Are you a giant death metal nerd? Then you need to hear this very obscure demo from a great death metal band that never really got the recognition that they deserve… and then check out my full series on exactly this topic right here.
For every obscure death metal band where you can at least reconstruct a partial history, there’s a project like Croon — a near-total mystery whose music survives almost entirely without context. I know exactly three things about Croon: they’re from Finland, they released a single demo called #1 in 1996 on cassette, and more people really need to hear this thing.
Croon‘s sole demo feels like a product of listening to the groovier aspects of death metal at the time — namely Carcass — along with some straightforward rock, as evidenced by the second song “Irritate… Enjoy,” and anything from the Gothenburg melodic death metal scene of the time.
Just when you think you’ve got this demo pegged, Croon will throw something totally unexpected — like the Moog synth lines on the final track “Transcending Form of Innovation,” which sound like they could have been inspired by Cynic or Nocturnus.
Unfortunately, there’s just not much else out there about this band. Nobody in the band seems to have gone on to have a career in music aside from some scattered bands before and after Croon, there are no band photos that I could find, and there’s really no in-depth information beyond scans of the J-card from the cassette — and even that just has basic info like the track list, band name, demo name, and where it was recorded.
All that being said, #1 is still a fascinating little snapshot of what was going on in southern Finland at the time in terms of metal. If you’ve got 15 minutes and an appreciation for the stranger corners of mid-’90s melodic death metal, Croon is 100% worth your time.
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Bon Iver has announced a series of archival releases, Volumes, launching with an anthology of live recordings. Titled Volumes: One “Selections From Music Concerts 2019–2023 Bon Iver 6 Piece Band,” that first installment arrives in digital and physical formats on April 3, via Jagjaguwar. Watch a live video of the rarity “Heavenly Father,” recorded at Milan’s Mediolanum in 2022, below, and scroll down to see the full tracklist.
Justin Vernon began combing through live recordings in 2020, modeling the concept on Bob Dylan’s Bootleg Series and the Neil Young Archives, a press release notes. He says of the first volume, “This particular set of 10 songs is like, ‘Here, if you’ve never heard Bon Iver, or you have and you didn’t like it, this might be for you.’ This is what we became. This is really us at our best. This is it.”
The titular six-piece band includes Andrew Fitzpatrick, Jenn Wasner, Matthew McCaughan, Michael Lewis, and Sean Carey, assisted by live engineer Xandy Whitesel. Vernon spoke about the record and Volumes series on his debut NTS Radio show yesterday.
Earlier this month, Bon Iver announced the return of Eaux Claires festival this summer after 8 years. Dijon and Aimee Mann are among the acts, as well as an artist winkingly billed as Bon Dylan—no news yet on what that performance will entail.
Volumes: One “Selections From Music Concerts 2019–2023 Bon Iver 6 Piece Band”:
01 Intro – The Forum, Los Angeles, CA. Sep 15 2019 02 Man Like U – The Forum, Los Angeles, CA. Sep 15 2019 03 We [ft. Bizhiki] – Xcel Energy Center, St Paul, MN. Oct 03 2019 04 Jelmore – Tennis Indoor Senayan, Jakarta, ID. Jan 19 2020 05 666 – The Pavilion at Toyota Music Factory, Irving, TX. Apr 03 2022 06 Heavenly Father – Mediolanum, Milan, IT. Nov 05 2022 07 P.D.L.I.F. – Red Hill Auditorium, Perth, AU. Feb 26 2023 08 Hey, Ma – Pitchfork Music Festival, Chicago, IL. July 23 2023 09 A Satisfied Mind – State Theatre, Portland, ME. Dec 08 2017 10 33 “God” – WOMADelaide Festival, Adelaide, AU. Mar 10 2023 11 Sh’Diah (Boardmix) – Scotiabank Arena, Toronto, CA. Oct 06 2019
When Apple Music Connect launched alongside Apple Music in 2015, it was pitched as a direct artist-to-fan social channel embedded within the app.
It was quietly shut down in 2018, after struggling to gain traction.
Now, Apple has resurrected the name — but this time, Apple Music Connect serves as a professional toolkit for labels and distributors to promote content, pitch releases to Apple’s editorial team, upload press photos, and coordinate marketing materials.
At the time of the original Apple Music Connect’s closure, 9to5Mac reported that the move echoed what happened to Ping, Apple’s earlier music social network built inside iTunes, which was removed in 2012.
MBW cited a number of reasons for shutting down Connect as a fan-facing social platform, including the lack of artists’ motivation to post content on Connect because of the accessibility of social media platforms; and how fans weren’t incentivized to engage with it.
Meanwhile, the relaunched Apple Music Connect gives label and distributor teams a single dashboard to manage the parts of a release cycle. The platform offers a ‘Pitch’ tool that lets teams submit upcoming releases for editorial and playlist consideration, specifying content details, such as the format, content name, and artist, as well as additional release details, including mood, genre, language, and release date.
Apple has set a minimum of 10 days before release for full consideration and seven days for late submissions. Apple explained what editorial teams want in a pitch, such as rollout plans, key media moments, focus tracks, not artist biographies.
“Information such as campaign details or rollout plans are critical, but additional information such as an artist’s biography are not. If there is a focus or feeler track, be sure to let our team know.”
There’s also a bulk upload option that handles labels and distributors working across multiple releases at the same time.
Aside from pitching, Apple Music Connect also offers a‘Promote’ tool that helps teams generate custom social media cards to announce artists’ pre-adds, new album or song releases, and music videos. They can then share this content to Instagram Stories, X, Snapchat, and Facebook, or send custom assets via email.
Through Apple Music Connect, artist teams can also fulfill requests for publicity photos from Apple Music.
As Apple explained: “Admins and marketing managers tied to your Apple Music Connect account will receive and can fulfill a media request if Apple reaches out for publicity photos. You can also assign non-Apple Music Connect users a one-time request to help fulfill the media request.”
