Based in Jyväskylä, Nemecic—representing the slightly rougher edge of the melodic death metal spectrum—is stirring from its slumber. The reason? The band is about to release its first new track since the 2021 full-length The Last Magic in Practice.
“The Chalice of Rot” is the first single taken from an EP set to drop in late 2026. Guitarist Tuomo Salonen comments on the track—recorded, mixed and mastered by Teemu Liekkala (Rioghan, Red Eleven etc.)—as follows:
“I guess you could say ‘finally!’. As is tradition for us, things stretched out a bit… and somehow the gap between releases ended up being almost five years.
But yeah, the song! According to the captain’s log, ‘The Chalice of Rot’ was first kicked off sometime in 2023, so this brew has been fermenting in some form for quite a while now. If I remember correctly, we were still tweaking the final arrangement pretty much down to the wire, since we just couldn’t get the verses to click—but in the end, the solution came from a good old-fashioned stomp, very much our style.
I think we’ve mentioned before that so-called ‘melodeath’ is a pretty well-chewed bone by now, and our influences on the melodic death side come from somewhere else than the In Flames/Soilwork axis. But hey, you’ve gotta try everything—so on this track’s chorus we probably get as close to Soilwork as we ever have, or ever will. There’s clean singing, harmonies, all that stuff.
As a counterbalance, the middle section hits back with a pretty gnarly riff—so yeah, safe to say we’re still not heading to Eurovision just yet.”
Founded in Heinola in 2005 and now based in Jyväskylä, Finland, Nemecic represents the heavier side of melodic death metal. The band’s music combines relentless double bass drumming, downtuned guitars, guitar solos, and a mix of harsh growls and clean vocals. While difficult to compare directly to any single band, Nemecic’s sound draws influence from acts such as Fear Factory, Lamb of God, Katatonia, and Bolt Thrower.
The lyrics of the band’s newer material offer a critical perspective on contemporary society. Running through the songs is a search for meaning in a world perceived as alienated and devoid of values. Marked by themes of grief, loss, and existential reflection, the material paints a bleak picture of the contradictions inherent in the human condition.
To date, Nemecic has released two full-length albums, The Deathcantation (2017) and The Last Magic in Practice (2021), both of which received positive reviews. Fans of the band’s previous work are unlikely to be disappointed by the upcoming EP, scheduled for release in late 2026.
Finnish melodic metal act After Infinity continues the journey toward their upcoming album “Beyond Eternity” with the release of the new single “Infinite Feeling“, accompanied by an official visualizer.
Following the heavy riffs and themes of rebellion explored on the previous single “King With No Crown“, the band now reveals a brighter and more uplifting side of its musical identity. Featuring guest vocalists Nitte Valo (Dreamtale, ex-Battle Beast) and Leonard F. Guillan (ex-King Company), “Infinite Feeling” combines energetic melodies, driving rhythms, and an irresistible synth-driven hook, showcasing another facet of the stylistic diversity that defines “Beyond Eternity“.
Conceived and led by guitarist and songwriter Zsolt Szilagyi, After Infinity‘s sophomore album expands upon the foundations of the band’s 2024 debut, exploring the intersection of power metal, heavy metal and progressive metal while maintaining a strong melodic core. While the album embraces a wide emotional spectrum, “Infinite Feeling” stands as one of its most uplifting moments.
Commenting on the new single, Zsolt Szilagyi states:
“Infinite Feeling is an ode to the eccentric and perhaps neurodivergent artists who aren’t afraid of being 100% who they are. Even if they might have extra struggles in their daily life, they make it up by giving extra deep feelings into their lives and the lives of people around them. It’s a happy and energetic song driven by a synth riff that makes your head bob, like it or not.”
The song celebrates individuality, creativity, and self-expression, paying tribute to those who embrace their uniqueness and transform it into something meaningful. Musically, it balances catchy melodic sensibilities with the layered arrangements and dynamic songwriting that characterize the band’s approach.
With the release date now confirmed for October 23rd, 2026, “Infinite Feeling” offers another glimpse into the diverse musical landscape of “Beyond Eternity“. The album follows closely in the footsteps of the band’s debut, combining heavy riffs, memorable melodies, and rich orchestral arrangements while pushing further into progressive territory. Across its nine tracks and six guest vocalists, the record delivers a constantly evolving listening experience without losing its distinctive identity.
