Today, new/old Swedish black metallers Daemonium Regni stream the entirety of their highly anticipated debut album, Daemonium Regnin, at the Black Metal Promotion YouTube channel. Set for international release on April 17th via Darkness Shall Rise Productions, hear Daemonium Regni‘s Daemonium Regni in its entirety exclusively HERE. Ominous, somber, and foreboding… Daemonium Regni is the new solo-project from Micke Broberg of Unanimated: dark and epic black […]
With the surprise album Lose Your Self almost a week old, Enter Shikari have released the official video for the single Find Out The Hard Way. Filmed in South London by Jasper Visuals, the track premiered on YouTube last night.
The track was met with much love last night. “Love how this band can make any genre they set their mind to,” one comment read, “but have never changed what they preach. The world needs their message.”
Tickets for the band’s unmissable intimate album release shows completely sold out in a matter of seconds yesterday, proving that Enter Shikari’s impressive backing is still growing.
“Not enough love from the national media,” another comment read. “A proper British band working their socks off, they should be broadcast from the rooftops.”
The Dubin show this month is also sold out, and tickets for their November tour are selling fast.
As Rou said earlier, the aim is to give people the chance to hear an Enter Shikari record like never before, as a cohesive whole.
“We want people to go on a proper journey with this album,” he said, “and see where it takes them. No lead up, no singles, and no explanation. Forcing the listener to actually listen, without being drip-fed ideas out of context, or spoon-fed explanations. We simply present it all, for the listener to immerse themself in.”
With a UK Mid-Week Chart placing of Number 13, MetalTalk are expecting that this week sees a further charge up the table, as this refreshing way of releasing music is a pleasing change from the waterfall-based norm.
“We got the No.1 album on our last record,” Rou said. “This is simply about the music being presented in a natural way.
“Despite turning out to be one of our darkest and heaviest albums to date, it also preaches hope and offers answers. Shikari will always offer hope because, without hope, there is no action. We’ll just always offer it with a dose of realism.”
Enter Shikari have surprise released their new album Lose Your Self, available now digitally and physically worldwide via So Recordings. “We’re delighted to present Lose Your Self,”
Event Details
Enter Shikari have surprise released their new album Lose Your Self, available now digitally and physically worldwide via So Recordings. “We’re delighted to present Lose Your Self,” Rou Reynolds said, “and give people the chance to hear a Shikari record like never before – as a cohesive whole. We want people to go on a proper journey with this album and see where it takes them.”
Released without prior singles or promotion, the album spans 12 tracks exploring themes of desolation and hope, delivering one of the band’s heaviest and most introspective records to date.
To celebrate the release, they’ve announced a run of three intimate shows at The Cavern Club in Liverpool on 23rd April, The Fighting Cocks in Kingston on 24th April and Signature Brew in Blackhorse Road, London on 25th April. Tickets go on sale on 15th April from entershikari.os.fan.
Enter Shikari have surprise released their new album Lose Your Self, available now digitally and physically worldwide via So Recordings. “We’re delighted to present Lose Your Self,”
Event Details
Enter Shikari have surprise released their new album Lose Your Self, available now digitally and physically worldwide via So Recordings. “We’re delighted to present Lose Your Self,” Rou Reynolds said, “and give people the chance to hear a Shikari record like never before – as a cohesive whole. We want people to go on a proper journey with this album and see where it takes them.”
Released without prior singles or promotion, the album spans 12 tracks exploring themes of desolation and hope, delivering one of the band’s heaviest and most introspective records to date.
To celebrate the release, they’ve announced a run of three intimate shows at The Cavern Club in Liverpool on 23rd April, The Fighting Cocks in Kingston on 24th April and Signature Brew in Blackhorse Road, London on 25th April. Tickets go on sale on 15th April from entershikari.os.fan.
Enter Shikari have surprise released their new album Lose Your Self, available now digitally and physically worldwide via So Recordings. “We’re delighted to present Lose Your Self,”
Event Details
Enter Shikari have surprise released their new album Lose Your Self, available now digitally and physically worldwide via So Recordings. “We’re delighted to present Lose Your Self,” Rou Reynolds said, “and give people the chance to hear a Shikari record like never before – as a cohesive whole. We want people to go on a proper journey with this album and see where it takes them.”
