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Italian thrash metal pioneers EXTREMA are set to release Thrashing ‘Till The End – Live at Slaughter Club – a high-impact live document celebrating the 30th anniversary of their legendary debut Tension At The Seams. The performance was recorded at Slaughter Club in Paderno Dugnano (Milan) on October 7th, 2023 – exactly three decades after the album that helped redefine the sonic and cultural framework of Italian metal.

The full show will be rolled out as an episodic live video series on the band’s official YouTube channel, alongside a digital release across all major streaming platforms.

Subscribe and follow the full series here: https://bit.ly/ExtremaLive

Released in 1993, Tension At The Seams stands as a cornerstone of European thrash: a record built on razor-sharp riffing, percussive precision, and an uncompromising compositional approach that pushed beyond genre orthodoxy. Its impact extended well beyond the Italian scene, setting new benchmarks in terms of arrangement density, production clarity, and expressive aggression.

To mark its 30th anniversary, EXTREMA returned to the stage with a purpose-built show engineered for maximum impact – conceived as a full-contact, no-compromise live assault. The setlist moves with surgical intent: a dominant portion of the debut album performed with renewed intensity, seamlessly integrated with key tracks from across the band’s catalog, culminating in material from their latest release, Headbanging Forever.

Thrashing ‘Till The End – Live at Slaughter Club captures that performance in its entirety, preserving the raw kinetic energy of the band’s live delivery while enhancing it through a modern visual production pipeline.

Beginning April 29th, all 16 tracks from the show will be released on a weekly schedule via the band’s official YouTube channel, with three videos dropping per week, structuring the release as a sustained content cycle designed to maintain engagement and narrative continuity.

Subscribe to EXTREMA’s official YouTube channel to follow the full release schedule:
https://www.youtube.com/@Extrema_Official

Filming and direction were handled by Daniele Farina, with the production delivered in 4K. The visual language combines tight shot sequencing, dynamic camera movement, and performance-focused editing, resulting in a final product that translates the physical intensity of the live set into a sharp, high-definition audiovisual experience.

Line-up:
Tommy Massara – Guitars
Tiziano “Titian” Spigno – Vocals
Marco Cassone – Guitars
Gabri Giovanna – Bass
Francesco “Frullo” La Rosa – Drums

For more info:
https://rockshots.eu/

EXTREMA:
https://www.extremateam.com/

​https://www.facebook.com/extrema.official/​

https://www.instagram.com/extrema_official/

Source: ASHER MEDIA RELATIONS

Her second Zombies foray.

The post Vicky Psarakis (Sicksense, Ex-The Agonist) Fronts Latest ‘Call Of Duty’ Zombies Track “No One There” appeared first on Theprp.com.

FOR IMMEDIATE RELEASE
GODLESS Release “Architect of Torment” Official Video Out Now
Indian extreme metal force GODLESS have dropped the official video for their new single “Architect of Torment,” delivering one of their darkest and most oppressive statements to date. The track continues the band’s ten year run of uncompromising death metal intensity while pushing deeper into atmosphere, tension, and controlled chaos.
“Architect of Torment” sees GODLESS locking into tightly wound aggression, sharp rhythmic shifts, and a suffocating sense of unease that leans heavier on mood and pressure than anything they have released before. It is precise, punishing, and built with intent from the ground up.
What sets this release apart is the visual capture. The video was filmed live during their co-headlining set at the Wacken Open Air Pre-Party in Bangalore , documenting the very first time the track was ever performed. No studio polish, no tricks, just raw stage energy and a crowd witnessing the song come alive in real time.
From the band:
“ Architect of Torment feels like a progression for us, leaning into a darker, more sinister atmosphere without losing the core of what GODLESS is. After over a decade of locking into a sound, it felt right to push things further and see where it goes.”
Formed in 2015, GODLESS have carved their place in the global extreme metal underground with a sound rooted in thrash driven death metal brutality. From Centuries of Decadence (2016) through States of Chaos (2021) , the band has built momentum across India and beyond, earning attention from Rolling Stone India, Metal Injection, and Invisible Oranges, and sharing stages at Wacken Open Air, Obscene Extreme Festival, and SWR Barroselas Metalfest.
“Architect of Torment” stands as both a milestone and a warning shot, signaling a heavier and more atmospheric direction while staying locked into the band’s signature precision and force.
Watch the official video now:

Media Contact:
zach@metaldevastationradio.com






 Connect with GODLESS:
https://linktr.ee/godlessindia
www.godless.in
Contact: Abbas Razvi | godlessindia@gmail.co

M.I.A.’s descent into right-wing absurdity is nothing new. Back in 2022, she compared Alex Jones’ lies about the Sandy Hook mass shooting to “every celebrity pushing vaccines.” In 2024, she went on The Alex Jones Show to launch her line of clothes that supposedly block 5G signals. Last month, she dropped her “gospel” album M.I.7 and introduced a new clothing line, this one designed to block 10G signals. Now, after some ill-received stage banter at a Kid Cudi show in Dallas, she’s gotten herself kicked off of a big summer tour.

