See now.

The post The Tony Danza Tapdance Extravaganza’s Comeback Single “Say When” Now Has A Music Video appeared first on Theprp.com.

Good Day Noir Family,
A dark, almost ethereal lullaby opens Kingfisher’s “Breakdown.” A nostalgic tone that feels intimate and restrained.

Breakdown is Kingfisher’s Single Out Now

The atmosphere floats gently at first, as if the song wants you to lean in closer. Then, around the 23-second mark, everything shifts.

The rhythm tightens, the pulse accelerates, and suddenly you’re pulled into a surge of energy that transforms the track entirely.

This dynamic contrast defines the experience. The initial fragility gives way to urgency, and the melodic progression locks into a driving groove that keeps you alert. The chord sequence feels engaging. The transition doesn’t feel abrupt. It feels intentional, almost cinematic.

The vocal arrangement deserves particular attention. The lead voice often doubles with a female counterpart, adding a dreamy layer that softens the sharper edges of the instrumentation. This interplay creates depth and texture. The melody gains dimension without losing clarity. The chorus amplifies that effect. When the word “Breakdown” repeats, it becomes hypnotic yet forceful at the same time.

The song never drifts into predictability. Even though it carries radio-friendly appeal, it avoids formulaic shortcuts. The alternative rock foundation feels polished but not overproduced. The drums strike with confidence, while the guitars expand the harmonic space without overpowering the vocals.

The emotional arc remains consistent. The early melancholy lingers subtly beneath the energetic drive, giving the track a layered character. That balance between introspection and propulsion makes “Breakdown” stand out.

Kingfisher demonstrates refined songwriting instincts here. The band understands dynamics and contrast. They build tension, release it, and then sustain momentum without losing focus. “Breakdown” proves that alternative rock can feel intense and sophisticated.

This single delivers mood, movement, and memorability in equal measure.

Breakdown is Kingfisher’s Single Out Now!

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Hypnotic!

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Breakdown is Kingfisher’s Single Out Now

Kingfisher, hailing from Uppsala, Sweden, is a musical project led by Julian Eduardo Lozano on vocals and guitars, accompanied by the talented Italian drummer Nich Magnolfi and unique bassist Affe. The band’s creative composition and raw, universal sound set them apart, promising a unique listening experience that captivates audiences worldwide.

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Find Kingfisher Here:

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The post Breakdown is Kingfisher’s Single Out Now appeared first on Edgar Allan Poets – Noir Rock Band.

Arch Enemy’s albums split into four distinct eras, and the band has just entered the fourth. Across thirteen studio records and thirty years, Michael Amott’s melodic death metal institution has changed lead vocalists three times — each change resetting what the band sounded like and who it was for.

The most recent reset landed hard. On 23 November 2025, Arch Enemy and Alissa White-Gluz parted ways after twelve years. The band’s statement was brief: “Wherever there is an ending, there is also a beginning. See you in 2026.” Three months later, on 19 February 2026, they answered the question — Lauren Hart, formerly of Once Human, is the new voice of Arch Enemy, introduced on the single “To the Last Breath.”

That makes 2025’s Blood Dynasty the final Alissa White-Gluz album, and it reframes how the whole catalogue reads.

Here is every Arch Enemy studio album, ranked.

The four eras, quickly

Before the ranking, the shape of the thing:

The Johan Liiva era (1996–2000) — Black Earth, Stigmata, Burning Bridges. Raw Gothenburg melodic death metal, built by Michael Amott after leaving Carcass, with his brother Christopher on second guitar. Cult status, small audience.

The Angela Gossow era (2000–2014) — Wages of Sin through Khaos Legions. Gossow’s arrival turned a respected underground band into a global one. Sharper production, bigger hooks, and a frontwoman who changed what a death metal vocalist could look like.

The Alissa White-Gluz era (2014–2025) — War Eternal, Will to Power, Deceivers, Blood Dynasty. The most commercially successful stretch in the band’s history, and the most divisive, as melody and clean vocals pushed further forward.

The Lauren Hart era (2026–) — one single so far. Amott’s framing of “To the Last Breath” was pointed: “Make no mistake — this song is a reckoning. Musically, it’s unapologetically aligned with my original vision for the band.”

Loaded Radio Recommends – From Zero to Headbanger: 13 Essential Death Metal Albums for Beginners

13. The Root of All Evil (2009)

Vocals: Angela Gossow

Start with the asterisk: this isn’t a new album. The Root of All Evil is Angela Gossow re-recording material from the Johan Liiva years — the band’s own back catalogue, redone with the singer who made them famous.

