Less than a month prior the official release of their Constructs full-length, metalcore collective Fervence offer in listening a brand new single called “Ascension”.
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UNDEROATH Shares Final Live Video For “Damn Excuses” At Vans Warped Tour
Underoath wrapped up their final appearance at the 2026 Vans Warped Tour in Mexico City this past weekend and is celebrating with one final performance video from the festival’s Long Beach date. The band has recently debuted “Damn Excuses” from their 2022 album Voyeurist.
Underoath’s Chris Dudley shares: “‘Damn Excuses’ is just one of the heaviest songs we’ve ever written, period. When we include it in the set, it’s always because we want to get gnar.”
Underoath stormed the main stage of this year’s Vans Warped Tour in Washington, DC, Long Beach, CA, and Mexico City. Around the festival’s summer dates, the band also played some of their most intimate shows in decades on the Van Tour to Vans Warped Tour, presented by Vans. The historic run hit independent venues around the country with support from special guests Held.
Fans can catch Underoath this weekend at Louder Than Life Festival, followed by performances at Four Chord Music Festival, Furnace Festival, Aftershock Festival, and Sick New World Festival before they kick off their celebratory Define The Great Line 20th Anniversary Tour.
For this commemorative run, Underoath recruited long-time friends August Burns Red, Atreyu, As Cities Burn, and Emery, bands who have been there since the beginning. They look forward to celebrating not just decades of camaraderie, but also how far they have all come, as August Burns Red, As Cities Burn, and Emery prepare to release new music.
Tickets are going fast, with several dates already sold out and more expected to sell out soon. For more information on tickets and VIP packages for all upcoming dates, please visit here.
Underoath reinvents the balance between chaos and harmony with each successive release. Their compositions, conjured from creative tension, become iconoclastic anthems. Even when the band almost combusts, the crackling energy coalesces into something deeply resonant for millions.
Each time they have a chance to do something safe, Underoath challenges themselves instead, with integrity and attitude. Their pair of gold albums and three Grammy nominations stand in stark defiance of the idea of commercial compromise. The Underoath catalog weaponizes noise, aggression, and ambiance as skillfully as melody.
The passion and power are as undeniable on tours with Alice In Chains or Bring Me The Horizon as they are in the sweatiest of intimate shows, or their genre-redefining runs on Vans Warped Tour.
This year, the band celebrates 20 years of their album Define The Great Line. Coming on the heels of 2004’s They’re Only Chasing Safety, Define The Great Line saw Underoath pivoting towards a more aggressive sound. The record’s unconventional – and, at times, jarring – intensity served as a stark contrast to the pop-leaning trends that were taking over heavy music at the time.
Featuring fan favorites like “Writing On The Walls”, “In Regards To Myself”, and “You’re Ever So Inviting”, Define the Great Line defied expectations when it debuted at No. 2 on the Billboard 200. It is widely regarded as one of the definitive heavy records of the early 2000s, solidifying Underoath’s legacy as one of the most influential bands of the genre.
The heart of their sound, which delivers naked vulnerability with thrilling force and cinematic lushness, can be heard in generations of bands who’ve pursued their trail. But Underoath refuses to sit still.
Walking an artistic tightrope between immersive access and isolationist otherness, Underoath owns the space between huge choruses and forward-thinking heaviness, both on record and onstage.
The post UNDEROATH Shares Final Live Video For “Damn Excuses” At Vans Warped Tour appeared first on Sonic Perspectives.
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Velnias – Will Put Out Fourth Studio Record Next Month
Colorado-based blackened doom/folk metal unit Velnias is all set to unleash their fourth studio album. Dubbed Substrate Haruspex, it will be set free on October 30th, 2026 through Eisenwald. The 8-piece music output was mixed by Stephen Parker and mastered by Greg Chandler. For a preview, give a spin to the first single “Corporeal Anathema”.
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Half Me – Debut ‘King’ Song & Video
Half Me have premiered a new single, “King”, to promote their forthcoming long player Dogma. The latter comes out on October 23rd, 2026 via Arising Empire. The accompanying video clip was directed, shot and edited by Chris Hesse.
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BIG BIG TRAIN Launch Live Recording Of “Love Is The Light”, Featuring Guest Vocals From HAKEN’s ROSS JENNINGS
Big Big Train are preparing to hit the road on The Woodcut & Other Stories tour later this month, which will see them perform the entirety of their latest studio album across the UK & Europe. Earlier this year, the band played two acclaimed shows on board Cruise To The Edge 2026, and they are pleased to reveal a live recording of the track “Love Is The Light” featuring Haken’s Ross Jennings on guest vocals.
