Blog

What Is Six Feet Under’s New Album Next To Die?

Six Feet Under’s new album Next To Die arrives April 24 and features 12 tracks blending aggressive death metal with the groove-driven sound that defined the band’s early era.

TL;DR

• Six Feet Under will release their 15th studio album Next To Die on April 24
• The band just debuted the new song “Unmistakable Smell Of Death”
• The record splits its material into “Death” and “Groove” sides
• Guitarist Jack Owen and vocalist Chris Barnes continue their songwriting partnership
• The band plans to tour globally behind the new material

A New Chapter For A Death Metal Institution

Six Feet Under are entering another chapter in their long-running career with the announcement of their fifteenth studio album, Next To Die.

The Florida death metal veterans also unveiled the crushing new track “Unmistakable Smell Of Death,” offering the first glimpse into the record’s sonic direction.

The album arrives April 24 and features 12 songs that intentionally balance two sides of the band’s identity — blistering death metal and the groove-heavy sound that helped establish Six Feet Under in the 1990s.

For longtime listeners, that contrast is intentional.

Check out Loaded Radio’s talk with Jack Owen from a May 2024 episode of The Loaded Radio Podcast

Why The New Album Splits Between Death And Groove

Why split the album into two distinct sonic directions?

According to guitarist Jack Owen, the idea evolved naturally during the writing process.

Initially, the material leaned heavily toward straight death metal.

“It started out as an album full of death metal songs with speed and aggression,” Owen explained.

But vocalist Chris Barnes suggested expanding the concept.

The result became a record divided between:

• fast, aggressive death metal
• groovier songs reminiscent of early Six Feet Under

That approach gives the album a dynamic flow — something the band felt would keep the record interesting from start to finish.

For fans who grew up on albums like Haunted and Maximum Violence, the groove-oriented half may feel especially familiar.

The Barnes And Owen Writing Partnership Continues

Next To Die marks the third album collaboration between Barnes and Owen since the guitarist joined the band in 2017 after leaving Cannibal Corpse.

Their writing process remains simple.

Both musicians write ideas independently before bringing them together.

They also avoid over-planning themes.

“We don’t discuss lyrical themes,” Barnes said. “We each write what we’re feeling. We just write what we find interesting.”

That approach keeps the music raw and spontaneous — something Six Feet Under have always leaned into.

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

Inside The Production Of Next To Die

The album was produced by Chris Barnes and Jack Owen.

Mixing and mastering duties were handled by Mark Lewis at MRL Studios in Nashville, a producer known for working with numerous metal acts.

The goal was to capture both the ferocity of the band’s death metal roots and the groove-driven heaviness that longtime fans associate with their classic era.

Six Feet Under Returns To The Road

After returning to U.S. touring in 2025 — their first domestic run since 2013 — the band is ready to take the new material worldwide.

Touring remains central to the Six Feet Under experience.

“We enjoy being on the road, wherever it is,” Owen said. “Every day is different.”

With fifteen albums now in their catalog, the band has plenty of classics to mix into the set alongside new songs.

Fans interested in seeing Six Feet Under live can find available tickets here.

Why Next To Die Matters For Six Feet Under

Few death metal bands maintain the longevity Six Feet Under has achieved.

Since forming in 1993, the group has continued evolving while maintaining a distinctive sound built around Chris Barnes’ unmistakable vocal delivery and groove-driven riffs.

By combining old-school groove with modern death metal aggression, Next To Die may represent one of the band’s most balanced releases in years.

For longtime fans, the album promises both nostalgia and fresh brutality.

Which side of Six Feet Under do you prefer — the fast death metal material or the groove-heavy classics?

Check This Out – The Real Story Behind Ace Ventura & 12 Other Cannibal Corpse Facts You Don’t Know

FAQ

When does Six Feet Under release Next To Die?
The album arrives April 24.

How many songs are on the new album?
Next To Die features 12 tracks.

Who produced the album?
Chris Barnes and Jack Owen produced the record, with mixing and mastering by Mark Lewis.

Is Six Feet Under touring behind the album?
Yes. The band plans to perform the new material during upcoming global tours.

