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Geoff Tate & Eric Martin Liquid Rooms Edinburgh 8th August 2026 Review & Photography by Gavin Lowrey If ever there was an album to define […]

The post Geoff Tate & Eric Martin – Liquid Rooms Edinburgh 8th August 2026 appeared first on Metal-Rules.com.

A number of teases have been cropping up recently.

The post Former Members Of Norma Jean, The Chariot, MewithoutYou, Every Time I Die, Etc. Appear To Have A New Project appeared first on Theprp.com.

“In no way, shape or form am I transphobic, nor is my band.”

The post Mikey Hood Denies Transphobic Allegations & Comments On His 2020 Support For Trump In The Wake Of Hoods’ European/UK Tour Being Canceled appeared first on Theprp.com.

“Nevermore are one of the greatest, most important bands to ever do it.” So says Urne’s Joe Nally early on Saturday at Bloodstock and while the prog metal group’s profile certainly never reached that of Tool or Rush, they wouldn’t be the first band to make a comeback this decade and become bigger than ever.

But they endure a patchy start. Put it down to the controversy around tonight’s headliners Slaughter To Prevail, the unyielding heat, or the simple fact that it’s been 16 years since Nevermore last played the UK – and before that was Bloodstock in 2007, so they were hardly frequent visitors – but the crowd seems especially sparse for the retooled and revitalised Nevermore.

They won’t let that stop them putting on a killer show. New vocalist Berzan Önen – replacing the much missed Warrel Dane, who died in 2017 – has great stage presence and his powerful, histrionic vocal talents are geninely captivating, while the band’s unique fusion of extreme metal heft – just listen to that double-bass go, never letting up – old school heavy metal guitars and prog melody means Nevermore still feel genuinely ahead of the curve.

A few songs in, and the crowd thankfully swells to a healthy level as they hit their stride. Drawing from across their discography, the set is an abridged greatest hits with particular emphasis on 2000’s phenomenal Dead Heart In A Dead World, thundering as they bust out the likes of Inside Four Walls and Engines Of Hate. Hitting each track with fresh vitality, Nevermore sound more like Hypocrisy or Strapping Young Lad than Queensryche and the sheer force of their sound is tremendous.

There’s no major set pieces or production gimmicks, just great tunes and musicians going hell for leather for a hale 60 minutes. The highlight of the set is undoubtedly the gothic, doomy The Heart Collector, a track that somehow manages to bridge Sabbath and Nymphetamine with the Gothenburg sound, colossal in its ambition and brimming with anthemic potential. With more shows like this – and a new album on the way next year – we reckon Nevermore 2.0 might finally give the band the love they so richly deserve.

Beartooth frontman Caleb Shomo joins Scott Penfold on this week’s Loaded Radio Podcast to talk about Pure Ecstasy, the band’s sixth album, out August 28 via Fearless Records. It’s the first Beartooth record Shomo didn’t build entirely alone — Jordan Fish co-produced, Misha Mansoor helped birth the title track, and drummer Connor Denis actually played the drums. It’s also the first one he’s made since telling the world who he is. Listen to the full episode below.

LISTEN TO THE FULL EPISODE NOW:

Caleb Shomo goes deep on Pure Ecstasy, the reaction to “Free,” and what changed when he finally let somebody else into the room on The Loaded Radio Podcast. Then Raven Le Rouge of Wichita’s Waking The Sleeper stops by for Fresh Meat. Download the free Loaded Radio App on Apple iOS and Google Play, or hit play above.

For 14 years, Beartooth was one guy in a room

Here’s the thing people forget about Beartooth. It started as a studio project. Caleb Shomo walked out of Attack Attack!, went home to Columbus, and made records by himself — guitars, bass, drums, vocals, production, all of it. Five albums deep and that never really changed. The band you saw destroying a stage on the record-breaking Surface tour was a live unit. The band you heard on the record was one man being extremely stubborn.

Pure Ecstasy is the first time that’s not true.

Connor Denis played the drums, tracked at NRG in Los Angeles. Oshie Bichar, Zach Huston and Will Deely all got their hands on it. And for the first time in Beartooth’s existence, Shomo brought in an outside co-producer: Jordan Fish, formerly of Bring Me The Horizon, a guy whose entire career has been about making enormous, chaotic ideas make sense together.

So on the show I asked him the obvious question. What makes a control freak hand somebody else a key to the house?

