A strong card in a Pusoy game online can pull attention instantly. A premium pair, a high kicker, or a clean five-card build often creates the feeling that the deal has already “arrived.” In Pusoy, that early focus can create … Continue reading
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Arankai has given us another taste of his upcoming album, and it’s one of his most vulnerable to date.
With Arankai’s second album ‘The Shape Of Blue’ set to be released on October 30 via Hopeless Records, the crushing new track is titled ‘Convince Me’.
Largely written about the musician’s relationship with his wife, the song centres on what it means to accept help form those around us, and how those moments can actually bring us closer together.
Speaking about ‘Convince Me’, Arankai has said:
“‘Convince Me’ is a song that deals with insecurity and instability, relying on the love of another to carry you through. In my personal life I’ve struggled a lot with mental health, and I found comfort and compassion in the arms of my now wife. It’s a humbling experience when you need to rely on someone else. But I think there’s a beauty in frailty, and a lot can be learned about yourself and others in moments of desperation.”
Take a listen below.
On the release of his latest album, Arankai has shaed:
“This album is both an intersection and a continuation of my first record – I wanted certain songs in The Shape of Blue to pair with songs from A Portrait of Red, creating these ‘chapters’ you could listen to. I did that by expanding upon similar subject matter with each song, filling out established ideas from previous songs with more textures and details. This story isn’t all that unique, I think a lot of people experience the concepts expressed in this record all too often. But I think that’s what makes it important, because it’s a story so many can relate to. And sometimes the best songs are just the ones that make you feel heard.”
Check out the album’s artwork and tracklisting below.
1) Helter Skelter (feat. buffalo farm)
2) I Hope It Hurts
3) Disobey
4) Sick & Sweet
5) Playing God
6) Letdown
7) Temper
8) Choke
9) Convince Me
10) Have Faith
11) The Shape of Blue
The post Arankai Shares Crushingly Vulnerable Single ‘Convince Me’ appeared first on Rock Sound.
Posted on September 17th 2026, 12:50pm
It only takes the opening 1-2-3-4 salvo of Scour Order to dare believe the eternally divisive Krallice are trying to make a return to their roots. Ever shifting, ever evolving, the dimensional bleed-triggering outfit have spent their entire career contorting black metal into their spacey, math-infused vision of weird. Receiving affirmations as conflicting as “forward thinking,” “genre transcending,” and “pile of unlistenable hipster wankery,” the band have spent the last eighteen years with a constant stream of activity and output, answering to and guided by no one but the calls of their own internal demonic wealth. Album fifteen, Scour Order arrives offering something of a constructional throwback, with the band returning to a two-guitar approach, as co-founder and studio producer extraordinaire Colin Marston returns to the strings after a long stint at the keys. Does this rebuild promise a return to the Cascadian expansiveness of yore, or to still more confusing territories ahead?
In tone and timbre, Scour Order tries to fuse the epic, treble-heavy canvas of Years Past Matter with the slightly thicker progressions of Ygg Huur. Excised are most of the synths and the rawer tones of records like Psychagogue, with the fractal-imploding counterpoint of the returning twin guitars used to immediate effect. Across the album, Colin and fellow guitarist/vocalist Mick Barr carry the listener from diseased harmonies to tense, sudden stutter-start riffing (“Kill the Guardian”, “Her Green Arms”) where certain progressions seem to linger just a few measures longer than they should, bolstered by the fantastic drumming of Lev Weinstein. His performance is of extra note, with the clarity of the mix (particularly after the more traditionally blackened mix of more recent fare) allowing his delightful snare fills (“Grievous Corrector”) and creatively applied cymbal transitions (“Unceasing Path”) real life and energy under the alien soundscapes.
In a broad sense, Scour Order opts for oppressive atmospheres over straight lead-pasta1 or riffy assaults. Many dissonant chord progressions are prolonged with more repetitions than you’d expect from modern Krallice, with a heavy emphasis on tension-building terms which get rode out to the breaking point. Unfortunately, this has the side-effect of rendering the release as more meandering than thrilling, though focused listens allow bright spots to crash through the surface. “Indecipherable Divinities” breaks out the synth for a brief time while the chords seamlessly transition into something almost spaced out and optimistic, having much in common spiritually with Blood Incantation’s Absolute Elsewhere in mood if not in form. Title track “Scour Order” manages an excellent fusion of its old-school vastness of vision with modern-day sheen and adventurousness, with vocals which could pass for death metal and an extended instrumental closing which rings of glorious catharsis.
