New Jersey experimental metal collective TOMBS will be embarking on a headlining run on the Northeast of the U.S. and Canada next month with support from REPLICANT! The trek will kick off on March 25 in Philadelphia, PA and will make its way North through the final stop in Albany, NY on March 29. The full itinerary can be found below while tickets are available HERE.
TOMBS will be supporting their new full-length, ‘Feral Darkness,’ which was released on October 17 via Redefining Darkness. Watch the music video for the ominous song “Nightland” at THIS LOCATION.
The band has not only returned with a new label, but also with a new sound! While ‘Feral Darkness’ still embraces TOMBS‘ black metal roots, it also explores the band’s gothic, death rock side, creating the band’s darkest and most haunting record to date!
TOMBS North American Tour Dates (w/ REPLICANT) 03/25: Philadelphia, PA @ Milkboy 03/26: Hamden, CT @ Cellar on Treadwell 03/27: Newmarket, NH @ Stone Chuch 03/28: Quebec City, QC @ L’Anti 03/29: Albany, NY @ Empire Underground
Formed in 2007, New Jersey-based experimental metal outfit TOMBS blends bleak, post-punk minimalism with the ferocious attack of sludge and haunting goth rock. TOMBS have established themselves as an act that’s as committed to consistency as it is to growth, developing smoothly (but never predictably) over the course of their career.
TOMBS Lineup: Mike Hill – guitar / vocals / synth Justin Spaeth – drums / guitar Andrew Murphy – Bass / guitar / vocals Dan Higgins – guitar
Guest Musician: Sera Timms – vocals on “Nightland” (Black Mare, Black Math Horsemen, Ides of Gemini)
Recording and Mixing: Justin Spaeth Mastering: Andreas Rosczyk
For Fans Of: Fields of the Nephilim, Samhain, Mayhem, Goatwhore
Rising rock singer, songwriter, and multi-instrumentalist Sierra Levesque releases her new single “DON’T GO,” available now on all streaming platforms. The track delivers a cinematic rock experience driven by soaring guitars, impassioned vocals, and emotionally charged songwriting that captures the tension between vulnerability and strength. “DON’T GO” was added to the Spotify Editorial Playlist “Rock Now”.
Fully self-written and recorded by Sierra, “DON’T GO” showcases her ability to translate raw emotion into a powerful, immersive anthem. Produced, mixed, and mastered with legendary guitarist and producer Ron “Bumblefoot” Thal, the song blends gritty guitar textures with a modern edge, bridging classic rock influence and Gen Z energy.
“I wrote this song about the moment you realize someone you love is slipping away – that desperate feeling of wanting to hold on just a little longer,” says Sierra.
The release follows a string of standout achievements for the 20-year-old Canadian-born artist, including her debut album release back in September, 2025, more than 3 million Spotify streams, over 350,000 social media followers, and countless performances at notable venues like Whisky A Go Go and the TD Place Arena. Known for her one-woman live shows – performing vocals, lead guitar, and original fully self-recorded backing tracks – Sierra continues to break boundaries as a fully self-produced rock artist.
Currently studying Songwriting at Berklee College of Music, Sierra is not only mastering her craft, but also inspiring a new generation of music fans through both her sound and story.
Tour Dates: Feb. 15, 2026 12:00-2:00pm at Kavat Cafe/EyeforSound Gallery in Glendale, CA Mar. 14, 2026 7:40-8:10pm at Universal Bar & Grill in Studio City, CA Mar. 17, 2026 at Whisky A Go Go in West Hollywood, CA Apr. 16 at Bar Lubitsch WFNM Showcase in West Hollywood, CA
Born in Pembroke, Ontario and currently based in Los Angeles, Sierra Levesque is redefining rock for a new generation. Featured in Guitar World Magazine, recognized by Guitar.com as “Gen Z’s Most Ambitious New Guitarist” and featured among “10 Young Shredders Shaping Rock and Metal Today,” she fuses pop, metal, and hard rock into anthems that are as bold as they are relatable. With a large social media following, national media recognition, and her upcoming debut album in the works, Sierra is solidifying her place as one of rock’s most exciting new voices.
