Studied, imitated, but never replicated, the Grammy-nominated hardcore legends HATEBREED will drop their long-awaited studio album FATAL PARADOX on November 6 via new label BLKIIBLK. Pre-order it here.
They have just shared “The Carrion Choir.” It’s another fast and thrashy anthem designed for the “Ball” of Death!
The band has also announced a series of stadium shows with Slipknot in 2027, including an appearance at Wembley Stadium in London. All confirmed dates are below.
HATEBREED ON TOUR: WITH SLIPKNOT: 7/3 — London, UK — Wembley Stadium 9/8 — Buenos Aires, Argentina — Estadio Huracán 9/12 — Santiago, Chile — Estadio Nacional 9/14 — Lima, Peru — Estadio Nacional 9/16 — Bogotá, Colombia — Vive Claro
Hatebreed have remained a fixture of the hardcore and metal scenes for the better part of three decades. After writing the playbook with their genre-defining releases Under The Knife (1996) and Satisfaction Is The Death Of Desire (1997), HATEBREED continued to carry the banner for metallic hardcore with albums like Perseverance (2002), The Rise of Brutality (2003), and Supremacy (2006) dominating charts globally. In recent years, the band’s undisputed offensive continues with modern records The Concrete Confessional (2016) and Weight of the False Self (2020), remaining fixtures on charts globally. The band’s core values of self actualization, perseverance, and honest living have carried them from backyard and basement shows to festival dominators, selling out shows consistently across the world, effectively practicing what they’ve preached.
Enlisting long-time collaborator Zeuss (Rob Zombie, Accept, Shadows Fall), “Kill Count Increase” is crossover excellence with accelerating speeds, crushing riffage, and frontman Jamey Jasta’s venomous bark inciting crimson flashes of carnage.
Holding no punches, and taking no prisoners Fatal Paradox see the Connecticut-born juggernaut operating at full tilt, bludgeoning listeners with a barbarous blend of breakdowns, d-beats, and dogpiles. Whether it’s the thrash stylings of “Kill Count Increase” or “Total Invincible,” capital H hardcore excellence of “The Carrion Choir” and “Truth Is A Lion,” rage remains the unifying spark to blow the keg in glorious flashes of violence.
FATAL PARADOX TRACK LISTING: “Kill Count Increase” “The Carrion Choir” “Decisions Become Destinies” “Total Invincible” “Fatal Paradox” “Still A Threat” “Sacrifice Season” (Feat. John Tardy) “Truth Is A Lion” “Make The Demons Obey” “None Left To Save” “Poison Planet”
Hatebreed will spend the summer doing what they do best — touring and bringing venues across the U.S. to their knees. All upcoming dates are below. Get tickets here.
HATEBREED LIVE: 10/10 — Birmingham, AL — Furnace Fest
HATEBREED ARE: Jamey Jasta — Vocals Wayne Lozinak — Guitar Frank Novinec — Guitar Matt Byrne — Drums Carl Schwartz — Bass
ABOUT HATEBREED: Described by Forbes as “more relevant than ever in the metal and hardcore community,” the quintet remains one of the most definitive live acts in music today and recently celebrated a milestone with their track “Looking Down The Barrel Of Today,” which is nearing 130 million global streams, making it their single biggest career streaming track of the modern era. To date, Hatebreed have sold over 1.5 million albums in North America alone.
Hatebreed’s most recent album, 2020’s Weight of the False Self, was praised as a “return to their hardcore roots” by Brooklyn Vegan. The album was deemed “one of their most aggressive to date” by Consequence and “pummeling” by Revolver, while Psychology Today called it “a blazing combination of extreme metal and hardcore punk.” Hatebreed remain one of the most vital bands in the hard rock scene.
Their signing with BLKIIBLK and forthcoming ninth studio album find the band harder than ever, stronger than ever.
Space Rock Veterans Spirits Burning, led by the indefatigable Don Falcone, continue gearing up for the release of An Alien Heat with a new single, released today, the mighty “To Steal A Space Traveller.”
