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They turned to a pair of familiar faces when long-time frontman Max Carl suddenly retired earlier this year. Continue reading…

Mighty Music is proud to announce the release of ‘What Are We Waiting For‘, the brand-new studio album from Danish rockers Electric Guitars, due out on October 30th, 2026. The band’s sixth studio album marks a bold new creative direction, with drummer Morten Hellborn taking over production duties and leading Electric Guitars into fresh sonic […]

The post Electric Guitars New Album ‘What Are We Waiting For’ Out October appeared first on ROCKPOSER DOT COM.

Steve Stout leans into nostalgia on i wanna buy a beach house, a hazy, guitar-driven indie rock track that gradually opens into a more polished pop-inflected sound. Built around a dreamy guitar riff, the song moves between wistful textures and a warmer, more expansive section that recalls the music of Stout’s formative years. The loose, conversational lyricism adds personality, while the layered guitars and live drums give the latter half a natural sense of lift. Warm, melodic, and soaked in nostalgia, i wanna buy a beach house captures the bittersweet feeling of looking back while still dreaming about what comes next.

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Metal is filled with reluctant vocalists. Whether it’s Dave Mustaine ultimately deciding to front Megadeth, or Mikael Åkerfeldt hesitantly filling the void in Opeth, or Troy Sanders and Brent Hinds eventually co-voicing Mastodon,¹ vocals often exist in the genre as an afterthought. But what happens when there’s no after to the afterthought? You get something like Only Echoes, an instrumental post-metal quartet from Denver, CO. In their promo materials, Only Echoes explain that they formed expecting vocals to play a part in their music, but ‘when the time came to decide who would sing, no one raised a hand.’ This lack of vocals, however, became a staple of the band’s identity, fueling their self-titled EP (2018) and debut LP Sunsickness (2022), both of which were independently released. Arriving via Braeburn Records, sophomore album Born Adrift promises ‘an internal narrative without relying on lyrics to explain it.’ Said promo materials do, however, sketch the narrative: the album charts ‘a journey through survival, uncertainty, and the strange momentum that keeps a person moving through hostile waters.’

Without a vocalist, Only Echoes rely on the versatile arsenals of their instrumentalists to convey Born Adrift’s arc. The band references several acts one would expect as influences on an (instrumental) post-metal album: Russian Circles, Pelican, Isis.² On the guitar front, Austin Minney and Dustin Yourishin combine for a menagerie of flickering melodies, glimmering clean chords, and chunky chugs. Drummer Zach Sirotkin lays down a bevy of blast beats, d-beats, and double-bass thunder. Meanwhile, bassist Ben Rosenberg periodically pokes through the mix with some upper-fret flourishes. As some elements of this description of Only Echoes hint at, Born Adrift doesn’t quite channel the spirit of the bands cited above. Yes, there are some well-earned quiet-to-heavy, heavy-to-quiet transitions across the album. But by and large, Only Echoes play far less patiently than these groups, swiftly shuffling between blissed-out breathers, punk-rock paces, and core-ish chuggery. Despite their mostly 6–8 minute lengths, the songs tend to sound like bursts of metal grab bag.

Because all but one song on Born Adrift briskly bounces between styles, any sense of album-spanning narrative is hard to detect. My criticism of the grab-bag songwriting notwithstanding, “Born Adrift” and “Tempest” do open the record with excitement, showcasing a band capable of moving melodies and infectious tempos. “So Tightly Bound” seems like it will be compositionally different; it develops an enchanting vibe across three minutes. But then the song quickly jumps into a d-beat-driven punk part, capped off with some obligatory chugging. It’s as if there’s a missing middle between the beginning and the punky outburst. After the aptly titled interlude (“Inter”), the album closes by showing some signs of patient development (“Steps Ahead of Drowning”). But then Only Echoes revert back to their familiar mode, jarringly contrasting serene buildups with breakneck speed (“Shimmering Death”). At 35 minutes, Born Adrift isn’t exactly a chore to get through, but it often feels longer than it is. I almost get the sense that Only Echoes tried to cram an album’s worth of material into nearly every song.