The post M.I.A. Kicked Off Kid Cudi Tour Over Onstage Political Rants appeared first on Stereogum.

Their live debut will take place this June.

The post Code Orange & Pain Clinic Members To Unite In New Band Single Print Index appeared first on Theprp.com.

Britney Spears has plead guilty to her misdemeanor charge of driving under the influence of drugs and alcohol, the New York Times reports. The pop star was arrested for suspicion of DUI last March after highway patrol officers in Ventura County, California found her driving erratically on Interstate 101 and showing “signs of impairment.”

The post Britney Spears Pleads Guilty To DUI appeared first on Stereogum.

They’ve also landed a spot in an upcoming new rhythm game.

The post Living Wreckage (Shadows Fall, Etc.) Debut “Righteous Side Of Sanity” appeared first on Theprp.com.

When I see the title of Yoth Iria’s third full-length, Gone with the Devil, I can’t help but think of the Spanish farewell, “vaya con Dios,” or “go with God.” Originally—and still, in some circles—the phrase was an earnest blessing and wish for safety; however, centuries have stained it with a negative connotation. The phrase can now showcase a speaker’s disapproval for the recipient’s intended actions, implying that whatever they’re going to do is dumb enough that only God will be able to get them through it. After two enjoyable-to-impressive albums, is Yoth Iria’s cheeky inversion of the phrase a genuine wish for guidance from the Son of the Morning, or is Gone with the Devil a hot mess only Satan can save?

On 2021 debut As the Flame Withers and 2024 follow-up Blazing Inferno, Yoth Iria’s sound was focused—Hellenic black metal injected with a mix of 70s-80s metal and Middle Eastern atmospherics. Gone with the Devil sees the Athens-based five-piece employ a more exploratory, instinctual, and unrestricted approach to composition…or so the promo material says. In actuality, Yoth Iria leans into accessibility. Elements of their original Hellenic sound remain (“The Blind Eye of Antichrist,” “Woven Spells of a Demon”), infusing the album with a warmth typically absent in black metal. But with tracks that wouldn’t be out of place on an Equilibrium record (“Dare to Rebel”), the newest Arch Enemy (“I Totem,” “Blessed Be He Who Enters”), or a metalized Imagine Dragons (“3AM,” “Once in a Blue Moon”), Gone with the Devil feels fundamentally different from previous releases.

In pursuing wider appeal, Yoth Iria dilutes much of what made them unique, and Gone with the Devil is less engaging for it. The markers of heavy music are all still present—blast beats, harsh vocals, distorted guitars, etc.—but the soul that gives an album weight is totally absent. “3AM” is as forgettable as elevator muzak, and much of the back half of Gone with the Devil¹ shares a similar mid/slow-paced rhythm that barely gets my eyes open, let alone my heart pumping. Predictable song structures and played-out tropes, like whispers preceding a heavier passage (“I Totem”) or synths/folk instrumentals returning to bolster a final chorus (“Give ‘Em My Beautiful Hell”), give the impression that Yoth Iria is just going through the motions or following someone else’s recipe.

This isn’t to say Gone with the Devil is bad. Yoth Iria, as a band, is obviously wildly talented, and what they do play, they play well. There are some songwriting bungles, like the end of “I Totem,” the pacing of “Harut-Government-Fallen,” and the choral chanting of “The Blind Eye of Antichrist,” but the album flows well and sounds great. Guitarists Nikolas Perlepe and Naberius weave a lush tapestry of blackened trem-picked riffs and retro leads (“I Totem,” “Give ‘Em My Beautiful Hell”), while bassist Jim Mutilator’s (ex-Rotting Christ, ex-Varathron) presence and influence infuse every second of Gone with the Devil. Vocalist HE and drummer Bill “Vongaar” Stavrianidis have excellent synergy, driving the album’s atmosphere and the ebb and flow of its tension. These performances shine thanks to Gone with the Devil’s production. The vocals might be a smidge forward and the rhythm guitars a touch back, but the mix is both intimate and spacious, offering warmth and clarity on an open soundstage.

