Zan/Cody – the project of Shotgun Messiah’s original singer Zinny Zan (vocals) and Harry Cody (guitars) – are pleased to share their new single, “Fuckin Malibu”, along with an official visualizer, available now via Frontiers Music Srl.
Zinny Zan said: “Fuckin Malibu” is about our late ’80s in Hollywood: loud guitars rowdy bars, Malibu chicks n rock ’n’ roll tricks, a few broken rules and some broken hearts… We had the time of our lives.”
“Fuckin Malibu” is a snapshot in time of us bastards getting wasted with rich kids in mansions overlooking the Pacific Ocean, with all the sex, drugs and rock ‘n roll… And we’d wake up hung over, longing to get back to Hollywood”, added Harry Cody.
Following their acclaimed album “Beautiful ‘N Damned”, the duo keep the spirit of classic Swedish sleaze hard rock alive, combining the raw energy, infectious hooks and rebellious swagger that made them pioneers of the genre with a fresh, contemporary edge.
As two of the founding figures behind the legendary Shotgun Messiah, Zan and Cody played a defining role in shaping the Scandinavian glam and sleaze metal scene. The band’s self-titled 1989 debut remains a cult classic, influencing generations of musicians and securing their place in hard rock history.
At the heart of Zan/Cody’s sound is Harry Cody’s unmistakable guitar work, blending gritty riffs, sharp melodies and fiery solos with Zinny Zan’s charismatic vocals and unmistakable rock ’n’ roll attitude. Their renewed collaboration captures the chemistry that made Shotgun Messiah such an influential name, while bringing that signature sound into the present day.
Their album “Beautiful ‘N Damned”, mixed by Chris Laney (Pretty Maids, Crazy Lixx), marked a powerful return for the duo, reconnecting with their sleaze rock roots while embracing a modern production approach.
With “Fuckin Malibu”, Zan/Cody continue to celebrate the spirit of uncompromising sleaze hard rock, proving that their rebellious energy, undeniable chemistry and passion for loud, unapologetic rock ’n’ roll remain as strong as ever.
Technical death metal architects REVOCATION are pleased to announce their return to Europe for a full headline tour in April and May of 2027!
Comments singer/guitarist Dave Davidson: “After the success of our 20th anniversary run across the US and Canada, we wanted to keep the celebration going in Europe and the UK. We’re bringing Carnosus and Gorod with us, along with our good friends in Defeated Sanity, who joined us on the North American leg. DS will also be playing Psalms of the Moribund in its entirety to maximize the sickness!“
“We’ll be playing a song from every record to commemorate 20 Years of Torment. See you headbangers next year! Full dates below.”
REVOCATION DEFEATED SANITY * GOROD CARNOSUS 09.04.27 Germany Wiesbaden Schlachthof 10.04.27 Germany Dortmund Junkyard 11.04.27 Germany Hamburg Logo 12.04.27 Sweden Gothenburg Monument 13.04.27 Norway Oslo John Dee 14.04.27 Denmark Copenhagen Vega 16.04.27 Germany Berlin SO36 17.04.27 Poland Bielsko-Biała RudeBoy Club 18.04.27 Czech Rep Prague Futurum 19.04.27 Germany Nürnberg Hirsch 20.04.27 Austria Vienna Arena 21.04.27 Germany Munich Hansa 39 23.04.27 Switzerland Aarau Kiff 24.04.27 Italy Milan Legend 25.04.27 France Lyon La Rayonne 26.04.27 Spain Barcelona Wolf 27.04.27 Spain Madrid Revi Live 29.04.27 France Paris La Machine du Moulin Rouge 30.04.27 Belgium Hasselt Boostraat 01.05.27 Netherlands Amsterdam Melkweg 03.05.27 UK London Underworld 04.05.27 UK Glasgow Slay 05.05.27 Ireland Dublin Academy 06.05.27 UK Manchester Rebellion 07.05.27 UK Nottingham Rescue Rooms 08.05.27 UK Bristol The Fleece * Playing Psalms Of The Moribund in its entirety
On their latest longplayer New Gods, New Masters, REVOCATION conjures nine potent and portentous songs of brutal lyrical and musical significance. “This feels a little less technical than its predecessors and more concentrated on the power of writing a good riff and a great groove,” praised Metal Injection, furthering, “Longtime REVOCATION fans are sure to find something to love here, but new fans are certainly going to find a solid entry point into the band’s extensive discography here as well.” Lauded Decibel Magazine, “Davidson resembles a Chuck Schuldiner of the Pro Tools era: a charismatic shredder and keen observer of the world around him with a strong point of view…[New Gods, New Masters is] the most energetic and fun the band has sounded since 2014’s Deathless.” Added Blabbermouth, “another benchmark for contemporary brutality. Few bands are this heavy and this exciting to listen to. New Gods, New Masters offers an embarrassment of flesh-flaying riches, executed with militant zeal and a veritable shit-ton of imagination.”
