Peso has issued:
December 27th, 2025, is a date I will always carry in my heart. It was the last live show by Necrodeath, the band that has been my life for the last 40 years. On January 1st, 2026, I felt the need to close myself in the studio for all these months to compose new songs, trying my hand on the bass and even vocals, something I had never done before, thus giving life to my new solo project: PESO666 Stay tuned…. (Marco “peso” Pesenti)
UNTITLED WITH DRUMS are announcing Made Flesh with a music video for “Matter”. On the lead single from their upcoming sophomore album, the alt. rockers lock in and never let up with the focus of a band that’s fully confident in themselves.
Made Flesh comes out August 21, 2026 on Season of Mist. Pre-order & Pre-save: https://orcd.co/untitledwithdrumsmadeflesh
Watch the music video for “Matter on the Season of Mist YouTube channel:
Made Flesh maps a free-flowing exploration of the human psyche. The album deals with the ego, denial, toxicity and faith without coming to any easy resolutions. “Matter” is about the almost irrepressible need to put oneself above everything else and to be the only one who counts. “I wanna be important / I wanna be my own Sun / I’ve got to be the only one to matter now,”, vocalist Martin Le Borgne sings. The song doesn’t condemn so much as expose. It’s a mirror held up to a reflex we would rather not recognize in ourselves.
No strangers to the specialist press or the festival circuit, Untitled With Drums have been together since 2014. The band released their debut album Hollow in 2020, just days before their native France entered its first COVID lockdown. Despite the timing, the album drew widespread praise and propelled the band to the stages of Hellfest, London’s Desertfest and the Nuits de Fourviere festival, where they opened for the Deftones and Baroness.
Tracklist:
1. Above My Head (3:29)
2. Shame (3:29)
3. Matter (3:44)
4. Gray (4:19)
5. Space (4:57)
6. Change for You (4:31)
7. Oblivious (3:13)
8. Parasitic (3:30)
9. Been So High (3:00)
10. Cry (4:30)
Full runtime: 38:44
That UNTITLED WITH DRUMS didn’t throw in the towel during the COVID era is nothing short of a miracle. While their debut album, Hollow, had the misfortune of being released just days before the lockdown was declared in France in March 2020, the praise from the specialized media allowed it to soar above the fray. This propelled this heir to Failure, Quicksand, and Cave In to the stages of Hellfest 2022 and the Nuits de Fourvière festival, opening for the legendary Deftones, as well as London’s Desertfest. This was enough to build confidence, gather strength, and prepare the ground for a worthy successor to their first album, as well as to the symbols EP released at the end of 2025. This was merely an appetizer before Made Flesh, their sophomore album, through which the Clermont-Ferrand-based band pushes their hybrid of alt rock and 90s post-hardcore to new heights.
Recorded and mixed under the guidance of Cyrille Gachet (Fange, Year Of No Light, The Great Old Ones…) and then mastered by Alan Douches (Dillinger Escape Plan, Every Time I Die, Converge…), Made Flesh grew out of a long and intense period of songwriting, fraught with self-doubt and soul-searching. But above all, it testifies to a compositional intent focused on efficiency and a better showcasing of everything that constitutes the band’s sonic DNA. Only one single guiding principle here: ensuring that these 10 new tracks resonate personally. This is Untitled With Drums as its members want you to hear them — not as you might expect. Far from being weakened by their reformation as a quartet, it is precisely their unbreakable bonds forged more than a decade ago that constitute their strength, more alive with symbiosis than ever.
While the power of Lucas D.’s riffs is heightened, the ethereal soundscapes he weaves are even more expanded. They blend seamlessly with Nicolas Z.’s synthesizers, now more prominent than ever. Rémy D.’s drumming provides the songs’ backbone, delivering grooves with assertive nuances without neglecting more intricate patterns. This array of strengths wouldn’t be complete without bassist Martin L.B..’s vocals, never failing to deliver an infectious emotional intensity. This energy serves Made Flesh‘s thematic focus: a satirical outlook on our times delivered from a multitude of perspectives, like donning and dropping one mask after another.