Ross Jennings comments: “The moment I heard “Judas Unrepentant” from English Electric Part 1, I instantly became a Passenger on the Big Big Train, and I’ve been on board for every station; every album; every up and down. After David Longdon sadly passed, I wondered if anyone could fill those big big boots. When “Love Is The Light” landed in my ears, it was evident to me that Alberto was absolutely perfect for the band’s continuation. This track rapidly became a favourite of mine and a joy to watch live. Accepting an invitation to perform this song alongside Alberto and this incredible band was a no-brainer and an absolute pleasure for me. Something special was in the air on that Cruise performance, and I’m so thrilled this ‘duet’ was captured!”
The band recently released a new Digital Deluxe Edition of Woodcut, complete with demos of each track from the album, as well as two acoustic tracks.
Big Big Train will play a warm-up show on Thursday, September 24th, 2026, at Thornden Hall in Eastleigh, UK, to kick off The Woodcut & Other Stories tour.
This will be the first of 19 shows across the UK and Europe this autumn where the band will play this year’s acclaimed Woodcut album in full, as well as over an hour of other material from their extensive back catalogue. Tickets for all shows are on sale here.
Woodcut feels like a Big Big Train record quite unlike any that came before—an assured union of music, storytelling and visual invention. The album is graced with a striking cover design from Dorset (England) based artist Robin Mackenzie – a black-and-white woodcut print, of course, derived from a woodcut that the band commissioned from him specifically for the album.
Featuring 16 tracks across 66-minutes of runtime, Woodcut feels epic without outstaying its welcome. From the intimacy of “Inkwell Black” to the grandeur of “Counting Stars”, Woodcut is a defiant analogue statement in a digital age—a handcrafted, deeply human exploration of art, faith and endurance.
Woodcut is available here.
The post BIG BIG TRAIN Launch Live Recording Of “Love Is The Light”, Featuring Guest Vocals From HAKEN’s ROSS JENNINGS appeared first on Sonic Perspectives.
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Ghøstkid – Announce Spring 2027 European Tour
In support of their upcoming album release Follow The White Rabbit, Germans Ghøstkid will embark on headlining tour over Europe next spring. Dropout Kings will be joining them on the road as support.
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Where ‘Kiss Destroys Anaheim ’76’ Ranks Among Their Live Albums
The often-bootlegged 1976 concert captures the band mid-transformation. Continue reading… -
The Go-Betweens: Beggars Banquet Catalogue – Reissues Review
The Go-Betweens: Liberty Belle And The Black Diamond Express; Tallulah; 16 Lovers Lane; Fountains Of Youth (Live At The Town And Country Club) (Beggars Banquet) Released 25 September 2026 CD | Vinyl | DL | Streaming The Go-Betweens’ subtle, haunting indie-rock reached its apogee on their three late 80s studio albums for Beggars Banquet, now […]
The post The Go-Betweens: Beggars Banquet Catalogue – Reissues Review appeared first on Louder Than War.
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BULL Y LOS BÚFALOS Release Video For New Single “Ghost” From Upcoming Album “Full Tank of Courage”
Bull Y Los Búfalos are turning up the heat with the release of their new single and official music video “Ghost,” available now via TLG|Rock, distributed by Virgin Music Group. The track marks the first single from the band’s forthcoming album, Full Tank of Courage, due January 2027 on CD, vinyl, and all major streaming platforms.
For the “Ghost” video, Bull Y Los Búfalos went straight to one of cinema’s most iconic locations. The video was filmed primarily at the legendary cemetery in Spain where Sergio Leone’s classic Western The Good, the Bad and the Ugly was filmed, giving the visual a sweeping, cinematic atmosphere that perfectly complements the band’s larger-than-life sound.
“Ghost” introduces audiences to the next chapter of Bull Y Los Búfalos, the Nashville-based rock band fronted by Spain-born singer/songwriter Diego “Bull” Avello. Standing 6’6″ and bringing a larger-than-life presence both onstage and off, Bull combines the grit and swagger of American rock and roll with the fire and passion of his Spanish roots.
The result is what the band calls “Stubborn Rock.”
Stubborn Rock isn’t a genre. It’s a takeover. Bull Y Los Búfalos aren’t coming. They’re already here, and they play to win. Rock and Roll is for the brave.
“Ghost” arrives as Bull Y Los Búfalos enter a major new era. The band recently signed with TLG|Rock in Nashville, Tennessee, with distribution through Virgin Music Group, and has completed a new album recorded in Nashville. Full Tank of Courage is poised to be the band’s most ambitious and powerful work yet, with additional music and videos set to follow.
But the story behind Bull Y Los Búfalos extends far beyond music. Diego “Bull” Avello’s journey from a small mountain town in Spain to the American rock-and-roll scene is the subject of the upcoming music documentary, I Took the Road Less Traveled.
