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Live Nation Brasil has announced that Sepultura‘s farewell concert, set for Nov. 7, 2026 in São Paulo, Brazil, is switching venues. The show moves from Mercado Livre Arena Pacaembu, a roughly 26,000-capacity stadium, down to the Suhai Music Hall, which seats just over 9,000. Support slots from Krisiun, Sacred Reich and Metal Allegiance are unaffected.

Tickets already purchased for the stadium date will carry over to the new venue, and anyone who can’t make the switch can request a refund.

The original venue carried some baggage: formerly known simply as Pacaembu, the stadium reopened on Jan. 25, 2025, timed to São Paulo’s anniversary, and came back as Mercado Livre Arena Pacaembu with a trimmed capacity of 26,000 and its famous “Tobogã” section torn out entirely. The renovation was meant to modernize the site, adding a hotel and making the complex more workable for events outside of sports.

That stadium wasn’t picked at random — it’s been tied to Sepultura since the early 1990s, most notably through the legendary show the band played at Praça Charles Miller, right outside its gates, a gig that helped cement the band’s standing in Brazil.

This isn’t being billed as a simple goodbye show. Organizers are framing it as a full-blown celebration of Sepultura‘s history, pulling in different eras, generations and collaborators from across the band’s 40-year run — a tribute to both the band and to Brazilian heavy music’s reach worldwide.

Metal Allegiance is bringing serious firepower to the bill, with a lineup that includes Mike Portnoy of Dream Theater; Alex Skolnick and Chuck Billy of Testament; Phil Demmel, formerly of Machine Head; Troy Sanders of Mastodon; and bassist and founder Mark Menghi.

Also confirmed are Krisiun, widely regarded as one of the best death metal bands on the planet, and American thrash outfit Sacred Reich.

A handful of musicians tied to Sepultura‘s past are expected to show up too, including Jean Dolabella and Jairo Guedz — the latter having played guitar in the band before Andreas Kisser took over that role.

Sepultura formed in Belo Horizonte back in 1984 and went on to become the most globally recognized Brazilian rock band ever, reshaping what heavy metal could sound like along the way. Albums like Beneath the Remains, Arise, Chaos A.D. and Roots left a mark on entire generations and paved the way for Brazilian metal on the world stage.

Over the decades, the band played nearly every major festival stage that matters, from Rock in Rio and Lollapalooza to Wacken Open Air, Hellfest and Download — a résumé that puts it firmly in metal’s history books.

Sepultura‘s farewell tour kicked off on March 1, 2024 at Arena Hall in Belo Horizonte, Brazil, with a sold-out crowd on hand for the live debut of new drummer Greyson Nekrutman, previously of Suicidal Tendencies.

The North American leg of that farewell run, billed as the “Celebrating Life Through Death” tour, brought out thrash veterans Exodus, hardcore stalwarts Biohazard , and up-and-comers Tribal Gaze as support. It opened April 29 in Montclair, New Jersey, worked its way through cities across the U.S. and Canada, and wrapped May 29 at The Wiltern in Los Angeles.

The post SEPULTURA Moves Farewell Show To Smaller Venue In Brazil appeared first on Sonic Perspectives.

Emerging at the end of rap’s mixtape era and thriving at the dawn of streaming, the swaggy, triplet-happy Atlanta rap trio Migos built up one of the most appealing catalogs of any 2010s rap act: lacing our playlists with heater after heater, topping the charts with “Bad And Boujee,” and, with 2017’s Culture, delivering a classic album. That legendary run eventually petered out. The various members pursued their solo careers. And then, seemingly, the Migos project came to an end with Takeoff’s death in November 2022.

The post Quavo Says He And Offset Are Planning One Last Migos Album And Tour appeared first on Stereogum.

It’s well-known that late Motörhead legend Lemmy Kilmister was fond of an alcoholic tipple, and was a generous host when inviting fans, friends, and peers to join him for a celebratory drink.

But as Ricky Warwick, frontman of The Almighty and Black Star Riders, and a solo artist in his own right, recalls in the new issue of Classic Rock magazine, trying to keep pace with the indomitable rock ‘n’ roll hero could be a challenging, and indeed potentially hazardous, pursuit.

