W.A.S.P.’s Blackie Lawless Reflects on Split With Chris Holmes: “It Really Was Musical Differences” More than three decades after Chris Holmes' original departure from W.A.S.P., frontman Blackie Lawless has once again addressed the longtime... More

W.A.S.P.’s Blackie Lawless Reflects on Split With Chris Holmes: “It Really Was Musical Differences” More than three decades after Chris Holmes' original departure from W.A.S.P., frontman Blackie Lawless has once again addressed the longtime guitarist's exit, the creative differences that drove the band in a new direction, and whether fans could ever see the two musicians share a stage again. In a new interview with Scott Penfold of Loaded Radio, Lawless was asked whether he wishes things had turned out differently with Holmes, one of the key musicians associated with W.A.S.P.'s classic early lineup. According to Lawless, the split ultimately came down to the direction in which he wanted to take the band's music. “Chris is a great performer,” Lawless said. “But he wasn't able to do musically the things that I wanted to do later on.” Lawless explained that after completing 1989's The Headless Children, he felt he had taken the band's original musical approach as far as it could go. He pointed specifically to the ambitious direction of 1992's The Crimson Idol as an example of where his songwriting and musical vision were heading. For Lawless, the phrase “musical differences” wasn't simply a convenient explanation for a band breakup. “It really was that,” he said. Blackie Lawless Says W.A.S.P. Changed After the Early Years Lawless also pushed back against the idea that tension between himself and Holmes was responsible for the magic of W.A.S.P.'s early records. According to the singer, the chemistry originally came from the entire lineup, not just his relationship with Holmes. Lawless specifically remembered the impact of losing original drummer Tony Richards, saying the band was “seriously damaged” by his departure. He explained that W.A.S.P. attempted to move forward on its second and third albums, but eventually recognized that the original formula was no longer working. After The Headless Children, Lawless said, the band deliberately moved in another direction. One of the most visible signs of that transformation was the disappearance of band members from W.A.S.P. album covers. From that point forward, Lawless said, the group stopped presenting itself visually as the same band that had started out in the early 1980s. “The Music Is the Most Important Thing” Asked whether he has regrets about the band's early years, Lawless acknowledged that a career spanning more than 40 years naturally comes with some. However, he said his ultimate measure of those decisions is whether the music worked. The W.A.S.P. frontman invoked Frank Sinatra's classic “My Way” when discussing the subject, saying that the important question is whether there was ultimately more good than bad. For Lawless, the music remains the deciding factor. “The music is the most important thing,” he said, explaining that ultimately it determines whether a band “lives or dies.” That philosophy appears to remain central to his approach to W.A.S.P. decades after the band's formation. Could Blackie Lawless and Chris Holmes Ever Reunite? For fans who have spent years hoping for a reunion of W.A.S.P.'s original lineup, Lawless' latest comments don't offer much encouragement. Asked about the possibility of sharing the stage with Holmes again, Lawless said he would have to turn his back on the musicians who currently make up his band. He rejected that possibility. “I've been with these guys for over 30 years, and this is the band that I know,” Lawless explained. “And I just couldn't do that.” Lawless has repeatedly defended W.A.S.P.'s current lineup and dismissed the idea that reuniting the original musicians would necessarily represent a step forward. In a previous interview, he praised current members Mike Duda, Doug Blair and Aquiles Priester, describing them as world-class musicians. For Lawless, the issue isn't simply nostalgia. He believes the musical demands of W.A.S.P.'s later material require musicians capable of performing that material consistently at a high level. Chris Holmes Has a Very Different View Holmes, meanwhile, has been equally clear that he has no interest in returning to W.A.S.P. under the current circumstances. In a May 2026 interview with Thomas S. Orwat, Jr. of the Rock Interview Series, Holmes was asked whether he would consider rejoining the band if Lawless invited him back. His answer was immediate: no. Holmes cited longstanding disputes concerning publishing royalties as the primary reason he would not return. The guitarist has repeatedly alleged that he did not receive publishing income he believes he was owed from his work with W.A.S.P. Those allegations are Holmes' account of the dispute and have been a recurring subject in interviews throughout the years. Holmes also recalled being paid substantially less than drummer Frankie Banali during one period of W.A.S.P.'s touring career and said he confronted Lawless about the difference. According to Holmes, he was told that publishing income would make up the difference. Holmes has said he later discovered that he had been listed as a session player in documentation relating to the band's recordings, which he says contributed to his longstanding anger over the situation. Holmes Says He Would Need His Publishing Dispute Resolved Holmes has been consistent on one point: if a W.A.S.P. reunion were ever to happen, he would want the publishing dispute addressed first. The guitarist has made similar comments in interviews dating back several years. In 2020, Holmes told Canada's The Metal Voice that he had never received what he believed he was owed in royalties or songwriting income from W.A.S.P. material. He said that after investigating the matter with legal assistance in the mid-2000s, he discovered that he had been listed as a session player on the records. Holmes has characterized the situation as a betrayal by someone he once considered a close friend. He has also said that he would never get over what he believes happened to him financially and professionally during his years with W.A.S.P. Holmes' Role in the Classic W.A.S.P. Sound Regardless of the dispute surrounding the band's business history, Holmes remains an important part of W.A.S.P.'s early identity. He joined the band in 1982, alongside Lawless, guitarist Randy Piper and drummer Tony Richards. Holmes remained with W.A.S.P. through 1990 before eventually returning to the band during the mid-1990s. His second stint lasted until 2001. He has not performed with W.A.S.P. since. Although Holmes received songwriting credit on only a limited number of tracks across the band's early albums, he has long maintained that his guitar playing and creative input were fundamental to the band's sound. In a 2021 appearance on SiriusXM's Trunk Nation With Eddie Trunk, Holmes argued that W.A.S.P. was genuinely a group on its debut album but became increasingly centered around Lawless afterward. Holmes also recalled Lawless telling him when they first met that the band would not work without him. That history helps explain why the possibility of an original-lineup reunion continues to generate discussion among W.A.S.P. fans. The Mean Man Documentary Added Another Layer The complicated relationship between Lawless and Holmes was also explored through the documentary Mean Man: The Story Of Chris Holmes. Released on