Though the production is unsurprisingly excellent, it does serve to emphasize the album’s weaknesses as well. Bassist Nicholas McMaster is given tons of breathing room for his perpetual twanging to glide under the current of notes, though his own virtuosity can’t save cuts like the needlessly empty and sustained tremming of “Her Green Arms” or the wandering “Unceasing Path.” Krallice is too technically proficient a band to declare something to be “badly composed” without sounding stupid, but much of Scour Order is spent being taken on a journey of musical virtuosity with little in the way of the band’s penchant for lasting impact. Highlights certainly exist; the aforementioned synth in “Indecipherable Divinities”, the crash-out solo closing “Agonal Shining”, the almost mournful ending of “Living Useless Ritual” chief among them. But Krallice at their best exude skill in exhausting, engaging longform journeys, and it’s almost a foreign concept to discuss any of their works in terms of “highlights” and not in terms of songs.
The most stereotypical conclusion here would posit that “If you’re a fan of Krallice, you’ll like this; if you aren’t, this won’t change your mind.” Unfortunately, Scour Order falls well below the peak of the band’s best work in the modern or vintage era, while having enough warts that it might convince those who already don’t like them to like them just a little less. There really is plenty to enjoy for the seasoned fan in terms of familiarity of mood and presentation. Despite this, I cannot escape the fact that while albums like Crystalline Exhaustion (to say nothing of works like Dimensional Bleedthrough) pulled me in by virtue of their pillar-to-post sense of discovery, Scour Order sits in the respectable, yet disappointing tier of “sounds like another Krallice album.” The peaks are very high indeed, and the bookending tracks deserve to be included in playlists for newcomers to the band for the rest of forever. I have too much faith to declare this the first real assault of AMG’s Law of Diminishing Recordings, but time will tell if this is just a fine-tuning of the band’s musical vision for the future, or if future works are doomed to go be forgotten.
Rating: 3.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Profound Lore Records
Website: Album Bandcamp
Releases Worldwide: September 18th, 2026
The post Krallice – Scour Order Review appeared first on Angry Metal Guy.
Posted on September 17th 2026, 12:15pm
There was a time when a new album by your favourite band was a true event, but streaming has all but killed that once great pleasure. However, in the case of Europe, a new long player by the legendary Scandinavians is still a good reason to prioritise your time and well-earned cash. And here they are again, fattening up their discography with their twelfth big spinner, Come This Madness.
Release Date: 25 September 2026
Words: Brian Boyle
40 years ago, Sweden’s melodic rock juggernaut Europe were not only going toe to toe with Bon Jovi in the hair stakes, but also battling it out for the title of the greatest rock anthem of 1986 with The Final Countdown and Livin’ On A Prayer respectively. While the New Jersey boys have undoubtedly had the greater of the commercial spoils, creatively they have been a spent force for years.
As for Joey Tempest and company, they have consistently produced the goods.
And Europe have never lost the knack for how to open an album with purpose. A regal intro from keyboardist Mic Michaeli unwraps the melodically monstrous One On One, setting the bar seriously high.
But we have been here before with Europe. They have never been a filler band. There is no spreading out the big ones.
That is why a truly gargantuan and hooks-aplenty The Cult Of Ignorance can follow, and what an immediate and euphoric shot to the veins it is.
Tempest has said in recent interviews that the album is a return to their traditional sound. That is true, but there is a lot more swagger about them these days. It is like the shackles are off, and you get that vibe full in the face with the title track.
Even the Christmas song This Time Of Year is not wedged down the back, and for all the usual festive clichés, it is still a striking piece of work. Plus, when it is done by a bunch of Scandinavians, it does land a lot better than the usual.
As soon as the Christmas lights are switched off, they revert to type with a rejoicing In A Different World, one of the many songs that are modern society themed. But that is a sideshow. The melody is always front and centre, and even if the verse is a tad mundane, you know an arresting hook is en route.
Recorded in a studio co-founded by ABBA hit churner Benny Andersson may have had an inspirational effect, and having a production/mixing team of Tom Dalgety (Ghost, Rammstein) and Mike Fraser (AC/DC, Van Halen) appears money well invested.
So much so that Tempest sounds as pure and pristine as he did when he first took on the world four decades ago. Listening to him rip through the galloping Scandinavian Eyes is a joy to the ears, and the modern-day Deep Purple flavour brings out his controlled ferocity perfectly.
Since the classic lineup reformed in 2003, it is fair to say that the eleven-year hiatus has worked wonders. Many would say getting John Norum back in the band was the real catalyst for their sustained run of form since.
It is hard to argue with that when you hear him soar to great heights on Takin’ It Back. There is nothing flashy here, but every solo and riff he creates simply complements everything Tempest does. In a way, it’s akin to when Adrian Smith rejoined Iron Maiden and everything just slotted back into place.
There is plenty left in the pot down the tail end of the album. You get sporadic shots of prog on The Angels Must Have Flown, followed by a decent helping of pure unadulterated classic rock on The Devil’s Back.
I must admit feeling like a spoilt pup for not totally getting on board with closer Nothing Can Follow This. But that is okay, as plenty of others will love it for me.
Still, that does not detract from this album having tremendous strength in depth. You could be listening to a greatest hits collection, for god’s sake.
