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Posted on October 6th 2026, 2:30pm

Here are the new releases for October 4th to 10th. Releases reflect proposed North American scheduling, if available.

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Upcoming Metal Releases: 10/4/26 – 10/10/26

Desolat — People As Idiots & Idiots As Leaders | Bloodshed666 | Sludge Metal + Hardcore Punk + Noise Rock | Austria (Vienna)

Desolat are anarcho-punks. Surprising, given the title of their third full-length record, I know. Fortunately, they reach far outside the anarcho-punk grab bag, incorporating bass-gurgling noise rock (“Pig Race to the Apocalypse”) and Southern-tinged riffs (“Wannabe V.I.P.”) for a robust revolt against democracy’s decline.

–Colin Dempsey

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Avrak — Avrak | Peaceville Records | Heavy Metal | Norway

The current state of Darkthrone, in which Nocturno Culto and Fenriz pray at heavy metal’s altar, stubbornly possesses traces of the Norwegian duo’s black metal reign, although they’re traces at most. Avrak strips all that away for darkened metal. Perhaps, divorced from Darkthrone baggage, Avrak will gain appreciation for its doomy riffs and repurposing of genre tropes.

–Colin Dempsey

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Odious Spirit — The Sourceless Scourge | I, Voidhanger | Technical Thrash Metal + Death Metal + Experimental | United States (New York)

The desire to prick and prod drives The Sourceless Scourge, the second album from James Oskarbski’s avant-garde outfit. It’s post-2010s New York metal, meaning repetition, strides against conventional wisdom, dissonant guitar harmonies, and a bucking of genre norms run amuck. In some ways, the record is a Coroner album bloated with unregulated chemicals, sprouting teeth and hair in places it shouldn’t.

–Colin Dempsey

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Esoctrilihum — Annochiül Xar Sorthïlazur | I, Voidhanger Records | Avant-garde Black Metal + Death Metal | France

There’s someone up-to-date with Esoctrilihum who can explain Annochiül Xar Sorthïlazur‘s place within the transdimensional extreme metal realm, someone who’s dissected the dozen or so full-length albums the French artist has released in the past decade, someone who can chart the spiritual and avant-garde channels crissed and crossed and thus explain what Annochiül Xar Sorthïlazur, purportedly Esoctrilihum’s most synth-heavy and falsetto-laden work, is about. When you find them, please tell them we’d love to feature their writing.

–Colin Dempsey

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Maera — A Caress Of Autumn For All The Lost | Hypnotic Dirge Records | Atmospheric Black Metal + Doom Metal | Italy

Long-form sentimental black metal that advises you to find peace and joy amidst isolation, with an autumnal hue and riffs that absorb you; it may seem like you’ve heard Maera before. Indeed, much of their sophomore album rings familiar, but doom metal power makes A Caress Of Autumn For All The Lost more tangible and sticky.

–Colin Dempsey

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Following the critically acclaimed release of their sixth studio album, ‘Closer To The Sun‘ (review here), earlier this year, hard-rocking songsmiths Tyketto return with something special for the fans who have been with them every step of the way: ‘Closer To The Sun (Deluxe)‘. The collector’s edition is set for release on November 27th, via […]

The post Tyketto Release New Single ‘The Picture’ + Announce ‘Closer To The Sun (Deluxe)’ appeared first on ROCKPOSER DOT COM.

A great reemergence might be taking place. A few weeks ago, mercurial Deerhunter frontman Bradford Cox returned to the stage. At the Making Time ∞ fest in Philly, Cox played his first proper set in seven years — his first performance of any kind since a 2023 noise improvisation at a vintage market in Athens, Georgia. At Making Time ∞, Cox performed as Atlas Sound, and his show consisted entirely of new songs. Just yesterday, we learned that Cox will also play as Atlas Sound at next year’s Primavera Sound Festival. And today, we learn that Cox and his Deerhunter bandmate Lockett Pundt have been added to the already stacked lineup of next year’s Big Ears Festival in Knoxville.