Blu-ray, DVD and VOD in 2021, the film was created by French filmmakers Antoine De Montremy and Laurent Hart. The documentary chronicles Holmes' life and career, including his time with W.A.S.P. and his later life in France. Lawless has made it clear that he has no interest in watching the documentary. In a 2024 interview, he questioned the accuracy of Holmes' account and said that someone's personal version of events does not necessarily make it factual. Lawless also said he did not recall being invited to participate and would not have agreed to take part had he been asked. Holmes, for his part, previously said that De Montremy had approached Lawless about participating. Holmes Has Also Spoken About W.A.S.P.'s Musical Direction The disagreement between the two musicians isn't limited to business matters. Holmes has also criticized the direction W.A.S.P. took after his departure, particularly the band's use of sampling during the Kill.Fuck.Die. era. He has said that performing with extensive sampling made the experience feel less authentic to him because he wanted W.A.S.P.'s live performances to be completely live. Lawless, meanwhile, has argued that the band's musical evolution required increasingly accomplished musicians. He specifically pointed to The Headless Children and The Crimson Idol as turning points. According to Lawless, the musicians involved in those records possessed a level of technical ability and creativity that he felt was necessary to execute his increasingly ambitious material. No Original W.A.S.P. Reunion on the Horizon For fans hoping to see Blackie Lawless, Chris Holmes, Randy Piper and Tony Richards reunite for a performance, the latest comments from both sides suggest that dream remains extremely unlikely. Lawless has consistently argued that returning to the original lineup would represent a step backward creatively. Holmes has consistently maintained that he would only consider returning if his publishing concerns were resolved. And with decades having passed since the original lineup was together, the personal history between Lawless and Holmes appears to remain every bit as complicated as ever. For Lawless, W.A.S.P. is about continuing to move forward with the musicians he has worked alongside for decades. For Holmes, the unresolved publishing dispute remains a line he says he will not cross. The two men may disagree strongly about what happened, but there is one thing they have both made clear: a W.A.S.P. reunion featuring Chris Holmes isn't something fans should expect anytime soon. For a band whose early records helped define the darker, theatrical side of 1980s heavy metal, the history remains fascinating. The first W.A.S.P. lineup may be frozen in time on those classic album covers, but the story behind the band continues to generate controversy more than 40 years later. 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ANTHRAX Unleash “Everybody’s Got A Plan” Music Video Ahead of New Album Cursum Perficio New York thrash metal legends ANTHRAX have unleashed the official music video for “Everybody’s Got A Plan,” the third single from their highly anticipated new... More

ANTHRAX Unleash “Everybody’s Got A Plan” Music Video Ahead of New Album Cursum Perficio New York thrash metal legends ANTHRAX have unleashed the official music video for “Everybody’s Got A Plan,” the third single from their highly anticipated new album Cursum Perficio. The record arrives September 18, 2026, marking the band’s first studio album in a decade. The new video, which premiered through Revolver, offers fans a behind-the-scenes look at ANTHRAX on the road, combining live performance footage with candid moments from the band's touring life. A major portion of the video was filmed during ANTHRAX's recent performance at Estádio do Sport Lisboa e Benfica in Lisbon, Portugal, where the band shared the stage with IRON MAIDEN. Bassist Frank Bello described the video as “a great representation of a day in the life of ANTHRAX on tour,” giving fans a glimpse at both sides of the band's existence, from the chaos and energy of the stage to the downtime and camaraderie that happen away from the spotlight. “Everybody’s Got A Plan” follows the release of the album's first two singles, “It’s For The Kids”, released in May, and “The Edge Of Perfection”, which arrived in July. ANTHRAX Says “Everybody’s Got A Plan” Is a Fan Favorite Drummer Charlie Benante revealed that “Everybody’s Got A Plan” has long been one of his favorite songs from Cursum Perficio. “‘Everybody’s Got A Plan’ has always been one of my favorite songs on ‘Cursum Perficio’,” Benante said. “The video basically shows the band on and off stage in a montage of video clips that kinda matches the velocity of the song.” The track's title comes from the memorable line: “Everybody’s got a plan until they get punched in the face.” Benante called the line particularly fitting, adding that it rings true in everyday life. Guitarist Scott Ian said the band's goal was simple: capture ANTHRAX having a good time on the road. “We wanted to capture us having fun on tour and what better way to do that?” Ian explained. “That was a plan that didn't end up with a punch in the face! Have fun watching, my friends!” The result is a video that captures ANTHRAX in their natural environment: loud, fast, energetic and clearly having one hell of a time. Watch ANTHRAX Take Over the Road The “Everybody’s Got A Plan” video arrives at a particularly exciting time for ANTHRAX. After spending years touring in support of their previous album, For All Kings, the band is finally preparing to unleash its long-awaited follow-up. Cursum Perficio will be released on September 18, 2026, through Megaforce Records in the United States and Nuclear Blast in Europe. The album represents ANTHRAX's first new studio record since 2016's For All Kings, which debuted inside the Top 10 of the Billboard 200. The Latin phrase “Cursum Perficio” can be translated as “My journey has come to an end,” “My journey is over,” or “I complete my journey.” For a band that has spent more than four decades helping define American thrash metal, the title carries some serious weight. But judging from the three songs released so far, ANTHRAX certainly aren't sounding like a band preparing to slow down. A Decade in the Making ANTHRAX began working in earnest on Cursum Perficio in 2022, recording at Dave Grohl's Studio 606 in Los Angeles. Produced by Jay Ruston and ANTHRAX, the album reportedly finds the band digging deep into its history while refusing to simply recreate the past. The result is being described as angry, aggressive and alive, combining the elements that made ANTHRAX one of thrash metal's defining acts while continuing to expand the band's signature sound. That approach is already evident in the three singles. “It’s For The Kids” delivers the classic ANTHRAX attack with razor-sharp riffs, explosive drums and a huge, instantly memorable chorus. “The Edge Of Perfection” takes a darker and more atmospheric approach, beginning with clean guitar textures and restrained percussion before erupting into a much heavier assault. Then comes “Everybody’s Got A Plan,” which brings another shot of straight-ahead ANTHRAX energy. Taken together, the singles suggest that Cursum Perficio could be one of the band's most ambitious releases in years. ANTHRAX Announce Special Louisville Release Event ANTHRAX will celebrate the release of Cursum Perficio with a special late-night in-store signing at Guestroom Records in Louisville, Kentucky. The