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Norwegian symphonic black metal legends Dimmu Borgir have officially announced their long-awaited return to North America. The “Grand Serpent Rising” tour, set for August 2026, marks the band’s first full trek across the continent since 2018. Joining them on this 10-date assault is a heavyweight supporting cast featuring Hypocrisy, Suffocation, and rising black metal force Hulder.

The tour kicks off on August 7 at the Palladium Times Square in New York City and concludes on August 23 at The Novo in Los Angeles. Tickets for the general public go on sale this Friday, April 17, at 10 a.m. local time via all major outlets.

A New Era: ‘Grand Serpent Rising’

The tour serves as the primary support for Dimmu Borgir’s tenth studio album, “Grand Serpent Rising,” which is slated for a May 22 release via Nuclear Blast Records. Recorded in Gothenburg with legendary producer Fredrik Nordström, the album represents a “return to the source” for the band, reuniting them with the man behind landmark releases like Puritanical Euphoric Misanthropia and Death Cult Armageddon.

“This album carries echoes of every chapter of Dimmu Borgir’s legacy,” says frontman Shagrath. “I believe our fans will find something within it that truly resonates.” Guitarist Silenoz adds that the album’s title symbolizes renewal and knowledge, coinciding with the end of the “Year of the Snake” in the lunar calendar.

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TL;DR: Dimmu Borgir North American Tour 2026

• The Lineup: Dimmu Borgir, Hypocrisy, Suffocation, and Hulder.
• The Dates: August 7 (NYC) – August 23 (Los Angeles).
• New Album: Grand Serpent Rising out May 22 via Nuclear Blast.
• Lineup Note: Suffocation will appear on the first two dates; Hypocrisy joins thereafter.
• Tickets: General on-sale Friday, April 17, at 10 a.m. local time.

Fans looking for tickets can go to this location.

Information Gain: The Nordström Reunion and the ‘Damage’ Factor

The most significant piece of “Information Gain” for this cycle is the band’s decision to return to Studio Fredman and producer Fredrik Nordström. After the divisive, highly orchestrated sound of 2018’s Eonian, the band has pivoted back to the “dirt and filth” of their early 2000s heyday. Nordström’s touch is synonymous with the “Gothenburg sound,” and his involvement suggests Grand Serpent Rising will prioritize raw black metal intensity over the choir-heavy arrangements that defined their last decade.

Additionally, this will be the first North American tour to feature new guitarist Kjell Åge “Damage” Karlsen. Karlsen, a longtime collaborator of Shagrath in Chrome Division, stepped in following the departure of Galder in late 2024. While Galder has moved on to reactivate Old Man’s Child, Karlsen brings a grittier, rock-influenced lead style that aligns with the band’s current “back-to-basics” philosophy. For fans who felt the band had become too “theatrical,” this new lineup represents a leaner, meaner version of the Norwegian leviathan.

Check This Out – Unveiling the Morbid Muse: 13 Gruesome Metal Songs About Serial Killers That Define True Crime’s Dark Allure

The ‘In League With Satan’ European Follow-up

The North American dates are merely the opening salvo. In October 2026, Dimmu Borgir will return to Europe for a monumental co-headline tour with Behemoth titled “In League With Satan,” featuring Dark Funeral. By scheduling these North American dates in August, the band is effectively using the US and Canada as the testing ground for their massive new stage production before taking it to the European arenas.

For North American fans, the inclusion of Suffocation on the opening dates provides a technical death metal contrast that is rarely seen on symphonic black metal bills. With Hypocrisy taking over for the bulk of the tour, the trek becomes a masterclass in the Nuclear Blast Records legacy—bringing together three of the most influential acts in the history of extreme music.

The Resurrection of the Norwegian Leviathan

Eight years is a lifetime in the metal scene, but Dimmu Borgir’s return feels perfectly timed. As the “symphonic” trend has somewhat cooled, the band’s pivot toward the aggressive Nordström production of Grand Serpent Rising is a savvy move. This tour isn’t just a routine run of dates; it’s a strategic reclamation of their status as the genre’s definitive kings. For North American fans who have waited nearly a decade, the combination of a raw, “back-to-basics” sonic approach and a high-caliber supporting cast makes this the must-see extreme metal event of the summer.

