Following the recent release of their latest single “Threshold Of Hell” featuring Fernando Ribeiro of Moonspell, Spanish melodic death metal act BLOODHUNTER have unveiled a brand-new music video for their crushing cover version of Annihilator’s classic “Human Insecticide”!
The track will appear on the band’s highly anticipated upcoming studio album “Sons Of The Abandoned”, set for release on June 12 via ROAR – A Division of Reigning Phoenix Music. In addition, BLOODHUNTER have announced a series of Spanish tour dates as special guest to CRYPTA. All upcoming shows can be found below!
Speaking about the single, guitarist Dani Arcos comments: “It’s a carefree, fun, and very raw song by Annihilator that I think fits well at BLOODHUNTER.”
Vocalist Diva Satanica adds: “A classic from this thrash band that it’s very convenient due to the current worldwide political events that was super hard to sing for me due to its speedy verses. I had a blast singing through it!”
Formed in Galicia, BLOODHUNTER have steadily carved their name into the international extreme metal scene through relentless touring, uncompromising sound and a clear artistic vision. Fronted by Diva Satanica, the band blends extreme metal aggression with melodic depth, groove and narrative ambition, forging a sound that is both ferocious and emotionally charged.
Since their inception, BLOODHUNTER have stood out for their conceptual approach and strong identity. Their music has always balanced brutality with atmosphere, drawing from themes such as ancient civilizations, power, human conflict and transcendence. Over the years, the band has evolved naturally, refining their songwriting and pushing beyond genre boundaries without losing their aggressive core.
“Sons Of The Abandoned”, produced by Tue Madsen, marks a turning point in BLOODHUNTER’s career. It is their most personal and honest album so far, shifting the focus inward to explore identity, vulnerability, personal struggle and the cost of pursuing one’s own path. For the first time, the lyrics speak directly from the heart, addressing inner demons, toxic environments, generational disconnection and the feeling of being lost in a world driven by individuality and superficial values. Musically, the album expands the band’s palette. Crushing riffs coexist with elegant grooves and striking melodic passages, while sharp contrasts define the songwriting: rage against beauty, speed against atmosphere, darkness against clarity.
With “Sons Of The Abandoned”, BLOODHUNTER solidify themselves as a band unafraid to evolve, challenge expectations and expose their own scars. This is not just another extreme metal album, it is a statement of identity, resistance and survival in a world that constantly demands compromise.
Tracklist: 1. The Devil’s Own 2. The Outspoken 3. Threshold Of Hell 4. Ephemeral Youth 5. Sons Of The Abandoned 6. No One Beats Death 7. Code Aeternam 8. The Path That Never Ends 9. The Night Is Darker Before The Dawn 10. Masters Of Deceive 11. Human Insecticide
BLOODHUNTER Live, with CRYPTA: June 12 – Madrid @ Revi Live June 14 – Mos @ Sala Rebullón June 15 – Vitoria @ Urban Rock Concept June 16 – Valencia @ Sala Rock City June 17 – Badalona @ Sala Estraperlo
Since 2013, when they first came rumbling down from the Blue Ridge Mountains, Bask have sounded like they belong to their very own time and place. On their LIT Music Award-winning, critically-acclaimed new album, the band take their homebrewed Heavy Americana to a new dimension. With The Turning, they pen a heavy, heady and heartfelt ode to their mountain home in the sky.
Today, Bask are excited to announce three shows with Elder. The Asheville natives will join the heavy psychedelic Massachusetts rockers in Richmond, Asheville and Atlanta during their upcoming North American tour.
“We are excited to join the almighty Elder this September”, Bask says. “Fans can also come out and see us later this month on our Midwest jaunt”.
May 28 – Dayton, OH @ Cosmos Joe Atomic Lounge [TICKETS] May 29 – Chicago, IL @ Live Wire [TICKETS] May 30 – Albion, MI @ Albion Malleable Brewing [TICKETS] September 9 – Richmond, VA @ The Broadberry* [TICKETS] September 10 – Asheville, North Caroline @ The Orange Peel* [TICKETS] September 11 – Atlanta, Georgia @ The Masquerade* [TICKETS]
Tracklist 1. Chasm (1:30) 2. In the Heat of the Dying Sun (4:57) 3. The Traveler (4:06) [WATCH] 4. The Cloth (4:12) 5. Dig My Heels (5:33) [WATCH] 6. Unwound (7:02) 7. Long Lost Light (6:52) [WATCH] 8. The Turning (6:33)
Psychedelic rockers have wrangled with the laws of spacetime since time immemorial, but for Bask, the past half decade has felt like falling through a prolonged series of black holes.
