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
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A View From The Back Of The Room: Napalm Death (Mike Chew & Nat Sabbath)
Napalm Death, Whiplash, Varukers & Dopelord: The Campaign for Musical Destruction, O2 Institute, Birmingham, 01.03.26
Some tours are just line-ups. Others feel like a genealogy chart for an entire genre. The Campaign for Musical Destruction tour falls firmly into the latter category. Doom, punk, thrash; three musical forces that collided violently in the 1980s to create grindcore, all represented on one bill before the genre’s undisputed pioneers took the stage. In Birmingham, the birthplace of heavy music itself, it felt especially fitting.
Four bands. Four different flavours of aggression. One absolutely relentless night.
Opening the night were Poland’s riff-obsessed doom merchants Dopelord, and they wasted absolutely no time dragging the room into a thick haze of fuzz and slow-burn heaviness. Their set opened with a surprise nod to psychedelic blues history with It Is So Nice to Get Stoned, originally by Ted Lucas, which they transformed into a lumbering doom invocation. From there, the band leaned fully into their Sabbath-worshipping DNA.
Tracks like The Chosen One and Headless Decapitator showcased the band’s ability to balance crushing heaviness with hypnotic groove. Their tone is enormous, bass rumbling like tectonic plates shifting beneath the floor while the guitars delivered creamy blues-soaked leads that floated above the riffs rather than cutting through them. The comparison to a doom-laden version of Mastodon isn’t far off, but Dopelord’s sound feels deliberately more lo-fi and ritualistic.
The highlight for many came when Hail Satan kicked in, instantly getting the Birmingham crowd chanting along with the band. It was one of those moments where doom’s theatricality met genuine crowd participation. Reptile Sun and Doom Bastards closed the set in glorious slow motion, riffs echoing off the venue walls like ancient machinery grinding into life.
Heavy, smoky, hypnotic doom; the perfect way to start a night dedicated to musical extremity.
The Varukers arrived like a Molotov cocktail thrown into the middle of the room. From the opening blasts of How Do You Sleep? and Led To The Slaughter, the band delivered a masterclass in politically charged hardcore punk.Rat was on fiery form throughout, both vocally and in spirit, and early in the set he paid tribute to Birmingham’s own Ozzy Osbourne, dedicating Endless Destruction Line to the Prince Of Darkness, a moment that drew a roar of approval from the home crowd.
The band’s set was relentless. Die For Your Government, Murder, and Tortured By Their Lies landed like blunt force trauma, their themes of corruption, power and injustice feeling depressingly relevant decades after they were first written. When Rat introduced Nothing’s Changed, the point felt painfully clear.
Songs like Massacred Millions, Deadly Games, and Allegiance To None kept the momentum blisteringly fast, with the crowd responding in kind as the pit grew increasingly chaotic. The closing run of I Don’t Wanna Be A Victim and Protest To Survive was classic UK hardcore, defiant, furious and utterly uncompromising.
Short, sharp, and politically explosive, exactly how punk should be.
Next up were thrash veterans Whiplash, and if anyone in the room needed reminding why the genre exploded in the 80s, this set was the perfect refresher.
The band wasted no time tearing into Last Man Alive and Killing On Monroe Street, unleashing razor-sharp riffs and breakneck tempos that instantly lifted the room’s energy. Tony’s guitar tone was pure old-school thrash (biting and aggressive) while the rhythm section locked in with surgical precision.
One of the night’s standout moments came with Spit On Your Grave, its vicious riffing sending the pit into overdrive. Red Bomb and The Burning Of Atlanta followed, showcasing the band’s knack for combining technical thrash precision with sheer adrenaline.Birmingham’s own Exorcism were spotted watching from side stage, a neat passing of the torch moment. Meanwhile, Will’s finger-picked bass passages were a joy to behold, pulling the mind back to Cliff Burton and his enduring influence on thrash’s musicality. It added a welcome musical depth among the speed and aggression.
The closing barrage of Walk The Plank, Thrashquake, Nailed To The Cross, and the immortal Power Thrashing Death turned the room into a full-scale thrash celebration.