Rather than relying on a fixed vocalist, After Infinity has built the project around a collaborative concept, allowing each song to develop its own character while remaining part of a cohesive artistic vision. This approach once again plays a central role in “Beyond Eternity“, where every guest performer contributes a unique voice and perspective to the album’s narrative.
Produced by Zsolt Szilagyi, with orchestrations by Gideon Ricardo and bass performances by Ville Koskinen, the album combines powerful songwriting with carefully crafted arrangements, balancing immediacy and complexity throughout its running time.
For fans of: Europe, H.E.A.T, Van Halen, Sonata Arctica, Symphony X, Helloween
After Infinity is a Finnish melodic power and heavy metal project founded in 2022 by guitarist and songwriter Zsolt Szilagyi, known for his work with Dreamtale and Frozen Factory. Built around a flexible and collaborative structure, the band emerged from Szilagyi’s desire to move beyond a purely solo approach and create a dynamic musical environment involving multiple performers.
Rather than relying on a fixed line-up of vocalists, After Infinity developed a distinctive identity by working with a wide range of guest singers, allowing each track to take on its own character while maintaining a cohesive artistic vision.
This approach quickly became a defining element of the project, turning it into a platform where different voices and influences converge.
The band’s sound blends heavy guitar riffs, rich orchestrations, and strong melodic hooks, moving seamlessly between powerful metal compositions and more introspective passages driven by piano and atmospheric textures. Drawing from power metal, heavy metal, and progressive influences, After Infinity aims to deliver a diverse listening experience shaped by contrast, emotion, and compositional depth.
Their self-titled debut album, released in 2024, received positive feedback for its songwriting and musicianship, establishing the project within the contemporary Finnish metal scene. Building on that foundation, the sophomore album “Beyond Eternity” further expands the band’s sonic palette, introducing new guest vocalists and pushing the balance between heaviness, melody, and progressive elements while preserving the core identity that defines After Infinity.
“Grim Prophecy”, the new album by Sardinian thrash/death metal outfit GRIM PROPHECY, is available now on all digital platforms through Volcano Records & Promotion. Accompanying the release is the official music video for ‘A Grim Prophecy’, the track chosen by the band as the manifesto of a work deeply rooted in the darkest corners of the human imagination.
Across nine aggressive and uncompromising tracks of extreme metal, Grim Prophecy unfolds through a narrative journey that intertwines reality and nightmare, dark fantasy visions and reflections on the most disturbing aspects of contemporary society. The lyrics explore themes such as mass manipulation, conspiracies orchestrated by those in power, dark rituals, and the control of the individual, descending into the abyss of madness, murderous instinct, and the self-destructive impulses that dwell within human nature.
Within this framework comes A Grim Prophecy, the single selected to accompany the album’s release. “A cruel destiny, a grim prophecy” stands as the conceptual core of the entire record: a fierce tale exposing what happens behind the scenes of power, where sacrifices, rituals, manipulation, and slavery are used as instruments of control, transforming anger and discomfort into a devastating burst of direct and relentless thrash/death metal. From a musical standpoint, Grim Prophecy forge their identity through an instinctive fusion of technical death metal and high-speed thrash, enriched by a classic heavy metal vein that recalls the legacy of masters such as King Diamond and Black Sabbath while maintaining a modern and distinctive approach. The result is a cohesive and compact album capable of balancing sonic violence, dark atmospheres, and a strong narrative dimension. With Grim Prophecy, the Sardinian band confirms its determination to explore the darkest corners of both the human mind and society, delivering a debut album destined to appeal to old-school thrash and death metal devotees while remaining engaging for listeners seeking more layered and contemporary sounds.
After releasing their impressive debut single “Terminal Phase“ earlier this year, ORDER now unveils their powerful second single, “Digital Tear“. Infused with futuristic electronic elements and the dark atmosphere of heavy gothic rock, the track was produced by the band’s trusted producer, Lauri Hämäläinen, who also worked on the debut release.
ORDER is a duo formed by two familiar names from the Finnish metal scene: Saku Solin (Turmion Kätilöt, Fear of Domination) and Daniel Tähkä, whose long-hidden musical talents have previously been seen mainly through the lens of a camera.
The message behind Digital Tear is dark, but challenging people to think critically is more important now than ever.
