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Everyone’s favorite drug-critical band Narcotic Wasteland are back with “Fentanyl Zombie Apocalypse.”

​”I am very excited to release our new song, ‘Fentanyl Zombie Apocalypse,’ says Dallas Toler-Wade. “The song is, of course, about the fentanyl epidemic and the overall impact it has on an already failing country. Musically, it really captures the mood of this very well. Fast and tricky, yet twisted and catchy! Kenji really brought some great bass and keys to the table. And Austin needs a drum set that won’t collapse under pressure! I am super proud of the work we have done together, and I cannot wait to show the world what we have been working on behind the scenes.”​

“This song is about the growing fentanyl epidemic, now deemed by the media the ‘Zombie Drug.’ We wanted to give the video a gritty look while keeping it somewhat light-hearted. The important thing is the message—to spread awareness and educate people about this horrible drug that is ruining people’s lives and killing them very quickly.”

Narcotic Wasteland are currently on tour. Check out the dates below.

ATHEIST, CANCER, NARCOTIC WASTELAND​
Nov. 21 – Drachten, Netherlands – Iduna
Nov. 22 – Dordrecht, Netherlands – Bibelot
Nov. 23 – Kortrijk, Belgium – DVG
Nov. 24 – Berlin, Germany – Music Brewery
Nov. 25 – Copenhagen, Denmark – Pumpehuset
Nov. 28 – Kosice, Slovakia – Colosseum
Nov. 29 – Ostrava, Czech Republic – Barrak
Dec. 1 – Zurich, Switzerland – Dynamo
​
​EU Shows – Narcotic Wasteland​
Dec. 2 – Belvaux, Luxembourg – MK Bar
Dec. 3 – Paris, France – Sanit Mils
Dec. 8 – Bridgwater, Somerset, UK
​
​USA Dates: Narcotic Wasteland w/ FILTH
​Dec. 11 – Portage, IN – Shenanigans Live
Dec. 12 – Battle Creek, MI – Dark Christmas
Dec. 14 – Milwaukee, WI – X-Ray Arcade
Dec. 15 – Louisville, KY – Mag Bar
Dec. 16 – Greenville, SC – Radio Room
Dec. 18 – Dayton, OH – Gem
Dec. 19 – Akron, OH – Afterlife
Dec. 20 – Albany, NY – Empire Underground

​Follow the band here.

The post Video Premiere: Narcotic Wasteland – Fentanyl Zombie Apocalypse appeared first on Decibel Magazine.

As keeper of The Alan Parsons Project archive, Eric Woolfson’s daughter Sally has a treasure trove of audio-visual gems still waiting to be shared with fans. She tells Prog about the challenges of keeping her late father’s creative endeavours out there.

Sally Woolfson was around three years old when her dad Eric Woolfson co-founded The Alan Parsons Project. The duo achieved more than 50 million sales from 10 albums between 1976 and 1987, delivering genius-level music mainly created by Woolfson and produced by Parsons.

Sally – whose voice is heard on the track Chinese Whispers from 1985’s Stereotomy – was once at odds with her dad’s lifestyle, but became his full-time assistant in 2002, and after that became his manager as they laid plans for his posthumous catalogue. He passed away in 2009 and, by that time, her view of the Woolfson legacy had changed.

“When I was younger, his work took him away from me,” she says. “He’d be in the studio ’til 3am then lying in ’til noon the next day, then he’d be on PR tours for weeks on end. His work was my rival, in a way, but when we worked together I was with him every single day, and it became my obsession too!”

It may be her job, but she speaks with brightness and passion of the role she regards as a privilege. She has her work cut out for her: since Woolfson was notably fame-averse, many people today don’t realise how much of APP’s output came from him. “Dad loved working with talented people and, of course, he was very talented too,” she says.

“It was about bringing the right people together for a project to get the best out of it. But he was terrified of fame. He’d seen negative aspects. It was his decision to name the band after Alan; Alan was more marketable, more sexy in a way. But Dad often said it was both the best and the worst decision he ever made. Towards the end of his life, especially working on solo projects, it was frustrating. I still find it frustrating!”