When The Almighty first burst onto the UK music scene at the tail end of the 1980s, Ricky Warwick made no secret of the fact that Motörhead were one of the band’s key influences, and that Lemmy was one of his heroes. As it turned out, Lemmy was a fan of The Almighty too.

“When we started coming to London we’d bump into Lemmy in places where he hung out, like the St. Moritz club [in Soho],” Warwick recalls. “He was brilliant with me straight off the bat, very friendly, very funny, and he always offered loads of advice.”

In 1991, The Almighty were offered the opportunity to support Motörhead on their 1916 album tour, which Warwick recalls being “huge” for his band. Ahead of that tour, both Motörhead and The Almighty were booked play a music conference in Los Angeles called the Foundations Forum, and Lemmy invited Warwick to hang out whenever he got to LA.

“So we arrived at the hotel,” Warwick tells Classic Rock, “and Lemmy had left a note for me, saying: ‘I’m in room blah blah blah, come up.’ It’s, like, three in the afternoon, and I’m jet-lagged to fuck, but I knock on this door, and there’s a full-on party going on.

“Through the smoke I see Lemmy in his denim cut-off, his tight denim shorts and a cowboy hat. They’d just finished mixing 1916, so he sat me down, racked me out the biggest fucking tramline of whatever the fuck it was, poured me a pint of Jack Daniel’s and Coke, put headphones on me, and goes: ‘Listen to this’.”

“I’m buzzing, I’ve got the new Motörhead blasting, and Lemmy keeps topping up my glass. I’m trying to be cool, but as it’s coming to the end of the album, the room is spinning, and I’m thinking, Fuck, I’m in a bad way here, this isn’t good.”

What happened next makes for painful reading, even if Warwick is laughing as he shares the memory.

“So I get up to tell Lemmy what I think of the album,” he continues, “and my legs just go, I fall flat on my face on the floor, the pint glass shatters and cuts my fucking eyebrow when I land on it, and I throw up at the same time.

“So I’m fucking lying there in a pool of blood, and vomit, and glass, and snot, and then I feel this acrid breath close to my face, and it’s Lemmy going, ‘Warwick, you’re a fucking lightweight, you’ll never make it’.”

Happily, losing face in front of Lemmy didn’t ruin Warwick’s friendship with the great man.

“We did the 1916 tour, and we couldn’t have been treated better,” he recalls. “Lemmy and all the guys in Motörhead were just fantastic, and I miss them a lot.”

You can read the interview in full in the new issue of Classic Rock.

Saosin releases explosive new single, ‘Just Be Honest’ was originally published on HM Magazine by Nao Glover.

Saosin continues to assert themselves as one of the most dominant voices in today’s rock scene with their latest single “Just Be Honest.” Born out of betrayal and a desire for closure, “Just Be Honest” turns that pain into power with brooding melodies and a crushing performance from vocalist Cove Reber. Directed by the band’s bassist Chris Sorenson, […]

Saosin releases explosive new single, ‘Just Be Honest’ was originally published on HM Magazine by Nao Glover.

Mastodon's members have denied allegations of ill intent against them and plan to 'vigorously defend' themselves in the matter. Continue reading…

A sophomore album from the death pop band is also in the works.

The post High Parasite (Ex-My Dying Bride, Etc.) Debut “The Screams That Come” appeared first on Theprp.com.

Today, High Parasite the UK outfit fronted by Aaron Stainthorpe of My Dying Bride and more recently Towards The Sinister, proudly release a new stand-alone single, “The Screams That Come,” out now via Spinefarm alongside a visualizer.

Produced by Paradise Lost’s Gregor Mackintosh and mixed by Lawrence Mackrory (Meshuggah, Katatonia, etc.), the track aligns with High Parasite’s mainstage performance at London Metalfest 2026; the band will appear at the Electric Ballroom in Camden on a bill headlined by Swedish Doom legends Candlemass.

High Parasite will also be visiting Raven Records in Camden, a short walk from the Ballroom, for a signing session at 7.30 pm.

