Upstate New York metalcore outfit Fight From Within kick off 2026 with the release of their new single, “Checkmate,” marking an exciting new partnership with Arson Theory. Produced by Todd Golder of Sirens & Sailors, the track showcases the band’s aggressive precision, and dynamic songwriting.
“We’re incredibly excited to work with a bunch of awesome bands and homies over at Arson Theory,” the band shares. “It was a pleasure to work with a legend in our local scene for our next single. Checkmate is just the beginning of 2026.”
With Todd Golder at the helm, the single captures both the raw energy of Fight From Within’s live presence and the refined edge of their studio sound. As their first release of the year, “Checkmate” sets the tone for what promises to be an active and impactful 2026, with more new music and announcements on the way.
FIGHT FROM WITHIN ON TOUR: The Mini Gun Mini Run w/ Autumn Lies Buried 4/23 Ironton, OH – The Crows Nest 4/24 Owensboro, KY – Escape Today 4/25 Fort Wayne, IN – Piere’s 4/26 Joliet, IL – The Forge
Headliner for Thanatos Release Party 6/13 Scanton, PA – Moon Tavern
ight From Within were founded in Upstate New York in early 2021. Their sound lands at the intersection of metalcore, hardcore, and beatdown. With deeply diverse influences ranging from Bury Your Dead, Polaris, Evergreen Terrace, Emmure, Invent/Animate, Every Time I Die, and Attila, they have crafted their own distinct sound.
In 2022, they began tracking new music with Pablo Viveros of Chelsea Grin. They have taken the stage at many key festivals, from Sonic Temple to The Gathering of the Juggles to Inkcarceration. The band is headed into 2026 like a freight train — all gas, no brakes.
KING ULTRAMEGA have released a powerful new single, a cover of “Preaching The End Of The World”, recorded in loving memory of Chris Cornell while raising funds and awareness for MusiCares, the Recording Academy’s nonprofit that provides mental health services, addiction recovery support, and emergency assistance to members of the music community.
Originally written and performed by Chris Cornell, “Preaching The End Of The World”remains one of the most emotionally resonant songs of his solo career. The new interpretation from KING ULTRAMEGA preserves the emotional core of the original while expanding its sonic landscape with layered guitars, cinematic keyboards, and a dynamic, atmospheric arrangement.
The recording features vocals by Ian Thornley of BIG WRECK, guitars by Pete Thorn, bass by Mark Menghi, keyboards and synth by Dave Kerzner and Frank Mitaritonna, and drums by Kenny Aronoff. The track was produced by Mark Menghi, engineered by Frank Mitaritonna, Dave Kerzner and Mark Menghi, mixed and mastered by Josh Wilbur, with cover artwork and video created by Costin Chioreanu. Original music by Chris Cornell.
Speaking about joining the project, Ian Thornley said, “Pete Thorn is a dear friend and fellow Canadian who I know played with Chris Cornell for many years. He’s a great musician, and we’re always looking for projects to do together, so it was a quick ‘yes’ from me.”
Kenny Aronoff shared, “I wanted to be part of this project because I know Mark was involved, and I’ve always been a huge fan of anything Chris Cornell on so many levels. ‘Preaching The End Of The World’ is an amazingly beautiful song, and Chris’s vocal performance is one of the most passionate and emotional vocal performances I have ever heard.”
Producer and bassist Mark Menghi reflected on the song’s meaning, saying, “It’s a song about loneliness and searching for connection, something I can relate to. Just listen to the lyrics of this song. Chris is authentic, emotional, and vulnerable.”
Pete Thorn also looked back on performing the song live with Cornell. “‘Preaching The End Of The World’ is a beautiful song that I always enjoyed performing with Chris during my time on tour with him. I remember a show in Tel Aviv where he talked about writing it during a dark time, but ended by saying, ‘but I made it!’ I always think about that in a positive way. He made it for a long time, and we should all be thankful for that.”
Discussing the musical direction, Menghi added, “When I chose this song for KING ULTRAMEGA, I had a late 60s Beatles production vibe in mind. I tried to honor what made Chris’s original recording so special, not only instrumentally but in the production as well.”