New Gods, New Masters was produced by Davidson and mixed and mastered by Jens Bogren (The Haunted, Spiritbox) with artwork by Paolo Girardi (Bell Witch, Mother Of Graves, Black Breath, Cryptopsy). The record includes guest appearances by Jonny Davy of Job For A Cowboy, Travis Ryan of Cattle Decapitation, Luc Lemay of Gorguts, and jazz guitarist Gilad Hekselman.
A cult name in the Italian underground, and particularly within Sicily’s distinctive extreme music scene, ULTIMA MISSA are finally set to release their long-awaited debut album, “Non Oltre il Sangue e lo Sperma”, 33 years after the project’s inception. Due out on December 8 through Inch Productions, the record draws on a sulphurous blend of metal and graveyard melodies, steeped in the sinister aesthetics of Italian horror cinema and the occult dark doom tradition. Fans of Paul Chain and Death SS, as well as the eerie atmosphere of 1970s Italian progressive rock, will find plenty to explore in this distinctive musical vision.
The origins of ULTIMA MISSA date back to 1993, when Agghiastru began developing his first dark metal project, originally named TENEBRA. The initiative soon split into two separate entities: INCHIUVATU, with a folk-inflected death/black metal direction, and ULTIMA MISSA, dedicated to the darker and more progressive side of the Italian underground. A series of demos and EPs followed, before the project entered a long period of silence.
Now revived with Agghiastru, Ossarium on bass and Faìdda on drums, alongside Taty Pirfìria (percussion and organ) and Maria Santissima (synthesizers and vocals), the band also feature contributions from Rosario Badalamenti, Lord Timpesta and Raimondo Sutera on guitar. The album will be available on LP, digipak CD, cassette and Stereo8.
“Non Oltre il Sangue e lo Sperma” tracklist:
01. Non oltre 02. In assenza di luce 03. Il giorno dell’abbandono 04. Il viaggio (senza alcun ritorno) 05. Tenebra (part I) 06. Martiriu 07. Suli niuru (black sun) 08. Tenebra (part II) 09. ‘a missa mea 10. Al di qua
For fans of: Paul Chain, Death SS, Abysmal Grief, Black Sabbath
New York born, London based singer songwriter Esme White has been gathering plaudits for some five years now, establishing herself as one of the most versatile and vibrant performers of the post lockdown period, at the same time as attracting the attention of media and industry observers alike.
It was while living in an Irish pub in London that she picked up what she calls :”a nasty songwriting habit.” Her captivating story-telling style fascinates all who hear it, a vivacious amalgam of poetry, myth, and everyday life, set to a soundtrack that merges country, folk and punk, before forming its own, wholly unique style – the perfect match for songs whose subject matter includes ugly angels, death, dust, violence, and the apocalypse. Mot to mention Hades, bloody noses and getting locked out of Heaven – the subject, back in 2022, of her debut single “Pearly Gate Crashers.”
The EP Dead End Daydreams followed two years later. Now, Esme’s Cleopatra Records debut Barfly Symphony introduces five performances that – individually and collectively – mark her out as a talent to be reckoned with.
Produced by Gus White at his barn in Wiltshire, the bulk of the EP comprises White originals, opening with the brutally percussive “Halo Of Trash,” described by Esme as “a love song, but [it] describes a love riddled with toxicity and abuse, born out of a desperation to find holiness in people, places, and things, which are harmful. The story is intricate and backed by a thumping drum beat and ghostly honky tonk piano by Samuel Austin.”
“Dancing,” meanwhile, “is an ominous anthem of alcoholism and creeping through the race-race with grace.” “Smiling” draws on the sweeping, almost operatic romanticism of Roy Orbison. It was inspired also by the songwriting of Greek-Romani performer Kostas Hatzis, who sung of flying up high to watch the world from outer space. And “Burnt Out Star” “pares everything back to voice and guitar, with harmonies from Ann Liu Cannon, leaving the songwriting exposed.”
