A lot of water has passed under the bridge since Paul Di’Anno and Iron Maiden first arose, primal heroes of the so-apocalyptic first wave of the New Wave of British Heavy Metal.
But anyone who was there at the time is sure to remember the day they brought home the band’s self titled first album, dropped the needle onto the vinyl (there were no CDs back then, remember), and “Prowler” leaped out of the opening grooves – a wall of destruction that knew no boundaries, musically or lyrically…
You see me crawling through the bushes With it open wide What you seeing, girl?
Ah, people don’t write songs like that, anymore, and maybe Paul Di’Anno was aware of that as he put together the set list for his comeback tour in 2022. Just like it did on Iron Maiden, “The Prowler” opened the show, and if it was a disturbing listen in 1980, it was positively shattering 42 years on.
The second single from the live concert that accompanies the release of Wes Orshoski’s already much-acclaimed Di’Anno: Iron Maiden‘s Lost Singer documentary, “The Prowler” proves from the outset that Di’Anno’s body may have been through the wringer, but his vocals, and his presence are untouched by time.
Like the movie, the CD Iron Maiden’s Lost Singer serves up a strikingly raw and intimate show, a testament not only to Di’Anno’s refusal to allow his long-term health problems and disabilities (he had been confined to a wheelchair since the mid-2010s) to hold him back, but also to the sheer devotion with which his fans still regarded him.
Indeed, the fans are as much a part of the movie as Di’Anno, as it tells how two loyal supporters, having encountered Di’Anno at the lowest point of his life, set out to restore his health and relaunch his career. It was their crowdfunding campaign that led to D’Ianno relocating to Croatia, where – through the help of those fans and doctors – he made a massive turnaround, climaxing in a heroic and drama-filled return to the stage. All of this is captured in Di’Anno: Iron Maiden’s Lost Singer, which Orshoski began shooting in 2017.
“For years there wasn’t much to capture,” says Orshoski, whose credits include Lemmy, a study of the Motörhead frontman,and The Damned: Don’t You Wish That We Were Dead. “Paul was waiting for surgeries that doctors in the U.K. would not green-light. He was in an incredibly dark place. But once he got to Croatia, fans and doctors gave him the hope he was desperately searching for. It was beautiful to witness. I wanted to make a film that was unlike any rock doc you’ve ever seen. And in the end, I think we got there.”
Orshoski finished work on the film (which was shot in England, Croatia, Brazil and the United States) shortly before Di’Anno’s death at 66 in October 2023. Di’Anno: Iron Maiden’s Lost Singer has been screening at European film festivals.
The film will see its North American Theatrical Premier for public audiences at the Lumiere Music Hall Theater, 9036 Wilshire Blvd, Beverly Hills, CA 90211 on June 9th, 2026 at 7:00pm, which is also the official North American release date for both the digital VOD and Home Entertainment DVD/Blu Ray formats
DISC 1 1. Prowler 2. Murders in the Rue Morgue 3. The Beast 4. Children of Madness 5. Remember Tomorrow 6. Genghis Khan 7. Overloaded 8. Killers 9. Phantom of the Opera 10. Holidays in the Sun 11. Sanctuary 12. Wrathchild
Black/death experimental metal band Emptiness are releasing “The Threat” as the second single from their upcoming seventh album Nowhere Speaks. Stretching the boundaries between black and death metal, “The Threat” is located in territory that, for the Belgian band, is intimately familiar: the darkness of the human condition.
Save for vocals, keyboards and additional effects, Nowhere Speaks was played live in the studio, after four years of preparation, rehearsals and tests to ensure the music could be performed with the right weight and intention. This is not a production detail so much as a commitment to a specific kind of tension, the kind that does not survive being assembled in pieces. Emptiness’ previous album, Vide (2021), had no distortion, was sung entirely in French, and existed at the edge of silence; Nowhere Speaks moves in the opposite direction, and does so deliberately, opening exactly where Nothing But The Whole (2014) cut off mid-riff and closing by looping back to that album’s opening riff.
Tracklist: 1. Nothing but the Whole (Part 2) (01:19) 2. The Threat (04:07) 3. Nowhere Speaks (05:37) 4. Darkness Commands (01:02) 5. Words to Wind (08:24) 6. One Must See All (01:29) 7. When the Whole Arrives (05:43) 8. The Clash of Forces (03:08) 9. Next in Line (04:15) 10. All for Nothing (06:37) Full runtime: 41:44
With Nowhere Speaks, EMPTINESS descends into a dimension stripped of all human trace, a place governed by its own silent logic, where unfamiliar forces and energies move with intent that has nothing to do with the listener. The album does not narrate; it confronts. Its opening track, “Nothing But The Whole (Part 2)”, begins mid-riff, picking up exactly where Nothing But The Whole (2014) cut off, the abrupt ending that baffled fans for years and became one of the more discussed gestures in underground metal. The closing track of Nowhere Speaks then returns to the opening riff of that same 2014 record, completing a deliberate loop between the two albums, beginning and ending inside each other. It is the band’s central idea made structural: nothing and everything at the same time, a cycle with no fixed point. After the stark withdrawal of Vide (2021), distortion-free and sung in French, this is a return to density, weight and immersive intensity, recorded live in the studio after four years of preparation, and entirely unconcerned with making its listener comfortable.