“‘Digital Tear’ is a powerful journey into ORDER’s dystopian world and state of mind. At the same time, I found myself wondering how far removed it really is from the world we live in. The boundaries are already becoming blurred, morality increasingly appears to be little more than an objective guideline, and humanity itself is questionable in many ways,” says Solin, continuing:
“It inevitably raises the question of whether an apocalyptic scenario, humanity becoming machine-like, or the rise of artificial intelligence would necessarily be such a bad thing. What if, in the end, we are the villains of the story while some other force watches our journey toward the inevitable and sheds a single digital tear?”
Daniel takes the thought even further.
“Humanity loves inventing new ways to destroy itself, and some of the things described in this song
may already have happened without us even noticing. Maybe one day an advanced AI will dig our bones out of the sand and wonder about them the same way we wonder about fossils.”
A music video for the song, illustrated by Milla Rissanen and animated by Lotta Ruutiainen, has also been created for “Digital Tear”. The video will be released through the band’s channels as well as those of Blood Blast Distribution, which distributes ORDER’s music worldwide.
Also check out the band’s debut music video for “Terminal Phase”, available to watch here.
Bloody Falls, who have been releasing new songs throughout the spring, have just released their new IValbum through Art Gates Records. The band, which has achieved excellent streaming figures, has become one of the most interesting Finnish newcomers in the course of their career, with three studio albums already released. Bloody Falls also has a colorful history – after all, the band’s primus motor Stavros Mathios arrived in Finland at the age of 21 solely to found a metal band.
The IV studio album, which is now being released, is very classic metal in its themes, from the riders of the Book of Revelation to the rise of the devil and the darker sides of humanity. The band states that the album has clearly taken Bloody Falls forward, and the final sounds were honed by, among others, Max Morton, who gained inspiration as the producer of Jinjer. Jesus Lhysta (The Rotted Artist) is responsible for the band’s cover art, and the band feels that working with this team has helped them find their own style and identity.
Although Bloody Falls has not really tried to reinvent the wheel with this album but has focused on what they know, they have also selected elements of thrash among the groove metal and melodic death and black metal. Musically, the whole thing takes Bloody Falls in a slightly heavier, but at the same time more interesting direction.
“We had great confidence in the material already during the demo phase, and yet the reception has been at times even speechless. The feedback has been positive throughout and the number of streams is increasing at such a pace that we haven’t really internalized the whole thing properly yet. I have never been so excited about the reactions on the release day!”, says Marko Mäkinen.
Bloody Falls celebrated their new album live by performing at Bar Kotelo in Tampere together with Torchia on Saturday, June 13th. The band will be seen next summer, among other things, as the headliner of the MasisRock festival on August 29th.
The summer gigs announced so far are:
29.8. MasisRock Festival, Espoo – headliner
14.11. Fuusio, Turku – King Satan’s record labels with Black Totem
Bloody Falls is:
Antero Hakala: Vocals
Stavros Mathios: Guitar and backing vocals
Marko Mäkinen: Guitar
Mika Lehtinen: Bass
Rami Vartiainen: Drums
The Finnish heavy metal scene is no stranger to slow-developing projects, taking years to form, hone their sound, and finally emerge with something unmistakably their own. Themata is one such rare example. What began as a distant idea among old friends in the early 2000s has gradually evolved into a fully realized creative force. With their debut EP, Riven, released last year and their first-ever concert in Pori on May 23rd, the timing couldn’t have been better to catch up with singer Juuso and guitarist Ville-Veikko.
We had the opportunity to discuss the band’s long journey to its founding, the creative process behind their music, and what the future holds for them.
Hey guys, how are you doing?
Juuso: We are doing well. Today we are playing our first show ever here in Pori, so it is a big day for us.
How did the band originally come about? What were the early stages of its founding?
Ville‑Veikko: The roots of Themata actually go back to the early 2000s. I was playing in a stoner‑influenced band with our drummer Ville back when he still lived and studied in Pori. After he graduated and moved to Helsinki, that band ended, but we stayed in close contact and always had the idea that one day we would start another project together. Eventually Ville joined Dö, and I became involved with Atlases. In 2018, Atlases and Dö played a joint show, and that’s when the idea resurfaced. I had written a bunch of songs, and we started discussing who could join. Early on, we had members from Besra and Callisto, but everyone’s main bands kept taking priority.