“I wasn’t particularly musical,” Esme says of her upbringing, “but my parents are both creative and I was always pushed to follow my creative instincts…” drawing at first but, increasingly, story telling.
“I did a bit of singing in high school; I was in a punk band, but when I came to London, one of the first things I did was buy a really old junky guitar and I started retelling myself the old melodies I knew. Just playing around until lockdown, because that gave a lot of people a time to reset and focus on passions they weren’t even thinking about beforehand.”
For Esme, that was songwriting and, soon after, performing – open-mics to begin with, “but I was lucky enough to get really good encouragement.”
Her reputation has been steadily rising ever since. Barfly Symphony, however, finds her hitting a whole new peak, with the closing track, “What Have They Done To My Song, Ma,” illustrating both a key element of her musical past and a brilliant glimpse into her creative vision.
That said, it’s hard to say who was the most surprised when she was invited to record a duet with the late American folk icon Melanie on the song – Esme, for being asked to sing something that was once a regular in her own live show, or Melanie’s management, when she mentioned her history with the song. Either way, there was no hesitation.
Esme says, “A wise woman once showed me Melanie’s music when I started gigging in London, and I held her as an inspiration as a writer and a performer. Her voice was unpredictable and raw and beautiful, and perfect for someone like me (and perhaps you) who does not seek rigid perfection in musical expression.”
Recorded with Kris Hille-Krumsvick (bass and saw) and Alex Fry (electric guitar and mandolin), and produced by Jack Trouble and James Rampton at Spiritual Studios in Camden ‘What Have They Done To My Song, Ma’ is released today as a single. Esme continues, “It is an honor to be joining her to duet on ‘What Have They Done to My Song, Ma’ and I hope, if she can hear it playing through the veil, she thinks kindly of what we done to her song.”
Guitarist-composer-producer extraordinaire Danimal Cannon is a one-of-a-kind. A Golden Joystick nominated videogame music composer, sound designer, and guitarist, Danimal Cannon returns with his first album in over a decade, Elder Evil – to be released on 15th January.
In celebration of the news, the first single from the album, ‘The Horrors Persist But So Do I’ is now available, complete with an entirely self-shot video, in typical Danimal Cannon style.
Dan comments: “‘The Horrors Persist’ is emblematic of the intensity of sweeping orchestras and growling guitar lines, balanced by the vulnerability and beauty of piano and voice. The song represents a cinematic approach, with the stress and magnitude rising throughout until the sudden orchestral reprise at the end symbolizes the cold morose decompression following the survival of the immediate horror. I fully produced the music video in-house, handling the filming, editing, compositing, and grading, using 3D motion-tracked cameras composited into Unreal Engine.”
Elder Evil is a departure from Danimal Cannon’s previous chiptune soundworld, but still typical of his mercurial talent. An almost-exclusively-instrumental record, Elder Evil is mindbendingly dense – at once reminiscent of fellow prog-metal wizards Devin Townsend, Perturbator, Igorrr, or game composer titans Mick Gordon (DOOM) and Nobuo Uematsu (Final Fantasy).
Created in its entirety by Danimal Cannon from his bedroom, in between game soundtrack projects, Elder Evil came together over five years. Nearly every track is born from 120-240 tracks (for comparison the average rock track has between 30-50). Synthesizers, guitars and basses, full orchestral sections, percussion and drumkits – if you can think of it, it’s likely in there.
Elder Evil is a loose concept record – telling a story wherein a Warlock summons a Lovecraftian monstrosity from space to ravage a planet in exchange for unlimited power. The people of the planet defend against the initial onslaught and defeat the warlock, but eventually decide to take the battle to space and the battle directly to the giant Lovecraftian being in orbit. They make their way inside the beast, defeat it, but return home to a battered planet to pick up the pieces of a forever changed world.
In Dan‘s words: “These arrangements leverage all of the advancements available for modern 21st century recording. Different listening environments will elevate different elements: such as detailed headphones highlighting a sound design texture, harmony track, or countermelodies. Listening with a powerful subwoofer reveals complexity and tightness in the bass or percussive instruments. Every song is loaded with complimentary embellishments, harmonic motion contrast, rhythmic interplay, and a full musical conversation between dozens of instruments. There’s a lot of room to discover more and more as you continue to listen.”