Since Eric’s death, Sally has devoted much of her time to cataloguing his extensive vault. He left not one but two houses full of memorabilia related to his output – and even 17 years on, she hasn’t finished going through it all.

“Dad was a real hoarder and he had a lot of space in those houses, and you know what it’s like: when you’ve got a lot of space, you fill it! When he died I went through everything, and it took me many years.” As a result she has 11 boxes of curated documents, one for each reissue so far, containing photos, clothes, notes, contracts and everything else one could imagine.

“That’s just the physical material – there’s audio material, too,” she notes. “We had 1,000 master tapes and we baked and digitised them all, so I have hundreds and hundreds of hours of audio. Every time we have a new album or box set or whatever it is, I go through the recordings and sort of audition everything, giving everything marks out of 10. It’s quite a process!”

Post-APP, Woolfson sometimes discovered incomplete pieces that he’d entirely forgotten about. Sally recalls: “Sometimes he’d write something and present to Alan, who’d sometimes go, ‘Oh, no, no’ – including Eye In The Sky, one of their biggest hits [it made No.3 in the US]; Alan had said, ‘I don’t like that one!’ but Dad pushed it through.

“We put together this album called The Alan Parsons Project That Never Was [2009], made up of songs Dad had picked out and had said, ‘This is really good; I should finish it.’ We found one called No Answers Only Questions [a bonus track on the 2007 reissue of Vulture Culture], which is a beautiful track, and the lyrics are so poignant.”

Woolfson’s vault includes a stack of songs with finished music but no lyrics, which Sally describes as “tantalising.” In the modern era an obvious question is: could they be completed? “I couldn’t write for those songs, but my sister writes lyrics,” she says cautiously. “I do ponder… it might be a terrible thing to say, but since he’s not here, could we use AI to put lyrics to some of his music? It’d be the closest thing: new lyrics generated from his own lyrics. It’s a continuous ponder!”

I hear his voice every day, one way or another. And I do feel that he’s very much alive

AI could go even further: Woolfson-sourced lyrics with vocals too. “It’s amazing, it’s terrifying, it’s confusing, it’s exciting, isn’t it?” she reflects. “But Dad was always about pioneering new technology. When a new format like CD came out, they used the Project to demonstrate its capabilities. We’ll see…”

The latest vault production is the official The Alan Parsons Project Book containing memorabilia from the band’s career and words by Prog scribe Joel McIver. There are more on the way (no details yet) and Sally remains committed to ensuring no one forgets Eric’s work.

One great example is her work in securing playback of Eye In The Sky instrumental track Sirius at the World Cup in the USA recently. “It’s always been used in America – the Chicago Bulls turned it into a real sports anthem. But to hear it on a worldwide scene… It’s a special thing for our whole family.

“My sister’s son just turned 16. She was pregnant with him when Dad died; Dad knew he was on the way but never met him. For the last year he’s been playing in the England under-15s football team. The timing! It’s magic!”

It all helps to keep Eric Woolfson’s art relevant. “He’s been gone over 16 years, but I hear his voice every day, one way or another,” Sally says. “And I do feel that he’s very much alive.” Does she find herself talking to him? “I did the other day, actually,” she replies after a pause. “I don’t normally, I can’t explain it.

“I’m driven to keep him and his music alive. I’m still discovering stuff. I haven’t covered every single album yet. It’s a treasure trove; it’s thrilling – especially the audio!”

(written by Islander) “Demiricous died (again) after the release of Chaotic Lethal – and out of those ashes arose RITUAAL. A festering, scumfuckin, riff driven, nightmare of a death metal band from the dregs of Indianapolis IN.” Their words, not ours, but they do get your attention, don’t they? This band, whose lineup also includes […]

The post AN NCS PREMIERE: RITUAAL — “SOULLESS MACHINE” appeared first on NO CLEAN SINGING.

The Osbourne family is throwing a premiere party for the Black Sabbath farewell film. The world premiere of Ozzy & Black Sabbath: Back to the Beginning takes place Wednesday, Oct. 14, at The Orpheum Theatre in Los Angeles, with a purple carpet rolled out for the occasion. A limited batch of tickets for the family-hosted screening is available, and half of every sale goes to homeless charities in Los Angeles.