Finnish metal force LOST SOCIETY give fans another powerful taste of their upcoming album Hell Is A State Of Mind, set for release on March 6th via Nuclear Blast Records, with the brand-new single ‘Is This What You Wanted.’ An emotional and thrilling anthem, the track opens with a grand, cinematic intro driven by strings and acoustic guitars before exploding into a storm of raw, screamed-out emotion. Vocalist Samy Elbanna delivers a visceral performance that cuts deep under the skin, capturing both vulnerability and rage in equal measure. Accompanied by an intense music video, ‘Is This What You Wanted‘ visually underlines the song’s anthemic core and emotional weight, further setting the tone for what promises to be LOST SOCIETY’s most compelling release to date.
Frontman Samy Elbanna comments on the song: “This song comes from the feeling when you’ve worked tirelessly for years on your dream to come true and come to life, and you have these sudden realisations of how many important moments you’ve missed and how big the sacrifices have been that you’ve made along the way. A truly bittersweet feeling, because in the end of the day – they’ve been necessary to ensure your focus on your dreams. Nonetheless, it hurts. This comes from the heart and we hope it speaks to you and makes you remember that your loved ones would always have hoped for you to go after your dreams.”
01. Afterlife 02. Blood Diamond 03. Synthetic 04. Is This What You Wanted 05. L’appel du Vide 06. Kill The Light 07. No Longer Human 08. Dead People Scare Me (But The Living Make Me Sick) 09. Personal Judas 10. Hell is A State Of Mind
Kicking off in March 2026, right after the album release, LOST SOCIETY embark on a European tour, hitting cities throughout the UK, Germany, Netherlands, Switzerland and Scandinavia. Fans can expect a high-voltage set packed with fan favourites, ferocious riffs, and the band’s unmistakable adrenaline-charged energy.
TOUR IS A STATE OF MIND
07.03.26 DE Cologne – Gebäude 9 09.03.26 UK Bristol – Exchange 10.03.26 UK Manchester – The Star & Garter 11.03.26 UK London – Underworld 13.03.26 NL Hoofdoorp – Cpunt 15.03.26 CH Aarau – Kiff 16.03.26 DE Wiesbaden – Schlachthof 17.03.26 DE Munich – Backstage 18.03.26 DE Berlin – Cassiopeia 19.03.26 DE Hamburg – Betty 21.03.26 NO Oslo – Sub Scene 22.03.26 SE Gothenburg – Monument 23.03.26 SE Stockholm – Debaser Nova
American heavy metal legends CORROSION OF CONFORMITY will release their long-awaited new double album, Good God / Baad Man, on April 3rd via Nuclear Blast.
Much has gone down in the CORROSION OF CONFORMITY universe since their last album smacked us upside the head. Back in 2018, when No Cross No Crown dropped like a rock ‘n’ roll atom bomb, the tried-and-true CORROSION OF CONFORMITY line-up of Pepper Keenan (vocals, guitar), Woody Weatherman (guitar), Reed Mullin (drums), and Mike Dean (bass) was still going strong. Four brothers united in a decades-long history kicked off by a roving pack of teenage punks in Raleigh, North Carolina circa 1982.
CORROSION OF CONFORMITY’s first four albums left a permanent mark on headbangers, longhairs, and street punks everywhere: Underground classics Eye For An Eye (1984) and Animosity (1985) followed by slightly more overground bangers Blind (1991) and Deliverance (1994). By the time CORROSION OF CONFORMITY carved off No Cross No Crown nearly a quarter century later, they were legends in their own time, revered by two generations of punk, metal, and rock fans.
Then tragedy struck: In January 2020, Reed Mullin left this earthly plane.
It was a devastating blow, both personally and professionally. How do you replace a brother? You can’t. All you can do is soldier on in his memory. Which is what the rest of CORROSION OF CONFORMITY did – until COVID-19 shut down the globe. Then Mike Dean decided to go his own way. It was an amicable split, but it left Pepper and Woody to contemplate their next move. They hunkered down at Keenan’s place in Mississippi, listening to all the music they love. Discharge. ZZ Top. Motörhead. Neil Young. Black Sabbath. You know: The good stuff.
They started writing. They didn’t stop; not for a long time. In fact, they composed a massive double album. “As we went on, we had such a crazy plethora of songs, it was almost like two different directions,”Pepper says. “We knew we had to split it into two different albums. Then we came up with this concept.”