With this sophomore album, UNTITLED WITH DRUMS establish themselves as the beacon of a French rock scene struggling to take risks, too often settling for crude heaviness. Theirs cuts deeper — straight to the flesh.
Line-up:
Martin L.B. — Bass, Vocals, Additional Guitar
Lucas Delay — Guitar, Additional Guitar
Nicolas Zalachas — Keyboards
Remy D. Perrin — Drums, Additional Guitar
Additional Recording Lineup:
Etienne Marchal — Additional Guitar
Recording Studio:
Halle du Jeu de Paume (Vic-le-Comte, France).
Production Credits:
Produced and Mixed by Cyrille Gachet.
Mastered by Alan Douches at West West Side Music.
Cover Art: Martin Le Borgne
Biography: Clément Duboscq
Follow Untitled With Drums
Linktree: https://linktr.ee/uwd666
Bandcamp: https://untitledwithdrums.bandcamp.com/
Facebook: https://www.facebook.com/untitledwithdrums/
Instagram: https://www.instagram.com/untitled_with_drums/
YouTube: https://www.youtube.com/channel/UC07Z6EpQUvCmC84MN1Rhqzg
Spotify: https://open.spotify.com/artist/4XiFVuDepsbUebkmNbTjlu
Apple Music: https://music.apple.com/artist/untitled-with-drums/1433932755
Deezer: https://www.deezer.com/artist/50464792
Tidal: https://tidal.com/browse/artist/3842713
ARMORED SAINT today presents their video for “Every Man-Any Man.” The track comes off the band’s critically-lauded new full-length, Emotion Factory Reset, out now on Metal Blade Records.
“‘Any man has his price’ is a more familiar phrase and that’s the theme, but we didn’t want to call it that,” recalls vocalist John Bush on the track, “It was too obvious. We said, ‘How about we call the first part of the line ‘every man-any man’ and then stop there.’ The intro guitar part almost has this Andy Summers/Police vibe. Then [Joey Vera] goes into the cool bass groove. That’s vintage Joey; he’s such a grooving bass player, and it sounds super unique; you probably won’t hear a groove like that from too many metal bands.
Combined with [drummer] Gonzo [Sandoval], sometimes the grooves that they combine on are essential to ARMORED SAINT’s sound and have been for years. When those two guys are locked in, it’s pretty awesome, because it’s like they could be playing in the Commodores. That’s the feeling that, I think, is the beauty of ARMORED SAINT; it takes it to another place that a lot of bands can’t go to in the metal world. That’s a perfect example of it.”
Adds Vera, “I liked the idea of having the verse, music, and chorus be the same music parts, but with different vocal parts. This idea was inspired by a song by the band The Police. I also wanted to add all the kitchen sink ingredients, so there are nods to Foo Fighters, Thin Lizzy, and it all ends with a crushing ARMORED SAINT riff.”
Watch the band’s previously released video for “Close To The Bone” HERE and “Hit A Moonshot” HERE.
Emotion Factory Reset, ARMORED SAINT‘s ninth studio album, is a resurrection of sorts, a tearing down and a rebuilding in eleven songs of diverse musicality and lyrical themes. Produced, as were the previous four albums, by bassist Joey Vera and mixed by Jay Ruston (Anthrax, Stone Sour), the record finds the quintet challenging themselves. Songs like “Close To The Bone,” “Hit A Moonshot,” and “Every Man-Any Man” have ARMORED SAINT honoring their past as one of the most respected and recognizable bands in heavy music while making forward-thinking music rooted in the present.
Emotion Factory Reset was recorded across several studios including 606 Studios, Secret Hand Studios, Skullseven Studios, Constantine Studios, and Bridge Recording, engineered by Oliver Roman, Bill Metoyer, Joey Vera, and Jason Constantine, and features cover art by DDKing.