Tour dates:

Aug. 07 – New York, NY @ Palladium Times Square *
Aug. 08 – Worcester, MA @ The Palladium *
Aug. 10 – Toronto, ON @ History
Aug. 11 – Montreal, QC @ MTELUS
Aug. 13 – Cleveland, OH @ Agora Theater
Aug. 14 – Chicago, IL @ The Vic Theatre
Aug. 15 – Minneapolis, MN @ The Fillmore
Aug. 18 – Denver, CO @ The Mission Ballroom
Aug. 21 – San Francisco, CA @ The Warfield
Aug. 23 – Los Angeles, CA @ The Novo

Witness the rise of the Grand Serpent. Stream the best of Dimmu Borgir and Suffocation 24/7 on Loaded Radio.

The post ‘GRAND SERPENT RISING’: Dimmu Borgir Announces First North American Tour in 8 Years with Massive Support Lineup appeared first on Loaded Radio.

Techdeath fans bemoaned the fifteen-year gap between Cynic’s first two albums almost as restlessly as they’re doing to the third Necrophagist album that may never come. Spiral Architect fans outdo both by a significant margin amid the recent rumblings in their camp after over a quarter-century of inactivity. All pale in comparison to Florida’s Crimson Glory, who this month are set to deliver their first new platter in twenty-seven goddamn years.

This being Crimson Glory, there has been another shakeup in personnel, with on-again, off-again singers Wade Black and Todd LaTorre being replaced by fellow native Houstonian Travis Wills of Infidel Rising. Original drummer Dana Burnell has also dethroned the computer that cosplayed as ex-Savatage drum-killer Steve Wacholz on 1999’s underloved Astronomica. But by far, the most unexpected exit was that of founding guitarist and bandleader Jon Drenning, with whose blessing Crimson Glory soldiered on with new guy Mark Borgmeyer filling those shoes.

Though Drenning has historically shared songwriting duties with his bandmates, especially bassist Jeff Lords, the significance of his departure cannot be understated. While Crimson Glory’s identity was collectively fashioned, Drenning was arguably the glue that adhered it all together. This is much likeMarc “Xenoyr” Campbell bouncing from Ne Obliviscaris, orChris DeGarmo leavingQueensrÿche all those years ago.  And while it took decades for Queensrÿche to find their footing again, and we’ve yet to see how NeO’s output will be affected, we already have the answer for Crimson Glory. Briefly, all is well.

Chasing the Hydra skips the admittedly cool Enya cover that opened its predecessor, opting to get right down to business with an actual drum intro featuring actual drums played by an actual drummer. If Crimson Glory’s use of their classic logo didn’t indicate the direction this, their fifth album, would take, “Redden the Sun” removes all doubt. While the band isn’t merely retreading old ground on this cut, they’re certainly continuing on the path they’d set for themselves on those incredible first two albums of theirs.

They’ve also eschewed the mechanical tones that helped characterize Astronomica – the production on Chasing the Hydra is more in line with the sounds that typified much classic 80s metal, though it decidedly (and thankfully) sounds clearer and more organic, especially as far as drums and guitars are concerned. The riffs, harmonies, and textures sound both clean and human, elements severely underserved on Astronomica, though the guitars on Chasing the Hydra could certainly stand to have been mixed a bit louder.

Wills does us a solid by not hitting those highs of his right off the bat: he introduces himself to Crimson fans with an aggressive mid-range bark that suits this apparent continuation to “War of the Worlds” beautifully, easing us into some stratospheric shrieks that would certainly win the approval of fallen frontman John “Midnight” McDonald. The interlude boasts an uneasy tapping flurry by primary riff-writer and sole member to appear on every Crimson Glory album Lords, which indirectly leads us to Borgmeyer showing us why he selected to join this band. This man shreds with the soul of the undead, his living half putting its all into his soloing, with the other half supplying the rage. “Redden the Sun” concludes with an unexpectedly gentle cadence, perhaps inadvertently summarizing everything that makes Crimson Glory what they are: a force not to be fucked with.

Speaking of Lords, there’s much to be admired about him. Drenning has gone on record to state that Lords creates monstrous riffs as casually as most people fart, and if swimming in the Crimson Glory discography doesn’t convince you that Lords is a titan of his instrument, perhaps you ought to just catch them live. His adherence to the instrument’s traditional role is no reason for him not to go beyond: where lesser bassists are content to just fatten the guitar, Lords drives the damn bus, interjecting his grooves with occasional shreddy flair. He embodies the creativity of Sean Malone, the discipline of Rex Brown, and the fury of Randy Coven, capped with the odd nod to Bootsy Collins.