Falcone says,“Every Spirits Burning & Michael Moorcock album has a couple of songs that are more frenetic and need to capture the theatrical chaos and movement of the scene. ‘To Steal A Space Traveller’ is one such piece. Here, the lyrics trace how the male lead of Mike’s end-of-time story steals an alien from a menagerie so that he can trade him for the story’s 19th century female lead. It’s an absurd time written in wonderful language.”
As always, the track abounds with guest stars, as Falcone explains. “The crew for the song is quite indicative of the album’s collaborations and connectivity. Blue Öyster Cult founder Albert Bouchard transcribed Mike’s text from the book and brought in his brother Joe Bouchard to sing lead.
“I brought in a number of UK Spirits Burning contributors. That includes Ade Shaw, the bassist for Hawkwind the first time I saw the band live, his successor Harvey Bainbridge, here doing keys, and Groundhogs drummer Ken Pustelnik. I actually got to meet both Harvey and Ken on two different trips to the UK.”
Joe Bouchard’s vocals are especially noteworthy. Falcone continues, “I got the feeling that when there was something odd to sing, Albert [Bouchard] immediately thought of his brother. And Joe would say ‘yes.’ As the alien is being kidnapped, and is told it is for love, the alien says ‘For greater (skree skree skree) love, as we (roar), Say on our planet, hath (skree skree), No man’s (skree) ryof, chio, lar, oof.’ Realizing his translator is faulty, he adds: ‘It must be untranslatable.'”
Released on October 16 on blue vinyl and CD, An Alien Heat is a musical reimagining of the first book in Moorcock’s Dancers At The End Of Time trilogy, itself the inspiration behind four Spirits Burning albums.
Having already brought the remainder of that trilogy, The Hollow Lands and The End Of All Songs, to shimmering life on Cleopatra’s Purple Pyramid imprint, Moorcock and Spirits Burning go all out on this first chapter. Guests elsewhere on the album include further Hawkwind family members Mick Slattery and Bridget Wishart, and Blue Öyster Cult’s Donald “Buck Dharma” Roeser and Richie Castellano.
The result, has to be one of the most remarkable, and enthralling musical adaptations of any book – let alone a trilogy as powerful as this.
The Dancers at the End of Time, after all is (“among many other things”), what Moorcock describes as his “homage to the fin-de-siecle and its writers and artists. I wanted to set a story at the end of the world which was not a tragic apocalypse but a funny acceptance.
“By using the language of Wilde and his circle, I also paid tribute to their contemporary H.G.Wells, who wrote The Time Machine and the funny and existentialist History of Mr Polly.
“I wanted to entertain and write on a serious subject at the same time.”
1. Hothouse Flowers 2. Geronimo 3. Soirée Of Fire (CD ONLY) 4. In The Future 5. Doomed 6. Fall In Love 7. Any Particular Interest (CD ONLY) 8. Dark Dominion (CD ONLY) 9. Seven Finger Solution (CD ONLY) 10. To Steal A Space Traveller (CD ONLY) 11. Virtue & Mrs. Amelia Underwood 12. Learning The Art 13. Back To 1896 (CD ONLY) 14. Quest For Bromley 15. Thank You For The Fog 16. Old Friends With New Faces (CD ONLY)
During the long and trying years since their last studio venture, Theodor Bastard have been searching for a way out of the shadows cast by the pandemic, war and invasive technologies. Now, with their upcoming new album,▽, the world music pioneers are returning with dark electronics for our dark times.
Today, Theodor Bastard are releasing the second advanced single from ▽ (pronounced V). Sparked by a heavy electronic beat, the dark and energetic “Vedma” braces against the flames of an increasingly cold and crumbling world.
“I know people probably expected another Northern ethnic album from us”, Theodor Bastard producer, multi-instrumentalist and founding member Fedor Svolotch says. “Oftentimes, once bands find their niche, they stay there. But this has never been our path and now is not the time for beautiful genre obedience. ▽ represents our vision of what’s going on in the world today. Instead of flights into space, instead of discovering the vast mysterious inside ourselves, once again, humanity is busy destroying itself. This album is our attempt to find a way out of that cycle, to understand what is happening, and to feel for some kind of perspective”.