The logic was sound. Gossow-era fans arriving via Wages of Sin had a three-album prehistory they’d never heard, sung by someone else, recorded on a fraction of the budget. Redo them properly and the early material finally gets heard.

It doesn’t work, and the reason is instructive. Those songs were built around Liiva’s voice — flatter, more human, less imposing. Gossow’s delivery is technically superior and tonally wrong for them. The production is cleaner and the songs are worse for it; the murk was part of the point. What you get is a well-made record that makes you want to go and play the originals.

Worth hearing once as a curiosity. It ranks last because it’s the only entry that adds nothing new to the catalogue.

12. Burning Bridges (1999)

Vocals: Johan Liiva

This placement will annoy people, and the annoyance is fair — Burning Bridges has a devoted following, and “Dead Inside” and the title track are era-defining songs.

The case against it is structural. It’s the third Liiva album and it’s reaching the limits of what that lineup could do. The dual-guitar work between Michael and Christopher Amott is genuinely superb, and the melodic vocabulary that would carry the band for the next twenty years is fully formed. But the songwriting leans on the guitars to carry passages the vocals can’t, and across a full listen the dynamic range narrows.

It’s the best-produced record of the early era and the one that pointed most clearly at what was coming. It’s also the one where you can hear the band pressing against a ceiling.

11. Khaos Legions (2011)

Vocals: Angela Gossow

The last Gossow album, and it sounds like a band consolidating rather than pushing. “Yesterday Is Dead and Gone” and “Bloodstained Cross” are strong, mechanically excellent Arch Enemy songs — and that’s the problem. By 2011 the formula was so well established that competence had become the ceiling.

Nothing here is bad. The playing is immaculate, Gossow is in fine voice, the production is enormous. But Khaos Legions is the first Arch Enemy album where you can predict the next section, and a band whose whole identity is built on melodic surprise can’t afford predictability.

Historically it matters as the end of an era. Musically it’s the sound of a chapter closing.

10. Blood Dynasty (2025)

Vocals: Alissa White-Gluz

Released 28 March 2025, and — though nobody knew it at the time — the last Alissa White-Gluz album. She left eight months later.

That context does the record no favours and no harm either; it simply makes it audible as an ending. Blood Dynasty is a heavier, more direct record than Deceivers, with the clean-vocal experiments largely stripped out. “Dream Stealer” and “Illuminate the Path” hit hard. Joey Concepcion, in his first full album cycle on second guitar, plays with real teeth.

What holds it back is a lack of moments. It’s consistent, aggressive, and well-constructed, and very little of it lodges. The Gossow-era records had hooks you couldn’t shake; this has riffs you admire. Given Amott’s later comment about returning to his “original vision,” it’s tempting to read Blood Dynasty as a record made by a band already looking past itself.

A solid album that will be remembered mainly for what it turned out to be.

9. Anthems of Rebellion (2003)

Vocals: Angela Gossow

The awkward follow-up to a breakthrough. Anthems of Rebellion is where Arch Enemy started experimenting — clean vocals, layered arrangements, more ambitious structures — and the experiments are only half-successful.

“We Will Rise” is one of the great Arch Enemy songs, a genuine anthem that still opens sets. “Dead Eyes See No Future” works. Around them sits material that’s clearly searching, and the clean-vocal passages in particular sound tentative in a way the band would resolve much later.

It’s a transitional record and it sounds like one. But it’s transitional in the right direction — everything Arch Enemy did well in the following decade starts here, in rough form.

8. Stigmata (1998)

Vocals: Johan Liiva

The album where Arch Enemy stopped being a side project. Stigmata is a significant leap on Black Earth — better written, better recorded, more confident about what it wants to be.

“Beast of Man” and the title track show a band that has worked out how to make melodic death metal that’s genuinely melodic rather than just fast with harmonies over the top. Michael Amott’s Carcass instincts are still audible, but the Gothenburg framework is now fully his own.

It’s held back by the same limitation as the rest of the era: Liiva is a capable vocalist doing exactly what’s required, and never more. Everything around him is reaching further than he is.

7. Deceivers (2022)

Vocals: Alissa White-Gluz

The most polarising album in the catalogue, and the arguments about it are mostly arguments about direction rather than quality.

