MANU PES BAND release their new album “EUFORIA” via Volcano Records & Promotion, a fully instrumental work that moves through hard rock, blues, heavy metal, funk and fusion, turning riffs, grooves and melodies into a true journey through consciousness.
Accompanying the album release is the music video for “S’Istria”, one of the record’s key tracks: a visual journey through alienation, the pressures of everyday life and the growing feeling of being trapped by a personal and professional existence that no longer reflects who we are and seems to become more constricting with each passing day.
In “S’Istria”, the visual dimension becomes an integral part of the narrative. With no lyrics to guide the listener, the music leaves space for the images to focus on an increasingly universal condition: that of someone moving through routines, expectations and responsibilities until they gradually lose touch with themselves. The result is a constant tension between the need to escape and the impossibility of breaking free, between the desire for freedom and the weight of a daily life that seems to impose its own rhythm. This perspective fits naturally within the world of “EUFORIA”, described by the band as a journey through consciousness. Across 13 tracks and almost 55 minutes of music, the album creates an instrumental path in which the language of hard rock continuously opens itself up to different influences without losing cohesion or identity. Manu Pes Band’s songwriting is built around immediate riffs, memorable melodies and a strong focus on groove, bringing together influences from different eras and musical languages. Blues and heavy metal form two fundamental poles of the project, while funk and fusion elements also emerge throughout the album, always filtered through a deeply rooted rock sensibility.
Formed in 2023 by Manu Pes, Mattia Murtas and Maurizio Serreli, Manu Pes Band pursues a musical vision based on cross-pollination and the desire to develop a personal language. The line-up features Manu Pes on guitar, Mattia Murtas on drums and Maurizio Serreli on bass. With “EUFORIA”, the band brings this exploration to its fullest expression: an album conceived not simply as a collection of tracks, but as a continuous sonic journey in which energy, tension, groove and introspection coexist and evolve from one track to the next.
The video for “S’Istria” represents one of its most emblematic moments, translating into images the sense of oppression and disconnection that can arise when our lives stop resembling what we truly want.
Watch the video:
A journey through consciousness, then, but also through the contradictions of everyday life: “EUFORIA” expresses without words what we often struggle to say.
Power Take Off are turning up the volume with their new single, “Cornfields at Midnight,” that was released August 18th on all streaming platforms via ANRGIRL/Betachain, distributed through FUGA/Universal. The track showcases the band’s signature combination of raw energy, tight musicianship, infectious hooks, and the unmistakable chemistry of a band built around family.
“Cornfields at Midnight” follows the band’s recent success with “Dixie Cup,” which has surpassed 100,000 streams in just a few months. Produced by Malcolm Springer and recorded at Stoner Creek Studios, owned by Peter Keys of Lynyrd Skynyrd, the milestone further established Power Take Off as a rising force in the rock scene.
At the heart of Power Take Off are father-and-son duo Scott and Ayden, whose musical journey began in 2019. During the isolation of the COVID-19 pandemic, the two began creating music together in the basement studio of their family home. What started as a creative outlet quickly became the foundation for a band with a sound and identity all its own.
Scott, a fourth-generation farmer and truck driver with more than 35 years in the music industry, takes on a new roll in the band. Once a drummer, Scott now takes center stage as the band’s charismatic lead vocalist. His son, Ayden, began playing drums at an early age and has developed into a dynamic and highly skilled performer, bringing youthful intensity and precision to the band’s live shows.
Scott shares, “Being a fourth-generation farmer, it’s hard to watch the landscape I grew up with change year after year. There’s something heartbreaking about seeing farmland, family farms, and small communities disappear as the world around them continues to grow. ‘Cornfields at Midnight’ is a reflection on time, change, and the transformation happening across rural communities throughout America’s heartland. It’s about saying goodbye to the small towns we knew and saying hello to big business and urban sprawl, watching concrete replace cornfields. That’s what inspired the lyrics “in a concreted city that use to be our town.”
“Power Take Off are Midwestern farm boys at heart, and this song is our way of bringing awareness to something that matters deeply to us. We’re not trying to tell people how to feel, we’re simply sharing our thoughts, our memories, and our perspective on what’s being lost as our hometowns change. We believe it’s a conversation worth having.”
