“Rock is probably the most dominant ticket-selling thing in the western world, and yet there’s almost no representation of rock in culture.”
The post The Smashing Pumpkins’ Billy Corgan: “I Think That Rock Has Been Purposely Dialed Down In The Culture” appeared first on Theprp.com.
A tabby cat is what you get when you let nature take its course. Nearly every stray is a tabby because, without selective breeding from human interference, cats just end up looking like that most of the time. Similarly, Atlanta’s Malefic feel to me what you’d get if you let the faster variants of extreme metal reach their natural conclusion. Playing a style that draws from thrash, black and death metal, Malefic formed in 2007 with the stated goal of modernizing black metal. In doing so, they’ve imbued in their slow-cooked debut Impermanence, an intensity and drive befitting a genre-forwarding record. But is Impermanence the cat’s meow, or did Malefic cough up a hairball?
Like how tabbies are genetically diverse but visually similar, Malefic’s many ingredients blend into a kind of extreme metal slurry on Impermanence, all present but difficult to identify individually. Sure, some riffs are more typically one thing than another, like the Testament-like thrash chops opening “In Darkest Dreams,” or the Dissectionesque blackened trems on “Blood of the Throne,” or the Opethian deathly grooves of “It Haunts.” But taken as a whole, Impermanence doesn’t lean towards one sub-genre over another. Instead, Malefic’s mutt-metal manifests into an off-kilter, volatile force of hostility, recalling heavily of the genre-blending approach Xoth take. Xoth are actually probably the best comparison to Malefic, as drummer Aaron Baumoel’s rasps and screams sound a lot like both of their vocal duo, and guitarists Jason Davila and Sam Williams’ solos follow the melodically rich, whammy-friendly stylings of Xoth (“Idiocracy”). Bolstered by a rhythm section of Baumoel and bassist Andy McGraw, who both know how to lay down some serious groove when needed (“Deserter”) and a dynamic mix, Impermanence shows that those years of honing their style have paid off for Malefic. It’s a good sound!
But what confuses me about Impermanence is that it feels aimless in many places, but not because Malefic can’t edit. To the contrary, every song on Impermanence is tight and focused, only running past five minutes on “It Haunts.”1 Malefic also aren’t indulging in extraneous instrumentals or soloing, as songs like “Of Gods and Man” and “Disembodiment” showcase the band’s restraint within their buck-wild playing. The issue is that Impermanence doesn’t stick with an idea long enough. “Blood of the Throne” and “Obsidian Earth” have, like, five riffs in their first minutes or so each; instead of expounding upon a few ideas, Malefic often churns through ideas before they’ve settled into something sticky. This pattern especially stinks when they land on something great and don’t develop it, like the swinging, discordant riff in the second verse(?) of “Echoes of Silence” or the guitar runs opening “Obsidian Earth.” Impermanence sees a band on a mission, but maybe also a band in too much of a hurry.
What this amounts to is that Impermanence possesses a sound I can’t say I’ve heard before, but also, confusingly, one that’s somewhat indistinct from other extreme metal albums. Malefic’s aforementioned style-soup is so dense with expansive inspirations and somewhat progressive tendencies (“Disembodiment,” “It Haunts”) that, besides some serious Xothisms here and there, it adds up to something not exactly like the sum of all of their influences. But at the same time, Impermanence’s loose structuring and lack of purposeful repetition hampers Malefic’s ability to craft lasting hooks. By and large, most songs start with some fanfare, rage for three-to-four minutes straight while Malefic tear through riffs with reckless abandon like a more evil, more succinct Trivium and end with little resolution. It can be very exciting and enjoyable in the moment, but I’m left with little to remember Impermanence by the time it’s over.
But there is nothing wrong with a tabby cat,2 and there’s nothing wrong with Malefic. They’ve carved out a great sound for themselves that more purposeful songwriting could harness into a truly hog-wild time. But where Impermanence excels in thrills, it lacks staying power, mostly in part to Malefic’s restless pursuit of riffs above all else. Fans of blackened thrash, blackened death, death thrash or bethrashened black death could do a lot worse than giving Impermanence a spin, but it’s probably not the genre-shaking game changer the band wanted. There’s always the sophomore album, however…
Rating: Mixed
DR: 9 | Format Reviewed: 320 kbps MP3
Label: Terminus Hate City
Websites: maleficband.com | malefic.bandcamp.com | facebook.com/MaleficBandATL
Releases Worldwide: February 13th, 2026
The post Malefic – Impermanence Review appeared first on Angry Metal Guy.
Earlier this month, rumors of a potential Ozzfest return swirled online after Sharon Osbourne noted that she’d been talking about the festival’s potential return with promoter Live Nation. Immediately, interest in the iconic traveling North American festival exploded and of course the official social media accounts for the once annual event began teasing a potential return as soon as next year.
Well, during a recent appearance at MIDEM 2026 at the Palais des Festivals in Cannes, France, Sharon Osbourne herself pretty much single-handedly confirmed that Ozzfest is coming back next year.
“ Yes, absolutely. Yeah, we’re gonna do it. Well, the last one we did was 2018. It was just a month before Ozzy got sick, and that was at the Forum in L.A. And there was no plans to stop it. We were still gonna do it, but Ozzy couldn’t. And Ozzy and I would talk about it, and he’d say, ‘Do you think Ozzfest would work without me?’ And I’m, like, ‘Yeah, it’s a brand. It will work without you.’ And he said, ‘We should do it.’”
