Wodos is an old-school thrash metal band from Lévis, Quebec, Canada, formed in the winter of 2024. Rooted deeply in the DIY ethos, the band has built its foundation from the ground up hand-crafting show flyers, recording demo tapes, and making their own banners.
In early 2025, Wodos released their debut three-song demo on both cassette and CD, making a major splash in the local and international underground scene. The release garnered coverage in numerous magazines and received airplay on over 50 radio stations worldwide. Known for their fast, aggressive sound and reputation as heavy beer drinkers, Wodos tore through over 30 shows across Quebec and Ontario in their first year alone, sharing the stage with acts like Chris Holmes (W.A.S.P.), Quebec thrash legends Soothsayer, BARF, and many others.
Looking ahead, Wodos has an extensive lineup of upcoming shows, including high-profile dates with Canadian thrash pioneers DBC (Dead Brain Cells).
Drawing direct influence from 80s legends like Slayer, Sadus, Demolition Hammer, Dark Angel, and early Quebec underground thrash, their debut full-length album, From the Grave entirely on analog equipment is set for release on September 20th. It’s a raw, fast, and aggressive record built for authentic old-school fans.
Wodos is the answer for anyone fed up with new bands relying on TikTok trends or catchy videos: no gimmicks, no polished over-production: just speed, aggression, and pure 80s thrash metal. Fuck the posers , thrash till death.
SPIDER ROCKETS are proud to share the official music video for “The Storm,” taken from their latest studio album, ‘Dirty And Bad.’
For “The Storm,” the band sought to capture the feeling of being caught in something that cannot simply be shut off or walked away from. The video opens with an approaching tornado, rain, and lightning, placing the band inside a dark, volatile world where the storm feels both tangible and symbolic of something much deeper.
The performance is raw and intense, surrounded by darkness, smoke, shifting shadows, and flashes of light. A sense of isolation runs throughout the video, even as the band performs together, reflecting the feeling of being trapped inside a personal storm while the world continues moving around you.
However, “The Storm” is not solely about being consumed by darkness. The video also suggests that something exists on the other side, leaving the meaning intentionally open to interpretation. Rather than defining exactly what the storm represents, SPIDER ROCKETS invite viewers to discover their own meaning within it.
On the music video for “The Storm,” vocalist Helena Cos shares:
“I like that the video for‘The Storm’doesn’t hand you all the answers. It’s dark, intense and a little unsettling, and the storm feels like more than just what’s happening around us. By the end, something has shifted — you see it and feel it without needing it explained.”
Lead guitarist Johnny Nap adds:
“The guitars have a lot of drive and punch in this song, and I think the black and whiteperformance really brings that out in the video. It keeps the focus on the band’s energy,which fits‘The Storm.’”
SPIDER ROCKETS will be hitting the stage this fall for a run of shows alongside Alien Ant Farm, 12 Stones and A Killer’s Confession. For a list of dates, please see below.
SPIDER ROCKETS Live: 10/9 – Northampton, PA @ The Gin Mill & Grille w/ Alien Ant Farm 11/6 – Frenchtown, NJ @ Artie’s Bar & Grill w/ 12 Stones 11/7 – Pottstown, PA @ Cosmic Arts w/ A Killer’s Confession
With “The Storm” bringing another side of ‘Dirty And Bad’ to life and a strong run of live dates ahead, SPIDER ROCKETS are keeping the album’s momentum going into the fall.
About SPIDER ROCKETS:
Hailing from New Jersey, SPIDER ROCKETS blend the classic rock swagger of Aerosmith and Guns N’ Roses with the modern energy of Foo Fighters and Volbeat. Led by vocalist Helena Cos, the band has carved out a fierce presence in the rock scene through critically acclaimed releases, extensive touring, and a growing presence at rock radio. Their latest album, ‘Dirty and Bad,’ earned Top 10 Adds at SMR and charted in the Top 65 at SMR and Top 80 at Mediabase, with additional support across metal and college radio.
SPIDER ROCKETS have shared stages with Puddle of Mudd, Saliva, Trapt, Pop Evil, OTEP, and others, while performing at festivals including Vans Warped Tour and Germany’s Popkomm. Their music has also made an impact beyond the traditional rock scene, with “Going Down” selected by WWE as the walk-out and victory anthem for 14-time women’s world champion Charlotte Flair. The band’s official music videos have amassed more than three million YouTube views and received multiple film festival honors.
SPIDER ROCKETS are: Helena Cos – Vocals Johnny Nap – Lead Guitar AJ Garcia – Bass Dan Prestup – Drums
September 16th was the 40th anniversary of the iconic CRO-MAGS debut ‘The Age of Quarrel’ and the seminal New York hardcore outfit, fronted by Harley Flanagan, is proudly launching their new version of “Everybody’s Gonna Die (2026).” Taken from the 1985 demo, and featured on the upcoming album ‘The Age of Quarrel: 40 Years of Quarrel,’ the track is a tribute to their unforgettable 1986 debut.