Deceivers pushes melody and clean vocals further forward than any Arch Enemy record before it. “Deceiver, Deceiver” and “House of Mirrors” are enormous, radio-shaped metal songs with hooks engineered to stick. Alissa’s clean singing — a genuine asset she spent three albums easing into — is finally used with confidence rather than caution.

Whether that’s growth or dilution depends entirely on what you want from this band. Judged on execution it’s superb: brilliantly produced, tightly written, performed at a level the 1998 lineup couldn’t have imagined. Judged as melodic death metal it’s the furthest the band has ever drifted from the second word.

It ranks here because it does what it sets out to do almost perfectly. Your mileage will depend on whether you wanted it done.

6. Will to Power (2017)

Vocals: Alissa White-Gluz

An underrated record that suffered from following War Eternal and from one very divisive song.

“The World Is Yours” and “The Race” are top-tier Arch Enemy — fast, melodic, vicious. Jeff Loomis, in his second album with the band, is extraordinary throughout; the lead work here is arguably the most technically accomplished in the catalogue. “First Day in Hell” builds better than almost anything in the Alissa era.

Then there’s “Reason to Believe,” the fully clean ballad that split the fanbase down the middle. It’s a brave inclusion and it does not fit. One song shouldn’t define an album, but this one largely did.

Strip that track and Will to Power is a top-five Arch Enemy record. Keep it and you have a very good album with a hole in the middle.

5. Black Earth (1996)

Vocals: Johan Liiva

The debut, and it holds up far better than most thirty-year-old melodic death metal.

Black Earth is Michael Amott arriving with a fully formed idea. Fresh from Carcass, he built something that took the Gothenburg template and pushed the guitar harmonies to the centre rather than the edges. “Bury Me an Angel” and “Idolatress” still sound like a statement of intent.

The production is thin, Liiva is functional rather than commanding, and the songwriting occasionally repeats itself. None of it matters much. This is the album where the band’s entire melodic language was established, and almost every Arch Enemy record since has been a variation on ideas that first appear here.

Historically essential and genuinely enjoyable, which is a rarer combination than it sounds.

4. Doomsday Machine (2005)

Vocals: Angela Gossow

The heaviest album of the Gossow era and the one where everything the band had been building finally locked together.

“Nemesis” is a career-defining song — the riff, the harmony, the chorus, all of it. “My Apocalypse” and “Taking Back My Soul” match it for aggression. Where Anthems of Rebellion had experimented tentatively, Doomsday Machine commits: it’s darker, faster, more precise, and vastly more confident.

It also marked the end of a chapter, with Christopher Amott departing after the album cycle. The brothers’ interplay was central to the band’s sound for a decade, and Doomsday Machine is the last record where you hear it at full strength.

The gap between this and the top three is small.

3. War Eternal (2014)

Vocals: Alissa White-Gluz

Arch Enemy had a genuine problem in 2014. Angela Gossow wasn’t just a singer, she was the face of the band’s entire global rise. Replacing her risked everything.

War Eternal answered emphatically. Alissa White-Gluz arrived with a harsh vocal that stood comparison with her predecessor and a presence that made the transition feel like continuation rather than substitution. The title track, “You Will Know My Name” and “As the Pages Burn” are among the most durable songs in the catalogue — “You Will Know My Name” in particular has become the band’s signature.

It’s also a smarter record than it’s given credit for. Jeff Loomis’s arrival on second guitar brought a technical dimension the band hadn’t had, and the songwriting balances melody and aggression with a precision the later Alissa albums sometimes lost.

A lineup change this fundamental should have cost them years. Instead it produced their most assured record in a decade.

2. Rise of the Tyrant (2007)

Vocals: Angela Gossow

The peak of the Gossow era, and the album most likely to top other people’s lists.

Rise of the Tyrant is Arch Enemy operating at full capability with nothing left to prove. “Blood on Your Hands” is a perfect distillation of the band — riff, harmony, hook, fury, all in four minutes. “Revolution Begins” is the most efficient song they’ve written. “I Will Live Again” closes with genuine weight.

What elevates it above Doomsday Machine is range. The heaviness is there, but so is a melodic sophistication the band hadn’t reached before, and Gossow’s performance is her most controlled — she’d stopped proving she belonged and started using the voice as an instrument.

If you’re building a case for Arch Enemy as one of the most important melodic death metal bands, you build it from here.