The concept happens to be the title of the record. It’s called Good God / Baad Man. “Our producer, Warren Riker, kept calling it Dark Side Of The Doom,” recalls Pepper. “In my head, it’s a weird love letter to all things rock ‘n’ roll. We used that for the freedom to go in different directions. Each album is its own tiny universe and has its own identity. Good God leans toward the heavier/pissed end of the spectrum. Baad Man is more on the throwdown rock scope. As we went along, it became clear which songs went on which album.”
They brought in drummer Stanton Moore, who played on CORROSION OF CONFORMITY’s 2005 album, In The Arms Of God. They brought in bassist Bobby “Rock” Landgraf, who did time with Pepper in New Orleans heavyweights Down when he wasn’t terrorizing the locals in his own band, Honky. “With a lot of these songs, we’re trying to make Reed Mullin proud,”Pepper says. “He was a badass, and a one-of-a-kind drummer. And the stakes were high.”
The band’s first preview of this mammoth offering comes in the form of lead single, ‘Gimme Some Moore‘. The track features backing vocals from Ministry’s Al Jourgensen and Madonna guitarist Monte Pittman. The hook of the song is, “Struggle is worth the fight/Leather, chains and spikes.”“Me and Woody wanted to write a song as if we were 17 years old again,”Pepper explains. “We even made a seven-inch for it.” Said seven-inch, released during their Mexico/South American tour last month, is an early ‘80s punk throwback, complete with a black and white photo collage and a Fear cover on the flipside. It’s a ripper. The video for ‘Gimme Some Moore‘ was filmed by Mike Holderbeast and directed by Pepper Keenan.
Watch CORROSION OF CONFORMITY’s ‘Gimme Some Moore’:
Produced by Grammy award winner Warren Riker (Fugees, Down, Cathedral) and featuring cover art by famed New Orleans artist Scott Guion, Good God / Baad Man was recorded at Blak Shak Studios in Riffissippi, USA, Dockside Studios in Maurice, Louisiana, and Bee Gee Barry Gibb’s home studio in Miami, Florida.
Good God / Baad Man Track Listing:
Album 1 01. Good God? / Final Dawn 02. You Or Me 03. Gimme Some Moore 04. The Handler 05. Bedouin’s Hand 06. Run For Your Life
Album 2 07. Baad Man 08. Lose Yourself 09. Mandra Sonos 10. Asleep On The Killing Floor 11. Handcuff County 12. Swallowing The Anchor 13. Brickman 14. Forever Amplified
In support of Good God / Baad Man, CORROSION OF CONFORMITY will return to stages this Spring on a North American headlining tour with support provided by Whores and Crobot.
Tickets are on sale now HERE. See all confirmed dates below.
CORROSION OF CONFORMITY Live: 07/4/2026 The Masquerade – Atlanta, GA * 08/4/2026 The Pyrle – Greensboro, NC * 09/4/2026 Starland Ballroom – Sayreville, NJ ^ 11/4/2026 The Palladium – Worcester, MA ^ 12/4/2026 Kodak Center Theater – Rochester, NY ^ 14/4/2026 The Factory – Chesterfield, MO ^ 15/4/2026 Manchester Music Hall – Lexington, KY ^ 17/4/2026 VooDoo at Harrah’s Kansas City – North Kansas City, MO ^ 18/4/2026 Anthem at Hard Rock Sioux City – Sioux City, IA ** 19/4/2026 The District – Sioux Falls, SD ^ 21/4/2026 Mesa Theater – Grand Junction, CO ^ 22/4/2026 Metro Music Hall – Salt Lake City, UT (COC only) 23/4/2026 Treefort Music Hall – Boise, ID ^ 24/4/2026 Cargo Concert Hall – Reno, NV ^ 25/4/2026 Sick New World – Las Vegas, NV Festival Date 27/4/2026 Sunshine Theater – Albuquerque, NM ^ 28/4/2026 The Horseshoe – Midland, TX ^ 29/4/2026 The Aztec Theatre – San Antonio, TX ^ 01/5/2026 Vinyl Music Hall – Pensacola, FL ^ 02/5/2026 The Signal – Chattanooga, TN ^ 03/5/2026 The Orange Peel – Asheville, NC ^ 05/5/2026 Phoenix Concert Theatre – Toronto, ON * 06/5/2026 Fairmount Theatre – Montreal, QC * 07/5/2026 Le Poisson Rouge – New York, NY *** 08/5/2026 Underground Arts – Philadelphia, PA *** 09/5/2026 Mr. Smalls Theatre – Millvale, PA *** 10/5/2026 The Roxy – Lakewood, OH *** 12/5/2026 The Machine Shop – Flint, MI *** 13/5/2026 The Pyramid Scheme – Grand Rapids, MI *** 14/5/2026 Outset – Chicago, IL *** 15/5/2026 Cannery Hall – Nashville, TN *** 16/5/2026 Tipitina’s – New Orleans, LA *** * w/ Whores ^ w/ Clutch, JD Pinkus *** w/ Whores, Crobot
