Thrash metal titans ANTHRAX have landed in Australia for four huge shows. Bold and uncompromising, ANTHRAX stands as one of the legendary Big Four of thrash, a band whose breakneck riffs and mosh-pit anthems have shaped heavy music for over four decades. On their 2026 Australian tour, ANTHRAX will ignite stages in Brisbane, Adelaide, Melbourne […]Blog
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Ready To Ignite The Pit Down Under With SCOTT IAN From ANTHRAX
Thrash metal titans ANTHRAX have landed in Australia for four huge shows. Bold and uncompromising, ANTHRAX stands as one of the legendary Big Four of thrash, a band whose breakneck riffs and mosh-pit anthems have shaped heavy music for over four decades. On their 2026 Australian tour, ANTHRAX will ignite stages in Brisbane, Adelaide, Melbourne […] -
SEPULTURA’s Upcoming Rock In Rio Concert Will Only Feature Songs From The DERRICK GREEN-Era
Sepultura have confirmed that their 09/05 set at Rock In Rio in Rio de Janeiro will be built entirely around the Derrick Green era — meaning none of the material from the band’s classic Max Cavalera lineup will make the cut. Fan favourites like “Roots Bloody Roots”, “Territory”, and “Refuse/Resist” won’t be heard that night.
Cleveland native Derrick Green made the move from fronting Ohio hardcore outfit Outface to joining Sepultura in 1997, relocating to São Paulo for nearly two decades before eventually settling in Los Angeles. His tenure now spans well over half the band’s existence — yet the shadow of the Max era has never fully lifted, in part because Roots and Chaos A.D. remain Sepultura‘s commercial high-water marks, both certified gold in the U.S.
Green has never hidden his feelings about the constant backward glances. In a 01/2020 conversation with the Scars And Guitars podcast, he addressed the ongoing reunion speculation head-on (translated by Blabbermouth): “I think for some people, it’s hard for them to really move on. It’s hard for people to change in general because they’re fearful of change, because of the unexpected when changing. It’s hard for certain people, but that’s okay. It’s not where we’re at musically, and thank god that we were able to move forward and not only rely on the past. I think it’s natural for certain people that they gravitate to something that they’ve known from the past, and maybe that’s just where they like to have their heads.”
He continued: “I never wanted to be in that position, just because I’m an artist and, for me, it’s important to really explore and to evolve, and change is actually necessary. And that’s something that’s happening in all of our lives, so I accept it and go with it and live within the moments that are happening now.”
He added, “I don’t worry too much about other people and them being trapped in the past. It’s just something I don’t wanna be a part of or be near that. [Laughs]”
The Rock In Rio show arrives in the middle of Sepultura‘s ongoing farewell run. The tour launched 03/01/2024 at Arena Hall in Belo Horizonte — a sold-out night that also marked the debut of drummer Greyson Nekrutman, who came aboard after Eloy Casagrande departed to join Slipknot. The band is currently recording 40 songs across 40 cities for a live compilation, with the final North American leg — featuring Exodus, Biohazard, and Tribal Gaze — kicking off 04/29 in Montclair, New Jersey, and wrapping 05/29 at The Wiltern in Los Angeles.
The post SEPULTURA’s Upcoming Rock In Rio Concert Will Only Feature Songs From The DERRICK GREEN-Era appeared first on Sonic Perspectives.
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Triumph Of The Spirit With TYLER BEAM From THE LAST TEN SECONDS OF LIFE
The Last Ten Seconds of Life were forged in 2010. Within a year, they were touring regularly and had self-released their debut album, Know Your Exits. By 2013, they unleashed their second album, Invivo [Exvivo], the prolific act would go on to release five more full lengths, each earning Billboard chart placements and reaping critical […] -
A View From The Back Of The Room: Miss May I & Crystal Lake (Jack Norris)
Miss May I, Crystal Lake, Great American Ghost & Diesect, Club Academy, Manchester, 20.03.26
Heading down the steps into the dungeon that is Manchester’s Club Academy, you could feel it straight away. That buzz before a big night. I’ve been seeing Miss May I live since 2014 when they supported Halestorm at the Apollo, so being here now, camera in hand reviewing them, feels a bit surreal. Safe to say, I’m right in my element and more than ready for it.