Released without prior singles or promotion, the album spans 12 tracks exploring themes of desolation and hope, delivering one of the band’s heaviest and most introspective records to date.
To celebrate the release, they’ve announced a run of three intimate shows at The Cavern Club in Liverpool on 23rd April, The Fighting Cocks in Kingston on 24th April and Signature Brew in Blackhorse Road, London on 25th April. Tickets go on sale on 15th April from entershikari.os.fan.
Enter Shikari have surprise released their new album Lose Your Self, available now digitally and physically worldwide via So Recordings. “We’re delighted to present Lose Your Self,”
Event Details
Enter Shikari have surprise released their new album Lose Your Self, available now digitally and physically worldwide via So Recordings. “We’re delighted to present Lose Your Self,” Rou Reynolds said, “and give people the chance to hear a Shikari record like never before – as a cohesive whole. We want people to go on a proper journey with this album and see where it takes them.”
Released without prior singles or promotion, the album spans 12 tracks exploring themes of desolation and hope, delivering one of the band’s heaviest and most introspective records to date.
To celebrate the release, they’ve announced a run of three intimate shows at The Cavern Club in Liverpool on 23rd April, The Fighting Cocks in Kingston on 24th April and Signature Brew in Blackhorse Road, London on 25th April. Tickets go on sale on 15th April from entershikari.os.fan.
Enter Shikari have confirmed a major UK and EU headline arena run for November 2026 – billed as their biggest tour to date – alongside an Australian headline tour in
Event Details
Enter Shikari have confirmed a major UK and EU headline arena run for November 2026 – billed as their biggest tour to date – alongside an Australian headline tour in May.
Enter Shikari have confirmed a major UK and EU headline arena run for November 2026 – billed as their biggest tour to date – alongside an Australian headline tour in
Event Details
Enter Shikari have confirmed a major UK and EU headline arena run for November 2026 – billed as their biggest tour to date – alongside an Australian headline tour in May.
Enter Shikari have confirmed a major UK and EU headline arena run for November 2026 – billed as their biggest tour to date – alongside an Australian headline tour in
Event Details
Enter Shikari have confirmed a major UK and EU headline arena run for November 2026 – billed as their biggest tour to date – alongside an Australian headline tour in May.
Enter Shikari have confirmed a major UK and EU headline arena run for November 2026 – billed as their biggest tour to date – alongside an Australian headline tour in
Event Details
Enter Shikari have confirmed a major UK and EU headline arena run for November 2026 – billed as their biggest tour to date – alongside an Australian headline tour in May.
Enter Shikari have confirmed a major UK and EU headline arena run for November 2026 – billed as their biggest tour to date – alongside an Australian headline tour in
Event Details
Enter Shikari have confirmed a major UK and EU headline arena run for November 2026 – billed as their biggest tour to date – alongside an Australian headline tour in May.
Enter Shikari have confirmed a major UK and EU headline arena run for November 2026 – billed as their biggest tour to date – alongside an Australian headline tour in
Event Details
Enter Shikari have confirmed a major UK and EU headline arena run for November 2026 – billed as their biggest tour to date – alongside an Australian headline tour in May.
Enter Shikari have confirmed a major UK and EU headline arena run for November 2026 – billed as their biggest tour to date – alongside an Australian headline tour in
Event Details
Enter Shikari have confirmed a major UK and EU headline arena run for November 2026 – billed as their biggest tour to date – alongside an Australian headline tour in May.
Danish Death Metal powerhouse Baest return to the UK later this year as part of their Colossal European Headline Tour 2026.
Released in August 2025, Colossal saw Baest return with a sound that is surprisingly different. “With repeated plays, this album has grown on me hugely,” MetalTalk’s Paul Hutchings wrote in his album review. “It is definitely lighter than earlier works, but it is still heavy as a bus full of elephants, and still high-quality Heavy Metal.”
“As a band, you must mature a little and figure out that you have to write songs for yourself,” Baest guitarist Svend Karlsson said, “and that way of thinking has brought the best out of us. When we talked to Tue [Madsen – producer] about it, we called it Ozzy Death Metal.”
The tour will hit key cities including Berlin, Prague, London, Dublin, and Hamburg, alongside festival appearances at Metalheadz Village Festival and Metal Experience Fest. Support for the tour will be announced at a later date.
Danish Death Metal powerhouse Baest return to the UK later this year as part of their Colossal European Headline Tour 2026.