The new Connect tool marks Apple’s latest feature in its continuous expansion of Apple Music. Apple-focused news websites MacRumorsand Macworldrecently reported that Apple Music is close to launching an artificial intelligence-powered playlist generator that would let users create playlists through text prompts.
The feature, called Playlist Playground, appeared in the beta version of iOS 26.4 released to developers last week, the reports said.
Also recently, 9to5Mac reported that Apple Music has teamed up with TikTok to beta-test a feature called “Play Full Song,” which would allow TikTok users to stream full songs through Apple Music without having to leave the app; and a “Listening Party” feature that would allow groups of users to stream music at the same time within TikTok.
NTS Radio has revealed its next batch of residents joining the global radio station this spring. Wednesday singer-guitarist Karly Hartzman will host her Prison Divorce Bombshell show featuring ambient, experimental, and indie rock; Texas guitarist Hayden Pedigo is leading Amarillo on Everything where he’ll play country, electronica, and beats; and celebrated video game composer June Chikuma will spin DnB, electronics, and IDM.
Over a dozen other artists have been tapped to step in as NTS Radio residents as well, including Chanel Beads, Sally Shapiro, Jennifer Walton, and the Femcels. Also joining the ranks are Abdullah Miniawy, Adam Curtis & God Colony, Antropoceno, Blind in 1 Eye, Blindboy Boatclub, Casey MQ, Cynthoni // onumi // .m0lly, Diana Ratsamee, DJ Fine, Edv3ctor, Gustavio Koslowski, ìyáàlù, Jennifer Loveless, Marylou, Miss Sheitana, Mohammad Adam, Rebe, Semir, Shida Shahabi, Troth, Salvatore, and Wes Baggaley.
Wolf Parade singer and keyboardist Spencer Krug has recorded a new solo version of “I’ll Believe in Anything” on piano. The Apologies to the Queen Mary track recently went viral after being used in a pivotal scene of the HBO romance series Heated Rivalry. Krug broke out his stripped-down rendition of the song during a Vancouver concert last month, and this version was recorded in a studio in response to how well it was received. Listen to it below.
“I’ve made a few different solo versions of this song over the years. This is easily the best one, second only to Wolf Parade’s rendition,” Krug wrote on Instagram. “I feel like I finally have a solo version of the song that I can bring to my solo sets, that I can sincerely stand behind, because it pays proper tribute to the Wolf Parade version—heartfelt, grandiose, cathartic, and a joy to play. I’m reminded of feelings I had two decades ago when first discovering what the song wanted to be.”
In an interview with Vulture, Krug and bandmate Dan Boeckner explained how their Wolf Parade song was licensed for Heated Rivalry, noting that the series creator and director Jacob Tierney outlined exactly how “I’ll Believe in Anything” would be used in the scene. “It felt really intentional,” said Krug. “You could tell he cared about the song, too. He wanted that song, which made it an easy yes. It wasn’t like, ‘Well, if this doesn’t work and they say no, we’ll ask a different band.’ I think if we said no, he would have had to change the script.”
Apologies to the Queen Mary was released in 2005 and given a deluxe reissue in 2016 when Wolf Parade returned after a long hiatus. In 2022, the band performed a series of shows during which they played the album in full. As for Krug, he released his debut solo album under his own name, Fading Graffiti, in 2021 and followed it up with 2022’s Twenty Twenty Twenty Twenty One.
Tame Impala’s Kevin Parker won his second Grammy earlier this month, taking home the award for Best Dance/Electronic Recording category for the Deadbeat single “End of Summer.” But, as the artist revealed in a recent interview, he missed the whole thing.
“Look, I’m going to be dead honest with you. I forgot they were even on,” Parker said of the Grammys in a conversation with Mac Demarco for Interview Magazine. “I forgot that I was nominated as well.”
To Parker’s credit, he’s Australian, and his category was awarded during the Grammy Premiere Ceremony, which airs live from Los Angeles and precedes the main telecast. This year, the Premiere Ceremony kicked off around 12:30 PM PST; that equates to 4:30 AM in Perth, where Parker is based.
“You have to imagine my confusion,” Parker explained to Demarco, “because in Australia, we wake up and then we find out about what happened in America last night, so my phone has absolutely blown up. I’ve got 30 messages on my phone, all saying congratulations. None of them are saying what for. And I’m like, “What for, motherfuckers?”
Parker secured his first Grammy in 2025, also for Best Dance/Electronic Recording. He shared the win with Justice, for their song “Neverender.” Last week, Parker announced a 2026 Tame Impala tour, which will stop at arenas across the U.S. and Canada between July and mid-September. Djo and Dominic Fike will trade off support duties.
There’s a deluge of great releases coming up in the next month, so we’ve devised this handy guide for our most anticipated albums!
Black Label Society – Engines Of Demolition (March 27, 2026)
With Engines Of Demolition, Black Label Society mastermind Zakk Wylde channels the turbulence of the past four years into a record that spans triumphant highs and crushing lows. Written between 2022 and 2025 during Wylde‘s time on the Pantera Celebration World Tour, the album balances hulking riffs and road-hardened grit with some of his most personal material to date, including the heartfelt tribute “Ozzy’s Song.”
San Francisco’s elusive post-black metal collective Bosse-de-Nage return after eight years with Hidden Fires Burn Hottest, their most expansive and unbound work yet. Long affiliated with The Flenser, the band has evolved in relative isolation, allowing their sound to mutate beyond categorization. Tracked by Jack Shirley at Atomic Garden East and mixed/mastered by Richard Chowenhill, the album trades the taut restraint of Further Still for sprawl and strangeness, treating emotion as something tangible and spatial.
