Kelly Osbourne revealed the fatherly message that Ozzy shared with her prior to his death in July of 2026 during a new podcast appearance. Continue reading…
How’s that old candy slogan go? “How many stab wounds does it take to get to the center of a…” No, that’s not right. Anyway, the Cleveland metal band 200 Stab Wounds have announced their new album Lowest Form and shared its gruesome opening track “Pangs Of Conscience.” If you’ve ever wanted to know what it sounds like to be eaten by ogres, you can find out by listening below.
The acclaimed FX series Snowfall was set in Los Angeles during the crack cocaine epidemic of the 1980s. The new spinoff The Drop: A Snowfall Saga follows Snowfall characters Wanda Bell and Leon Simmons into 1990s LA, a time when West Coast rap was exploding in popularity worldwide. Airing on Tuesdays at 9 p.m. ET, the show premiered last week and is back with a new episode tonight. It contains a previously unreleased track from a fallen LA rap hip-hop icon.
In February 1976, Fleetwood Mac began work on the follow-up to their self-titled tenth album at the Record Planet studio in Sausalito, California. Six months earlier, Fleetwood Mac, their first record to feature vocalist Stevie Nicks and guitarist/vocalist Lindsey Buckingham, had reached the top of the Billboard chart, giving the Anglo-American band their first US number one album. Since then, however, the band had been beset by personal problems, and relationship difficulties, and studio engineers Ken Caillat and Richard Dashut could hardly fail to notice the tension as they commenced work.
“I thought I was going to be making a regular album,” Ken Caillat told MOJO magazine writer Mark Blake when discussing the making of Rumours in 2013. “Then I heard this yelling, and saw Chris [McVie] throw a glass of champagne in [former husband’s] John’s face. Then Stevie and Lindsey started having an argument over the microphone. Then Mick [Fleetwood] walked in with tears in his eyes as he’d just got off the phone to his wife [who had confessed to an affair with his best friend]. I started to think it was contagious.”
Caillat has now written a book – Making Rumours: The Inside Story of how Fleetwood Mac Made a Masterpiece -about his experience making the 40-million-selling album, and, as you might expect, it’s a fascinating read, laying bare the drama and magic at the heart of the record. The sessions were challenging for all involved, not least the then 29-year-old Caillat, who was promoted from engineer to co-producer during the recording.
At one point in the book, he reveals that, during the tracking of Go Your Own Way, Lindsey Buckingham was frustrated by his own attempts to record a guitar solo, and requests that Caillat and Dashut tape over his first run at the solo. He’s equally unimpressed with his second take, however, and asks that Caillat replays his first attempt, at which point the engineer reveals that he has taped over it as requested. A distinctly unimpressed Buckingham then storms into the studio control room and starts strangling Caillat.
“‘You’re an idiot!’ Lindsey screamed at me, his hands tightening around my throat,” the engineer writes.
“His veins were popping out of his neck,” Caillat recalls in a new interview with The Times newspaper. “Christine goes, ‘Lindsey, you told him to erase it!’ Of course he was coked and stoned and everything else. He used to roll joints all the time. He’s a very nervous man.”
Caillat also reveals to The Times that band members would schedule their arguments, so that they didn’t eat into recording time.
“They had to figure out when they would have their fighting meetings,” he remembers. “I would say, Who feels like fighting today, and who feels like working? Then we might do some keyboards, or some vocals, while the others went outside to yell at each other.”
“There were fights, breakups, drinking, drugs…” he once recalled to Music Radarin 2012. “We all indulged in substances. But I had to be a therapist and record producer. When everything was insane, I had to be sane. If there was a rule book, nobody gave me one.”
Making Rumours: The Inside Story of how Fleetwood Mac Made a Masterpiece by Ken Caillat and Steve Stiefel is out now, on Monoray.
Abbath, the project fronted by former Immortal vocalist Abbath, has scrapped every show left on its 2026 calendar. No explanation was given for the cancellations.
The band addressed the news via social media earlier today, Tuesday, Sept. 15: “Abbath have made the decision to cancel all remaining shows for 2026: “We sincerely apologize to the fans, festivals, and everyone affected. Thank you for your understanding and support.”
The cancellation comes roughly a month after Abbath‘s set at the SaariHelvetti festival in Tampere, Finland ended after barely two minutes.
Footage of the performance shows the band opening with “To War!,” with Abbath (real name Olve Eikemo) notably missing his usual corpse paint and armor, unlike the rest of the band. Partway through the song, he’s seen hurling his guitar onto the stage and walking off.
This isn’t the first rough outing for the band. Back in November 2019, Abbath played a two-song set in Buenos Aires that fell apart quickly enough to prompt refund requests from fans. That lineup was just its namesake frontman alongside then-bassist Mia Wallace and drummer Ukri “Uge” Suvilehto, with reports at the time suggesting Abbath had gotten into it with guitarist Ole André Farstad, who skipped the show and stayed back at the hotel.
Later that month, Abbath put out a statement acknowledging a struggle with addiction and committing to a rehab program aimed at helping him get clean for good. By early 2020, he said he’d been sober for two months and was doing well.
Abbath has spent the past several years on the road behind its latest album, Dread Reaver, released in March 2022 via Season Of Mist.