1. Wages of Sin (2001)

Vocals: Angela Gossow

The album that changed everything, and it earns the top spot on impact and quality together — a combination the rest of the catalogue can’t match.

Angela Gossow’s arrival was seismic. In 2001 a woman fronting a death metal band with that kind of ferocity was close to unprecedented, and Wages of Sin refused to be treated as a novelty. “Ravenous,” “Enemy Within” and “Burning Angel” are the songs where Arch Enemy stopped being a well-regarded Swedish band and became an international one.

The record works because it’s the moment two things arrive at once. The Amott brothers’ songwriting had matured across three albums and was ready for a bigger stage. Gossow gave those songs a voice with the authority to command one. “Enemy Within” alone justifies the placement — it’s the template every melodic death metal band has been working from ever since.

Twenty-five years on, it hasn’t aged. That’s the whole argument.

Check This Out – Queens of Noise: The 13 Best Female Fronted Metal Bands (Loaded Radio’s Definitive Countdown)

Where the Lauren Hart era goes from here

One single is not an album, and it would be foolish to draw conclusions from “To the Last Breath.”

What’s worth noting is Amott’s framing. Calling the song “a reckoning” and “unapologetically aligned with my original vision for the band” reads as a deliberate signal after a decade in which Arch Enemy moved steadily toward melody and accessibility. Whether that means a genuine return to the Doomsday Machine end of the catalogue, or simply a heavier opening statement from a new vocalist, is unanswerable until there’s a record.

Lauren Hart arrives with real credentials from Once Human and a harsh vocal that stands on its own terms rather than imitating either predecessor. Arch Enemy have now navigated this transition twice and got it right both times — in 2001 and again in 2014. On the evidence of the catalogue, that’s a band worth giving the benefit of the doubt.

Arch Enemy albums in order

*Re-recordings of Johan Liiva-era material, not original songs.

Current lineup: Lauren Hart (vocals) · Michael Amott (guitar) · Joey Concepcion (guitar) · Sharlee D’Angelo (bass) · Daniel Erlandsson (drums)

TL;DR

Arch Enemy’s albums break into four eras defined by four vocalists. Wages of Sin (2001) takes the top spot — the album where Angela Gossow’s arrival turned a respected Swedish band into an international one, and the record every melodic death metal band since has borrowed from.

Blood Dynasty (2025) is Alissa White-Gluz’s final album; she left the band on 23 November 2025 after twelve years. Lauren Hart, formerly of Once Human, took over in February 2026.

The Root of All Evil ranks last because it isn’t really an album — it’s Gossow re-recording the Johan Liiva years, and the originals win.

FAQ

Thirteen albums, four singers, and thirty years of the same argument. Is Wages of Sin really the peak, or does Rise of the Tyrant take it? And where does the Lauren Hart era land once there’s a full record to judge?

Settle it in the comments. And keep it locked on the Loaded Radio stream — follow Loaded Radio for daily rock and metal news.

The post Arch Enemy Albums: Complete Discography Ranked appeared first on Loaded Radio.

It’s fair to say that Radiohead have a complicated relationship with their debut single

Evolution. It’s one of those principles that seems to undergird just about every aspect of existence in this universe. As students of our most favorite of genres, we often speak about the “evolution of heavy metal” and how it has birthed a plethora of subgenres of varying degrees of viability. While some of these subgenres carry enough useful traits to become long-lasting pillars in the monument of heavy metal, others seem to serve the role of transitional forms or “missing links” between more well-known styles. Case in point: speed metal. Often seen as a momentary stop on metal’s journey from traditional to thrash, relatively few bands have built a career on speed alone. Acts who start with speed metal (many early thrash bands and power metal bands, especially) often incorporate other elements or transition to something else entirely. While this may be the general trend in metal’s history, Germany’s Cruel Force says, “Fuck that.”

Formed back in the late aughts as a blackened thrash/speed metal band, Cruel Force regrouped after a long hiatus, reinventing themselves as a pure and simple speed metal band with 2023’s Dawn of the Axe, an album that impressed me enough to earn a spot on my list of honorable mentions for that year. Well, if that was the dawn of the axe, 2026’s Haneda is the reign of the axe, an axe that has been meticulously honed and polished to the point of being as beautiful as it is lethal. I’d suggest doing a proper warmup before pressing play on the embedded “Whips-A-Swinging,” because severe neck damage is all but inevitable.

