Florida rock band Gunshine released their fifth track, “My Oh Miley,” offering fans a taste of their forthcoming full-length album, Grand Rising, due out digitally on July 24 through vnclm_ / Create Music Group.
“My Oh Miley” is a hard rock track that channels high-energy riffs and infectious melodic hooks into a playful, tongue-in-cheek tribute to Miley Cyrus. Built around clever lyrical references to titles from her catalog and key moments from her public life, the song weaves those nods into an original narrative rather than simply name-dropping. The result is a driving, anthemic cut that balances grit and melody—blending distorted guitars, punchy rhythms, and a soaring chorus designed for singalongs. Equal parts homage and rock spectacle, “My Oh Miley” captures the chaos, charisma, and cultural impact of its subject while standing firmly as a hook-heavy, modern rock anthem in its own right.
The song was tracked in Las Vegas with producer/engineer Chris Collier. Chris also mixed and mastered the track, as well as, the whole record.
While the digital release of Grand Risingarrives later this summer, fans won’t have to wait long to get their hands on the record. Physical copies of the album, including CD and double vinyl editions, alongside exclusive Gunshine merchandise, are available for purchase online at https://gunshine.diggers.store/ The CD and double vinyl will also be sold through the band at upcoming live shows.
“We tracked the whole record, (except “Goth Girl” and “Single Looks Good On You”), in Las Vegas with producer/mixer Chris Collier (Korn, Mick Mars, Whitesnake, Lynchmob). I’ve been working with Chris for about 9 years now. He’s incredibly talented, has a great ear, and adds a heavy hitting production value that makes the songs sonically translate very well,” says Austin Ingerman. Hailing from Pensacola, Florida,Gunshinehave built a reputation on catchy vocal melodies, clever lyrics, blistering guitar riffs and solos, and a lethal rhythm section. Their sound blends edgy, raw Rock ’n’ Roll attitude with a melodic, Pop-forward sensibility, creating music that hits hard while remaining instantly memorable. Combined with theirhigh-energy, commanding live performances, Gunshine continue to enthrall listeners and prove themselves a force to be reckoned with.
With Grand Rising,Gunshine raise the bar yet again in an exciting evolution of the band. The album takes listeners on a dynamic journey filled with genre-bending twists and turns, shifting moods, and unexpected vibes—all while staying true to the core elements that set Gunshine apart. Featuring 13 tracks, each single-worthy in its own right, Grand Risingis poised to become a modern-day rock classic.
Tracklisting:
Grand Rising Finite Goth Girl Single Looks Good On You My Oh Miley Mystery Man Down Leave the Light On I Know You Love Me Capt’n Save a Hoe Shark Lounge (feat. Michael Starr) Valentine Table Dancing
Australian death-doom collective REEKMIND is set to release its new EP “Glints From The Crematorium” on CD and 12” vinyl format on July 24th, 2026 through Night Terrors Records, further expanding the band’s bleak and emotionally devastating sonic universe. Building upon the foundations established with their debut full-length, the group now pushes its sound into more exploratory territory, embracing new twists, dynamic shifts and experimental textures without sacrificing any of its crushing heaviness.
Rooted in massive riffs, oppressive atmospheres and an overwhelming sense of emotional collapse, REEKMIND continues to channel a form of catharsis where despair and weight coexist in perfect balance. The new material preserves the raw and organic intensity that defined the band’s earlier work, while broadening its expressive scope through more fluid structures and a deeper focus on tension, contrast and immersive pacing.
The EP also features guest vocals by Daniel Butler (Vastum, Decrepisy, Acephalix) on “Flesh Draped on a Pitiful Frame”, adding an additional layer of hostility and anguish to the release. Furthermore, the track “Rehearsal in a Body of Death” will appear exclusively as a bonus track on the physical edition and will not be made available digitally.
“‘Cyst Megalith’ is our first proper foray into a faster tempo of muck and aural detritus. It results in our shortest non-instrumental song to date, a stark contrast when paired with the longest and darkest song thus far on this EP. ‘Cyst’ expresses the growing mound of mental trauma that manifests into a growth encompassing a being past the point of recognition. A bridge from ‘Mired In The Reek Of Grief’ to our next LP, this single showcases a forthcoming darker, more unforgiving sound that continues to manifest onwards”.
Artwork by Lord_Serus
Tracklist:
1. Flesh Draped on a Pitiful Frame 2. Cyst Megalith 3. Rehearsal in a Body of Death (Bonus Track)
Line-up:
Dane – Vocals & Lyrics Nicholas – Guitars Lem – Bass Ned – Drums
Recorded and mixed by Lewis Noke Edwards at Black Lodge Studios in August & October 2025 Mastered by Dan Lowndes at Resonance Sound Studios Rehearsal In a Body of Death performed live at Black Lodge Studios Additional vocals on Flesh Draped on a Pitiful Frame by Daniel Butler Artwork by Lord_Serus Photography by Keegan Thomas
Austrian post rock and post metal collective Our Ceasing Voice unveil “Diamond Eyes”, their first new music since 2017 and the opening chapter of a new creative era. The single is available on all digital platforms from June 5th, 2026, accompanied by an official music video, and serves as the first glimpse into the band’s upcoming fourth full length album, scheduled for release in autumn 2026 via Argonauta Records.
Founded in Innsbruck in 2006, Our Ceasing Voice have spent two decades crafting a distinctive sound that merges evocative vocals, expansive walls of sound, dynamic songwriting and meticulous musicianship. Over the years, the band has built a loyal international following, accumulating more than half a million streams while bringing their immersive live performances to audiences across Europe, the United Kingdom and China.
With “Diamond Eyes”, the band reconnects with the emotional intensity that has always defined its music while embracing a heavier and more direct approach. The song explores the fragility of life and those unexpected moments capable of changing everything in an instant.
Speaking about the track, guitarist and founding member Sebastian Obermeir comments:
“Suddenly you realize how fragile and at the same time how meaningful everything is. That’s the feeling we wanted to capture in this song.”
Driven by soaring melodies, crushing dynamics and the unmistakable vocal performance of Dominik Dörfler, “Diamond Eyes” showcases a band that continues to evolve without losing sight of its identity. The result is a powerful blend of post rock, post metal and alternative rock, balancing vulnerability and intensity in equal measure.
Now featuring Sebastian Obermeir on guitars, Dominik Dörfler on vocals, Markus Rappold on drums and Jakob Schuierer on bass, Our Ceasing Voice enter their twentieth anniversary year with renewed energy and artistic vision.
Fans of Amenra, Brutus, Caspian, Cult of Luna, Fjort, Holy Fawn, Mark Lanegan and Thrice will find much to discover within the emotional landscape of “Diamond Eyes”.
More details about the forthcoming album will be revealed soon.
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
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