The band’s lineup is rounded out by Ethan “Hank” Schluter and Mike “Cowboy” Delp on guitar, with Jakob “JR” on bass. Together, the five-piece has built a reputation for electrifying performances, taking their music across the United States and completing multiple tours alongside national acts.
One of Power Take Off’s most distinctive live moments comes when the father-and-son duo switches roles onstage. Scott returns to the drums while Ayden steps up to the microphone, giving audiences a completely different side of the band and highlighting the musical versatility that has become a hallmark of their performances.
“Cornfields at Midnight” continues that evolution, pairing Power Take Off’s hard-driving rock ’n’ roll attitude with the polished production of Chuck Alkazian. The result is a track designed to hit just as hard through a pair of headphones as it does from the stage.
Power Take Off also recently brought their explosive live show to Taste of Madison in Madison, Wisconsin, on September 5, further expanding their growing presence on the festival and touring circuit.
Next spring, NILE and technical thrash pioneer CORONER take on North America together: a co-headline run that puts two of metal’s most singular forces on the same stage every night, with strong guest support from SYN ABSENCE and one more special guest to be announced! The trek will kick off on March 2, 2027 in Greenville, SC and will conquer the states until it ceases fire on April 11 in Leesburg, VA. The full itinerary can be found below while tickets will be made available HERE.
Both bands arrive with their latest albums fully integrated into the live arsenal – Nile’s ‘The Underworld Awaits Us All’ and Coroner’s ‘Dissonance Theory’ – alongside the legendary material both bands built their names on: live, sharp, and carrying both the weight of their history and the force of what they have become.
Underworld Dissonance brings both catalogues to 31 stages across the United States: two headline sets a night, for full impact from coast to coast.
‘Dissonance Theory’ was released worldwide on October 17, 2025 via Century Media Records. It can be ordered, streamed, or downloaded HERE.
‘Dissonance Theory’ contains ten new songs across 47 minutes, recorded by Tommy Vetterli at New Sound Studios in Switzerland and mixed/mastered by Jens Bogren at Fascination Street Studios in Sweden (Opeth, Kreator, Amon Amarth, etc.).
CORONER 2027 U.S. Tour Dates (Underworld Dissonance Tour, co-headliner w/ NILE):
03/02/27: Greenville, SC @ Radio Room 03/03/27: Nashville, TN @ The Basement East 03/05/27: Dallas, TX @ AM/FM 03/06/27: Corpus Christi, TX @ House of Rock 03/07/27: Austin, TX @ Come And Take It Live 03/09/27: Albuquerque, NM @ Sunshine Theater 03/10/27: Mesa, AZ @ Nile Theater 03/12/27: Boise, ID @ Shrine Social Club 03/13/27: Spokane, WA @ Knitting Factory 03/14/27: Seattle, WA @ El Corazon 03/15/27: Portland, OR @ Hawthorne Theater 03/17/27: Roseville, CA @ Goldfield Roseville 03/18/27: San Francisco, CA @ Great American Music Hall 03/19/27: Santa Ana, CA @ Observatory 03/20/27: Los Angeles, CA @ The Whisky 03/21/27: San Diego, CA @ House of Blues 03/23/27: Denver, CO @ Oriental Theater 03/25/27: Lincoln, NE @ Bourbon Theater 03/26/27: Des Moines, IA @ Wooly’s 03/27/27: Milwaukee, WI @ The Rave 03/28/27: Joliet, IL @ The Forge 03/30/27: Flint, MI @ Machine Shop 03/31/27: Lakewood, OH @ Mercury 04/02/27: Sayreville, NJ @ Starland Ballroom 04/03/27: New York, NY @ Gramercy Theatre 04/04/27: Worcester, MA @ The Palladium Upstairs 04/06/27: Lititz, PA @ Mickey’s Black Box 04/07/27: Baltimore, MD @ Baltimore Soundstage 04/09/27: Pittsburgh, PA @ Preserving Underground 04/10/27: Columbus, OH @ The Kings of Clubs 04/11/27: Leesburg, VA @ Tally Ho Theater
The album cover artwork was created by Stefan Thanneur.