Released in August 2025, Colossal saw Naest return with a
Event Details
Danish Death Metal powerhouse Baest return to the UK later this year as part of their Colossal European Headline Tour 2026.
Released in August 2025, Colossal saw Naest return with a sound that is surprisingly different. “With repeated plays, this album has grown on me hugely,” MetalTalk’s Paul Hutchings wrote in his album review. “It is definitely lighter than earlier works, but it is still heavy as a bus full of elephants, and still high-quality Heavy Metal.”
Danish Death Metal powerhouse Baest return to the UK later this year as part of their Colossal European Headline Tour 2026.
Released in August 2025, Colossal saw Naest return with a
Event Details
Danish Death Metal powerhouse Baest return to the UK later this year as part of their Colossal European Headline Tour 2026.
Released in August 2025, Colossal saw Naest return with a sound that is surprisingly different. “With repeated plays, this album has grown on me hugely,” MetalTalk’s Paul Hutchings wrote in his album review. “It is definitely lighter than earlier works, but it is still heavy as a bus full of elephants, and still high-quality Heavy Metal.”
Danish Death Metal powerhouse Baest return to the UK later this year as part of their Colossal European Headline Tour 2026.
Released in August 2025, Colossal saw Naest return with a
Event Details
Danish Death Metal powerhouse Baest return to the UK later this year as part of their Colossal European Headline Tour 2026.
Released in August 2025, Colossal saw Naest return with a sound that is surprisingly different. “With repeated plays, this album has grown on me hugely,” MetalTalk’s Paul Hutchings wrote in his album review. “It is definitely lighter than earlier works, but it is still heavy as a bus full of elephants, and still high-quality Heavy Metal.”
Danish Death Metal powerhouse Baest return to the UK later this year as part of their Colossal European Headline Tour 2026.
Released in August 2025, Colossal saw Naest return with a
Event Details
Danish Death Metal powerhouse Baest return to the UK later this year as part of their Colossal European Headline Tour 2026.
Released in August 2025, Colossal saw Naest return with a sound that is surprisingly different. “With repeated plays, this album has grown on me hugely,” MetalTalk’s Paul Hutchings wrote in his album review. “It is definitely lighter than earlier works, but it is still heavy as a bus full of elephants, and still high-quality Heavy Metal.”
Danish Death Metal powerhouse Baest return to the UK later this year as part of their Colossal European Headline Tour 2026.
Released in August 2025, Colossal saw Naest return with a
Event Details
Danish Death Metal powerhouse Baest return to the UK later this year as part of their Colossal European Headline Tour 2026.
Released in August 2025, Colossal saw Naest return with a sound that is surprisingly different. “With repeated plays, this album has grown on me hugely,” MetalTalk’s Paul Hutchings wrote in his album review. “It is definitely lighter than earlier works, but it is still heavy as a bus full of elephants, and still high-quality Heavy Metal.”
Danish Death Metal powerhouse Baest return to the UK later this year as part of their Colossal European Headline Tour 2026.
Released in August 2025, Colossal saw Naest return with a
Event Details
Danish Death Metal powerhouse Baest return to the UK later this year as part of their Colossal European Headline Tour 2026.
Released in August 2025, Colossal saw Naest return with a sound that is surprisingly different. “With repeated plays, this album has grown on me hugely,” MetalTalk’s Paul Hutchings wrote in his album review. “It is definitely lighter than earlier works, but it is still heavy as a bus full of elephants, and still high-quality Heavy Metal.”
Danish Death Metal powerhouse Baest return to the UK later this year as part of their Colossal European Headline Tour 2026.
Released in August 2025, Colossal saw Naest return with a
Event Details
Danish Death Metal powerhouse Baest return to the UK later this year as part of their Colossal European Headline Tour 2026.
Released in August 2025, Colossal saw Naest return with a sound that is surprisingly different. “With repeated plays, this album has grown on me hugely,” MetalTalk’s Paul Hutchings wrote in his album review. “It is definitely lighter than earlier works, but it is still heavy as a bus full of elephants, and still high-quality Heavy Metal.”
Danish Death Metal powerhouse Baest return to the UK later this year as part of their Colossal European Headline Tour 2026.
Released in August 2025, Colossal saw Naest return with a
Event Details
Danish Death Metal powerhouse Baest return to the UK later this year as part of their Colossal European Headline Tour 2026.