Misha Mansoor, the dumbest heaviest chugs, and an album opener

The title track came out of a session with Misha Mansoor, which on paper is a strange pairing — Periphery’s riff scientist and metalcore’s most emotionally exposed songwriter. In practice it produced exactly what you’d hope. Shomo described the session as being born from “the dumbest heaviest chugs we could chug”, cut in a studio with absurd loudspeakers and no particular plan.

Then it went home to Jordan Fish, got expanded, and there was no argument about where it belonged. Track one.

That’s the shape of this whole record. Ideas that started as instinct, then got handed to someone with a different set of ears. “Eyes Closed,” the album’s second track and its fourth single, was written from the ground up with Fish and both of them knew at the demo stage it was landing. Fish also pushed him somewhere Beartooth records have historically refused to go: specificity. Less hiding behind vague language. Say the thing.

Which brings us to the part everyone has an opinion about.

The reaction to “Free”

“Free” arrived in February and it broke the internet in a way Beartooth singles don’t normally break the internet. New sound. New look. A video that made it very clear something in Caleb Shomo’s life had shifted. He called it the most honest depiction of his soul he’d likely ever make, and a chunk of the internet responded by being the internet.

By late May he’d addressed it directly, saying plainly that he’s a proudly gay man and that he’d been reckoning with it privately for a long time. He deleted his Instagram somewhere in the middle of all of it. He’s since talked openly — on the Disrespectfully podcast and in a Kerrang! cover story — about growing up as the son of a preacher who was the son of a preacher, about therapy, about the end of his marriage, and about how little visibility there is for queer artists in heavy music.

I’m not going to pretend that’s a small thing in this genre, because it isn’t. But here’s what I actually wanted to know, and what we spent real time on: he’s said he tries not to read the reception to his own work. How do you actually hold that wall up when the reception isn’t about the song at all?

His answer is the best three minutes of this episode.

We Also Recommend – Dez Fafara Talks DevilDriver’s New Album ‘Strike And Kill’, Returning to their Early Sound and More on The Loaded Radio Podcast

Pure Ecstasy is still a Beartooth record

Worth saying loudly, because the discourse has a way of swallowing the music: this thing rips.

Eleven tracks — Pure Ecstasy, Eyes Closed, Bullshit, Beautiful Again, Stadiums, Free, Sorry, Lose You To Find Me, You, For Me By Me, Made It. It’s the first Beartooth album not on Red Bull Records after more than a decade, landing on Fearless. Shomo has said he wants it to be the building blocks for the rest of his life, and he’s been more willing to call it his best work out loud than he’s ever been about anything he’s made — which, if you’ve followed this band since “Riptide” and the self-flagellating era before it, is genuinely new behaviour.

We also got into “Bullshit,” and the morning it nearly didn’t come out.

The AI story

The band hired a designer to animate the “Bullshit” lyric video. They explicitly asked for no AI. The designer used AI anyway, denied it, and the whole thing got flagged on upload hours before the single dropped.

So Caleb and his brother Luke rebuilt the video themselves. In a day. Luke also did the Pure Ecstasy album artwork, so this is now a family operation on both ends.

Ask him about what that says about the state of the business and you get a pretty unvarnished answer. It’s in the episode.

Where you can see them

The Pure Ecstasy world tour runs Europe and the UK first, September 17 in Frankfurt through October 6 in Glasgow, with Silverstein and Kingdom Of Giants. North America picks up November 11 in Boston and runs to December 19 in Wheatland, California, with Don Broco, Magnolia Park and Windwaker. Australia gets them from January 26, 2027, alongside Fit For A King and Volumes.

Canadians, I asked. I asked twice. You’ll want to hear the answer.

Check This Out – August Burns Red Frontman Jake Luhrs Reveals Overcoming Brutal Depression, Altering His Voice for Heaviest Album Ever, and More on The Loaded Radio Podcast

Fresh Meat: Raven Le Rouge of Waking The Sleeper

After Caleb, we flip over to Fresh Meat, the segment where I give fifteen minutes to a band you probably haven’t heard yet but should.

This week it’s Raven Le Rouge, vocalist and co-founder of Waking The Sleeper out of Wichita, Kansas. They formed in 2016, built the whole thing on the road — 14 states and counting — and their debut concept album 7 Deadly Sins, originally out in 2018 and structured around Dante and the deadly sins themselves, got a second life when it was re-released in 2024 through Sony’s The Orchard. Singles “Wrath” and “Greed” have been charting ever since.