Before the pandemic knocked 2020 for a loop, the band were all set to traverse North America’s dusty ol’ trail with kindred spirits Elder. Flash forward roughly four years and they were fixing to tour Europe when another disaster struck their idyllic mountain town. The climb to reach album number four wound up taking one hell of a trip. But on The Turning, Bask bring Heavy Americana to a whole new dimension.
“The past five years have been challenging for all of us”, the band says. “So seeing this album finally come to light is therapeutic. The Turning is Bask at our finest. It’s our most cohesive and heartfelt effort, an ode to our mountain home in the sky”.
For as long as they’ve been together, Bask have called Asheville, North Carolina home. Drummer Scott Middleton and axeman Ray Worth were already jamming up a storm, when in 2013, they tag teamed with bassist Jesse Van Note and vocalist/guitarist Zeb Wright after the two arrived in The Land of the Sky. “We’ve been a band longer than we’ve been with our spouses”, Van Note acknowledges with a gold-toothed smile of appreciation. And yet, after 12 years in the same city, Bask still sound of their own time and place. Sharing bills with High on Fire, Black Tusk and Weedeater has led some metal archivists to peg them as stoners, though it was clear right away that these trailblazers were carved from a different neck of the woods.
“I’m quite sure I haven’t heard anything like it”, Metal Storm admired after filling up on Bask’s first full-length American Hollow. Second helping Ramble Beyond expanded the band’s homebrewed heaviness into crushing peaks and leaf-strewn valleys. “It’s tuneful, heavy, full of heart and soul and wanderlust” noted Invisible Oranges before adding, “and above all, a killer fucking rock album”.
“It’s really exactly what you want from a musical artist: a group of people creating their own sound that isn’t aping anyone”, Heavy Blog is Heavy sang in praise of the aptly titled III, which took a more snow-sheened path at the direction of Matt Bayles, who’s served as studio sherpa for Pearl Jam, Mastodon and Minus the Bear. “This is the kind of band you want to see grow”.
Bask continue to grow by literal leaps and conceptual bounds on The Turning. “I think that’s where the magic is for us”, Van Note muses. “We’re not put in a box”. Following a retreat to Echo Mountain Recording with producer Kenny Harrington, the band have returned with a concept album that truly straddles the fence between cosmic and country. “Zeb did a lot of work behind the scenes to help Kenny bridge the gap between the polish of our last record and the warmth of Ramble Beyond“. In the spirit of a Hollywood Western, the opening track sets a sizzling scene. Distant cries of trumpet stir beneath ominous drone, as if blown with the wind through a mountain chasm. Only then, like a lone ranger, does “In The Heat of the Dying Sun” appear over the blood moon horizon. “I was born to ride”, announces Wright with booming cleans as bass circles the wagons with the earthshaking force of an asteroid.
The Turning remains grounded in the natural-born sounds of Appalachia, which pokes its prickly head through the sludgier chords of “The Cloth” like a black bear swimming upstream. “We all like heavy music and half of us grew up around folk and bluegrass”, explains Wright, “but this album leans into that mix even further”. Despite starting with boots firmly planted in Tampa Bay death metal, lead single “Dig My Heels” strides through kudzu-covered fields of prog before bounding for the great beyond. “Scott called me out”, Worth laughs when asked about the song’s origins. “Instead of writing to my riffs like we’re known to do, his drumbeat took the reins on this one”.
“There’s nothing wrong with playing in 4/4”, Middleton admits, “but if you’re not exploring, then you’re missing out on a world of opportunity”.
