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Transformation, growth, and rebirth drive Rhododendron‘s forthcoming LP Ascent Effort (out May 15 on The Flenser [pre-order]). The record documents a

The lead single from 1972 album Bandstand – featuring a newly-arrived John Wetton – was inspired by a club in a converted Leicester shop

The official release of Armed For Apocalypse‘s new studio record, The Earth Is Breathing Beneath Me, is getting closer. To taste another piece of the new music, check out a music video for the latest new single “Spellbound”.
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Nearly 30 years ago, Crocodiles formed when two teenage punks met at an antifascist gathering in their hometown

11 years after the release of their last album Might & Magic, German ensemble Iron Kobra are now ready to return with the next one. Entitled Eternal Dagger, it will land in stores on June 19th 2026 via Dying Victims Productions. Recorded and mixed by Stefan Castevet. Mastered by Patrick W. Engel. For a preview, give a listen to the first streaming single “Trembling Dungeons”.
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These songs reinforce the Prince of Darkness' legacy and knack for reinvention. Continue reading…

Just a few days after Charlotte Wessels and her band, The Obsession, have returned from their biggest tour to date—joining Epica and Amaranthe on the Arcane Dimensions Tour and performing in arena-sized venues across Europe—the Dutch singer, songwriter, and producer shares the next highlight of her remarkable career: Charlotte Wessels will take The Obsession on their first […]

The post Charlotte Wessels’ The Obsession Announces 2027 EU + UK Headliner Tour appeared first on ROCKPOSER DOT COM.

Ferocious post-deathcore act BURIAL PATH present their latest single “A Display of Penance”. The unfaltering brutality of this shadowy offering sees the band present a haunting sonic display of enduring struggles with mental illness. 

Watch “A Display of Penance HERE: https://youtu.be/3jvjaW5fzng

An introspective and raw track, lyrically “A Display of Penance” draws upon parasitic imagery to illustrate the ongoing and often repeating nature of depression. BURIAL PATH craft an eerie atmosphere that bleeds through the single’s crushing instrumental arrangement. 

Vocalist Maya Pobst shares, “‘A Display of Penance’ is a song about mental health and how it can latch on like a psychological parasite. Most of the song is from the parasite’s perspective, finding its new victim to latch onto and corrupt from the inside.” Pobst continues, “Over time, the host almost finds comfort in the familiarity of the Parasite despite the great deal of pain it’s causing. As we move into the interlude and verse 2, the host has decided to fight back against its mental oppressor and seeks to destroy it, only for it to eventually come back and be ever so present by the end of the song. To me this represents the cyclic journey of dealing with mental illness and experiencing the periods of mania versus depression.” 

In “A Display of Penance,” BURIAL PATH deliver a monstrous onslaught comprised of intense, thundering percussion, violent rhythms and Pobst’s monstrous gutturals. Injecting melodic orchestral strings and ghostly piano notes, the band ventures further into the otherworldly as it enhances the enveloping darkness. 

Encompassed in ritualistic symbolism of decay, the accompanying music video brings to life the disturbing figure of the parasite along with the harrowing pain and solitude it represents. 

About BURIAL PATH:

Formed in 2023, BURIAL PATH consists of Maya Pobst (vocals) and Christian Caringer (bassist) from Missouri, and Nebraskan Matthew McClure (guitar).  Their sound is a refined evolution of Deathcore, leveraging modern production to craft an atmosphere that is both entrancing and resonant, designed to evoke deep emotions and provoke thoughtful introspection through their music.

Connect with BURIAL PATH:

• Bandcamp
• Facebook
• Instagram
• YouTube
• Spotify
• Apple Music
• TikTok

Source: C Squared Music

Just under a week after the release of Engines Of Demolition, Zakk Wylde’s most emotional and powerful album yet, Black Label Society brought the tour of the same name to Connecticut’s Mohegan Sun Casino for a show that will not be forgotten any time soon. Opening the night was Dark Chapel, followed by Zakk Sabbath.

Black Label Society – Zakk Sabbath – Dark Chapel

Mohegan Sun Casino – 2 April 2026

Words And Photography: Jody Wilk

The Arena at Mohegan Sun is a popular venue in Uncasville for rock bands to play and holds 10,000 concert fanatics. According to Zakk Wylde, in an interview with local radio station 99.1 WPLR, he said we could expect a “toe-tapping event”.

Dark Chapel

Dario Lorino, the man behind Dark Chapel, is also a crazy, talented guitarist for Black Label Society. Dark Chapel hit the stage as the fans were still filling in.

With Dario on lead vocals and slaying the guitar, they showcased music from their album Spirit In The Glass, the deluxe version of which includes three additional songs beyond the original release.