event will take place immediately following ANTHRAX's September 17 appearance at Louisville's annual Louder Than Life festival. Beginning at 12:01 a.m. on September 18, Scott Ian, Charlie Benante, Frank Bello, Joey Belladonna and Jonathan Donais will meet fans and sign copies of the new album. Space is limited, and fans who want to attend must pre-order the album directly through Guestroom Records. Only albums purchased through the designated pre-order will qualify for the signing. For longtime ANTHRAX fans, it's a pretty killer way to ring in release day. Cursum Perficio Track Listing The new ANTHRAX album will feature 11 tracks: Persistence Of Memory The Long Goodbye It’s For The Kids Everybody’s Got A Plan The Edge Of Perfection Infectious NYC93 Cursum Perficio T.O.M.B. Watch It Go My Victory ANTHRAX Offers Plenty of Physical Editions As expected from a major metal release, Cursum Perficio will be available in a wide variety of physical formats. Fans will be able to find the album on standard CD, a Target-exclusive CD featuring a fabric album-cover patch, and multiple double-LP editions. Vinyl variants include standard black vinyl, red zoetrope, purple zoetrope, lilac, white, red ripple, and a multicolor red/orange/yellow pressing. Several editions will be exclusive to specific retailers and partners, including Target, Amazon, Metal Injection, Talk Shop Live and independent record stores. For collectors, this one could get dangerous for the wallet. You know how this game works. ANTHRAX's Legacy Continues Since forming in New York in the early 1980s, ANTHRAX have stood alongside Metallica, Slayer and Megadeth as one of the bands responsible for defining the American thrash metal movement. With Scott Ian, Charlie Benante, Frank Bello, Joey Belladonna and Jonathan Donais currently carrying the banner, the band continues to deliver its trademark combination of blistering riffs, infectious hooks and unrelenting live energy. Now, after a ten-year wait between studio albums, Cursum Perficio is finally almost here. With three singles already released and a new music video showcasing the band's explosive life on the road, ANTHRAX are making it clear that the journey isn't ending anytime soon. If anything, “Cursum Perficio” sounds less like the end of the road and more like another chapter in the ongoing ANTHRAX assault. ANTHRAX's Cursum Perficio arrives September 18, 2026, via Megaforce in the U.S. and Nuclear Blast in Europe. [jrEmbed module="jrYouTube" youtube_id="rr-GVF_Qzdw"] [jrEmbed module="jrYouTube" youtube_id="uqbhWhN4F74"] [jrEmbed module="jrYouTube" youtube_id="Pj5u8OagODo"] Less

Bruce Dickinson Says His New Solo Album Will Be “Heavy As Shit” and Arrives in 2027 Iron Maiden frontman Bruce Dickinson has confirmed that his upcoming eighth solo album is shaping up to be a seriously heavy affair, with the singer describing... More

Bruce Dickinson Says His New Solo Album Will Be “Heavy As Shit” and Arrives in 2027 Iron Maiden frontman Bruce Dickinson has confirmed that his upcoming eighth solo album is shaping up to be a seriously heavy affair, with the singer describing the new record in no uncertain terms: “The album is heavy as shit.” The long-awaited follow-up to 2024’s The Mandrake Project is currently expected to arrive in early 2027 through BMG, and Dickinson has revealed that the new album will take a different direction from his most recent solo effort. Speaking with VSX at last month’s San Diego Comic-Con, Dickinson discussed the evolution of The Mandrake Project, his approach to songwriting, and what fans can expect from his next solo release. According to Dickinson, the concept behind The Mandrake Project began nearly two decades ago. What started as an idea for a single comic book intended to accompany a solo album eventually expanded into an ambitious multimedia project featuring a 12-issue adult comic book series published by Z2 Comics. The music and comics share conceptual elements involving science, the occult, and the human soul, but Dickinson now believes The Mandrake Project has developed a life of its own within the world of comics. “I've got a new record coming out next year, new solo album. It's kind of standalone. There's one song that has a bit of something to do with ‘Mandrake.’ Now, the album is heavy as shit.” Dickinson also made it clear that he does not want to force the new album into the Mandrake universe simply for the sake of maintaining a connection. “I'm not digging into ‘Mandrake.’ I think ‘Mandrake’ has a life now on a comic book level.” That separation could make the upcoming album particularly interesting for longtime fans of Dickinson's solo career. Rather than revisiting familiar territory, the Iron Maiden singer says he wants to continue pushing his songwriting in different directions. Bruce Dickinson Wants to Avoid Repeating Himself When asked whether he thinks about his previous solo albums when writing new material, Dickinson explained that he tries not to simply recreate what he has already done. For Dickinson, experimentation does not necessarily mean abandoning his musical identity. Instead, it means finding new ways to present familiar elements. “Music is something which you try not to stick too much of a format,” Dickinson explained, while acknowledging that he remains firmly within his own musical style. The approach has been a consistent part of Dickinson's solo career. From Tattooed Millionaire and Balls To Picasso through Accident of Birth, The Chemical Wedding, Tyranny Of Souls, and The Mandrake Project, his solo work has allowed him to explore territory that sometimes differs considerably from Iron Maiden. This new album appears poised to continue that tradition, but Dickinson's description of the record suggests fans may be in for one of his heaviest solo outings yet. New Bruce Dickinson Album Was Recorded at Studio 606 Much of Dickinson's upcoming eighth solo album was recorded during January and February 2026 at Studio 606 in Northridge, California, the legendary recording facility associated with Dave Grohl and the Foo Fighters. Producer Brendan Duffey is handling the production, mixing, and mastering work. Duffey previously worked on the expanded and reworked version of Dickinson's 1994 solo album Balls To Picasso, released in 2025 under the title More Balls To Picasso. The new album is currently being mixed at Duffey's high-end Brendan Duffey Audio studio in Jupiter, Florida. Dickinson has also revealed that the recording sessions were completed using his touring band, featuring: Mistheria – keyboards Dave Moreno – drums Tanya O'Callaghan – bass Chris Declercq – guitar Philip Näslund – guitar The album will also feature a guest appearance from Andreas Kisser, legendary guitarist of Brazilian metal giants Sepultura, who revealed earlier this year that he contributed percussion to the record. Bruce Dickinson and His Son Austin Collaborate Another intriguing element of the upcoming Bruce Dickinson solo album is a collaboration with his son Austin Dickinson. Austin is a musician best known for his work as the former frontman of British metal bands Rise To Remain and As Lions. Bruce recently confirmed that Austin will appear on the new record. Dickinson has also indicated that fans will not have to wait until the album's 2027 release to hear it. The singer said that some tracks are expected to surface during 2026 and revealed plans to shoot four or five videos for the project. With the album now moving through the mixing stage, the first official taste of the new material could be coming sooner rather than later. 