Band Bio: Six Feet Under

Six Feet Under formed in Tampa, Florida in 1993 after Chris Barnes departed Cannibal Corpse. The band became known for combining traditional death metal with groove-oriented riffing and has released numerous albums including Haunted, Maximum Violence, and Warpath. With fifteen studio records and decades of touring behind them, Six Feet Under remain one of the longest-running acts in American death metal.

The post Six Feet Under Unleash “Unmistakable Smell Of Death” And Announce Brutal New Album ‘Next To Die’ appeared first on Loaded Radio.

Cybernetic Domination awaits.

The post Fear Factory, Darkest Hour & Brotality Fall U.S. Tour Announced appeared first on Theprp.com.

Groove metal pioneers Exhorder hit the road with Skinlab for an intense spring run starting April 2.

The post EXHORDER & SKINLAB Announce April U.S. Tour appeared first on Metal Injection.

Colter Wall is a Saskatchewan-raised singer-songwriter who makes old-school country music and who famously works on his ranch when he isn’t doing music stuff. Wall released his album Memories And Empties last year, and he’s been touring behind the album for much of this year. He’s not doing that anymore.

The post Colter Wall Takes “Indefinite Hiatus From Live Music” For Mental Health Reasons appeared first on Stereogum.

Welcome to pure sonic oblivion.

With just over 25 years now in the rearview, or more than 30 if counting their formative years in the mid to late 90s under the moniker Burn The Priest, Virginian natives Lamb Of God have seemingly explored the furthest extremes of America’s post-80s metal landscape.

Often credited as the outfit to carry the groove-oriented style pioneered by Pantera and Exhorder into the 20^th century and make it more palpable to the punk sensibilities of the concurrent metalcore scene explosion, they’ve never been one to pull their punches in terms of both sonic and lyrical heaviness, leaving few topics untouched while adding a more kinetic, thrashing character to the stylistic template first codified by the aforementioned bands’ 1992 offerings in Vulgar Display Of Power and The Law respectively.

Now 10 full-length studio albums deep into their career, their latest entry, Into Oblivion, finds a band sticking close to their stylistic home while still managing a few surprises here and there.
Sticking to a highly concise and methodical approach to songwriting, this quintet dishes out an auditory smorgasbord of bite-sized crushers that fall mostly in line with where things have been since original drummer Chris Adler’s exodus from the fold and the release of the 2020 eponymous album.

For his third go behind the kit in the studio, Art Cruz proves just as formidable as his predecessor in making an explosive ruckus and gelling seamlessly with bassist John Campbell’s dark thuds to form a truly colossal foundation. The guitar duo of Mark Morton and Willie Adler remains a highly effective pair of killing machines in the riff department, delivering one crushing pass after the next in the same spirit as Dimebag Darrel Abbott with a healthy side order of Bay Area thrash stylings, the former also serving up numerous fits of bluesy shredding to further complement an already highly kinetic arrangement. And the impresario at the center of it all, namely vocalist Randy Blythe, continues to steal the show with his overwhelmingly aggressive growls and shrieks in true berserker fashion.

While the individual performances of this evenly yoked union of seasoned veterans amount to a veritable force of nature, the anthems of fury and discontent that they weave strike a surprisingly disciplined and methodical tone. The opening trifecta of neck-destroying power to kick things off artfully blurs the lines between this band’s obvious 90s groove metal roots and the more rapid-fire style. Be it the generally fast-paced and harsh opening foray of the album’s title entry “Into Oblivion”, the blazing rage of “Parasocial Christ” or the sludgy crawl turned frenzied thrashing mayhem of “Sepsis”, there is a continual balance of 90s southern punch and 2000s Bay Area revivalism at play.

Other similarly ferocious shots across the bow, like “The Killing Floor” and “St. Catherine’s Wheel,” follow the same scheme in a slightly more drawn-out and elaborate fashion, with Campbell’s bass work being especially auspicious on the latter, and Morton delivers one of his flashier solos about a minute before its conclusion.