Released in August 2025, Colossal saw Naest return with a sound that is surprisingly different. “With repeated plays, this album has grown on me hugely,” MetalTalk’s Paul Hutchings wrote in his album review. “It is definitely lighter than earlier works, but it is still heavy as a bus full of elephants, and still high-quality Heavy Metal.”
Danish Death Metal powerhouse Baest return to the UK later this year as part of their Colossal European Headline Tour 2026.
Released in August 2025, Colossal saw Naest return with a
Event Details
Danish Death Metal powerhouse Baest return to the UK later this year as part of their Colossal European Headline Tour 2026.
Released in August 2025, Colossal saw Naest return with a sound that is surprisingly different. “With repeated plays, this album has grown on me hugely,” MetalTalk’s Paul Hutchings wrote in his album review. “It is definitely lighter than earlier works, but it is still heavy as a bus full of elephants, and still high-quality Heavy Metal.”
Danish Death Metal powerhouse Baest return to the UK later this year as part of their Colossal European Headline Tour 2026.
Released in August 2025, Colossal saw Naest return with a
Event Details
Danish Death Metal powerhouse Baest return to the UK later this year as part of their Colossal European Headline Tour 2026.
Released in August 2025, Colossal saw Naest return with a sound that is surprisingly different. “With repeated plays, this album has grown on me hugely,” MetalTalk’s Paul Hutchings wrote in his album review. “It is definitely lighter than earlier works, but it is still heavy as a bus full of elephants, and still high-quality Heavy Metal.”
Danish Death Metal powerhouse Baest return to the UK later this year as part of their Colossal European Headline Tour 2026.
Released in August 2025, Colossal saw Naest return with a
Event Details
Danish Death Metal powerhouse Baest return to the UK later this year as part of their Colossal European Headline Tour 2026.
Released in August 2025, Colossal saw Naest return with a sound that is surprisingly different. “With repeated plays, this album has grown on me hugely,” MetalTalk’s Paul Hutchings wrote in his album review. “It is definitely lighter than earlier works, but it is still heavy as a bus full of elephants, and still high-quality Heavy Metal.”
When death metal was in it’s infancy there was a particularly fertile scene in New York City with bands such as Suffocation, Incantation and Immolation producing what would become genre classic albums and forging long careers destroying stages around the world.
37 years later and Immolation is still an absolute steamroller of a band, flattening everything in their path with ugly, ferocious death that pummels and punishes, occasionally giving you a moment of atmosphere, using orchestral moments or slow burns, to clear your head before the death machine fires up again.
Descent is their 12th studio album and it’s wrapped up in all the dogma the gnostic teachings that the material world is actually hell and only with learning divine knowledge will humans be able to break free of it. So it has a sense of hopelessness about it that is easily captured by the crushing death charge of Immolation.
They’re a band who have always moved in more cinematic/philosophical realms than their contemporaries, a testament to their stoic resiliance, they’ve never split, never aimed at the mainstream, never really had too many members change (a few drummers).
Mostly it’s been Robert Vigna (lead guitar) and Ross Dolan (bass/vocals), driving Immolation forward with drummer Steve Shalaty on board since 2003 and guitarist Alex Bouks having been locking down the rhythm for a decade.
The disillusionment of the subject matter is brought through dynamic riffage, constantly switching pace, the melodic strains at the beginning of These Vengeful Winds soon destroyed by technical brutality, as they shift into full bore death on The Ephemeral Curse.
Thankfully as I’ve said they know when to slow down the pace a little drawing from doom on tracks such as Gods Last Breath and the rolling dissonance of Attrition, while the interlude Banished is a proper stop and movement to something else. These all help control the flow of the record, most still heavy and mechanical but it means that it’s not just one blast fest from beginning to end.
Playing with dynamics and taking an intelligent approach to death metal has always been the way Immolation do things. So if you’re new here and you love bands like Gorguts, Ulcerate and even Gojira, they all owe a debt to Immolation. 9/10
Archspire – Too Fast Too Die (Self Released)
There’s a couple of ways you can describe Canadian band Archspire, they have dubbed themselves “the worlds fastest band”, you can call them tech death but I suppose the most accurate would be absolutely f*cking ridiculous.
