Nine Inch Nails and Boys Noize put together one of the clear highlights of the first weekend of Coachella with their collaborative performance of classics.
Photo by Jenn Five
Trent Reznor and Atticus Ross have joined forces with Alex Ridha not just for this display but on an upcoming release titled ‘Halo 38’, which will drop on April 17. You can pre-save that here.
But at Coachella, the collaboration took on a whole new level of intensity and intricacy, with a stage show and sound to rival the biggest and best. From the eerie zombies at the back to Trent’s wife, Mariqueen Maandig, providing hauntingly beautiful backing vocals, it was a pitch-perfect and powerful display of atmospheric songwriting and world-building.
Just take one look at this version of ‘Heresy’, which originally appeared on the band’s 1994 classic ‘The Downward Spiral’. Abrasive, contorting and brilliantly enthralling, it’s a prime example of what happens when you dare to push your art even further into the unknown.
Rio de Janeiro (BR) – Progressive Post-Metal outfit, Loneshore, have joined the Willowtip roster and will release their second full-length album, Nothing Left to Deconstruct, on June 19.
Following the well received 2018 debut album, From Presence to Silence, the new record for Willowtip retains the core elements of memorable melodies, unconventional song structures and post-metal atmospheric soundscapes, yet pushes the songwriting and arrangements to a whole new level.
Bruno Farinazzo (Guitars) Luan Moura (Bass) Luiz Felipe Netto (Vocals, Guitars, Keyboards) Pedro Mercier (Drums) Renan Rubim (Guitars, Keyboards)
Credits:
Music by Loneshore. Lyrics by Luiz Felipe Netto.
Produced, Recorded and Mixed by Luiz Felipe Netto. Mastered by Magnus Lindberg. Additional Guitar Engineering by Zach Wish. Artwork by David Preissel. Band Photos by Vitor Coutinho. 35mm film Developing/Scanning by Pedro Barone (Gelatina Lab/RJ). Layout by Moornebheym.
Legendary singer, songwriter Taj Mahal has announced the release of new breezy swinging single ‘Wild About My Lovin’’, which will feature on forthcoming new album ‘Time‘, released on May 1st via Resonatin’ Records/Thirty Tigers. A deeply soulful and expansive collection and a masterclass in soul, roots, folk, reggae and blues from one of the cornerstone […]
Souls Of Diotima are pleased to announce that their next full-length instalment, Arcade, is set for worldwide release on October 2nd 2026 via Diotima Records. The album was entirely produced at the Studio Bohus in Kungälv (Sweden) Oscar Nilsson, Thomas “Plec” Johansson, and Mikko Viitala. Read more…
It’s been some time since Splendidula has visited these pages. The fearsome Carcharodon reviewed their sophomore record, Post Mortem, as a wee n00b long ago in 2018, wherein he saw glimmers of potential in the gothic doom metal. He didn’t cover 2021’s Somnus for unknown reasons, though I think he might have been pleased with the heavier post-metal inclinations that permeated the record. The years since then have been rough for this Belgian group, marred by the passing of several loved ones, including their bassist Peter Chromiak. Absentia emerges in the wake of these tragedies as a means to both express and confront this debilitating heartache and loss.
Chromiak’s absence is felt in the very essence of Absentia. Although drummer Joachim Taminau took up the bassist role, the burly bass presence from the prior two records is all but gone. Splendidula kept much of their gothic doom but, fittingly, chose to fill the void with another of metal’s most expressive subgenres—DSBM. Whereas Kristien Cools previously stuck to clean vocals (for the most part), she now becomes both beauty and beast, dividing her time between sorrowful singing and shrieking. She also leans on a couple of notable guest vocalists. Tim Yatras (Austere) adds blackened snarls and backing cleans to “Absentia,” followed by Aaron Stainthorpe (ex-My Dying Bride, High Parasite), who contributes his rumbling growls and velvety baritone to “Echoes of Quiet Remain.” These guest selections neatly encapsulate the two different aspects of Absentia.
While much music (and art in general) is born from a place of grief, Absentia is practically synonymous with it. Underneath the stoic exterior lurks a raw torment that flares up whenever and however it wants. For example, “Donkerte” begins with despondent singing, but as the verse progresses, Cools’s voice escalates until finally a primal scream spills out. Later, the double-tracked cleans and screams give the impression of one putting on a brave face as anguish roils inside. When her voice dips into the lower ranges (particularly in “Absentia” and “Let It Come to an End”), it takes on a sort of nasally drawl which augments the mournful atmosphere, though this likely won’t appeal to everyone. Also like grief, sections of certain songs tend to linger for longer than one might like (“Echoes of Quiet Remain,” “Kilte,” “Absentia”).
Absentia musically conveys the importance of a healthy support system during times of grief. Though much hinges on Cools’s vocal performances, the other two members of Splendidula help to sustain her in subtle but important ways. During “Dalkuldar,” a forlorn respite from the turmoil, the snare rhythms and bass drum beats are akin to a bolstering drumline. The tempestuous percussion also heightens the sense of desperation in “Kilte.” Closing track “Let It Come to an End” flips the script, letting Cools take a backseat and bringing guitarist Guy Van Campenhout’s growls to the forefront, perhaps emblematic of leaning on loved ones during times of crisis.