The post Deerhunter’s Bradford Cox & Lockett Pundt Added To Big Ears 2027 appeared first on Stereogum.

Danny Elfman – The Masonic – San Francisco – October 3, 2026

The last time I saw Danny Elfman perform on stage was Oingo Boingo’s last ever concert on Halloween 31 years ago.  A lot had changed since then – that show featured a rather slight Danny, wearing a t-shirt, shorts, and bounding around the stage barefoot for over four hours.  Saturday night’s show featured a completely transformed/metamorphosed Danny – shirtless, fully covered in tattoos, and jacked – as if he’d spent the intervening decades weight training in a prison yard instead of writing the scores to some of Hollywood’s biggest movies.  His hair was now longer and chaotic, covering his eyes so that they only revealed their inner gleam when his head bent back to lean into a note.  Danny was in San Francisco to rock – the songs performed were harder than their original versions, the setlist was tailored to push his heaviest work, and he leaned hard into the macabre vibe of their lyrical content.

Danny Elfman

There was no opening band on Saturday, the second show in San Francisco, and the second to last stopover on Danny’s fall tour.  All eyes were on Danny, and despite a long history of crushing stage fright and anxiety, he pulled it off with aplomb.  In a recent interview with the New York Post about the current tour, Danny said, “My live shows are going to be a mishmash of things.  A collage that makes absolutely no sense being put together on the same stage. But there it is. That’s me.  My idea was to have nothing fit at all… For me, my world, it's all about contrast. I love the idea of like throwing fun, crazy, dark, fucked up shit up there and elements and styles that do not have a single uniform aesthetic to them.”  That thought describes this run of shows perfectly – yet despite hearing the 45-year-old Oingo Boingo classic “Only a Lad” played in the same set with the fan favorite “This is Halloween” from The Nightmare Before Christmas, it all seemed intentional, with one song flowing easily into the next regardless of their origin or release date.

The Masonic in San Francisco is a 3500-seat venue, but on this night not one of the seats was utilized.  Fans were there to rock and actively participate, and the staging was designed to help facilitate that.  The lighting was unique – the band wasn’t illuminated with any front lighting, but instead was lit from banks of lights on either side of the stage directed towards the center.  I first noticed this because Danny’s moving profile shadow appeared on the upper balcony on either side of the stage.  The side lights were complimented by spinning lights behind the drum riser that were in sync with lyrics during certain songs, pulsing on and off as Danny sang.  Last but not least was the screen at the back of the stage.  Most songs were accompanied by videos that were in perfect synchronicity with the music – a nightmarish job for either (or both) the video tech and drummer tasked with keeping perfect time, but percussion extraordinaire Josh Freese was more than up for the assignment.  The videos depicted disturbing and grotesque imagery for many of the tracks – none more so than 2020’s “Happy” and 2021’s “Kick Me”.

A favorite moment was watching the pure joy wash across the faces of lifelong fans in the audience as Danny donned a jacket similar to Jack Skellington before singing “This is Halloween” from The Nightmare Before Christmas.  Another came before “Monkeys on the Loose”, with its accompanying video – Danny asked “Do you like the monkeys?  You won’t like these monkeys – they’ll fuck you up!”, which was met with a roar from the crowd.  Almost every cellphone in the room went up when the first notes of “Dead Man’s Party” were played.  This is the song that got me into Oingo Boingo during the endless summer between my high school graduation and the start of college, and has always been something powerful in my life – capable of transporting me back to the important moments of my youth. 

Danny Elfman is a musical genius, floating effortlessly between film and television scores, alternative rock and industrial music, and writing music for symphonies to perform – most of this done with a wink to the listener to assure them that the frequent dark themes will eventually make way for the light…or not.  He has scored over 100 films (The Nightmare Before Christmas, Batman, Beetlejuice, Edward Scissorhands), and many iconic television themes including The Simpsons, as well as collaborating with musical artists as disparate as Trent Reznor and A$AP Rocky. 