Founded in Brussels, Belgium in 1998, EMPTINESS set out with a clear and uncompromising intention: to explore darkness not as aesthetic but as territory. Drawing from black and death metal as departure points rather than destinations, the band approached extreme music with an experimental orientation from the start, shaping a sound that resisted easy classification. Early demos established a presence in the underground, their reception confirming that something distinct was forming in the Belgian capital.
The debut full-length Guilty to Exist(2004) laid the foundation, establishing the band’s identity without yet fully realizing its potential. Oblivion(2007) was where that potential first arrived completely: a record of exceptional production depth, commanding guitar work and a heaviness of atmosphere that made it, in retrospect, one of the defining metal releases of that year.
Error (2012), released through Dark Descent Records, pushed further into dissolution and atmosphere, sacrificing structural clarity in favour of immersion. Menacing, dissonant and unrelenting, it cleared space for what came next.
Nothing But The Whole (2014) was the album that opened EMPTINESS to a broader critical audience and remains their most discussed and celebrated statement from that first phase. Strange, hypnotic and formally resistant to genre convention, it held the raw force of extreme metal while stripping back its mechanics, allowing texture, dread and silence to carry weight where blast beats and tremolo picking had previously stood. Its closing moment, a riff severed mid-phrase as though the record had simply ceased to exist, drew years of speculation from listeners. It was not an error. It was a promise deferred.
Not For Music(2017), the band’s first release through Season of Mist, represented a categorical departure. Moving away from extreme metal frameworks entirely, the album drew on goth rock, coldwave, industrial and post-punk, pursuing a palette of dark music that felt fully inhabited rather than borrowed. Recorded at the band’s own Blackout Studio in Brussels, its final form was shaped with the involvement of Jeordie White (MARILYN MANSON, A PERFECT CIRCLE, NINE INCH NAILS), with mixing and mastering by Sean Beavan (GUNS N’ ROSES, NIN, SLAYER). The resulting record reached audiences well beyond the metal world, confirming EMPTINESS as a serious proposition across multiple scenes.
Vide (2021) took the band’s trajectory to its most formally radical point. Recorded in isolation, across apartments, a cabin in the woods and a Brussels rooftop, sung entirely in French and stripped of all distortion, it was a claustrophobic document of confinement and perceptual dislocation. The surrounding global context only reinforced the collapse between the inner world being constructed and the one outside. EMPTINESS performed the album in its entirety at Roadburn Redux 2021, a pairing that confirmed their standing within the avant-garde and experimental underground as precisely as any review could.
From early in their career, EMPTINESS has worked this way: Jérémie Bézier handling production across all its dimensions, Olivier J.L.W. directing the visual work in its entirety. Sound and image conceived, shaped and finalized from within. Nowhere Speaks continues that closed circuit, as it always has been.
Nowhere Speaks is not a return. After the most introverted and isolated record of their career, the band opens outward into density and live intensity. The album, developed over an extended period of time, was composed by Jérémie Bézier and Olivier J.L.W., who oversee its production across both sonic and visual dimensions, bringing the work to completion as a unified whole, committed to tape live in the studio. The structural conceit of opening mid-riff from where Nothing But The Whole ended, and closing with that album’s opening riff, is not nostalgia. It is the same logic that has always governed EMPTINESS: the cycle without a fixed point, beginning and ending inside each other, nothing and everything at the same time. The band has spent years demonstrating that they do not move in straight lines. Nowhere Speaks is a continuation from a point the listener was not meant to forget.
Line-up: Jérémie Bezier — Vocals, Bass Olivier J.L.W. — Guitars Simon L. — Guitars Dea Hydra — Synths Laye Louhenapessy — Drums
One of the world’s leading metal bands, Swedish heavy metal powerhouse Sabaton, will perform at Helsinki’s Veikkaus Arena on May 8, 2027. The concert is part of The Legendary Tour Part 2, the band’s massive European tour supporting their latest album, Legends.
Founded in Falun, Sweden, in 1999, Sabaton has spent eleven studio albums telling true historical stories through the power of heavy metal. Known for their enormous and highly immersive live productions, the band has filled arenas around the world. Finnish audiences last experienced Sabaton’s spectacular live show in spring 2023.