Kicking things off were Australia’s Diesect, and fair play to them, They were already dealing with a rough situation. With their drummer out due to illness, stepping in at the last minute is Davier Perez from Great American Ghost, who had about an hour to learn the set. Honestly, you wouldn’t have known. He absolutely smashed it. Tight, heavy, no mistakes—just pure quality. The set might’ve been shorter, but it still hit hard and did exactly what it needed to do. Get the room warmed up for what was coming.
Next up, Great American Ghost took things up a level. Heavier, louder, and way more chaotic. The crowd started moving properly here—pits opening up, bodies flying about. Ethan Harrison was constantly at the barrier, getting right in people’s faces, pushing for more energy, more movement. It made the whole thing feel really close and intense. By the last track, he was telling the crowd to spin the room, and when that breakdown drops with him stood in the middle of the pit, it’s absolute carnage. Huge props to Davier Perez for playing back to back sets
Then Crystal Lake came in and just blew the place wide open. From the first second, it was chaos. The energy was ridiculous—non-stop movement, first crowd surfers of the night, and it only builds from there. Open Water turns into a sea of bodies as they call for as many surfers as possible, and the crowd delivers. Watch Me Burn is another standout. People screaming every word back, pits going off, just pure madness. There was even a moment where the lights drop out and it’s just camera flashes lighting the room. It looked insane and feels even better at the moment. Easily one of those sets you won’t forget.
Finally, Miss May I themselves hit the stage, and they didn’t miss. Straight into it. Huge energy, massive sound, and the crowd was with them the whole way. Levi Benton was on top form, even grabbing a hat from someone in the crowd, sticking it on, and giving them a fist bump—little things like that just add to the whole vibe of the night. The setlist is stacked too, with tracks like Relentless Chaos and Hey Mister going off big time.
Everything about their set just clicks. Vocals were spot on across the board, the lighting looked incredible, and the pits never stopped. It was just constant energy from start to finish. Having seen them so many times over the years, I can honestly say this is the best I’ve seen them. Which says a lot.
Loud, chaotic, and exactly what you want from a metal show. Every band brought it, and Miss May I proved they’re still at the top of their game.
The gig of the year so far!! 10/10 -
Album Review: Rivers Ablaze – Inexternal Dread
Album Review: Rivers Ablaze – Inexternal Dread
Reviewed by Eric Clifford
It is foretold in scriptures ancient even by the standards of time itself that once a year there will come a black metal album that I will fall helplessly in love with. When god said “let there be light!”, lo! There the manuscript lay illuminated; “bald white guy, one a year, trust me bro” in the immaculate cursive of the divine. And so it came to pass – last year I had the pleasure of reviewing Ash Magick’s “Rituals of Anathematic East”, a tour-de-force of unsurpassable blackened genius that effortlessly wrestled it’s way into my top five not just of 2025, but possibly of black metal albums ever. Yet the lone area in which it left any room for genuine critique was that it really didn’t do anything new, so much as do the established black metal blueprint absolutely flawlessly. And I’m not full of myself enough to think that Rivers Ablaze will have read that review and suddenly had their energy bills double when the biggest lightbulb of all time flared into life above their heads; but nonetheless, it does strike me as a whimsical coincidence that here comes a black metal release that has completely enraptured me not through mastery of the fundamentals, but by seeing where it can step beyond them.
This album is superlative. A beautiful, strange animal as sublimely performed as it is composed. Heart stopping, ethereal splendour such as the wondrous melodicism of “Carrion Throne” and it’s closing minutes paired with the ravenous tech-thrash edge of “Lunar Perception”, it’s riffs like a giant squid with machetes for arms flying at you. It resists categorisation except in the most general of terms; yes, it feels more a black metal release than anything else, but the progressive slant to it, the way it works to confound expectations yet somehow retain an identity of it’s own is a breed of sleight of hand that has seen people burned as witches in the past. And yet, there’s taste to all of this too. At least part of it’s strength lies in knowing when best to saunter through the noodly suburbs of prog town, and when to play the favourites. And sometimes, absolutely nothing but neck-spraining black fucking metal will do – which is exactly why 2.37 on “Enemy Within” hits like a like a rabid gorilla with the best Darkthrone riff that Darkthrone never wrote. But pause a moment; there’s more afoot than mere spinal trauma here. Listen to the drums, the sheer amount and variety of fills making sure that each go around only puts more heft into the swing. The double time on the kicks on the last iteration. The band put their entire arse into wringing the absolute most out of each and every moment, nothing is permitted to remain merely “good enough” to satisfy requirements.