He doesn’t merely play the bass guitar – the bass guitar has chosen him as a conduit for its many facets of greatness. And perhaps typically for a band with a monster bassist, Lords’ parts on Chasing the Hydra feature a tad too prominently in the mix – I actually had to cut the bass on my car’s EQ down to roughly 20% for things to sound decent, however fine the album sounds in my earbuds. Plus twenty points for sounding more like a band than a studio project, but minus several points for the imbalanced mix.

The album’s title track follows with an intro that will leave fans thinking it might be “Red Sharks 2” right up until Wills spits out some unexpected gnarls, bordering on growls. He’ll then leave listeners wondering if he’s the second coming of Midnight, but lest you suspect that the band is merely recycling their classics, the band employs some frightfully heavy, groove-laden riffs at the interlude before Borgmeyer again dazzles us with fretwork, and Wills goes into some wailing falsettos that sound like him and him alone. Crimson Glory are not cloning themselves on Chasing the Hydra; they’re paying homage to their own pedigree.

“Broken Together” is without question at, or at least near, the forefront of this offering decades in the making, and happens to be the first song on this album that doesn’t take direct inspiration from a previous Crimson banger. It is, however, the closest the album comes to sounding like the band’s younger self. Structurally, stylistically, and in delivery, this song could have been on Transcendence, and no one’s gonna convince me that this is a bad thing.

The acoustic intro to “Angel in My Nightmare” also recalls a handful of Crimson classics, most notably “Azrael,” but a minute in we find this song doing its own thing, building up to one of the greatest crescendos on the entire record, with Borgmeyer and Ben Jackson expertly teasing us as they slide their way up their necks and breaking into quick bursts of harmonic tension. The motif that drives this song is also the stuff of legend, and the boys know better than to beat us to death with it. Mark these both as instant classics.

It must be noted that the band has chosen, or at least approved, the use of a handful of cinematic tropes that add nothing to this fantastic platter of new tunes. “Indelible Ashes” opens with the sound of wind, some unspecified Middle Eastern wind instrument, and a gong hit before starting in earnest. A banger of a tune on its own merits, and holy shit does that chorus just slay, the prominent use of raised sevenths foretold in that intro really needs no augmentation.

The following cut, “Beyond the Unknown,” employs an even more obnoxious trope – that dreaded fiend sound designers call the “booj” that’s been heard in so many film trailers that even I, someone who rarely watches movies, am sick of it. “Pearls of Dust” pulls a similar prank, kicking off with some bizarrely unidentifiable clashes that film illiterates like myself are unable to identify or disregard. I question the use of these tropes because they’re external elements that do exactly zero to move the song or the listener; they’re just kind of there, ready to be either ignored or reviled, and I’m grateful that they’re just brief enough not to interfere with the strength of the songs themselves.

“Armor Against Fate” is an eerie, epic crusher that begins mighty thrashily, boasts some wicked guitar melodies, and brings an insecure sense of optimism at the refrains only to kick us down that hellpit it threatened us with when it greeted us, while the aforementioned “Pearls of Dust” might be the heaviest thing Crimson’s ever done. The album concludes with lead single “Triskaideka.” Originally released a good two years ago, this cut opens with another unfortunate sound effect before redeeming itself with the precision and panache that Crimson Glory made their hallmark back before I could even speak English. Certainly a wise choice to tease the band’s return, “Triskaideka” has it all – melody, wrath, grace, and clarity of purpose.

Perhaps the most daunting aspect of a return so many years in development is the fear that the band may not live up to the expectations it’s set for itself. Chasing the Hydra has Crimson Glory facing this for the second time in their career, and once again, they’ve come out on top, this time with the knowledge that they won’t antagonize the Midnight purists of yore like they did last time. Chasing the Hydra does not chase its own shadow – it embraces that shadow to forge a mightier beast.

Release Date: April 17th, 2026
Record Label: Bravewords Records / No Remorse Records
Genre: Heavy Metal

Musicians:

• Travis Wills / Vocals
• Dana Burnell / Drums
• Jeff Lords / Bass
• Ben Jackson / Guitars
• Mark Borgmeyer  / Guitars
• Jon Pyres / Keys

Chasing The Hydra Tracklist:

1. Redden the Sun
2. Chasing the Hydra
3. Broken Together
4. Angel in My Nightmare
5. Indelible Ashes
6. Beyond the Unknown
7. Armor Against Fate
8. Pearls of Dust
9. Triskaideka

Order the album here.