In fact, Haneda should have come with a warning from the surgeon general stating something like, “May cause permanent stank face. May cause carpal tunnel syndrome secondary to excessive involuntary air guitar. May cause the user to run through walls, laugh maniacally at inappropriate times, or punch strangers in the face. Do not use while operating motor vehicles, as dangerous and irreversible acceleration has occurred. User may also feel the urge to destroy said vehicle with their bare hands, Street Fighter style.” And that’s just my experience with the record these maniacs have produced. Guitarist Slaughter absolutely lives up to his name, slaying all before him with unbelievable rhythm skills and classic metal leads, while Spider’s fingers crawl across his bass fretboard in an effort to keep up. Carnivore feasts, delivering a timeless, thrashy vocal performance that suits the music oh so well, but MVP honors go to drummer GG Alex, whose incessant fills have managed to become a hallmark of Cruel Force’s sound.

The prospect of 42 minutes of speed metal probably doesn’t sound all that special or exciting, but in Cruel Force’s capable hands, Haneda has managed to transcend the genre’s ham-fisted, beer-guzzling stereotype to create something truly special. The compositions are incredible, ranging from 4-minute rippers like “Whips-A-Swinging,” “Savage Gods,” “Sword of Iron,” and “Black Talon,” stretching into more complex work like “Warlords” or the album’s instrumental centerpiece “Crystal Skull,” and finishing in grand fashion with the epic, 9-minute, Song o’ the Year-frontrunning title track. Every song features wild, yet somehow graceful transitions and killer grooves, and the production is simply beautiful, proving that an album can sound authentically old and brutal while simultaneously feeling cultured and refined. I’m honestly still in shock from how hard this album hit me; what on first listen felt like just a really good speed metal album has revealed itself to be utterly excellent.

To finish my musings on evolution, Haneda sounds like a handful of speed metal bands become isolated on an island that drifted away from mainland Metal millions of years ago (let’s call this island ‘Metalgascar’) and whose progeny have spent the intervening time adapting and mutating without any other external musical influence. Where mainland Metal achieved heaviness through ever more extreme vocalization, down-tuning, and genre bastardization, Metalgascar developed its heaviness through ever-increasing speed and compositional quality. Far from being some hunched-over figure towards the beginning of heavy metal’s March of Progress, speed metal, in the form of Cruel Force, has achieved its final form, becoming Homo deus, the Übermensch, the Gigachad, or as the kids say these days, “he’s him” (or “she’s her,” or “they’re them,” if you prefer). This fantastic record will undoubtedly be on my year-end list (if not atop it), because I doubt that 2026 can produce something that’s more quintessentially metal.

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Rating: 4.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Shadow Kingdom Records
Websites: cruelforce.bandcamp.com | facebook.com/cruelforce
Releases Worldwide: March 27th, 2026

The post Cruel Force – Haneda Review appeared first on Angry Metal Guy.

Good Day Noir Family,
Kelsie Kimberlin introduces Lady Liberty with a distinct artistic vision.

Lady Liberty is Kelsie Kimberlin’s Single Out Now

The mood sets a haunting and dystopian tone that draws you into a world teetering on the edge of unrest. “Lady Liberty” is a powerful call to awareness, a sonic awakening that reflects a deeply fractured moment in American society.

The track captures a collective unease, giving voice to those who feel their rights slipping away. Under the shadow of political and social tensions.

Kimberlin’s delicate yet resolute vocals serve as the heart of the song. Weaving through the soundscape with an almost hypnotic calm that contrasts beautifully with the urgency of the message. Her voice acts like a modern-day oracle, guiding listeners through this introspective journey without ever resorting to shouting or overt dramatics.

This subtlety enhances the track’s impact, prompting thoughtful reflection rather than just emotional reaction.

The instrumentation is equally compelling, layered with refined arrangements that cleverly intertwine keyboard textures and string pizzicatos. These elements contribute to a complex auditory fabric that feels lush and unsettling. The sound mirrors the tension underlying the song’s themes. The artful layering of sounds acts as a call to vigilance, gently nudging the listener to stay alert and engaged with the unfolding reality.

“Lady Liberty” stands out not only for its musical sophistication but also for its socially conscious narrative. It positions the Statue of Liberty—a traditional symbol of freedom—as a distant, almost unreachable ideal. The song questions how far the nation has drifted from its founding principles. This single is a testament to Kimberlin’s artistry and her commitment to using music as a means to provoke thought and inspire change.

