Posted on October 15th 2026, 4:09pm
Blog
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MASTER BOOT RECORD Unleashes “PLUG AND PLAY” Video, Single, and Game from Upcoming “Computer Metal” Full-Length
– October 15th, 2026 –
Set For Release On October 30th Through Metal Blade Records
Watch/Stream “PLUG AND PLAY” HERE & Pre-Order “Computer Metal” HERE
Photo by Francesco Esposito
“PLUG AND PLAY” is the newest single from Italy’s MASTER BOOT RECORD. The track comes off the band’s impending new Computer Metal full-length, set for official unveiling on October 30th via Metal Blade Records.
Comments band mastermind and multi-instrumentalist, Vittorio D’Amore, “Every MASTER BOOT RECORD album ships with one melodic anthem. “PLUG AND PLAY” is the purest build of that code: no drivers, no setup, it just runs and its melodies will stick in your memory.“
The single comes accompanied by a video and game demo. D’Amore comments, “The video for ‘Plug and Play’ is not just a music video: it is the trailer of ‘No Trace Back,’ a racing game we are developing at Theta Division Games, the team behind VirtuaVerse. Elder0010 codes it in Unity, I write the music, and we shape the concept and game design together. It is a racer in pure vector graphics, in the line of the early arcade classics like Star Hawk, Tempest, and Cosmic Chasm: fast, high framerate, set in a virtual world where you compete for the prestige of your house. The free demo already runs on several mechanics, and the full version will go further, adding narrative and strategy elements and VR support. Computer metal has always come with code attached: crypto puzzles, ARGs, a whole server, a video game. This time the code is a racer. The demo is free at thetadivision.com.”
Watch MASTER BOOT RECORD‘s “PLUG AND PLAY” and download the game at: thetadivision.com & pre-order the new album at: metalblade.com/masterbootrecord
Stream MASTER BOOT RECORD‘s previously released single, “DOT MATRIX,” HERE.
Computer Metal makes a bold statement across its ten songs. The follow-up to 2024′s Hardwarez, Computer Metal was written via MIDI in Cubase, with the computer as the main instrument. The record shifts from hardcore to progressive metal, thrash metal, melodic metal, death metal, symphonic classical metal, industrial metal, and so on. On Computer Metal, while the synth can do almost everything a metal guitar does, it cannot replicate some things, like palm muting. So, while the synth remains the identity of the sound, adding guitars brings in the human variations that make it feel alive.
D’Amore took a new approach to writing Computer Metal. “Most of my records were written live on stream quite instinctively. This time I didn’t stream, because I needed a more meditative process.” Working offline gave him time to write, experiment, and hone in.
The album’s concept is, “sensory memory.” D’Amore elaborates, “Every title is a piece of hardware or a command that anyone who lived through that era of computing carries in their body: the sound of a dot matrix printer, the click of a turbo button, the glow of a CRT, the ritual of Ctrl+Alt+Del or the mythical Socket 7.“
Since 2016, MASTER BOOT RECORD has released 16 albums, joining Metal Blade Records in 2020. MASTER BOOT RECORD produced the video game VirtuaVerse, released on all major gaming platforms, as well as its original soundtrack.
“Computer Metal” is not a genre tag D’Amore picked; it is a genre he built, and Computer Metal is its definition. Ten tracks, 42 minutes, a single LP, old-school. Everything you hear was written note by note by a human with a keyboard and a mouse controlling a machine. Everything you see in the artwork was typed character by character. No generated content, no shortcuts. If you lived that era, this album will read your memory. If you didn’t, it will install it. SPREAD THE CODE.