I wrote more songs and we tried again, this time looking for musicians closer to us, from Dö and Black Royal but again, schedules got in the way. Eventually, Ville and I decided to record the EP ourselves and then find the right vocalist afterward. A couple of people were involved briefly, but they disappeared from the picture.
Finally, Ville asked Juuso from Grave With A View if he would be interested in handling vocals. He liked the material and joined. That is how the debut EP Riven was created recorded by the three of us: Juuso on vocals, me on guitar and bass, and Ville on drums.
How did the band approach you, Juuso, to join?
Juuso: I have known Ville for a while. He came to see a show of another band I was singing in, and afterward he sent me the material and asked if I’d be interested in making a demo. Things just spiraled from there.
And you felt the music spoke to you right away?
Juuso: Yeah. There are a lot of elements in it that resonate with me. The material speaks to me in its own way.
What inspired the name Themata? Does it have a specific meaning or story?
Ville‑Veikko: Coming up with a band name is always tricky. Karnivool’s album Themata caught my eye back in 2005, and the name stuck with me because of its mystery. For us, Themata means theme or subject, something open, something that does not confine us. It gives us the freedom to create without limits. So while the name is taken from Karnivool, to us it represents artistic freedom and the ability to explore visions we couldn’t realize in our other projects.
How would you describe the musical and lyrical themes of your EP Riven?
Ville‑Veikko: Musically, we wanted to keep things simple and give space to the production. The goal was to create something heavy, dynamic, and appealing to a wide audience. People have told us that Themata feels like something new in the metal scene. We call our style modern sludge, which fits the sound well.
Lyrically, we wander through gloom, where even the smallest glimmers of light feel like the last ashes of an extinguished ember.
Where did the EP recording process take place, and how did the environment affect the final sound?
Ville‑Veikko: The EP was recorded in three different locations across Southern and Western Finland. Each of us worked in our own environment, and that shaped the final result. The energy we got from each other’s contributions was strong. We were able to work entirely on our own terms and schedules, and the sound world emerged naturally heavy, crushing, and exactly what we aimed for.
What can you tell us about your latest single “Monochrome”?
Ville‑Veikko:Monochrome was written in the aftermath of Riven, but it expands on the EP’s atmosphere. It was recorded in different locations, and mixed and mastered by a different team. It is a step toward an even rawer sound, but still part of a natural continuum. There is no specific message, Juuso interprets the curse of being thrown into endless darkness, where death is born in perfect symbiosis with oneself. The cover art is by Niilas Nissilä of Sepulchral Curse. Mixing was done by Oskari Hakala‑Rahko from Themata live collective, and mastering by Miro Kiiski.
Juuso, were you able to write anything for this single?
Juuso: No, Ville‑Veikko wrote everything. That is how the band works, that is how we split the tasks. I arranged the lyrics and the vocals.
Where did you record the vocals?
Juuso: At home. I have a small studio setup, so I do everything there.
So it is easier without studio pressure?
Juuso: Exactly. And I live in the middle of a forest, in the middle of nowhere, so it works perfectly.
You all play in different bands. How do you find time to rehearse and coordinate?
Juuso: It is difficult, there are a lot of moving parts. For this show, we rehearsed maybe three times. But we’ve all been playing for a long time, so everyone knows what they’re doing. We practice individually and then make sure it works together. Time management is tough.
If you had to describe Themata’s music to someone who has never heard it, what would you say?
Juuso: To me, it is both beautiful and absolutely horrific at the same time. It has a heavy, oppressive quality, and that is what drew me to it.
Are you working on new music now?
Juuso: Yes. Ville‑Veikko is writing new material, and we have talked about doing a full‑length album. We already have a lot of material ready, and some tracks recorded in the same session as Monochrome. We will release those this year.
Ville‑Veikko: More new music is coming to support our autumn gigs.
How was the reception to the EP last year?
Juuso: I think it was received well. I did not hear any negative feedback. Overall, the response was positive.
How did it feel doing soundcheck today for your first gig? How was the synergy?
Juuso: Normal in a good way. I have played with our bassist Oskari for a long time, and Iha ve known Ville‑Veikko for years. We are all friends, so it is easy. No stress. Everyone trusts each other.
How do you prepare before a gig?
Juuso: Vocal warm‑ups, lots of water, and getting into the right headspace. It depends on the band I am performing with, each one has a different ritual. Honestly, it is pretty boring. Just the basics every singer needs.