16 Songs Recorded in Just Three Weeks Dickinson previously revealed that he recorded 16 songs for the new solo album during an intense three-week period earlier this year. In an interview with Rolling Stone, he emphasized that the sessions were performed completely live, describing the approach as the “anti-A.I. generation.” That detail should grab the attention of old-school metal fans. Rather than building an album piece by piece through heavily edited modern production techniques, Dickinson and his band captured the performances together in the studio. The result could give the new record a rawer, more organic feel while still benefiting from modern recording technology. And if Dickinson's “heavy as shit” assessment is anything to go by, there may be plenty of volume involved. From Iron Maiden to a Legendary Solo Career Bruce Dickinson made his recording debut with Iron Maiden on the band's landmark 1982 album The Number Of The Beast, one of the defining records in the history of heavy metal. He left Iron Maiden in 1993 to focus on his solo career, with Blaze Bayley stepping into the vocalist position. Dickinson released several solo albums during his time away from Maiden, including collaborations with former Maiden guitarist Adrian Smith. He eventually returned to Iron Maiden in 1999, with Smith also rejoining the band. Since then, Dickinson has continued to maintain both his Iron Maiden career and his solo work. His most recent solo album, The Mandrake Project, was released in 2024 and spawned an extensive touring campaign. The accompanying multimedia project expanded the album's story into a comic book series, turning what was originally envisioned as a promotional tie-in into a much larger creative universe. Now, Dickinson appears ready to leave that world behind musically and start another chapter. What Can Fans Expect From Bruce Dickinson's New Album? Details surrounding the new album remain limited, including its official title and track listing. However, several important pieces are already in place. The album: Is expected in early 2027 via BMG Will be Dickinson's eighth solo studio album Contains 16 recorded songs Was largely recorded at Studio 606 Features Dickinson's current touring band Includes percussion from Sepultura's Andreas Kisser Features a collaboration with Austin Dickinson Was recorded largely live Is being mixed by Brendan Duffey Is expected to receive its first previews during 2026 Most importantly, Dickinson himself says it is going to be heavy. After decades of creating some of heavy metal's most recognizable music, Bruce Dickinson clearly isn't interested in simply coasting on his legacy. If the new album delivers on his promise, 2027 could bring another major chapter in one of metal's most enduring solo careers. And honestly, when Bruce Dickinson says a record is going to be “heavy as shit,” we're probably going to want to hear that one for ourselves. [jrEmbed module="jrYouTube" youtube_id="zRgF1HovfcU"] Less

Crown Magnetar Unleash New Single and Video “Shut Up and Bleed” Ahead of Brutal New Album The Hollowing of Godflesh Colorado deathcore wrecking crew Crown Magnetar are turning up the violence with their latest single and video, “Shut Up and... More

Crown Magnetar Unleash New Single and Video “Shut Up and Bleed” Ahead of Brutal New Album The Hollowing of Godflesh Colorado deathcore wrecking crew Crown Magnetar are turning up the violence with their latest single and video, “Shut Up and Bleed,” the newest preview of their upcoming third full-length album, The Hollowing of Godflesh. Set for release September 25, 2026 via Unique Leader Records, The Hollowing of Godflesh finds Crown Magnetar pushing their already ferocious brand of deathcore even further into the realms of brutal death metal and technical extremity. Watch the official video for “Shut Up and Bleed” here: [jrEmbed module="jrYouTube" youtube_id="Ub8-Zvi8hiY"] Pre-order The Hollowing of Godflesh and stream the new single here: http://orcd.co/THEHOLLOWINGOFGODFLESH The new track delivers exactly what its title promises: a relentless, groove-heavy assault packed with crushing riffs, savage vocals, technical precision, and the kind of rhythmic punishment that Crown Magnetar have built their reputation on. Vocalist Dan Tucker describes the song in appropriately horrifying terms: “Corruption made permanent. A corrupt entity is condemned within its own form. Its hollow interior filled and hardened until flesh becomes a living tomb. Unable to move, unable to die, it remains conscious and imprisoned in the exact moment of agony. A being with no escape and no reprieve. Shut up and bleed.” Crown Magnetar Sharpen the Blade While Crown Magnetar have never been shy about delivering devastating deathcore, The Hollowing of Godflesh represents an evolution of the band's sound rather than a simple repeat of what came before. According to Tucker, the album is the most complete representation of Crown Magnetar to date. “We pushed every aspect of our songwriting further without losing the intensity and rawness that defines the band.” The goal was to take the elements listeners already expect from Crown Magnetar and push them beyond their previous limits, bringing in greater atmosphere, bigger moments, more aggression, and an even heavier emphasis on riffing. A major part of that evolution comes from guitarist Rob Maramonte, whose arrival marks his recorded debut with Crown Magnetar. Maramonte brings serious technical metal credentials to the equation, having previously spent time as a member of Fallujah and The Zenith Passage, while also performing live with Thy Art Is Murder and All Shall Perish. His influence is immediately apparent in the increasingly technical edge of Crown Magnetar's material. “I've spent time in a lot of great bands, but this is the first time I've felt a gelling of my vision with that of the band,” says Maramonte. “Crown is based on relentless brutality and raw power, and it's an honor they've allowed me to sharpen that into the most deadly version yet.” That's a pretty damn good mission statement for a death metal band. Brutal Death Metal Roots Run Deep Crown Magnetar aren't simply following the modern deathcore blueprint. Their sound reaches further back into the brutal death metal that helped establish the genre's heavier foundations. The influence of bands such as Suffocation, Dying Fetus, Putridity, Brodequin, and Defeated Sanity can be heard throughout The Hollowing of Godflesh, alongside the deathcore attack of The Red Shore, I Declare War, and Thy Art Is Murder. That combination gives Crown Magnetar a particularly nasty balance between technical riffing, crushing grooves, speed, and breakdown-driven brutality. Tucker has pointed increasingly toward brutal death metal as a major part of his listening habits, and the influence is clearly bleeding into the band's songwriting. The result is a record that doesn't abandon Crown Magnetar's deathcore identity. Instead, it makes that identity considerably more dangerous. Previously released tracks “Desecrate Infinite,” “Impaled Genesis,” and “Godkiller” have already offered listeners a glimpse of what's coming. “Desecrate Infinite” became the band's biggest streaming track to date, surpassing even their massive 2025 Punishment EP. Live performances of “Desecrate Infinite” and “Impaled Genesis” also helped the band win over audiences while touring alongside acts including Archspire and Undeath. Now “Shut Up and Bleed” adds