Though compared to some of the more expansive opuses during their middle era, this is a more streamlined undertaking, Into Oblivion is pretty far from a one-dimensional musical affair. Amid all of the cynical and shout-steeped sonic carnage stands a dreary fit of balladry with an occasional bite in “El Vacio” that sees Blythe explore cleaner, crooning territory, while the guitar tapestry painted by Morton and Adler takes on a far more nuanced and haunting tone, culminating in a sort of 2020s answer to Pantera’s “This Love”.

On the other end of the spectrum, the hyper-kinetic riff machine “Bully” sees the technical chops of the aforementioned guitar duo shine extra bright at every groove-thrashing turn; ditto the slightly shorter closing hurrah “Devise/Destroy”. But insofar as coup de grace moments, both in terms of musical execution and earworm hooks, the difference is split between the mid-paced groove with enough cowbell to sate Christopher Walken via “A Thousand Years”, and the crushing thrasher with a menacing edge, “Blunt Force Blues”.

Into Oblivion is one of those albums that checks all the obligatory boxes for what one looks for in a textbook Lamb Of God album. In many ways, it channels the same spirit of unmitigated fire and fury through a controlled lens that first put this fold on the mid-2000s map with Ashes Of The Wake, though it ultimately plays things a bit safe in the innovation department and largely winds up in the solid territory that was the 2020 self-titled album and 2022’s Omens.

It’s a well-rounded listen that lends itself well to being heard from beginning to end without the need of the skip button, yet one can’t help but come away feeling that they’ve heard something that’s very good rather than something life-changing. To the uninitiated, it might come off as a less pretty version of what typified metal in the mid-2000s, but to those who have been riding this groove train since said time period, this is business as usual, even though what passes for business as usual with Lamb Of God’s name on it seems to be anything but that

Release Date: March 13th, 2026
Record Label: Epic Records
Genre: Groove Metal

Musicians:

• Randy Blythe / Vocals
• Mark Morton / Guitars
• Will Adler / Guitars
• John Campbell / Bass
• Art Cruz / Drums

Into Oblivion Tracklist:

1.    Into Oblivion
2.    Parasocial Christ
3.    Sepsis
4.    The Killing Floor
5.    El Vacío
6.    St. Catherine’s Wheel
7.    Blunt Force Blues
8.    Bully
9.    A Thousand Years
10. Devise/Destroy

Order the album here.

The post LAMB OF GOD – “Into Oblivion” (Album Review) appeared first on Sonic Perspectives.

Corrosion of Conformity have unveiled the video for “You Or Me,” the latest single from their upcoming double album Good God / Baad Man, due April 3rd via Nuclear Blast. The clip was directed by visual artist Costin Chioreanu, with additional footage shot by Mike Holderbeast.

The band offered their own take on the collaboration: “Deep from within the forests of Romania and the twisted mind of our dear friend Costin Chioreanu comes his twisted visions put to Corrosion‘s music. It’s a match made in purgatory. There’s some special additions from [director] Mike Holderbeast‘s crew as well.”

The band said the “You Or Me” quote came from the band Lucifer, who described the track as “a blistering, Sabbed out track” and “an angry acid trip into the origins of the human condition since the dawn of man. In these primitive times, it’s clear to say they haven’t learned much. So, Black it’s Blue.”

Pre-orders are underway at this location.

The single follows “Gimme Some Moore,” the album’s lead track, which featured backing vocals from Ministry‘s Al Jourgensen and Madonna guitarist Monte Pittman.

Good God / Baad Man was produced by Grammy winner Warren Riker (Fugees, Down, Cathedral), recorded at Blak Shak Studios in Riffissippi, USA, Dockside Studios in Maurice, Louisiana, and Barry Gibb‘s home studio in Miami, Florida. Cover art is by New Orleans artist Scott Guion.

The album arrives as a double record, and that format was a natural outcome of the writing process. “As we went on, we had such a crazy plethora of songs, it was almost like two different directions,” vocalist and guitarist Pepper Keenan explains. “We knew we had to split it into two different albums. Then we came up with this concept.”

Each half has its own identity. “Good God leans toward the heavier/pissed end of the spectrum. Baad Man is more on the throwdown rock scope. As we went along, it became clear which songs went on which album.”