Dan Swanö – Moontower (Reissue) (March 6, 2026)
After 27 years, Dan Swanö‘s cult solo opus Moontower returns in a newly remastered edition, complete with a 16-track bonus disc. Originally conceived as “death metal from 1972,” the album captures Swanö at his most adventurous, weaving progressive rock ambition into extreme metal frameworks. Known for his work with acts like Opeth and Katatonia, Swanö revisits pivotal tracks such as “Sun of the Night” and “Uncreation” with renewed clarity, spotlighting the record’s swirling keys, humming guitars, and introspective menace.
Egregore – It Echoes In The Wild (March 20, 2026)
Canadian occult extremists Egregore push further into sonic wilderness on It Echoes In The Wild, an elemental expansion of their blackened death metal assault. Featuring members connected to acts like Mitochondrion and Auroch, the band balances primitive force with vast, atmospheric breadth, conjuring diabolic landscapes both geographic and psychological. Engineered by Mariessa McLeod and mixed/mastered by Arthur Rizk, the album embraces esoteric madness and untamed spirituality, plunging listeners into a lawless dominion where occult fury and windswept ambience collide.
ERRA – silence outlives the earth (March 6, 2026)
On silence outlives the earth, Alabama progressive metalcore standouts ERRA sharpen both their thematic focus and sonic extremes. Opening with the liminal swirl of “stelliform,” the album navigates existential uncertainty with mystical restraint and crushing catharsis in equal measure. Produced once again by Daniel Braunstein, the record finds ERRA at their most cohesive – ethereal passages bloom into punishing crescendos, and personal reflection intertwines with commentary on a fractured world.
Exodus – Goliath (March 20, 2026)
Thrash legends Exodus return swinging with Goliath, a ferocious and collaborative statement four decades into their reign. Produced by the band and mixed/mastered by Mark Lewis, the album blends razor-wire riffing and mosh-pit savagery with dynamic flourishes–from the anthemic surge of “The Changing Me” to the colossal title track featuring ominous string arrangements. With contributions from stalwarts Gary Holt, Lee Altus, Tom Hunting, and Jack Gibson, Goliath proves Exodus remain fearless, evolving without sacrificing the explosive authenticity that defined their 1985 debut Bonded By Blood.
Fotocrime – Security (March 13, 2026)
Louisville post-punk force Fotocrime expands its sonic arsenal on Security, welcoming new members Benjamin Clark and David Cundiff into the fold. Spearheaded by Evan Patterson, the album boasts an eclectic cast of collaborators, including Jay Weinberg, Barney Greenway, and members of Sumac and Young Widows. Co-produced and engineered alongside J. Robbins, Security refines Fotocrime‘s brooding intensity with layered textures and guest-driven dynamism, marking another bold chapter for the ever-evolving project.
Gaerea – Loss (March 20, 2026)
Portuguese masked collective Gaerea shed and reshape their blackened skin on Loss, their first release with Century Media. Recorded with longtime collaborator Miguel Tereso, the album integrates their post-black metal roots with sharper production, haunting melodies, and even unexpected clean vocals and choruses. Still cloaked in anonymity and ritualistic presence, Gaerea continue to explore the frayed edges of the human psyche, inviting their “Vortex Society” into a deeply personal yet transcendent sonic experience.
Gold Pyramid – Gold Pyramid (March 5, 2026)
The instrumental duo Gold Pyramid – uniting drummer Evan Diprima and guitarist John D. Cronise – deliver a self-titled debut that fuses heavy rock muscle with sci-fi synth shimmer and Southern groove. Known respectively for their work with Moon Destroys and The Sword, the pair channel their knack for uplifting, expansive sounds into a wordless journey aimed at transcendence. The result is a cinematic, riff-driven record that feels both grounded and otherworldly, offering a restorative blast of instrumental heavy rock.
Gutvoid – Liminal Shrines (March 20, 2026)
With Liminal Shrines, Canadian death/doom explorers Gutvoid unleash the first half of an ambitious two-part concept. Across six immersive movements, the band refines their cosmic horror atmospheres with more progressive structures and melodic focus, as heard on “Spell Reliquary.” Recorded across multiple studios and mixed/mastered by Greg Dawson, the album expands their crushing foundation into intricate, transformative territory steeped in themes of metamorphosis and mysticism.
Heavy Metal Shrapnel – Heavy Metal Hairspray (March 27, 2026)
Spearheaded by Andrew Lee and featuring powerhouse vocalist Mark Boals, Heavy Metal Shrapnel inject classic US power metal with a lean, aggressive edge on Heavy Metal Hairspray. Eschewing symphonic excess, the album embraces riff-heavy directness reminiscent of Boals‘ era with Yngwie Malmsteen, bolstered by a guest appearance from keyboard virtuoso Derek Sherinian. It’s a defiant celebration of big hooks, bigger riffs, and unapologetic heavy metal thunder.
Hellripper – Coronach (March 27, 2026)
The brainchild of James McBain, Hellripper storms forward with Coronach, a black/speed metal barrage steeped in Scottish history and old-school ferocity. Recorded at McBain‘s Coronach Studios and mastered by Damien Herring, the album draws inspiration from the raw attack of early Metallica and Venom while sharpening Hellripper‘s own blood-soaked identity. As their Century Media debut, it promises high-octane riffing and fearless extremity.
Intoxicated – The Dome (March 27, 2026)
Florida death-thrash veterans Intoxicated return with The Dome, their third full-length and a reaffirmation of their place in the state’s storied extreme metal lineage. Originally formed in 1993 and mentored early on by Chuck Schuldiner of Death, the band delivers unrelenting speed, razor-sharp riffs, and concise songwriting rooted in classic death-thrash tradition. The Dome channels decades of experience into a focused, high-impact assault.
Këkht Aräkh – Morning Star (March 27, 2026)
On Morning Star, Këkht Aräkh merges 90s black metal devotion with lo-fi warmth and experimental textures. Collaborators VS–55 and Varg2TM contribute abstract sampling and grainy atmospherics, while James Ginzburg‘s mastering enhances the album’s depth. The result is a deeply personal work that honors tradition while embracing subtle sonic evolution, marking both a continuation and an arrival for the project.