In terms of emotional devastation, Absentia is as potent a record as you’re likely to find. Kristien Cools keeps improving with each release, and the compositions complement her increasingly diverse vocal styles well. The deeply personal nature of Splendidula’s work of art is both strength and weakness. The intense and authentic expression of grief is harrowingly beautiful, but in a way that seems impossible for an outsider to fully appreciate. Like attending a funeral for someone you didn’t know, it’s easy to empathize with those in mourning but difficult to feel the same deep personal connection. That said, the next time grief comes for me personally, I may be very grateful that I became acquainted with Absentia.
False Reality are quickly becoming one of the most exciting names in the UK hardcore scene. With their latest album, Faded Intentions, released in November 2025 and the Faded Intentions Tour starting on 1 April 2026, they show no signs of slowing down. Tonight, they were joined by Overpower and Regress Downstairs At The Dome.
Regress – Downstairs At The Dome, London – 9 April 2026. Photo: Carol Giannattasio/MetalTalk
Regress
Regress represent one of the most real voices of underground Hardcore. Their sound is direct, aggressive and without compromise. They open with Until The End and continue with Reaper’s Grip.
These are short songs, but they had a strong impact on the crowd, which gave their all from the very start, with constant two-step and wild moshing.
Regress – Downstairs At The Dome, London – 9 April 2026. Photo: Carol Giannattasio/MetalTalk
Regress are not focused on perfect performance on stage. Instead, they bring raw Reality. Forget technical perfection, here it is all about pure, constant energy.
Regress – Downstairs At The Dome, London – 9 April 2026. Photo: Carol Giannattasio/MetalTalk
Songs like Too Young, Too Soon and No Trends closed a fast setlist. By bringing their fresh EP, released on 10 January, to the stage, Regress showed they have the right spirit and energy for a true underground hardcore band.
Overpower
Overpower are a modern Hardcore/crossover band that focus on a direct and aggressive sound.
Overpower – Downstairs At The Dome, London – 9 April 2026. Photo: Carol Giannattasio/MetalTalk
Songs like Shatter, Terra Firma, and They Came From Beyond were just some of the tracks that fired up the crowd at Downstairs At The Dome, making everyone take over the pit with heavy breakdowns.
Their songs are short, energetic and built to hit hard. There is no focus on complexity, but instead on a direct and physical style, made for moshing and immediate impact.
Overpower – Downstairs At The Dome, London – 9 April 2026. Photo: Carol Giannattasio/MetalTalk
In short, Overpower represent modern Hardcore in a very clear way. Simple, powerful and made for the stage.
False Reality
If anything, False Reality look hungrier than ever. Downstairs At The Dome was fairly full, and their sound built on a clear formula of tight riffs, broken rhythms and constant tension ready to explode, filled every bit of space in the room.
False Reality – Downstairs At The Dome, London – 9 April 2026. Photo: Carol Giannattasio/MetalTalk
Songs like Cranium and Out Of Time were just a taste of what False Reality can do live. Rigs especially exceeded expectations, showing real strength and presence on stage that felt inspiring to watch.
Other tracks like Worth It, Mirror and Sonder pushed the crowd into full energy mode in the pit.
False Reality – Downstairs At The Dome, London – 9 April 2026. Photo: Carol Giannattasio/MetalTalk
The real strength of False Reality is the intensity of their songs, each track feels built to hit hard and leave a mark.
Reality Slips, in particular, kicked off a wild pit that made the atmosphere feel almost out of control.
False Reality – Downstairs At The Dome, London – 9 April 2026. Photo: Carol Giannattasio/MetalTalk
False Reality definitely left their mark. They do not aim for complexity, but for impact. They are a tight and confident band, comfortable on smaller stages but clearly ready for bigger ones.
They closed the night with Snake Eyes, then spent time at the merch stand with fans, showing they are, right now, one of the strongest bands in the UK Hardcore scene.
False Reality – Downstairs At The Dome, London – 9 April 2026. Photo: Carol Giannattasio/MetalTalkFalse Reality – Downstairs At The Dome, London – 9 April 2026. Photo: Carol Giannattasio/MetalTalkFalse Reality – Downstairs At The Dome, London – 9 April 2026. Photo: Carol Giannattasio/MetalTalkOverpower – Downstairs At The Dome, London – 9 April 2026. Photo: Carol Giannattasio/MetalTalkOverpower – Downstairs At The Dome, London – 9 April 2026. Photo: Carol Giannattasio/MetalTalkOverpower – Downstairs At The Dome, London – 9 April 2026. Photo: Carol Giannattasio/MetalTalkOverpower – Downstairs At The Dome, London – 9 April 2026. Photo: Carol Giannattasio/MetalTalkThe post False Reality Ignite The Dome: A Relentless Night of Hardcore with Overpower & Regress first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.
Black Veil Brides have revealed the details of a “one of a kind fan interactive experience and performance”, taking place whilst in the UK for Download Festival.
The band are heading at warp speed towards the release of their new album ‘Vindicate’, which is set to drop on May 08 via Spinefarm Records.
And they are clearly looking to bring the drama and decadence of the record to life in a big way via these three shows, all in incredibly intimate venues for a band of their size.
Here are the dates for ‘The Un-Veiling’:
14 – BRIGHTON Concorde 2 16 – LIVERPOOL Arts Club 17 – LONDON The Dome
You can pick up tickets and find out more from right here.
It’s been some time since Splendidula has visited these pages. The fearsome 