Their music is inhuman, right at the fringe of what extreme metal can be, virtuosity bleeding through every instrument with the most intense blast you’ll ever hear, guitar solos and melodies that would scare Yngwie Malmsteen, bass playing that would require fingers made of steel and fry screams from Oliver Rae Aleron, that are often totally unclassifiable as sounds that can be made by the human throat.
This is their first album released independently, choosing to take the route of Kickstarter rather than a label due to royalties and cut labels make on bands records. It’s also their debut with Spencer Moore behind the kit after winning a contest to be their drummer, though I’d demand a recount as he’s clearly not a real person but some kind of percussion robot with sticks for hands and a jackhammer for feet.
His drumming is immense even when the riffs do slow into melodic chugs on Carrion Ladder, he’s still going full pelt. However when every member of a band is playing at their highest level you need to be good, Dean Lamb (guitar), Tobi Morelli (guitar) and Jared Smith (bass) all fighting over who gets to play lead, shifting between technical carnage, classical acoustics and piano driven atmospheres.
Archspire are far Too Fast Too Die on album five, it’s D.I.Y tech metal that will cause an aneurysm if you think about the complexity too much, exactly as it should be. 9/10
Dying Realm – Siege The Walls (Dry Cough Record/Cavernous Records)
Siege The Walls is the debut EP from Brummie death crew Dying Realm. Comprise of ex members of Iron Tomb, Bound By Blood and Nerve Agent, it’s a four tracker that’s an ode to the British death metal scene, which was so important to West Midlands back in the early 90’s.
The ghost of Bolt Thrower coming on the mechanical chug of Grave Of Gods, while there’s also inspiration from Carcass, Benediction, placing them firmly in the same group as Celestial Sanctuary and Cryptworm, as a new band playing an old school sound.
Villainous Incantations brings some harsher tones, inviting evil with pummelling blast beats and rapid grooving riffs. While the hardcore/grindcore influence comes with Mace Buried Deep, smashing you in the face with tremolo guitars and a lot of pit inciting.
Siege The Walls has all the UKDM/OSDM best hits across four tracks and as Abundant Mutilation keeps your head banging until it fades out. Dying Realm tell you exactly what they are with their debut EP, not big not clever but damn good death metal. 7/10
Hamarr – Necrotic Rituals (Iron Fortress Records)
It’s called Necrotic Rituals, it’s on Iron Fortress Records, it’s got to be death metal right? Correct young grasshopper, Necrotic Rituals is the debut full length from Indianapolis duo Hamarr and it’s going to be a must listen for those who love the buzzsaw riffs and occult darkness Entombed and Dismember.
This is raw, gnarly, d-beat driven death that has punk and grindcore moments of nastiness strewn through it. Languishing in the mid-pace crush with tracks such as Boneless II, Headstone, Necro and Wither, there’s pinched harmonics, punishing hammer blow grooves and throat shredding shouts as they counteract these grinding marches with blasting on songs such as Mausoleum, Lich and Catacomb.
Chris Issac (vocals/guitar) and Nick Stephens (drums) bring the vulgar death display, as Caleb Lewis manipulates it to sound deafening (and gives it the low end). Joining them for extra clout are Alex Cloutier of Primal Horde and Kurtis Hall of 1 Body 6 Graves, resulting in debut album of HM-2 savagery. 7/10
When death metal was in it’s infancy there was a particularly fertile scene in New York City with bands such as Suffocation, Incantation and Immolation producing what would become genre classic albums and forging long careers destroying stages around the world.
37 years later and Immolation is still an absolute steamroller of a band, flattening everything in their path with ugly, ferocious death that pummels and punishes, occasionally giving you a moment of atmosphere, using orchestral moments or slow burns, to clear your head before the death machine fires up again.
Descent is their 12th studio album and it’s wrapped up in all the dogma the gnostic teachings that the material world is actually hell and only with learning divine knowledge will humans be able to break free of it. So it has a sense of hopelessness about it that is easily captured by the crushing death charge of Immolation.
They’re a band who have always moved in more cinematic/philosophical realms than their contemporaries, a testament to their stoic resiliance, they’ve never split, never aimed at the mainstream, never really had too many members change (a few drummers).
Mostly it’s been Robert Vigna (lead guitar) and Ross Dolan (bass/vocals), driving Immolation forward with drummer Steve Shalaty on board since 2003 and guitarist Alex Bouks having been locking down the rhythm for a decade.