The drummer turned into a signing booth post-set, autographing anything thrown his way; CDs, clothing, arms, and yes, even cheeks. Try getting that at a seated show!
Let’s get the bias out of the way early: Napalm Death are one of the most important bands in extreme music, and one of my personal favourites, nights like this make it very clear why.
From the moment they launched into Instinct Of Survival the room exploded. The opening run of Strong-Arm, Continuing War On Stupidity, and Everyday Pox was relentless — a blur of blast beats and politically charged fury delivered at warp speed.
Barney, as always, was in constant motion. Watching him perform is like witnessing someone who never stopped running laps in school PE, either that or he genuinely believes the stage floor is lava; his energy never dropped for a second. The band acknowledged bassist Shane Embury’s absence, with Adam Clarkson stepping in admirably and clearly enjoying every second of the chaos.
Highlights came thick and fast: Suffer The Children had the crowd roaring along, Greed Killing and Incinerator detonated the pit once again, and Scum remains one of the most iconic grindcore tracks ever written. The band even unleashed You Suffer, still famously the shortest song in the world, which somehow still manages to generate one of the biggest cheers of the night. Their cover of Nazi Punks Fuck Off by Dead Kennedys was delivered with ferocious conviction, the entire crowd shouting the chorus back loud and proud.Closing with Persona Non Grata / Smear Campaign, Napalm Death left the stage having delivered exactly what the tour promised: musical destruction. And on Birmingham soil, it felt especially powerful.
Barney has spoken recently about stopping when it feels forced. On this evidence, that time is nowhere near. Whether it was the last night of the tour, the pull of home turf, or simply a band still utterly in love with what they do, Napalm Death were unstoppable.
Four genres. Four bands. One lineage.
A spectacular display of musical destruction ; delivered with precision, passion and just enough chaos to remind us why this music matters in the first place. -
Six Feet Under to Unleash “Next to Die” Full-Length on April 24th Through Metal Blade Records
– March 11th, 2026 –
New Single Now Playing, Pre-Orders Available + North American Tour Announced!
Watch / Stream SIX FEET UNDER’s “Unmistakable Smell Of Death” HERE
American death metal pioneers SIX FEET UNDER will unleash their Next To Die full-length on April 24th through Metal Blade Records.
Next To Die marks a new creative high for SIX FEET UNDER, its dozen songs marking the band’s fifteenth album since 1995′s Haunted. “It started out as an album full of death metal songs with speed and aggression,” says guitarist Jack Owen. “Then [vocalist] Chris [Barnes] had the brilliant idea to keep half of those death metal songs and add some groovier songs in the vein of the early SIX FEET UNDER material. Chris emphasized tempo, so keeping with the beats per minute for early SFU classics, I wrote a side of tasty groove-laden music with Chris doing all the lyrics.”
Photo by Jack Webb
The creative collaborative approach sees Next To Die essentially broken down into two different sides – Death and Groove – resulting in an aural masterwork that satisfies SIX FEET UNDER as artists, while also offering something for every fan.
The record was produced by Owen and Barnes and mixed and mastered by Mark Lewis of MRL Studios in Nashville, Tennessee, and follows 2024′s Killing For Revenge. It’s the third record that Barnes and Owen have created together since reuniting in 2017. “We don’t discuss lyrical themes, we each write what we’re feeling,” explains Barnes. “We each just write what we find interesting.”
SIX FEET UNDER was initially formed as a side project for Barnes during his final years with the band that he co-founded, Cannibal Corpse. It became the frontman’s sole focus in 1995, coinciding with the release of their debut, Haunted. The current lineup of Barnes, Owen, lead guitarist Ray Suhy, bassist Jeff Hughell, and drummer Marco Pitruzzella make for a devastating unit.
That sonic devastation shines on lead single, “Unmistakable Smell Of Death,” which sees Owen owning his blast and fast riffs with dynamic pull-offs and stop sections. “This song began musically before I had any lyrical ideas in mind,” says Owen. “I dug through my riff archive for some blast and fast riffs and updated them with some pull-offs and stop sections. The middle section riffs were also from my riff archive. I do scratch leads on my demos, but Ray always does a much better job with the leads.