In a time when many feel their freedoms are under threat, “Lady Liberty” is a timely and necessary reminder of the power of awareness and the importance of standing tall in the face of adversity.

Lady Liberty is Kelsie Kimberlin’s Single Out Now!

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Awakening

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Kelsie Kimberlin Kelsie Kimberlin is a Ukrainian-American singer-songwriter who began her musical journey in childhood, recording her first song at age eight. She has since written and recorded over 100 original tracks, collaborating with top producers linked to artists like Adele, Coldplay, and Taylor Swift.

Her music has gained international exposure through radio and streaming platforms. Beyond music, she is actively involved in humanitarian work in Ukraine, where she has filmed videos in conflict-affected areas and documented real-life stories.

Blending music with activism and global experiences, Kimberlin continues to develop a career that connects artistic expression with real-world impact.

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Discover New Bands Click Here

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Good Day Noir Family,
Radio Psychosis return with “Have You Seen The Rain?”, and the mood settles in quickly with an atmospheric introduction that pulls you into its world.

Have You Seen The Rain? is Radio Psychosis’ Single Out Now

A steady groove emerges, and then the vocal arrives with a sincerity that cuts through the haze.

The voice carries emotion without exaggeration. It feels grounded and direct. The guitars lock tightly with the rhythm section, creating a foundation that instantly reminded me of R.E.M., yet with a darker shade that hints at Nick Cave’s shadowed storytelling. The blend feels natural rather than nostalgic for its own sake.

What truly defines the track is its dynamic control. The chorus pushes forward with urgency and melodic lift. Then, just as the energy peaks, the verse strips things back, leaving space to breathe. This tension between expansion and restraint gives the song depth. Subtle synth textures slide in behind the arrangement. These details shape a nocturnal atmosphere, like city lights reflecting on wet asphalt after rainfall.

The production never overwhelms the core idea. Every instrument serves the emotional arc. The band avoids excess, and that discipline strengthens the impact. While the groove remains steady, small shifts in tone and layering keep the listener engaged.

The imagery evoked by the track feels almost cinematic. It resembles an Edward Hopper painting translated into sound, capturing a fleeting urban moment and freezing it in time. Yet the band does not lean on drama. They allow mood and melody to carry the narrative.

The song strikes a balance between nostalgia and forward motion, creating a sense of looking back without standing still. The lyrics, written in collaboration with Carl Chadwick, further elevate the track, adding depth and clarity to its emotional core. There’s a reflective tone throughout. The sincerity in the vocal delivery grounds the entire piece, giving it a genuine impact.

“Have You Seen The Rain?” stands as a refined alternative rock single that understands atmosphere and restraint. Radio Psychosis demonstrate strong songwriting instincts and a clear artistic direction. This track lingers quietly, and then returns to your mind when you least expect it.

Have You Seen The Rain? is Radio Psychosis’ Single Out Now!

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Nocturnal!

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Have You Seen The Rain? is Radio Psychosis’ Single Out Now

Radio Psychosis is a North West England–based band born during the COVID-19 pandemic, channeling the spirit of 80s Manchester into a sharp, modern indie sound. Blending post-punk intensity with contemporary indie rock, their music reflects the mood of overcast streets and working-class life, shaped by raw emotion and restless energy.

Drawing influence from bands like Joy Division, Echo & The Bunnymen, New Order, The Cure, Arctic Monkeys, and The Strokes, Radio Psychosis crafts songs driven by urgent rhythms, atmospheric melodies, and introspective lyrics. Their work explores themes of modern society, technology, and the psychological tension of everyday life, offering a sound that feels both nostalgic and current.

 

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The post Have You Seen The Rain? is Radio Psychosis’ Single Out Now appeared first on Edgar Allan Poets – Noir Rock Band.

– March 27th, 2026 –

Metal, Melody and Mortality on This Incisive Cut from Forthcoming Album “Wretched Heart”

New single out March 27th, 2026 | Album released May 1st, 2026

Photo by: Caitlin Delaplace

More than half a century into its life, what exactly is heavy metal? Is it a kind of belief system? Is it something to be observed as a relic, or an exhibit in a museum? Or is it, to paraphrase Christopher Lee’s Due de Richeleau in The Devil Rides Out “A living force, which can strike at any moment of the night“? For Vancouver’s SPELL, that question has never been more vital.