The disillusionment of the subject matter is brought through dynamic riffage, constantly switching pace, the melodic strains at the beginning of These Vengeful Winds soon destroyed by technical brutality, as they shift into full bore death on The Ephemeral Curse.
Thankfully as I’ve said they know when to slow down the pace a little drawing from doom on tracks such as Gods Last Breath and the rolling dissonance of Attrition, while the interlude Banished is a proper stop and movement to something else. These all help control the flow of the record, most still heavy and mechanical but it means that it’s not just one blast fest from beginning to end.
Playing with dynamics and taking an intelligent approach to death metal has always been the way Immolation do things. So if you’re new here and you love bands like Gorguts, Ulcerate and even Gojira, they all owe a debt to Immolation. 9/10
Archspire – Too Fast Too Die (Self Released)
There’s a couple of ways you can describe Canadian band Archspire, they have dubbed themselves “the worlds fastest band”, you can call them tech death but I suppose the most accurate would be absolutely f*cking ridiculous.
Their music is inhuman, right at the fringe of what extreme metal can be, virtuosity bleeding through every instrument with the most intense blast you’ll ever hear, guitar solos and melodies that would scare Yngwie Malmsteen, bass playing that would require fingers made of steel and fry screams from Oliver Rae Aleron, that are often totally unclassifiable as sounds that can be made by the human throat.
This is their first album released independently, choosing to take the route of Kickstarter rather than a label due to royalties and cut labels make on bands records. It’s also their debut with Spencer Moore behind the kit after winning a contest to be their drummer, though I’d demand a recount as he’s clearly not a real person but some kind of percussion robot with sticks for hands and a jackhammer for feet.
His drumming is immense even when the riffs do slow into melodic chugs on Carrion Ladder, he’s still going full pelt. However when every member of a band is playing at their highest level you need to be good, Dean Lamb (guitar), Tobi Morelli (guitar) and Jared Smith (bass) all fighting over who gets to play lead, shifting between technical carnage, classical acoustics and piano driven atmospheres.
Archspire are far Too Fast Too Die on album five, it’s D.I.Y tech metal that will cause an aneurysm if you think about the complexity too much, exactly as it should be. 9/10
Dying Realm – Siege The Walls (Dry Cough Record/Cavernous Records)
Siege The Walls is the debut EP from Brummie death crew Dying Realm. Comprise of ex members of Iron Tomb, Bound By Blood and Nerve Agent, it’s a four tracker that’s an ode to the British death metal scene, which was so important to West Midlands back in the early 90’s.
The ghost of Bolt Thrower coming on the mechanical chug of Grave Of Gods, while there’s also inspiration from Carcass, Benediction, placing them firmly in the same group as Celestial Sanctuary and Cryptworm, as a new band playing an old school sound.
Villainous Incantations brings some harsher tones, inviting evil with pummelling blast beats and rapid grooving riffs. While the hardcore/grindcore influence comes with Mace Buried Deep, smashing you in the face with tremolo guitars and a lot of pit inciting.
Siege The Walls has all the UKDM/OSDM best hits across four tracks and as Abundant Mutilation keeps your head banging until it fades out. Dying Realm tell you exactly what they are with their debut EP, not big not clever but damn good death metal. 7/10
Hamarr – Necrotic Rituals (Iron Fortress Records)
It’s called Necrotic Rituals, it’s on Iron Fortress Records, it’s got to be death metal right? Correct young grasshopper, Necrotic Rituals is the debut full length from Indianapolis duo Hamarr and it’s going to be a must listen for those who love the buzzsaw riffs and occult darkness Entombed and Dismember.
This is raw, gnarly, d-beat driven death that has punk and grindcore moments of nastiness strewn through it. Languishing in the mid-pace crush with tracks such as Boneless II, Headstone, Necro and Wither, there’s pinched harmonics, punishing hammer blow grooves and throat shredding shouts as they counteract these grinding marches with blasting on songs such as Mausoleum, Lich and Catacomb.