Written by Harley in 1985, “Everybody’s Gonna Die” didn’t make the final track list for ‘The Age of Quarrel,’ though it proved to be a demo-era fan favorite. Now, the track reclaims its rightful spot on ‘The Age of Quarrel: 40 Years of Quarrel,’ alongside an official lyric video, available below.
Forty years ago, New York City’s CRO-MAGS defined the metal-punk crossover with their landmark 1986 album, ‘The Age of Quarrel.’ The intensity, influence, and groove of that record continue to resonate today, fueled by the band’s enduring legacy and hard-earned reputation as one of heavy music’s most volatile and influential acts. Led by founding bassist and vocalist Harley Flanagan, who assumed frontman duties beginning with 1989’s ‘Best Wishes,’ CRO-MAGS bring ‘The Age of Quarrel’ full circle with a celebration of the album that started it all.
Joining Flanagan are original ‘AOQ’ guitarist Doug Holland and former CRO-MAGS/ Suicidal Tendencies guitarist Rocky George, plus Meg Mills, Zach Blair, and Arthur Rizk for fresh takes on classics including “Hard Times,” “World Peace,” and “Malfunction,” along with the addition of the 1985 demo-era favorite “Everybody’s Gonna Die.” Flanagan is also joined by current band members Dominic Dibenedetto and Dave Sharpe. Drums on all tracks were handled by drum phenom Greyson Nekrutman. Produced and mixed by Arthur Rizk (Power Trip, Blood Incantation), ‘40 Years of Quarrel’ not merely revisits a pivotal crossover classic, but pours new fuel on the fire for old devotees and new converts to the CRO-MAGS cause.
The decision to revisit ‘The Age of Quarrel’ began during the making of the “Wired for Chaos” documentary. Several songs had to be re-recorded for the film’s soundtrack because the original recordings couldn’t be licensed, inspiring Harley Flanagan to re-record the entire album.
The project also provided an opportunity to address the complicated history surrounding the original record. None of the musicians who performed on ‘The Age of Quarrel’ were ever paid or received an accounting of the album’s sales. For years, Flanagan tried to reunite the original lineup to re-record the album and reclaim the rights to ‘The Age of Quarrel’ and ‘Best Wishes’ through the Copyright Reversion Act, but couldn’t bring everyone together before that window closed.
For the new recording, Flanagan brought together friends, current bandmates, and musicians from other bands to celebrate an album that has impacted generations of fans. Forty years later, everyone who wrote the songs will finally be paid through ASCAP and BMI, with the remaining proceeds going to charity.
The project is Flanagan’s way of honoring the music, its creators, and the fans who have carried these songs forward for four decades while putting the past behind him. The songs belong to the fans. Love wins. The quarrel is over.
Pre-Order ‘The Age of Quarrel: 40 Years of Quarrel’ HERE
‘The Age of Quarrel: 40 Years of Quarrel’ Track List:
1. We Gotta Know (Featuring Dave Sharpe & Doug Holland) 2. World Peace 3. Show You No Mercy 4. Malfunction 5. Street Justice 6. Survival Of The Streets 7. Seekers Of The Truth (Featuring Arthur Rizk and Rocky George) 8. It’s The Limit (Featuring Meg Mills) 9. Hard Times 10. By Myself 11. Don’t Tread On Me (Featuring Zach Blair) 12. Face The Facts 13. Do Unto Others 14. Life of My Own 15. Signs Of The Times
CRO-MAGS Live: September 26 — Daytona Beach, FL @ Party Weekend October 4 — Sacramento, CA @ Aftershock Festival December 3-5 — Denver, CO @ Decibel Metal & Beer Fest December 12 — Los Angeles, CA @ The Belasco – For the Children
More Dates TBA!
The history of Harley Flanagan and his band CRO-MAGS is integral not just to the history of hardcore, but to modern metal, rock, and punk itself. With roots stretching from the shadow of Warhol and the Velvets to CBGB’s hardcore matinees and L’Amour Brooklyn thrash-a-thons, all the way through current generations of punk and extreme metal, CRO-MAGS are the connective tissue. Just ask the likes of Dave Grohl, Green Day, and Turnstile. CRO-MAGS stand side by side with Black Sabbath, Motörhead, and Metallica as both an influence and a gamechanger.
The brainchild of a 14-year-old Harley Flanagan, CRO-MAGS began in 1981 while Flanagan was playing drums for The Stimulators. By 1982/83, he had recorded the primal CRO-MAGS demos — four songs that would become the blueprint for the seminal 1986 release, ‘Age of Quarrel.’ Initially a solo vision, Flanagan wrote and played all of the music himself. In 1985, alongside guitarist Parris Mayhew, vocalist John Joseph McGowan, and drummer Mackie Jayson, the genre-defining ‘Age of Quarrel’ demo was recorded. The full-length album followed in 1986, with Doug Holland of Kraut joining on second guitar.
Explosive both on and offstage, CRO-MAGS have had a tumultuous history, to put it mildly. Through multiple lineups, six studio albums beyond the original demos, and more than four decades of worldwide touring, CRO-MAGS remain one of the most iconic bands in American hardcore and metal.
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
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