How did you learn the vocal techniques you use?
Juuso: I can not even really remember. I did backup vocals for a while, then ended up in a band where the vocalist quit, so I had to take over. It was trial and error, losing my voice a million times and getting it back. But I have been doing it for a long time now.
So you learned how to manage it over time?
Juuso: Yes. And if you are playing a lot of back‑to‑back shows, you have to take care of yourself. Otherwise you won’t last.
So a full‑length album and more gigs are coming. Anything else? Any music videos planned?
Juuso: We do not have any videos planned at the moment. Maybe we will do one, you kind of have to, but I am not a big fan of music videos myself. Right now we are focusing on gigs, writing, and recording. We will probably record early next year once the writing is finished.
We’re at the end of the interview. Anything you’d like to say to your fans and the people reading this?
Texas’ blazing death metal fivesome CREEPING DEATH are proud to announce they have officially signed to BLKIIBLK. The signing follows the recent announcement that CREEPING DEATH will be featured on The Summer Slaughter Tour 2026 Part IIalongside Hatebreed, Terror, Incantation, Gates to Hell, and Torture. For a full list of tour dates, please see below.
On their signing to BLKIIBLK, vocalist Reese Alavi shares:
“We’re beyond stoked to join forces with BLKIIBLK. It took very little time to see how hard the label’s camp works for their artists & it couldn’t have come at a better time. We’ve been working hard on LP3 all year, and we can guarantee you – it’s the most CREEPING DEATH record to date. We can’t wait to see what the future holds being a part of the BLKIIBLK team.”
Mike Gitter, Global Head of A&R for Frontiers Label Group and BLKIIBLK Label Head, expresses:
“BLKIIBLK is proud to be working with the legends of Texan death metal, CREEPING DEATH. They were a band that signaled a shift in the metal landscape as they toured tirelessly alongside the likes of Power Trip, Carcass, and the list goes on. They’ve got the riffs, the heaviness, and a work ethic that’s second to none.”
CREEPING DEATH Live:
The Summer Slaughter Tour 2026 Part II
w/ Hatebreed, Terror, Incantation, Gates to Hell, and Torture
August 20 – Albuquerque, NM @ El Rey Theater
August 21 – Tucson, AZ @ Rialto Theatre
August 22 – Las Vegas, NV @ House of Blues
August 23 – Anaheim, CA @ House of Blues
August 24 – Sacramento, CA @ Ace of Spades
August 25 – Boise, ID @ Treefort Music Hall
August 26 – Spokane, WA @ Knitting Factory
August 29 – Calgary, AB @ The Ranchroad
August 30 – Regina, SK @ Casino Regina Show Lounge
August 31 – Winnipeg, MB @ Burton Cummings Theatre
September 2 – Sioux Falls, SD @ The District
September 3 – Kansas City, MO @ Warehouse on Broadway
September 5 – Davenport, IA @ Capitol Theatre
September 6 – Milwaukee, WI @ The Rave
September 8 – McKees Rocks, PA @ Roxian Theatre
September 9 – Silver Spring, MD @ The Fillmore
September 10 – Albany, NY @ Empire Live
September 12 – Ottawa, ON @ The Bronson
September 13 – Norwalk, CT @ District Music Hall
CREEPING DEATH is the past, present, and ugly future of Texas Death Metal. The Lone Star State fivesome have built a legacy of brutality, gruesome riffage, and Southern grooves with an improbable cathartic glee. As Revolver Magazine observed, CREEPING DEATH “assemble hulking riffs, screaming guitar solos, and ghastly vocal lows, and play them with the urgent momentum of a sterling hardcore band.”
Bursting from an underground that not only has given the world metallic mainstays like Pantera, but also the likes of Power Trip, Iron Age, Devourment and modern-day metallurgists including Frozen Soul, CREEPING DEATH is the band that defines the sound and sweaty ethos of Texas Metal. For founding members, vocalist Reese Alavi and guitarists A.J. Ross III, and Trey Pemberton, the journey is still a scorched earth affair as they nestle into their new label home, BLKIIBLK.