Warren Riker had his own take on the project: “Our producer kept calling it Dark Side Of The Doom,” Keenan recalls. “In my head, it’s a weird love letter to all things rock ‘n’ roll.”

The record marks the band’s first since 2018’s No Cross No Crown, a period shadowed by loss. Drummer Reed Mullin passed away in January 2020, and bassist Mike Dean later departed amicably. Keenan and guitarist Woody Weatherman regrouped, hunkering down at Keenan‘s Mississippi home and absorbing everything from Discharge to ZZ Top to Black Sabbath before the writing began. “With a lot of these songs, we’re trying to make Reed Mullin proud,” Keenan says. “He was a badass and a one-of-a-kind drummer. And the stakes were high.”

The current lineup features Stanton Moore on drums — who previously appeared on 2005’s In The Arms Of God — and bassist Bobby Landgraf, known from his time with Down and his own band, Honky.

Good God / Baad Man is available for pre-order on digipak CD, digital, and vinyl in the following formats:

• Gatefold 2xLP w/ Belly Strip – Black Vinyl (Retail)
• 2 Separate Jacket LPs w/ Belly Strip – LP 1 Blue / LP 2 Red (Mail Order + Band Exclusive)

The post CORROSION OF CONFORMITY Drop “You Or Me” Music Video From Upcoming “Good God / Baad Man” Double Album appeared first on Sonic Perspectives.

The post Album Review: NO/MÁS – No Peace appeared first on The Razor's Edge.

Hyd is Hayden Dunham, a New York-based multi-disciplinary artist and former PC Music affiliate. Back in 2014, Hyd co-created QT the PC Music future-pop avatar who release “Hey QT.” In 2022, Hyd released her solo debut CLEARING, which included collaborations with people like Caroline Polachek. Now, Hyd is coming back with a new album called…

The post Hyd Announces New Album <em>Hold Onto Me Infinity</em>: Hear “Angel” appeared first on Stereogum.

Things are heating up in the war of words between ex-Megadeth bassist David Ellefson and his former bandmate/Megadeth founder Dave Mustaine. In a recent interview with Argentine rock journalist Gustavo Olmedo on the Quemar Un Patrullero podcast, the topic shifted to Ellefson’s rocky relationship with Mustaine and things ultimately got heated.

During the conversation, Ellefson reflected on times with Mustaine when things were good, even familial at times. It was right around the time when Ellefson came back to the band after an eight-year hiatus. It was during that period, Ellefson said, that the two bandmates shared a sort of fraternal bond forged over decades.

“When I went back to Megadeth in 2010, Dave and I were close – we were really close. I was helping him with some personal things. He became a good friend to me during that time. So there were periods of closeness as men, as brothers.

“And I found those opportunities were always the best when it was just me and Dave, when there wasn’t another person in the room. We didn’t have to sort of be on stage performing for anyone. It was just me and him being brothers, [at] Starbucks drinking coffee, whatever. And those moments were genuine, they were sincere, they were heartfelt.”

As we all know though, things would eventually fall apart in 2021 after a sex scandal surfaced online involving Ellefson. That whole kerfuffle ended up with footage of the bassist masturbating on camera and an embarrassing situation for Ellefson and those close to him. Mustaine eventually fired Ellefson as a result.

With Ellefson fired, Mustaine opted to have the bass parts for The Sick, The Dying… And The Dead! re-recorded by Steve DiGiorgio. Ellefson said in the interview that he “could tell [Mustaine] resented me” and that’s why his contributions were cut from the final product.

Ellefson said he also wrote a ballad for that album, as well as some lyrics for the song “Soldier On!” but those were also scrapped. All those decisions to cut him out of that new record has led Ellefson to compare his firing to Mustaine’s famous ousting from Metallica and in his eyes, one event is certainly more unfair than the other.

“When Dave got fired from Metallica, at least they kept his words and his music and they paid him and gave him credit. Dave wasn’t so kind to me. He kicked me out, took my performances off the record, and took my lyrics and everything off the record. So I think I have a horse in that race when I speak about how properly Metallica handled things and how I think improperly things were handled on my behalf. ‘Cause I saw it; I lived it.”

