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Going ‘Back To Before The Beginning’.

The post Chimaira Members To Resurrect Their Mid-90s Bands Ascension & Skipline For November 2026 Show appeared first on Theprp.com.

The very best of the best of Nirvana

Seven years is a long time to go quiet. For a band with Hecate Enthroned‘s lineage — architects of the orchestral British black metal movement, a group whose 1997 debut The Slaughter of Innocence, A Requiem for the Mighty helped define what symphonic extremity could sound like in the UK underground — the silence since 2019’s Embrace of the Godless Aeon has been conspicuous. The Corpse of a Titan, A Lament Long Buried, their sixth full-length, answers with something worthy of the wait: a dense, deliberate, and atmospherically rich record that demands patience and rewards it in roughly equal measure.

Hecate Enthroned have never been a band easily summarized. Their catalog traces a line from the raw, Andy Sneap-produced aggression of their Blackend Records era through the more refined approach that characterized Embrace of the Godless Aeon — their first album with vocalist Joe Stamps and their M-Theory Audio debut. The Corpse of a Titan sits closer to the latter in sonic polish while reaching further back in spirit, drawing its thematic material from ancient British myth and Celtic folklore.

The thematic architecture of The Corpse of a Titan draws from the Mabinogion, the medieval Welsh collection of myth and legend that represents one of the earliest bodies of prose literature in Britain, and the album is richer for it. “Adar Rhiannon” takes its name from the Birds of Rhiannon, three supernatural birds whose song is said to be so beautiful it can wake the dead and send the living into an enchanted sleep that lasts seven years. As an opening instrumental, the choice is not incidental: it positions everything that follows as something heard in that liminal state, suspended between waking and oblivion. “Pwca” draws on the Welsh trickster spirit — a shapeshifting creature of uncertain intent, neither wholly malevolent nor benign, associated with leading travelers astray in the dark. That the band renders it as a violin-and-piano instrumental ballad rather than a blast-driven set piece is a quietly intelligent decision: the Pwca doesn’t announce itself. It unsettles you gently. “Steed of the Still Water” likely references the Ceffyl Dŵr, the Welsh water horse of folklore — a spectral equine figure that emerges from lakes and rivers, beautiful and dangerous. Against that context, the track’s hypnotic, measured rhythm section reads as something more than a pacing device; it mirrors the creature’s deceptive stillness.

What this mythological framework gives the album is a coherent emotional logic. These are not random invocations of Celtic imagery for atmospheric effect. The Mabinogion is a literature of transformation, loss, and the persistence of the ancient world into the present, which maps directly onto an album titled The Corpse of a Titan, A Lament Long Buried. Bassist Dylan Hughes has described the record as “lyrically based around ancient British myths and legends,” and that grounding is audible in the album’s pacing and tonal decisions. The grief here is old grief. The kind that doesn’t resolve.

Production duties fall to the band and Dan Abela, whose résumé includes work with Akercocke, Bleed From Within, and Anaal Nathrakh — engineers well acquainted with the precise calibration required to make extreme music feel both ferocious and controlled. The mix achieves what it needs to: the symphonic architecture has genuine weight, the guitars and bass lock into a dense, distorted wall without smearing the finer details, and the orchestration doesn’t overwhelm the compositions so much as inhabit them. What Abela and the band have built here is a record that sounds like it was made by people who understand that atmosphere is architecture.

The album opens with “Adar Rhiannon,” a 43-second instrumental that functions as a ritual threshold — austere, foreboding, measured. It establishes the tonal register without overplaying its hand. “Spirits Stir Within Our Ancestors Tombs” follows, and it is here that Stamps asserts himself with a vocal ferocity that sets the pace: slow, deliberate, tension coiled beneath the surface before the double kick and distorted wall of guitars erupt. Acoustic passages offer temporary relief mid-track — a structural device the band returns to throughout the record to prevent the density from becoming monotonous.

“Steed of the Still Water” is one of the album’s more important moments, not for any single dramatic gesture but for what it does to the record’s pacing. The acoustic guitar opening provides continuity and a sense of narrative pull, while the rhythm section leans into something more hypnotic than the blast-driven passages surrounding it. It acts as a counterweight, steadying the album’s momentum precisely when it needs it. “Pwca,” a six-minute instrumental built around the interplay of violin and piano, achieves something rarer: genuine emotional weight. It is the most unguarded the band gets here, and it works as a direct contrast to the visceral fury surrounding it.