When Swiss metal pioneers Coroner disbanded in 1996, they left a trail of deeply inspirational and influential albums. From the classically-tinged 1987 R.I.P. debut and its follow-up one year later, Punishment for Decadence, to the sleek modernisms of 1993’s Grin, their discography is a clinic in performance acumen and how to balance grace with grit and grime. In a word, they were the true definition of “progressive” music: Always laser-focused with a firm direction, Coroner never let themselves be bound by genre convention.
Ever the forward thinkers, ever the seekers of unique expression, Coroner’s main material never traded heaviness for innovation. They were a rare band that merged both in a way that was never forced or too consciously conflated. And yet we can’t forget the bolder moves along the way: The haunting closer of 1989’s No More Color, “Last Entertainment (T.V. Bizarre)” and the Beatles cover on 1991’s Mental Vortex. These might have seemed unlikely choices on paper, but they actually worked brilliantly, lending great depth to their respective albums. There was nobody like Coroner. And the bar of expectation they set, they set very high.
With all that as part of historical record, it would seem that expectations for a new Coroner album would be impossibly high. But take one listen and you understand that it’s not hyperbolic, nor cliché, to say that with 2025’s Dissonance Theory, Coroner have met and even exceeded expectation. The material, as all the best Coroner does, hangs somewhere between stealthy restraint and wild abandon.
When the band returned to the stage in 2011, with original trio formation Tommy Vetterli, Ron Broder and Marky Edelmann, new material wasn’t even a consideration. For them, they were simply happy to revive all that much-loved material and present it to old fans, as well as younger ones who weren’t around to experience Coroner live the first time around. Indeed, they are another of metal’s finest bands that gained more popularity after the initial breakup than during their era of actual operation.
A couple years after their revival, Edelmann bowed out, although Vetterli and Broder kept the machine running because, in the guitarist’s words, “we were having way too much fun”. Still, they had no intentions of recording new material with freshly-installed drummer Diego Rapacchietti. But by 2015, seeds of fresh Coroner ideas, tiny as they were, began sprouting from Vetterli’s fertile mind. Ten years later, with a new album completed, the six-stringer explains the long gestation of Dissonance Theory: “I started sketching ideas around 2015, but never found the mental space to focus fully. Life kept getting in the way — short bursts of progress, then long interruptions. Running my own recording studio means I ’m constantly producing other bands while managing the studio’s demands. After nine-hour days recording or mixing, there’s not much creative energy left at night. The actual recording sessions didn‘t kick off until June 2023 — and even those got interrupted multiple times for the same reasons.”
While Vetterli avoids mentioning particular musical artists, bands or movements as inspiration for the new material, he astutely notes, “Inspiration is just life, really. Everything you see, hear, or feel leaves a trace — music, films, books, the state of the world, personal stuff. Sometimes it’s something big. Sometimes it’s just a tree standing alone on a hill somewhere. That can be enough. It’s never about specific bands or styles — more about what hits you at the right moment.”
It was also the presence of Rapacchietti that fueled Vetterli and Broder’s constructions as new material came together. “Diego brings a level of technical precision and musicality that opened up entirely new dimensions in our songwriting,” says Vetterli. “His versatility allowed us to explore fresh territory without losing ourselves. Especially rhythmically, we were able to push things further than ever before.”
The album’s first tracks establish that the Coroner sound is intact, even 30 years after their initial run. In tone and texture, “Consequence” and “Sacrificial Lamb” are not terribly far away from the band’s early ‘90s material. These offerings unite the focused hypno-drone of Grin with the clean-kill post-thrash technicality of Mental Vortex. Yet that’s only an approximation of where the album sits in the sonic space. It’s after these that the scope widens. Ultimately, Dissonance Theory claims its own ground, sounding like an album that could’ve been released in the late 1990s, but one clearly informed by the variety of inspirations noted above and the many years lived between then and now.
It seems impossible after all the time elapsed, but this is Coroner at its best. We hear evidence of this on songs such as “Crisium Bound”, with its spacious dark pulse, and “Symmetry”, which is driven by drummer Rapacchietti’s colorful backing over one of the most exciting guitar solos Tommy Vetterli has ever composed. Broder’s bass lines are as commanding as ever throughout, and his arrogant snarl remains packed with bile and spite, as if 30 years had never passed. Sumptuous passages in “Transparent Eye” recall the atmospheric material the band were working on before their initial breakup, but merged with a stabbing momentum and a few tricky rhythms. A modern-day classic Coroner song.