CORROSION OF CONFORMITY: Pepper Keenan – guitar, vocals Woody Weatherman – guitar Stanton Moore – drums Bobby Landgraf – bass
Ever since they emerged from Greece’s underground catacombs, Unverkalt have been drawn to the edge. On their upcoming third album, the post-metal luminaries finally plunge into the darkness that’s always waited for them below. While wrestling with the weight of our accursed history, Héréditaire now stands as the band’s heaviest and most heartfelt offering.
“…drifts from bleak-toned, but beautifully sung post-metal to hellfire black-metal blasting, and back again“, Revolverwrites in naming the album’s lead single, “Die Auslöschung”, one of the best new songs of 2026.
Today, Unverkalt are releasing the third and final advanced single from Héréditaire. “Introjects” breaks from the broken beliefs of the past with the band’s newly blackened edge.
“We often carry beliefs and ideas that were never ours but absorbed from the worlds of others”, Unverkalt says. “These dead constructs linger just beneath the surface, quietly shaping us – until something breaks. There’s a moment of dissonance, a crack in the surface, a realization that the weight we carry isn’t ours to bear”.
Watch the bright and blistering video for “Introjects” on the Season of Mist YouTube channel.
The video for “Introjects”was produced by Unverkalt and directed by Themis Ioannou at RAWBITE Studio.
Additional video credits: Cinematography & Editing – Themis Ioannou Camera Equipment Support – Marcus Sander Choreography Director – Eli Mavrychev Set Floor Manager – Stavros Maras Backstage Photography – Heiko Kaminsky Lighting – Hariolf “Harri” Lemke Costume Design / Styling – Featuring pieces by AllSaints, Touché Privé, Disturbia, Morgan De Toi
Héréditaire comes out February 27, 2026 on Season of Mist.
Can’t wait for Héréditaire? RSVP for the upcoming Bandcamp Listening Party and hear all nine heavy and heartfelt songs before the album comes out.
Héréditaire Bandcamp Listening Party, February 17 @ 1:30 pm Eastern Time – RSVP
Unverkalt are still possessed by a cinematic vision. Like the spell that falls over a darkened theater, “Introjects” descends into a doomy trance beneath hypnotic bass tolls. “It’s all sorts of dead ideas / They cling to us all the same”, chimes Dimitra Kalavrezou. Her spellbinding cleans are still one of the band’s defining traits, but the song’s piercing tremolo-picked melodies reveal their newly blackened edge.
“We love to experiment with every album”, Unverkalt’s guitarist and primary composer Themis Ioanno says. “My two favorite genres are black and post-metal. With Héréditaire, we wanted to blend the two together. The heavier direction hits harder on the heart”.
Héréditaire marks a pulse-pounding new direction for Unverkalt, but their upcoming third album traces back to our deepest and darkest origins. With each headbanging chorus, “Introjects” breaks further from widely held beliefs that were never ours but inherited like a disease passed down between generations. “We just want our own way / Cut off from the source”, Kalavrezou warns before all hell breaks lose. As if summoned from the fiery blast beats, her newly blackened screams bring the old pillars of society crumbling to the ground.
“This song is a violent detachment from borrowed identities”, Kalavrezou says. “In that rupture, awakens the faint possibility of becoming something real”.
“I enjoy discovering new, unique and compelling music in today’s overwhelming world of information, and I believe I truly succeeded with Unverkalt”, says Season of Mist labelmate and Rotting Christ frontman Sakis Tolis, who’s featured on the monolithic “I, The Deceit” from Héréditaire. “This is an exceptional piece of art, worth every minute of listening”.