Lamb Of God – Into Oblivion (March 13, 2026)
Richmond metal titans Lamb Of God confront societal fracture head-on with Into Oblivion. Vocalist Randy Blythe frames the album as a commentary on the erosion of the social contract, a theme underscored by blistering singles like “Sepsis” and “Parasocial Christ.” Produced and mixed by longtime collaborator Josh Wilbur, the record was tracked across locations deeply tied to the band’s identity, delivering a furious yet reflective statement from modern metal mainstays.
Monstrosity – Screams From Beneath The Surface (March 13, 2026)
Florida death metal titans Monstrosity return after seven years with Screams From Beneath The Surface, a ferocious reaffirmation of their genre-defining brutality. Led by drummer and founder Lee Harrison, the revitalized lineup features longtime guitarist Matt Barnes, returning original bassist Mark Van Erp, and new vocalist Ed Webb (ex-Massacre), whose guttural power injects fresh venom into the band’s sound. Tracked between Audiohammer Studios with producer Jason Suecof and Morrisound Studios alongside Jim Morris, the album fuses classic and modern production muscle, cementing Monstrosity’s enduring dominance in extreme metal.
Emerging from the depths of Chile’s extreme metal underground, MORS.VOID.DISCIPLINE unleash their debut full-length Txketh)ëké, a 20-minute obliteration of bestial war metal and 90s-inspired goregrind. Preceded by the premiere of “Sanguinem In Anum Caprae Putrescentis Eiaculans,” the album has already been hailed as “inhuman, unhinged, hideously toxic, and perversely addictive.” Drawing on influences like Blasphemy and early Carcass, the band blends mangled riffs, pitch-shifted vocals, and occultly inflected horror into a cryptic, arcane soundscape.
Poison The Well – Peace In Place (March 20, 2026)
After years of milestone tours and sustained influence, metalcore pioneers Poison The Well return with Peace In Place, their sixth full-length. Produced by Grammy-winner Will Putney, the album channels the spirit of genre-defining releases like The Opposite of December… A Season of Separation while refracting it through decades of growth and perspective. Following a lengthy hiatus, the band’s renewed creative unity signals a powerful next chapter for a group whose legacy continues to resonate.
The Silver – Looking Glass Hymnal Blue (March 20, 2026)
Philadelphia’s The Silver aim for mythic scope on Looking Glass Hymnal Blue, an ornate and emotionally excavating work that builds on the exploratory spirit of their prior release. Recorded with engineer Richie DeVon and adorned with unified artwork by Paul Romano, the album blends ambitious compositions with introspective lyricism centered on reflection, memory, and fractured identity. Each song functions as both hymn and key, inviting listeners to confront the mirror and what lies beyond.
Temple Of Void – The Crawl (March 6, 2026)
Detroit doom/death crushers Temple Of Void delve into allegory and existential dread on The Crawl. Tracked in a frigid January week at Kurt Ballou‘s GodCity Studio, the album favors a raw, human feel, with massive guitar tones and in-the-room percussion. Lyrically grappling with life, consequence, and humanity’s darker impulses, The Crawl balances psychological horror with crushing sonic weight.
Vreid – The Skies Turn Black (March 6, 2026)
Norwegian stalwarts Vreid describe The Skies Turn Black as one of their most demanding yet rewarding creations. Emerging from a turbulent writing period, the album’s eleven tracks reflect struggle, recalibration, and artistic renewal. Produced alongside Anders Nordengen and adorned with artwork by Kim Holm, the record marks a confident evolution five years after their previous release, setting the stage for a major European tour.
Winterfylleth – The Unyielding Season (March 27, 2026)
UK atmospheric black metal torchbearers Winterfylleth offer pointed social commentary on The Unyielding Season, their ninth album and first with Napalm Records. Expanding on themes introduced in The Imperious Horizon, the band confronts the manifestation of looming malevolence with meticulously crafted poetry and sweeping compositions. It’s a rebellious, reflective work that continues their legacy of blending historical consciousness with cinematic black metal grandeur.
Witchcraft – A Sinner’s Child (March 13, 2026)
Swedish heavy rock icons Witchcraft return with the intimate five-track EP A Sinner’s Child. Following the acclaim of 2025’s IDAG, founder Magnus Pelander strips the sound to its essence, moving between proto-doom weight, luminous folk passages, and soulful acoustic dirges. Deeply personal and emotionally resonant, the EP serves as both epilogue and distillation–proof of the enduring power of melody, vulnerability, and stripped-down heaviness.
Deathcore veterans Fit For An Autopsy have announced three special headlining performances coinciding with their upcoming spring tour supporting Lamb Of God, alongside Kublai Khan TX and Sanguisugabogg. Those dates (and their openers) are available below, and you can get your tickets right here.
3/18 Syracuse, NY Song & Dance (w/ Quantifier & Slum Lord) 3/31 Lakewood, OH Mahalls (w/ Sterilizing The Deceased & 6deep) 4/22 Pittsburgh, PA Spirit Hall (w/ Victims Of Contagion & Underneath)
w/ Lamb Of God, Kublai Khan TX & Sanguisugabogg
3/17 National Harbor, MD The Theater at MGM National Harbor 3/19 Montreal, QC Bell Centre 3/20 Toronto, ON GCT Theatre 3/22 Detroit, MI Fox Theatre 3/24 Minneapolis, MN Armory 3/25 Chicago, IL Byline Bank Aragon Ballroom 3/27 Denver, CO Fillmore Auditorium 3/28 Salt Lake City, UT The Union Event Center 3/30 Portland, OR Theater of the Clouds 3/31 Seattle, WA WAMU Theater 4/1 Vancouver, BC PNE Forum 4/3 San Francisco, CA The Masonic 4/4 Inglewood, CA YouTube Theater 4/5 Phoenix, AZ Arizona Financial Theatre 4/7 Albuquerque, NM Revel Entertainment Center 4/10 Austin, TX Moody Amphitheater 4/11 Irving, TX The Pavilion at Toyota Music Factory 4/12 Houston, TX 713 Music Hall 4/14 Nashville, TN War Memorial Auditorium 4/15 Atlanta, GA Coca-Cola Roxy Theatre 4/16 Raleigh, NC Red Hat Amphitheater 4/18 Reading, PA Santander Arena 4/19 Virginia Beach, VA The Dome 4/21 Buffalo, NY Buffalo RiverWorks 4/23 Brooklyn, NY Brooklyn Paramount 4/25 Uncasville, CT Mohegan Sun Arena 4/26 Boston, MA MGM Music Hall at Fenway
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Rhino Records is set to release Breaking Out Of Heaven2007-2009, a career-spanning collection highlighting the final chapter of Ronnie James Dio‘s legendary reunion with Black Sabbath members under the Heaven & Hell banner. The set arrives March 27 in both 7LP and 4CD/Blu-ray boxed editions, each featuring an illustrated book with new liner notes by Hugh Gilmour, a replica tour book, and poster.