He is used to working with the top musicians in the world, and his band on this night was a tour de force – Josh Freese (drums) and Robin Finck (guitar) from Nine Inch Nails, Matt McJunkins (bass) from A Perfect Circle, Nili Broshon (guitar) from Dethklok, with Dorothy Micklea (percussion) and Irene Kim (keyboards) rounding out the all-star group.  All were immensely talented and interesting visually, while playing their part in telling the decades-in-the-making story of these amazing songs – presented on this night in a fresh and new way.

• Danny Elfman – Vocals
• Nili Broshon – Guitar
• Robin Finck – Guitar
• Josh Freese – Drums
• Matt McJunkins – Bass
• Dorothy Micklea – Percussion
• Irene Kim – Keyboards

Setlist:

1) Sorry

2) Insects

3) Nothing to Fear (But Fear Itself)

4) Native Intelligence

5) Just Another Day

6) True

7) Sayonara

8) Happy

9) Upside Down

10) Ain't This the Life

11) On the Outside

12) This Is Halloween

13) The River of Life

14) Monkeys on the Loose

15) Dance With the Lemurs

16) Kick Me

17) Dead Man's Party

18) In My Head

19) Only a Lad

20) No One Lives Forever

Encore:

21) Who Do You Want to Be

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Echo & the Bunnymen formed in Liverpool in 1978 around singer Ian McCulloch, guitarist Will Sergeant, and bassist Les Pattinson, with drummer Pete de Freitas joining soon afterward. The band became one of the defining groups of British post-punk, combining dark atmosphere, psychedelic guitar textures, dramatic rhythm sections, and McCulloch’s distinctive baritone. Their early records quickly established a sound that could be brooding and cinematic without losing the sharpness of a rock band playing in real time. Crocodiles arrived in 1980 and was followed by Heaven Up Here, Porcupine, and Ocean Rain, a run that produced songs including “Rescue,” “A

The post Complete List Of Echo And The Bunnymen Songs From A to Z appeared first on ClassicRockHistory.com.

It feels like just yesterday that I was reviewing the Texas Headhunters’ self-titled debut album, and I was anticipating what would come next for the band. Well, my questions have been answered.

The three core members have remained together while touring, including dates with Samantha Fish, receiving widespread acclaim for the last album. More recently, they have been back in the studio recording their brand new album, Rise And Shine. It is set to be released on October 10th. Amazingly, as they did with their first album, they recorded this album in only five days.

Referred to by some as a blues-rock supergroup, the threesome of Ian Moore, Jesse Dayton, and Johnny Moeller each had their own careers when they formed Texas Headhunters. Each of them was also a product of the legendary Clifford Antone (Antone’s Blues Club in Austin, Texas), who provided guidance and influence to the trio.

Furthermore, all three are Texans and guitarists, and as a colorful saying about Texans goes, “this ain’t their first rodeo.” Ian Moore spent time in Joe Ely’s band in the early 1990s, the Ian Moore Band (his own group), and the Lossy Coils. Jesse Dayton was a member of Road Kings and Alamo Jets and did work on some Rob Zombie movie soundtracks. Johnny Moeller is a member of the Fabulous Thunderbirds.

There is one unarguable certainty shared between Moore, Dayton, and Moeller. Each is a superb musician, a guitarist to be specific, and each shines throughout this brand new release. They are also supported by a couple of other great musicians: Michael Archer on bass and Jay Moeller (Johnny’s brother) on drums.

One great way to grab a listener’s attention immediately is to kick off an album with a “banger” of a tune, and Texas Headhunters do exactly that on Rise And Shine with “Cut N Run.” It’s also a preview of the great stuff to come. This one is a rocker, and the guitar work here is excellent, as it is throughout this whole recording.

Dayton sings, “I gave you everything I could possibly give. Still I know you’ll be leaving me soon,” and “this ain’t no more fun, baby’s gonna cut and run.” When that kind of thing happens, there is really only about one thing to do: say, “Fare ye well my darling.” This tune was released as a follow-up to their first release, which I’ll talk about a little later.