“Lyrically, I’m writing from the perspective of a killer who toys with a victim and unties them, allowing them to fight. He underestimates their ability to fight, and they get the better of the killer, ultimately impaling and beheading him. The ‘Unmistakable Smell Of Death’ is now that of the killer!“
Watch SIX FEET UNDER‘s visualizer for “Unmistakable Smell Of Death” HERE.
Next To Die comes swathed in the cover art of Sandy Rezalmi and will be released on CD and digital formats as well as vinyl in the following color variants:
180g Black (EU)
Red w/ Black Smoke (US)
Bone Brown Marbled (EU – Ltd. 500)
Blue Grey Marbled (EU – Ltd. 300)
Blood Splatter (EU – Ltd. 300)
Bone White Green Splatter (EU – Ltd. 200)Find all pre-orders at: metalblade.com/sixfeetunder
Next To Die Track Listing:
01. Approach Your Grave
02. Destroyed Remains
03. Mister Blood and Guts
04. Mutilated Corpse in the Woods
05. Unmistakable Smell of Death
06. Wrath and Terror Takes Command
07. Skin Coffins
08. Mind Hell
09. Naked and Dismembered
10. Grasped from Beyond
11. Next to Die
12. Ill WishesSIX FEET UNDER will return to stages this Summer on a North American headlining tour. Set to begin on July 8th in Detroit and run through August 11th in Chicago, the tour features support from Kataklysm and Wormhole.
Comments Barnes, “July and August are gonna get ultra brutal on our headline tour of North America in support of our new album Next To Die, with our old friends in Kataklysm, and special guests Wormhole. Very psyched to get back on the road in the States, and really, really looking forward to playing Canada on this tour. I think it’s our first time in Canada in decades… You do not want to miss these shows! See you all this Summer!“
The North American journey will follow the band’s previously announced European headlining tour this June with support from Embryonic Autopsy.
Presales begin Thursday, March 12th password: GRAVE. General onsale date is Friday, March 13th. See all confirmed dates below.
SIX FEET UNDER w/ Kataklysm, Wormhole:
7/08/2026 Sanctuary – Detroit, MI
7/09/2026 Lee’s Palace – Toronto, ON ^
7/10/2026 Fairmount – Montreal, QC ^
7/11/2026 Overflow – Ottawa, ON ^
7/12/2026 Palladium Upstairs – Worcester, MA
7/13/2026 Space Ballroom – Hamden, CT
7/14/2026 Gramercy Theatre – New York, NY
7/15/2026 Broken Goblet – Bensalem, PA
7/16/2026 Chapel of Bones – Raleigh, NC
7/17/2026 Albatross – Jacksonville, FL
7/18/2026 Culture Room – Fort Lauderdale, FL
7/19/2026 Conduit – Orlando, FL
7/21/2026 Scout Bar – Houston, TX
7/22/2026 Come and Take It Live – Austin, TX
7/23/2026 Jake’s – Lubbock, TX
7/24/2026 Lauter Haus – Farmington, NM
7/25/2026 Nile – Phoenix, AZ
7/26/2026 1720 – Los Angeles, CA
7/27/2026 Strummer’s – Fresno, CA
7/28/2026 Cornerstone – Berkeley, CA
7/29/2026 Goldfield – Roseville, CA
7/30/2026 Shredder – Boise, ID *
7/31/2026 Hawthorne Theatre – Portland, OR
8/01/2026 El Corazon – Seattle, WA
8/02/2026 Rickshaw – Vancouver, BC ^
8/04/2026 Arrowhead – Calgary, AB ^
8/05/2026 Starlite Room – Edmonton, AB ^
8/06/2026 Black Cat – Saskatoon, SK ^
8/07/2026 Park Theatre – Winnipeg, MB ^
8/08/2026 Skyway Theatre – Minneapolis, MN
8/09/2026 The Annex – Madison, WI
8/10/2026 Madison Theater – Covington, KY