MASTER BOOT RECORD‘s Computer Metal will be released on CD and digitally as well as vinyl in the following color variants:
Onyx (US)
Electric Blue Smoke (US)
180g Black (EU)
Grey/Black A Side B Side (EU – Ltd. 500)
Terminal Green Smoke (EU – Ltd. 300)Find all pre-orders at: metalblade.com/masterbootrecord
Computer Metal Track Listing:
01. DOT MATRIX
02. COMMAND PROMPT
03. PLUG AND PLAY
04. FIRMWARE
05. SOCKET 7
06. BOOT SECTOR
07. TURBO BUTTON
08. VOODOO2
09. CRT
10. CTRL + ALT + DELEUROPE/UK TOUR 2026
MBR + FULCI
[co-headliner]
arottenbit
[support]
Tickets: mbrserver.com
05.11 Lyon (FR) – Ô Totem Live
06.11 Marseille (FR) – Le Dodu
07.11 Barcelona (ES) – Sala Razzmatazz 3
08.11 Toulouse (FR) – Le Rex
10.11 Paris (FR) – La Machine du Moulin Rouge
11.11 London (UK) – The Underworld
12.11 Sheffield (UK) – Corporation
13.11 Dublin (IE) – The Academy
14.11 Glasgow (UK) – SLAY
15.11 Leeds (UK) – Brudenell Social Club
17.11 Brussels (BE) – Botanique
18.11 Amsterdam (NL) – Melkweg
19.11 Nijmegen (NL) – Doornroosje
20.11 Cologne (DE) – Gebäude 9
21.11 Hamburg (DE) – Logo
22.11 Copenhagen (DK) – Pumpehuset
24.11 Gothenburg (SE) – Monument
25.11 Oslo (NO) – John Dee
26.11 Stockholm (SE) – Kollektivet Livet
28.11 Tampere (FI) – new venue TBA
29.11 Helsinki (FI) – Tavastia
01.12 Tallinn (EE) – Rockclub Tapper
02.12 Riga (LV) – Melna Piektdiena
03.12 Warsaw (PL) – Hydrozagadka
04.12 Berlin (DE) – SO36
05.12 Prague (CZ) – Futurum
06.12 Munich (DE) – Backstage
07.12 Vienna (AT) – Szene
08.12 Budapest (HU) – A38
09.12 Bratislava (SK) – Randal Club
10.12 Ljubljana (SI) – Orto Bar
11.12 Lindau (DE) – Club Vaudeville
12.12 Aarau (CH) – KIFFMASTER BOOT RECORD are:
Vittorio D’Amore – Music, Guitars, Computers
Edoardo Taddei – Lead Guitar
Giulio Galati – Drumshttps://www.facebook.com/masterbootrecordmusic
https://www.instagram.com/masterbootrecord
https://x.com/masterbootrec
https://www.twitch.tv/masterbootrec
https://www.youtube.com/masterbootrecord -
Review: Thrakian – The Way (Matt Bladen)
Thrakian – The Way (Aonair Records)
I first heard, saw, felt Thrakian when they played alongside Pantheïst at a gig in Cardiff. They share a membership and an ethos for creating music that is forward thinking and devastating in it’s heaviness and its intelligent lyrical content.
Though reformatted in Wales, Thrakian’s beginnings are in Bulgaria, the birthplace of three of its members, their music is directly inspired by their immigrant experience with themes of displacement and identity, forged with ancient Thracian mythology which speaks of loss and resilience.
Thrakian in a live setting are a force of nature, from their dominating run at M2TM through almost constant gigging, playing with the likes of Pantheïst, Warcrab, My Silent Wake, Ba’al and Ofnus. Thrakian have become a live beast with some imposing, megalith flattening, post metal that creates a crushing union of heaviness and introspection.
I hoped that when the time came for recorded output it would reflect who they are on stage so now with The Way, their debut album we can put that to the test, as things begin with the kind of ferocity I want from them on Labours Of Insanity, at just over 6 minutes the shortest cut here but it welcomes you into the world of Thrakian with a slow burning beginning.
The melodic lead guitar lines of Kristiyan Peshev are evocative, before the rhythmic chug of Atanas Kyurkchiev (guitar) and Matt Strangis (bass) begins the song properly, the blasting of Svetoslav Simeonov irrepressible even under this slower riffage, as Atanas’ pained growls bring a a passionate veracity but also sense of clarity where you can hear what he’s shouting.
It’s a skill many bands struggle with but even when the pace quickens into blackend blasts at the end you can still feel the introspection and emotion in the vocals as you’re drawn into the mesmeric riffs of the band with only song one, proving that they can mirror their live assault on record.
Following Labours Of Insanity is the epic of the record, the 12 minute plus Ancient Glory, a track that has all the monolithic density of modern Rotting Christ, layered with ritualistic guitar riffs, intricate and constantly shifting drumming, it moves between time signatures and styles with the ease of serpent, the full intensity and melodic beauty here showcasing the skills of engineer Timothy Vincent who I’ve waxed lyrical over before.
Ancient Glory lives for the instrumental sections, elongated moments of that insistent riff, punctuated by ambient parts as the pace quickens and slows for devastating effect, arguing into the blasting beginning of The Way itself, another slab of post metal/sludge sound shifting that showcases Matt’s bass work and how the band merge extremity and melody, through atmospherics that always keep the potent drumming.It dictates its own unravelling, the counteracting soundscapes leading you on an auditory journey through classical antiquity, punctuating every triumphal and hubristic moment with more intense musicality, similar in many ways to bands such as Neurosis, where multiple genres are all used at once, wrapped in distortion and volume.
Oddly The Way (the song) is Thrakian at probably their most direct, even with 7 minutes behind it and little vocals, it powers along ready for you to bang your head. I don’t want to call it mainstream but it showcases that Thrakian don’t have to do, layered complexity to be effective. The mainly instrumental cut has a propulsion to it, its post metal meets a more classic metal output and, like the best post/sludge bands around, the ever shifting momentum means that there’s never a moment to ease into but rather you get caught in a swirling vortex of heavy rhythms, where all you can do is just to let go.
Similarly In The Grips Of Illusion, takes things further the other way, cleaner spoken word vocals, textured ambience and a clarity at the beginning, takes them into some progressive textures, that are edffective although shortlived because it’s not long before the heavy comes back in with modern metal groove that again is built around repetition and an insistence, that I can only liken to Rotting Christ, when they are locked in, heads down and taking an audinece with them. It’s a closer where there feels like there’s both finality but also a opening to the next chapter, as if there’s plenty more to come but a unknonwing about what form it will take.