Trafalgar Releasing has put out the official trailer for the global theatrical run, which comes from Mercury Studios, a music-focused content company. The film follows the last live performance by Ozzy Osbourne with the original Black Sabbath lineup: Ozzy Osbourne on vocals, Tony Iommi on guitar, Geezer Butler on bass and Bill Ward on drums.

Cinemas around the world will carry the film as an event release starting Oct. 28. It records Ozzy Osbourne‘s farewell to fans in his hometown of Birmingham, England, which took place only 17 days before his death. The sold-out show at Villa Park on July 5 last year featured a solo set from Ozzy Osbourne and the first performance by the original Black Sabbath members together in more than two decades.

The film spotlights Ozzy Osbourne, a two-time Rock and Roll Hall of Fame inductee and Grammy winner, along with Black Sabbath, also Grammy winners and Hall of Famers. It combines the band’s last show with reflections from musicians they influenced and a look behind the scenes on the day itself.

Sharon Osbourne, who is Ozzy Osbourne‘s wife and manager and oversaw the event, explained how the show came together.

“‘Back To The Beginning’ came about because I asked Ozzy what would really make him happy,” Sharon Osbournesays.

“And he said the only thing that would make him happy was if he could perform again and say goodbye to his fans. That’s all he wanted. He wanted to say goodbye and thank you.”

The Black Sabbath members shared what the night meant to them.

Ben Wainwright-Pearce, whose credits include Taylor Swift: The Eras Tour and George Michael: The Faith Tour, directed the film for the screen. Tim Van Someren directed the live concert footage. Jim Parsons, Jamie Silk and Dan Seliger produced. The film was built for theaters, with the goal of capturing both the size of the stadium and the closeness of the final set. It is presented in Dolby Atmos and 5.1 surround sound.

The project adds to a run of music films from Mercury Studios, which also made One to One: John & Yoko, American Symphony, Reggaeton: The Sound That Conquered the World and Metallica Saved My Life.

Ken Danquah and Andrea Dunn, who co-lead Mercury Studios, said in a joint statement:

“Ozzy Osbourne is one of the most influential figures in music history, and his final performance with Black Sabbath deserves to be seen on the biggest possible stage.

“Last year, we brought this legendary concert to fans across the globe, offering millions the chance to be there through an unprecedented livestream. This film is the next chapter, giving fans a new way to experience that night on the big screen.

“‘Back To The Beginning’ captures the scale of a stadium performance and the intimacy of a farewell, crafted specifically for the cinema screen.”

Marc Allenby, CEO of Trafalgar Releasing, spoke about bringing the film to theaters.

“Ozzy Osbourne and Black Sabbath‘s ‘Back To The Beginning’ concert was a landmark cultural moment,” Allenbysays.

“Bringing it to cinemas worldwide is an opportunity to further cement Ozzy‘s legacy and impact. We are really looking forward to giving fans around the world a chance to experience this final celebration of Ozzy and Black Sabbathtogether on the big screen.”

Trafalgar Releasing is a leading distributor of event cinema, reaching more than 15,000 cinemas in 132 countries. It is a subsidiary of Trafalgar Entertainment and handles production, acquisition, marketing and distribution of live and pre-recorded content. Its catalog includes concerts and documentaries from Taylor Swift, Beyoncé, BTS, Metallica, Oasis, Coldplay and Billie Eilish, as well as opera and theater. Its most recent record-setter was Taylor Swift | The Eras Tour, the highest-grossing concert film ever.

Mercury Studios, a division of Universal Music Group, produces and distributes music performance content for theaters and digital platforms, drawing on a deep catalog of performance material.

The post OSBOURNE Family Rolls Out the Purple Carpet for “Ozzy & Black Sabbath: Back to the Beginning” in Los Angeles appeared first on Sonic Perspectives.

