Saxon frontman Biff Byford has officially announced that the band’s 25th studio album is scheduled for release on January 22, 2027. Fans can expect the […]
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Filmed live in London this past November.
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Behind the scenes, millennial psych rock overlord Kevin Parker has been a factor on the pop charts for years via work with artists like Lady Gaga, Travis Scott, and Dua Lipa. Lately, the man otherwise known as Tame Impala has been enjoying unprecedented pop-chart success of his own. Tame Impala broke through into a new…
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Welcome back to Rockville.
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Nashville, Tennessee hard rock outfit Kalamity Kills released their latest single, "These Days Are Evil," on February 13, 2026. The band was originally founded in 2022 by vocalist Jamie Rowe (of Guardian) and guitarist/producer Jamey Perrenot before expanding in 2025 to include Julia Bullock (bass/vocals) and Rob Bodley (drums).
"These Days Are Evil" begins with a chiming synth before quickly introducing upbeat hard rock guitar and booming drums with a particularly chunky snare tone. Jamie Rowe's calm singing joins the fray before turning into more aggressive sing-screaming that builds into the chorus as Julia Bullock's backup vocals and harmonies add a contrast to the vocal melodies.
Kalamity Kills lands for me somewhere between modern metalcore, stadium rock, and electronic music, blending elements from all genres to create an equally hard-hitting and melodic sound that stands out. The track's lyrics explore themes of division, manipulation, and the digital addiction that affects so many people today. With a dynamic, well-produced sound and anthemic vocals, Kalamity Kills creates music that fans of most rock and metal genres will enjoy.
You can stream "These Days Are Evil" available on all platforms now.
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Chilean death metal force Godless returns with their second full length album. It has been 16 years since the debut, album with some killers EPs, a split and demo in the interim. “Adversus Parousia” is out on the 6th of June via Nuclear Winter Records.
Malevolent guitars and tight drum work erupt straight into life with a crushing blend of pure classic death metal worship. Much in the veins of Incantation, Immolation and the like; this is furious material with a ton of atmosphere and a charnel grit to it. Monstrous vocals roar through the mix while the punishing drum work is present without muddying the guitars. Slower moments inject more groove into things before that bestial rage comes back to haunt the intoxicating onslaught. Making sure to utilise the full range of the instrument, the bassist plays some interesting warped sections while keeping the thunder of the low end rattling giving a dynamic performance to match the savagery of the guitars and brutality of the drums. Due to its monolithic production, Godless have never sounded clearer with their pulverising death metal conjurations hitting forcefully and without mercy. Each contorting hook or spewed verse is executed ruthlessly and my first impressions of this record are certainly very positive.
Sepulchral doom embeds itself in the eldritch death metal ferocity to convey a gloomy, funereal and evil soundscape. Some sections feature more gurgling, inhuman vocals which counterbalance the snarling viciousness and give more edge to the frontman while the instruments remain constant and reliable. This is a fundamentally very tight album that feels like a lot of work, care and attention to detail went into creating. Of course bands like Dead Congregation, Cruciamentum, Disma, Corpsessed, Father Befouled and Funebrarum can be drawn to as comparisons in the current underground but Godless bring something of value to their contemporaries with a little Latin American harshness to set them apart from the crowd. Godless perfectly holds the balance between those meandering slowing sections of decay with the more relentless and aggressive sections all while feeling organic in their arrangements. The result is an explosion of intensity.
Twisted, malevolent and riveting until the end; “Adversus Parousia” will certainly hold your attention with its belligerent brand of barbarism. It’s not the most complex album, nor the most original. But it feels honest, authentic and ultimately it sounds magnificent. This is simply real death metal played with a fervent passion and with a truly astonishing production to allow you to feel its sacrilegious presence in the pit of your stomach. Godless have successfully made an album that sounds like the bellowing bowels of hell. No obnoxious technical showing off, no weird avant-garde art school stuff, just pure uncompromising morbidity. Chile has one of the strongest metal scenes in the South American region and this death metal tome certainly lives up to the expectations I had based on their prior releases.
A punishing opus of truly excellent death metal. Godless unleash a monstrosity of extremity that will certainly destroy all in its path. If you adore 90s death metal that ranges from blasting insanity to more atmospheric and eerie passages all with an overwhelmingly evil presence; this record is certainly for you.