Filmed across the United States, Mexico, and Spain, the documentary chronicles Bull’s pursuit of the American dream, the challenges encountered along the way, a difficult immigration process, the sacrifices, struggles, friendships, and rock-and-roll lifestyle that shaped his journey.
The film is currently making its way through the 2026 film festival circuit and has already earned four awards, with additional festival submissions underway.
The documentary offers an intimate look at the man behind the towering stage presence and the philosophy that drives Bull Y Los Búfalos: never quit, never compromise, and keep moving forward.
Three of the band’s songs have been featured on FX Network’s Mayans M.C., the acclaimed Sons of Anarchy spin-off, giving their music exposure to a massive television audience.
The band has also established itself as a formidable live act, performing at NASCAR events in Nashville and Daytona Bike Week, Harley-Davidson events, biker rallies throughout the United States, and even an NBA halftime show for the San Antonio Spurs.
As a heavily supported Gibson artist, Bull Y Los Búfalos shared the bill at NAMM 2020 in Los Angeles with rock legends including Billy Gibbons of ZZ Top, Slash of Guns N’ Roses, and Don Felder of the Eagles.
Internationally, the band has performed at major biker festivals throughout Latin America, including Mexico, playing for crowds of more than 25,000 people.
Their touring history includes closing out 2022 on the road with Ace Frehley of KISS, followed by 2023 dates with 38 Special and Anthony Gomes. In 2024, the band returned to the Midwest for additional dates with 38 Special as well as Lynch Mob.
Bull Y Los Búfalos have released three studio albums, multiple EPs and singles, as well as a live album capturing the raw energy of their performances. In 2019, MXD MAG, one of Texas’ leading rock publications, named Bull Y Los Búfalos Best Rock Band in Texas, while Bull was recognized as Best Rock Singer.
As an independent band, Bull Y Los Búfalos have accumulated more than 1 million music video views and 1 million Spotify streams, while their single “Dinero Primero” made an impact on national Active Rock and Alternative radio through the LA Lloyd Rock 30.
Now, with the backing of TLG|Rock, distribution through Virgin Music Group, strong support from Gibson, a new album, a documentary, and a growing international profile, Bull Y Los Búfalos are ready to take Stubborn Rock to an even bigger audience. “Ghost” is only the beginning.
The post BULL Y LOS BÚFALOS Release Video For New Single “Ghost” From Upcoming Album “Full Tank of Courage” appeared first on Sonic Perspectives.
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A View From The Back Of The Room: APF Fest (Mark Young)
APF Fest 2026, Rebellion, Manchester, 12.09.26
The APF festival returns to a suitably damp Manchester for another full day of crushing UK heavy metal. The APF label is home to some of the best the UK has to offer, and the line-up today goes a long way to cementing that. Each of the bands here are different from the others but still remain within heavy metal.
Proceedings kick off not with a live band, but with the Spider Kitten listening party ahead of the release of their new album. God Don’t Sleep is out on October 2nd and I’ve got to say there is something inherently unsettling about an empty stage bathed in eerie green light while this frankly stunning LP plays out over the PA. The album itself is fantastic, and it’s a genuine shame the band couldn’t be here to perform it live.
If this introduction is an eerie calm, what follows is the storm. The bands on today’s bill represent the incredible, multifaceted depth of the APF roster, proving that “heavy” is a spectrum, not a single note.
Praetorian just detonate, Tom is shirtless and instantly stomping out into the area in front of the stage. This is a band whose pure live sound and fury translates perfectly to the stage—it’s dense, driven by low, guttural vocals, and frankly, more people should have been in the room to witness it. If you want a band to properly kick a festival into gear, it’s these guys. The vocalist commands the floor, making his own pit with zero fucks given.Despite early delays forcing them to play longer, they remain tight, ferocious, and armed with a great sense of humour. No matter the time crunch, there is absolutely no let-up. They set an incredibly intense bar for whoever has to follow. I reviewed Pylon Cult and it was one of my albums of 2025 and seeing them up close is just something else. Unhinged, in the best way. And definitely speak to them about drum and bass.
Trevor’s Head are up next. The three-piece occupy a completely different sonic space. After a fairly tortured soundcheck, they kick off later then they would have hoped. To be fair, the audience is pretty forgiving, allowing them to delve into a more melodic brand of metal, ensuring that there is something more on the bill than just extreme metal.They are a different beast altogether, leaning heavily into progressive areas rather than the visceral, blunt-force trauma of Praetorian. It’s a smart placement on the bill, offering the crowd a much-needed aural palate cleanser. More rock-adjacent than pure metal, they successfully rise above their early technical frustrations to deliver a stellar, engaging set which both they and us loved.