I’ve called it beautiful already, but it bears repeating that Rivers Ablaze have penned music of startling grace and poise here. The thought kept recurring; the combination of bullish power, delicacy, forward-thinking progressive instincts, and sheer instrumental prowess prompting it perhaps. But I felt as though if Mastodon were a black metal band, they might sound like this. The same band that churn seas into boiling riots with “Blood and Thunder” or “Spectrelight” and yet also split hearts asunder with the emotional weight of “Ember City”, “More Than I Could Chew” or “Oblivion”. That same diverse power seems invested here, too. “Silent Orbit” is one of the more conventional tracks on offer, but it’s chord progressions are no less magical for it, the harmonies of it’s lead work at 1.16, the forlorn timbre of it’s clean vocals, it’s course and refrain throughout, the euphoric closure as it soars out of earshot on pinions of air-light tremolo. It’s so immersive and instantly catchy, but perches in imperturbable comfort alongside more “out there” flights of experimentation like “A Mass Grave for Trauma” and the curious, irregular timing of it’s riffs and the suppurating wounds through which some death metal and sludge spills to pollute Eden. Yet for all it’s exploratory ranging, the album never loses itself in masturbatory experimentation for it’s own sake. It’s one thing to strike out in search of brave new frontiers in which to pillage, but you can’t just dump a billion different things in a blender and hope for the best. You still have to write actual songs. Beginning, middle, end, parts that make sense together or serve a rational purpose beyond “Haha! There’s an accordion in my djent band now! This song will last for forty two seconds and then we’re doing a haka while making those hand-fart noises! Fear our refusal to stay within coherent boundaries! This song is INTENTIONALLY unlistenable and therefore immune to criticism or projectile vomiting!”. I once saw an interview with some random black metal band saying they had taken “Fucking Hostile” by Pantera and “tilled it like the waiting earth” by adding a ten minute flute section, and I just couldn’t think of anything fucking worse if I tried. There’s a knack to writing more progressive music, is the point. And Rivers Ablaze, as you may have guessed by now, exemplify that knack with an almost arrogant proficiency.
I feel on the one hand obliged to say something like “it’s not perfect” then trawl through the full album to see what wriggling inadequacies I can catch; but I just…don’t really want to. I’m getting too much joy out of it to want to waste a word count searching for morsels to skewer when frankly nothing stood out to me as bad in the first place. Certainly not when I assess this against the overabundance of positive things I have to talk about. It would feel pedantic, pathetic almost, as though I was scowling at the Sistine chapel because it didn’t remember my birthday. So pardon my somewhat abject abdication of my duties, it’s just that every time I reach for a reprimand I recall the bit at 1.43 in “Mirror Trap” where the bass note drops low and underlines the wandering leads with this epochal, gorgeous perfection. I recall the closing of my current frontrunner for song of the year “Carrion Throne”, the way it builds and crescendos, the riff clambering ever higher to this pure enlightened realm of utmost, hair-raising sublimity. The nanometer precision of performance of these complex unfolding tracks that never get lost in inscrutable mazes of density nor feel, for the minutest fraction of an instant, aimless or meandering. The production that allows each instrument space to shine, never drowning one beneath another. If all things have to them some crack or imperfection then fine, so too does “Inexternal Dread”. But what failings it does have are obscured so entirely, so comprehensively, so utterly and completely by the mountainous quantity of things that the band does right that spin after spin flew by and not one flaw revealed itself to me.
It’s far too early to call these things, but if this doesn’t make it on my top five come year end I will be: A – deeply surprised and B – unusually lucky to have heard 5 albums stronger than it. This is fucking fantastic, and whether black metal is your cup of tea or not you have to listen it at least once. So much about it ticks every box I have and some others that I wasn’t aware were on the checklist. I implore you, whatever you’re doing, putting the kids to bed, brain surgery, lockpicking bank vaults, put that shit down and cram this into your ears with all possible alacrity.
The post Album Review: Rivers Ablaze – Inexternal Dread appeared first on The Razor's Edge.