The band features Dylan Dyce on guitar, Mike Gunn on Bass, and madman Luis Silva on drums. With the crowd on their feet, Dark Chapel aced a six-song set, beginning with Afterglow and Hollow Smile and rocking right into Sign Of Life and Hit Your Love, both of which were released last October.

Next, they rocked the stage with a cover of Bill Wither’s Ain’t No Sunshine. These guys worked up a sweat for the crowd with a Heavy Metal set that at times has some bluesy roots.

They were a perfect pick to open the night with their melodic riffs and thunderous drums. Dark Chapel are sure to be gaining more and more followers after each show. 

Zakk Sabbath

If you love searing, melt-your-face-off guitar leads and have never experienced Zakk Wylde’s Zakk Sabbath show, then you were in for a treat.

Zakk, along with Dario Lorino, who is doing triple duty on this tour, have taken Black Sabbath songs and rearranged them to include lots more guitar madness for your listening pleasure.

Here is where I would normally say they played a short five-song set. However, these five songs lasted for a total of 40 minutes.

Black Label’s bad ass drummer, Jeff Fabb, was also on drums for Zakk Sabbath and does so with the strength of a rabid monkey, as well as BLS’s John ‘J.D.’ DeServio pounding out every bass note with perfection. 

They kicked off the set with Black Sabbath’s Children Of The Grave and kept the hardcore berserkers singing along and then cheering between songs.

If you have ever attended a Zakk Wylde show, you know to expect him to be dressed in a kilt with his long hair flailing from side to side, and tonight was no exception.

For us photographers, it is a challenge to capture a clear photo of his face. Zakk doesn’t try to replicate Ozzy’s vocals but rather makes it his own.

The rest of the set included Snowblind, Fairies Wear Boots, N.I.B., and ended the sensory overload with War Pigs. Epic and most certainly toe-tapping.

Black Label Society

This is the part of the show that The Connecticut Chapter of Black Label Society was waiting for, The Engines Of Demolition Tour, and the anticipation of the new Ozzy tribute song that would be played during the set.

Shortly after 9:30 pm, the curtain dropped, and Zakk was on his riser at the centre of the stage playing the unmistakable intro to Funeral Bell.

The crowd was bobbing their heads to the repetitive riff coming from Zakk’s new Wrath Maker Wylde Audio guitar with the Engines Of Demolition logo on it.

What a bad ass logo it is. It is an orange chrome skull with a turbo and exhaust for its ears and pistons coming out of the top of its head. I just had to buy a t-shirt with the new logo on it. 

Name In Blood was the first song played from the new album, followed by Destroy And Conquer from the recent Doom Crew Inc. album.

The cheers at the beginning of No More Tears, the only cover song of the night, were deafening.

Next up were the band intros, to which Zakk was goofing with the crowd, saying after he introduced each member how they did not like anybody from Connecticut, and then saying that it was all right, “because I love everyone from Connecticut.”

Wylde introduced drummer Jeff Fabb as “Father Jeff, the furnace, the cinnamon babka maker,” to which the fans laughed. 

Next, Zakk took to the piano and slowed things up with In This River, which he always dedicates to Dimebag Darrell and Vinny Paul with their images on screens at the rear of the stage.

After several more fan favourites, they played the song everyone was waiting to hear live for their first time, Ozzy Song, a tribute Zakk wrote not long after Ozzy’s passing.

This time, with Dario on the piano, Zakk took centre stage and sang the heartfelt dedication song in Ozzy’s memory to a respectfully quiet crowd.

With photos of Ozzy on the screens at the back of the stage, you could feel the emotion coming from the band and the crowd, and even the guitar sounded like it may have shed a tear for Ozzy.

They ended a superb set with Stillborn.

It is amazing to see these guys still pounding out so much music night after night, as well as turning out new albums with so many great songs on them.

The Engines Of Demolition Tour featuring Black Label Society, Zakk Sabbath, and Dark Chapel is a must-see for any Zakk Wylde fan, Ozzy Fan, Black Sabbath fan, or any fan of Heavy Metal.

Attendees left The Mohegan Sun arena with ears ringing and possibly even a tear in their eyes for Ozzy Osbourne. Tour tickets are available from linktr.ee/zakkwyldebls.

Black Label Society / Engines Of Demolition Is Zakk Wylde’s Most Emotional & Powerful Album Yet

The post Black Label Society Bring Engines Of Demolition To Life At Mohegan Sun Arena first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.