8/11/2026 Reggies – Chicago, IL
* No Kataklysm
^ Kataklysm headlines
European Tour w/ Embryonic Autopsy:
6/03/2026 Mystic Festival – Gdańsk, PL
6/04/2026 Franz – Berlin, DE
6/05/2026 Pitfest – Maastricht, NL
6/06/2026 Gebäude 9 – Cologne, DE
6/07/2026 The Garage – Saarbrücken, DE
6/10/2026 Colosseum – Košice, SK
6/12/2026 Nova Rock- Nickelsdorf, AT
6/13/2026 A38 – Budapest, HU
6/14/2026 Orto – Bar Ljubljana, SI
6/16/2026 Kaminwerk – Memmingen, DE
6/17/2026 Backstage Halle – Munich, DE
6/19/2026 Colo-Saal – Aschaffenburg, DE
6/20/2026 Graspop Festival – Dessel, BE
6/21/2026 Hellfest – Clisson, FR
6/23/2026 Logo – Hamburg, DE
6/24/2026 Copenhell – Copenhagen, DK
6/26/2026 Basinfire Festival – Spálené Poříčí, CZ
6/27/2026 Abyss Festival – Hauteville, CHSIX FEET UNDER:
Chris Barnes – vocals
Jack Owen – guitars
Marco Pitruzzella – drums
Jeff Hughell – bass
Ray Suhy – guitarshttps://www.facebook.com/sixfeetunder
https://x.com/sixfeetofficial -
Katy Perry Loses 16-Year Trademark Fight With Fashion Designer
Katy Perry chose her stage name because she worried that her actual name, Katy Hudson, might be too close to a certain rom-com-associated actress. Nobody’s confusing Katy Perry for Kate Hudson, but that stage name did wind up getting Perry into a 16-year legal dispute with an Australian designer whose brand just so happens to be called Katie Perry.
The post Katy Perry Loses 16-Year Trademark Fight With Fashion Designer appeared first on Stereogum.
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DEVIN TOWNSEND Unveils Ambitious New Album The Moth, Due Out This May
The opus arrives May 29, 2026, featuring collaborations with Steve Vai, Anneke Van Giersbergen, and the Noord Nederlands Orkest.
The post DEVIN TOWNSEND Unveils Ambitious New Album The Moth, Due Out This May appeared first on Metal Injection.
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AN NCS PREMIERE: ATLANTIC RIDGE — “OUR FAITH IS OUR STRENGTH”
(written by Islander) Atlantic Ridge is the brainchild of Italian artist Giuseppe Emanuele Frisone, who will be known to our site’s visitors (and many others) as the person behind such heavy musical projects as Thecodontion and Clactonian. We’re told that the ideas for Atlantic Ridge came to him as long ago as 2019, and then […]
The post AN NCS PREMIERE: ATLANTIC RIDGE — “OUR FAITH IS OUR STRENGTH” appeared first on NO CLEAN SINGING.
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DEATHFEAST OPEN AIR 2026 Returns
One of Europe’s most dedicated underground death metal festivals is back – and bigger than ever. DEATHFEAST OPEN AIR 2026 will take place from August 20-22, 2026 at JUZ Andernach, Germany, bringing together 33 bands from 18 countries for three days of uncompromising brutality. The 2026 edition delivers a carefully curated lineup spanning the full […] -
Koyo – “What I’m Worth”
Koyo, Long Island hardcore guys who make fired-up and hooky emo, have a new album called Barely Here coming out this spring. Drain’s Sammy Ciaramitaro and Fleshwater’s Marisa Shirar make appearances, and we’ve already posted the very fun lead single “Irreversible.” Today, Koyo drop another track on us. The new Koyo song “What I’m Worth”…
The post Koyo – “What I’m Worth” appeared first on Stereogum.