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Binary Order Unleashes New Single False Memories Ahead of Concept Album The Same Dream – @thebeast
FOR IMMEDIATE RELEASE
Binary Order Unleashes New Single False Memories Ahead of Concept Album The Same Dream
Listen and Pre-Save: https://distrokid.com/hyperfollow/binaryorder/false-memories
April 2, 2026 – The electronic frontier just got darker. Binary Order returns with their latest single, False Memories , a striking introduction to the band’s upcoming cyberpunk concept album, The Same Dream . Fans of HEALTH, Nine Inch Nails, Lorn, Celldweller, Combichrist, and Pertubator will find themselves drawn into a world where identity collapses, isolation reigns, and electronic soundscapes push the boundaries of human experience.
Created by London-based solo musician Benjamin Blank , Binary Order was conceived as a way to combine a love for multiple genres. Fusing the intensity of industrial, the haunting atmosphere of ambient soundscapes, and the piercing electronics of IDM, Binary Order delivers epic cyberpunk odysseys that soundtrack our descent into a hell of our own making—a hell in which we become ever more disconnected from ourselves and each other, succumbing to the unrelenting fear that mankind is too far gone to stop the horrors we have set in motion. This is the sound of Binary Order.
“With the upcoming album The Same Dream I wanted to use it to fully explore the extent of my love for electronics,” says Blank. “It’s an album that spans across multiple different genres of electronic music. So it was hard to decide on a first single, but ultimately I felt False Memories was only right to be the introduction to my new sound. It touches upon concepts of identity collapse and isolation that permeate the entire record.”
False Memories is defined by soaring cybernetic synths, pounding industrial rhythms, and anthemic choruses that pull listeners into a haunting, immersive atmosphere. This track marks a new era for Binary Order, setting the tone for an album that dives deep into unimaginable desolation while exploring the full spectrum of modern electronic music.
The single was produced, mixed, and mastered by Benjamin Blank , capturing the intensity and precision that fans have come to expect from Binary Order.
Listen and Pre-Save: https://distrokid.com/hyperfollow/binaryorder/false-memories
Media Contact: zach@metaldevastationradio.com
Connect with Binary Order:
https://binary-order.com/
https://www.facebook.com/binaryorder
https://www.instagram.com/binaryorder/
https://x.com/BinaryOrder
https://www.youtube.com/@BinaryOrder
https://binaryorder.bandcamp.com/
https://open.spotify.com/artist/7jpOPAjTA299UduJmBmtg7
https://music.apple.com/fr/artist/binary-order/1328917875
Contact: Benjamin Blank binaryorder@hotmail.com -
Billiam – “Asbestos & Me” & “Not The Boss”
The prolific Australian DIY garage rocker Billiam is back today with an anxiously revved-up new single. “Asbestos & Me” is billed as the first track from the forthcoming Billiam album Fang The Sniper, which will someday be out via Erste Theke Tontraeger and BDK Records. In the meantime, the song is the A-side of a…
The post Billiam – “Asbestos & Me” & “Not The Boss” appeared first on Stereogum.
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Deftones’ ‘Gore’ Might Be Their Most Misunderstood Album
Is Deftones’ Gore Actually Underrated?
Yes—while it doesn’t reach the heights of Koi No Yokan, Gore delivers atmosphere, emotion, and risk-taking that has aged far better than its reputation suggests.
TL;DR:
Gore is often ranked last in Deftones’ catalog, but that says more about the strength of their discography than the album itself. Tracks like “Hearts/Wires,” “Phantom Bride,” “Prayers/Triangles,” and “Rubicon” show a more fragile, experimental side that deserves a second look.
Fans can catch Deftones live in 2026 by gong to this location.
This Album Took Time To Make Sense
I am a massive Deftones fan and have spent years going back through the band’s catalog, and Gore is the one that never fully clicked—until it finally did.
When it dropped, the reaction felt immediate and harsh. A lot of people didn’t know what to make of it, and honestly, that confusion made sense.
It didn’t sound like what people expected.
But listening to it now, removed from that initial moment, it lands differently.
Where Gore Actually Sits In The Deftones Catalog
Let’s be clear—it still ranks near the bottom.
We’ve got it there too in our Deftones albums ranked breakdown.
But “last” in this catalog isn’t the same as “bad.” It just means it doesn’t hit the same level as White Pony, Diamond Eyes, or Koi No Yokan.
And that’s an important distinction.
Because Gore isn’t a failure—it’s just the album that refused to follow the script.
Loaded Radio Recommends – 13 Bands Deftones Fans Will Become Obsessed With
The Atmosphere Holds Up Better Than People Remember
“Hearts/Wires” Feels Like A Slow Burn That Pays Off
This is where Gore really reveals itself.