While they’ve always been a tight-knit group, Bask’s immediate universe has also expanded. Granted, Jed Willis was already part of the band’s orbit, having helped put a bow on their last album. He’s also chipped in on tour with merch and driving duties, but The Turning welcomes him as an official member. “It’s hard trying to add someone when you’ve had the same four guys in a van for 12 years”, notes Van Note. Indeed, it’s a testament to their dyed-in-the-wool chemistry that the album’s initial thread was teased out in one go. Chugging riffs lock horns with a sideways galloping before folding seamlessly into pastoral space rock, though “Unwound” didn’t fully come together until laced with Willis’ aching bends of pedal steel. “He’s done a really good job of shining when we want that sound”.
“These guys have become friends and brothers to me over the past decade or so”, Willis says. “We’ve shared rehearsal spaces, explored new sounds and collaborated on various side projects. Our music journeys have become intertwined, creating a solid and welcoming foundation that made my transition into the band feel like a natural next step for all of us”.
“When we started writing The Turning, the songs were twangy but also spacier and more psychedelic than anything we’ve done before”, adds Wright, who also performs as the band’s lyrical scribe. “And so I asked myself, ‘What does this feel like? What do all these things come together and make?”
The answer? How about a 40 odd minute, sci-fi opus that stretches not just across dimensions but generations in man’s never-ending quest for immortality. “Sorry, this is gonna get a bit heavy”, Wright warns before walking us through the ins-and-outs of Bask’s latest yarn. Whereas the band’s previous treks were inspired by tall tales, The Turning spools forth from their own fantastical imagination. The album’s spurred heroine, known simply as The Rider, has her extraterrestrial world turned upside down by “The Traveler”, a mysteriously ageless gunslinger who needs her help getting out of Dodge. “Don’t be frightened of me”, he pleads, though the breakdown’s doomy, organ-provoked premonition suggests his intentions aren’t so honorable. Maze-like twists are revealed at every self-referential turns as the star-crossed outlaws try and outrun the changing of the seasons. However, despite being admittedly “out there”, the album’s dwellings on family, aging, death and rebirth hit close to home.
“We’ve been through so much together. We were robbed in Sweden. A tire literally fell off our van while we were driving”, Van Note reflects. “Because of COVID, we didn’t get together as much, either. We’re also older now and there are challenges and responsibilities that come with that. I have two kids. Some of us have bought houses. We’ve all been through marriages and different relationships. For things to snowball on top of the band one after another, it kind of had us feeling like maybe this was the end of our era”.
In fact, The Turning was almost lost to the sands of time. Bask finished tracking just a few weeks before Hurricane Helene reached Asheville. “It was terrifying”, Worth remembers. “We had a hard time getting in touch with each other. I climbed a hill to get cell phone reception. One of the guys was still unaccounted for the day before we were supposed to leave for Europe”. While they feel fortunate to have sustained just a flooded practice space, the storm’s aftermath did seep into the album’s mixing and mastering sessions with Alan Douches. “It would be naive to think that a life-changing event didn’t color the overall tone”. With a wearisome gait, “Long Lost Light” drifts through a ghost town haunted by salooning piano and high, lonesome fiddle until it’s swept like sawdust into the void.
“It’s the heaviest and most challenging song”, Wright says about the album’s emotional centerpiece. Though not the last song written for The Turning, it became the missing piece almost by design. “We worried it was going to be too hard for us to listen back to”, Van Note shares, a sentiment that Worth echoes. “You can feel the pain in every note”. But fellow Asheville native Franklin Keel helped them turn the tide with his deeply melancholic churns of cello. “The way Franklin bends the note, right as things get heavy”, Van Note points out, ” it acted like a release for us”.
When pressed, Wright stops short of concluding that The Turning has a happy ending. “Honestly, it’s almost in spite of that”, he responds in reference to the surprise family reunion that sets its final showdown in motion. If we’re left with a cliffhanger, then the myriad ways in which the albums keeps us guessing are perhaps fitting. After all, much like their hometown, the band are just starting to feel as if things are turning around. “Cleaning up our practice space was such an emotional experience. It was heart-wrenching but also heartwarming at the same time. It led us to re-appreciate each other and our community”. Just as our heroine discovers her hidden powers, the title track ends with the newly mounted five-piece stampeding toward the next frontier. “I danced through age and fire”, Wright belts, backed by everything Bask have always stood for: mountainous bass, tumbling drums, blazing leads, and a sunburst of pedal steel.