Perhaps this all comes off so well because the band didn’t overthink anything. They understand the pressure of coming back with their first material in three decades, but they shook off that pressure and simply let Coroner be Coroner. As Vetterli notes, “I thought a lot about what Coroner should sound like today — but I pretty quickly realized that looking backwards would’t serve us. What’s past is past. So much time has passed, and we’re not the same people. Just like we didn‘t care about trends back then, we didn’t try to make this record for anyone but ourselves. We weren’t trying to continue a legacy — we were just trying to create something honest and present.”
Further into the album, it becomes ever more apparent that their approach was the right one. “Trinity” shows Vetterli as the hugely underrated guitarist he’s always been: Its solo section is one that probably couldn’t have even been conceived of 30 years ago. It’s imbued with a kind of wisdom and experience that expresses itself in interesting melodic choices and wild fingerwork, brilliant melodic sparks flying from his instrument.
As we approach the culmination of the album, the well-titled “Renewal” is ablaze with energy, its vigorous pulse a statement of intent for this era of return. And in final track, “Prolonging”, we get another brave album conclusion from the band, featuring Hammond organ over beguiling, hypnotic metal drama, as Broder spits out a final question: “What remains? What remains?”
‘Dissonance Theory,’ in totality, is rich in sonic detail, a stereophile’s delight. Part of that can be attributed to the expert mixing/mastering by Jens Bogren at Fascination Street Studios in Sweden. But the production, arrangement and soundscape details are largely the work of Vetterli and a longtime creative partner at his own New Sound studio. Vetterli notes, “At some point, I felt something was missing — a kind of creative counterweight. Someone to reflect things back with a fresh, critical ear. That’s when I brought in a longtime collaborator I’ve worked with for years at my studio. He helped push things into new territory and gave me the clarity and momentum Dissonance Theory needed to move forward. We made a point throughout the production to record as many authentic, organic sounds as possible. The studio was packed with tube amps, analog synths, and vintage instruments — including a harmonium and a grand piano — and we put them all to good use. We’ve worked together on many other productions, so the trust was already there. We get into that whole collaboration — and how it evolved — more deeply in the CD mediabook edition.”
Coroner are offering a work that proves they know themselves and what their band should sound like. No Coroner fan could possibly be disappointed in Dissonance Theory. It’s like a massive bonus from a band we all thought had spent their creative energies decades ago. “They don’t make albums like this anymore”. Ever heard that one? Coroner proves they were not only always in metal’s top tier, but that anything less than a ferocious return such as this would never have been the Coroner way.
Lineup: Ron Royce – Bass/vocals Tommy T. Baron – Guitars Diego Rappachietti – Drums
Recording: Tommy Vetterli at New Sound Studios in Switzerland Mixing + Mastering: Jens Bogren at Fascination Street Studios in Sweden Cover Artwork: Stefan Thanneur
Technical death metal architects REVOCATION are pleased to present their video for “Data Corpse.” The track comes off the band’s acclaimed New Gods, New Masters full-length, released last year via Metal Blade Records.
Comments vocalist/guitarist Dave Davidson, “‘Data Corpse’ is about social media companies constantly scouring our personal lives for profit. We unwittingly give up more and more of ourselves every year just to be sold a shinier pair of shoes, all until what’s left of our private lives is picked to the bone. For the video, we once again worked with the incredible team at MyGoodEye. My transformation into a mutant cyborg was influenced by a lot of the imagery that originated in classic cyberpunk films like Tetsuo and Akira. Enjoy the dystopian grotesqueries.”
Watch the band’s previously released video for “Dystopian Vermin” HERE and “Cronenberged” HERE.
REVOCATION is commemorating their 20th anniversary with a special month-long North American headlining trek. The 20 Years Of Torment tour commenced on September 10th and finds the band performing tracks from across their entire catalog! Support is being provided by Defeated Sanity, Fuming Mouth, and Weeping.