With a slow, smoky, bluesy start, “I Did It Anyway” offers up some useful advice that goes like this: “They say never get your honey the same place you get your money, but I did it anyway. They say never buy a house with a woman that’s ready to move out, but I did it anyway.”

Don’t we all know folks who don’t listen to good advice? They’ve just got to find out for themselves. This one picks up the pace and keeps offering plenty of good common-sense advice about what we shouldn’t do. But too many times, we have to admit that we didn’t listen and end up saying, “I did it anyway.” It’s a lighthearted piece that most of us will identify with and laugh along with as we listen.

The seventh track on Rise And Shine is the title track, “Rise And Shine.” This cut features Moore, Dayton, and Moeller sharing the vocal contributions. I really love the hand clapping in this song with that boogie beat that the band has going on. “Don’t let that devil get you down in his hole. Just rise and shine.” The song warns us to stay away from that devil and not let him get us down.

“That’s The Kind Of Fool I’ll Be” is a slow, bluesy song that makes us ponder if love can really make you crazy. “So I’m crazy people say. But love can make you feel that way. And if it’s crazy to be in love, I ain’t been crazy long enough.” The song continues with, “and if you’re still here with me, that’s the kind of fool I’ll be.”

Has love ever made you crazy? If it has, then you’ll have no difficulty understanding what this song is all about.

I would also encourage you to check out the instrumental “Funky So N So,” which really highlights the outstanding musicianship of the members of Texas Headhunters.

Texas Headhunters have delivered another high-quality, excellently performed recording with Rise And Shine, a perfect follow-up to their first album release. If, for some reason, you missed that self-titled release, give it a listen in addition to checking this new one out.

As I always do, I would also suggest catching them live if you have a chance. Check their social media for dates. There are also live clips of the band on YouTube, along with music from both of their albums and check out our recent interview with the band.

The Review: 8.5/10

Can’t Miss Tracks

– Cut N Run
– I Did It Anyway
– Rise And Shine
– That’s The Kind Of Fool I’ll Be

The Big Hit

– Cut N Run

The post Texas Headhunters: Rise And Shine Review appeared first on Blues Rock Review.

It was not the first time that the British rock legends had been part of a controversy in the area. Continue reading…

Here are some of our favorite releases from the past month.

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BRAT – Manslayer | Prosthetic Records (September 25)

The sophomore LP from the “bimboviolence”—deathgrindy powerviolence with a female vocalist, basically—quartet outta NOLA is less an evolution of their sound than a refinement of it: sharper songwriting, better and more confident musicianship, cleaner production, and more violence. In other words, Manslayer is the band’s second album but their true debut. The fantastically-named Liz Selfish emerges as the band’s proper lyricist, seething through revenge fantasies—e.g., “Castrated and forced to choke on the member / Dissembowled with dulled-down hedge clippers”—with the title track’s refrain acting as a makeshift thesis: “Hell hath no fury / Like a woman scorned / Hell hath no fury / Watch your back / You’ve been forewarned.” As the cover suggests, this band, and especially this record, will give you a fucking good kicking.

–Steve Lampiris

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Vanessa Funke – Aura | Liminal Dread Productions (September 4)

Vanessa Funke’s fifth album, Aura, brings melodic death metal together with ’80s electronic influences, and shows how much she can achieve on her own. Funke wrote and performed nearly everything herself, and her versatility is one of the record’s greatest strengths. “Last Dawn” opens with melodic guitar and a guest solo from Alicia Cordisco before “Fading Memory” pushes into faster, heavier territory, pairing melodic leads with Funke’s harsh vocals. Some of Aura’s most memorable moments come when Funke turns toward her own experiences. “Coherence” and “Infinite Skies” address her life as a trans woman, with the latter fighting through frustration and self-doubt to find the freedom in self-expression. That personal writing gives the melodies an added emotional pull. That’s all the more apparent on the closing track, “Into the Night,” where fear and defiance meet via keyboards deepening the riffs. It’s one of Aura‘s most direct tracks, showcasing both Funke’s love of Insomnium and the record’s profundity. 