Danimal Cannon has been a composer and sound designer since 2010, for dozens of videogames, including Just Shapes and Beats (sold over 1 million copies), Pokemon, and Minecraft. He’s toured across the US with Psychostick, The Protomen, Galactic Empire, Megaran, and Bit Brigade, and has headlined shows on four continents.
In classic Danimal Cannon fashion, his live show involves a videogame clone of himself created using Unreal Engine. In his words: “He’s sort of like my evil twin, and we interact during the show. At a recent show I played a fan asked me how big my team of animators is to create that. It’s just me in my living room doing facial and full body mocap.” Truly a one-of-a-kind.
Tracklisting:
1: Infiltration 2: Invasion Of The Starspawn 3: Calamity From The Skies 4: Lawful Evil 5: Out Of Time 6: The Launch 7: Navigating The Tentacles 8: The Horrors Persist But So Do I 9: Belly Of The Beast 10: Elder Evil 11: Starless (King Crimson cover)
The Erinyes – the international symphonic metal project featuring vocalists Justine Daaé (known for her project Elyose), Mizuho Lin (Semblant) and Nicoletta Rosellini (Alterium) – are pleased to share “Hide And Seek”, the title track of their sophomore studio album, scheduled for December 18, 2026, via Frontiers Music Srl.
Nicoletta Rosellini commented: “Hide And Seek” perfectly represents the essence of this second album: a solid, powerful symphonic metal track with epic melodies and a magical atmosphere, inspired by the fantasy world of Narnia.”
The exciting new musical force, fronted by three incredible vocalists, The Erinyes, strikes back.
The band name is derived from Greek mythology, where The Erinyes, also known as the Furies, are a trio of chthonic deities of vengeance.
Vocalists Justine Daaé, Mizuho Lin, and Nicoletta Rosellini once again share lead vocal duties bringing their talent into The Erinyes.
The Erinyes’ singers come from exciting, up-and-coming bands on the metal scene. Justine Daaé is known for her symphonic/industrial French project Elyose, Mizuho Lin from the Brazilian symphonic/dark metal band Semblant, and Nicoletta Rosellini is an Italian singer who fronts Alterium.
Nicoletta Rosellini stated: “I’m excited for this new chapter of The Erinyes. With the experience we gained from the first album, we’ve learned to know each other better as vocalists and to understand how to make the most of our individual voices. The album feels more cohesive and balanced, while still keeping all the elements that people loved about the first record.”
“This album gave us the chance to fully embrace the contrast between our vocal timbres, ranges and artistic identities. I loved exploring how those differences could complement each other and create a unique richness and synergy throughout the record”, added Justine Daaé.
Mizuho Lin also commented: “I feel this second album shows a natural evolution of The Erinyes. I felt like we had more freedom to explore our voices. This album still carries the essence of the first one, but on a more mature way. I’m really excited to finally release it!”
Their self-titled debut album was a concept album centered on three amazons who are having a dispute centered around their love interests, this new chapter, concerning the lyrics explore more Fantasy territories, taking inspirations from famous novels like “Narnia”.
Musically, this new album is more aggressive and symphonic than the first chapter and has been once again produced by Aldo Lonobile (Secret Sphere, Archin Angel, Sweet Oblivion, etc), written together by Aldo and Marco Pastorino ( Temperance, Serenity); the majestic orchestrations as usual are provided by Antonio Agate and they are even more bombastic than the first album.
The first album caught the attention of media and fans around the world and the second album, “Hide And Seek”, is set to be one of the hottest symphonic releases of the year, confirming the act as a new bright star of the symphonic scene; expecting big choruses, intricate vocal melodies and a good dose of metal!
“Hide And Seek” Tracklist:
1. Agony & Ecstasy 2. Hide And Seek 3. Close Your Eyes 4. Lies 5. Serenade 6. Side By Side 7. Heart In A Battlefield 8. Tears 9. Strong 10. To The Stars
Line Up: Nicoletta Rosellini – Vocals Mizuho Lin – Vocals Justine Daeé – Vocals Andrea Buratto –Bass Antonio Agate – Orchestra & Keys Gabriele Robotti – Guitars Aldo Lonobile – Lead Guitars Luca Cartasegna – Drums
THE ROCK ALCHEMIST – Italian Rock Band from Turin with a strong sonic identity that blends modern rock with progressive, hard, alternative, and pop elements!
Kimmo Kuusniemi’s SARCOFAGUS return with a Historic 2010 Concert Video Premiere on YouTube! Click image to watch the video