Comments Davidson, “We’re excited to be able to embark on our 20th anniversary tour with such a sick lineup of bands. We’ll be playing our latest single, ‘Data Corpse,’ live for the first time across the US and Canada alongside some classics and deep cuts from our entire discography to celebrate this milestone with our fans. See you in the pit!“
REVOCATION: 20 Years Of Torment North American Tour w/ Defeated Sanity, Fuming Mouth, Weeping [remaining dates]: 9/16/2026 Park Theatre – Winnipeg, MB 9/17/2026 The Exchange – Regina, SK 9/18/2026 Starlite Room – Edmonton, AB 9/19/2026 Dickens – Calgary, AB 9/20/2026 Blue Grotto – Kamloops, BC 9/22/2026 Rickshaw – Vancouver, BC 9/23/2026 El Corazon – Seattle, WA 9/24/2026 Dante’s – Portland, OR 9/25/2026 The Ritz – San Jose, CA 9/26/2026 1720 – Los Angeles, CA 9/27/2026 Nile Underground – Mesa, AZ 9/28/2026 Backstage Bar – Las Vegas, NV 9/30/2026 HQ – Denver, CO 10/01/2026 The Waiting Room – Omaha, NE 10/02/2026 Reggies – Chicago, IL 10/03/2026 Ace of Cups – Columbus, OH 10/04/2026 Preserving Underground – Pittsburgh, PA 10/06/2026 Exit/In – Nashville, TN 10/07/2026 Eulogy – Asheville, NC 10/08/2026 The Canal Club – Richmond, VA 10/09/2026 Saint Vitus – Brooklyn, NY 10/10/2026 Underground Arts – Philadelphia, PA
On 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.
German heavy metal legends GRAVE DIGGER return with a brand-new studio album: Faces of Pain will be released on January 15, 2027 via Reaper Entertainment. The striking cover artwork was created by Uwe Jarling.
For more than four decades, GRAVE DIGGER have been one of the defining forces of German heavy metal. From classics such as Heavy Metal Breakdown and Tunes of War to the immortal anthem “Rebellion (The Clans Are Marching)”, the band around frontman Chris Boltendahl have played a major role in shaping the sound of German heavy metal.
Following the straightforward old-school approach of their 45th-anniversary album Bone Collector, GRAVE DIGGER are now ready for the next chapter. Faces of Pain consistently continues down this path, presenting the band as energetic, uncompromising and diverse as ever.
Chris Boltendahl comments:
“The time has finally come: With our new album ‘Faces of Pain’, we are opening the next furious chapter. This record is filled with an incredible amount of heart, sweat and pure passion. How can the result best be described?
What lies behind us was an extraordinary creative effort. In particular, my collaboration with Tobias Kersting on guitar has grown incredibly strong and developed into a deeply rooted creative partnership. His riffs, my lyrics and our shared vision unleashed an incredible dynamic. The result is a mature yet highly explosive late-career work that uncompromisingly combines all the classic trademarks our fans have loved for decades.
Faces of Pain shows us at our most diverse in a long time. Grave Digger consistently follow their very own style – a style we have shaped ourselves over the years. The remarkable thing is that we never copy ourselves for a single second, yet every song and every note unmistakably carries the band’s typical, mighty sound. Get ready for a true metal monster!”
Razor-sharp riffs, massive choruses and Chris Boltendahl’s unmistakably rough vocals form the foundation of the album. Fast-paced heavy metal bangers such as “Faces of Pain” and “Satan’s Tango” meet riff-driven mid-tempo anthems including “The Number”, “Legends Never Die” and “When The World Is Calling You”. With “Dead Sun” and “Say Hello To The Devil”, the band also reveals a particularly heavy and dark side.
More than 45 years after their formation, GRAVE DIGGER are clearly nowhere near ready to call it a day. Faces of Pain is an album full of energy and classic heavy metal – firmly rooted in the band’s history, yet with its sights set firmly on the future.
The album was produced by Chris Boltendahl at Graveyard Studios in Senden, Germany. The cover artwork was created by Uwe Jarling.
Starting in January 2027, GRAVE DIGGER will also bring the new material to the stage. On the “Legends Never Die Tour”, fans can experience the unbroken live power of this German heavy metal institution.