“Music is an emotional outlet, but at the end of the day, it’s also a way for us to hang out with our best buds”, the band says. “The Turning was a challenge, but we weathered the storm and came out the other side with a beautiful album that sounds like Bask”.
Line-up:
Jesse Van Note – Bass Scott Middleton – Drums Ray Worth – Guitar Zeb Wright – Guitar/Vocals Jed Willis – Pedal Steel
Guest musicians Clay White – Trumpet Franklin Keel – Cello Alex Taub – Piano, Hammond B3 Organ
The 18-piece Swedish rock collective SHUFFLE KNIGHTS are proud to announce they have officially signed to Wild Kingdom / Sound Pollution. To celebrate the announcement, the band also unveils details for their upcoming new album, ‘Yellow,’ set for release on May 22nd.
A grand collective of traveling lifestyle musicians, SHUFFLE KNIGHTS brings together an extraordinary assembly of performers whose individual careers have taken them from jazz clubs and symphony orchestras to massive rock festivals and global arena tours. Collectively, the band’s members have collaborated with an astonishing list of artists and institutions including Taylor Swift, CeeLo Green, Robyn, Ariana Grande, Per Gessle, Ian Hunter, Peter Bjornand John,Celine Dion, Mike Stern, Yusuf Islam, Royal Stockholm Philharmonic Orchestra, and Loreen, among countless others.
Born and sculpted without restraint during the confined years of the pandemic, ‘Yellow’ delivers thirteen “maxed out” original songs fueled by the spirit of icons like Leon Russell, Nina Simone, Lou Reed, and Funkadelic. The result is an ambitious, progressive R&B experience overflowing with heavy swing, poetic grit, fearless arrangements, and larger-than-life musicality.
Founded by Tobbe Fall (guitar & vocals), Jenny Fall (vocals), and Henrik “The Duke of Honk” Widen (vocals & keys), SHUFFLE KNIGHTS are anchored by Widen’s celebrated songwriting pedigree as co-founder of Swedish glam rock institution Diamond Dogs. The partnership with Wild Kingdom feels like a natural home for a band whose sound refuses to acknowledge boundaries, pulling equally from soul, rock, funk, jazz, blues, and theatrical rock’n’roll excess.
The full lineup of SHUFFLE KNIGHTS includes Ola Bothzén (drums), Måns Block (drums), Sara Niklasson (violin & backing vocals), Per Björling (bass & backing vocals), Jonas Lindeborg (trumpet & backing vocals), Andreas Andersson (saxophone), Karl Frisendahl (trombone), Britta Bergström (backing vocals), Jonas Wall (saxophone & flute), Ann Björling (backing vocals), Jörgen Stenberg (percussion), Malin-My Wall (violin), Petra Wahlgren (violin & backing vocals), Magnus Fritz (percussion), and Elinor Berg (French horn). Together, the ensemble channels a wildly eclectic spirit inspired by artists such as The Doors, Mother’s Finest, Muddy Waters, Captain Beefheart, and Macy Gray.
Onstage, SHUFFLE KNIGHTS transform into a massive progressive poetic R&B spectacle, embracing the chaotic spirit and emotional release of Mad Dogs & Englishmen. Fronted by the rotating vocal performances of Jenny Fall, The Duke of Honk, and Tobbe Fall, the band’s explosive live presence is driven by double drummers, soaring brass and string arrangements, and towering harmonies that turn every performance into a euphoric, sweat-soaked celebration of rhythm and soul.
SHUFFLE KNIGHTS are:
Jenny Fall – vocals Henrik ’The Duke of Honk’ Widen – vocal & keys Tobbe Fall – guitar & vocals Ola Bothzen – drums Måns Block – drums Sara Niklasson – violin & backup vocal Per Björling – bass guitar & backup vocal Jonas Lindeborg – trumpet & backup vocal Karl Frisendahl – trombone Britta Bergström – backup vocal Jonas Wall – saxophone & flute Andreas Andersson – saxophone Ann Björling – backup vocal Jörgen Stenberg – percussion Malin-My Wall – violin Petra Wahlgren – violin & backup vocal Magnus Fritz – percussion Elinor Berg – french horn
Italian progressive death metal outfit FATE UNBURIED return today with a brand new track, “Garden”, while also revealing the cover artwork and full tracklist of their upcoming album “Neraspeme”, set for release on October 16th, 2026 via Time To Kill Records.