The collection covers the band’s triumphant 2007–2009 reunion, which reunited Dio with Tony Iommi, Geezer Butler, and Vinny Appice decades after their original run. It includes performances from the Live From Radio City Music Hall show, the Top 10 studio album The Devil You Know, and the live album Neon Nights: 30 Years Of Heaven & Hell – Live At Wacken, recorded during their 2009 European tour.
Highlights of the release include:
First-ever vinyl release of the complete Live From Radio City Music Hall performance.
Eight tracks making their vinyl debut, including studio tracks from The Dio Years and select live recordings.
Blu-ray content with HD-upscaled video of Bible Black, plus additional live shows and interviews with the band.
The entire box set runs as follows:
Disc One: The Devil You Know
“Atom and Evil”
“Fear”
“Bible Black”
“Double The Pain”
“Rock And Roll Angel”
“The Turn Of The Screw”
“Eating The Cannibals”
“Follow The Tears”
“Neverwhere”
“Breaking Into Heaven”
Bonus Tracks from The Dio Years
“The Devil Cried”
“Shadow Of The Wind”
“Ear In The Wall”
Disc Two & Three: Live from Radio City Music Hall
“E5150 / After All (The Dead)”
“The Mob Rules”
“Children Of The Sea”
“Lady Evil”
“I”
“The Sign Of The Southern Cross”
“Voodoo”
“The Devil Cried”
“Computer God”
“Falling Off the Edge Of The World”
“Shadow Of The Wind”
“Die Young”
“Heaven And Hell”
“Lonely Is the Word”
“Neon Knights”
Disc Four: Neon Nights: 30 Years Of Heaven & Hell
“Mob Rules”
“Children Of The Sea”
“I”
“Bible Black”
“Time Machine”
“Fear”
“Falling Off The Edge Of The World”
“Follow The Tears”
“Die Young”
“Heaven And Hell”
“Neon Knights”
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Following next month’s Beasts Of The East Tour, Filth will embark on a 10th anniversary headlining tour. The trek will feature full-time support from Resistor and Inferious, with Two-Piece & The Gang and Monochromatic Black appearing on select dates.
The tour kicks off on April 10 at Sky Grog Lounge in Asheville, NC and wraps up on May 3 at Amityville Music Hall in Amityville, NY. Get your tickets here.
w/ Two-Piece & The Gang
4/10 Asheville, NC Sky Grog Lounge 4/11 Chattanooga, TN JJ’s Bohemia 4/12 Murfreesboro, TN Hop Springs 4/14 Mobile, AL Alabama Music Box 4/15 New Orleans, LA Holy Diver 4/16 Shreveport, LA Straight Jackets 4/17 Houston, TX Pub 529 4/18 Corpus Christi, TX House Of Rock 4/20 Austin, TX Come And Take It Live 4/21 Haltom City, TX Haltom Theater 4/22 Amarillo, TX The Atomic Yellow 4/23 Oklahoma City, OK 89th Street
w/ Monochromatic Black
4/24 Kansas City, MO Westport Bowery 4/25 Chicago, IL WC Social Club 4/26 Indianapolis, IN Black Circle 4/28 Lansing, MI Macs 4/29 Cleveland, OH Grog Shop 4/30 New Kensington, PA Preserving Underground 5/1 Millersville, PA Phantom Power 5/2 Old Town, ME The Old Town Theatre 5/3 Amityville, NY Amityville Music Hall
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During a recent appearance on the Scandalous podcast, former Fear Factory frontman Burton C. Bell reflected on the band’s 2021 album Aggression Continuum and the circumstances surrounding its release. The album, which arrived in June 2021 via Nuclear Blast Records, was primarily recorded in 2017 and featured Bell alongside founding guitarist Dino Cazares and drummer Mike Heller.
According to Bell, the record was originally completed years earlier under a different title. “We finished that record in 2017 and it was titled Monolith,” Bell said. “So to me that was the last record, Monolith. To me it was the tombstone and Monolith was the epitaph.”
When asked whether he harbored resentment over the band releasing Aggression Continuum after his official departure, Bell clarified that his disappointment centered more on the changes made to the project rather than its release itself.
“No, I didn’t feel that way. But I was really disappointed that they changed everything. They kept my vocals. I mean, the album was done in 2017. It was mixed, mastered. It had an album cover, had a title, and then after three years, I departed and shit happened. They went and changed everything. So, that’s the one record I won’t sign.”
Bell officially exited Fear Factory in 2020, marking the end of a decades-long tenure that helped define the band’s industrial metal sound. While Aggression Continuum stands as his final released work with the group, Bell appears to view the unreleased Monolith version as his true creative closing chapter with the band.
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Synthwave outfit The Black Queen, fronted by Greg Puciato (Better Lovers, ex-The Dillinger Escape Plan), has announced three additional stops on their upcoming Fever Daydream 10th anniversary tour.