Ultimately, the musicians view “Preaching The End Of The World” as a defining piece of Chris Cornell’s artistic legacy, and hope this tribute both honors his songwriting and helps support members of the music community through MusiCares.
The “Preaching The End Of The World” Lineup Is: Vocals: Ian Thornley (Big Wreck) Guitars: Pete Thorn (Chris Cornell) Bass: Mark Menghi Keyboards & Synth: Dave Kerzner & Frank Mitaritonna Drums: Kenny Aronoff
The LP featuring “The Day I Tried To Live” and “Rusty Cage” is available exclusively on the Reigning Phoenix Music webstore, SOUNDGARDEN webstore, and KING ULTRAMEGA webstore.
A limited run of 500 purple vinyls (available to US purchasers) and 300 lilac vinyls (available to European purchasers) – and to commemorate SOUNDGARDEN‘s induction into the Rock and Roll Hall of Fame – is available at the following locations:
KING ULTRAMEGA is a passion-driven musical project honoring the life, voice, and genius of Chris Cornell, one of the most gifted artists of our time. It launches in conjunction with SOUNDGARDEN’s long-overdue induction into the Rock and Roll Hall of Fame.
This project did not begin with a single, dramatic moment. Instead, it grew quietly and gradually, an organic result of years of conversations, inspiration, and deep reverence for a musician whose impact remains immeasurable.
“There is not a singular moment in time that led to this project,” says bassist and producer Mark Menghi, the driving force behind KING ULTRAMEGA. “It was a trail of events that led to the formation of KING ULTRAMEGA and the evolving creation to pay tribute to the voice of a generation.”
It started in 2020, in the midst of the pandemic, when Menghi recorded a version of “Rusty Cage” with friends. What began as a creative release soon became something larger. With every step forward, the project deepened in meaning and purpose. “I kept crossing the mental roadblock of ‘you are entering uncharted waters, are you sure you wanna do this?'” Menghi reflects. “Chris is one of those dudes if you cover, you better do it justice.”
The decision to continue became clear when SOUNDGARDEN guitarist Kim Thayil joined the project and re-recorded one of his own iconic tracks. “Once Kim got involved and re-recorded one of his own songs, I knew something was brewing,” Menghi says.
Thayil embraced the project wholeheartedly. “I’m super honored to record alongside all the amazing musicians appearing on the KING ULTRAMEGA project,” he says. “I’m equally proud that it celebrates SOUNDGARDEN in this tribute to the songwriting of Chris. Ultra-admirably, everyone’s participation is supporting the work of the MusiCares Foundation. Thank you Mark Menghi, Charlie Benante and Reigning Phoenix Music (RPM).”
For Menghi, this project is as personal as it is musical. “I went through some very difficult times in my life. I should not be here right now, but I am,” he shares. “I like to think my past trials and tribulations helped me understand Chris just a little, hence the formation of KING ULTRAMEGA.”
Song selection was guided by instinct. “My mood. It’s really that simple,” Menghi explains. “‘Rusty Cage’ was recorded simply because it’s one of my favorite songs featured on one of my favorite records.” Other songs came to Menghi during moments of reflection and inspiration. “There is a bunch more in the can right now, all with drums fully recorded, which are currently being worked out for future releases.”
The goal was never to reinvent Cornell’s work. It was about honoring it with the respect it deserves. “It really is only about honoring the legacy of Chris Cornell. Nothing more,” Menghi says. Each musician brought their own voice, but always in service to the song and to Cornell’s memory.
“Each musician has their own individual musical stamp,” Menghi explains. “You hear the absolute best of each one of them. You are talking about musicians who helped invent and shape musical genres and helped define their generations in popular culture, not just music, but society as a whole.”
The cast of collaborators is remarkable. Kim Thayil, Charlie Benante, Joe Satriani, William DuVall, Bill Kelliher, Alissa White-Gluz, Kenny Aronoff, Menghi himself, among many others. The mix of past friendships and new connections created a unique bond among them. “I think back and go ‘did I really ask Joe Satriani to do an instrumental reinterpretation of one of the greatest modern vocal songs ever recorded?’ or ‘what the fuck was I thinking asking the great Kim Thayil to re-record one of his own classic Soundgarden songs?'” Menghi laughs. Yet, no egos entered the room. “Each participating musician saw the vision and understood that this is about honoring the legacy of not only an inspiring musician, but an amazing husband, father and man.”