Best album since Out Of This World? I would say it is pretty damn close. If it takes another nine years until the next one, and quality like this is the result, then so be it.
Europe release Come This Madness on 25 September 2026 via Silver Lining Music. Pre-orders are available from lnk.to/EuropeComeThisMadnessAlbum. For tour tickets and a full list of dates, visit europetheband.com.
Hurricane & Southside Festival have announced their first wave of artists for 2027, with Muse, Pierce The Veil, mgk and more set to perform.
Muse, mgk and Phoebe Bridgers will headline, with Pierce The Veil, I Prevail, Dropkick Murphys, Simple Plan, The Interrupters, Angine de Poitrine, Sofia Isella and more joining them at the German festivals.
Hurricane Festival and Southside Festival will take place between June 18 – 20 in Eichenring and Neuhausen ob Eck respectively.
Tickets are available from here and here.
The post Muse, Pierce The Veil, mgk & More To Play Hurricane & Southside Festival 2027 appeared first on Rock Sound.
Trivium have unleashed a ferocious new single ahead of their huge co-headline tour with In Flames.
Kicking off a brand-new era for the metal legends, their latest track is titled ‘Dead Inside Of Me’, and it’s an absolute rager.
Powered by gnarly modern thrash riffs, an insatiable bass line, and some ridiculously powerful grooves, it serves as our first taste of the band’s forthcoming eleventh studio album.
Speaking on the track, bassist Paolo Gregoletto has shared:
“‘Dead Inside Of Me’ was a song that came together at the end of a long day of writing new music last summer. It started with a riff I’d had kicking around for five or six years called ‘Slam,’ looping over a simple groove. A lot of the most fun song ideas come from blending two contrasting ideas together. Take a death metal riff and play it like a stadium rock song. Let the screaming and singing weave together until they feel like one voice. Being able to explain the idea that simply as the song was coming together helped keep us laser-focused and on track to see the vision through to the end. The song was loosely inspired by the Japanese concept of honne and tatemae — the tension between your true inner feelings and the mask you present to the outside world to hide them.”
Take a listen via the grippingly dark video directed by Pavel Trebukhin.
It comes as the band prepare to hit the road alongside fellow scene icons In Flames, playing shows across the UK and Europe in early 2027.
With support coming from Paleface Swiss and VOLA, it’s set to be one hell of a night out.
Check out all of the dates below.
MARCH 2027
29 – DUBLIN 3Arena *
31 – GLASGOW The OVO Hydro *
APRIL 2027
01 – MANCHESTER Co-op Live *
03 – LONDON Alexandra Palace *
04 – CARDIFF Utilita Arena Cardiff *
06 – BRUSSELS Lotto Arena
07 – PARIS Zénith
09 – HAMBURG Sporthalle
10 – DRESDEN Messe Dresden
11 – BERLIN Velodrom
13 – ESCH-SUR-ALZETTE Rockhal
14 – BERN Festhalle
16 – FRANKFURT Festhalle
17 – DÜSSELDORF PSD Bank Dome
18 – AMSTERDAM AFAS Live
20 – PRAGUE O2 Universum
21 – VIENNA Stadthalle
23 – STUTTGART Schleyer-Halle
24 – MUNICH Zenith
25 – BAMBERG Brose Arena
27 – COPENHAGEN K.B. Hallen ~
29 – OSLO Spektrum ~
MAY 2027
01 – STOCKHOLM Avicii Arena ~
03 – TAMPERE Nokia Arena ~
05 – RIGA Xiaomi Arena
07 – KATOWICE Spodek
* Trivium headline, In Flames special guests.
~ In Flames headline, Trivium special guests.
All other dates: Trivium and In Flames co-headline.
The post Trivium Unleash Ferocious Single ‘Dead Inside Of Me’ appeared first on Rock Sound.
LEAP have shared a stunning video to accompany latest single ‘Bloodlines’.
Their first new music since the release of their debut album ‘Entropy’, and also their first via new label home Epitaph Records, the ‘Bloodlines’ video is the perfect accompaniment to the song’s euphoric pop-rock swagger.
Filmed at London’s iconic MOTH Club venue, it starts by showing us an infinity symbol painted in red before alternating between telling the story of a couple’s evening – complete with plenty of dancing and alcohol-fuelled arguments – and shots of the band performing on stage.
Check it out below.
Speaking about the meaning behind ‘Bloodliones’, vocalist Jacky Scott has said:
“Bloodlines is our first single since our debut album last year and it’s the first thing we wrote after we wrapped that record. A lot has changed for us in the past year, and this track kinda feels like it captures the madness of that journey a bit. It’s a song about that cosmic pull that keeps bringing you back to someone no matter how toxic, but it’s still got that playful side, like we’re celebrating the chaos. We’ve been writing loads so we cannot wait to start releasing music again, and this single feels like the start of something new.”
The post LEAP Share Stunning Music Video For ‘Bloodlines’ appeared first on Rock Sound.