SEVENDUST guitarist Clint Lowery, whose band is playing the final concert of its "In Dust We Trust" North American tour tonight (Saturday, March 29) in Springfield, Missouri, took to his social media to share a photo of several of his Christian inspirational bracelets, and he included the following message: "Last day of the tour. There's so much I could say and probably will do another post to give some more details of the journey. For now I'll say…I've never done a tour as a saved Christian.

"I am still building my relationship with Christ. I'm still a sinner, flawed and broken. BUT…..I've been able to see the world through a biblical lense. My band of brothers, our crew, the people who have come to the shows.

"It's been the most profound and spiritual tour I've done in my career. Free of resentments, free of judgement of others, less me and more them. Less self will and more of God's will.

"I've stared at these [bracelets] every day multiple times a day. Reminders when I sink into the darkness of my thoughts and fears.

"I'm so thankful to be alive today, to be faithful to my creator.

"Waiting for my family to arrive for our last show of this unbelievable tour I did not know I would be able to do but God made the way. I know he did.

"I never want to boast, or stand on a soapbox, I'm simply stating what has helped me keep moving forward in a better direction. So much respect for my band mates, crew and management. We did some good boys.

"Glory to God."

Lowery became sober nearly 18 years ago after being arrested at the Hodokvas festival in Piestany, Slovakia following what was described as a "wild drunken night" that resulted in the musician trashing his room. At the time, Lowery was on tour with KORN as the latter band's backing/session guitarist. A day following Lowery's arrest, he was released from police custody after apologizing and paying for the damages. He later released a statement explaining that he was "being a lil' rowdy and loud" in his hotel and acknowledging that he "pulled some Rock 101 stuff." He added that he was "not proud of it at all" and claimed that the entire episode was "scary enough" to where he knew he would never be doing anything like that "ever again."

When Clint celebrated the 17th year of his getting sober last October, he took to his social media to write: "Quick story….When I got sober, the first week was a blur to say the least. I entered a treatment center a few days after getting fired from my hired gun role in KORN. One of the many bottoms I hit that were sufficient enough to be willing to get sober and stay sober a day at a time. I was in a holding pattern for a few days waiting to get accepted into the treatment center and those days were foggy.

"I've always had a sobriety date of October 24th. But doing a true gut check and trying hard to remember the true date (which has always bugged me),this being an honest deal, I have to say my true sobriety date is October 27th, 2007 and God willing…I'll make it to tomorrow without a drink or drug.

"For years I've wrestled with that. Sounds like no big deal, right? Well, for me, those lil untruths are not good…at all. For me and especially for God. So only a few days different I'm even more grateful entering another year with that adjustment in the name of truth to self and a God I need to repent to.

"This year has undoubtedly been the hardest in my sobriety dealing with life on life's terms…but the true miracle is I haven't thought of taking a drink. That's a God thing…not a me thing. So before you have any atta boys I give credit to him. I post this also for the alcoholic out there trying to get sober. It can happen for you if it happened for me trust me

"I recently gave my life to Jesus Christ and that has brought me true comfort through the tough times. For me. I'm not here to tell anyone how to live their life and I was certainly one of the people who didn't like that pushed on me, I just encourage people to open their minds and hearts to him. It helped an old country dude find peace in true chaos and uncertainty."

SEVENDUST and THREE DAYS GRACE recently completed a North American tour as the support acts for DISTURBED on the latter act's "The Sickness 25th Anniversary Tour".

SEVENDUST is continuing to tour in support of its latest album, "Truth Killer", which was released in July 2023 via SEVENDUST's new label home, Napalm Records.

The follow-up to 2020's "Blood & Stone", "Truth Killer" was once again tracked at Studio Barbarosa in Gotha, Florida with producer Michael "Elvis" Baskette, who has previously worked with ALTER BRIDGE and SLASH, among others.

"Truth Killer" showcased the original and current SEVENDUST lineup, comprised of singer Lajon Witherspoon, guitarists Lowery and John Connolly, bassist Vince Hornsby and drummer Morgan Rose.

Last fall, SEVENDUST celebrated the 21st anniversary of its iconic album "Seasons" on a U.S. tour. "Seasons" is the fourth album from the band's catalog and exploded on to the metal world when it was released in October 2003. The album spawned a Top 10 Rock single with "Enemy" and the album closer "Face To Face" is a show staple and fan favorite of SEVENDUST to this day.

"Seasons" was, for a time, the band's last album with Lowery as he left in 2004. Lowery returned to SEVENDUST in March 2008 and has remained with the group ever since.

Last day of the tour. There's so much I could say and probably will do another post to give some more details of the...