–Lily O’Delia

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Sigh – Goh-Ka | Peaceville Records (September 4)

Sigh has never been constrained by boundaries. On Goh-Ka, they venturing further into prog and heavy psych rock territory than ever before while adding heavy elements from Japanese folk music. The result is a strange brew, alternating moments of beauty and melody with the unhinged black metal insanity that Sigh is mostly known for. The multi-part suite “Kuso-shi,” which spans four tracks over the course of the album, is probably their most progressive work yet. The band uses a wide range of traditional Japanese instruments, plus a Mellotron, to broaden their sonic horizon. Other tracks, such as “Anzenshokon,” showcase Sigh’s more psychedelic side, whereas “Unputenpu” is a more bouncy rocker. Odd-metered rhythms are scattered enough throughout the tracks to keep you on your toes. Goh-Ka is just as weird and theatrical as you could want a Sigh release. 

–Kevin Zecchel

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Maunah – Hjarta | Prophecy Productions (September 18)

Melodic Scandinavian doom is at the heart of Maunah’s Hjarta, with Nordic folk and modern metal mixed in. On their debut, Maunah use no lexical language. The voice follows the sounds and rhythms of human speech, allowing feeling to come through without conventional words. Against heavy guitars and overtone flute, the vocals become inseparable from the music. Note how “Heimaland” melds doom riffs with more melodic passages, the vocals rising and falling with the song’s changing intensity.

That approach fits an album connected to nature and physical sensation. Maunah describe their music through images of leaves underfoot, cold forest floors, sunlight on the face, and air filling the lungs. Hjarta carries that earthy quality throughout. Repeated melodies become hypnotic, and the contrast between thick guitars, flute, and wordless vocals gives the songs an unusual atmosphere. There is something instinctive about listening to Hjarta: you don’t need to understand a language to understand what Koldsen-Zederkof is communicating.

–Lily O’Delia

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The Ocean – Solaris | Pelagic Records (September 25)

After revamping their lineup, The Ocean has returned refreshed and ready to conquer the world. The change clearly did the band some good, because Solaris is their best album in some time and possibly one of their best overall. Both new vocalists make an impressive mark. Lane Oshi (Elizabeth Colour Wheel) shows fantastic emotional depth, crooning, screaming, and wailing as needed. Meanwhile, the other new blood, Nrekh, is a deeply charismatic vocalist with an impressive emotional range in his own right. Drummer Jordi Farré is also a standout, providing dynamic and powerful rhythms that anchor the music while the other musicians soar above a cosmic ocean. Solaris strikes a balance between the light and shade. The beginning of the album is wreathed in shadow, the middle is an uplifting and contemplative ride, and then it closes out by retreating to the dark, quiet spaces, high above the world.

–Kevin Zecchel

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Judicator – The Elector | High Roller Records (September 4)

Judicator’s The Elector is only three songs long, two re-recordings and a cover, but there is plenty happening in those songs. Most importantly, founding guitarist Alicia Cordisco is back with the band, and hearing her play these songs again gives the EP a real sense of excitement. The title track is fast, melodic power metal with John Yelland’s vocals carrying the story of a leader trying to do right while facing judgment from every direction. Cordisco’s guitar solo is one of the highlights, coming in with plenty of speed without losing the melody. “Gloria” gets a new recording too, with rapid rhythmic guitars and a chorus that makes it easy to understand why Judicator wanted to revisit the song. Then they end with a cover of ABBA’s “Dancing Queen.” Francisco Javier Pérez turns it into a metal song without losing the melody that made the original so infectious. The Elector feels like a celebration of Judicator’s history and a creative and fun way to welcome Cordisco back.  

–Lily O’Delia

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Posted on October 6th 2026, 1:36pm