Tracklist: 1. Die Auslöschung (6:06) [WATCH] 2. Oath Ov Prometheus (5:40) [WATCH] 3. Ænæ Lithi (5:34) 4. A Lullaby for the Descent (5:11) 5. Penumbrian Lament (6:02) 6. Introjects (5:25) [WATCH] 7. I, The Deceit (feat. Sakis Tolis) (5:47) 8. Death is Forever (4:50) 9. Maladie de l’Esprit (5:34) Full runtime: 50:11
UNVERKALT are drawn to the edge. Since emerging from the underground, the Germany by way of Greece post-metal band have balanced boundless atmosphere with suffocating heaviness. Their third album and first since signing with Season of Mist doesn’t continue in that direction so much as it plunges into the darkness that’s always been waiting below. Héréditaire lifts the veil from our cursed existence. What emerges is Unverkalt’s heaviest and most heartfelt offering.
“Our aim has always been to blend softer, more romantic elements with extreme chaos. With Héréditaire that time has now come”, says the band’s guitarist and chief composer Themis Ioannou. “This album is a lament for what is far older than our very existence. It speaks of what seeps through generations, searching for an answer to one pervasive question: What do we carry that was never ours?”
From the beginning, Unverkalt was born from an urge to give life to grief. In 2017, Ioannou started the band with vocalist Dimitra Kalavrezou in hopes of creating something that was slow-burning and visceral, crushing yet delicate. Their debut made good on that promise: “…so rivetingly beautiful that you will have to deepen to digest it”, Metal Hammer Greece wrote in awe of L’Origine du Monde. “Easily on the top-10 of 2020”.
The band’s second album followed three years later to further acclaim. While swooning between obsession and annihilation, A Lump of Death: A Chaos of Dead Lovers sharpened Unverkalt’s vision by pushing their avant-garde streak with more force. “Beyond being able to point roughly towards a couple of different genres, it is utterly impossible to compare them to any other artist out there making music in the same vein”, The Sleeping Shaman admired. Echoes and Dust agreed: “It stands in its own right as a beautiful slice of filmic post-rock, a soundtrack without a movie beyond the one playing in your head”.
Héréditaire is still possessed by cinematic visions. Like a camera coming into focus, lead single “Die Auslöschung” appears through a thickening haze before it’s snapped out of a trance by drummer Christian Eggers’ fiery blast beats. The album shifts between colors, textures, even languages. Stirred by a mournful saw of strings, “Ænae Lithi” raises memories of the Great Fire of Smyrna that were handed down by Themis’ grandmother. But where previous albums took cues from French painting and European film noir, this one throws back the velvet curtain in favor a veil. “Oath Ov Prometheus” dismantles the myth of man as god’s perfect creation with Kalavrezou’s freshly blackened vocals.
“We love to experiment with every album”, Ioannou says. “With Héréditaire, we wanted to introduce extreme vocals because they bring out all these heavy feelings. It’s like they’re shaking you awake”.
While Héréditaire is a pulse-pounding new direction for Unverkalt, the album’s arc traces back to our deepest and darkest origins. Amidst the tremolo-picked wreckage of “Penumbrian Lament”, long-held beliefs are swallowed into the void of guitarist Eli Mavrychev’s death growls. “It’s all sorts of dead ideas / They cling to us all the same”, Kalavrezou whispers, only to break into screams on “Introjects” beneath Joscha Hoyer’s throbbing bass line. “The concept behind the record is tied in with the album’s overall heaviness”, she says. “Each song peels back another blackened layer of memory, trauma and suffering, which linger over us like ghosts: invisible, yet endlessly present”.
Kalavrezou’s mystifying cleans remain one of Unverkalt’s defining traits. Even when trembling beneath the monolithic riff of “I, The Deceit”, her contempt for those who stand by as the world burns is heated when forged alongside her Athenian brother-in-arms Sakis Tolis from Rotting Christ. But as the album draws to a close, Héréditaire ends shadowed in doubt for the future. “Bathed in lies / Can we make it better” she wonders before disappearing into the shivering wake left by “Maladie de ‘Esprit”.