At 35 minutes across 4 tracks, Thrakian showcase why they are one of the bands to keep an eye on in the South Wales/UK scene, capturing their live power on record brilliantly, The Way highlights their dedication to their craft and how extreme heaviness can also be atmospheric and full of melody. 10/10 -
AN NCS PREMIERE: DEVIL’S HOUR — “HELLBOUND & HAMMERED”
(written by Islander) The German metalpunk band Devil’s Hour aren’t trying to fool anyone. They named their 2023 debut EP Black ‘n’ Punk Marauders. The two singles they released that same year were “Beerlethics” and “Blood and Booze on Hallows Eve“. And in case people still weren’t getting the message, they titled their 2024 debut […]
The post AN NCS PREMIERE: DEVIL’S HOUR — “HELLBOUND & HAMMERED” appeared first on NO CLEAN SINGING.
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“Unbound in Death” delivers the first strike from NORDJEVEL’s Damnous
Norwegian black metal force NORDJEVEL have released “Unbound in Death”, the first single and official music video from their fourth studio album, Damnous. Due on 11 December 2026, the record marks the band’s debut with Season of Mist’s Underground Activists imprint and follows their 2022 full-length, Gnavhòl. There is little restraint in the choice of […] -
Extol – Streaming Another New Song
Norwegian extreme progressive metal outfit Extol have released a third single coming from their upcoming comeback album, Aura Of Decay, called “Merciless Hunger”. Check out the visualizer below.
Read more… -
Johnny Ranck Self-Titled EP Review
Johnny Ranck Self-Titled EP Review
This EP takes you to the roots of American music, where influences traveled from the Appalachians to Nashville. The opening track, “Baby, Come Back,” features desert-like rhythms reminiscent of the Eagles, evoking a strong desire to embark on a journey. This song captures a feeling of wanderlust, paving the way for the entire record.
The second track, “Can You Feel The Buffalo,” presents a more nostalgic vibe. It highlights the artist’s songwriting skills, demonstrating his ability to articulate emotions through music. This song resonates deeply, appealing to those in search of reflection and connection.
“When Will I Stop Cryin’ (Over You)” showcases a blend of cheekiness and intensity. It serves as a thoughtful exploration of love and heartbreak, akin to the storyline in films like “Walk The Line.” Many listeners will find solace in its lyrics, which resonate with the complexities of moving on after a relationship ends. The artist cleverly balances irony and genuine sentiment, drawing listeners into a relatable experience.
Johnny Ranck’s EP – Sound and Atmosphere
“Make You Mine” opens with enchanting strumming that sparks the imagination. This song evokes the sensation of discovering yellowed Polaroid photos tucked away in a drawer. Each strum unfolds memories, immersing listeners in a wave of nostalgia. The wistfulness of this track makes it a meaningful addition to the EP.
Concluding the EP is “Winners & Losers,” a reflection on life that is nostalgic and introspective. The song penetrates deep within the soul, eliciting powerful emotions. The artist’s vocal delivery is remarkable, instilling a belief in the lyrics and bringing them to life.
Throughout the EP, Johnny Ranck’s voice stands out, drawing listeners into each song with sincerity. His ability to blend humor and heartfelt emotion is fantastic, making this body of work not just enjoyable but also relatable. Whether addressing themes of love, loss, or nostalgic memories, the music transcends simple entertainment, inviting introspection.
Johnny Ranck’s EP – Performance and Production
The overall production remains true to the roots of Americana. Johnny Ranck balances traditional sounds with modern sensibilities, crafting an experience that honors the past while sounding fresh. The instrumentation complements the lyrical themes, enhancing the emotional depth of each track.
Throughout the EP, the artist showcases a diverse range of musical influences. You can hear echoes of folk, rock, and even a touch of classic country. This mixture creates a rich atmosphere without overshadowing the raw emotion present in the lyrics.
The pacing of the EP is well thought out, highlighting different facets of the artist’s abilities while maintaining listener engagement. The transitions between songs feel natural, with each piece flowing smoothly into the next. This progression allows listeners to fully immerse themselves in the storytelling present in each track.
Johnny Ranck’s self-titled EP is a delightful exploration of the intricacies of life and love. The artist’s ability to convey emotions through lyrics and melody is exceptional. This EP is not just a collection of songs; it’s an experience that resonates with listeners.
Genuine
If you love this music: Discover More
For fans of:
Eagles
The post Johnny Ranck Self-Titled EP Review appeared first on Edgar Allan Poets – Noir Rock Band.
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Thirteen years later, FIR BOLG summon Celtic rites on Triskelion
Thirteen years have passed since the release of Towards Ancestral Lands, but the connection between black metal and ancient Celtic traditions remains at the heart of FIR BOLG. The French trio will release their second full-length album, Triskelion, on 27 November 2026 via Schwarzdorn Production, bringing thirteen compositions inspired by pagan rituals, ancestral beliefs and […]