High Parasite shares: “We’ve coined the term ‘Death Pop’ to define our music; we definitely have a strong affinity with all things gothic and dark, but at the same time we’re collectively drawn to strong hooks and melodies, to choruses that stick in the mind. I guess we walk a shadowy, sometimes twisted path between those two worlds; you can hear it on ‘The Screams That Come,’ and even more on the second album. It’s like the vampire’s smile: seemingly welcoming, at least at a distance, but boy, those teeth are razor sharp!”

Since releasing Forever We Burn, their debut album, in September 2024, the five-piece have spent a lot of time out on the road in both the UK & Europe, guesting on major tours (Cradle of Filth, Paradise Lost), appearing at festivals (Bloodstock, Rockstadt, Brutal Assault, Eindhoven Metal Meeting, Furiosfest and many more) and headlining shows of their own.

A Halloween headliner has recently been confirmed for October 31st at the Albany Arcade in Halifax; which is likely to be the last High Parasite live show of 2026.

In between touring, the band has spent time in the studio working on album number two, scheduled for release early next year. More details and music soon.

High Parasite are:

Aaron Stainthorpe / Vocals
Tombs / Bass
Sam Hill / Rhythm Guitar
Jonny Hunter / Lead Guitar
Dan Brown / Drums

The post HIGH PARASITE, Featuring AARON STAINTHORPE of MY DYING BRIDE, Launches New Single “The Screams That Come” appeared first on Sonic Perspectives.

All four of their records are headed to wax.

The post Engine Down Planning Vinyl Catalog Reissues, Seeking Fan Content appeared first on Theprp.com.

Bleecker Street‘s event-cinema arm, Crosswalk, has picked up North American rights to the first fully authorized Def Leppard documentary, Long Live Def Leppard. The film digs into the band’s whole arc, from its scrappy U.K. roots to the worldwide fanbase it still commands, and is set to hit theaters in early 2027.

Director Jeff Feuerzeig (The Devil and Daniel Johnston, Author: The JT LeRoy Story) helmed the project and produced it alongside Alice Rhodes and Sam Bridger for VICE Studios, Nicholas Ferrall and Jeanne Elfant Festaof White Horse Pictures, Danny Gabai of The Searchers Documentary Films, and Brian T. Nugent of Sobey Road Entertainment.

Def Leppard has moved more than 110 million albums, holds two diamond certifications in the U.S., and landed in the Rock and Roll Hall of Fame — credentials that back up a live show the band is still leaning on hard. Made with the band’s full cooperation, Long Live Def Leppard promises previously unseen footage and close-up access to its members.

The band’s story starts in working-class Sheffield and runs through the breakout success of Pyromania and Hysteria before hitting two brutal setbacks: drummer Rick Allen losing an arm in a car accident, and the death of guitarist Steve Clark, whose playing still gets him ranked among rock’s great guitarists. Def Leppard pushed through both and kept building, and its staying power shows in a touring schedule that still fills stadiums — including a recently wrapped residency at Caesars Palace in Las Vegas.

The executive producer list is long: Nigel Sinclair and Cassidy Hartmann of White Horse Pictures; Stuart Goldstein and Rosie Taylor of VICE Studios; Andrew Trapani of Sobey Road Entertainment; Emmerson G. Farrell, David Sze, David B. Kirk, Bruce Resnikoff and Adam Barker of Universal Music Group; Natalia Nastaskin and Rob Dippold of Primary Wave Music; Todd Lieberman of Hidden Pictures; Brian Monaco of Sony Music Publishing; and Mike Kobayashi of CSM Management. Amy Rattray of VICE Studios line produced. Avy Eschenasy negotiated the deal for Crosswalk, with Kevin Iwashina of Audiovisuel representing the filmmakers.

“In the summer of ’81, after reading about Def Leppard in Creem, I saw the not-yet-famous band open for Ozzy Osbourne on his first ‘Blizzard Of Ozz’ tour at Asbury Park’s Convention Hall,” said Jeff Feuerzeig, director, writer and producer. “These young lads from working-class Sheffield were punching far above their weight and playing for keeps. I was smitten, a fan for life. It has been an honor to collaborate with the guys and bring their unique, heartwarming, and often humorous underdog story to the screen. This is not your typical sex, drugs, and rock ‘n’ roll tale. Long live Def Leppard, indeed!”