Lana Del Rey has been threatening to go country for several years now, and it hasn’t quite happened yet. At a 2024 pre-Grammy party, Del Rey announced plans for a country album, which was going to be called Lasso. Since then, she’s released a few singles, and she also sang about kissing Morgan Wallen on a still-unreleased song that she debuted at the country-centric Stagecoach Festival last year. Her country album, which still hasn’t come out, has gone through a few titles, is now going to be called Stove. Del Rey says that it’s still coming and that it may have a companion album. Last month, she teased a Zach Bryan collab. Now, she’s getting together with Wallen and her alligator tour-guide husband to host the in-game country radio station in the hotly anticipated blockbuster game Grand Theft Auto VI.

The post Lana Del Rey, Morgan Wallen, & Lana Del Rey’s Husband Will Host A <em>GTA VI</em> In-Game Radio Station appeared first on Stereogum.

by Geoff Bailie

The concept of the King Crimson offshoot band is one that’s almost as old as the band itself. The band’s debut album In The Court of the Crimson King was released in October 1969, but by November 1970 not only had Ian McDonald and Michael Giles left the group, but they had also released their debut album together! Drawing in Peter Giles, who was Crimson’s then bass player, and Peter Sinfield, current and future lyricist, it was very much the first ProjeKCt. In the last 1990s the ProjeKCt format, combining smaller groups of Crimson members from the 6 person line up, as small development units led to much of the music that followed, and following the band’s pause in 2009, other combinations have regularly appeared. We recently interviewed Adrian Belew about the forthcoming BEAT tour featuring Tony Levin, Steve Vai and Terry Bozzio playing the 1980s and 1990s Crimson music. Perhaps less high profile are Stick Men (Tony Levin, Pat Masteloto, and Markus Reuter) and Tu-Ner (Trey Gunn with Mastelotto and Reuter), both of whom have recently released albums.

Stick Men – Let’s THRAK Again

Stick Men’s latest release – their 9th studio release if you count EPs – is called Let’s THRAK Again, in reference to the 1995 King Crimson album. Just to avoid any confusion, this isn’t covers or even a reinvention of that album, but it’s probably best to describe it as tapping into the spirit of improvisation and heavy riffing that characterised it. The thing about this era of Crimson music was the musicians’ almost telepathic interplay within an improvised framework and that’s at the heart of Let’s THRAK again. Of course, in 1995 Levin and Mastelotto were half of the Double Trio’s rhythm section.

In the Stick Men the guitar role is filled by Markus Reuter, whose instrument is Touch Guitar. This is an instrument that was developed from the Chapman Stick – and many would argue that the defining Chapman Stick album was KC’s Discipline album! You could say that the two key developers / players in this style are Trey Gunn and Markus Reuter, so you can see that, while not actually being a Crimson member, his approach is very much aligned.

And there’s one more thing you should know about this 2 CD album. Having completed recording, the band employed two different mixing engineers to construct the album. Thus you have Reel One / CD 1 and Reel Two / CD 2. The track order is different on each disc and there are 4 tracks which only appear in one or other version.

Pressing “Play” on Reel One, Let’s THRAK Again leaves you in no doubt which world you’re about to enter. This isn’t background music! You need to sit up and pay attention. The album is well paced and even has one vocal interlude in Swimming in Tea, so the mellow moments of tracks like Haggin Triptych and The Well contrast the songs like Bash Machine and Brutal, which completely describe themselves!

The two mixes/ versions of the album are sufficiently different to merit release. It’s a sweeping generalisation but I would say that for a newbie Fabio Trentino’s Reel Two is possibly more accessible, as it dampens some of the more brutal moments which Stefano Castagna’s Reel One magnifies! Reel Two’s unique tracks, Renoir, Carriage Parade and Yosemite Sunset are the most mellow moments and allow the listener to breathe, while not reducing the quality of the material.

Tony Levin’s bass playing is quite simply unique and I imagine I don’t have to describe it to most reading this. Pat Mastelotto mainly plays acoustic drums, but his sonic palette is wide and his playing is breathtaking in places. Markus Reuter arguably replaces the guitar of Fripp, Belew and Gunn and he does this utilising a variety of styles and tones even within individual songs. His contribution is vital to this music and his playing is superb.