Given how he feels his things went down, Ellefson said he considers his final goodbye from Megadeth as the 2018 tour and his contributions to the 2016 album Dystopia. It was that ability to see those moments as closure that Ellefson said he doesn’t have the same resentment that Mustaine carried all those years for Metallica.

Ultimately, Ellefson hit back at Mustaine over a recent comment the frontman made on SiriusXM‘s “Trunk Nation With Eddie Trunk” last December where he felt he couldn’t have surviving ex-band members on stage because of “what one person did”. That stance, Ellefson basically said, was bullshit.

“To have it end where it did, and then [for Mustaine] even recently to say, ‘Oh, because of what one person did, I can’t bring anyone back.’ You know what? Fuck off. Just fuck off. Who is that one person? It wasn’t me, ’cause I didn’t do anything that would prevent me from coming back at all. At all. And so this sort of deflectionary thing, to sort of get on some moral high ground, it’s, like, gimme a break. Really? And look, I had rock stars much bigger than Dave coming to my side and coming to my aid, standing by me, saying, ‘Man, just let me know if you need anything at all. That’s really fucked up.’ It’s fucked up about how I was handled being discarded. People saying, ‘I’m really disappointed that they chose business over brotherhood,’ ’cause at the end of the day, the brotherhood will always last beyond the business of owning a rock band — especially something we started and built together.”

The post David Ellefson is Pissed Off at Dave Mustaine Again Over Drama: “F*ck Off. Just F*ck Off.” appeared first on MetalSucks.

FOR IMMEDIATE RELEASE
Screamer Magazine Features Awaiting Abigail as Texas’ Next Major Hard Rock Breakout
Dallas/Ft. Worth, TX – March 11, 2026 – Texas hard rock rising stars Awaiting Abigail are making waves nationwide, earning top media attention with their debut EP, Bad Mind . Featured on the high-traffic Screamer Magazine website, the six-piece band is being recognized for their powerful riffs, soaring vocals, and unapologetic attitude—proving they’re more than just another local act.
Formed in 2024, Awaiting Abigail has quickly attracted national press praise:
“Kicks in like a wrecking ball wrapped in velvet… demands to be heard, felt, and turned up way past eleven.” — Illustrate Magazine
“Arguably the most exciting metal newcomers to emerge in a long time.” — SONGSCOPE
“Every single song would be worthy of being played on Rock radio stations.” — Metalheads Forever Magazine
Their debut EP Bad Mind delivers a blend of classic-metal-inspired riffs and radio-ready vocals across four tracks, including I Hate You , Falling Under , and the title track Bad Mind . The band’s dynamic sound and stage presence have also earned them features in Power Play Magazine , Decibel Magazine , and a landmark live performance at Whisky A Go Go alongside L.A. Guns.
Awaiting Abigail’s music is rooted in resilience, tackling themes of empowerment, personal struggle, and the fight to rise above adversity. With growing national and international radio play, strong press traction, and a rapidly expanding fanbase, the band is positioned for a major breakout.
Fans can join their free fanlist for early access, exclusives, and behind-the-scenes updates at: https://fans.awaitingabigailband.com
About Awaiting Abigail
Formed in Texas in 2024, Awaiting Abigail combines heavy, chugging instrumentation with melodic, emotionally charged vocals. Drawing comparisons to Halestorm , The Pretty Reckless , Evanescence , and In This Moment , the band has quickly established a distinct identity in modern hard rock. With national media praise, growing radio traction, and standout live performances, Awaiting Abigail is shaping up to be one of the next breakout names in hard rock.
Media Contact: zach@metaldevastationradio.com
Check out the feature here: https://screamermagazine.com/press-releases/awaiting-abigail-rise-as-texas-next-major-hard-rock-breakout/

Follow them on social media for updates, new releases, and tour dates!
https://awaitingabigailband.com/
https://www.facebook.com/awaitingabigail/
https://www.instagram.com/awaitingabigail
https://www.youtube.com/@awaitingabigail
https://awaitingabigail.bandcamp.com/album/bad-mind
https://music.apple.com/us/artist/awaiting-abigail/1781286595
https://open.spotify.com/artist/0ak3NTLLBbiAxQ1LLNd5a3