Four supporting acts dropped out of Sheeran’s tour, citing the right to free speech after the rapper Macklemore was removed over pro-Palestinian comments he had made onstage.
Among the throngs of bands from Europe to ride the thrash revival wave of the 2000s, Italy’s Game Over has managed to stake a unique claim in a sea of Bay Area and Teutonic stylistic emulators.
Much like fellow countrymen and late-to-the-scene upstarts Ultra-Violence, they never shied away from throwing in some technical spice to complement a formula built largely out of existing tropes, though they took a more compact and concise approach to songwriting and have yet to switch out their thrash bona fides for a jarring left turn into metalcore territory.
The resulting sound that they’ve explored could be likened to a curious hybrid of the happy-go-lucky, speed-infused one associated with 80s New York trailblazers Nuclear Assault and the stylistically mixed-up and tech-happy high-jinks of mad Canadians Annihilator. In spite of several subsequent lineup changes, this core approach to celebrating the old ways has endured since their 2012 debut LP For Humanity and comes through in spades on their latest and 7th full-length studio outing, When Darkness Falls.
In similar fashion to their ferocious 2025 offering Face The End, Game Over has delivered a forceful yet multifaceted thrash experience in a length of just barely over 30 minutes. The exit of guitarist and co-founder Alessandro “Sanso” Sansone has had virtually zero impact on the potency and power that comes streaming out of every single riff, and remaining axe man Luca“Ziro” Zironi has proven more than up to the task of taking on his departed comrade’s six-string duties while continuing to pull his own weight as the lone remaining founder of the fold.
The explosive rhythm section battery delivered by longtime drummer Anthony “Vender” Dantone and more recently acquired bassist Leonardo Molinari proves no less impressive in all its militaristic precision and fury, matching the frenetic character that established the New York scene of the late 80s as a formidable rival to their larger Bay Area competitors. Then again, the deeper and more gruff-steeped vocal presentation of Danny Schiavina, reprising his role on the aforementioned previous album, tilts things a tad closer to a West Coast take on the subgenre and amounts to what one might expect an East Coast thrash outfit to sound like with a Chuck Billy or a Phil Rind at the microphone.
From a structural standpoint, When Darkness Falls feels like an overt throwback to where things were over 35 years ago, though closer inspection reveals a few twists and turns more in line with a post-90s take on things. Following a tuneful yet menacing instrumental prelude in “Hollow And Cold”, this madcap quartet hits the ground running with a frenzied burst of high-octane fury in “Two Souls One Flesh” that screams chaotic 80s thrash in a colossal 2020s production package like it’s going out of style yet again.
Nipping right on its heels is a duo of shorter and similarly stellar slabs of metallic mayhem in “Break Away” and the upper mid-tempo crusher “Fight For Your Mind”, rounding out a trifecta of traditional thrash staples that are powerful enough to orbit Exodus, yet packing enough technical pizzazz and mechanistic precision to more closely resemble select anthems off Annihilator’s Alice In Hell. Pile on top of it all a speed-infused berserker entry like “Scream It Out” that pulls zero punches, and the first half of this album culminates in one of the more uncompromisingly fast and consistent retro-thrash offerings to come about in the past decade.
Then again, where the rule is maintained, there is always an eventual exception to keep things from becoming one-dimensional, and this holds true with the latter half of this album’s sonic contents. As before, things are ushered in with another brief prelude, this time in the form of a creepy ambient interlude with a Dracula-like voiceover in “What Fate Brings”, and with it comes a more measured and melodic presentation.
The down-tempo and ultra-heavy beast of an entry, “Curse Of Strahd” stops just shy of being outright groove metal, but definitely errs on the side of a modern 2000s approach that more closely resembles something from Exodus’ Atrocity Exhibit albums; meanwhile, the similarly slower-paced “Beneath The Ground” retains a busy approach to the riff work, but definitely lands quite close to the sort of groove-infused chunkiness normally heard out of Exhorder, and Danny’s gravelly voice functions extremely well in this context.
Things pick up a fair bit with “Self Denied”, though the approach remains nuanced and heavily focused on matching heaviness with melodic guitar hooks, sounding more like a late-to-early-90s thrash approach to a faster entry. The final coup de grace and arguably the most unique offering of the bunch is the eerily atmospheric acoustic ballad turned epic thrash thrill ride “Command To Die”, inspired by the famed Tom Cruise film A Few Good Men and even including the climactic dialogue between his and Jack Nicholson’s characters amid a comparably dramatic musical backdrop.
What Game Over brings to the table is something that will be instantly familiar to any self-respecting fan of thrash metal that was either there for or otherwise exposed to the material that typified the late 80s sound of New York and Canada. Yet what occurs within their musical tributes to the past is something that’s not entirely predictable, and definitely well removed from being a contrived affair. Like any master architect, this Italian quartet has used textbook methods and materials to craft something that appeals to an existing fan base’s nostalgia, but also comes away with a skyscraper that stands apart from the older ones in its midst.
It’s tailor-made for those who either wanted to see Nuclear Assault field another album prior to their 2022 split or wished that Ultra-Violence and Lost Society had stuck to their original style, but it’s just a well-crafted thrash machine overall that goes well beyond simply checking all of the obligatory boxes.
Release Date: September 18th, 2026 Record Label: Scarlet Records Genre: Thrash Metal