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David Ellefson Says Metallica Handled Mustaine’s Firing Better
David Ellefson thinks Metallica handled Dave Mustaine's firing in 1983 'properly' and Megadeth handled his in 2021 'improperly.' Continue reading… -
UNMERCIFUL Announces Maryland Deathfest Debut with James “Freight Train” Lee & Full “INFERNALLY CONQUERING TOUR 2026” – @thebeast
FOR IMMEDIATE RELEASE
UNMERCIFUL Announces Maryland Deathfest Debut with James “Freight Train” Lee & Full “INFERNALLY CONQUERING TOUR 2026”
Kansas death metal titans UNMERCIFUL are ready to scorch stages across the Midwest and East Coast this May, culminating in their first-ever performance at Maryland Deathfest 2026 . Fans are in for a monstrous treat, as James “Freight Train” Lee—legendary for his work with Origin on III , Echoes of Decimation , and Antithesis —will command the vocals for a jaw-dropping set of UNMERCIFUL’s unrelenting death metal assault.
The band had this to say:
“Our first ever performance at Maryland Death Fest is just 3 months away. With that, we want to announce a very special guest that will be performing on vocals. This man is none other than the almighty James ‘Freight Train’ Lee!!! Hearing him performing our material will be something NOT to miss!!
Also, Trynt is still dealing with some health issues, so Andy Vincent will be handling the relentless drum duties. We are in the process of booking some shows around this time (May 20th–May 28th). More information on show dates and venues coming soon.
We look forward to delivering an unforgettably crushing set! We will see you all soon.”
Following the cancellation of their previous tour with Vitriol and Weeping , UNMERCIFUL returns stronger than ever. Their latest album, Devouring Darkness (Willowtip Records), has been hailed as a brutal triumph:
“ Devouring Darkness is an unceasing beatdown of a death metal album where technicality takes a backseat to brutality.” – Angry Metal Guy
“Malicious guidance does well to hold their focus tight on bludgeoning brutal death metal here, an ideal ratio of unreal skill and severe impact.” – Mystification Zine
“Unmerciful are among us to blast our ears with Brutal Death Metal at its finest.” – The Headbanging Moose
“A swirl of riffs will wrap themselves around you like a coiled snake, and the drums will cave your head in.” – Dead Rhetoric
With longtime guitarist Jeremy Turner returning and Josh Riley debuting on vocals, UNMERCIFUL continues to define the cutting edge of American death metal. The record was engineered and produced by Clinton Appelhanz at Waveworks Studio, mastered by Alan Douches ( Cannibal Corpse, Hate Eternal ), with artwork by Santiago Francisco Jaramillo.
UNMERCIFUL 2026: INFERNALLY CONQUERING TOUR
Prepare for full-throttle death metal devastation from May 20th–28th, as UNMERCIFUL hits the following cities:
5/20 – Chicago, IL @ Cobra Lounge
5/21 – Detroit, MI @ The Sanctuary
5/22 – TBA
5/23 – Clifton, NJ @ Dingbatz
5/24 – Baltimore, MD (Maryland Deathfest 1st performance)
5/25 – Harrisburg, PA @ Capital Music Hall
5/26 – Columbus, OH @ Ace of Cups
5/27 – Indianapolis, IN @ State Street
5/28 – Kansas City, MO @ The Warehouse
2026 Live Lineup:
Jeremy Turner – guitar / vocals
Clint Appelhanz – guitar / vocals
James “Freight Train” Lee – vocals
Andy Vincent – drums
Steve Giddens – bass
Fans can expect a blistering mix of technical ferocity and unrelenting brutality that will leave stages in ruin. Devouring Darkness is available now wherever extreme metal is consumed. For more information, tickets, and updates, visit https://deathfests.com.
Follow the band at these links:
https://www.facebook.com/officialunmerciful/
https://www.instagram.com/official_unmerciful
https://music.apple.com/us/artist/unmerciful/173905522
https://open.spotify.com/artist/1A7qyjUuQGJTkOL8LUmmtG
https://www.pandora.com/station/play/98443676228797847
https://www.iheart.com/artist/unmerciful-393849/?autoplay=true
https://www.deezer.com/us/artist/81522
Contact: unmercifulbooking@gmail.com