The May run marks the band’s first tour since 2019, offering fans the chance to experience their dark, atmospheric take on electronic rock live. Known for blending ethereal synth textures with Puciato‘s intense vocal delivery, the band promises a dynamic set that celebrates a decade of their seminal album Fever Daydream.
5/6 Seattle, WA El Corazon 5/17 Phoenix, AZ Last Exit 6/3 West Palm Beach, FL Respectable Street
“As anyone into The Black Queen knows, we’ve been dormant for a minute,” Puciato says. “A lot of things ended up on the front burner and suddenly seven years had gone by, and 10 years since Fever Daydream‘s release. Fever Daydream was really special and we know it meant a lot to fans as well.
“So we figured let’s get some grease on us and get some of that mojo back before releasing our third album. Maybe we’ll toss some new songs in as well. See you soon.” Already confirmed dates prior:
5/8 Portland, OR Star Theater 5/9 Denver, CO The Federal Theatre 5/14 San Francisco, CA DNA Lounge 5/16 Los Angeles, CA Catch One 5/17 Boston, MA Sonia (at Middle East) 5/22 New York, NY Le Poisson Rouge 5/23 Baltimore, MD Ottobar 5/24 Detroit, MI The Magic Bag 5/27 Montreal, QC Théâtre Fairmount 5/28 Toronto, ON Lee’s Palace 5/29 Cleveland, OH Mercury Music Lounge 5/30 Chicago, IL Bottom Lounge 6/4 Atlanta, GA Masquerade (Hell) 6/5 Austin, TX Elysium 6/6 Dallas, TX AM/FM
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Fans of theatrical, high-energy metal are in for a wild ride this May as Nekrogoblikon hits the road with Psychostick and Galactic Empire. The “party goblins of metal” are known for their blend of technical chops, absurd humor, and unforgettable stage antics, making every show a theatrical experience.
The tour kicks off on May 7 in Charlotte, NC at Amos Southend, then heads to some of the Southeast’s hottest rock venues, including Welcome to Rockville in Daytona Beach on May 9, and the Music Farm in Charleston, SC on May 10. Get all the band’s dates below and get your tickets here.
Nekrogoblikon, EnterpriseEarth & Wretched
3/5 Salt Lake City, UT Metro Music Hall 3/6 Colorado Springs, CO The Black Sheep 3/8 Wichita, KS Wave 3/9 Springfield, MO The Regency Live 3/10 Nashville, TN Exit / In 3/12 Allentown, PA Arrow Archer Music Hall
HANABIE., Nekrogolikon & Enterprise Earth
3/13 Boston, MA Big Night Live 3/14 Brooklyn, NY Brooklyn Bowl 3/15 Silver Spring, MD The Fillmore Silver Spring 3/17 Montreal, QC Théâtre Beanfield 3/18 Toronto, ON The Danforth Music Hall 3/20 Pittsburgh, PA Roxian Theatre Presented by Citizens 3/21 Philadelphia, PA Theatre of Living Arts 3/23 Raleigh, NC The Ritz 3/24 Atlanta, GA Buckhead Theatre 3/25 Orlando, FL House of Blues Orlando (no Nekrogoblikon) 3/27 Cleveland, OH House of Blues Cleveland 3/29 Detroit, MI Saint Andrew’s Hall 3/30 Chicago, IL House of Blues Chicago 4/1 Minneapolis, MN The Fillmore Minneapolis 4/3 Dallas, TX House of Blues Dallas 4/4 Houston, TX House of Blues Houston 4/6 Austin, TX Emo’s Austin 4/7 Phoenix, AZ The Van Buren 4/9 San Diego, CA House of Blues San Diego 4/10 San Francisco, CA August Hall 4/11 Los Angeles, CA The Belasco
Nekrogoblikon, Psychostick & Galactic Empire
5/7 Charlotte, NC Amos Southend 5/9 Daytona Beach, FL Welcome To Rockville 5/10 Charleston, SC Music Farm 5/11 Richmond, VA Canal Club 5/13 Buffalo, NY Buffalo Iron Works 5/14 Columbus, OH Sonic Temple (Nekrogoblikon only)
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In a candid new interview with Blabbermouth, Mikael Åkerfeldt, the legendary vocalist and guitarist of Opeth, shared insights on his current life, creative ambitions, and the band’s future.
When asked about a potential new album cycle, Åkerfeldt said: “I cannot say much, but I have a project that I’m doing in May. Hopefully, it will materialize, but I am doing something in May. That’s going to be fun. Then, I might have some project as well, like, for me, not for the band. I’m a bit burned out, as you can probably tell. I would really need a break from the band and be regular Mikael, not band Mikael.”
Away from the rigors of touring, Åkerfeldt is embracing domestic life: “Yes, and my records. I’m a really good househusband. I wish I could be paid for it. I’ll get up at six in the morning and cook breakfast for everyone. Sometimes my daughters show up, and sometimes they don’t, but I’m up. [Laughs]”
He also reassured fans that Opeth is not planning a “farewell” tour, emphasizing a quieter approach if changes come: “Opeth is not going to split up. If we do, we’re going to disappear. It’s not going to be a big hurrah, ‘final tour.’ That’s not going to happen. We’re going to disappear. Honestly, I don’t think we’ll ever stop playing. We love each other, and we love playing together.”
Åkerfeldt hinted at a shift in focus for the band, favoring creative output over relentless touring: “There’s probably going to be less touring. If we do less touring, it will mean more music and more frequent releases. That’s what I really want to do. Maybe, if I feel like, ‘Oh, I think we should do a tour,’ and see if there are people out there who like us, we can do that. First and foremost, I want to spend more time with the creative side of things.”
Fans can take comfort knowing that while Opeth may scale back live appearances, the band’s musical evolution and Åkerfeldt’s creative ambitions remain very much alive.
