song delves into the complexities of a relationship with someone who ultimately proves to be different from initial expectations. This theme adds depth and relates to universal experiences of love and understanding.

“Low On Love” is not just interesting; it evokes emotions that resonate deeply and entertain continuously. Included in the single is a live demo version of the song recorded in 1998, providing insight into its evolution over the years. This inclusion is fascinating, showcasing how the track has developed while retaining its heartfelt essence.

The production of “Low On Love” stands out, giving the track an air of sophistication. Each instrumental layer is carefully crafted, ensuring that every note serves the emotional core of the composition. The song’s structure allows moments of build-up and release, contributing to its overall impact.

Low On Love – Atmosphere

“Low On Love” artfully balances nostalgia with modern reflections on love. Kuiper’s distinct voice and musical choices provide a fresh take on familiar sentiments. The musical arrangement enhances the storytelling, allowing listeners to immerse themselves in the journey of the song.

Throughout the work, Kuiper displays a deep understanding of dynamics. The transitions from softer passages to more intense moments are seamless. This skill demonstrates his maturity as an artist and his ability to connect with listeners on various emotional levels.

While there are echoes of classic rock influences, there is a clear originality in Kuiper’s work. He draws from past inspirations but constructs something uniquely his own. This ability to blend influences while maintaining individuality marks him as an artist of significance.

In the current music scene, “Low On Love” stands as a reflection of modern relationships’ intricacies. It speaks to those feelings of disillusionment and longing, navigating the complexities of human connection. The song’s exploration of these themes ensures its relevance to a wide audience.

The live demo included in the single serves as a bridge to the past. It highlights how the song has matured while allowing listeners to appreciate its origins. Such a contrast enriches the listening experience, drawing attention to Kuiper’s growth as a musician.

Martin Kuiper delivers a powerful message through “Low On Love.” The song’s nostalgia, paired with its innovative sound, creates a memorable impact. It engages listeners from start to finish and invites them to reflect on their own experiences of love and loss.

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The “Metal God” has spoken. In a candid new interview ahead of the North American premiere of the official Judas Priest documentary, The Ballad of Judas Priest, frontman Rob Halford addressed the “elephant in the room”: the involvement of estranged guitarist K.K. Downing.

Despite over a decade of public barbs and a fractured relationship that seemed beyond repair, Halford insists that telling the band’s 50-year story was impossible without Downing’s voice.

“I think that the love and respect that we still have for each other is still there,” Halford told Metal Hammer. “The fact that he’s as important to Judas Priest now as he was then in telling the story… It had to be that way because he was there at the very beginning.”

The ‘Honesty and Conviction’ Clause

While fans have long clamored for a permanent reunion following the band’s 2022 Rock and Roll Hall of Fame performance, Halford’s comments suggest that Downing’s departure in 2011 was a matter of artistic integrity rather than just “business.”

According to Halford, Downing’s presence in the film—co-directed by Sam Dunn and Tom Morello—allowed the guitarist to eloquently explain why he walked away. Halford emphasized that being in Judas Priest requires a level of conviction that goes beyond a paycheck.

“You really have to wanna get on that stage. You can’t hold anything back,” Halford explained. “If you’re not up there for the right reasons, then you don’t really have the right to be on that stage. If you’re not feeling that, then you do what K.K. did.”

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TL;DR: The Ballad of Judas Priest Update

• The Premier: North American debut at Hot Docs Festival in Toronto (April 26 & May 1).
• K.K. Downing: Confirmed to be interviewed for the film; Halford cites “continued respect.”
• The Production: Directed by Sam Dunn (Metal: A Headbanger’s Journey) and Tom Morello.
• The Cameos: Features Dave Grohl, Kirk Hammett, Billy Corgan, and the late Ozzy Osbourne.
• The Status: Halford shuts down “paycheck” reunion rumors, citing the need for “honest conviction.”

Information Gain: The Canadian Connection and the ‘Satanic Panic’ Legacy

The Ballad of Judas Priest isn’t just a highlight reel of “Breaking the Law” and “Living After Midnight.” The film, which sees its North American premiere at the Hot Docs Ted Rogers Cinema in Toronto, dives deep into the socio-political war the band faced in the 1980s.

During the height of the “Satanic Panic,” Judas Priest became a primary target of the PMRC and the infamous 1990 Reno subliminal message trial. By including Downing in this narrative, the documentary provides a unified front against the detractors of that era. For Canadian fans, the Hot Docs screening offers a rare look at unreleased archival footage that even the most hardcore “Priest-heads” haven’t seen.

Furthermore, the inclusion of Tom Morello as a director adds a layer of revolutionary context to the band’s working-class Birmingham roots. Morello’s involvement shifts the documentary from a standard biography into a study of rebellion—positioning Priest as the definitive blue-collar architects of heavy metal.

Check This Out – Judas Priest’s Enduring Legacy: 13 Fascinating Facts About The Heavy Metal Gods

A Legacy Beyond the Lineup

In the 2026 landscape of heritage rock, the “classic lineup” debate often overshadows the music itself. However, Halford’s pivot toward “respect over reunion” marks a significant shift in the band’s public relations. By acknowledging Downing’s “vital and important” contributions to the songwriting catalog alongside Glenn Tipton, Halford is effectively validating Downing’s legacy without committing to a messy professional reintegration.

The documentary also heavily features Halford’s landmark “coming out” on MTV, a moment the film frames as the ultimate “inclusive” turning point for the metal genre. With testimonials from Darryl McDaniels (Run-DMC) and Kirk Hammett, the film aims to prove that Judas Priest’s message was always about acceptance—even if that acceptance now has to exist at a distance from their former guitarist.

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The Monday Morning Verdict

By embracing K.K. Downing’s role in The Ballad of Judas Priest, Rob Halford has successfully “defused the bomb.” Instead of a documentary marred by omissions, fans are getting a definitive, archival-heavy look at the band’s soul. For those attending the Toronto premiere, this isn’t just a movie; it’s a testament to the fact that while band members may come and go, the “conviction” Halford speaks of is what keeps the Priest machine rolling into its sixth decade.

Don’t miss a beat of the heavy metal legacy. Stream Loaded Radio 24/7 for the best of Priest and beyond here.

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