By this point, we are behind schedule and hunger is setting in. A quick changeover sandwich is ordered and consumed at speed before Nxmad take the stage. The four-piece show yet another facet of the APF label, one where there is a competent and comfortable stage presence where on the surface, their approach feels more streamlined and straightforward, but the end result is just as devastating as a mix of speed and energy bring the energy levels up in front of a floor that is slowly filling up now with bands and punters alike, and Nxmad are enthusiastically received.They trade in a more hardcore-adjacent sound with a heavy concentration on delivering hard-edged, massive riffs. With a frontman channelling a Randy Blythe-Esque energy, their set is all about the bottom end—which hits exactly where it should. To top it off, they walk away with the prize for the biggest breakdown of the day.
Tides Of Sulphur come armed for absolute war. Their isolated bass sound alone during soundcheck is enough to level buildings. Following a brief sample, they launch into a set that feels like the apocalypse sitting in your front room and asking you to put the kettle on. The sound is colossal, and the atmosphere shifts into much darker territory. Like Praetorian, there is an innate intensity here; it feels genuinely unhealthy when played slow, but once it picks up speed, it is horrific in the best way possible. It helps that they sport a flying V.All of this is available from just their first song, which separates the audience like a scythe. If Trevor’s Head was a light cosmetic procedure and Nxmad was the setting of a bone, then Tides Of Sulphur are the pathologist cutting and carving. When they ask if the room wants a fast one, the answer is a resounding yes. That coruscating tone never wavers, and by the time they wrap up, it’s a mercy—collectively, the room is done.
That heavy tone of aggression carries directly into A Horse Called War. Once again, a magnificent, isolated bass whips through the setup so they can get going. They offer a different flavour of heavy—more mobile and hardcore-centric, drawing back inside the crowds who had left for the longest smoke history. It’s a sound capable of stripping the enamel from your teeth, led by a frontman Shane pouring every ounce of his soul into the performance. It’s difficult to adequately describe; it is undeniably heavy, but there’s something deeper at play as that weight is funnelled directly through the vocalist and unleashed onto the crowd.
Wall, who share members with Desert Storm, are our next stop. Setting up with just a guitar and drums, this configuration brings a completely new dynamic to the afternoon. A wave of feedback gives way to a mighty tone that makes you pause and think, ‘Oh, hang on a second.’ What follows is a fleet-of-finger display married to a killer sonic profile. The first track is an instrumental blast, and the second is replete with jagged, complex lines. Realising that a full set of heavy instrumentals is about to hit me, it feels like the perfect time to sit, type, and rest my legs. Nothing against Wall, but the boss knows that I’m not that fond of instrumental metal.
Next up are Gandalf The Green, arriving with the kind of expansive introduction you would rightfully demand from any band carrying that name. It’s a spacey, echoey attack that effectively marks them out as different from everyone else on the bill. They bring a more restrained vibe at first, before dropping a riff set that trades typical, warm stoner fuzz for a rougher attack on the verge of decay. It feels intentionally roughened up—abrasive, even. Driven by full bass and slow, crashing cymbals, their doom/sludge trek arrives like thunder.Heads are nodding now, not in fury, but in perfect sync with those leaden beats. The fact that this marks their first gig in two years—and that they successfully debuted a brand-new song to such a massive reception—is near-miraculous. The theme of the day remains “something different again,” and Gandalf the Green seize the opportunity. Where others went fast, they slow things down, though they refuse to stay strictly in one lane, breaking out a fabulous lead section. Even if you aren’t a massive fan of the style, you can’t help but get swept along, especially in the closing moments of their set.
Finally, it’s time for headliners Desert Storm. By the time they set up and go, gig fatigue has fully set in. I appreciate that bowing out just a song or two into their set isn’t exactly cricket, but I’d rather give an objective review than one compromised by exhaustion. Out of all the bands on display today, they are probably the most “traditional” in how they go to work. That doesn’t stop it from being effective live, because good riffs never go out of fashion. It’s a mighty noise—crisp, clear, and boasting standout vocal harmonies. The crowd is highly receptive, heads are nodding, and it’s really all you can ask for at the tail-end of a solid day of extreme metal.
Ultimately, each band may share common DNA in that they play heavy music—and some share even more in their specific genre leanings—but every single act remains entirely unique to themselves. As a curated day of extreme music, APF 2026 has put an incredible breadth of talent on display.
The amount of words committed to each band here does not mean one is more worthwhile than another; it is simply that some provided more immediate fuel for the notebook, and naturally, my tastes lean toward certain styles more than others. It is a true testament to APF that they have built such a diverse roster of artists, all of whom turned up and dropped scorching sets. In turn, they’ve made a dismal, damp Saturday in September a whole lot brighter.
10/10