Theodor Bastard will perform “Vedma” and other new songs from ▽ this November and December during their 10-date headlining tour of Russia.
Theodor Bastard ▽ 2026 Russian Tour
November 27 – Yekaterinburg @ Svoboda November 29 – Novosibirsk @ Podzemka December 4 – Krasnodar @ Port 219 December 5 – Rostov-on-Don @ Krop Arena December 12 – Saint Petersburg @ Eifman Academy December 18 – Moscow @ Urban December 19 – Nizhny Novgorod @ DKRT December 20 – Penza @ TsKiD December 21 – Saratov @ Oniks December 22 – Samara @ ODO
▽ reflects just how much has changed since the world last heard from Theodor Bastard in April 2020. While the band are still recognized internationally as leaders for ritual folk and world music, on their new album, they’ve re-embraced their early electronic impulses because that’s how life feels now: cold, sharp, tense. New single “Vedma” surges with black cosmic energy, as if its analog synthesizers are programmed to summon the apocalypse.
“Our sound changed because the world changed”, Svolotch explains. “We had to destroy our own habits and expectations to make ▽. We wanted to start again, as if the band has no past, no safe place, no ready-made formula. As a result, this album is not a continuation of what came before. It’s a different door”.
To a world that’s mired in its own deadly trance, ▽ arrives like a much needed slap across the face. However, that doesn’t mean the album is devoid of hope. At its core, Theodor Bastard’s ritual spirit remains intact. “Vedma” never loses its edge, but when the song blasts into a chorus that’s blessed with enough gravitational force to knock the stars from the sky, vocalist Yana Veva clings to the only thing that’s worth saving from a world on fire. “Иду в холодный город чтобы обнять тебя (I walk into the cold city / to embrace you)”.
“So much has surrounded us during recent years: the pandemic, war, division, fear, anxiety over technology, and a sense that reality itself is becoming darker and more unstable”, Svolotch says. “We have felt so much anger, pain, confusion and disappointment both in ourselves and in the world around us. All these emotions were gathering inside us, changing, darkening, searching for a form, until they eventually transformed into the unexpected on ▽”.
Theodor Bastard refuse to stay still. In the years since their last studio venture, 2020’s Volch’ya Yagoda, the world music pioneers were searching for a way out of the darkness that’s descended over our reality. The path that they discovered didn’t lead back to their home in the harsh northern forest region of Karelia but away from it, into the coldness of the city and a collapsing civilization. By reconnecting with their electronic roots, Theodor Bastard are reborn on ▽.
“Our sound changed because the world changed”, producer, multi-instrumentalist and founding member Fedor Svolotch says. “We had to destroy our own habits and expectations to make ▽. We wanted to start again, as if the band has no past, no safe place, no ready-made formula. As a result, this album is not a continuation of what came before. It’s a different door”.
Svolotch founded Theodor Bastard in 1995. What started as a solo project grew during the 2000s into what’s now a seven-member band that includes vocalist and multi-instrumentalist Yana Veva, keyboardist Alexey Kalinovskiy, drummer Andy Vladich, vocalist Ekaterina Dolmatova, percussionist Kusas and cellist Vyacheslav Salikov. Blending the lines between ritual folk, electronic and world music has gained them international recognition. They’ve toured and performed at major festivals across Europe, including Fusion, Castlefest and Dark Bombastic Evening.
With eight studio albums, three video game soundtracks, two live albums, a compilation of remixes and syncs in major films and television shows, Theodor Bastard have also received international acclaim. The band have won a Russian World Music Award, a Golden Gargoyle, an International Acoustic Music Award and multiple LIT Music Awards. Their previous album, 2020’s Volch’ya Yagoda, won the St. Petersburg Best Album award in the Mood category. Its take on the Russian lullaby “Volchok” was a finalist in the World category for the John Lennon Songwriting Contest.
“[…] their music comes directly from heaven”, Essentially Pop wrote in praise of the album’s single “Les”.