Sabaton’s commitment to history extends far beyond albums and concerts. In 2019, the band launched the Sabaton History Channel on YouTube. They have also produced the animated film The War To End All Wars – The Movie, which became the centerpiece of the History Rocks museum project involving more than 140 museums worldwide. The project’s aim was to raise awareness of the importance of historical knowledge and encourage people to visit museums.
Opening the Veikkaus Arena concert will be The Legendary Orchestra, performing Sabaton’s music through the lens of classical music.
Tickets go on sale today on Wednesday, June 10, 2026, at 11:00 AM via Ticketmaster.
TuskaLive and Grey Beard Present:
SABATON The Legendary Tour Part 2 – Europe 2027 Special Guest: The Legendary Orchestra May 8, 2027 Veikkaus Arena, Helsinki, Finland All ages | Doors: 6:00 PM Tickets (Ticketmaster)
Floor Standing: from €133.90 Lower Bowl 1: from €122.90 Lower Bowl 2: from €113.90 Upper Bowl 1: from €93.90 Upper Bowl 2: from €83.90 VIP packages from €258.90. For more information on VIP packages, please visit the Ticketmaster event page.
Concert Organizer: TuskaLive / Finnish Metal Events Oy Promoter: Jouni Markkanen, Grey Beard Oy
“Sea Of Glass” is the latest single from instrumental post-rock collective IF THESE TREES COULD TALK. At once dreamy and powerful, the band’s newest hymn comes by way of the band’s forthcoming full-length, The Hidden Hand, set for release on July 10th through Metal Blade Records.
Comments drummer Zack Kelly, “‘Sea Of Glass’ offers a smooth optimistic post-rock landscape guided by uplifting clean guitars and heavy chorus hooks which pay off with a haunting and explosive resolution.”
Watch the band’s previously released video for “Blurry Creatures” HERE.
The Akron, Ohio-based outfit has been praised by Metal Hammer for their, “uplifting post-rock that layers cascading guitars over tight drums with a deep emotional resonance,” while the lineup’s Metal Blade debut (and third LP overall), 2016’s The Bones Of A Dying World, was called “a fluid-flowing masterpiece that builds upon complex, progressive dreamscapes.”
This year’s The Hidden Hand boasts nine stellar and plainly provocative songs. IF THESE TREES COULD TALK focuses on capturing sonic power, utilizing the three guitars to cover different areas of the spectrum.
“Most parts usually start with a loop pedal and delay, from there a natural bass line will reveal itself and we can build from there after lots of trial and error,” explains Zack, who co-founded the band with drummer-brother Cody Kelly in 2005. “Drums patterns can also help play against the loop and create a movement or flow to help build the counts and changes. The IF THESE TREES COULD TALK experience feels like a slow, wordless conversation between the inner and outer world best consumed like the score to a cinematic picture or a space for meditation, healing, and clarity.”
North Carolina progressive alt-metal outfit STELLAR CIRCUITS have unveiled their latest single, ‘Wounded Healer,’ available now via Nuclear Blast Records.
Continuing the creative momentum established by their acclaimed album Phantom :: Phoenix and recent standalone single ‘Spotlight,’ ‘Wounded Healer’ fuses crushing heaviness with melodic and dissonant tension, mirroring the struggle between decay and redemption. Driven by themes of inner sickness and fragile transformation, it confronts the breaking point—where healing and destruction collide, and survival demands you make your move before you dissolve away.
Following the success of Phantom :: Phoenix, which further solidified the band’s reputation for crafting immersive and emotionally resonant modern metal, STELLAR CIRCUITS continue to demonstrate why they remain one of the genre’s most exciting and forward-thinking acts.
Released in late 2025 to widespread praise from fans and critics alike, Phantom :: Phoenix represented a defining moment for STELLAR CIRCUITS, showcasing the band’s ability to seamlessly merge progressive complexity, crushing heaviness, and cinematic atmosphere with deeply personal songwriting. The album explored themes of rebirth, perseverance, and self-discovery through tracks such as ‘I See Your Spirit,’ ‘Corridor,’ and ‘Bury The Ashes,’ further establishing the band’s reputation for creating emotionally resonant music without sacrificing technical prowess or intensity.
Stellar Circuits has rapidly become one of the most compelling voices in modern progressive metal. Following their acclaimed 2023 Nuclear Blast debut, Sight To Sound, the band has continued to push boundaries with a sound that balances crushing heaviness, immersive textures, and deeply personal songwriting. Known for their dynamic live performances, Stellar Circuits have toured extensively alongside acts such as Chevelle and Arch Echo, earning a reputation as one of the genre’s most captivating rising acts.