They’ve shared stages with Drowning Pool, Dope, Otep and Combichrist, played Rocklahoma’s Darkside Stage three years running and Blue Ridge Rock Festival in 2023, and Raven took the RRR New And Upcoming Band Of The Year award home in 2017. We wrote about them here a while back, and they’ve kept moving since.

In the segment she gets into building a metal band in Kansas, what fronting this thing has cost her, and what’s coming next.

TL;DR

• This week’s Loaded Radio Podcast: Caleb Shomo of Beartooth, plus Raven Le Rouge of Waking The Sleeper in Fresh Meat.
• The album: Pure Ecstasy, out August 28, 2026, 11 tracks, on Fearless Records — Beartooth’s sixth and their first away from Red Bull Records.
• The big shift: first Beartooth album Shomo didn’t play everything on. Jordan Fish co-produced, Misha Mansoor helped birth the title track, Connor Denis drummed.
• The other big shift: Shomo came out publicly in May 2026 and made this record on the other side of it.
• The lyric video mess: the hired designer used AI on “Bullshit” against instructions; Caleb and his brother Luke rebuilt it in a day.
• Tour: Europe/UK from September 17, North America from November 11, Australia from January 26, 2027. No Canadian date announced yet.

Frequently Asked Questions

Beartooth is one of the few bands where the record and the person are the same document — and Caleb Shomo just rewrote both. What did you make of Pure Ecstasy? Drop a comment and tell us where it lands for you. And keep it locked on the Loaded Radio stream — follow Loaded Radio for daily rock and metal news.

The post Caleb Shomo Tells The Loaded Radio Podcast He Deleted His Instagram, Blew Up His Own Rules, And Made The First Beartooth Album That’s Actually Him appeared first on Loaded Radio.

There are times when starting over does not mean changing direction, but returning to one’s creative roots. That is exactly the case with Sebastian Görlach. Although AVERTAT is a new name on the scene, the musician behind it has a decade and a half of experience in death/doom. Dead End Life is therefore connected to […]

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Roland Orzabal shares tales from the band's ongoing journey in an interview with UCR and also tells us about his new memoir. Continue reading…

Motley Crue bassists lists his reasons for recording one song when the right moment comes up. Continue reading…

“I feel like Scotland have just won the World Cup!” says Bleed From Within frontman Scott Kennedy halfway through his band’s set. Scott is happy, and so he should be; after all, his band have been grafting for 23 years and have reached a point where they can turn up at the UK’s premier metal festival and be greeted like one of the highlights of the weekend.

Two years ago at Bloodstock, Malevolence subheadlined the Ronnie James Dio stage, blew everyone away and walked off looking like shoe-ins as future headliners. Today, it’s Bleed From Within’s turn to do the very same.

With a back catalogue of seven strong albums and over two decades of hard road work behind them, BFW were never going to let an opportunity like today pass them by, and they are exceptional this afternoon, grasping the chance to stake their claim in an incredible manner. The grooves and propulsion of tracks like Levitate and God Complex sound magnificent, with Scott, rapidly growing into one of metal’s best frontmen, endlessly egging on the crowd, demanding more circle pits and more chaos. He gets his demands met, too, with at least five swirling pits being counted at one point.

The band sound fabulously tight, and the extra elements they add to their sound today with bagpipes players and vocalist Hannah Boulton pepper some glorious new textures to their meaty metallic crunch.

By the time they bid farewell with a superb run through of In Place Of Your Halo, jaws are on the floor and they’ve left headliners Slaughter to Prevail with a mighty high bar to reach. “This,” Scott tells us “is the best show this band has ever played.” It’s hard to disagree.

A John McGinn winner in the World Cup final? Sorry Scott, that sounds like pure fantasy. But Bleed From Within to headline Bloodstock? Well, that seems a much safer bet.