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Bassist Mike Leon has announced his departure from CKY, citing what he describes as ongoing “unprofessionalism” and “lack of accountability” from the band’s leader, Chad I Ginsburg.
In a candid statement shared with fans, Leon confirmed he will not be participating in the band’s upcoming shows and detailed the circumstances that led to his exit.
“Hey everyone, I want to let you know that my time with CKY has come to an end. Growing up, I was a huge fan of the band, and getting the opportunity to play with them was a dream come true. I genuinely enjoyed my time there, and it was fun… until it wasn’t.”
Leon explained that logistical and business disagreements — which he says were “primarily driven by the actions of the band’s leader” — created internal strain.
“For full transparency, I will not be participating in the band’s upcoming shows. As unfortunate as this is, given the circumstances, I believe this was the right move to make. The differences regarding logistics and business decisions, primarily driven by the actions of the band’s leader, created internal issues that made an already stressful environment increasingly difficult to work in.”
According to Leon, the problems weren’t new. “This unprofessionalism and lack of accountability was known well before I joined, and persisted throughout my time with the band, making day-to-day operations a constant challenge. The love I had for the band blinded me to the red flags my peers and the band’s previous history had warned me about, especially surrounding the frontman, yet I chose to believe things would be different.”
The bassist didn’t mince words when describing the atmosphere behind the scenes. “In all of my years of working in this industry, I have never experienced this level of toxicity from an individual, and it stings extra having been perpetrated by the very band that first inspired me to start my career as a musician.
“Music should be a source of joy, but the environment became a source of stress that ultimately outweighed the positive aspects of being part of the band I grew up loving. I will continue creating music, and I sincerely thank all of you for your unconditional support.”
Leon‘s departure marks another lineup shift for CKY, whose history has been punctuated by internal turbulence over the years. As of now, the band has not issued a public response to his statement.
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On Wednesday (February 18), Mike Hadreas, the artist better known as Perfume Genius, posted a desperate plea on X: “Can someone please change my Wikipedia pictures? How do you do it? It’s haunted me for years.” What was then his artist photo dated back nearly a decade to 2017. (Hadreas’ frequent collaborator Blake Mills also caught a stray).
Musicians have long suffered in silence at the capricious whims of Wikipedia editors. Artist photos on the site are almost always out of date, unflattering, or both. And Hadreas isn’t the only one speaking up. Swedish pop star Zara Larsson is apparently locked in a cold war with one user who keeps swapping out the photo on her page. In a new TikTok, Larsson addressed the rogue editor directly, vowing that “I will never stop changing that picture to a nice one. I will never stop.”
Larsson’s page—like those of many high-profile artists—falls under what’s called extended confirmed protection, which restricts public editing. So while Hadreas was able to enlist one of his X followers to do away with what he called the “corpse in red lipstick,” Larsson would have required the assistance of a high-level Wiki user (someone who’s made at least 500 edits) or site administrator.
Whether you’re a musician who cringes every time you Google yourself or a stan who knows your fave deserves better, here are several ways to change an artist photo on Wikipedia. Just be sure the image is freely licensed, which means you either took the picture yourself or you have the express permission of whoever took it.
Via Email: Submit a suitable picture via photosubmission@wikimedia.org, alongside a statement confirming that you own the copyright on the image and a specific licensing agreement (Wikipedia recommends CC BY-SA 4.0. If you don’t own the copyright to the photo you want to use, whoever owns the rights—usually the photographer, unless ownership has been transferred—should send in the release statement instead.
Via Wikimedia Commons: Start by creating a Wikimedia Commons account, or logging in to Wikimedia Commons with a pre-existing Wikipedia account. Click “Upload file” on the left-hand menu, and fill out the upload form. Once you’ve uploaded a suitable picture, you can crop it and add a caption. Go to the page you want to update and click “Edit” in the top-right corner. In the edit window, look for “Infobox musical artist,” then delete whatever’s listed under “image.” Replace that text with the file name of the photo you uploaded, then scroll down and click “Publish changes.” (To be a good Wikipedia samaritan, you should also write an edit summary describing what you changed and why.)
Via the Talk Page: Click “Talk” in the top left corner of the artist page. Go to “Add topic,” and make a post with the subject “Photo Edit Request.” Link out to another suitable picture anywhere else on the web, confirm that you’re the rights holder, and include one of the above licensing agreements. Help should soon be on the way.
This week, Universal Music Group struck a new multi-year agreement with superfan-focused platform EVEN.
In other UMG-related news, Virgin Music Group announced on Friday (February 20) that it has completed its acquisition of Downtown Music Holdings LLC (Downtown).
Also this week, Live Nation Entertainment posted annual revenues of USD $25.2 billion for 2025, up 9% – or by $2.05 billion – year-over-year.
Elsewhere, HYBE AMERICA’s Nashville-based country, Americana, and roots rock division was rebranded as Blue Highway Records, with veteran entertainment executive Jake Basden appointed as Chief Executive Officer.
Meanwhile, it was reported that Casey Wasserman is putting his namesake talent agency up for sale.
Here are some of the biggest headlines from the past few days…
Universal Music Group has struck a new multi-year agreement with EVEN, a superfan-focused platform that lets artists sell music and engage with fans directly.
The deal establishes EVEN as a direct-to-fan resource for UMG, providing the major’s labels and artists with “turnkey” tools for engaging superfans through early access to music, exclusive content, and community features.
The agreement will also allow UMG artists to offer physical music and merchandise through EVEN using UMG’s global D2C, vinyl, and merch infrastructure.
The partnership marks the latest expansion of UMG’s D2C and broader superfan strategy… (MBW)
Live Nation Entertainment has posted annual revenues of USD $25.2 billion for 2025, up 9% – or by $2.05 billion – year-over-year.
The live entertainment giant has also reported that a record 159 million people attended Live Nation-promoted shows in 2025 (across 55,000 concerts) – up by 8 million YoY.
A standout fact about these 159 million attendees?