Folk N Rock agreed. “[…] a well-crafted album and deserves a listen if you are a fan of folk or trip-hop electronic music”.
“Theodor Bastard’s prolific catalogue of music is only getting better with age and experience”, wrote Indie Pulse Music.
▽ reflects just how much has changed since the world last heard from Theodor Bastard. While still widely recognized internationally as leaders for ritual folk and world music, the band have re-embraced their early electronic impulses. Long-time fans were pleasantly surprised when the pulse-pounding analog synths of “Nebo” first appeared in the award-winning Russian crime drama The Method. “We did not want to make another comfortable northern ethnic album just because that’s what some people might expect from us”, Svolotch says. “▽ is electronic, nervous, physical and wounded because this is how the world feels now”.
The album’s lead single is a sure sign that Theodor Bastard are bound for dark new horizons. Like a space shuttle, “Sverkay” rumbles with distorted bass before it’s suspended high above the earth by a trap-like beat. “Вдох – выдох (Inhale – Exhale)”, sings a bewitching Veva as she glimpses what’s to come from our dangerous endgame with war, technology and social division.
“This is not the time for beautiful genre obedience”, Svolotch says. “The world is full of violence, exhaustion, stupidity and fear. Instead of flights into space, instead of discovering the inner abysses within ourselves, humanity is once again busy with destruction, cruelty and self-hypnosis”.
To a world that’s mired in its own deadly trance, ▽ arrives like a much-needed slap across the face. The album was created during a long and trying period for Theodor Bastard. It offers little comfort; its anger, confusion and disappointment are hurled at the outside world, which through our own actions, is tipping over the edge. The aggressive “Vedma” surges with black cosmic energy, as if summoning the apocalypse. “Ditya” questions the nature of our creation amidst a hybrid of electronic dance music, gospel and the blues. But the band aren’t without hope. At their core, the ritual spirit remains. “Ostavlyaem” dances as light as a feather, only to transcend this earth for a place amongst the stars.
“Across ▽, darkwave, indietronica, post-punk and neo-psychedelia are not used as genre references. They are fused into a single world, where ritual presence and the physicality of live sound coexist”, Svolotch concludes. “It is unmistakably Theodor Bastard, but in a state of renewal, where the band’s recognizable identity becomes a starting point for transformation rather than a limit”.
With ▽, Theodor Bastard return with dark electronics for dark times.
Recording Lineup Yana Veva – Vocals, Lyrics, Vocal arrangements, Synthesizers, Keyboards Fedor Svolotch – Arrangements, Guitars, Bass guitar, Synthesizers, Analog synthesizers, Keyboards, Drum programming, Sound design, Sound production, Mixing Christine Kazarian – Harp Vyacheslav Salikov – Cello / Strings Kusas – Percussion, Bells, Metallophone, Marimba, Jaw harp Ekaterina Dolmatova – Backing vocals Eli H – Bass guitar Alexey Kalinovskiy – Keyboards, Synthesizer, Lap slide guitar Vyacheslav Nikiforov – Drums Sergey Smirnov – Drums Maria Starostina – Flute, Backing vocals Maxim Kostyunin – Guitar Gale Dorothy – Vocals on Molnii i Svist
Production Credits Producer – Fedor Svolotch Sound Engineer – Fedor Svolotch Mixing Engineer – Fedor Svolotch Mastering Engineer – Boris Istomin Recording Studio – Theo Records Mastering Studio – Knob Studio
Cover Artwork Fedor Svolotch
Artwork / Layout Designer Yana Veva & Fedor Svolotch
Platinum-selling superstars P.O.D. drop one of their heaviest tracks to date as they enter the zombie apocalypse on new single ‘OUTBREAK’ featuring Norma Jean vocalist Cory Brandan.