The latest single, “Take My Life“, offers one of the most revealing entry points into their new chapter. Released on March 27th, 2026, the track stands as perhaps the starkest embodiment of the album’s central tension – where classic heavy metal confidence collides with profound existential weight. Driven by a swaggering, mid-paced pulse and steeped in the spirit of vintage ’80s metal, the song delivers a chorus built for raised fists and midnight exorcisms alike. Yet beneath its strut lies something far more disquieting. As vocalist and bassist Cam Mesmer explains, “‘Take My Life’ is about an intimate encounter with death, and the power dynamics at play. Where I’ve had to make a decisive move, and been fearful, but others have given me confidence.”

This is a track that captures SPELL at their most direct, dynamic and disarmingly honest. As both a standalone statement and a key moment within Wretched Heart, it signals a band not only at the height of their powers but actively redefining what those powers can be. Stream a music video for “Take My Life“, directed by James Barry and Sean Edwards for Ramble Films, at this location.

Take My Life is released March 27th, 2026. WATCH THE MUSIC VIDEO HERE!

Vancouver based hypnotic heavy metal outfit Spell, will release its new LP, ‘Wretched Heart‘, on May 1 via Bad Omen Records. A shadow-drenched journey through desperation, passion and defiance, ‘Wretched Heart‘ sees Spell transform heavy metal into something urgent and human – gothic, cinematic and hypnotic. Not only Spell‘s strongest record to date but also a thunderous celebration of eccentricity which stalks its nocturnal realm with both savage finesse and beguiling charm. ‘Wretched Heart‘ is the follow-up to Spell‘s 2022 LP, ‘Tragic Magic‘, an album hailed as a celebration of “the mystique and darkness within hard rock and heavy metal“.

Pre-order/stream Wretched Heart HERE.

Available on CD, Single LP (spined LP with insert) in Solid Purple, Transparent Red & Blue Marbled, and Red & Black Smoke, and digitally.

‘Wretched Heart‘, in all its gory glory, embodies a very vital paradox – a record made by true believers who yearn for catharsis beyond. The oxymoron of anthems forged from steel, yet with a very human heart. Even the most cynical bystander will likely struggle not to be bewitched.

Track listing:
01.) Dark Inertia
02.) Lilac (stream VIDEO)
03.) Take My Life (stream VIDEO)
04.) Unquiet Graces
05.) Oubliette
06.) Iron Teeth
07.) Exquisite Corpse
08.) Savage Scourge
09.) In Duress
10.) Wretched Heart

Spell is Cam Mesmer (vocals, bass, rhythm guitar, synthesizers), Al Lester, (vocals, lead guitar, rhythm guitar, drums), Jeff Black (lead guitar, backing vocals), and Gabriel Tenebrae, (lead guitar, synthesizers). Follow Spell on Facebook and Instagram.

“Tipping their caps to a range of classic hard rock influences like Pink Floyd, Black Sabbath, Blue Oyster Cult, Rush and even old-school Mercyful Fate, Spell captures a dreary, overcast and lo-fi vibe” – Exclaim!

“If this band was a van, they would be the raddest, most pimped out airbrushed 70′s van with plush interior and a BOOMING system. SPELL is a perfect name for them, because their songs are jamming heavy metal magic.” – Cvlt Nation

“If you like your throwback metal loaded with 70s occult magic, this may cast a spell over you.” – Angry Metal Guy

Buy iTunes Artist Page Artist News

Greetings, Decibel readers!

It’s a great week for fans of death and thrash metal, especially if you’re looking for bands who carry on the spirit of the 1980s while still screaming with their own voice.

Enjoy!

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Aggressive Perfector – Come Creeping Fiends

Well, it’s hard to go wrong with a name like that. This is the British outfit’s second album on Dying Victims Productions, a match custom-made in hell. A thrilling blend of Mercyful Fate, Venom, Exciter, and other flavors of 1980s extremity. There’s a subtle hint of early-80s street punk in there as well, if you listen close enough.

Stream: Apple Music

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Bekor Qilish – Consecrated Abysses Of Dread

Mind-blasting avant-garde mastery. When it comes to experimental and off-kilter death metal, Andrea Bruzzone is the man to trust. Think of Esoctrilihum but with the sonic insanity curve bent more toward Cynic, Nocturnus and latter-era Death.

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Foetorem – Incongruous Forms Of Evergrowing Rot

Meanwhile, if you just want some unrelenting, cavernous darkness — the debut album from Denmark’s Foetorem embodies all manner of devouring death. Themes of festering decay clash with thought-provoking, introspective music sections that contrast the standard blasts of fury. Gore that makes you think.