For Menghi, Cornell’s music has always been a constant presence. “Chris Cornell has been one of only a very small handful of musical constants in my life,” he says. “I never waivered, not once.”
Certain moments in the process were surreal. Recording with Thayil was one of them. “I remember thinking back saying to myself ‘holy fuck, I’m on a SOUNDGARDEN song with Kim Thayil. What planet are we on?'”
Throughout it all, Menghi served as the project’s creative director, always guided by one central question. “How would Chris like this?” Every choice, from guest musicians to mixes to artwork, was measured against that standard. “If there is even a shred of uncertainty at any point in the process, back to the drawing board we go.”
The recordings were completed remotely over several years. The final tracks were mixed with care to ensure a cohesive sound that still captured the raw emotion of the performances.
Hope is the underlying theme that runs through KING ULTRAMEGA. It is an offering to longtime fans and an invitation for younger listeners to discover the timeless brilliance of Cornell’s work. “KU is just a blip in the Chris Cornell universe,” Menghi says. “We are a subtle reminder that Chris was a true musical genius.”
For Menghi and his collaborators, KING ULTRAMEGA is both a deeply personal labor of love and one of the greatest honors of their musical lives. “To be here thirty-plus years later paying tribute to whom I believe was the king of those times is one of the greatest musical honors of my life.”
German Olympic death metal powerhouse RISE OF KRONOS have unleashed their second single “Conception Of Humanity”, taken from their upcoming studio album Slaves Of Time.
Following the crushing impact of the album’s first single and title track released a month ago, “Conception Of Humanity” dives even deeper into the band’s dark and aggressive soundscape. The track delivers relentless riffs, brutal intensity and a suffocating atmosphere, while lyrically exploring humanity’s destructive nature and the loss of control over its own creation. It further solidifies the album’s core themes of time, decay and existential oppression.
With their new album Slaves Of Time, RISE OF KRONOS continue to refine their blend of modern death metal, combining raw aggression with massive grooves and a dense, ominous atmosphere. “Conception Of Humanity” showcases another facet of the album’s uncompromising sonic identity and underlines the band’s evolution, both musically and thematically.
Pre-orders for Slaves Of Time are now live via the official RISE OF KRONOS merch store, including exclusive bundles and limited editions: riseofkronos.bandcamp.com
The full tracklisting is: 01 Heresy 02 Conception Of Humanity 03 Escalate The Rot 04 Slaves Of Time 05 Custodians Of Reality 06 Lit The Sky 07 Black Breath 08 Into The Ashes 09 Poison Of The Gods 10 Chords Of Dismemberment 11 The Liberation 12 Phantom Eternity
In support of the upcoming release, RISE OF KRONOS will bring their new material to stages across Germany in 2026, delivering an intense and crushing live experience.
RISE OF KRONOS live: 18.04.2026 DE – Hamburg, Markthalle 24.04.2026 DE – Frankfurt, Elfer 25.04.2026 DE – Balingen, Sonnenkeller 10.07.2026 DE – Königsee, Metal Underground Resistance Open Air 25.07.2026 DE – Heimburg, Heimburger Metalnacht Festival 31.07.2026 DE – Dortmund, Dortmund Deathfest 12.11.2026 DE – Stuttgart, Schwarzer Keiler
Few live albums capture spectacle, danger, and pure heavy-metal theater the way Lizzy Borden – The Murderess Metal Road Show does. Recorded at the height of the band’s rise, this ferocious live set documents Lizzy Borden in full command—blades flashing, crowds roaring, and American metal exploding from the Sunset Strip straight onto wax.
Now, Brutal Planet Records brings this legendary performance back in a fully remastered 2-LP vinyl edition, cut for maximum impact and pressed across three stunning collector variants. Every version is housed in a deluxe gatefold and mastered specifically for vinyl by Rob Colwell, ensuring the power, aggression, and atmosphere of the original performance hits harder than ever.