“This album is not meant to resolve”, the band says, “but to dissolve patterns from those who came before, faceless yet familiar. The colors have drained. What remains is veiled in black, not as a symbol, but as a truth that covers everything”.
On Héréditaire, Unverkalt lift the veil on our cursed existence with their heaviest and most heartfelt offering.
Guest Musicians: Sakis Tolis — Vocals on “I, The Deceit”
Songwriting Credits: Comped by Themis Ioannou. Lyrics by Dimitra Kalavrezou & Eli Mavrychev. Lyrics for “I, The Deceit” by Dimitra Kalavrezou & Joscha Hoyer.
Recording Credits: Recorded & Engineered by Unverkalt. Drums Recorded & Engineered by Christian Eggers at Noir Surge Sound, Berlin, Germany.
Production Credits: Produced by Themis Ioannou. Vocals produced by Dimitra Kalavrezou & Eli Mavrychev. Mixed by Joshua Barber. Mastered by Lasse Lammert at LSD Studios, Lübeck, Germany.
Danish experimental artists MEEJAH and HIRAKI have unveiled their new joint single ‘Preserve/Manifest’, taken from their split EP, INTERWOVEN, out 13th March via Pelagic Records.
‘Preserve/Manifest’ derives from an insistent digital beat and the desire to create something genuinely interwoven. Repeated like a mantra – effigy, effigy – the track becomes both mirror and warning. A powerful exterior in constant progression, trembling at the slightest fracture. HIRAKI stands as the primary architect behind the sound and structure. Yet exactly because the track is a true collaboration, MEEJAH’s influence and additions turned the composition around several corners before it settled into its final form. This was further shaped by mixer Klaus Q’s intuitive grasp of the ambition to travel from a swelling heartbeat to a feral distortion hammer.
HIRAKI vocalist Jon Gotlev commented: “The lyrics as well as the track itself balance between preservation and manifestation, where dominance dissolves into intimacy and resistance turns into care. You could almost call it a tense symbiosis of power and control, love and egoism – a kind of simulated driving force rendered as an organic coexistence.”
The INTERWOVEN collaboration has induced a new set of emphases for the two Danish bands, demanding MEEJAH to go darker and heavier, while moving HIRAKI towards an experiment of intertwining complex expressions in a longer format.
The themes on INTERWOVEN spawned in the dark stage room Gloria at Roskilde Festival during a The Ocean concert where Mai Soon Young Øvlisen from MEEJAH stood in the audience, overwhelmed with a fast stream of thoughts before her inner eyes.
Memories of the old East Berlin, the Book of the Dead, the heart weighed against a feather in the afterlife, innocence and revenge – and how the executioner becomes a victim to the loss of their own humanity. When suddenly Loïc Rossetti sat down in front of her – asking her if she was okay – as if he sensed that one day she would ask him to sing with her.
Through collaborations with the LLNN brothers Rasmus and Ketil Sejersen and their industrial, hardcore project John Cxnnor, HIRAKI and MEEJAH met The Oceans light designer Pierre Roi des Forêts – who helped them connect to Loïc.
HIRAKI and MEEJAH decided to exchange artistic powers, common music backgrounds, combined with their shared love for the underground scene. HIRAKI plugged onto the themes – adding their trademark aggressive style, new perspectives, lyrics about malice, control, contradictions and the existential self-awareness of one’s choice to cause harm – and significantly broadened the artistic handprint.
INTERWOVEN is mixed by HIRAKI’s long time producer Klaus Q, and references common influential bands such as The Body, The Armed, Sightless Pit, Massive Attack, Julie Christmas and Death Engine.
Kimmo Kuusniemi’s ASA unveil the long-overdue release of "Collective Failure" + first music video for title-track! Check it out and stay tuned for more news! Click image to watch the video
Kimmo Kuusniemi’s SARCOFAGUS return with a Historic 2010 Concert Video Premiere on YouTube! Click image to watch the video
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Visionary artist KIMMO KUUSNIEMI's ANCIENT STREAMING ASSEMBLY (ASA) have released “Aurora Nuclearis”, a powerful 12-minute audiovisual experience, dedicated to the Late Keyboardist Esa Kotilainen. - Click image to watch the video
Click image to watch the video
Metal Shock Finland (World Assault ) 