another piece to the puzzle. The album once again features producer and bassist Michael Sahm, who has been behind the desk for Crown Magnetar's releases throughout the band's career. From their early releases The Prophet of Disgust and The Codex of Flesh through Alone In Death, Everything Bleeds, and Punishment, Crown Magnetar have steadily pushed their sound toward an increasingly maximalist form of deathcore. That relentless progression has been accompanied by an equally relentless touring schedule. The Road Gets Even More Brutal Crown Magnetar will hit the road this fall for “The Sawed Off Suffering Tour,” a massive co-headlining run with To The Grave. The tour kicks off September 17 in Chicago and runs through October 17 in Denver, with support from Face Yourself and a rotating lineup featuring I Declare War, Ameonna, Tracheotomy, Backbiter, and Squelching. The Sawed Off Suffering Tour September 17, 2026 – Chicago, IL @ SubterraneanSeptember 18 – Detroit, MI @ Catacombs at The SanctuarySeptember 19 – Cleveland, OH @ Mahall'sSeptember 20 – Pittsburgh, PA @ Preserving UndergroundSeptember 22 – Toronto, ON @ Lee's PalaceSeptember 23 – Montreal, QC @ Foufounes ÉlectriquesSeptember 24 – Hartford, CT @ Webster UndergroundSeptember 25 – Brooklyn, NY @ The MeadowsSeptember 26 – Harrisburg, PA @ Capital City Music HallSeptember 27 – Worcester, MA @ The PalladiumSeptember 28 – Baltimore, MD @ Metro GallerySeptember 30 – Asheville, NC @ RevivalOctober 1 – Nashville, TN @ The EndOctober 2 – Atlanta, GA @ The Masquerade (Purgatory)October 3 – Jacksonville, FL @ The AlbatrossOctober 4 – West Palm Beach, FL @ The Banyan LiveOctober 6 – Dallas, TX @ Club DadaOctober 7 – Austin, TX @ Come and Take It LiveOctober 9 – Mesa, AZ @ Rosetta RoomOctober 10 – Los Angeles, CA @ EchoplexOctober 11 – Roseville, CA @ Goldfield Trading PostOctober 13 – Portland, OR @ The Hawthorne TheatreOctober 14 – Seattle, WA @ El CorazonOctober 16 – Salt Lake City, UT @ SoundwellOctober 17 – Denver, CO @ HQ Tickets are available here: https://bnds.us/lv9ika And Crown Magnetar aren't slowing down after North America. Crown Magnetar Head to Europe With Archspire Following the North American run, Crown Magnetar will head across the Atlantic as part of the Archspire “European Vacation Tour,” joining Archspire, The Zenith Passage, and Analepsy for an extensive European and UK run. The tour begins October 23 in Köln, Germany and continues through November 21 in Helsinki, Finland. Archspire “European Vacation Tour” October 23 – Köln, Germany @ EssigfabrikOctober 24 – Nijmegen, Netherlands @ DoornroosjeOctober 26 – London, UK @ Electric BallroomOctober 27 – Manchester, UK @ Academy 2October 28 – Glasgow, UK @ SlayOctober 29 – Dublin, Ireland @ AcademyOctober 30 – Birmingham, UK @ Academy 2October 31 – Bristol, UK @ Electric BristolNovember 2 – Antwerp, Belgium @ Kavka ZappaNovember 3 – Paris, France @ La Machine du Moulin RougeNovember 5 – Madrid, Spain @ Revi LiveNovember 6 – Barcelona, Spain @ SalamandraNovember 7 – Toulouse, France @ BascalaNovember 8 – Aarau, Switzerland @ KiffNovember 9 – Milan, Italy @ Legend ClubNovember 10 – München, Germany @ BackstageNovember 11 – Karlsruhe, Germany @ SubstageNovember 12 – Prague, Czechia @ Meet FactoryNovember 13 – Berlin, Germany @ Columbia TheaterNovember 14 – Jena, Germany @ F-HausNovember 16 – Hamburg, Germany @ GruenspanNovember 17 – Copenhagen, Denmark @ VegaNovember 18 – Oslo, Norway @ John DeeNovember 19 – Stockholm, Sweden @ Kollektivet LivetNovember 21 – Helsinki, Finland @ Ääniwallä Ten Years of Relentless Crown Magnetar Crown Magnetar have been grinding away since 2016, and their growth has been anything but accidental. The band landed a major opportunity in 2021 when they joined Lorna Shore on tour following the explosion of “To the Hellfire.” Since then, Crown Magnetar have shared stages with heavyweight acts including Dying Fetus, Archspire, Chelsea Grin, Signs of the Swarm, Aborted, Spite, and others. Now, with The Hollowing of Godflesh, the band appears ready to take another substantial step forward. Behind the kit on the road will be Matt Kilner, known for his work with Nithing and Iniquitous Deeds, as well as his previous performances with Gorgasm and Vitriol. The current Crown Magnetar lineup is: Dan Tucker – VocalsRob Maramonte – GuitarMichael Sahm – BassMatt Kilner – Live Drums With a new album on the way, a new guitarist bringing additional technical firepower, a brutal new single and video, and two major tours lined up, Crown Magnetar are entering another chapter with the same philosophy that has carried them this far: Make it heavier. Make it faster. Make it hurt. The Hollowing of Godflesh arrives September 25, 2026 via Unique Leader Records. Listen to Crown Magnetar Instagram: https://www.instagram.com/crownmagnetarX: https://x.com/crownmagnetarFacebook: https://www.facebook.com/crownmagnetarYouTube: https://www.youtube.com/@crownmagnetarSpotify: https://open.spotify.com/artist/0DlST2L7efoM5Lb0uxG3Tx Photo Credit: Dylan Gould Less

Best Content Creation Tools Every DIY Rock Artist Should Try Source Getting content out as a DIY rock artist used to mean either hiring someone or spending weeks learning tools that weren't built with musicians in mind. That's shifted... More

Best Content Creation Tools Every DIY Rock Artist Should Try Source Getting content out as a DIY rock artist used to mean either hiring someone or spending weeks learning tools that weren't built with musicians in mind. That's shifted significantly, and today's best content creation tools make it possible to handle design, video, and audio promotion without a label budget or a dedicated creative team. For artists starting from scratch, a handful of tools consistently stand out across every format. Canva handles graphic design for release artwork and social assets. CapCut and Descript cover video editing for rehearsal clips and short-form content. Audacity keeps audio editing accessible and free. ChatGPT accelerates content ideation for captions, bio copy, and post ideas. Together, these five form a reliable starter stack that covers the widest range of promotional needs without overlap. Each one earns its place by being fast to learn, affordable or free, and genuinely suited to the rhythm of music releases and fan-facing promotion. Quick Picks for a DIY Rock Content Stack If you're building a content workflow from the ground up, the goal isn't to collect every tool available. It's to cover the core formats, design, video, audio, and ideation, with tools that are fast to learn and easy to sustain. Here's a snapshot of where each category lands: Audio-to-video automation: Freebeat turns a finished track into ready-to-post videos fast, which is ideal when you want more volume without spending hours syncing edits. Design: Canva is the fastest all-around option for non-designers handling release artwork, flyers, and thumbnails. Video: CapCut leads for short-form content, while Descript handles spoken and interview-style clips. Audio: Audacity covers free multi-track editing, and GarageBand suits Mac users who want more production depth. AI and ideation: ChatGPT helps generate post concepts, caption angles, and content calendars tied to specific release moments. These picks prioritize speed, low cost, and multi-format use. They're built around the actual rhythm of music releases, rehearsal clips, and fan-facing promotion rather than generic creator workflows. Tools That Turn Songs into Social Video Converting a finished track into platform-ready