Chris Issac (vocals/guitar) and Nick Stephens (drums) bring the vulgar death display, as Caleb Lewis manipulates it to sound deafening (and gives it the low end). Joining them for extra clout are Alex Cloutier of Primal Horde and Kurtis Hall of 1 Body 6 Graves, resulting in debut album of HM-2 savagery. 7/10
Two Finnish old school death metal bands, Galvanizer and Maformed, will be teaming up next month for ‘Europe Shrouded In Chaos Tour’. The 18-date long trek begins in Tallinn, Estonia on May 9th. Read more…
When Memphis May Fire last tore through Australia alongside Atreyu, it wasn’t just another tour—it was absolute mayhem. Sold-out shows, overflowing demand, and hundreds of fans left on the outside looking in painted a clear picture: this was a band Australia wasn’t done with—not even close.
Now, with the dust barely settled and the momentum impossible to ignore, frontman Matty Mullins and co. are heading back to deliver on that unfinished business. Armed with material from their latest chapter, Shapeshifter, and a renewed sense of purpose, this return run isn’t about picking up where they left off—it’s about blowing the doors off entirely.
We caught up with Matty to talk about the overwhelming demand, the connection with Australian fans, and why this tour carries a different kind of weight for the band. The tour kicks off on 24th April in Melbourne.
RP: Your last Australian tour with Atreyu was pure chaos, five sold-out shows and more than 1600 fans stuck on waiting lists. How did that overwhelming demand hit you as a band? It honestly caught us off guard in the best way.
Matty: You always hope for that kind of response, but to see it, to watch tickets disappear that fast and then hear about the waiting lists, it was surreal. It felt like Australia was saying, “Hey, we’ve been here, and we’ve been waiting.” As a band, it lit a fire under us. It reminded us that what we’re doing still matters, and that there’s unfinished business there.
RP: You’ve said hearing from fans who missed out was the driving force behind returning so quickly. Was there a particular message or story that really stuck with you?
Matty: Yeah, there were a ton, but one that stuck with me was a fan who had planned their entire trip around the show, flights, hotel, everything, and still couldn’t get a ticket. They were messaging us saying they were outside the venue just hoping something would open up. That hit hard. It’s one thing to miss a show, it’s another to go that far and still not get in. That’s when it became clear, we had to come back.
RP: Knowing it’ll be a long time before you can return to Australia after this album cycle, how does that shape the mindset and intensity you’re bringing to this tour?
Matty: It changes everything. There’s a different weight to these shows. We’re not pacing ourselves thinking, “We’ll be back next year.” This is one of those moments where you empty the tank completely. Every night has to feel like the last time we’ll ever play there, because for a while, it will be.
RP: You mentioned not wanting fans to wait another five years. What does “making it up to them” look like in terms of performance, setlist, or production?
Matty: It means going bigger in every way we can. A setlist that covers the full spectrum of who we are, the songs people have been holding onto for years, mixed with the new material that’s defining where we’re at right now. Performance wise, it’s about being fully present and giving everything we’ve got. Production wise, we’re doing everything we can to elevate the experience so it feels worth the wait.
RP: Your last run was described as mayhem: jaw-dropping performances, off-the-hook reviews. What lessons or energy from that tour are you carrying into this one?
Matty: The biggest thing we took away is that Australian crowds don’t need warming up, they’re in it from the first note. That energy pushes you to a different level as a performer. So we’re coming in ready to match that from second one. No slow builds, no holding back, just straight into it.
RP: The touring cycle for Shapeshifter has been immense! Are you planning to cover that album on this tour?
Matty: Yeah, Shapeshifter is a huge part of this chapter for us, so some of those songs are absolutely going to be in the set. That record means a lot to us, and it’s connected with people in a real way. We want to give those songs their moment live, especially for fans who haven’t had the chance to hear them in person yet.
RP: Australia has always shown huge love for heavy music. What stands out to you about Australian crowds compared to the rest of the world?
Matty: There’s an intensity that’s hard to describe unless you’ve felt it. It’s not just that they’re loud, it’s how locked in they are. Every lyric, every breakdown, every moment, they’re right there with you. It feels less like you’re playing to them and more like you’re in it with them.
RP: What are some of your favourite memories of playing in Australia?
Matty: Honestly, it’s all moments where the crowd takes over, when you pull the mic away and they’re louder than the PA. That’s something I’ll never get over. And then just the chaos after the shows, meeting fans, hearing their stories, seeing how far people have come. Those are the moments that stick.
RP: With this being your last Australian tour for quite some time, what emotions are you personally bringing into these shows?
Matty: Gratitude, first and foremost. There’s a deep appreciation knowing we get to come back and do this again, especially after seeing how many people missed out last time. But there’s also a sense of urgency, like we have something to prove and something to give before we step away for a bit.