Unfortunately, sonic missteps also become a barrier to enjoying Only Echoes’s sophomore outing. On the production end of things, Born Adrift does seem cognizant of intentional mixing: the drums and bass grow more present in sections where the guitars are textural and ambient. The guitars, however, unpleasantly dominate the mix when Minney and Yourishin turn towards chugging rhythms. The bass, when it sticks to lower registers, gets lost and feels inessential. The big issue, however, concerns the low bitrate of Born Adrift’s audio files (128 kbps). At lower volumes, the album sounds compressed and mushy; at higher volumes, it’s clippy and grating. As a metal album in want of blasting, this latter fact is quite unfortunate.

Born Adrift ultimately disappoints, but not for its lack of vocals per se. As instrumentalists, Only Echoes clearly possess chops, and they show a knack for crafting and connecting affecting passages (“Born Adrift,” “Tempest”). Too often, however, these passages are disrupted by abrupt stylistic changes that come off as contrived. Additionally, the sonic flaws sadly hamper an album that does, at times, sound massive and powerful. In my view, Only Echoes don’t necessarily need someone to step up and command the microphone. They might, however, exercise the kind of restrained patience that, for me at least, tends to make for notable instrumental metal/rock.

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Rating: 2.0/5.0
DR: 6 | Format Reviewed: 128 kbps mp3
Label: Braeburn Records
Websites: Official | Instagram | Facebook
Releases Worldwide: August 14th, 2026

The post Only Echoes – Born Adrift Review appeared first on Angry Metal Guy.

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Muse – The Wow! Signal (June 26th, 2026)

It’s been 20 years since Muse released their masterpiece, Black Holes and Revelations. Since then, while the band’s popularity has arguably grown exponentially, musically they have left behind much of what longtime fans of ‘Black Holes…,’ and ‘Absolution’ loved so much. Fortunately, it seems the band has decided to revisit some of that sound on their 10th studio album, aptly titled The Wow! Signal. From the stunning opening track, “The Dark Forest,” it’s clear the band has come to make a statement. The sweeping orchestration, layered harmonies, and musical bombast recall the grandeur of tracks like “Knights of Cydonia” and “Take a Bow.” “Nightshift Superstar” is a catchy, immediate pop track, while “Shimmering Scar” is a sophisticated and captivating ballad. There’s a slight misstep later in the album with “Hush,” featuring pop singer Ellie Goulding, but overall, The Wow! Signal finds Muse sounding like themselves again and reconnecting with many of the qualities that made those earlier albums so compelling.

Order here: https://usstore.muse.mu/collections/the-wow-signal

1. The Dark Forest (5:16)
2. Nightshift Superstar (4:07)
3. Shimmering Scars (4:28)
4. Cryogen (5:02)
5. Be with You (3:35)
6. Hexagons (5:27)
7. The Sickness in You & I (4:17)
8. Unravelling (3:58)
9. Hush (3:56)
10. Space Debris (5:23)
Total Time 45:29

Matt Bellamy / vocals, guitar, keyboards, piano
Chris Wolstenholme / bass, backing vocals
Dominic Howard / drums & percussion

 

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Eric Gillette – The Watcher (July 31st, 2026)

Those familiar with Eric Gillette know there are few musicians anywhere who possess such a wide range of talent, from playing guitar, keyboards, and drums at an elite level, while also being an exceptional singer. He has showcased those abilities in bands like NMB and Temic, and now his new solo album, The Watcher, fully captures it all. When listening to it, it is hard to comprehend that the entire record was created by one person, but that’s exactly the case. Of course, the musicianship is only part of the story; the songs themselves are equally strong. There are hints of his work with Neal Morse and Mike Portnoy, along with elements that recall Toto and Dream Theater. The 10-minute “Overture” opens the album with sweeping orchestration, dazzling solos, and plenty of musical fireworks. From there, tracks like “Signal Within” and “Beneath the Mask” showcase the record’s diversity and Gillette’s impressive chops. But it’s the closing stretch of “The One That Sees It All Alive” and “Fade to Stillness” where The Watcher truly reaches its peak, bringing the album to a powerful and memorable conclusion. Any fan of his previous work will certainly enjoy this one.