video content is one of the most time-intensive parts of DIY promotion, and the right tools cut that process down significantly. When Audio-to-Video Automation Saves Time Freebeat Audio to Video AI generates video content directly from an audio file, which removes the need for manual syncing altogether. This is great for artists with limited editing time, automation tools handle the heaviest lifting. This kind of workflow fits naturally into broader rock artist promotion strategies where volume and consistency matter as much as polish. Best Apps for Reels, Clips, and Lyric Videos CapCut is the most practical starting point for short-form video. Its template library is built around TikTok and Reels formats, and artists can sync audio, add text overlays, and export directly without touching a desktop editor. InShot works well for quick live snippets and announcement posts. It handles aspect ratio switching cleanly, which matters when the same clip needs to go out across three different platforms. Adobe Premiere Pro sits at the other end of the spectrum. It's the right choice when a music video or a more produced YouTube piece needs precise cuts, color grading, and layered audio. The learning curve is steeper, but the output quality reflects it. Descript fills a specific gap: it lets artists edit video by editing a transcript, which is especially useful for interview clips, podcast-style content, or anything with spoken word alongside music. Design Tools That Keep Your Band Look Sharp A band's visual identity works the same way its sound does: inconsistency across releases makes it harder for listeners to recognize and remember who they're looking at. Graphic design tools close that gap, giving DIY artists a way to build a consistent look without hiring a designer for every post. Fast Artwork for Posts, Covers, and Flyers Canva is the fastest all-around option for artists who aren't trained designers. It offers ready-made templates sized for single covers, event flyers, Instagram posts, and YouTube thumbnails, all editable without any technical background. The free tier covers most needs, and the paid version adds brand kit features that help lock in consistent fonts and colors across every release. For artists who want finer control over their visuals, Adobe Photoshop and Illustrator remain the standard. These tools make sense when a campaign needs custom typography, layered textures, or artwork that will be printed at scale. Whichever tool an artist uses, the goal is the same: keeping the visual language consistent enough that fans instantly recognize new content as theirs. That consistency matters whether the asset is a story post or a full-length cover. For artists building toward visibility in the underground metal scene, pairing strong visuals with underground metal scene coverage adds another layer of exposure beyond social media alone. Visual consistency, as discussed here, carries directly into the audio side of content creation as well. Source Audio Tools for Demos, Clips, and Podcasts Audio is the part of DIY content creation that gets skipped most often, but for rock artists putting out rehearsal clips, demo snippets, or spoken promotion, the quality of what listeners hear shapes whether they stay engaged. Best Low-Cost Editors for DIY Recording Audacity is the most accessible starting point. It's free, handles multi-track recording, and covers the basics of noise reduction and level balancing without a subscription. For artists who just need clean audio editing without a steep learning curve, it delivers. GarageBand is the better option for Mac users who want something closer to a full production environment. It handles podcast editing naturally and works well when a demo snippet needs light arrangement or layering alongside the audio. Descript sits in a different lane. It's built around transcript-based editing, which makes it practical for interview content, spoken promos, or any clip where the words matter as much as the sound. Artists already using it for video editing will find the audio workflow familiar. Why Your Microphone Still Matters The editing tool only controls what's already been recorded. A poor source recording limits what any software can fix, which is why even budget-friendly setups benefit from a decent microphone. RØDE offers entry-level USB microphones that are widely used for home recording and podcast work. Pairing a reliable microphone with any of the three editors above closes most of the quality gap between DIY audio and professionally produced content. AI and Planning Tools for Content Consistency Staying consistent on social media is one of the harder parts of DIY promotion, and academic research on musician marketing confirms that irregular posting directly affects audience retention and discoverability. AI content creation tools, particularly ChatGPT, help artists break out of that cycle by generating a steady stream of post concepts tailored to specific moments in a release cycle. An artist can prompt it with a gig date, a new rehearsal session, or an upcoming single drop, and get back a list of caption angles, story ideas, or fan engagement questions in under a minute. The key is keeping prompts musician-specific. Asking ChatGPT to brainstorm content around a song release produces more usable output than treating it as a general writing tool. Content ideation works best when the inputs are concrete. Once the ideas are in place, social media management tools like Buffer or Later handle the scheduling side, keeping posts going out at consistent intervals without requiring daily attention. The combination of AI-generated ideas and scheduled publishing removes the two biggest friction points DIY artists face when trying to stay active online. Where Royalty-Free Media Actually Helps Royalty-free music libraries like Artlist serve a different purpose than most DIY rock artists expect when they first encounter them. For original music creators, the licensing question is usually reversed: the goal is protecting their own songs, not sourcing someone else's. Where platforms like Artlist genuinely fit into a band workflow is in video content creation that sits outside the music itself. Intro animations, lyric video backgrounds, teaser reels, and promo content often need supporting audio or visual elements that aren't original recordings. Using unlicensed material in those assets creates distribution problems, particularly on YouTube. Royalty-free media solves that cleanly. Artists who only release original music rarely need a full subscription. Those producing regular supporting content will find it earns its cost. Start with the Tools That Match Your Workflow The tools that work best are the ones that fit how an artist actually operates, not the ones with the most features or the loudest reputation. A band releasing content once a month has different needs than one posting weekly across multiple platforms. Starter tools like Canva, CapCut, and Audacity cover graphic design, video editing, and audio editing without a significant time or financial investment. As output grows, more capable options become worth the learning curve. Social media management and AI planning tools are the natural next layer once the core creative workflow is stable. Build from what's already working, and add complexity only when the basics are running smoothly. Less

FOR IMMEDIATE RELEASE RHINO PROOF, HUBRIS, ABADDON INCARNATE, HAZE MAGE, BINARY ORDER, FAR FROM REFUGE, BROKEN TRINITY & CHOKE ME! FEATURED IN DECIBEL MAGAZINE! Eight Metal Devastation PR Artists Represent the Latest Wave of Underground... More