Sound and performance can’t save an album, though. Where once Yoth Iria demanded my attention with a unique sound, Gone with the Devil seems geared toward maximum radio engagement or being inoffensive corporate playlist fodder. During my time with the album, I often felt like I was listening to a Temu version of Havukruunu. A seemingly intentional forfeiture of individuality, vapid filler track energy,² and uninteresting—though adeptly played—instrumental performances make Yoth Iria’s latest a far cry from their previous work. Again, Gone with the Devil isn’t a bad album per se. It’s just milquetoast and unremarkable.

---

Rating: 2.0/5.0
DR: 6 | Format Reviewed: PCM
Label: Metal Blade Records
Websites:Official | Bandcamp | Facebook | Instagram
Releases Worldwide: May 8th, 2026

The post Yoth Iria – Gone with the Devil Review appeared first on Angry Metal Guy.

“I don’t wanna have a feud.”

The post Megadeth’s Dave Mustaine Says He Put His Metallica Feud To “Sleep” Years Ago appeared first on Theprp.com.

by Roie Avin

During the summer of 1996, I was traveling across Europe, visiting different countries at a time before the internet and cell phones were part of everyday life. One of the things I enjoyed most was tuning into local radio stations on my Walkman to discover new music. There was one song that kept coming up, and while I didn’t know the artist or the title, the chorus — “if it’s good enough for you, it’s good enough for me” — stuck with me.

A few weeks later, in a record store, I asked about the song, and was pointed toward Free Peace Sweet by Dodgy, which featured the hit “Good Enough.” I had never heard of the band, but I took a chance on the album. When I got back home to the U.S. and spent more time with it, I quickly became a fan — and have remained one for nearly 30 years.

For those unfamiliar, Dodgy were part of the mid-90s UK scene alongside bands like Oasis and Blur. What set them apart was their strong melodic sensibility and clear influences from artists like The Beatles, ELO, Jellyfish, and even The Who, giving their sound a feel rooted in the late ’60s and early ’70s. Their music leaned heavily on rich harmonies, layered arrangements, and a willingness to stretch beyond straightforward Britpop. Despite their success, the band split during their peak when main songwriter Nigel Clark departed for a solo career. The original lineup of Clark, Mathew Priest, and Andy Miller reunited in the 2010s and released new albums in 2012 and 2016.

Now, ten years later, Dodgy return with Hello Beautiful. Having spent time with the album since its release, it’s surprising how strong it is — easily standing alongside their best work from the mid-90s. While this isn’t a progressive rock album in the traditional sense — it doesn’t resemble Yes, Genesis, or Dream Theater — it fits comfortably within the broader scope of artists we cover who value songwriting craft, experimentation, and strong production. If you appreciate bands like Jellyfish, ELO, or Supertramp, there is plenty here to connect with.

Hello Beautiful features loads of strings, guitars, horns, and harmonies throughout 10 primarily acoustic-based tracks, with each one offering something unexpected. “The Likes of You and Me” starts simply before building into a surprisingly heavy and expansive second half. “Call It What You Want” begins as a Beatles-esque acoustic piece, reminiscent of the White Album era, before shifting into something entirely different midway through, almost leaning into an R&B style groove.

“Summer Forever” delivers exactly what the title suggests — a bright, melodic pop song full of bounce and layered harmonies, again with plenty of keys and horns. There is no way to hear this track and not smile. Tracks like “Looking Back” and “Out of Time” lean more into an alternative sound, with prominent guitars and subtle twists in arrangement that keep things interesting. “Beside Me” stands out as a lush ballad, with orchestration and melody that feel very much in line with ELO’s style.

The album closes with “Fall Into Me,” which, while not technically complex, has a sense of progression and sophistication in its structure and build. It delivers an expansive, satisfying ending. The simplest track may be the opener, “Hello Beautiful,” but even there, the strength of the songwriting carries it, and it does serve as a worthy first single.

For listeners who may not typically gravitate toward this style, this is one of those albums that rewards an open mind. It may not be “prog,” but it embodies many of the qualities — creativity, strong arrangements, and melodies — that any prog fan might enjoy.

If you’re new to Dodgy, Hello Beautiful is a great entry point. From there, their 90s run — particularly Homegrown (1994) and Free Peace Sweet (1996) — remains well worth exploring.

01 Hello Beautiful
02 The Likes Of You And Me
03 It’s Not The End
04 Call It What You Want
05 Summer Forever
06 Looking Back
07 Beside Me
08 Out Of Time
09 Fall In To Me

https://www.dodgyology.com/

The post Dodgy – Hello Beautiful (Album Review) appeared first on The Prog Report.