Order here: https://www.ericgillettemusic.com/

1. Part I: The Sleeper (15:06)
I. Overture
II. The Stillness
2. Part II: The Watcher (14:22)
III. Signal Within
IV. Beneath the Mask
V. The Watcher Remains
3. Part III: The Vessel (8:59)
VI. The Light Beneath It All
VII. Torn and Tried
4. Part IV: The Reflection (11:24)
VIII. Shifting Light
IX. The One That Sees It All Alive
X. Fade to Stillness
Total Time 49:51

Eric Gillette / everything

 

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OK Goodnight – stop/go (June 12th, 2026)

Formed at Berklee College of Music in 2019, Boston-based Ok Goodnight have quickly emerged as one of the more exciting young bands in modern progressive rock, combining precise musicianship with alternative songwriting. The band returns with their third studio album, stop/go, the follow-up to 2023’s acclaimed The Fox and The Bird. With stop/go. Ok Goodnight take their sound in a darker and more expansive direction while retaining the strong melodies, intricate playing, and dynamic songwriting that have defined their music to this point. The opening one-two punch of “No Sound” and “22” is aggressive yet accessible, balancing intricate playing with emotive vocals, delivered brilliantly by singer Casey Lee Williams. Meanwhile, the single “Spiral” has an infectious quality that feels like it could compete with anything on alternative radio. The album closes with the delicate and captivating “Where I’m From,” leaving the listener wanting more. stop/go is the kind of album that reveals more with each listen, further establishing Ok Goodnight as one of the most compelling young bands in modern progressive music.

Order here: https://okgoodnight.bandcamp.com/album/stop-go

1. No Sound (4:29)
2. 22 (5:14)
3. Top of the Bottom (4:54)
4. The Game (5:34)
5. Spiral (5:47)
6. Call Me Away (2:17)
7. The Show (4:59)
8. Humpty Dumpty (“Some Body!”) (4:42)
9. The People (4:20)
10. Where I’m From (5:08)
Total Time 47:24

Casey Lee Williams / Lyrics, Lead Vocals, Backing Vocals, SFX
Martín de Lima / Keyboards, Guitars, Orchestrations, Backing Vocals, SFX
Augusto Bussio / Drums, Guitars, Backing Vocals, SFX
Peter de Reyna / Bass, Backing Vocals, SFX
With
Eve / Guitar solo (3)
Ella Wilhelmina / Saxophones (5), soprano sax (4), clarinet (4), flute (4)
Rodolfo Moreno / Saxophones (8)

 

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Fractal Sun – Divergent Paradox (July 31st, 2026)

Costa Rican progressive metal band Fractal Sun blend modern metal, symphonic elements, and a futuristic, space-themed aesthetic into their distinctive sound. The band released their debut album, Turmoil, in 2020, earning attention both at home and internationally for its ambitious songwriting and cohesive vision. Since then, they have continued to release new music while building a reputation for energetic and immersive live performances. Their latest release, Divergent Paradox, is a six-song barrage of powerful progressive metal, driven by heavy riffs, dramatic arrangements, and impressive musicianship. At the forefront is vocalist Hellen Quirós, whose commanding performance and remarkable range give the music much of its personality. Opener “Trail of Hope” immediately showcases both her abilities and the strength of the band, while “Trail of Pain” shifts into more aggressive territory with the addition of growled vocals. If you haven’t been aware of this band, here is a good place to start.

Order here: https://fractalsun.bandcamp.com/album/divergent-paradox-2

1.Trail of Hope 05:55
2.Trail of Pain 04:51
3.Blooming Regrets 06:58
4.Withering Grace 05:04
5.Weaving the Universe 08:38
6.Bow Before Me 11:16

Hellen Quirós / vocals
Isabel Viquez / guitars
Johnny Viquez / guitars
Santiago Mejía / bass
Sunfyre / drums
With:
Chaney Crabb / vocals (6)

The post New Release Spotlight: Muse / Eric Gillette / Ok Goodnight / Fractal Sun appeared first on The Prog Report.

Asked this month whether Rush might make new music, Geddy Lee didn’t hedge. The answer was no — the band has enough to do, and they’re still trying to remember the old songs. That’s a notable shift. Six months ago Lee was telling people he and Alex Lifeson were jamming and new material was possible. Speaking to Radio Futuro in an interview on August 8, he closed the door.