Stream: Apple Music

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Hellripper – Coronach

Hellripper is more than just another blackened-speed metal band. Over the course of the last decade, James McBain has established his unholy music machine as one of the most compelling and exciting names in modern metal. On Coronach, James ups the ante ever further with more interesting riff-work, more challenging compositions, and more reasons to hail eternal darkness!

Stream: Apple Music

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Intoxicated – The Dome

Floridian thrashy death metal courtesy of the always reliably Redefining Darkness Records. This is the band’s third album, and a followup to 2022’s Watch You Burn.

Stream: Apple Music

The post Five For Friday: March 27, 2026 appeared first on Decibel Magazine.

Metalcore outfit August Burns Red announced the impending release of their newly announced album Season Of Surrender, coming out on June 5. It’s the band’s first full-length release since returning to Fearless Records last month.

Boasting 11 brand new tracks, the album also includes the previously released song “Behemoth”. Today’s announcement brought a second track to light — “The Nameless”. That particular track you can check out below.

Bassist Dustin Davidson spoke about the new track, calling it a “hard-hitting, heavy bruiser that doesn’t let up for one moment.”

“[‘The Nameless’] combines classic ABR elements with dark moody technical rhythms, and fast paced vocals to keep the intensity up for the full three minutes of the track. To me it showcases our roots of where we’ve come from, and the future path of where we’re heading.”

While Davidson addressed the song’s vibes, vocalist Jake Luhrs explained the lyrical content found within the track and what it means.

“Lyrically, ‘The Nameless’ is a song about not wasting your life away for the sake of acceptance and comfortability. Sometimes it takes detaching from what you’ve been told, or from the beliefs you are no longer aligned with, in order to face your own weaknesses. In doing so you can break free to live a life you are proud of.”

Season Of Surrender will be released on June 5 via Fearless Records, but you can preorder your copy today.

Later this year, August Burns Red will head out on tour with The Amity Affliction, Boundaries, and Heavensgate. You can check out the full list of tour dates below and get your tickets today.

SEASON OF SURRENDER TRACK LISTING:

“Legions” [Feat. Mike Hranica]
“The Nameless”
“Behemoth”
“Den of Thieves”
“Sonic Salvation” [Feat. Jamie Hails]
“Cerebral Malfunction” [Feat. Make Them Suffer]
“Tear of the Clouds”
“Whispers Like Splinters”
“S.O.S.”
“New Horizons”
“Forged by Failure”

AUGUST BURNS RED + THE AMITY AFFLICTION ON TOUR:
WITH BOUNDARIES + HEAVENSGATE:
4/10 — Worcester, MA — The Palladium*
4/11 — New Haven, CT — College Street Music Hall*
4/12 — Pittsburgh, PA — Stage AE
4/14 — Charlotte, NC — The Fillmore
4/15 — Atlanta, GA — Tabernacle
4/16 — Orlando, FL — House of Blues
4/18 — New Orleans, LA — The Fillmore
4/19 — Dallas, TX — The Bomb Factory
4/21 — Houston, TX — House of Blues
4/22 — San Antonio, TX — Vibes Event Center (Outdoors)
4/24 — Phoenix, AZ — The Marquee
4/25 — San Diego, CA — Soma
4/26 — Anaheim, CA — House of Blues
4/28 — Sacramento, CA — Channel 24
4/29 — Garden City, ID — Revolution Concert House
5/1 — Salt Lake City, UT — The Union Event Center
5/2 — Denver, CO — The Fillmore
5/3 — Omaha, NE — The Astro Theater
5/5 — Minneapolis, MN — The Fillmore
5/6 — Milwaukee, WI — The Rave
5/8 — Chicago, IL — Riviera Theatre
5/9 — Royal Oak, MI — Royal Oak Music Theatre
5/10 — Toronto, ON — History
5/12 — Montreal, QC — Mtelus
5/13 — Brooklyn, NY — Brooklyn Paramount
5/15 — Baltimore, MD — Nevermore Hall
5/16 — Columbus, OH — Sonic Temple**
5/17 — Philadelphia, PA — The Fillmore
*With Dreamwake, no Heavensgate
**Festival Date (ABR + TAA Only)

The post August Burns Red Announce New Album ‘Season of Surrender’, “The Nameless’ Streaming Now appeared first on MetalSucks.