“Garden” further expands the band’s increasingly layered sonic identity, moving through contrasting emotional states with a fluid yet unpredictable approach. The track alternates between aggressive, mechanical and martial-driven sections and more open, subdued passages marked by a melancholic undertone, reflecting the band’s evolving focus on dynamic contrast and atmosphere.
Alongside the new single, FATE UNBURIED unveil the visual and structural framework of “Neraspeme”, a record shaped by constant transformation and shifting tension. The album’s tracklist and artwork point toward a work that embraces instability as a compositional principle, where heaviness and introspection coexist rather than oppose each other.
With “Neraspeme”, the band continue to refine a progressive death metal language built on intricate arrangements, emotional depth and a strong atmospheric core, positioning the album as their most complete and multifaceted statement to date.
“‘Garden’ revolves around a vivid, recurring dream that keeps repeating itself. Every attempt to escape only drags one deeper into the same vicious cycle. What appears to be external slowly reveals itself as internal, until one is faced with a version of himself shaped by his own thoughts”.
Tracklist:
01. Hope. 02. Expecting Nothing 03. Drain 04. Not Allowed 05. The Descent 06. Deep Rest 07. Seed, Feed, Keep 08. Seeking Perfect Harmony 09. Garden 10. A Pragmatic Way Out 11. Nowhere, After All 12. The Gift
“Neraspeme” is a sonic journey into the core of a relationship in decay. A 12-track concept album, each song is designed to unsettle, surprise, and relentlessly pull the listener forward, never allowing a moment of rest.
The album is defined by sharp, powerful riffs that are often unexpectedly catchy, lodging themselves in the listener’s mind while retaining a fierce, unyielding aggression. The band skillfully weaves in progressive elements through sudden tempo shifts, intricate instrumental passages, and moments of eerily suspended atmosphere, balanced by sections driven by a strong, groove-oriented drum performance.
On a thematic level, “Neraspeme” traces the full emotional cycle of a relationship approaching its end. The tracks unfold like chapters of an inner collapse, moving from blinding anger to disoriented madness, and finally to the album’s title concept: a warped, dark form of hope that offers no redemption and ultimately dissolves like a mirage.
For fans of: Between The Buried And Me, Cynic, Sadist, Alkaloid, Misery Signals
Line-up: Riccardo Babbolin – Vocals, Guitar Francesco Garatti – Guitar Davide Piccolo – Bass Giorgio Piva – Drums
Discography: Dehumanized Society (Demo) – 2012 Logos (LP) – 2017 A Pale Color Perception: Hostility (EP) – 2020 A Pale Color Perception: Observant (EP) – 2021 Neraspeme (LP) – 2026
Chilean death metallers ROTTEN TOMB present today their new single “Here Lies Death”, with the exclusive premiere hosted by Mystification Zine. The track offers a new glimpse into the band’s upcoming third full-length album “Vestiges of Tortured Souls”, due for release on June 6th, 2026 via Nuclear Winter Records, available on LP, CD and cassette.
“Here Lies Death” showcases a more refined and focused evolution of the band’s sound, while preserving the raw intensity and underground conviction that have defined their identity. The single highlights a clearer songwriting approach and a sharpened sonic vision, pointing toward what is described as the band’s most mature and complete statement to date.
Formed in 2016 in Iquique, ROTTEN TOMB have steadily risen as one of the most compelling acts within the South American extreme metal scene, blending death metal with doom-laden atmospheres and occult undertones. Following the strong impact of “Visions of a Dismal Fate” (2022) and the equally praised “The Relief of Death” (2024), the band now returns with their most ambitious and fully realized work to date.
“Vestiges of Tortured Souls” stands as one of the most anticipated death metal releases of the year. On this new record, ROTTEN TOMB refine their sonic identity without sacrificing intensity or authenticity. The riffs are sharper and more cohesive, while the melodies take on a more prominent role, painting soundscapes that feel more sorrowful and evocative than ever before.