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Scott Penfold breaks down the Geddy Lee comments on today’s Metal Breakdown Daily — the reversal, the rehearsal schedule that explains it, and the line about his own body that’s going to stick with Rush fans. Download the free Loaded Radio App on Apple iOS and Google Play and get it every weekday morning.

What changed

Back in February, when the Fifty Something tour was still an idea selling out faster than anyone expected, Lee left the door open. He talked about jamming with Lifeson. He said new music was possible. He didn’t shut it down, and for a fanbase that had spent eleven years filing Rush under “finished,” that landed like a flare going up.

That was before they actually did the work.

Fourteen months of rehearsal, with an end date of May 2026 that they had to hit. Lifeson says they laid out the schedule thinking fourteen months was plenty of time, and the last couple of weeks turned into a scramble. Lee’s number is the one that’ll make your jaw drop: in the final month, they played a full show twenty-four nights out of twenty-seven days.

His words on that: they’ve never worked that hard in their entire lives.

So when the new music question came around again in August, the man answering it had just been through the most punishing preparation of a fifty-year career. Of course the answer changed.

What it took to get Anika Nilles ready

The other reason this reads differently now is what replacing Neil Peart actually required.

Nilles had to learn roughly forty-three songs in the space of a year. Not forty-three songs — forty-three Rush songs, with Peart’s parts, which is a workload most drummers alive would decline. Lee says she worked as hard as she’s ever worked on anything, grinding alone and then coming to Toronto periodically so they could work through it together in the room.

He and Lifeson could reassure her in ways nobody else could. This part’s right. This part’s this long. No, you have to play it this way.

Lee also gave her and keyboardist Loren Gold a piece of advice that’s the most Rush thing imaginable: these songs are complicated, you’re going to make a mistake, and it isn’t about the mistake — it’s about how you recover. Just keep playing.

Then he explained why it’s so hard for anyone coming to this catalogue from the outside. When you write a part, it lives in your DNA. When you’re learning it cold, you try to break it into the rules of music — and, as Lee put it, Rush songs don’t follow the rules of music.

That’s the whole band’s legacy in one sentence.

The line that lands

Buried in the same conversation is the part that isn’t about drummers or rehearsal at all.

Lee said he’s not pretending when you see him smiling up there. It’s a joyous moment, the players they picked have jelled, they’re playing well. And then: he knows there are only so many gigs left in his body, so he’s going to enjoy them while he can.

That’s not a man planning a studio album. That’s a man doing arithmetic.

And honestly, it reframes the whole “no new music” answer. This isn’t creative exhaustion or a lack of ideas. It’s a finite resource being spent deliberately. Rush came back to play the catalogue and honour Neil Peart, and Lee appears to have decided that’s what the remaining time is for.

Hard to argue with the guy.

We Also Recommend – The 13 Greatest Frontmen In Heavy Metal History, Ranked

Where the tour stands

None of this slows the run down. The Fifty Something tour opened at the Forum in Los Angeles in June, the band’s first show since August 1, 2015, and it’s been rolling through North American arenas since. International dates follow in 2027, including their first European shows since 2013 and a return to South America after seventeen years.

Two sets a night, pulled from a deep catalogue, with Nilles behind the kit and Gold on keys.

If you were holding out for album twenty, this isn’t your week. If you were holding out for tickets, that’s still the move.

Check Out – 13 Metal Albums Turning 40 In 2026, Including The One MTV Turned Into Its News Theme Song

TL;DR

• What he said: asked whether new Rush music was coming, Geddy Lee said no — the band has enough to do and is still working on remembering the old songs.
• Why it matters: in February, Lee said he and Alex Lifeson were jamming and that new material was possible. That’s now off the table.
• What changed: fourteen months of rehearsal ahead of the Fifty Something tour, including twenty-four full shows in twenty-seven days during the final month. Lee says they’ve never worked harder.
• The Peart problem: Anika Nilles had to learn around forty-three Rush songs in a year, working alone and then in person with Lee and Lifeson in Toronto.
• The quiet part: Lee said he knows there are only so many gigs left in his body, and intends to enjoy them.