“Def Leppard is a once-in-a-lifetime rock band, whose story and live performances demand to be seen and heard on the big screen,” said Bleecker Street CEO Kent Sanderson. “Longtime fans and those just being introduced to the group are going to be blown away by this high-energy, compelling, and ultimately moving look into this legendary band.”

Feuerzeig‘s résumé already includes The Devil and Daniel Johnston, which won the Documentary Directing Award at Sundance in 2005 and got a theatrical run through Sony Pictures Classics. He also directed Author: The JT LeRoy Story for Amazon Films and The Real Rocky for ESPN’s 30 for 30, plus a stack of commercial and branded work for clients like Google, Nokia and Samsung. As a writer, his credits run from Chuck, a.k.a. The Bleeder (co-written with Jerry Stahl, starring Liev Schreiber and Naomi Watts), to the Johnny Paycheck pilot and the George Jones and Tammy Wynette episodes of Cinemax’s animated series Mike Judge Presents: Tales From The Tour Bus. He’s also written for HBO, Amazon Films, IFC, and Universal Studios, shows up regularly on The Best Show and other film and music podcasts, and was personally invited into Maysles Films by Albert Maysles after a screening of The Devil and Daniel Johnston — which Indiewire later called the best music documentary of the century so far.

Crosswalk comes into this off the strength of Hadestown: The Musical, its live capture of the Tony-winning stage show that pulled in more than $20 million domestically and knocked Hamilton off the top spot for highest-grossing live capture of a stage show. Next on deck for the company is George Michael: The Faith Tour, a concert film built around newly unearthed footage from the European leg of the Faith tour, opening in theaters and IMAX on Dec. 11.

Bleecker Street‘s fall lineup also includes Academy Award winner Alex Gibney‘s Musk, premiering at Venice; Anton Corbijn‘s A Talent for Murder, starring Helen Mirren, Alden Ehrenreich and Olivia Cooke; and Mike Leigh‘s Tender Loving Care, both premiering in Toronto. Also on the slate is Academy Award winner Guy Nattiv‘s The Liberation, starring Carrie Coon, Lily James, Odessa Young, Tracy Letts and Bella Ramsey, which begins an awards-qualifying run in 2026.

The post DEF LEPPARD Documentary “Long Live Def Leppard” Locks In Early 2027 Theatrical Release appeared first on Sonic Perspectives.

California deathcore act Suicide Silence has shared “Graceless,” the title track of the band’s upcoming eighth studio album of the same name, due Nov. 20, via Century Media. The accompanying music video is available now.

Suicide Silence commented: “This is the title track off our new record. It’s a short-and-sweet crusher that gives you a taste of what this record is all about. Check out our podcast where we go in detail about the song, video and album.”

Guitarist Chris Garza described the band’s approach on the record: “Just get out of the way and serve that band logo. When we choose to do that, great things follow. We’re back to doing it exactly as we did it when we were kids: just playing heavy sh*t and doing it from the heart.”

Suicide Silence will embark on the “Reminders Of Hell” tour this fall, launching Nov. 6 in Riverside, California and concluding Dec. 13 in Los Angeles. Support on the trek comes from Emmure, Angelmaker and Synestia.

The band’s previous album, Remember… You Must Die, was released in March 2023 via Century Media, produced and mixed by Taylor Young (Nails, Xibalba, Vitriol). Earlier this year, the band announced that Ian Waye (Soreption) had been brought in on guitar while Garza took a temporary hiatus from the group.

Longtime drummer Alex Lopez exited the band in April 2022 and was succeeded by Ernie Iniguez, who previously recorded drums on Suicide Silence’s Become The Hunter album. Vocalist Hernan “Eddie” Hermida (All Shall Perish) joined in 2013 following the passing of founding frontman Mitch Lucker, who died Nov. 1, 2012, after sustaining injuries in a motorcycle crash in Huntington Beach, California.

The post SUICIDE SILENCE Shares Music Video For Title Track From Upcoming Album “Graceless” appeared first on Sonic Perspectives.