Stephen James Omen of Post Death Soundtrack Talks BARREN MOTHER OF ALL, Artistic Freedom, AI, Going Against the Grain & the Power of Real Music

Post Death Soundtrack founder Stephen James Omen joins The Zach Moonshine Show for a wide-ranging conversation about the massive 37-song double album BARREN MOTHER OF ALL, the importance of artistic freedom, the changing music industry, AI, authenticity, his influences, his recording process, and why sometimes the best thing an artist can do is simply say “fuck it” and make the music.
There are albums you listen to, and then there are albums you have to spend some time with.
BARREN MOTHER OF ALL , the latest release from Canadian experimental heavy music project Post Death Soundtrack , is very much the latter.
The massive 37-song double album is the latest chapter in a run of ambitious, sprawling releases that have become a defining part of Stephen James Omen’s creative journey. Rather than treating the album like a collection of songs designed to fit neatly into a genre, a playlist, or an algorithm, Omen approaches the music as something much more personal and immersive.
During his appearance on The Zach Moonshine Show , Omen explained that the sheer size and scope of the project wasn’t necessarily something that was carefully planned from the beginning. It was something that happened because the music kept coming.
“It’s like falling in love. It doesn’t make sense. It’s compulsion,” Omen explained.
For him, the creative process is about entering difficult places emotionally and coming back with something meaningful. He compared the process to a shaman venturing into frightening, nightmarish territory and returning with a “gem for the tribe.”
That philosophy has shaped the last three Post Death Soundtrack albums, all of which have grown into massive projects containing 30 or more songs. BARREN MOTHER OF ALL ultimately reached 37 tracks, something Omen says is intended to be experienced almost like a book, something listeners can pick up, put down, return to and absorb over time.
And ultimately, he doesn’t see the project as simply another band or another series of releases.
“It’s pretty much the mission of my life,” he said.
From Metal Bands to a One-Man Creative Force

Post Death Soundtrack began in 2006, with Omen serving as the project’s founder and primary songwriter throughout its evolution.
Before ultimately taking the project in a more solo direction, Omen had already spent years working in other bands and projects, including the punk/thrash metal band Inner Surge and progressive metal project The Unraveling.
Eventually, he realized that if Post Death Soundtrack was going to move forward at the pace he wanted, he needed to take control of the process.
The reason was simple: working with too many people could mean projects taking too long or never happening at all.
That decision is a familiar one for independent musicians. Sometimes the only way to get the music out of your head and into the world is to stop waiting for everyone else to be ready.
Omen’s approach has increasingly become about embracing that independence rather than fighting it.
That mentality is reflected in one of the strongest themes throughout the conversation: don’t wait for permission to make your art.
Learning From the Artists Who Refused to Play It Safe

One of the most interesting parts of the interview was Omen’s discussion of the artists who influenced his philosophy as much as his sound.
Nine Inch Nails, particularly The Downward Spiral , came up as a major influence. Omen praised the record for taking risks and deliberately pushing against conventional songwriting and production expectations.
That led to a larger discussion about artists who reached a certain level of success and then chose to do something unexpected rather than simply repeating whatever had made them successful.
Nirvana’s In Utero was another major example.
Omen pointed to Kurt Cobain’s refusal to simply reshape the album into something safer or more commercially acceptable, despite resistance from the record label.
Faith No More’s Angel Dust and Pantera’s decision to become even heavier following Vulgar Display of Power also became part of the conversation.
The common thread was obvious: the artists followed the music instead of following the money.
For Omen, that’s a crucial part of what makes those records special.
“Life is not all about that,” he said, discussing the pressure musicians face to constantly ask whether they’re making money.
The point isn’t that making money from music is bad. It’s that financial success shouldn’t be the only reason to create.
Sometimes you make the record because the record needs to exist.
Sometimes you make it because you have something inside you that needs to get out.
And sometimes you make it because you’re simply tired of being told what you’re supposed to do.
“I Want to Be Difficult”

That attitude becomes particularly clear when Omen describes BARREN MOTHER OF ALL itself.
“I want to be difficult,” he said.
He described the album as radical and said he wants the music to get directly into people’s faces. Listeners can embrace it, reject it, pick it up or put it down, but he’s not interested in creating something that simply blends into everything else happening around it.
Omen described himself as “just a truth teller,” acknowledging that the result isn’t always going to be pretty.
But that’s exactly the point.
The music isn’t designed to make everybody comfortable.
It is designed to communicate something real.
Authenticity in the Age of AI