The post CRIMSON GLORY – Chasing The Hydra (Album Review) appeared first on Sonic Perspectives.

Forged in the fury of battles and the echoes of Norse legends, France’s HROTHGAR unleashes “Tales of Valhöll” a melodic death metal album that is both epic and devastating. Between brutal riffs, soaring melodies and relentless rhythms, the band builds a world where bravery, chaos and fate collide. With this release, HROTHGAR asserts its power: a visceral sound driven […]

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Nearly two and a half years after being “blindsided” by his dismissal from Slipknot, drummer Jay Weinberg is finally pulling back the mask on the internal dysfunction that led to his exit. In a career-spanning interview with Rolling Stone, Weinberg describes a year of “preexisting tensions” and a “dark environment” that left him with more questions than answers after a decade of service.

The split, which occurred just 48 hours after Weinberg’s final show at Mexico’s Hell & Heaven festival in November 2023, was delivered via a cold phone call from the band’s management. According to Weinberg, the reasoning provided was a generic “creative decision”—a label that the drummer says “remains confusing” even as he enters a new phase of his career in 2026.

The Hip Surgery Dilemma: Health vs. The Machine

One of the most staggering revelations from the interview involves a medical situation that predated his firing by years. Weinberg revealed that as early as 2018, he informed the band’s management of a labrum tear in his hip that required corrective surgery.

Despite medical advice to undergo the procedure while he was young to ensure a swifter recovery, Weinberg claims he was “asked not to have that corrective surgery” because the band had a record to make and tour cycles to fulfill.

“I had been conditioned over years with the ever-present threat of, ‘You’re always fireable, you’re always replaceable,’” Weinberg admitted. “With that being reinforced in the environment, it’s difficult to then make decisions based on health because you don’t want to disturb the peace.”

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TL;DR: The Jay Weinberg Retrospective

• The Firing: Occurred on Nov. 5, 2023, via a phone call from a manager, not band members.
• The “Scapegoat” Theory: Weinberg believes he was caught in the “crossfire” of 25-year-old tensions between original members.
• The Health Crisis: Reveals he was discouraged from having necessary hip surgery to keep the touring machine running.
• The Statement Drama: Claims management released their own statement just 20 minutes after telling him to “take the day” to process a joint announcement.
• Current Status: Recently departed Suicidal Tendencies to focus on fatherhood and unannounced creative projects.

Information Gain: Navigating the ‘Hired Gun’ Paradox

The Weinberg story serves as a cautionary tale regarding the “hired gun” status in legendary bands. Despite being a member for ten years and playing on three Billboard-topping albums (.5: The Gray Chapter, We Are Not Your Kind, and The End, So Far), Weinberg highlights a persistent ambiguity regarding his status within the “Nine.”

In the 2026 landscape of legacy metal, this “Newcomer vs. Founder” dynamic is becoming increasingly volatile. By Weinberg’s own admission, he was trying to navigate a minefield where “one guy wants things done one way, another guy wants another,” amplified by the personalities of eight other people.

This internal friction likely paved the way for the arrival of Eloy Casagrande in 2024. While Casagrande has been hailed as a technical powerhouse—recently winning “Best Metal Drummer” in various 2025 reader polls—the Weinberg interview suggests that the chair Casagrande occupies remains one of the most stressful positions in the genre. For Weinberg, being the “scapegoat” for 25-year-old grievances was the price of entry into a band that, while successful, remains a “volatile and dark environment.”

Check This Out – Slipknot Albums Ranked: Every Masked Masterpiece From Worst to Best

A New Family Chapter in 2026

Since leaving Slipknot, Weinberg has remained prolific, briefly joining Infectious Grooves and Suicidal Tendencies. However, the “Titan” update here is Weinberg’s recent announcement in early 2026 that he is stepping back from Suicidal Tendencies to prepare for his most significant role yet: becoming a first-time father.

Weinberg noted that the guys in Suicidal Tendencies “picked up a friend when he was down,” providing a culture of respect that he felt was lacking during his final days in Slipknot. As he builds an at-home creative space for his upcoming “passion projects,” the drummer seems to have finally found the “perfect peace” that eluded him behind the Slipknot kit.