FOR IMMEDIATE RELEASE RHINO PROOF, HUBRIS, ABADDON INCARNATE, HAZE MAGE, BINARY ORDER, FAR FROM REFUGE, BROKEN TRINITY & CHOKE ME! FEATURED IN DECIBEL MAGAZINE! Eight Metal Devastation PR Artists Represent the Latest Wave of Underground Heavy Music in This Month’s Issue of Decibel Magazine Metal Devastation PR is proud to announce that eight artists from its current roster are featured in this month's MDPR Recommendations advert for Decibel Magazine, one of the most respected publications in extreme and underground heavy music. Representing a diverse cross-section of the international metal underground, this month's featured Metal Devastation PR artists are Rhino Proof, Hubris, Abaddon Incarnate, Haze Mage, Binary Order, Far From Refuge, Broken Trinity, and Choke Me! From Finnish hard rock and heavy metal to Irish deathgrind, American black metal, Baltimore doom, cyberpunk industrial electronics, UK progressive metal, blackened doom/death, and West Coast grindcore/hardcore, the eight featured acts demonstrate just how broad and diverse today's underground heavy music scene has become. RHINO PROOF Finnish hard and heavy outfit Rhino Proof recently signed with Astral Haven Records and unleashed their new single "My Life is Fine." Formed in Joensuu in 2016, the band made an early impact with their self-titled 2018 debut album, which received strong European critical attention and landed in the Top 5 of Hard Rock Highlights lists in both Italy and Portugal. Now preparing their second studio album, Rhino Proof are entering a new international chapter with a lineup featuring Jukka Nummi on vocals, Rane Riikonen and Erkko Joronen on guitars, Pasi Nousiainen on bass, and Sami Ratilainen on drums. HUBRIS Buffalo, New York underground black metal force Hubris recently unleashed their full-length Acts of Sedition, a relentless 51-plus-minute assault of uncompromising USBM intensity. The band has also released an animated lyric video for "Lightless Lantern," created by Daniel Oakes, an industry veteran known for his work on Archer. The cinematic visual expands the album's themes of collapse, rebellion, destruction, and rebirth. Fans of Gorgoroth, 1349, and Tsjuder will find plenty of darkness to sink their teeth into. ABADDON INCARNATE Irish deathgrind veterans Abaddon Incarnate return with the savage new single "This Verminous Creation," offering a brutal preview of the band's next chapter as they prepare to enter the studio for a forthcoming full-length. Formed in Dublin in 1994, Abaddon Incarnate have spent more than three decades establishing themselves as pioneers of Irish extreme metal. With six full-length albums behind them, including 2022's critically praised The Wretched Sermon, the band's latest material continues their tradition of blast-driven chaos, jagged riffing, and venomous vocal attack. Fans of Nasum, Brutal Truth, Immolation, and Morbid Angel should take notice. HAZE MAGE Baltimore sword-and-sorcery doom outfit Haze Mage delivered the final chapter of their saga with their full-length album High Fantasy, released alongside the band's final live performance at The Ottobar during Grim Reefer Fest. Since forming in 2015, Haze Mage have built a distinctive sound combining doom, stoner metal, and hard rock with fantastical themes inspired by dark forests, mythical creatures, mystical realms, and the band's own wonderfully warped imagination. Drawing inspiration from Black Sabbath, Judas Priest, and Iron Maiden, High Fantasy represents the culmination of years of songwriting and the band's final release before taking an indefinite hiatus. The band will continue their work supporting the underground through the ongoing Grim Reefer Fest. BINARY ORDER London-based electronic project Binary Order takes the Decibel recommendations into the darker reaches of industrial electronics, dark ambient, IDM, and cinematic cyberpunk. Created entirely by solo artist Benjamin Blank, Binary Order is currently developing the cyberpunk concept album The Same Dream, with the latest transmission, "Vestige," continuing a narrative built around digital isolation, artificial existence, manipulated memories, and the fading boundary between human consciousness and machine reality. Fans of HEALTH, Nine Inch Nails, Lorn, Celldweller, Combichrist, and Perturbator will find themselves right at home inside Binary Order's digital dystopia. FAR FROM REFUGE UK modern alternative/progressive metal force Far From Refuge are continuing their evolution with their ambitious full-length Pillars of Language. Blending progressive metal, metalcore, alternative metal, and melodic death metal, the Cambridge-based band combine crushing heaviness, soaring melodies, emotional songwriting, and expansive thematic storytelling. The album was produced, mixed, and mastered by Oz Craggs at Hidden Track Studios and explores influences ranging from fantasy and gaming to science fiction, including The Expanse. With three NMG Awards wins in the Best Artist: Rock/Heavy categories and a growing catalog of releases, Far From Refuge continue to establish themselves as a force within the UK's modern heavy music scene. BROKEN TRINITY Atlanta's Broken Trinity unleashed their epic debut full-length Challenges Of Gods And Mortals, a blackened doom/death metal journey combining Viking lore, spiritual exploration, mythic storytelling, and massive doom-driven riffs. After six years of development, the album brings together classic doom foundations, progressive structures, Viking chants, and icy Nordic black metal intensity. Fans of Draconian, Emperor, and My Dying Bride will find plenty to explore throughout the album. The band's dedication to the underground has also been rewarded by the metal community, with Broken Trinity being named MDR Band of the Month in February 2026 after receiving an impressive 46,705 votes in a Battle of the Bands competition. CHOKE ME! Los Angeles-based extreme metal outfit Choke Me bring the raw aggression of grindcore, hardcore, and metal together with a fiercely DIY attitude. Their release "A Violent Phenomenon", issued via Riot Ready Records, delivers an unapologetically hostile combination of punishing riffs, extreme vocals, and socially charged lyrics. Written, recorded, and mixed by Wesley Richards, with mastering by Brad Boatright of Audiosiege, the track tackles political and social themes with the kind of raw intensity that has defined the band's presence in the LA underground. Fans of Darkest Hour, Magrudergrind, and Punch should take notice. AND THAT'S JUST THE MDPR REPRESENTATION The latest issue of Decibel Magazine is stacked from cover to cover, featuring Devil Master on the cover and including an exclusive limited-edition Nunslaughter flexi disc. Also featured in this month's issue: Protest the HeroShane EmburyIron ReaganPrepare the Ground 2026 reviewedDecibel Hall of Fame: ISIS' CelestialDeathgraveFaerie RingSpeedslutReeking AuraAnd more The placement also demonstrates the sheer range of artists represented by the Metal Devastation PR roster. Eight artists. Eight different approaches to heavy music. One mission: getting great underground music heard. From established extreme metal veterans to emerging artists and genre-defying projects, Metal Devastation PR continues to provide strategic promotion designed to put independent heavy music in front of journalists, magazines, radio stations, podcasts, websites, playlists, and metal fans around the world. METAL DEVASTATION PR Rhino ProofHubrisAbaddon IncarnateHaze MageBinary OrderFar From RefugeBroken TrinityChoke Me! Eight MDPR clients. One killer issue of Decibel Magazine. Metal Devastation PRBringing the Underground to the World. Grab a copy here: https://store.decibelmagazine.com/collections/back-issues/products/september-2026-263 Get featured in a future issue: https://metal-devastation-radio-store.myshopify.com/collections/metal-devastation-pr-packages Less