‘OUTBREAK’’ is produced by Grammy winning producer Will Yip (Turnstile, Code Orange, Circa Survive) and is the band’s first new original song since the release of 2024’s VERITAS and sees them in full momentum. The idea of bringing in Norma Jean’s powerful vocalist stems from their 2024 US tour together. “We have known the band and members for a while, but that was the first time we toured together and really got the chance to bond as friends,” explains Sonny Sandoval. He continues, “This is possibly one of the heaviest songs P.O.D. has ever written, so we wanted to showcase a guest vocalist who reflected that. Cory’s voice and tone bring a specific intensity and command that draws you in. Our voices together deliver an authoritative energy that matches the power of the song.” Talking about the song, guitarist Marcos Curiel says, “As avid fans of zombie apocalypse, video games, and movies, it seemed only fitting to compose a song about this topic. The song delicately straddles the line between nonfiction and fiction. It’s fun yet hard-hitting, bridging the gap between what’s real and what’s not.”
Sonny elaborates further, “Marcos sent me a rough guitar demo, which had the working title of ‘OUTBREAK.’ This by far was the heaviest idea yet, and I immediately texted him how much I loved it. Once I heard it, I knew there was no need to change the title and use it as the lyrical theme. The guitar riff and warning sample immediately gave me a frantic, apocalyptic, doomsday-type vibe.” Bassist Traa Daniels adds, “This track is destined to be a crowd pleaser, with the apocalyptic overtone and a zombie-inspired theme that can be closely related to many current events. This was a fun song to record in the studio and is one of my personal all-time favorites.”
This video might have disturbing moments for some viewers.
Over the last three years, the band has taken on an almighty touring cycle. From shows with Daughtry, Norma Jean, Limp Bizkit, Creed and Seether, to hitting Europe with the likes of Godsmack, Drowning Pool and Skindred, as well as a Latin American tour which saw them play Brazil, Chile, Argentina, Colombia and Costa Rica. They’ve also hit the festival circuit hard in that time, no more so than their 2026 ‘European Take-Over’ tour, where they charged through 20 festivals across 16 countries over the summer. They will also spend the rest of 2026 playing festivals in the USA, Mexico and Australia. “Music connects. With so much division, music is the one thing that unifies. It truly is the universal language,” says Sonny. “Being able to perform around the world and for so many beautiful people has opened our eyes and has completely changed us for the good. Music is life, and it keeps us going. I feel like we’re always learning and growing. I think life can be confusing and complex at times, but for those moments that we get to be on stage together, everything seems to make sense.” The touring all hit around the release of 2024’s VERITAS – a Top 10 hit across the U.S. Billboard Current Hard Rock, Current Rock, and Current Alternative Album charts. It has already surpassed 83 million total streams and includes the singles ‘DROP’ featuring Lamb of God’s Randy Blythe and ‘AFRAID TO DIE,’ featuring Jinjer’s Tatiana Shmayluk. The album picked up major playlisting across Spotify, Apple, Amazon Music, Pandora, and Deezer, and stream-rolled support from SXM Octane, Loudwire, BBC Radio 1, BBC Radio 2, Kerrang! Radio, Metal Hammer, Knotfest, INKED, Revolver and more. 2027 will be 35 years of P.O.D., and their music is as potent and as powerful as ever. They have never been afraid to tread their own path. “We’ve always taken it one moment at a time, and we’ve always been true to ourselves, and the sound reflects that,” Sonny says. “The world doesn’t want truth; they want it their way, but we will continue to write for those who want to be empowered and overcome their most dismal situations.” ‘OUTBREAK’ sees the evolution of P.O.D. pick up the pace. “I believe we tapped into something very special and used the momentum of VERITAS to take the songs to a different level. We have always written our way and never try to duplicate other albums. This is P.O.D. 2027!” P.O.D. are Sonny Sandoval (vocals), Marcos Curiel (guitar), Traa Daniels (bass) and Zachary Christopherr (drums).