Posted by Clint Lowery on Saturday, March 29, 2025

In an interview with Skratch N' Sniff and SNSMix.com, HOLLYWOOD UNDEAD co-founder Johnny 3 Tears revealed that he and his bandmates have no plans to release a new full-length album anytime soon. He explained (as transcribed by BLABBERMOUTH.NET): "We've got new songs coming out real shortly, within the next couple of months. As far as like a new 'record record', I don't know. I don't think we're even planning on [it]. Well, at least as of now, I think those days are numbered, as far as putting out, like, 'Hey, here's an album with 15 songs on it.' I mean, at some point that will happen. But as of now we're just kind of just releasing songs.

"We have a bunch of songs lined up — we're gonna release songs," he clarified. "At one point we'll probably package them with some other songs and put out a record for those who want 'em. But dude, cars don't even have fucking CD players in 'em anymore. What are we gonna release a record for? No one buys 'em. Except for people who like vinyl. And now, it's funny 'cause outside of the artwork, there's almost no incentive to make an album anymore. So we'll see what happens. But as of now, we're just gonna release songs and videos and all the other stuff, and eventually maybe package it into a record for people who want physical product or tangible product. But yeah, as far as releasing an actual album, I have no idea. I don't even know if anybody's gonna do that anymore."

When the interviewer noted that bands put out records, only for people to have forgotten about them within 10 days, Johnny 3 Tears said: "In the streaming era, it's a bummer. I used to love buying an album and you read the liner notes and the thank yous. It was like an event. But then again, I didn't have access to the back catalog of the world either. So it was, like, I spent 20 bucks. I'm gonna go through this and listen to every word and da, da, da, da. Now it's, like, dude, you're lucky if people listen to the first 30 seconds of every song on your album. And no one wants the physical product. So it's been negated by the streaming world. And if you don't adapt to that, it really is just kind of wasteful. And then the back half of your record no one listens to anyway, so you're getting bummed out 'cause you might have some really good stuff that you care about, and now you're, like, 'Well, no one's listening to those songs.'

"It's funny 'cause the hip-hop world's been doing this mix tape stuff for forever — two, three songs here, two, three songs there, a lot of collabing," he continued. "Rock is just now catching up to that. 'Hey, let's call up ICE NINE KILLS and do a song together.' 'Let's do some stuff with PAPA ROACH.' 'Oh, let's do something with ATREYU,' whatever. Hip-hop's been doing this forever, and now rock is coming around to the same avenue because now it makes more sense 'cause, yeah, people don't wanna buy albums and they've realized, Hey, you know what? Not every song has to be this massive event. You can just take something, like, 'Hey, let's record a song today and put it out next week.' Why not? If people don't like it, it's just sitting there, like, what's the big deal? Do you know what I mean? Not everything is living forever on some album now.

"It's a different world, dude," Johnny 3 Tears added. "Honestly, it's hard to adapt to. I can't stand the whole TikTok, 'Hey, you've gotta have snippets. You need these 15-second videos.' It's not my world. I'm just living in it. But as far as music goes, I love it, because I write music all of the time — every day, that's pretty much what we all do. And it sucks 'cause you write music all day every day, and you get every two years you've gotta put up 14 songs out of the hundreds you've worked on. So that's always been very, like, 'Eh, that that part kind of stinks.' So now we just write songs, we send them in and they'll be, like, 'Yeah, let's put it out in a couple weeks. What the hell?' That's a lot more fun. There's not so much weight on it: 'Oh, how did it do? Did it sell a gazillion copies?' It's more like it goes away with the next song that you put out. So there's less pressure on the song. We get to put out whatever we want, whenever we want. It's kind of cool — artistically speaking. But everything has its wins and losses."

He concluded: "It's a different world, dude. We're just living in it, bro."

After the interviewer pointed out that the old way of making records, with bands sometimes having to wait up to a year after an album has been completed for it to come out, Johnny 3 Tears concurred. "You are sitting there and then by the time you are putting it out, you wanna change stuff," he said. "You're, like, "This doesn't sound right now.' It's just a mind game. You do nine mixes, because you have too much time to think and you start making it worse because you have a vacuum in your head now. To me, it's just not conducive to creativity. And when you're making music and you know this probably isn't even gonna come out, you'll do it 'cause you like doing it but there's also this kind of ambivalence to the whole thing. It's, like, what's the point? And so I would way rather just be able to write a song and if we like it, put it out. If people don't like it, okay — I don't care. I'd rather people like it, but if they don't, it's not like I'm gonna go walk off a bridge or something. So it's, like, you let people listen to it. If they like it, they like it. If they don't, they don't. It's music. It's meant to be fluid. And I get it — for a record label, they needed those 14 songs to be perfect 'cause it was propped up on a 10-million-dollar campaign of promotion. They can't afford for it not to succeed, and I understand that. But that's not the case anymore. So, like, well, dude, let's rock and roll."

Last October HOLLYWOOD UNDEAD released a new single, "Hollywood Forever". The track, accompanied by an official music video, marked the band's first release under a newly inked deal with globally renowned independent label Sumerian Records.