Preview/purchase the record at: metalblade.com/armoredsaint
ARMORED SAINT has confirmed performances throughout the Spring and Summer months both Stateside and abroad as well as a North American co-headlining tour with Metal Church this Fall! The Metal Saint Tour 2026 will commence on November 2nd in San Juan Capistrano, California and runs through November 21st in Agoura Hills, California. Additional support will be provided by LiveKill.
Tickets + VIP upgrades are available now at: nationalactsvip.com/armoredsaint. See all confirmed dates below.
ARMORED SAINT:
6/06/2026 Milwaukee Metalfest @ The Rave/Eagles Club – Milwaukee, WI
7/30/2026 Pumpehuset – Copenhagen, DK w/ Metal Church
7/31/2026 Skogsrojet Festival – Rejmyre, SE
8/01/2026 Pustervik – Gothenburg, SE w/ Testament, Metal Church
8/02/2026 Mejeriet – Lund, SE * w/ Testament, Metal Church
8/05/2026 Brutal Assault – Jaroměř, CZ
8/07/2026 Alcatraz Festival – Dessel, BE
8/08/2026 Poppodium Boerderij – Zoetermeer, NL *ARMORED SAINT headlining show
8/09/2026 Keep It True Legions – Geiselwind, DE
8/11/2026 Progresja – Warsaw, PL w/ Savatage, Nevermore
8/12/2026 Collosseum – Kosice, SK w/ Vio-Lence
8/13/2026 Klub Studio – Krakow, PL w/ Testament, Metal Church
8/29/2026 Stonedead Festival – Newark, UK
w/ Metal Church, LiveKill:
11/02/2026 Coach House – San Juan Capistrano, CA
11/03/2026 The Glass House – Pomona, CA
11/04/2026 The Nile – Phoenix, AZ
11/06/2026 Sunshine Theater – Albuquerque, NM
11/07/2026 Sunshine Studios – Colorado Springs, CO
11/08/2026 The Federal – Denver, CO
11/10/2026 Neurolux – Boise, ID
11/11/2026 The Newberry – Great Falls, MT
11/13/2026 Dantes – Portland, OR
11/14/2026 Redwood Theater – Bremerton, WA
11/15/2026 Rickshaw Theater – Vancouver, BC
11/17/2026 Great America Music Hall – San Francisco, CA
11/18/2026 Goldfield Trading Post – Roseville, CA
11/19/2026 The Whisky – Los Angeles, CA
11/20/2026 Observatory North San Diego – San Diego, CA
11/21/2026 Canyon Club – Agoura Hills, CA
ARMORED SAINT:
John Bush – Vocals
Joey Vera – Bass
Jeff Duncan – Guitars
Gonzo Sandoval – Drums
Phil Sandoval – Guitars
https://www.armoredsaint.com
https://www.facebook.com/thearmoredsaint
https://x.com/thearmoredsaint
https://www.instagram.com/thearmoredsaint
One of the most distinctive and revered forces in rock music, Sweden’s GRAVEYARD have announced October 9th, 2026 as the release date for their highly anticipated seventh studio album, Fever. Three years after the dreamlike haze of much-lauded previous record Six, the band return with a heavier, more direct sound — while still carrying the blues-soaked soul that defined their breakthrough album Hisingen Blues.
GRAVEYARD commented:
“Alright folks. Here it is — album number 7.
Fever. Haven’t we always had it?
The itch, the burn and the restlessness.
The urge to push forward into the fog. Even with the teeth of hopelessness snapping at our asses and all the smoke and mirrors of our time telling us we got no future.
Come what may. Let’s go!
This time around, we decided to waste no time. No outside producer. No detours.
Just GRAVEYARD, straight to the point, doing what we do best.
This just might be our greatest album so far!
Hope you like it, too.”
The striking artwork for Fever was created by acclaimed Dutch artist Maarten Donders, whose powerful and expressive visual style has been showcased at the renowned cult festival Roadburn. Over the years, Donders has created artwork for more than 50 artists, ranging from Acid King to Frank Zappa.