Take the time to reflect. Sit a moment with your sadness. Watch a drop of condensation snake its way down a window pane. Imagine the route it will take, the direction it will travel, and observe its path. It seems to be going where you hoped. Until it wobbles, and shakes, and takes a different path entirely. As the solitary droplet reaches its end and spills across the window ledge, you’re left with a question; what now?

‘Did You Ask To Be Set Free?’ is not the record As Everything Unfolds would ever have wanted to make. Tragically, they lost their drummer Jamie Gowers before its production. They could have walked away. They could have taken their memories and let them lie. But they haven’t. Instead, they have regrouped, and in deciding to look to the future, they have made their strongest album so far.

Understandably, it’s impossible to talk about this record without the circumstances of its creation. Any decision must have been difficult and there was no ‘correct’ choice. In this respect, the record feels like a series of questions and answers. The most pertinent; How are you going to approach this?

These songs exist in the shadow of tragedy, and its presence can be felt in every track. Even the song titles allude to it, and yet it sounds nothing like you might expect – yes, it fits clearly into the band’s oeuvre but it is not downcast or morose. It takes precisely one song to dispel that idea; ‘Gasoline’ is as fiery as its name suggests – it’s hugely upbeat and catchy, almost to the point of being a pop song. Perhaps surprisingly, it indicates that this is, musically at least, a record about moving on.

When listening back to the band’s second album ‘Ultraviolet‘, there’s a clear sense of direction. You could argue that they took that album’s big single – ‘Felt Like Home’ – as a starting point. The sound is still rooted in something of a metal-adjacent style of post-hardcore but they have stripped out the layers that defined their early work in favour of bigger grooves. It’s almost like they have reverse-engineered themselves into nu-metal, ending up with a sound closer to that of Dream State or even Dead Pony. It feels big and bold and exciting. Most songs would work as a single – at least a third of them could be played at a disco. Musically at least, it means this is a record about the future, a progression designed to move their career forward.

At a production level the sound is streamlined but in direct conversation with their previous work. It’s a record less about atmosphere, and more about feel. You can hear this on the gentle dancefloor beats of ‘Reverie’ – which are designed to make your hips sway – or on the shuffle under ‘Point Of View’. It also has a sense of momentum which lends even the heavier songs (and they do get heavy) a sense of agility, allowing clever chord changes to shift the rhythmic weight in wicked ways. The fast-riffing ‘Idols’ is a great example, as it is brisk and catchy but has a real bite.

The album has a certain Pick ‘N’ Mix variety. Some songs lean toward pop punk, others like ‘Find Another Way’ are more like power ballads. There are also plenty of harsh, heavy moments – notably the detuned main riff on ‘What You Wanted’ feels massive. Tying all these sounds together is a distinct overall tone. Because the ideas are carefully deployed, it never feels unbalanced or at risk of capsize. Unless, of course, it’s intentional. ‘Set It In Flow’ becomes increasingly intense and warped by some kind of wah-wah effect, making it one of the album’s most creative and striking songs.

Social media is not ideal for an artist. Anonymity is difficult and privacy is a nightmare. At one time a new album prompted a round of interviews, shows, maybe a few stories in the NME, but now oversharing has become part of the deal. This is not easy for anyone and tragedy makes it worse. As Everything Unfolds kept to themselves and this was a good thing. They neither burned themselves out nor painted themselves into a corner. This choice allowed them to continue. The influence of this on vocalist Charlie Rolfe is pronounced, and yet she has found a way to express herself that is both compelling and brilliant. While she has never been coy about the influence of Hayley Williams, these songs push that Paramore direction, leaning on drawn-out sounds, allowing her to share her grief through open-armed choruses.

The smeared opening to ‘Denial’ erects a screen between the performance and events that inspired it. The song is a strange, ugly expression of hurt that rapidly evolves into anger but it’s not one she sits easily with. The other songs express it in different ways but there is an undercurrent of distress, despair or maybe even anger. You can hear it break the surface on the short, snotty scream of ‘What do you take me for?’ but mostly it’s hidden, giving it a strange depth.

Think back to their first album, where songs like ‘Wither’ were written with a sense of downbeat sadness, and compare that to this. Despite the lyrics having a similar tone, listening to this unearths a truth. It doesn’t exist independent of the events that created it. It’s not a work of fiction, more a roman à clef. Listening to it on repeat is like a corkscrew, pulling you deeper into its secrets, rendering the paratext as text, making it genuinely upsetting. After all, this is a dazzling, devastating record inspired by a person who never had the chance to hear it.

‘Did You Ask To Be Set Free?’ is a potent mixture of experience, ambition and grief. Imagine a broken heart buried in a pop song; imagine a dove; listen to the sound of hope.

IAN KENWORTHY