We Also Recommend – Slipknot Members 2026: Current Lineup And Who’s In The Band Now

The Monday Morning Verdict

Jay Weinberg’s firing wasn’t just a lineup change; it was a symptom of a band grappling with its own aging legacy. By exposing the “fireable and replaceable” conditioning within the Slipknot camp, Weinberg has humanized the mask, reminding fans that behind the pyro and the overalls is a corporate-heavy hierarchy that often prioritizes the “Dream” over the drummer. As Eloy Casagrande carries the torch into Slipknot’s 2026 tour cycle, Weinberg’s words will undoubtedly haunt the fans who still wonder why the “creative decision” felt so much like a betrayal.

Want to revisit the Weinberg era of Slipknot? Stream the full catalog 24/7 on Loaded Radio.

The post ‘I WAS A SCAPEGOAT’: Jay Weinberg Exposes the ‘Extraordinarily Tense’ Reality of His Slipknot Firing appeared first on Loaded Radio.

UK rock band Creeper are about to tour Europe and UK very soon. They’re embarking on the Sangui-Tour 2026, with support from The Howling. Confirmed shows:

• Monday, April 13, 2026 – Oxford, United Kingdom – O2 Academy Oxford
• Tuesday, April 14, 2026 – Cardiff, United Kingdom – Tramshed
• Thursday, April 16, 2026 – Cambridge, United Kingdom – Junction
• Friday, April 17, 2026 – Milton Keynes, United Kingdom – The Craufurd Arms
• Saturday, April 18, 2026 – Birmingham, United Kingdom – O2 Institute Birmingham
• Sunday, April 19, 2026 – Nottingham, United Kingdom – Rescue Rooms
• Monday, April 20, 2026 – Hull, United Kingdom – The Welly
• Wednesday, April 22, 2026 – Leeds, United Kingdom – Brudenell Social Club
• Thursday, April 23, 2026 – Manchester, United Kingdom – Academy 2
• Friday, April 24, 2026 – Liverpool, United Kingdom – O2 Academy Liverpool
• Saturday, April 25, 2026 – Blackpool, United Kingdom – Waterloo Music Bar
• Sunday, April 26, 2026 – Carlisle, United Kingdom – The Brickyard
• Monday, April 27, 2026 – Glasgow, United Kingdom – The Garage
• Wednesday, April 29, 2026 – Belfast, United Kingdom – Limelight
• Thursday, April 30, 2026 – Dublin, Ireland – The Academy
• Saturday, May 2, 2026 – London, United Kingdom – Electric Ballroom
• Monday, May 4, 2026 – Paris, France – Trabendo
• Tuesday, May 5, 2026 – Solothurn, Switzerland – Kulturfabrik Kofmehl
• Wednesday, May 6, 2026 – Milan, Italy – Q‑Hub
• Friday, May 8, 2026 – Vienna, Austria – Szene
• Saturday, May 9, 2026 – Warszawa, Poland – Klub Hydrozagadka
• Sunday, May 10, 2026 – Prague, Czechia – Bike Jesus
• Tuesday, May 12, 2026 – Dresden, Germany – Club Puschkin
• Wednesday, May 13, 2026 – Hannover, Germany – Mephisto
• Thursday, May 14, 2026 – Eindhoven, Netherlands – Dynamo
• Friday, May 15, 2026 – Antwerp, Belgium – Trix
• Friday, June 12, 2026 – Castle Donington, United Kingdom – Download Festival 2026

Get your tickets by clicking here.

After this, the band will also tour across the pond.

• Wednesday, October 21, 2026 – Buffalo, NY, USA
• Thursday, October 22, 2026 – Boston, MA, USA
• Friday, October 23, 2026 – Portland, ME, USA
• Saturday, October 24, 2026 – New York, NY, USA
• Sunday, October 25, 2026 – Sayreville, NJ, USA
• Tuesday, October 27, 2026 – Philadelphia, PA, USA
• Friday, October 30, 2026 – Virginia Beach, VA, USA
• Saturday, October 31, 2026 – Charlotte, NC, USA – The Underground
• Sunday, November 1, 2026 – Charleston, SC, USA
• Tuesday, November 3, 2026 – Asheville, NC, USA
• Wednesday, November 4, 2026 – Louisville, KY, USA
• Thursday, November 5, 2026 – Nashville, TN, USA
• Friday, November 6, 2026 – Atlanta, GA, USA
• Saturday, November 7, 2026 – Birmingham, AL, USA
• Sunday, November 8, 2026 – New Orleans, LA, USA
• Tuesday, November 10, 2026 – Pensacola, FL, USA
• Thursday, November 12, 2026 – St. Petersburg, FL, USA
• Friday, November 13, 2026 – Fort Lauderdale, FL, USA
• Tuesday, November 17, 2026 – Indianapolis, IN, USA
• Friday, November 20, 2026 – Fort Wayne, IN, USA
• Saturday, November 21, 2026 – Grand Rapids, MI, USA
• Sunday, November 22, 2026 – Detroit, MI, USA
• Monday, November 23, 2026 – Kansas City, MO, USA
• Tuesday, November 24, 2026 – Tulsa, OK, USA
• Wednesday, November 25, 2026 – St. Louis, MO, USA