“Deathless in the Dryad Glade” is the album’s high-water mark. The track opens in something approaching funeral doom territory — the silence between each arpeggio strike carries as much tension as the notes themselves — before releasing into a cathartic blast beat-driven passage that earns every second of the buildup. The closer, “Into a Vale of Endless Snow,” reopens the album’s eyes after the fatigue of the middle stretch: a dissonant orchestral passage at its core that registers as genuinely unexpected, functioning as a compositional statement rather than a transitional device, before the dynamics settle into a tranquil ambient resolution.

That middle stretch, however, is worth addressing honestly. By the forty-minute mark, the weight of consistently seven-minute compositions begins to accumulate. “The Boreal Monastery” is the weakest link — it asks for full investment while offering little that hasn’t already been established elsewhere on the record. There is also a persistent issue with Stamps’ vocals: as fierce and commanding as his delivery is, the high-pitched distortion of the mix swallows the lyrical content whole. For a band working within an explicitly mythological and narrative framework, losing the words is a genuine loss. The concept deserves to be heard, not just felt.

These are real friction points on a record that otherwise demonstrates what Hecate Enthroned are capable of when given the time to build something with intention.

Seven years between records asks a lot of any audience. The Corpse of a Titan, A Lament Long Buried makes a credible case that it was time well spent — and serves as a pointed reminder that when the conversation turns to British black metal’s finest, Hecate Enthroned belong in it.

Hecate Enthroned have spent seven years building a monument to ancient grief. It shows — and on the evidence here, that is very much a compliment.

Tracklist:

Title	Duration
Adar Rhiannon	0:43
Spirits Stir Within Our Ancestors Tombs	8:11
The Arcane Golem	6:14
Steed of the Still Water	7:10
Pwca	6:08
Deathless in the Dryad Glade	6:37
A Gallery of Rotting Portraits	4:41
The Boreal Monastery	7:03
Into a Vale of Endless Snow	7:10

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The post Unearthing the Ancient: Hecate Enthroned Return With The Corpse of a Titan, A Lament Long Buried appeared first on Antihero Magazine.

Black metal purveyors Uada were forced to cancel all scheduled live activities in 2026 due to personal and health issues. More can be read below.
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Photo Credit: Jonathan Betz
FOR IMMEDIATE RELEASE
TALIA HOIT Announces New Single “All You Want” From Upcoming Album “When The Skies Fall”
Symphonic metal artist Talia Hoit is set to unveil her emotionally charged new single “All You Want” on June 5 across all major streaming platforms via , accompanied by an official music video release the same day.  The album is being released and distributed through SAOL, a division of CMM Gmb.
The track serves as the first glimpse into her upcoming second full-length album, “When The Skies Fall,” arriving August 28.
Blending cinematic orchestration, powerful metal instrumentation, and deeply intimate songwriting, “All You Want” captures the painful realization of trying to live up to someone else’s impossible expectations while losing yourself in the process.
“This song is about the impossible situation of trying to make someone happy who will never be happy with who you really are, because what they loved was some imaginary ideal of who they wanted you to be, rather than who you really are,” says Talia Hoit.
Known for weaving raw emotional honesty into sweeping symphonic metal soundscapes, Talia Hoit continues to push deeper into vulnerable and personal territory with “When The Skies Fall.” The upcoming album explores themes of existential crisis, identity, transformation, love, grief, and emotional survival through ten immersive tracks that balance haunting piano-driven intimacy with massive orchestral arrangements and crushing guitars.
At the core of Talia ’s songwriting remains the same foundation that shaped her artistic beginnings: piano and voice. What started as deeply personal reflections and emotional processing evolved into songs that now resonate through towering symphonic compositions.
“Writing poems or songs was my way of processing life and my emotions and things,” Talia explains. “A lot of what I have written was not originally intended to be a commercial product, so I guess it really fits under the idea of a ‘piano confessional’.”
After years of writing and developing her sound behind the scenes, Talia Hoit officially stepped into the symphonic metal world as a solo artist with the release of her debut full-length album, marking the true beginning of her artistic journey into the public eye.
“When The Skies Fall” marks Talia Hoit’s most revealing and emotionally expansive work to date. The album invites listeners into a world where certainty crumbles, emotions collide, and beauty and pain exist side by side.
Fans can pre-save “All You Want” now at:
https://music.suricatemusic.com/AllYouWant
FFO: Nightwish, Within Temptation, Epica, Delain, and Evanescence
Release Dates:
“All You Want” Single + Official Music Video: June 5
“When The Skies Fall” Album Release: August 28
For press inquiries, interviews, and coverage contact: zach@metaldevastationradio.com