Since the release of 2016’s ‘Sacrament of Death’ three-song demo, CREEPING DEATHhas been a force in its own right. By the time they unleashed 2019’s ‘Wretched Illusions’ album, CREEPING DEATH was touring exhaustively with the likes of High on Fire, Carcass, and Municipal Waste and traversing Europe with Goatwhore and Revocation. 2021’s ‘The Edge of Existence’ EP further strengthened CREEPING DEATH’s resolve, winning over crowds at festivals including Psycho Las Vegas and South by Southwestas well as the vaunted Sound and Fury and This Is Hardcore festivals.
With 2023’s ‘Boundless Domain’ album, which saw the band collaborate with Killswitch Engage guitarist and producer, Adam Dutkiewicz, CREEPING DEATH had truly arrived as a force both onstage and on record. “We’ve freely admitted that we are a selfish band, in so much as we really only wrote music for us,” explains Pemberton. “We make music that’s fun for us to play. The music that we want to hear. After all, we’re the ones who’re going to hear these songs the most, night after night.” ‘Boundless Domain’ saw them sharpening songwriting blades with songs like “Vitrified Earth” and the groove-laden “Intestinal Wrap,” which also featured the trademark roar of Cannibal Corpse vocalist, George “Corpsegrinder” Fisher.
With their lineup rounded out by bassist Addrian Bijan Jafaritabar (of Texas grinders, Saintpeeler) and drummer Robert Dominguez, CREEPING DEATH looks toward a brutal horizon. “We’re digging into the writing for LP number three,” says Alavi. “It really is CREEPING DEATH at our most intense. We’ve had a couple of member changes and a label change, and it feels like that sense of chaos and the determination we’ve always had is not only coming out in the music but is redefining who and what CREEPING DEATH is.”
CREEPING DEATH are: Reese Alavi – Vocals
A.J. Ross III – Guitar
Trey Pemberton – Guitar
Addrian Bijan Jafaritabar – Bass
Robert Dominguez – Drums
CRO-MAGS, the iconic New York hardcore outfit fronted by Harley Flanagan, proudly make their BLKIIBLK debut with the new single, “Wired for Chaos.” The new track marks CRO-MAGS’ first new music in six years, giving fans a taste of what’s to come.
“Wired for Chaos,” which shares its name with last year’s documentary about Harley, was recorded, mixed, and mastered by Arthur Rizk (Power Trip, Code Orange, Cavalera Conspiracy). It was produced by Harley and Arthur and features drum phenom Greyson Nekrutman. The new single arrives alongside an official music video, available below.
On the new single “Wired for Chaos,” Harley Flanagan comments:
“The new video for ‘Wired for Chaos’ reminds me of our first video, ‘We Gotta Know,’ which came out 40 years ago, except that it shows where the band is at now. I am proud to say that we are one of those few bands that have a multigenerational audience and bridge the gap between hard-core kids, metalheads, punks, skinheads, and more, as seen in the audience of this video, which was filmed at our shows on the past few tours. Not many bands have such a blended fan base besides Motörhead, and I am proud to say that we are following in that tradition.”
Harley continues, “The song title ‘Wired for Chaos’ was taken directly from the recent documentary of the same name. It comes in with an aggressive metal intro befitting a UFC walk-in or a video game, then bursts into a more traditional HC thrash vibe before returning to a heavy beatdown at the end in an unmistakable CRO-MAGS style. The song is literally about being programmed and wired for chaos from birth, not just by environment, but by parents, trauma, childhood experiences, and the resulting PTSD that I personally struggle with as a result.”
Europe:
June 6 — Emmen, Netherlands @ Pitfest
June 7 — Hamburg, Germany @ Hafenklang
June 8 — Copenhagen, Denmark @ Beta
June 9 — Berlin, Germany @ Neue Zukunft
June 10 — Schwerin, Germany @ Club Zenit
June 12 — Venlo, Netherlands @ Grenswerk
June 13 — Bergen Op Zoom, Netherlands @ Gebouw-T
June 14 — Hoofddorp, Netherlands @ C-Punt
June 15 — Heidelberg, Germany @ Halle02
June 16 — Essen, Germany @ Turock
June 17 — Saabrucken, Germany with Sepultura @ Garage
June 18 — Luzern, Switzerland @ Sedel
June 20 — Clisson, France @ Hellfest
July 20 — Gdansk, Poland with Biohazard @ B90
July 21, 2026 — Warsaw, Poland with Biohazard @ Progresja
July 22, 2026 — Wroclaw, Poland with Biohazard @ Zaklete Rewiry
July 24 — Debrecen, Hungary @ Campus Festival
July 25 — Martinska, Croatia @ Punk + Zestoka Festa
August 5 — Vagos, Portugal @ Vagos Metalfest 2026
August 7 — London, UK @ United and Strong Fest
August 8 — Newport, UK @ Corn Exchange
August 9 — Blackpool, UK @ Rebellion Festival
USA:
September 26 — Daytona Beach, FL @ Party Weekend
October 4 — Sacramento, CA @ Aftershock Festival
More Dates TBA!