Without losing any of the crushing heaviness and sense of decay that defined their earlier material, the band now delivers songs with an immediate and lasting impact. Each track strikes a balance between overwhelming force and carefully crafted lead guitar work, resulting in compositions that are both memorable and devastating.
The album channels the oppressive weight of the genre’s darkest pioneers alongside a deeply mournful and introspective atmosphere, while still maintaining a distinct and personal voice. This duality allows ROTTEN TOMB to push their sound forward, achieving a level of songwriting maturity that marks a clear evolution from their previous efforts.
“Vestiges of Tortured Souls” represents a major step forward for ROTTEN TOMB, solidifying their position at the forefront of Chile’s increasingly renowned extreme metal scene and extending their reach far beyond national borders.
For fans of: Incantation, early Paradise Lost, Krypts, Sonne Adam
Tracklist:
01. Horror Manifestations 02. Condemned Reality 03. Lost Memories 04. Waiting, Dying 05. Mortified 06. Mind of Chaos 07. Here Lies Death 08. Ancestral Preservation 09. Human Pyre
Line-up:
Deathbringer – Guitar, vocals C. – Guitar A. Prophaner – Drums Utukku – Bass
Swedish sleaze metallers Smoking Snakes unleash today a new single, “Don’t Touch”, along with an official visualizer, ahead of the release of their new studio album, “All Lights On”, out on July 10, 2026, via Frontiers Music Srl.
The band said: “Don’t Touch” deals with inner conflict, self-destructive patterns, and the feeling of losing control. It follows a state of isolation and emotional weight, where doubt, regret, and frustration start to take over. The title reflects the awareness of something dangerous… Something you know you shouldn’t reach for, but yet it feels impossible to resist. Once crossed, that line pulls you deeper, making it harder to step back. At the same time, there’s a sense of resistance running through the song… A refusal to fully give in, even when things feel overwhelming. It reflects that tension between falling apart and trying to hold yourself together.”
Describing the new album, Smoking Snakes stated: “NOTHING STAYS HIDDEN WHEN THE LIGHTS COME ON. The shadows run, secrets surface, and every flaw, fear, and fire inside us is exposed. This album is a raw flash of truth, like the blinding light in a horror flick when the killer is revealed, or the stage lights right before the first scream of feedback”.
“There’s no place to hide. No mask to wear. No safe darkness”, they continued. “All Lights On” is where neon nightmares meet rock ‘n’ roll redemption. Electric, intense, and unfiltered, just the way it’s meant to be”.
Hailing from Gothenburg, Smoking Snakes are steadily carving out their place in the sleaze metal scene with a sound that blends attitude, melody, and raw energy. Inspired by the great arena rock bands of the 1980s, their music has evolved beyond its roots to develop a distinct and recognizable identity of its own.
A key part of their identity lies in their strong commitment to live performances. Smoking Snakes are a highly active touring band, hitting the road, playing shows, and building a direct connection with their audience. This dedication to the live circuit has allowed them to grow organically, sharpening their performance skills and expanding their fanbase step by step.
At the same time, the band continues to invest serious effort into their artistic development, working consistently to refine their songwriting and define a clear sonic direction. Their evolution reflects both persistence and a genuine passion for their craft.
Their new album, produced by Jack Stroem, captures this moment of growth perfectly. It delivers a collection of songs that balance grit and melody, showcasing a band that is becoming more confident, focused, and mature without losing its edge.
With a strong work ethic, an increasing presence on stage, and a clear vision for the future, Smoking Snakes prove themselves to be more than just an emerging act – they are a band on a steady rise, and one that fans of sleaze metal should keep a close eye on.
“All Lights On” deliver a band in perfect shape ready to take its place in the sleaze scene.
“All Lights On” Tracklist:
1. 103.1 The Scream – The 80’s Late Night Radio Broadcast 2. Don’t Touch 3. Trick Or Treat 4. All I Need 5. Look In Your Eyes 6. Last Man Standing 7. Screaming For More 8. Broken Heart 9. Nasty & Wild 10. Turn On The Lights 11. Pleasure & Pain 12. The Last Nightmare
Line Up: Brett Martin – Lead vocals, rhythm guitar Andy Delarge – Bass, backing vocals Mackey Gee – Drums, backing vocals Rob Raw – Lead guitar, backing vocals
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 ) 