Tu-Ner – Rendezvous Rodeo

Carrying over Mastelotto and Reuter from the previous band, Tu-Ner is a slightly different beast. With the addition of Trey Gunn, whose style aligns more closely to that of Reuter the lines are a bit more blurred perhaps than in Stick Men, with therefore more freedom to roam that stringed instrument space between “electric guitar” and bass … and indeed into the world of soundscapes.

This is also a live album and so in many cases the improvisation is even a touch more spontaneous. It also includes some pieces from the Crimson catalogue within the track list – thus you’ll encounter this band’s versions of ConstrucKCtion of Light, Level 5 and Lark’s Tongues in Aspic (Part 4).

Slightly less brutal than the Stick Men album, you have sonic improvisations that go wider into different areas such as The Mechanical Bride Wore Static and Paper Halo Rodeo where the lead playing, soundscapes and percussion approaches are intriguing, if perhaps a bit less accessible to a new-comer. Kuma and Cusp are shorter tracks with many interesting sounds, styles and playing. I can see those being tracks I return to, but there’s one real highlight of this album for me. I’m a big fan of the Sylvia Fripp material and saw a UK show from that band – therefore Firepower Coda, an extended version of the live improvisation from the close of that song is a great throwback the first ever Masteloto / Gunn collaboration.

In conclusion, when writing a review I always find it helpful to ask: Who is this music for? For these albums I would say that any fan of 1990s onward King Crimson should take time to check them out. If you’ve bought any of the relevant box sets and dug into the ProjeKcts or the live improvisations, you will find music here that interests you. Both are really strong albums full of excellent musical moments for those whose ears are open!

Stick Men – Let’s THRAK Again
CD 1: Mixed by Stefano Castagna | Track order compiled by Tony Levin
1. Let’s THRAK Again
2. Like We Did Last Summer
3. Haggin Triptych
4. Komodo
5. Swimming in Tea
6. Bash Machine
7. Reading the Future
8. Thief of the Dice
9. Brutal (Tony)
10. Dark Birthday
11. Fandango
12. The Well

CD 2: Mixed by Fabio Trentini | Track order compiled by Pat Mastelotto and Markus Reuter
1. Dark Birthday
2. Komodo
3. Let’s THRAK Again
4. Like We Did Last Summer
5. The Morning Mist
6. Swimming in Tea
7. Bash Machine
8. Brutal (Pat)
9. Carriage Parade
10. Fandango
11. Reading the Future
12. The Well
13. Thief of the Dice
14. Yosemite Sunset

Released September 4, 2026

Tony Levin / Chapman stick
Markus Reuter / touch guitars U8 Deluxe
Pat Mastelotto / acoustic and electronic drums, percussion

****
Tu-Ner – Rendezvous Rodeo
1.Hogtied and Slightly Slack (Live) 04:20
2.The ConstruKCtion of Light (Live) 05:50
3.Firepower Coda (Live) 04:35
4.Cusp (Live) 04:53
5.The Mechanical Bride Wore Static (Live) 04:54
6.Kuma (Live) 05:21
7.Absinthe and A Cracker (Live) 08:27
8.Paper Halo Rodeo (Live) 07:26
9.Unconditional (Live) 12:10
10.Larks’ Tongues in Aspic, Part 4 (Live) 12:09
11.Level 5 (Live) 07:19

Released July 24, 2026

Trey Gunn: 10-string Warr Guitar
Markus Reuter: Touch Guitars T8
Pat Mastelotto: Drums and percussion

The post Stick Men – Let’s THRAK Again & Tu-Ner – Rendezvous Rodeo (Album Reviews) appeared first on The Prog Report.

After releasing “Dead Inside Of Me” from their upcoming new album, Trivium have revealed today new details about their eleventh studio album. It will be called Crown In The Grave and is due out on November 20th via Roadrunner Records. As of now, you can pre-order the record and also listen to the title track below.
Read more…

Seven Witches to release career-spanning collection ‘Best of the Witch‘ on October 30th through Deko Entertainment. New single/video’The Burning‘ featuring Jon Oliva is now streaming on all platforms. Seven Witches, the acclaimed American heavy metal and power metal band founded in 1998 by guitarist Jack Frost (Savatage, Lizzy Borden, Aldo Nova) and vocalist Bobby Lucas, […]

The post Seven Witches To Release Career-Spanning Collection ‘Best of the Witch’ appeared first on ROCKPOSER DOT COM.