The history of Harley Flanagan and his band CRO-MAGS is integral not just to the history of hardcore, but to modern metal, rock, and punk itself. With roots stretching from the shadow of Warhol and the Velvets to CBGB’s hardcore matinees and L’Amour Brooklyn thrash-a-thons, all the way through current generations of punk and extreme metal, CRO-MAGS are the connective tissue. Just ask the likes of Dave Grohl, Green Day, and Turnstile. CRO-MAGS stand side by side with Black Sabbath, Motörhead, and Metallica as both an influence and a gamechanger.
The brainchild of a 14-year-old Harley Flanagan, CRO-MAGS began in 1981 while Flanagan was playing drums for The Stimulators. By 1982/83, he had recorded the primal CRO-MAGS demos — four songs that would become the blueprint for the seminal 1986 release, ‘Age of Quarrel.’ Initially a solo vision, Flanagan wrote and played all of the music himself. In 1985, alongside guitarist Parris Mayhew, vocalist John Joseph McGowan, and drummer Mackie Jayson, the genre-defining ‘Age of Quarrel’ demo was recorded. The full-length album followed in 1986, with Doug Holland of Kraut joining on second guitar.
Explosive both on and offstage, CRO-MAGS have had a tumultuous history, to put it mildly. Through multiple lineups, six studio albums beyond the original demos, and more than four decades of worldwide touring, CRO-MAGS remain one of the most iconic bands in American hardcore and metal. Today, the band is led by Flanagan on bass and vocals — a role he has held since ‘Best Wishes’ (1989). He remains the only member to appear on every CRO-MAGS release since the band’s founding.
Progressive metal band The Mourning returns with “If I Die I Die,” a powerful new single and cinematic music video that launches the next chapter of the band’s evolution, one defined by heavier sonics, deeper emotional intensity, and the introduction of new co‑vocalist Nanda Hayek.
Built on the band’s signature blend of cinematic songwriting, dual vocals, and progressive metal precision, the track confronts the fear of death, existential dread, and the psychological exhaustion of living under fear’s control. As the band states in the source document, the song’s core declaration, “I’m tired of all this fear, I’m done living in fear”, captures its central theme of surrendering fear and stepping into freedom.
Following the acclaim of their full‑length album “Hush”, praised as “a complex, engaging prog metal album” and “a very pleasant surprise” by metal media, the band sought a deliberate creative shift.
In October 2025, The Mourning quietly welcomed Brazilian vocalist Nanda Hayek into the lineup, known for her work with OverAlive and her background in psychotherapy and existential studies. Rather than announcing the change immediately, the band spent months crafting new material and building a complete visual identity around the single.
“If I Die I Die” is the first release to showcase the renewed dual‑vocal dynamic between Hayek and founding vocalist Johnny Ray, expanding the band’s emotional range and intensifying its modern metal edge.
Written by Francesco Pinter and Johnny Ray, and produced, mixed, and mastered by Alex Nasla, the single blends progressive metal intricacy with a darker, more direct heaviness. The band describes the track as “a psychological and spiritual battle,” moving from dread into cathartic release.
Lyrically, the song is framed as a dialogue between fear and faith, one voice clinging to control, the other fighting to break free. The refrain “If I die I die” is not nihilistic, but a moment of liberation: the refusal to let fear dictate one’s life.
The accompanying music video visualizes the song’s emotional arc through a symbolic narrative. A woman is hunted by a mysterious figure of death, terrified at first, then increasingly resolute. She rides her motorcycle toward the confrontation she has avoided, only to discover that death was never the true enemy. Fear was.
“By facing it directly, she conquers the thing that had been ruling her,” adds Johnny Ray.