FAQ

No new album, but a man who says he’s counting the gigs he has left and enjoying every one of them. That’s a fair trade — or is it? Tell us below, and keep it locked on the Loaded Radio stream — follow Loaded Radio for daily rock and metal news.

The post Geddy Lee Just Changed His Answer On New Rush Music appeared first on Loaded Radio.

Carly Simon is 83, living with Parkinson's and just made one of the most personal albums of her career. Continue reading…

With three stages of bone-crunching Metal to tantalise and titillate all today, we move into Friday afternoon at Bloodstock Festival 2026 as Fit For An Autopsy returned to the Ronnie James Dio stage for their second appearance here and shook it to its core. You can read Friday Part One here.

Bloodstock Open Air Festival

Catton Park, Derbyshire – Friday 7 August 2026

Words: Adrian Stonley, Matty Hunter

Photography: Adrian Stonley, Keith Conlin

Fit For An Autopsy

Having previously caught Fit For An Autopsy, the New Jersey Deathcore heavyweights supporting Killswitch Engage alongside Decapitated and Hatebreed in Newcastle last October, my expectations were high for a band I have now closely followed for a while, and they lived up to them and bettered their performance from the last time I caught them.

From the moment they took to the stage, they reminded everyone why they are regarded as one of the leading forces in modern Deathcore. 

The musicianship on display was exceptional throughout, with Joe Badolato’s ferocious vocal delivery perfectly complementing the band’s crushing riffs and atmospheric melodies. Headbanging was unavoidable as Fit For An Autopsy tore through a relentless set that showcased just how far their sound has evolved over the years.

One of the standout moments came during It Comes For You, which sounded absolutely phenomenal in the live setting and was greeted with a huge response from the packed crowd. 

It took only until the second song before the first crowd surfers began making their way towards the barrier, and from that point onwards there was no stopping them.

As temperatures continued to soar, those packed against the front rail were regularly sprayed with water, providing some much-needed relief before helping the security bundle what seemed an endless number of crowd surfers over the barrier.

At one point the band encouraged even more crowd surfing as they attempted to break the record, prompting an audible sigh from one of the security guards who already had his hands full.

By the time Hostage arrived, the atmosphere had descended into complete carnage. The bodies never stopped moving forward, while those in the pit revelled in every crushing breakdown.

It was an utterly relentless performance from Fit For An Autopsy, matched by a crowd that gave everything back. Brutal, technically flawless and overflowing with energy, this was undoubtedly one of the standout main stage performances of the weekend so far.

Biohazard

Certainly, following Fit For An Autopsy was going to be a hard ask, but if there is a band who are up to the challenge, then it’s New York carnage crew Biohazard.

As the temperature rose, so did the performances and the intensity level. This was a heads-down display in perfect punky Hardcore street Metal. If there is a band who are going to bring you to your knee’s then it is Biohazard. Despite the years they have been extolling their own Hardcore message, they still manage to go beyond the pale.

This was intense, the stage activity overwhelming. Not one band member stopped moving, and all delivered with superb Metal musicianship and a no-nonsense, in-your-face attitude. This is a band who still do not believe in taking any prisoners.

New songs like Fuck The System, aimed at Governments and politicians, show that the barbs are still sharp and the delivery incendiary. I certainly would not want to be a canvasser for a political party doorstopping these guys.

Atarka

A last-minute decision to catch Atarka proved to be a worthwhile one. The Birmingham outfit, fresh from winning Metal 2 The Masses, overcame early sound and technical issues to deliver a performance that showcased exactly why they earned their place at Bloodstock.

The crowd were firmly behind them from the outset, with loud chants of their name throughout the set, while the band’s powerful sound and commanding stage presence ensured they quickly settled into their stride.

With Municipal Waste tearing up the Main Stage just a stone’s throw away, Atarka still managed to pull in a healthy crowd and keep the energy levels high.

Any early setbacks were quickly forgotten as they powered through the remainder of the set with confidence, intent and plenty of aggression, leaving a strong impression. They are an excellent Birmingham-based melodic Death band well worth checking out.

Municipal Waste

Over on the RJD stage, US Thrash merchants Municipal Waste were bringing the party to the park. This was one of those sets where 60 minutes just flew. After the intense Metal of Biohazard and Fit For An Autopsy, it was time to let our hair down and party hard.