Black Sabbath guitarist Tony Iommi is putting out his first solo album in 21 years, and he is letting fans hear it in a bar before it hits shelves. From the Dark lands Friday, Oct. 23. The night before, Thursday, Oct. 22, rock and metal bars in 18 cities will play the record front to back.

The events will also hand out limited-edition merch and copies of the album. Anyone can show up, but check each venue’s social channels for start times. Here is where the listening parties are happening:

10/22 – Amsterdam, Netherlands @ Excalibur
10/22 – Berlin, Germany @ Rockcafe Halford
10/22 – Birmingham, England @ Scruffy Murphys
10/22 – Brooklyn, N.Y. @ Duff’s
10/22 – Copenhagen, Denmark @ Escobar
10/22 – Helsinki, Finland @ Bar Loose
10/22 – London, England @ Helgis
10/22 – Madrid, Spain @ Wrong Way
10/22 – Melbourne, Australia @ Rare Records
10/22 – Mexico City, Mexico @ Café Bizzaro
10/22 – Milan, Italy @ Headbangers Pub
10/22 – Oslo, Norway @ Vaterland
10/22 – Paris, France @ Dr Feelgood – Rock Beer Temple
10/22 – Prague, Czech Republic @ Hells Bells Pub
10/22 – São Paulo, Brazil @ The Metal Bar
10/22 – Stockholm, Sweden @ Pub Anchor
10/22 – Tokyo, Japan @ Godz
10/22 – Warsaw, Poland @ Beer & Bones

Vocalist Jørn Lande appears throughout the album and has a writing credit on every song. Bassist Becky Baldwin and drummer Karl Brazil round out the band. Iommi co-produced the record with Mike Exeter, his longtime writing partner and engineer, and the result is a big, polished sound that mixes modern production with old-school weight.

Iommi said, “It’s an album we’ve really enjoyed making. We’re not trying to prove anything — it’s a great album, it rocks!”

The record opens with “Over the Violent Sun,” built on a down-tuned, driving Iommi riff and a dramatic performance from Lande. “Black Times” follows with a hard punch, setting up the first single, “World Alone.” Fourth track “Beyond the Dead” slows things down with a menacing riff wrapped in orchestral arrangements.

Lande‘s lyrics lean on dystopian imagery and the brevity of human existence, and that theme runs deepest on “Stormwatcher,” which borrows from nautical imagery and dreams of distant horizons. It sits at the center of the album and is matched in scale by “Death Wake,” where the music and words together paint a bleak picture of life without compassion. The album closes with the frantic “Return of the Arbalist” and the sprawling “Legacy,” which swing between light and dark. It arrives on the heels of Black Sabbath‘s final show, the 2025 Back to the Beginning concert in Birmingham, and the press materials call it one of the best rock albums of the year.

From the Dark will be sold in several vinyl and CD configurations. The double LP is cut at 45rpm for better dynamic range, comes in a gatefold sleeve of black card with a die-cut of Iommi‘s signature cross, and is pressed in four colors depending on the retailer. An Amazon-exclusive CD uses the same die-cut sleeve, and there is also a deluxe CD with a 32-page media book and two bonus tracks.

Iommi is widely viewed as one of the most influential guitarists around and, as the founder and main songwriter of Black Sabbath, is credited with shaping the language of heavy metal. His honors include multiple Grammys, a Rock and Roll Hall of Fame induction, a doctorate from Coventry University, a Lord Mayor’s Award and the Freedom of the City of Birmingham. In June 2026, he was named an MBE.

As a young man, an industrial accident cost him the tips of two fingers, which pushed him toward the distinctive style and darker tone that came to define Black Sabbath. The band formed with Ozzy Osbourne, Butler and Bill Ward, and its 1970s albums became a cornerstone of British music.

Over six decades, Iommi has kept recording and collaborating. He worked closely with Dio, issued solo material, and reunited the original Black Sabbath lineup for the 2013 chart-topper 13 and the farewell tour The End, which drew 1.6 million fans across 2016 and 2017. In 2023, he worked with the Birmingham Royal Ballet on Black Sabbath – The Ballet, built on his early compositions. Black Sabbath closed things out in 2025 with the Back to the Beginning show in Birmingham, a farewell that took place just weeks before Osbourne died.