In the annals of metal history, Ozzfest remains one of the bright spots throughout the 90s and early 2000s. For many bands, that festival was a launchpad to greatness. Slipknot, System Of A Down, and so many other bands of that era can point directly to the Osbournes and their wild traveling festival as the start of so many good things.
As previously reported, it’s been rumored that the return of Ozzfest would bring it back to its traveling roots, effectively dropping the style of the last couple fests that saw the event planted in one location.
The post Sharon Osbourne Confirms Ozzfest is “Absolutely” Coming Back Next Year appeared first on MetalSucks.
King Yosef will be joining the run on the Mainland European stops.
The post Author & Punisher Set For European/UK Tour With King Yosef appeared first on Theprp.com.
Kittie will celebrate three decades of uncompromising metal with the announcement of the “Legacy Of Fire Tour: 30 Years Of Kittie”, a massive 16-date North American headline run launching this June, the band’s first full headline tour in over ten years.
The tour marks a milestone moment for the band, honoring 30 years since Kittie‘s formation in 1996 while riding the momentum of their recent triumphs, including 2024’s critically acclaimed comeback album Fire and 2025’s Spit XXV re-recorded and re-imagined anniversary EP.
Kingdom of Giants and Gore will join as special guests across all dates, creating a powerhouse lineup that spans generations of heavy music. The tour kicks off June 6 in St. Louis and runs through June 27 in Montreal, hitting major markets, including New York, Nashville, Toronto, and more. Pre-sales start Tuesday, March 3, with tickets going on general sale at 10 a.m. local time on Friday, March 6.
Kittie comments: “We’re excited to announce our ‘Legacy Of Fire’ tour on the eve of our 30th anniversary as a band. “Thirty years ago, we ignited a spark. Three decades later, that fire is still burning, stronger and more focused than ever. ‘Legacy Of Fire’ is a celebration of every stage, every struggle, and every fan who carried us forward. Coming back to the U.S. and Canada for our first full headline tour in over a decade feels incredible. We’re ready to honor our history while ushering in the next chapter!”
Get your tickets here.
06/06 – St Louis, MO – The Pageant
06/08 – Denver, CO – Ogden Theatre
06/09 – Salt Lake City, UT – The Depot
06/12 – Anaheim, CA – House of Blues
06/13 – Phoenix, AZ – Nile Theater
06/15 – San Antonio, TX – Aztec Theatre
06/16 – Houston, TX – House of Blues
06/18 – Nashville, TN – Brooklyn Bowl
06/19 – Atlanta, GA – The Masquerade
06/20 – Charlotte, NC – The Fillmore
06/21 – Baltimore, MD – Baltimore Soundstag
06/23 – New York, NY – Irving Plaza
06/24 – Worcester, MA – The Palladium
06/26 – Toronto, ON – Danforth Music Hall
06/27 – Montreal, QC – Théâtre Beanfield
The post KITTIE Announce First Full North American Headline Tour In 10 Years, With KINGDOM OF GIANTS & GORE appeared first on Sonic Perspectives.
Trent Reznor reflects on decades of live connection while leaving the future of Nine Inch Nails shows uncertain.
The post TRENT REZNOR Isn't Sure NINE INCH NAILS Will Tour Anymore After Current Trek appeared first on Metal Injection.
Legendary guitar icons Joe Satriani and Steve Vai return with the SatchVai Band release of their brand-new single, “Dancing,” out now via earMUSIC, alongside a wildly entertaining new video directed by Satriani’s son, ZZ Satriani. Watch the official “Dancing” music video below.
Musically, “Dancing” – a reimagined interpretation of a song by iconic Italian singer, pianist, and songwriter Paolo Conte – showcases the SatchVai Band at full throttle.
A vibrant, melodic conversation between two of rock’s most expressive guitar voices. Built on momentum, melody, and fearless musical chemistry, the track captures the spirit of spontaneity and joy that defined their electrifying European tour.
The video stars actor, comedian, and musician Brendon Small (Metalacolpyse, Dethklok), a longtime friend of both guitarists, who hilariously portrays an overzealous talent manager pushing the duo to cast dancers for the band’s upcoming live show.
The chaos unfolds in sync with the track’s fast-moving melodic interplay between Satriani and Vai — a rapid-fire exchange of soaring guitar lines that mirrors the eccentric parade of auditioning performers. Eagle-eyed fans will also spot a cameo from the band’s powerhouse drummer Kenny Aronoff, adding to the tongue-in-cheek energy.
Satriani shares, “‘Dancing’ really captures the playful side of what Steve, and I discovered on stage together last summer — that push-and-pull of melody and energy. The video gave us a chance to show that spirit in a completely different way. Watching ZZ bring this absurd casting concept to life — and having Brendon step into the madness — made it even more fun.”
Vai adds, “This band thrives on surprise — musically and visually. ‘Dancing’ is a perfect example of that. It’s melodic but relentless, and the video turns that energy into a kind of surreal comedy. It’s a glimpse into the personality of this band before we even hit the stage.”
The release arrives as the SatchVai Band prepares to bring their “Surfing With The Hydra” 2026 U.S. Tour stateside for the first time. Launching April 1st in Seattle and running through May 30th at Wolf Trap, the tour follows a celebrated European run that included stops in London, Paris, Copenhagen, and festival appearances at Hellfest, Umbria Jazz Festival, and Guitares en Scène.
The post JOE SATRIANI & STEVE VAI Release New SATCHVAI BAND Single And Music Video For “Dancing” appeared first on Sonic Perspectives.