Connect: 
http://www.taliahoit.com/ 
https://www.facebook.com/taliahoitofficial
https: //www.youtube.com/@taliahoit 
https://instagram.com/talia_hoit 
https://open.spotify.com/artist/3XtANhnSi6eU5Ol9zegWvW
https://taliahoit.bandcamp.com
https://patreon.com/taliahoit
Contact: taliahoit.management@gmail.com

Review: ANA – Motivated By Death Eclipse Records – May 29th, 2026 Reviewer – David Brighouse This is the debut album from the Australian Symphonic Metal band. In a genre more usually associated with Europe this up-and-coming group from Melbourne has expanded the genre into what they call “couture metal” which adds high-fashion theatricality to the […]

The post Review: ANA – Motivated By Death appeared first on ROCKPOSER DOT COM.

Check out Rivers Cuomo’s ‘randum cuverz’

Ex-Grindlink guitarist Takafumi Matsubara is always up to something. Lately, it’s his involvement with crossover thrash weirdos Killseduction. Three years after releasing their first demo, Killseduction are back in action alongside Japanese fastcore vets Lowcard De La Morte. Their new split, fittingly dubbed Kill De La Morte, is out on May 29, but Decibel has an early, exclusive stream of the split below.

Lowcard De La Morte get through six songs in under seven minutes, boasting clean production, stompy riffs and flashy guitar licks. Killseduction take a more lo-fi approach, their crossover crossing over into powerviolence territory at times. Other times, like on “Sukimakaze,” Matsubara lays down riffs that are simultaneously discordant and flattening.

“I am very proud of this Japanese crossover thrash split album,” Matsubara says. “Low Card De La Morte is based in Nagoya and has many fans of hardcore/thrash. Killseduction is the experimental band that tries to mix traditional crossover and blast beat. If you have interest in Japanese crossover scene, please get this split!”

Check it out below. Digital and physical pre-orders are available via Bandcamp and HPGD.

The post Full Split Stream: Lowcard De La Morte / Killseduction – “Kill De La Morte” appeared first on Decibel Magazine.

The song of legendary drummer Mike Portnoy was unfamiliar with the track prior.

The post Watch Max Portnoy (Tallah, Etc.) Take On Led Zeppelin’s “In My Time Of Dying” For Drumeo appeared first on Theprp.com.

FOR IMMEDIATE RELEASE
Matt Zane Shares Emotional Moment With Gene Simmons and Paul Stanley Honoring Wayne Static
Filmmaker Matt Zane, director of the upcoming documentary focused on Wayne Static and Tera Wray, recently captured a meaningful moment during a filming session involving members of KISS.
Following the shoot, Zane requested a brief personal conversation with Gene Simmons and Paul Stanley. During the exchange, he shared the story of Wayne Static’s legacy and his deep admiration for KISS, noting that the band was among his longtime musical influences.
“Gene and Paul were very gracious and attentive as I spoke about Wayne Static, his career with Static-X, and the documentary I am currently working on about him and Tera,” said Zane. “Gene even recognized the name Static-X.”
According to Zane, Simmons and Stanley took time to ask questions about Wayne Static’s life and career before agreeing to pose for a photograph holding a memorial poster honoring the late musician.
“It was a genuinely meaningful moment,” Zane added. “I appreciate them taking the time to acknowledge Wayne’s legacy.”
The upcoming documentary explores the lives, relationship, struggles, and legacy of Wayne Static and Tera Wray, offering an in-depth look at two figures whose story continues to resonate strongly within the rock and metal community.

Follow Matt Zane for more:
https://www.instagram.com/lordzane/
https://www.facebook.com/MrZaneRising