RP: When the final note hits on this run, what do you hope fans walk away remembering about this chapter of MEMPHIS MAY FIRE?
Matty: I hope they remember that we gave them everything we had. That it wasn’t just another tour, it was a moment in time. Something they felt, something they were a part of. If people walk away feeling seen, connected, and like they experienced something real, then we did our job.
After a couple of sold-out European tours, supporting AC/DC and the Black Crowes in AUS and a number 3 album, the Southern River band are coming home to Perth for their biggest show yet.
2025 was a massive year for the Southern River Band. Their album Easier Said Than Done debuted at #3 on the Australian charts, featuring song No Such Time, written for them by Bernard Fanning (Powderfinger). The album placed behind only fellow Sandgropers Tame Impala and some guy called Ruel. They set off for a sold-out AU tour and upon returning announced that they would be supporting AC/DC for two nights in at Optus Stadium in Perth. Dream come true shit for the boys from the ‘burbs.
Southern River Band – Photo: Shotweiler Photography
2026 hasn’t been any slower, a sold out 19-date tour through the UK and EU was their biggest yet, playing their new album to massive rooms of new fans. The band returned home and immediately got back on the road, supporting the Black Crowes around Australia AND they announced they would be supporting the Foo Fighters next January.
So, after a mammoth few years, the boys have decided to chuck a massive party, A Bloody Good Night Out, at the Ice Cream Factory Warehouse on June 13th. Joining them are Aussie punk rock institution the Cosmic Psychos, Melbourne legends Dallas Crane for their first Perth show in years, and local dirty dawgs Grub. The boys are keeping the tickets to $55+BF, putting on drink specials AND are running a comp on their INSTAGRAM to go in running a comp for their fans to go in the running to win a tank of fuel.
Supported by Triple M Perth, this is going to be a Bloody Good Night Out.
Post-rock titans Nordic Giants returned to Lincoln to showcase their incomparable audio/visual masterpiece of a live show. You can talk these guys up all you want, they live up to the hyperbole of what people say about them and then some!
Slake kicked off the evening with an absolutely amazing set. Progressive black-metal at its finest, the Lincoln trio are a tried, tested and proven act around the midlands as it is anyway, and it was so nice to see them on a bigger and more deserving stage. They sought the opportunity to play entirely new music, and I’m seriously excited for this new stuff to be released. A great opening act for Nordic Giants; fitting nicely into the mix, satisfying people’s need for heavy and screamy (and screamy it was!) early without being a rip-off or poor man’s version of the main act. Check Slake out at live shows around the UK.
Last of Eden were the main support showcasing excellent production and song writing; a calmer, more guitar driven post-rock warm up for the main event, reminiscent of Delta Sleep in some parts. Strange lighting in their show, in the form of, well, there wasn’t any, just static, coloured stage lights, and I believe that with a bit of a more inspired light show Last of Eden would have been much improved, but it’ll be interesting to see where these guys get to.
Nordic Giants performed, as they do consistently, an absolutely stunning, inspired show. Their setup of live music played to recorded film is matched by no other; the cinema side of the bands live show to be just as important and defining as the musicianship and creativity of the music. Having seen the band a couple of times before, I couldn’t help notice a much darker, bleaker tone to their setup than before (which is kind of saying a lot since they were never exactly shallow to begin with) – their social commentary remaining relevant and on-point.
Musically they continue to impress, not the heaviest live set that I’ve seen by them, but that’s neither here nor there in relation to just how good they were. Nordic Giants are a band that I would encourage anybody with an interest in music, cinema, or performing arts in general to go and watch. Their craft continues to be exciting and extraordinary – there aren’t many acts out there like them, if any at all, so get in with a unique and fantastic live experience!
Mutual Shock’s Lamprey is a dark, club-ready fusion of industrial grit and synthpop allure. Blending analog and electronic drums, the track pulses with mechanical precision while retaining a hypnotic, human edge. Cold synth lines and driving rhythms create a tense, nocturnal atmosphere, perfectly suited for late-night dancefloors. Beneath its infectious groove lies a sharp conceptual core, reflecting on the uneasy relationship between art and technology.
Lamprey is sleek, unsettling, and irresistibly propulsive—an industrial-tinged synthpop standout.