Rating: 8 out of 10.
LAS VEGAS, NV — In a revelation that has sent shockwaves through the progressive metal community, TOOL guitarist Adam Jones has officially confirmed that the band is in active negotiations for a high-concept residency at the Las Vegas Sphere. Speaking with Ronni Hunter of 99.7 The Blitz, Jones disclosed that TOOL was originally approached to open the state-of-the-art, 17,600-capacity venue before “band politics” and scheduling conflicts saw the slot go to U2.
While Jones noted that the production details, budgeting, and immense scale of a Sphere engagement are “complicated,” he stated with confidence, “I think we will do it at some point.” This confirmation aligns with recent comments from drummer Danny Carey, who revealed that the band is eyeing a Sphere stint to coincide with the release of their next studio album, potentially following in the massive footsteps of Metallica’s recently extended “Life Burns Faster” residency.
“We were supposed to open that place,” Adam said (as transcribed by BLABBERMOUTH.NET). “We were asked, and because of ‘Game Of Thrones’ band politics, we just couldn’t make it work. And then they ended up using U2, which I think we probably would’ve gotten bumped anyway. But they have been really enthusiastic about us playing there, so we’ve been talking to them since it opened about doing some kind of residency there. And there’s just a lot of production details and budgeting and money and timing. So it’s complicated. But I think we will do it at some point.”
The Las Vegas Sphere has redefined the live concert experience with its 16K resolution wraparound screen and the HOLOPLOT-powered “Sphere Immersive Sound” system. For a band as visually and cinematically driven as TOOL, the venue represents the ultimate canvas.
Drummer Danny Carey previously noted that the preparation for such a residency is “pretty intense” and financially daunting. “It’s a very expensive endeavor, and it takes a while to get into the black,” Carey admitted, though he remains steadfast that TOOL is the “perfect band” for the space. After taking a private tour of the facility, Carey remarked on the sheer scale of the 160,000-square-foot LED interior, admitting, “I almost got vertigo just looking around it.”
TOOL would join an elite list of rock legends who have utilized the Sphere’s next-generation technology. While U2 inaugurated the building with 40 sold-out dates, Metallica recently made headlines by tripling their residency to 24 dates, extending their “Life Burns Faster” engagement through March 2027.
The move to the Sphere would likely mark the beginning of the promotional cycle for TOOL’s follow-up to the chart-topping 2019 masterpiece Fear Inoculum. Given the band’s history of meticulous production and Grammy-winning visual packages, a Sphere residency would allow them to expand their 4D immersive philosophy to a scale never before seen in heavy music.
While fans wait for concrete dates, the focus remains on the band’s sixth studio album. Since the release of the “Opiate2” short film and the Ultra Deluxe vinyl editions of their back catalog, the band has been tight-lipped regarding the specific sonic direction of the new material. However, with both Jones and Carey now publicly discussing the Sphere, it appears the “Blueprint” for the next era of TOOL is finally being drawn.
Is TOOL playing the Las Vegas Sphere? Adam Jones and Danny Carey have both confirmed that the band is in talks with the venue for a future residency, likely to follow the release of their next album.
When is the next TOOL album coming out? The band hasn’t announced a specific date, but Danny Carey indicated that the Sphere residency is being planned around the new record’s release cycle.
Who else has played a residency at the Sphere? Legendary acts including U2, Phish, Dead & Company, The Eagles, and Metallica have all held or announced residencies at the venue.
Why didn’t TOOL open the Sphere? According to Adam Jones, the band was asked to be the opening act, but internal “politics” and timing issues prevented it from working out at the time.
STAY LOUD: Catch the full breakdown of today’s stories on the Loaded Radio Daily Podcast, or crank the hard rock and metal 24/7 on our live digital stream at LoadedRadio.com.
Adam Jones confirms TOOL is in talks for a Las Vegas Sphere residency. The immersive stint is expected to follow the release of the band’s next studio album, following the success of residencies by U2 and Metallica.
The post TOOL AT THE SPHERE: Adam Jones Gives An Update To Potential Las Vegas Residency and Next Studio Album appeared first on Loaded Radio.