For the first time, in 2025, more music fans attended Live Nation concerts outside the United States than inside it…(MBW)
Virgin Music Group (VMG) announced on Friday (February 20) that it has completed its acquisition of Downtown Music Holdings LLC (Downtown).
The closure follows the European Commission’s approval of the deal last Friday (February 13), subject to Universal Music Group’s commitment to divest Downtown’s Curve royalty accounting business.
Alongside the deal’s completion, it was announced that Pieter van Rijn has been appointed Chief Operating Officer of VMG, having been CEO of Downtown since last year.
He will report to co-CEOs Nat Pastor and JT Myers and will continue to be based in Amsterdam.
Downtown Founder Justin Kalifowitz confirmed he is stepping away from the company he founded in 2007. Andrew Bergman, previously Chairman of Downtown, will transition into a senior advisory role. (MBW)
HYBE AMERICA’s Nashville-based country, Americana, and roots rock division has been rebranded as Blue Highway Records (previously BMLG).
Veteran entertainment executive Jake Basden has been appointed as Blue Highway Records’ Chief Executive Officer.
Basden most recently served as President of Sandbox Management, where he oversaw all aspects of the talent division’s representation and business development, guiding the careers of multi-platinum and multi-award-winning talent, including Kacey Musgraves, Brandi Carlile, Kate Hudson, Kelsea Ballerini, Baby Nova, and Little Big Town… (MBW)
Casey Wasserman is putting his namesake talent agency up for sale. The move comes after documents linking him to Jeffrey Epstein’s associate Ghislaine Maxwell triggered significant backlash from the company’s clients and staff.
The sale was first reported by The Wall Street Journal on Friday (February 13), citing a memo to staff.
Wasserman, grandson of entertainment mogul LewWasserman, built Wasserman Agency into one of Hollywood’s largest sports-marketing and talent-management firms with roughly 4,000 employees, according to the WSJ.… (MBW)
Partner message: MBW’s Weekly Round-up is supported by BMI, the global leader in performing rights management, dedicated to supporting songwriters, composers and publishers and championing the value of music. Find out more about BMIhere. Music Business Worldwide
Pulp have released a new song, “Begging for Change.” It’s the latest single off War Child UK’s charity album Help(2), which is due out March 6. The track was recorded while the British band was working on their 2025 album, More. Listen to it below.
The original Help album was released in 1995, featuring Oasis, Paul McCartney, Radiohead, and more. The record raised £1.25 million for children affected by the Bosnian conflict. The following year, War Child and Pulp were both up for a Mercury Prize. Although Pulp won, the band decided to donate their prize money to the organization. “Thirty years ago we gave our Mercury Prize (and the prize money) to War Child,” frontman Jarvis Cocker said in a recent press release. “This year we have given more. How much more? You’ll have to wait and see…”
Jessie Ware has shared a new single from Superbloom. “Ride,” the track she premiered at a Glastonbury club in 2024, comes with a simple, sultry video, which you can watch below. The track interpolates Ennio Morricone’s theme song from The Good, the Bad and the Ugly.
Ware says in a press release, “Ride was the first song I wrote for this record. I made it in 2024 with my best friend Jack Peñate and Karma Kid, who feature throughout the album. It’s a song for the clubs, for the dancefloor – fun, cinematic, cheeky and powerful. I first performed it at NYC Downlow at Glastonbury after headlining West Holts, and I’ve been waiting two years to finally put it out. I know others have been waiting too… so here it is. You’re welcome.”
Ware shared the “I Could Get Used to This” video last month, ahead of Superbloom’s arrival on April 10.
Set against the remote wilderness bordering Glacier National Park in Northwest Montana — in a region the Blackfeet Nation call “The Backbone of the World” — Fire in the Mountains continues to carve out its place as North America’s most immersive heavy music experience.
More than a festival, Fire in the Mountains blends music, art, education, food, and social responsibility into a wilderness gathering designed to “rewild” attendees — reconnecting people with the natural world and themselves. And for 2026, the lineup just got even more monumental.
The fourth wave of artists includes Agalloch (performing a special Ashes Against the Grain set), Amigo the Devil, and a historic performance of Between Two Worlds by black metal heavyweights Abbath, Ice Dale, and Armagedda.
Festival organizers shared: “It is our absolute honor to host for the first time ever in North America— and second time ever on stage— the performance of the landmark 2006 release BETWEEN TWO WORLDS by founding members and Black Metal superstars Abbath, Ice Dale, and Armagedda.
“In an exclusive North American engagement, the band will bring the triumphant ripper of a record to life on stage, in the glory of the Rocky Mountains on the beautiful Blackfeet Nation for a special 20th Anniversary Performance. A show that before could only be dreamed of, we cannot wait to share this moment with all of you under the stars.”
Abbath himself added: “Between Two Worlds is an album I’ve always been very proud of. Many of these songs have only been performed live once. I’m very much looking forward to teaming up with my old friends Ice Dale and Armagedda to revisit these tracks for this great occasion. It’s been way too long.” A special guest headliner is still to be announced.
The Fire in the Mountains 2026 is:
Special Guest Headliner
16 Horsepower
Enslaved
Between Two Worlds
Baroness
Amigo the Devil
Borknagar (U.S. exclusive)
Agalloch
Yob (presented by Firekeeper Alliance)
The Ruins of Beverast (U.S. exclusive)
SubRosa
Full of Hell (presented by Firekeeper Alliance)
Gallowbraid (U.S. exclusive)
Sigh
Wayfarer
Old Man Gloom
Raven Chacon & Iggor Cavalera
Midwife
Dreadnought
Phobophilic
Tarantella
Yaotl Mictlan
Savage Oath
Galvanist
Nocturne
El Welk
From atmospheric black metal to doom, folk, and experimental soundscapes, the bill once again reflects the festival’s commitment to music that feels elemental — best experienced beneath open skies and mountain horizons. Get your tickets here.
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