WHITECHAPEL will celebrate their 20th anniversary with a special North American headlining tour this Fall where they’ll perform songs from their entire discography! Presented by Live Nation, the trek will commence on November 11th in Atlanta, Georgia and run through December 18th in Pelham, Tennessee. Support will be provided by Chelsea Grin, The Acacia Strain, and Netherwalker.
Comments WHITECHAPEL guitarist Alex Wade, “We are excited to announce our 20th Anniversary Tour taking place this Fall. We would have never believed we would have made it 20 years after we started this band in 2006, but here we are celebrating it, and we are proud that we are undertaking our largest headline tour to date to commemorate that. Joining us will be our friends who need no introduction, Chelsea Grin and The Acacia Strain, along with deathcore up and comers, Netherwalker. We will be playing songs from our entire discography, no albums left out, so if you want to see us play our longest set in the biggest venues we’ve ever played, get your tickets now and don’t miss out!“
WHITECHAPEL will be releasing limited artist presale tickets and VIP packages through Sound Rink beginning Tuesday, June 9th at 2:00pm local. Packages include a general admission ticket, meet and greet + photo with the band, early entry to the venue and access to merch, plus exclusive VIP-only items including a WHITECHAPEL foam hand, signed poster, and VIP laminate with lanyard. To purchase, fans can head to: soundrink.co/WHITECHAPEL
General on sale date is Friday, June 12th at 10:00am local time. See all confirmed dates below.
WHITECHAPEL w/ Chelsea Grin, The Acacia Strain, Netherwalker: 11/11/2026 Tabernacle – Atlanta, GA 11/13/2026 House Of Blues – Buena Vista, FL 11/14/2026 House Of Blues – North Myrtle Beach, SC 11/16/2026 The Fillmore Charlotte – Charlotte, NC 11/17/2026 Roxian Theatre Presented by Citizens – Mckees Rocks, PA 11/19/2026 Nevermore Hall – Baltimore, MD 11/20/2026 Starland Ballroom – Sayreville, NJ 11/21/2026 The Palladium – Worcester, MA 11/22/2026 MTELUS – Montreal, QC ** 11/24/2026 HISTORY – Toronto, ON ** 11/25/2026 Royal Oak Music Theatre – Royal Oak, OH 11/28/2026 Riviera Theatre – Chicago, IL 11/29/2026 The Fillmore – Minneapolis, MN 12/01/2026 Ogden Theatre – Denver, CO 12/03/2026 The Union Event Center – Salt Lake City, UT 12/04/2026 Treefort Music Hall – Boise, ID 12/05/2026 Showbox SoDo – Seattle, WA 12/07/2026 Channel 24 – Sacramento, CA 12/08/2026 House Of Blues – Anaheim, CA 12/09/2026 The Van Buren – Phoenix, AZ 12/11/2026 The Aztec Theatre – San Antonio, TX 12/12/2026 Diamond Ballroom – Oklahoma City, OK 12/13/2026 House Of Blues – Houston, TX 12/14/2026 House Of Blues – Dallas, TX 12/16/2026 The Andrew J. Brady Music Center – Cincinnati, OH 12/18/2026 The Caverns – Pelham, TN ** No Netherwalker
Hymns In Dissonance, WHITECHAPEL‘s most recent studio recording released last Spring via Metal Blade Records, finds the band reinventing themselves, going darker, deeper, and heavier than ever before. Revolver lauded “a blistering attack of ground-fissuring blasts, terror-thrashed guitar melodies and guts-hucking mosh sections.” Metal Injection concurred noting, “it’s heavy as shit, it’s unrelenting, and it will destroy you.” MetalSucks championed, “one of WHITECHAPEL’s heaviest offerings since the glory days of The Somatic Defilement and This Is Exile,” adding, “It captures that same raw energy and mouth-frothing rage in a way that… hasn’t been seen for quite some time, but with a new and improved modern twist borne of the nearly twenty years of experience they have accumulated since then,” while Blabbermouth hailed the band’s “…white-knuckle, weaponized deathcore with brains, brawn, and a point to prove. Hold on to your helmets.”
The record earned the #2 position on Billboard’s Current Hard Rock Albums chart, #3 on Independent Label Current Albums chart, #4 on the Current Rock Albums chart and #7 on the Digital Albums chart upon its first week of release.
Hymns In Dissonance is available now on CD, vinyl, and digital formats. For orders, visit: lnk.to/HymnsInDissonance. Find merch bundles and band exclusive vinyl at: whitechapelband.com
WHITECHAPEL: Phil Bozeman – vocals Ben Savage – lead guitar Alex Wade – rhythm guitar Zach Householder – guitar Gabe Crisp – bass Brandon Zackey – 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
Metal Shock Finland (World Assault ) 