The post TONY IOMMI Is Taking His First Solo Album in 21 Years to Pubs in 18 Cities appeared first on Sonic Perspectives.

FOR IMMEDIATE RELEASE
JUMPSCARE ANNOUNCE NEW SINGLE “CALL OF THE WILD”
Italian Melodic Death Metal Force Unleash a Cinematic New Chapter in Their Evolving Concept

Italian melodic death metal band JUMPSCARE will release their new single “Call Of The Wild” on October 20, 2026 , through Vault Lab , with distribution via Sepulchral Silence Distribution .
More than a standalone single, “Call Of The Wild” represents a pivotal chapter in the conceptual world Jumpscare have been developing across their recent material. Following “Dear Mother” and “Rise And Fall,” the new track continues a narrative that will ultimately converge in the band’s forthcoming concept album.
At the heart of “Call Of The Wild” is the struggle to break free from an artificial and alienating modern world and reconnect with something deeper. The “wild” is not simply nature. It represents instinct, identity, origins and the primal part of ourselves that modern society often forces us to suppress.
Musically, Jumpscare expand upon their melodic death metal foundation with darker atmospheres, sharp guitar work, crushing rhythms, emotionally charged melodies and a broader cinematic approach. Drawing influence from the likes of In Flames, Dark Tranquillity, Heaven Shall Burn, Lamb Of God, Lorna Shore, At The Gates, The Haunted, Winds Of Plague and The Halo Effect , the band continue pushing their sound toward a more modern and expansive territory without abandoning their roots.
Adding another dimension to the release, “Call Of The Wild” will arrive in three distinct versions :
CALL OF THE WILD – Original Version
The full Jumpscare experience, combining aggression, melody and cinematic atmosphere.
CALL OF THE WILD – Instrumental Version
A stripped-back perspective that places the composition, arrangements and musicianship front and center.
CALL OF THE WILD – Orchestral Version
A cinematic reinterpretation that expands the emotional and atmospheric elements of the song.
Rather than functioning as simple bonus tracks, the three versions offer different perspectives on the same composition, emphasizing the song’s aggression, musicianship and cinematic character.
The production reflects the band’s continued evolution. Simone Pietroforte handled mixing and mastering at Divergent Studios in Bari , with credits including Distant and Sign Of The Swarm, while Sebastiano Di Martino handled guitar and vocal production at SDM Recording Studio , with credits including Moscow Death Brigade and Siberian Meat Grinder. Drums and bass were recorded at Vault Lab , making the track another production rooted entirely in Southern Italy.
The visual world surrounding “Call Of The Wild” is equally important. Jumpscare continue to reveal their forthcoming album’s story piece by piece through individual songs, lyrics and videos rather than revealing the entire concept at once. The official video once again features a collaboration with Horizon Productions , further strengthening the cinematic identity of this new era.
“Call Of The Wild” ultimately exists at the intersection of aggression and introspection, instinct and control, heaviness and orchestration. It is about stripping away the layers imposed by modern life and remembering what remains underneath.
For Jumpscare, this is more than another single.
It is a return to instinct, identity and origins, and another step into the world they are gradually revealing through their forthcoming concept album.
“Call Of The Wild” will be released October 20, 2026.

JUMPSCARE
Melodic Death Metal / Symphonic Death Metal / Modern Death Metal / Deathcore / Groove Metal
For Fans Of: In Flames, Dark Tranquillity, Heaven Shall Burn, Lamb Of God, Lorna Shore, At The Gates, The Halo Effect
Listen / Pre-Save:
https://ffm.to/96cf617ec60de6c84148b40dd44f7568cd711210dfb26025


Official Links:
http://linktr.ee/jumpscareband
Band: Jumpscare
Contact: Graziano Ciccarelli
Email: jumpscare_band_official@outlook.it
Label: Self-Released / Vault Lab
Management: Vault Lab
Management Contact: vaultlabrecordings@gmail.com