The conversation naturally moved into one of the biggest issues facing independent musicians right now: artificial intelligence.
Omen’s position was blunt.
With an enormous volume of music being uploaded to streaming services, he believes authenticity and the human story behind the music are becoming increasingly important.
The discussion wasn’t simply about whether AI music is good or bad. It was about what happens when music becomes disconnected from the person who created it.
For Omen, discovering an artist isn’t just about hearing a song.
It’s about wanting to know who made it.
You find the artist’s social media. You look up interviews. You learn their story. You follow them. You buy their records. You become invested in what they’re doing.
That human connection is a huge part of being a music fan.
As the conversation pointed out, if there is no person behind the music to discover, interact with or support, that connection simply isn’t there.
Omen also revealed that more than 60 of his songs have already been scraped by AI systems, making the issue far more personal than an abstract debate about technology.
At the same time, he believes AI may eventually settle into more of an editing or production tool rather than completely replacing human creativity.
But the human element remains the important part.
The flaws, imperfections, stories and experiences behind real music are things a machine can’t simply manufacture.
Stop Treating Music Like a Casino

Another major topic was the economics of independent music.
Omen questioned the obsession many musicians have with streaming payouts and the constant question of how quickly they can turn music into money.
His philosophy is much more long-term.
Build real fans.
Build relationships.
Give people something worth caring about.
He pointed out that an artist doesn’t necessarily need millions of casual listeners. A relatively small group of genuinely dedicated fans can become a much more meaningful foundation.
The conversation also touched on Bandcamp and how platforms like Bandcamp can provide artists with a more direct relationship with their listeners.
Streaming platforms, YouTube, radio and social media can all serve as ways to get the music in front of people. But ultimately, if the music connects with somebody, that person can go looking for the artist and find a way to support them.
As Omen put it, the goal shouldn’t simply be asking, “Where’s my cash?”
The goal is to make something that changes culture, changes lives or at the very least connects with another human being.
That’s an old-school idea, and honestly, it’s one worth remembering.
Before every song became a data point, people discovered bands because somebody handed them a record, played them a song, wrote about them, or said, “Dude, you have to hear this.”
The technology changes.
That part doesn’t.
A Musical Palette That Goes Far Beyond Metal

While Post Death Soundtrack certainly carries elements that will appeal to fans of heavy music, Omen’s musical influences stretch far beyond traditional metal.
He discussed discovering music through Nirvana before moving deeper into artists such as Sepultura, Tool and Skinny Puppy, with industrial music becoming an important influence.
But that’s only part of the picture.
Omen described himself as extremely open musically, with influences ranging from John Coltrane to Andrea Bocelli, industrial music to heavy rap.
Trap and drill-inspired beats actually played a role in the creation of BARREN MOTHER OF ALL , adding another unexpected layer to the album’s sound.
Chief Keef became a particularly interesting point of discussion.
Omen talked about the aggression in Chief Keef’s work, particularly the way he can suddenly change his vocal delivery and flow, almost flipping a switch and going into battle mode.
That influence can be heard in “Red Rum,” where Omen intentionally incorporates that sudden change in energy.
It’s another example of why trying to categorize Post Death Soundtrack too neatly misses the point.
The influences aren’t coming from one scene.
They’re coming from everywhere.
The Beauty of Imperfection

Perhaps one of the coolest revelations of the interview came when Omen discussed how some of the music on BARREN MOTHER OF ALL was actually recorded.
He uses delay, reverb and bit-crushing effects on his vocals and works with a Vox amplifier, Fender Stratocaster and Gibson SG.
He also makes extensive use of a Seagull 12-string guitar.
But some songs don’t involve elaborate studio production at all.
Omen explained that he sometimes simply grabs the 12-string, records his voice and guitar on his phone and captures the idea as it happens.
Some of those raw recordings ended up on the album essentially as they were.
They’re not polished.
They’re not necessarily “properly recorded.”
And that’s precisely what he likes about them.
“There’s some kind of beauty in that,” he explained.
It’s a fitting philosophy for an album built around authenticity.
Sometimes the perfect recording is the one that captures the moment before you have time to overthink it.
The Gear Behind the Chaos

For those who like getting into the nuts and bolts of how the sounds are created, Omen also talked about his gear.
His guitar setup includes a Vox amplifier, Fender Stratocaster, Gibson SG and Seagull 12-string.
For effects, he talked about using delay, reverb and bit-crushing effects on vocals, along with EarthQuaker Devices pedals and atmospheric effects such as the Ghost Echo.
The goal isn’t simply to make a guitar sound like a guitar.
The effects themselves can become part of the songwriting process.
Omen described how plugging a simple note into an atmospheric effect can completely transform it and inspire an entirely new idea.
That approach fits perfectly with Post Death Soundtrack.
The equipment isn’t being used merely to reproduce a preconceived sound.
The equipment becomes part of the experiment.
What’s Next for Post Death Soundtrack?