The release also follows a breakthrough year for the band. In 2025, The Mourning made their live debut aboard 70000 Tons of Metal, where Kerrang! hailed them as an “outrageously talented new prog collective” and praised their 3 a.m. debut as “one of the sets of the weekend.” They later performed at Prog on the Ranch 2025, further solidifying their presence in the progressive metal scene.
Recommended for fans of Lacuna Coil, Amaranthe, Flyleaf, Disturbed, and Evanescence, watch and listen to the video for “If I Die I Die” at https://www.youtube.com/watch?v=Pbms_iiHgAM
About: Formed by vocalist and songwriter Johnny Ray, The Mourning was created to transform personal struggle, spiritual searching, and existential weight into emotionally immediate progressive metal. Their music blends soaring dual vocals, intricate musicianship, atmospheric tension, and deeply human lyrical themes. The band’s previous album, “Hush,” established them as a rising force in modern progressive metal, exploring anxiety, trauma, meaning, and inner transformation across its acclaimed tracklist.
Finnish progressive metal band Oddland are thrilled to announce the release of their new studio album, “Unilluminate To Illuminate”, out on August 21, 2026, via Frontiers Music Srl.
Having previously released two tracks from the album, “Eternal Erode” and “Freefall”, the band now unleash the new single “Soar”, along with an official video, available below.
They commented: “’Soar’ is a song that tells a story of what happens when there is an absence of a father in your life and, more importantly, how that empty space in your life is filled with images that rise from stories that are told, from images within, and from the needs one experiences growing up. It is a song touching deeply on longing and wanting to hide from the world in shame but also about finding your strength and light within. The video follows the theme of the album, reflecting the interplay of light and shadow.”
Oddland are also set to embark on a handful of tour dates across Europe, the full list of shows can be found below.
Oddland return with their highly anticipated new album “Unilluminate To Illuminate”, reaffirming their status as one of the most innovative and compelling forces in modern progressive metal.
Talking about the record, the band stated: “Unilluminate To Illuminate” reflects the need for polarity in life, the need for darkness in order to find joy in light, and the dance of these qualities that deepen the human experience. In the modern age there is a constant chase for dopamine rushes and shortcuts to euphoria. A constant state of happiness is not only impossible but an unfulfilling and untruthful way to live. There is darkness in all of us like there is light in all of us. And, in order to find your light, you must sometimes deeply explore your darkness. This is what the album aims to reflect in the songs and atmospheres we have created.”
Known for their intricate compositions and fearless approach to songwriting, the band continues to push boundaries while refining their already distinctive sonic identity.
The experience gained while supporting Soen on tour has clearly elevated the band to an even higher level, sharpening their performance edge and strengthening their sense of dynamics and impact. That growth is fully reflected in this new record, which feels more focused, confident, and mature than ever before.
This new album expands Oddland’s complex musical universe with heightened intensity, atmospheric depth, and razor-sharp precision. Shifting seamlessly between crushing heaviness and cinematic expanses, “Unilluminate To Illuminate” showcases a band operating at the peak of their creative powers, delivering a listening experience that is both technically impressive and emotionally resonant.
With a bold sense of dynamics and a strong conceptual undercurrent, the album captures the essence of a band that refuses to stand still. Each track reveals new layers upon repeated listens, blending progressive complexity with memorable themes and a powerful sense of direction.
“Unilluminate To Illuminate” stands as a striking statement from one of the finest names in modern progressive metal – a record that challenges, captivates, and ultimately elevates the listener.
“Unilluminate To Illuminate” Tracklist:
1. Amokinus
2. Eternal Erode
3. Soar
4. Ascent
5. Freefall
6. Unilluminate
7. Illuminate
8. Act Of Solace
9. Red Canvas
10. Unbound In Time
11. Waterdrops
Line Up:
Sakari Ojanen – Vocals, guitars
Joni Palmroth – Bass
Ville Viitanen – Drums
Jussi Poikonen – guitars
29.08: DK – Næstved @ Næstved Metalfest
04.09: FI – Turku @ Logomo
Split headliner EU tour with Mother Of Millions: 17.09: DE – München @ Feierwerk
18.09: DE – Stuttgart @ Klub Zentral
19.09: NL – Zoetermeer @ Boerderij
20.09: BE – Diest @ Hell
22.09: Tba
23.09: HU – Budapest @ A38
24.09: SK – Bratislava @ Randal Club
25.09: RO – Cluj @ Machines Venue
26.09: RO – Bucharest @ Quantic
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