FOR IMMEDIATE RELEASE NEFARIOUS GRIME UNLEASHES DARK AND ATMOSPHERIC EP “DEATH IS IMMORTAL” Cuban-Born, Miami-Based One-Woman Project Blends Symphonic Black Metal, Gothic Atmosphere, Dungeon Synth, and Avant-Garde Darkness Miami, Florida —... More

FOR IMMEDIATE RELEASE NEFARIOUS GRIME UNLEASHES DARK AND ATMOSPHERIC EP “DEATH IS IMMORTAL” Cuban-Born, Miami-Based One-Woman Project Blends Symphonic Black Metal, Gothic Atmosphere, Dungeon Synth, and Avant-Garde Darkness Miami, Florida — Nefarious Grime, the eclectic one-woman musical powerhouse led by Cuban-born, Miami-based multi-instrumentalist Niúvis Martin, invites listeners into a shadowy world where symphonic black metal, gothic darkness, dungeon synth, and avant-garde experimentation collide on the haunting five-song EP “Death Is Immortal.” Originally released on August 5, 2025, Death Is Immortal delivers a brooding and atmospheric journey steeped in dark poetry, ominous melodies, haunting symphonic passages, and the raw spirit of old-school black metal. Rather than relying solely on extremity, Nefarious Grime builds its sound around atmosphere and contrast, shifting between ferocious black metal riffing, memorable rhythms, ethereal keyboards, and clean vocal passages. For listeners drawn to the theatrical darkness of Cradle of Filth, the gothic and symphonic traditions of Opera IX/Cadaveria, the grand melodic sensibilities of Nightwish, and the avant-garde black metal world of Diabolical Masquerade, Nefarious Grime offers a distinctly personal take on the darker side of metal. At the center of the project is Niúvis Martin, handling vocals, keyboards, bass, and recording duties, with Dexter13th providing drums. Guitars, mixing, and mastering were handled by Armando Doval of Electric Halo Recordings, giving the EP a polished yet appropriately sinister production that allows its layers of atmosphere and instrumentation to breathe. The result is a release that feels rooted in the underground while refusing to remain confined to a single genre. “For anyone seeking an old-school, atmospheric approach to black metal, Nefarious Grime treats us to a 5-song EP replete with spooky symphonic passages and thoughtful inflections of clean vocals above a satisfying array of BM riffs and catchy rhythms.” Released through Northern Hell Kult of Maine and Hypnotic Dirge Records of Portugal, Death Is Immortal stands as a compelling introduction to Nefarious Grime's dark musical universe. About Nefarious Grime Nefarious Grime is a Cuban-born, Miami-based one-woman project created by Niúvis Martin, exploring the darker territories of gothic music, symphonic black metal, dungeon synth, and avant-garde experimentation. Serving up dark, poetic, and brooding tunes, Nefarious Grime embraces the theatrical, atmospheric, and unconventional sides of extreme music while maintaining a strong connection to the spirit of underground metal. “Death Is Immortal” EP Artist: Nefarious GrimeRelease: Death Is ImmortalRelease Date: August 5, 2025Genre: Symphonic Black Metal / Goth MetalLabel: Northern Hell Kult / Hypnotic Dirge RecordsFormat: 5-song EP For Fans Of: Cradle of Filth, Opera IX, Nightwish, Diabolical Masquerade Production Credits Niúvis Martin: Vocals, keyboards, bass, recordingDexter13th: DrumsArmando Doval: Guitars, mixing, masteringRecording/Mixing/Mastering: Electric Halo Recordings Listen to “Death Is Immortal” Bandcamp: https://nefariousgrime.bandcamp.com/album/death-is-immortal Spotify: https://open.spotify.com/album/3pNvk368mb8rbZc5DSZjH0 Apple Music: https://music.apple.com/us/album/death-is-immortal-ep/1830937289 Check out the video:  [jrEmbed module="jrYouTube" youtube_id="Gj12xuJmv3k"] Connect With Nefarious Grime https://www.facebook.com/NefariousGrime666https://www.instagram.com/nefariousgrimeofficialhttps://nefariousgrime.bandcamp.com/album/death-is-immortal Press & Management Contact:Nefarious Grimenefariousgrimeofficial@gmail.com Less

FOR IMMEDIATE RELEASE TAETHEN UNVEILS NEW SINGLE "PARADISE FOR FOOLS" FROM FORTHCOMING ALBUM ILLUSORY SENSATIONS Progressive Metal Solo Project Blends Atmospheric Soundscapes, Crushing Riffs, and Fearless Musical Exploration Presave:... More

FOR IMMEDIATE RELEASE TAETHEN UNVEILS NEW SINGLE "PARADISE FOR FOOLS" FROM FORTHCOMING ALBUM ILLUSORY SENSATIONS Progressive Metal Solo Project Blends Atmospheric Soundscapes, Crushing Riffs, and Fearless Musical Exploration Presave: https://distrokid.com/hyperfollow/taethen/paradise-for-fools Progressive metal visionary Taethen, the solo project of Julia Kajanto, has unveiled the powerful new single "Paradise for Fools," now available as the first glimpse into the ambitious full-length album Illusory Sensations, scheduled for release on September 25, 2026. Created entirely by Julia Kajanto, Taethen is an independent project driven by a passion for progressive music without creative limitations. Rather than following a predictable formula, each Taethen release embraces its own identity, exploring new sonic landscapes while remaining rooted in adventurous songwriting and emotional depth. The result is music that constantly evolves, rewarding listeners with fresh experiences from one release to the next. Drawing influence from bands such as Intronaut, Karnivool, and Opeth, Taethen combines progressive metal with elements of post metal, atmospheric sludge metal, and acoustic rock. Towering riffs collide with immersive textures, dynamic arrangements, and moments of introspective beauty to create an emotionally engaging listening experience. Now available, "Paradise for Fools" showcases the project's balance of crushing heaviness and expansive atmosphere while introducing the themes that run throughout the upcoming album. The forthcoming album, Illusory Sensations, ventures deep into the complexities of the human condition, examining existential uncertainty, psychological conflict, and personal transformation through intricate musicianship and cinematic songwriting. Speaking about the release, Julia Kajanto shares: "Illusory Sensations has been in the works for years, and I'm incredibly excited to finally let it out into the world. It's an exploration of the human psyche, delving into the darker aspects of existential discovery. It's full of progressive metal madness, crushing riffage and beautiful soundscapes." As a completely self-produced effort, every aspect of Illusory Sensations, from songwriting and performance to recording, production, mixing, and mastering, was handled by Julia Kajanto, reflecting a singular artistic vision from beginning to end. With "Paradise for Fools" now available, Taethen invites listeners into a world where progressive songwriting, emotional intensity, and fearless experimentation converge into an unforgettable musical journey. "Paradise for Fools" is available now. Illusory Sensations arrives September 25, 2026. https://distrokid.com/hyperfollow/taethen/paradise-for-fools Follow Taethen Linktree: https://linktr.ee/taethen Media Contact: zach@metaldevastationradio.com Artist Contact: Julia KajantoEmail: taethenmusic@gmail.com Less