LEGENDS NEVER DIE TOUR GRAVE DIGGER MOTORJESUS WARWOLF
Discography Heavy Metal Breakdown (1984) Witch Hunter (1985) War Games (1986) Stronger Than Ever (1987) The Reaper (1993) Heart Of Darkness (1995) Tunes Of War (1996) Knights Of The Cross (1998) Excalibur (1999) The Grave Digger (2001) Rheingold (2003) The Last Supper (2005) Liberty Or Death (2007) Ballads of a Hangman (2009) The Clans Will Rise Again (2010) The Clans Are Still Marching (2011) Clash Of The Gods (2012) Return of the Reaper (2014) Healed by Metal (2017) The Living Dead (2018) Fields of Blood (2020) Symbol Of Eternity (2022) Bone Collector (2025)
Croatian metal visionaries MANNTRA open the next chapter of their unique musical journey with new studio album Wild Hunt. Arriving on December 25, 2026 via Napalm Records, the album sees the band around mastermind Marko Matijević Sekul deliver their most atmospheric and focused work to date. Following their acclaimed previous album Titans, MANNTRA take their unmistakable sound even further, exploring the untamed, instinctive side of humanity.
Today, MANNTRA unveil “Watcher Watcher”, the first single from Wild Hunt, accompanied by an official music video. Crushing metal riffs, modern industrial elements, traditional Balkan and Slavic melodies and ritualistic vocals create a dark and intense sonic world. The song explores humanity’s never-ending cycle of repeating the same patterns – wars, greed, fear and desperation – as well as our desperate need to believe that something greater is watching over us.
MANNTRA on“Watcher Watcher”: “Maybe the Watcher finally turned its back on us? Maybe it simply got tired of watching us do the same things over and over again?”
MANNTRA on the new album: “Wild Hunt is made to be experienced, not just listened to. It has the weight of metal, the pulse of industrial music, a dark gothic atmosphere and the spirit of folk roots — all coming together into something that is unmistakably MANNTRA.”
Wild Hunt places an even stronger emphasis on atmosphere and contrast than its predecessor. Heavy, driving passages collide with organic, melodic and almost mystical moments, creating a record that feels both ancient and modern. The title track “Wild Hunt” featuring Fabienne Erni of Eluveitie combines monumental metal power with captivating melodies. “Iron Storm” delivers driving rhythms and battle-ready force, while “Name The Liar” featuring In Extremo adds dark folk metal passages and German lyrics. Ambre Vourvahis of Xandria lends additional emotional depth to “Zara”, while MetaKlapa enhance the Croatian-language “Valovi” with traditional vocals. Tracks such as “Banshee”, “Danse Macabre” and “Blade In Darkness” take the journey into darker territories, while “Never Bow, Never Surrender” opens the album with a powerful statement.
With Wild Hunt, MANNTRA once again prove that they cannot be confined to genre boundaries. Blending folk, metal, industrial elements and traditional sounds, they create a distinctive musical world where ancient roots meet a modern and powerful vision.
Tracklist: 1. Never Bow, Never Surrender 2. Watcher Watcher 3. Wild Hunt 4. Iron Storm 5. Name The Liar 6. Zara 7. Valovi 8. Banshee 9. Danse Macabre 10. Blade In Darkness
MANNTRA Live: 03.10.26 AT – Klagenfurt / Burgentour 11.12.26 CH – Pratteln / Z7 * 12.12.26 DE – Stuttgart / Im Wizemann * 18.12.26 DE – Oberhausen / Turbinenhalle * 19.12.26 DE – Wetzlar / Buderus Arena * 20.12.26 DE – Dresden / Alter Schlachthof * 26.12.26 DE – Braunschweig / MEC * 27.12.26 DE – Würzburg / Posthalle * 28.12.26 DE – Bielefeld / Lokschuppen * 29.12.26 DE – Bremen / Pier2 * 30.12.26 DE – Potsdam / Waschhaus * 21.05.27 DE – Rotenhain / Pirates & Vikings Open Air 2027 24.07.27 DE – Cologne / Amphi Festival 2027 *Eisheilige Nacht Tour w/ Subway To Sally, Fiddler’s Green, Saint City Orchestra
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
Metal Shock Finland (World Assault ) 