Handling mixing duties is Pelle Gunnerfeldt, celebrated for capturing the raw intensity of bands such as The Hives and Refused, while more recently working with Viagra Boys.
Fever -tracklist
Furthermore, GRAVEYARD have confirmed the first leg of their 2026 / 2027 tour with BLUES PILLS. Scroll down for all confirmed shows. Stay tuned for more European dates to be announced!
More exciting news regarding Fever and additional GRAVEYARD live dates will be revealed soon!
GRAVEYARD LIVE:
w/ BLUES PILLS & SKRAECKÖDLAN
31.10. SE Eskilstuna, Lokomotivet *
06.11. SE Mejeriet, Lund *
07.11. DK Århus, Voxhall *
13.11. SE Örebro, Club 700 *
14.11. SE Karlstad, Nöjesfabriken *
20.11. SE Falun, Magasinet *
21.11. SE Norrköping Arbis *
27.11. SE Göteborg, Gothenburg Film Studios **
28.11. SE Stockholm, Fållan **
*with Skraecködlan
**with Blues Pills
GRAVEYARD ONLINE:
https://www.instagram.com/graveyardmusic
https://www.facebook.com/graveyardofficial
http://www.youtube.com/@graveyard
When Lemmy initially contacted Pink Fairies guitarist Larry Wallis about forming a new band together, Larry was both astonished and delighted – “It was just as if the serendipity fairy had arrived. Now he was flexing his leathern wings.” In much the same month as Lemmy was relieved from his duties in Hawkwind, the Pink Fairies shattered. The pair got together for a drink, a jam, a dream “It just had to be.”
Larry bought a clutch of his own compositions with him into the band – when the newly christened Motörhead (now joined by drummer and future Pink Fairy Lucas Fox) went into the studio in June 1975 to record their first album, “Vibrator,” “Fools” and the Pink Fairies favorite “City Kids” were all on the schedule. And so was “On Parole,” a lasciviously-grinding stomp that remained in Motörhead’s live repertoire long after Larry and Fox left the band, and followed the guitarist onto the next stage of his career, as the b-side to his first solo single, 1977’s “Police Car.”
A short while after, it was still there as Larry went into London’s Eden Studios with Man guitarist Deke Leonard, Elvis Costello drummer Pete Thomas and bassist Big George Webley to record what could have become his first solo album had Larry not moved on yet again, leaving the tapes incomplete.
Close to 50 years later, June 12 finally brings those sessions out into the world. I’m Not An Archivist, titled for Larry’s explanation whenever he was asked about old tapes, is a lovingly compiled and curated glimpse not only into what the album might have looked like (the occasional guide vocal or instrumental notwithstanding), but also a clutch of out-takes and alternate versions, rounding out the CD in dramatic fashion.
“We went into Eden Studios ready to lay down taped dynamite,” Larry said years later, and I’m Not An Archivist backs him up all the way. Both “Police Car” and “On Parole” were rerecorded, apparently at the new bands express request. “No disrespect to the [musicians who played on] the first versions,” said Larry, “but I was so excited to be working with George, Pete, and Deke in a big studio with unlimited time; how could I say no?”
Released today as the second single from the album (following last month’s “Crying All Night”), this new version of “On Parole” might well be the definitive version of a song that Larry regularly returned to later in his career – how could it not be with Deke Leonard on board as one half of the most adventurous guitar duo of the age?
SINGLE: https://orcd.co/larrywallis_onparole
Yet the album itself bristles with new-to-most-ears joys, from the freshly reupholstered “Police Car” – present as both an instrumental overture and a coruscating set closer; Larry’s personal take on “As Long As The Price Is Right,” a song he had already seen hit the UK chart with Dr Feelgood; the dynamic blueprints for his mid-80s single “Leather Forever”/“Seeing Double”; and a clutch of killer covers.