Pre-orders begin February 5th, with the albums being released on May 29th.
This album captures Lizzy Borden before the mythology fully hardened—a band already commanding the stage with theatrical violence, razor-sharp musicianship, and an undeniable connection to the crowd. From the explosive opening moments to the patriotic finale of “American Metal,” this is a live document of a band carving its legacy in real time.
More than a concert recording, The Murderess Metal Road Show plays like a full-scale metal production—equal parts concert, horror show, and declaration of intent.
This isn’t just a reissue—it’s a resurrection. Three variants. One legendary performance. No second pressing.
When the lights go down and the needle drops, The Murderess Metal Road Show takes the stage again—louder, heavier, and deadlier than ever.
The most premium edition of the release, pressed on striking red & blue vinyl and limited to just 200 copies worldwide. This version includes an exclusive 8.5×11 printed set list insert featuring a printed Lizzy Borden autograph, making it the definitive collector’s piece for die-hard fans.
Includes Exclusive 8.5×11 Set List (with printed Lizzy autograph) (only 200!)
Part of the exclusive Brutal Planet Records Metal Icon Series
2-LP Vinyl Deluxe Gatefold with amazing photos!
Mastered for Vinyl by Rob Colwell (Helstar, Voivod, Lizzy Borden, Starwood)
First time vinyl has ever been reissued!
Vinyl includes all original 17 original tracks total
“Live & Let Die” a cover of the Paul McCartney song, years before Guns ‘n Roses
“(Wake Up) Time to Die” based on the classic movie Blade Runner
Officially licensed from Metal Blade Records (1986)
Tracks 16-17 are studio recordings
Recorded live at Chuck Landis’ Country Club, Reseda, CA. Friday, December 13, 1985
Limited to 400 Copies, A visually brutal Blood Moon Swirl pressing that perfectly matches the intensity of the performance. This edition delivers the full Murderess Metal Road Show experience in a deluxe gatefold—no extras, just pure live metal fury.
Limited to 400 Copies, Pressed on bold Metallic Gold vinyl, this variant celebrates Lizzy Borden’s place in American metal history. A classic presentation for fans who want the album loud, proud, and permanently etched into their collection.
A full decade after their last studio album, Sweden’s WOLVERINE make a long-awaited return with Anomalies, released today through Music Theories Recordings/Artone.
To celebrate they have revealed the official video for Nightfall. At just under six-,minutes long it takes you on a euphoric journey. Talking about the song Stefan Zell says, “Wolverine goes pop! Seriously, a catchy song that I love. The lyrics do, however, deal with a significantly less catchy topic: death anxiety.”
This is Wolverine at their most contrasting. Beautiful sweeping hooks, however something darker lies beneath. The upliftingly bright melodies of ‘Nightfall’ represent one of the most immediate and even catchiest songs that Wolverine has ever recorded. Yet the immediate feel of the music is offset by some unremittingly bleak lyrics such as “Where memories should thrive and soar through the open skies between now and then, A desolate place, through darkness allowed to die, Shrouding the why…”
“That one is, lyrically, from my really darkest period, where I had death anxiety every night when I went to bed,” Zell admits. “It felt like someone stomping on my chest. Just wanting the night to be over. I was not in a good place in life. But I found the contrast between the music and the lyrics quite tempting in a way. You can almost dance to it once it gets going.”
This is the latest single to be taken from the album following ‘This World And All Its Dazzling Lights’ which carries an elegant, effortless beauty — a warmth that unfurls around the listener in luminous layers, and the first song taken from the album, ‘A Perfect Alignment’ – The first part of a trilogy of songs on the album, alongside ‘Circuits’ and the album’s opening track ‘A sudden demise’. Now that the full album has been released, listeners can drink it in, in its entirety, as it was meant to be.
The road to Anomalies has not been an easy one. It’s been a decade since the Söderhamn quintet last released a full album, 2016’s Machina Viva, and four years since their last EP, 2021’s A Darkened Sun, raised hopes that the Swedish prog metallers were back with a vengeance.