Despite having just released a gigantic 37-song double album, Omen isn’t exactly slowing down.
He revealed that there are already more songs in the works, with some recently completed material potentially appearing on a future release.
He’s also working with the two-man project He Is Me on a full-length album that was described as being nearly finished.
Meanwhile, Post Death Soundtrack itself will continue to grow.
Omen says the catalog is continually building, with more music and videos on the way.
In other words, BARREN MOTHER OF ALL isn’t the end of the story.
It’s another chapter.
And judging from the conversation, there are plenty more chapters already being written.
“I Want People to Dig In”

As the interview wrapped up, Omen had a simple message for anyone discovering Post Death Soundtrack for the first time:
Listen to BARREN MOTHER OF ALL .
Dig into it.
Take your time with it.
It’s a lot of music, and it’s meant to be explored rather than consumed and immediately forgotten.
That’s probably the best way to approach a 37-song album anyway.
Don’t throw it on while scrolling through your phone for three minutes and decide you’ve got the whole thing figured out.
Put the damn thing on.
Get lost in it.
Come back to it.
Find the weird parts.
Find the heavy parts.
Find the beautiful parts.
Find the uncomfortable parts.
That’s what makes a project like Post Death Soundtrack interesting.
There is no obvious box to put it in.
And Stephen James Omen doesn’t seem particularly interested in helping you build one.
Listen to the Full Interview

Stephen James Omen of Post Death Soundtrack joined The Zach Moonshine Show for one of the most wide-ranging conversations we’ve had about music, creativity and what it means to remain genuinely independent in an increasingly automated music world.
From BARREN MOTHER OF ALL and the philosophy behind the album to Nine Inch Nails, Nirvana, Faith No More, Pantera, Skinny Puppy, Chief Keef, AI, Bandcamp, independent music, recording techniques, gear and the future of Post Death Soundtrack, this one went everywhere.
And naturally, we couldn’t end the conversation without cranking up “Red Rum” .
As Stephen put it during the interview, he wants to make music that is radical, difficult and honest.
In a world increasingly filled with polished, predictable and algorithm-friendly content, maybe that’s exactly the kind of music we need.
Post Death Soundtrack’s BARREN MOTHER OF ALL is out now.
Listen to the full interview on The Zach Moonshine Show and dig into the world of Post Death Soundtrack.
Interview conducted by Zach Moonshine for Metal Devastation Radio.
Track List: 
Battle Of The Bands Top Six Winners:
1 – Okl’s FruitLoops – Scream Of Silence
2 – Soul Of Sheol – Paradise Is Not For Us
3 – Mistress – Terrified eyes
4 – Manuel Saavedra Duarte – Warlock
5 – RÄgi – AtgrieÅ¡anÄs
6 – ALIS – Poised To Outlast
The Zach Moonshine Intro
7 – Black Sabbath – Black Sabbath (live 1998)
8 – Ola Englund – The Ember Saga/DOGMA PROGMA
9 – ACCEPT – Balls To The Wall/Fast As A Shark (50th Anniversary editions)
Post Death Soundtrack – Interview featuring Queen Bee/Red Rum
10 – Lovage – Stroker Ace
11 – Nine Inch Nails – Terrible Lie/Right Where It Belongs
12 – Dan Lorenzo – Silver Lined Cyanide Serenity
13 – Heretic – Reckoning
14 – Wizard Tattoo – Part I The Fall
15 – Hellfrost – Swamp Body
16 – Black Altar – Infernal Damnation
17 – The End of Melancholy – Halo
18 – James Legendforge – The Witchfinder’s Flame
19 – Fight – Human Crate/Into The Pit/Contortion
Listen to the full show recap on Mixcloud:

Check out the interview clips on Spotify, YouTube, Apple etc:

https://podcasts.apple.com/us/podcast/the-zach-moonshine-show/id1533618474

Super massive shout out and thanks to the 340,278 metal maniacs that tuned in to the live broadcast Friday night!