The post NEWS: Creeper’s The Sangui-Tour hits Europe next month first appeared on FemMetal – Goddesses of Metal.

The UK musician Labrinth was responsible for the sleek, moody music in the first two seasons of HBO’s ultra-tawdry series Euphoria. Now, Euphoria is back for its long-awaited third season, and Labrinth isn’t part of it. Yesterday, Labrinth released a pissed-off single, and the timing is auspicious. Back in 2025, Labrinth announced that he was…

The post Labrinth Drops “SHUT YOUR DAMN 95.7892” During <em>Euphoria</em> Premiere appeared first on Stereogum.

FOR IMMEDIATE RELEASE
Nocturnal Ceremony Gains Major Shout-out on BangerTV’s “Nukem” Album Reviews
Independent modern death metal force Nocturnal Ceremony continues building serious momentum as they receive a high-profile shoutout from Chris Soutsos (Chris Thrash) on BangerTV ’s “Nukem The Grave Remains” album reviews segment.
The recognition places the band squarely in front of a global metal audience, further cementing their return as a rising force in the extreme metal underground. Known for spotlighting some of the heaviest and most noteworthy releases in the scene, BangerTV’s shout-out highlights the growing impact of Nocturnal Ceremony’s debut album Obsidian!
Following a wave of international praise from outlets like Heavy Metal Philosophy and Deadly Storm Zine , the band’s momentum shows no signs of slowing down. Their blend of haunting atmosphere, crushing riffs, and blackened death metal intensity continues to resonate with fans worldwide.
Originally formed in the early 1990s, Nocturnal Ceremony’s long-awaited return has proven that time has only sharpened their sound. With Obsidian , produced and engineered by Thomas Madsen, the band delivers a powerful and immersive sonic experience rooted in darkness, emotion, and raw aggression.
For fans of Behemoth , Bloodbath , and Igorrr , Nocturnal Ceremony is quickly becoming essential listening.
With major platforms now taking notice, this is only the beginning of what’s shaping up to be a massive chapter for the band.
Check out the feature here: 


Check out the bands latest video here: 

 Stream the album and add to your playlists:
https://hypeddit.com/nocturnalceremony/obsidian
Independent, relentless, and unapologetically heavy, Nocturnal Ceremony proves that true darkness never dies, and Obsidian —with the video for “Seasons of Hate”—is solidifying its place as one of 2026’s most talked-about underground metal releases.
For interviews, review copies, or additional assets: zach@metaldevastationradio.com

 Connect: 
https://linktr.ee/nocturnalceremony
Contact: mail@nocturnal-ceremony.com

(written by Islander) We’re at the start of a new week here at NCS and it’s usually a good idea to get a running start unless you’re running into a throng of heavy traffic, so let’s rush right into the Voroth song we’re about to premiere and fill in the details once we’re on the […]

The post AN NCS PREMIERE: VOROTH — “REMNANTS OF A FORMER FORM” appeared first on NO CLEAN SINGING.

Shows begin a couple of weeks before the band releases its first album in six years. Continue reading…

In a move that has sent shockwaves through the global heavy music community, Bring Me The Horizon has officially announced a full-scale re-recording of their seminal 2006 debut album, Count Your Blessings. Titled “Count Your Blessings | Repented,” the project is being described by frontman Oli Sykes as a “reactivation” of the record that launched the deathcore explosion two decades ago.

Set for release on July 10, 2026, the album features a complete sonic overhaul handled by Sykes and guitarist Lee Malia in collaboration with acclaimed producer/mixer Buster Odeholm. The goal? To take the raw, chaotic energy of their teenage years and sharpen it with the world-class production standards of 2026.