“Life got in the way,” Zell sighs when talking about what they’ve been up to in the ensuing years. “We released Still in 2006, that’s 20 years ago now! Up until then, we were really focused on the band. With Still, we thought we had the album, but everything just went quiet; it just didn’t take off.”
“We have always prided ourselves on creating albums that we feel proud of. We want to really feel like this is something we can stand by.”
Producer, Oliver Philips, who’s worked with the Swedes since 2001’s The Window Purpose debut album, and whose own band, Everon made their first new studio album for 17 years, in 2025 for Music Theories Recordings, was instrumental in getting things moving.
“When we started writing for this album, we again wanted to work with Oliver,” Zell says. “He’s produced albums before for us, and I wanted to record vocals with him again. And he helped us get in touch with [Music Theories Recordings founder] Ed van Zijl, and one thing led to another. It ignited our spark again. I’m also 20 years older now than when I recorded Still. To think I have a sober look at it now, I’m really happy to be able to release this album.”
Today, Zell is brimming with enthusiasm, fired up by the knowledge that his band – the Machina Viva line-up of Jonas Jonsson (guitar), Thomas Jansson (bass), Marcus Losbjer (drums), and Per Henriksson (keyboards) remains intact. For a band unafraid to delve into the disquiet corners of life, the mood is bold and upbeat.
After more than a year on tour, German heavy psychedelic quartet KANT return with a new single titled “QUALM”, marking the first glimpse of their next creative chapter. The track is out now via Sound of Liberation Records.
While the vintage rock approach that dominated Paranoia Pilgrimage still lingers in the background, “QUALM” pushes the band into rougher, louder, and more restless territory. The atmosphere remains dark, but the edges feel sharper and more urgent, hinting at a band in motion rather than reflection.
The band comments: “Qualm is omnipresent. Whether on the street, in a bar, or in your head. It’s the love–hate relationship between yourself and the haze that not only surrounds you but consumes you. Because of this, Qualm works in both German and English. While the word is a synonym for ‘smoke’ in German, in English it translates to ‘doubt’ or ‘a bad feeling.’ That is precisely what the song is meant to convey sonically.”
This dual meaning is deeply embedded in the track’s sonic character, where swirling psychedelia, driving rhythms, and a sense of unease collide into a dense, intoxicating haze.
“QUALM” will be also released as a 7-inch vinyl single. On the B-side, listeners will find the track “Vicious Circle”, previously available only online, making this the first physical release to feature the band’s full catalogue to date.
KANT is a heavy psychedelic band hailing from the underground music scene of Aschaffenburg, Germany. Formed in 2020, the band has quickly established itself as a force to be reckoned with in the genre, known for their intense live performances and mind-bending soundscapes.
Drawing inspiration from the psychedelic alternative scene of the late 60s and 70s, as well as the heavy metal and doom of the 80s and 90s, KANT creates a unique sound that blends distorted guitars, pounding drums, and swirling melodies with haunting vocals and experimental noise. Highly recommended for fans of King Gizzard & The Wizard Lizard, Witchcraft, Pentagram, Uncle Acid & The Deadbeats, Kadavar or Hällas!
KANT live: 13.02.2026 (DE) Frankfurt – Engelsburg 14.02.2026 (DE) Bielefeld – Blues Bar
KANT is: Marius Seidel – Guitar, Vocals Nicolas Jordan – Guitar, Vocals Elena Strähle – Bass Bryan Göbel – Drums
Kimmo Kuusniemi’s ASA unveil the long-overdue release of "Collective Failure" + first music video for title-track! Check it out and stay tuned for more news! Click image to watch the video
Kimmo Kuusniemi’s SARCOFAGUS return with a Historic 2010 Concert Video Premiere on YouTube! Click image to watch the video
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Visionary artist KIMMO KUUSNIEMI's ANCIENT STREAMING ASSEMBLY (ASA) have released “Aurora Nuclearis”, a powerful 12-minute audiovisual experience, dedicated to the Late Keyboardist Esa Kotilainen. - Click image to watch the video
Click image to watch the video
Metal Shock Finland (World Assault ) 