02 Oct – Aftershock – Sacramento, CA – USA 24 Oct – Sick New World – Fort Worth, TX – USA 31 Oct – House of Blues – Anaheim, CA – USA 07 Nov – Brujas Festival – Saltillo – MEXICO 29 Nov – Good Things / Side Show – Newstead – AUSTRALIA 01 Dec – Good Things / Side Show – Hindmarsh – AUSTRALIA 02 Dec – Good Things / Side Show – Melbourne – AUSTRALIA 04 Dec – Good Things Festival – Melbourne – AUSTRALIA 05 Dec – Good Things Festival – Sydney – AUSTRALIA 06 Dec – Good Things Festival – Brisbane – AUSTRALIA
Italian metal band THE HEADLESS GHOST have released the official video for “Legacy Of The Dead”, the title track of their upcoming album, which is due for release in November 2026 via Punishment 18 Records.
Produced and directed by Noxifer (Instagram: https://www.instagram.com/noxifer81), the video takes the viewer into the dark and mysterious world of “Legacy Of The Dead”: a supernatural journey through cemeteries, forgotten souls and the boundaries between life and death.
At the heart of the story is a demonic figure travelling through space and time, encountering the souls of the dead.
The visual concept reflects the atmosphere of the track and the upcoming album, exploring themes linked to death, memory, forgotten lives, the tragedies, mistakes and horrors of the past, and the connection between the living and those who came before us.
‘Legacy Of The Dead’ is The Headless Ghost’s new full-length album, the follow-up to their debut album ‘King Of Pain’.
The album was produced by The Headless Ghost and mixed and mastered at TMH Studios.
The artwork is by Alvaro Valverde, known for his work with artists including Unanimated, Elvenking and Konkhra.
The L.I.F.E. Project – the dynamic collaboration between guitarist and songwriter Josh Rand (Stone Sour) and powerhouse vocalist Casandra Carson (Paralandra, Casandra’s Crossing) – are thrilled to reveal their latest reimagining, a hard-hitting take on Led Zeppelin’s iconic “Immigrant Song”, out now via Frontiers Music Srl.
Josh Rand commented: “Like “Call Me”, we never planned to release “Immigrant Song”. In 2019, we moved into a new house, with a new home studio. Really, the music was all put together with me just messing around with the vintage gear I had. Once I started working with Casandra, I asked her if she wanted to take a shot at this for the fun of it.”
Casandra Carson also stated: “Ironically, the first time I remember hearing “Immigrant Song” was in Shrek the Third, haha!! The second I heard Snow White sing that Viking war cry, my soul and my senses lit up like I’d been struck by lightning. My dad told me it was a song by Led Zeppelin, and I became as obsessed as a kid who just tried chocolate for the first time. I couldn’t get enough. Years later, when I started performing in bands, “Immigrant Song” remained at the top of my list of songs I wanted to cover. It was only fitting that I would suggest it to Josh, as well, when we first began working together. I guess now I’ll have to watch Shrek the Third again to celebrate our new release.”
Born from a shared musical vision and an undeniable creative chemistry, The L.I.F.E. Project represents a fresh and compelling artistic union. While Rand had long envisioned launching a female-fronted project, it wasn’t until 2020 – when a mutual connection introduced him to Carson – that the idea truly began to take shape. What started as an exploratory collaboration quickly evolved into something far more meaningful, laying the groundwork for a project driven by purpose and artistic synergy.
Musically, The L.I.F.E. Project fuses Rand’s signature heavy riffs and affinity for strong melodic hooks with Carson’s commanding and versatile vocal delivery. Drawing inspiration from classic metal, thrash, and progressive influences, the project channels the raw energy and spirit that first inspired Rand to pick up the guitar, while offering Carson the opportunity to explore new sonic and emotional territories.
Over time, the band has crafted a distinct sound that balances intensity with accessibility, underpinned by a natural creative partnership. Their material reflects a thoughtful and organic development process, allowing ideas to evolve freely and cohesively.
Lyrically, The L.I.F.E. Project sets itself apart by venturing beyond traditional rock themes, embracing broader narratives and concepts. Their songs often draw from history, social issues, and real-world tensions, exploring themes such as empowerment, resistance, and societal challenges. This approach adds depth and substance to their music, complementing its powerful sonic foundation.
Line Up: Casandra Carson – Vocals Josh Rand – Guitar
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