Like the two bands on previously, Municipal Waste were a popular addition to the bill, and gave no let-up for security with mosh pits and crowd surfers aplenty.

In fact, with Fit For An Autopsy having thrown down the sword relating to Crowd Surfing World Records, it was only fair that Municipal Waste had the opportunity to win back their crown, which they did in uncompromising style with 1,013 surfers recorded.

Neckbreakker

Neckbreakker wasted no time making their Bloodstock debut count on the Sophie Lancaster Stage. Formed in 2020 in Denmark while the members were still in their mid-teens, the Nuclear Blast signees have rapidly become one of Europe’s brightest Death Metal prospects.

Judging by the sizeable crowd gathered before they even struck the opening note, plenty of festivalgoers were eager to see what the hype was about if they did not know already.

Neckbreakker exploded straight into action, with vocalist Christoffer Kofoed noticeably sporting a North Face jacket in the blazing heat – a decision I admired in this furnace.

Their crushing sound translated flawlessly to the live environment, continuing the exceptional audio quality heard on the Sophie Lancaster Stage throughout the weekend.

Kofoed proved to be a commanding frontman, removing his jacket around 15 minutes into the set before taking complete control of the audience.

Circle pits erupted almost constantly, a wall of death was unleashed, and the crowd even dropped to the floor before launching back to their feet in a moment reminiscent of Slipknot’s famous live tradition during Spit it Out.

Two-step sections were enthusiastically encouraged, ensuring there was barely a second where either the band or the audience stood still.

Musically, Neckbreakker were every bit as impressive. The rhythm section was relentless, with the topless drummer Viktor Björnstad driving the band forward, while the guitarists delivered razor-sharp riffs accompanied by relentless headbanging. Every member brought boundless energy to the stage, matching the intensity of the crowd from start to finish.

For a band making their Bloodstock debut, Neckkbreaker looked completely at home. Their blend of old-school Scandinavian Death Metal with modern groove and Hardcore influences hit with devastating force, backed up by outstanding musicianship and commanding stage presence.

If this performance is anything to go by, the Danish outfit have all the ingredients to become future main-stage contenders, delivering one of the standout Death Metal sets of the weekend for me.

Sepultura

There was a genuine sense of occasion as Sepultura took to the Bloodstock stage for what could be one of their final appearances at the festival.

Formed in Brazil in 1984, the pioneers of Extreme Metal have influenced generations of bands across Thrash, Death and Groove Metal, and with their Celebrating Life Through Death farewell tour continuing, every performance now carries extra significance.

Returning to Bloodstock for a fourth time and their first appearance since 2023, this felt like one of those moments that fans knew they had to witness.

From the moment they hit the stage, Sepultura reminded everyone exactly why they have remained one of Metal’s most respected names for more than four decades. Derrick Green was phenomenal at the front, while Andreas Kisser’s razor-sharp guitar work, Paulo Jr.’s relentless bass lines and Greyson Nekrutman’s thunderous drumming combined to produce the crushing sound that has defined the band throughout their career.

The performance balanced sheer aggression with remarkable precision, highlighting the musicianship that has kept Sepultura at the forefront of heavy music for so long.

The atmosphere reflected the importance of the occasion, with the audience fully aware they were watching a band nearing the end of an extraordinary journey.

Every song was met with huge reactions as fans celebrated a catalogue that has shaped countless artists and inspired generations of Metalheads. Rather than feeling like a farewell filled with nostalgia, the set was delivered with the same hunger and intensity that established Sepultura as one of the genre’s most influential forces.

As the final notes rang out, it was impossible not to appreciate the magnitude of what had just unfolded, and the crowd’s reaction showed that.

This felt like a farewell to Metal legends. If this proves to be Sepultura’s final Bloodstock appearance, they departed in spectacular fashion, delivering a fitting and unforgettable send-off worthy of their remarkable legacy.

Lamb Of God

Lamb Of God returned to Bloodstock with intent to close out Friday. As the sun began to set, thousands descended upon the main stage to welcome them back. 

Back for the first time since 2022, the atmosphere was intense. Lamb Of God brought the fire both musically and through pyro, with a huge production and performance full of intensity.