Wreckless Eric‘s “There Isn’t Anything Else” was transformed from the endearing punky thrash that Larry produced for Eric’s first album, into what verges on a stadium rock monster. George Gershwin‘s “Rhapsody in Blue” traveled in the opposite direction entirely, as “a load of wasted individuals” played the tune, while Webley and Thomas had “what they considered to be a ‘New York Argument’”; and writer/poet Mick Farren’s “Godzilla” rampaged unapologetically through the studio. (Larry later retitled the song, aptly, “I Think It’s Coming Back Again”).
Several of the tracks have appeared on other Cleopatra albums – The Sound of Speed (2017)and Police Car – The Anthology (2024). This, however, is the first time that the full session has been brought together. And its unfinished state means while it’s not quite the album that Larry originally intended it to be. Still in terms of untrammeled energy, unstinting adrenalin and white hot guitar and songwriting, it stands loud and proud alongside any of Larry’s other accomplishments.
Indeed, almost half a century after that week in the studio, it remains as fresh and frenetic as it did as it was being recorded.
CD/VINYL: https://cleorecs.com/search?q=larry+wallis&options
DIGITAL: https://orcd.co/larrywallis_imnotanarchivist
Track listing
1. Police Car Overture (Instrumental)
2. On Parole (Alternate Version)
3. Godzilla
4. As Long As The Price Is Right
5. I Can’t See What It’s Got To Do With Me
6. Seeing Double (Alternate Version)
7. There Isn’t Anything Else (Instrumental)
8. Story Of My Life
9. Crying All Night
10. Leather Forever
11. Rhapsody In Blue (Instrumental)
12. Police Car (Alternate Version)
13. Godzilla (Version 2) [CD ONLY]
14. Crying All Night (Version 2) [CD ONLY]
15. I Can’t See What It’s Got To Do With Me (Version 2) [CD ONLY]
16. As Long As The Price Is Right (Version 2) [CD ONLY]
17. Leather Forever (Version 2) [CD ONLY]
18. Story Of My Life (Version 2) [CD ONLY]
19. Seeing Double (Version 2) [CD ONLY]
20. Rhapsody In Blue (Instrumental) (Version 2) [CD ONLY]
One of progressive rock’s most daring and influential albums, In a Glass House by Gentle Giant returns in a powerful new form, newly remixed and remastered by Grammy Award-winning producer Eber Pinheiro alongside the band’s own Derek Shulman.
Originally released in 1973, In a Glass House stands as a bold artistic statement that pushed the boundaries of composition, musicianship, and studio experimentation. With its intricate arrangements, shifting time signatures, and thought-provoking themes, the album remains a cornerstone of progressive rock and one of Gentle Giant’s most celebrated works. The album features some of the band’s most enduring compositions, including “The Runaway,” “Experience,” and the epic closing title track “In a Glass House.”
For the first time ever, In a Glass House has been newly mixed and made available in both 5.1 surround sound and Dolby Atmos, opening up the album’s dense arrangements and intricate performances in an entirely new way.
“When we made In a Glass House, we were pushing ourselves musically and creatively in every direction,” said Derek Shulman. “Hearing the recordings again and being able to remix them with today’s technology has revealed details and textures that were always there but never fully heard. We wanted to present In a Glass House the way we always hoped it could sound, clearer, more dynamic, and true to the original vision. The detail in the performances really comes through in this new mix.”
“The Dolby Atmos and surround mixes really allow the listener to step inside the music,” Shulman added. “It’s incredibly rewarding to hear the album take on a new life while still staying completely true to what we created in 1973.”
For longtime fans and new listeners alike, this new edition of In a Glass House presents the album with greater power, depth, and transparency than ever before, reaffirming its place as one of the defining recordings of the progressive rock era.
The release will be available in multiple formats, including a standard 180g vinyl LP, limited edition clear vinyl, CD, and a deluxe CD/Blu-ray edition featuring stereo, 5.1 surround sound, and Dolby Atmos mixes.
‘In a Glass House’ Track Listing:
Pre-Order: https://linktr.ee/gentlegiantband
Metal Shock Finland (World Assault ) 