A One-Night-Only Ritual at Outbreak Festival

To celebrate the release, BMTH will perform Count Your Blessings in its entirety for the first time in over a decade. The performance will take place on July 10 at the B.E.C. Arena in Manchester, UK, as a special curated event for Outbreak Festival.

The lineup for the “Repented” showcase is a “who’s who” of modern heavy music, featuring Static Dress, Rolo Tomassi, Dying Wish, Heriot, Car Underwater, and the hardcore supergroup Still In Love. Organizers are calling it “the most requested and mythologized single show of the last decade,” aimed at bridging the gap between original 2006 fans and the new generation discovered during the Post Human era.

We Also Recommend – Every Bring Me The Horizon Album Ranked—And Why Fans Still Can’t Agree On The Best One

TL;DR: BMTH ‘Count Your Blessings’ Reactivation

• Release Date: July 10, 2026.
• The New Title: Count Your Blessings | Repented.
• The Twist: A full re-recording with Buster Odeholm; features the song “Liquor & Lost Love” under its original title, “Dragon Slaying.”
• Live Event: Manchester B.E.C. Arena (Outbreak Presents) on July 10.
• Tickets: Pre-sale starts today (April 13) for album pre-orders; General on-sale April 17.

Fans looking to catch Bring Me The Horizon live in 2026 can click here.

Information Gain: The Buster Odeholm Factor and the Deathcore Renaissance

The decision to bring in Buster Odeholm is the most significant detail for gearheads and production nerds. Odeholm is a pioneer of “Thall”—a subgenre characterized by bone-crushing low-end and surgical precision. By pairing his mixing style with BMTH’s foundational deathcore tracks like “Pray For Plagues,” the band is effectively “modernizing” a genre they helped invent.

In 2026, the deathcore landscape has shifted toward “high-fidelity violence.” With bands like Lorna Shore and Slaughter to Prevail pushing the boundaries of what a mix can handle, the original 2006 Count Your Blessings production—often criticized for its “thin” and “tinny” drum sound—needed a massive structural update. Odeholm’s involvement suggests a shift toward the “wall of sound” approach, utilizing modern sub-bass technology and digital clarity that simply didn’t exist when a teenage Oli Sykes was screaming into a budget microphone in Sheffield.

Furthermore, this “reactivation” allows the band to address the evolution of Sykes’ vocals. Having spent years rehashing his technique to save his voice, “Repented” provides an opportunity to showcase how a mature, arena-ready vocalist handles the gutturals of his youth. This isn’t just a trip down memory lane; it’s a professional reclamation of a legacy that many critics originally dismissed as a “flash in the pan.”

Check This Out – Deathcore Bands Ranked: The Top 13 That Still Define Heavy Music Right Now

From São Paulo to Manchester: A Global Dominance

The announcement comes on the heels of the band’s record-breaking “L.I.V.E. In São Paulo” concert film, which documented their massive 2024 stadium show in Brazil. While that film showcased the band as a polished, electronic-rock juggernaut, Repented serves as a stark reminder of the Sheffield quintet’s aggressive origins.

For fans, the return of the working title “Dragon Slaying” (for the track “Liquor & Lost Love”) is a nod to the deep lore of the band’s early days. This isn’t just a cash grab; it’s an archival project designed to give the album the “sharper, heavier” finish that 2006 technology simply couldn’t provide. By co-curating the Outbreak show with underground tastemakers, BMTH is ensuring that their 20th anniversary feels like a “defining moment for a generation” rather than a standard nostalgia tour.

The Monday Morning Verdict

Bring Me The Horizon has spent the last decade running away from their past, evolving into a genre-bending pop-metal force. Count Your Blessings | Repented feels like a victorious lap back to where it all began. By choosing Manchester’s Outbreak Festival—a bastion of underground hardcore—rather than a standard arena tour, they are signaling that this “reactivation” is for the culture, not just the charts. In the 2026 landscape of heavy music, authenticity is the highest currency, and BMTH just bought the bank.

Get ready for the heaviest release of the summer. Stream the best of BMTH and the new wave of deathcore 24/7 on Loaded Radio.

The post ‘PRAY FOR PLAGUES’ REBORN: Bring Me The Horizon Announces 20th Anniversary Re-Recording of ‘Count Your Blessings’ appeared first on Loaded Radio.