The band were individually and collectively superb, and the iconic Randy Blythe was in fine form. His distinctive vocals sounded as powerful as ever, while his interaction with the crowd added plenty of character to the performance.

Blythe constantly entertained the audience in between songs with an exaggerated British accent, which drew plenty of laughs before the band launched straight back into the carnage. 

The setlist was a fine-picked collection of their greatest tracks, with a few songs from their newest record, Into Oblivion, too. With huge songs coming one after another, there was barely a moment for the intensity to drop.

The crowd responded in kind, with movement and crowd-surfers becoming a constant feature of the set and the day as a whole. With other work commitments, Friday was the last day I could come to Bloodstock this year, so I decided to simply enjoy the experience towards the end, and ended up crowd-surfing a few times.

Lamb Of God proved exactly why they remain one of the most important American Metal bands of their generation with this performance, the crowd they drew and the reaction that they have.

An enormous performance, an incredible atmosphere, a killer setlist and a frontman at the top of his game combined to make this an unforgettable Bloodstock appearance. Absolutely unreal.

Wednesday 13

Closing out the Sophie Lancaster stage on Friday night were schlock horror rocker Wednesday 13, bringing his own brand of tongue-in-cheek horror anthems.

If there is the perfect way to finish a day of great Heavy Metal then this quite simply is it. The Sophie tent was rammed from the start and it was clear that Wednesday and the band were feeding off the audience like the vampires they aspire to be. 

There is nothing too serious about this show. They are the consummate performers, but there is always a serious element to tongue-in-cheek. If you have not seen Wednesday 13 before, then think Alice Cooper meets Mötley Crüe. If you have, then you know exactly what is going to be served up.

With a catalogue of solo material, Frankenstein Drag Queens and Murderdolls songs, the band serve up a mental Metal cocktail of seriously catchy tunes, big anthems and a whole raft of singalong songs.

These guys know how to entertain, and the late-nighters are in the mood to party. The dark and night is the time for Wednesday, and he unwholesomely aspires to make it the best party ever. Whether we make it to morning is another matter.

With songs like Good Day To Be A Bad Guy and Something Wicked This Way Comes, they have the songs to match the theatrics. With a nod to Joey Jordison, his now-departed ex-Murderdolls compatriot, they blast out a greatest hits of both Murderdolls and his own material. Summertime Suicide and Nowhere are dedicated to Joey.

197666 went down the obvious storm before the audience threw themselves into I Walked With A Zombie.

They close out the set with the obligatory I Like To Say Fuck, which unsurprisingly sees the still buoyant audience screaming the lyrics back at the band whilst Wednesday prowls the stage with an umbrella with the word Fuck written across it.

It is camp, it is chaotic, it is bloody wonderful. 

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Bloodstock 2026 will be held over the long weekend of 6-9 August 2026. MetalTalk’s Matty Hunter, Adrian Stonley and Keith Conlin will report from Catton Park.

Take Part: Were you at Bloodstock this year? Who did you enjoy seeing the most? Email MetalTalk Editor Steve Ritchie to share your experience at Bloodstock@MetalTalk.net.

#boa26. For more information, visit bloodstock.uk.com. You can view a map of Bloodstock HERE.

You can find all MetalTalk Bloodstock 2026 coverage at https://www.metaltalk.net/bloodstock.

MetalTalk’s Bloodstock 2025 Coverage

MetalTalk’s Bloodstock 2024 coverage

MetalTalk’s Bloodstock 2023 coverage

MetalTalk’s Bloodstock 2022 coverage

Bloodstock 2027 will be held over August 5th – 8th. Early bird standard weekend tickets will be available at the main entrance box office throughout the festival, priced £210.00 with no booking fee. Tickets can be purchased online from Monday 10th August at 9 am at the official Bloodstock website.

The post Bloodstock Festival 2026 – The Friday Review – Part Two first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.

Brooklyn based rockers, TVOD have released a new single,“Meetings” from their forthcoming second album, The Farm, due out 16th October on Mothland. Lifted by a

La Armada, the Chicago-based band with deep Dominican and Caribbean roots, dropped anchor in Miami for a stop on their Southeast USA Tour, which also included dates across Florida and Atlanta, Georgia.

Check out the gallery show!