“Hearts/Wires” doesn’t try to grab you immediately. It builds tension, lets the space breathe, and pulls you in gradually.
There’s an emotional weight here that hits harder over time.
It’s not a single—it’s a mood.
“Prayers/Triangles” Makes More Sense Now Than It Did Then
As a lead single, this threw people off.
It didn’t explode. It didn’t feel immediate.
But revisiting it now, it fits the album perfectly—groove-driven, understated, and more about feel than impact.
“Phantom Bride” Bridges Old And New Deftones
This is one of the clearest standouts.
It carries that classic Deftones weight while still sitting comfortably in the album’s more atmospheric direction.
And with Jerry Cantrell contributing, it adds another layer that longtime fans immediately connect with.
“Rubicon” Is The Hidden Closer People Overlooked
This is the one that tends to get missed.
“Rubicon” feels bigger, more urgent, and more direct than much of the album—almost like a reminder of what the band can still unleash when they want to.
If you revisit Gore, this is the track that might change your opinion.
Check This Out – Deftones White Pony: The Volatile True Story Behind the Masterpiece That Killed Nu-Metal
The Production Criticism Is Fair—But Not Everything
This is where most of the pushback comes from.
The production feels thinner compared to other Deftones records. Less punch, less depth in the low end.
And yeah—you notice it.
But it also strips things back in a way that puts more focus on the songwriting itself.
There’s nowhere to hide here.
And that’s part of why some of these tracks have aged better than expected.
It Followed The Wrong Album
This might be the biggest factor.
If Gore had followed a weaker release, the reaction probably looks completely different.
But it didn’t.
It followed Koi No Yokan—arguably their most complete album.
That set expectations at a level that was almost impossible to match.
So instead of being judged on what it is, Gore got judged on what it wasn’t.
So What Are People Missing?
They’re missing the risk.
They’re missing the atmosphere.
And they’re missing the fact that not every Deftones album is supposed to hit the same way.
Gore doesn’t demand your attention—it grows on you over time.
And when it does, it sticks.
So here’s the real question—is Gore actually their weakest album, or just the one that never fit where it landed?
Loaded Radio Recommends – The Sonic Alchemy of Deftones: 13 Essential Tracks to Transform Your Playlist
FAQ
Is Gore The Worst Deftones Album?
It’s often ranked last, but that reflects the strength of their catalog more than the quality of the album itself.
What Are The Best Songs On Gore?
“Hearts/Wires,” “Phantom Bride,” “Prayers/Triangles,” and “Rubicon” are widely considered standout tracks.
Why Was Gore Criticized?
Primarily due to its production style and the expectations following Koi No Yokan.
Has Gore Aged Well?
Yes—many listeners have revisited it and found a deeper appreciation for its atmosphere and experimentation.
Band Bio: Deftones
Deftones are an alternative metal band formed in Sacramento, California in 1988. Known for blending heavy riffs with atmospheric textures and emotional depth, they’ve remained one of the most influential and consistently evolving bands in modern heavy music.
The post Deftones’ ‘Gore’ Might Be Their Most Misunderstood Album appeared first on Loaded Radio.
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Kacey Musgraves, Dressed As Ronnie Dunn, Sings A Surprise Brooks & Dunn Cover In Nashville
Right now, Kacey Musgraves in in the early stages of what’s looking like a very unserious album rollout. This spring, Musgraves will release her new LP Middle Of Nowhere, which features appearances from country greats like Willie Nelson and Miranda Lambert. It certainly appears to be a more directly country record that Musgraves’ last few, though it looks like she’s doing the campiest version of the genre; the horny and frustrated single “Dry Spell” came out a couple of weeks ago. Over the weekend, Musgraves took campy country to its logical extreme, dressing in drag to give a surprise Brooks & Dunn tribute at a Nashville bar.
The post Kacey Musgraves, Dressed As Ronnie Dunn, Sings A Surprise Brooks & Dunn Cover In Nashville appeared first on Stereogum.
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GAEREA – LOSS
(Andy Synn attempts to separate fact from fiction when it comes to the new album from Gaerea) A lot of people are probably telling you a lot of different things about Gaerea at the moment, running the gamut from pre-emptively calling Loss a total failure for “abandoning their Black Metal roots” to claiming that it’s […]
The post GAEREA – LOSS appeared first on NO CLEAN SINGING.