HOLLYWOOD UNDEAD has surpassed three billion cross-platform streams and over one billion YouTube views, cementing its status as one of the most streamed rock bands of its generation, with an ever-evolving sound that continues to resonate with a global audience.

Since the release of HOLLYWOOD UNDEAD's RIAA platinum-certified 2008 debut album, "Swan Songs", their distinctive and infectious music has incited a cult audience of millions of fans, resulting in sold-out shows across the globe, in addition to receiving nods in the press from the likes of Consequence Of Sound, Billboard, Alternative Press, Rolling Stone and Revolver. The quintet have also garnered massive mainstream appeal, with their 2011 sophomore record, "American Tragedy", going gold and hitting No. 4 on the Billboard 200 chart.

HOLLYWOOD UNDEAD's latest album — the band's eighth — "Hotel Kalifornia", arrived in 2022 via Dove & Grenade Media/BMG.

Photo credit: Travis Shinn

Tim Cronin, founding member of stoner rock pioneers MONSTER MAGNET, has been diagnosed with ALS (Amyotrophic Lateral Sclerosis),a progressive and incurable neurodegenerative disease that causes muscle weakness, paralysis, and eventual respiratory system failure.

While there is no cure, there are care options and accommodations that can have a profound impact on Tim's quality of life. Unfortunately, they are significantly expensive. ALS has been called "the bankruptcy disease" due to the significant and ever-increasing financial burden it places on families.

Cronin's family is asking for fans' support to help ease the cost of this cruel and unfeeling disease and give Tim the comfort and dignity that he deserves.

So far over $55,000 has been raised towards the goal of $75,000 on a GoFundMe campaign which was launched over the weekend.

You donations will go directly towards:

* In-home assistance
* Wheelchair ramp
* Mobility aids
* Medical treatments and therapies
* Assistive devices
* Transportation to doctors appointments

Cronin helped shape MONSTER MAGNET's early sound with contributions on vocals, bass, and drums after the band's formation in 1989. Outside the studio, Cronin has spent over three decades at the helm of Jack's Music Shoppe, a beloved independent record store in Red Bank, New Jersey.

In recent years, MONSTER MAGNET has gone through a number of lineup changes, leaving Dave Wyndorf (vocals and guitar) as the only constant member.

MONSTER MAGNET has released eleven studio albums to date, including the band's latest, a covers album titled "A Better Dystopia", which came out in 2021. They are best known for their 1990s hits "Negasonic Teenage Warhead" and "Space Lord".

MONSTER MAGNET has been credited for developing and popularizing the stoner rock genre, along with MASTERS OF REALITY, KYUSS, FU MANCHU and SLEEP.

Wormholedeath is proud to announce the signing of Italian gothic rock/hard goth revolutionaries, Blax, for their sophomore album, Certesia, slated for release on April 25.

A storm of shadow and steel, Blax merges brooding gothic atmospheres with industrial grit, alternative edge, and the unapologetic fury of hard rock/metal, crafting a sound that defies genre walls while paying homage to the dark romanticism of ’80s icons.

Following their 2022 debut Meravilia – a cult favorite that carved their name into the underground – Certesia marks a journey inward. The album explores a metaphorical “village” of personal certainties, with each track dissecting introspective facets of identity.

“This isn’t just music—it’s a pilgrimage,” says the band. “Certesia is where we confront our shadows and embrace the chaos of self-discovery. It’s raw, theatrical, and unflinchingly honest.”

Get a glimpse of Certesia now with the music video for “Mr Graceful”, a taste of what’s to come. Watch the clip below.

Blax’s artistry extends beyond sound. Their striking visual identity embodies a “goth family” ethos, blending vampiric elegance with punk rebellion. This aesthetic depth amplifies their live shows, where haunting melodies collide with primal energy – a spectacle that has electrified stages at Masters Of Rock (CZ), Rock Castle (SK), and festivals across Europe.

Born in March 2020 as the solo vision of vocalist Giampaolo Polidoro (Blax) and guitarist Marco Fanella (Hektor), Blax evolved into a formidable quintet with Emil Dellantonio (Hexen) on guitar, Carlo Notarfonso (Xavier) on bass, and Luca Urbinati (Anon) on drums. After signing with AlphaOmega and conquering stages from Bulgaria to London, the band now readies their most ambitious work yet with Wormholedeath.



Certesia tracklisting:

“Blax”
“Mr Graceful”
“Doctor Love”
“All Saints In Hell”
“King Of The Cafe”
“Lady Music”
“Misery Of The Cross”
“Philophobia”
“Desideria”
“Rockaphilia”

After more than two decades without a proper tour, SAVATAGE is preparing to return to the stage. The American metal band, known for its fusion of heavy, progressive, and power metal, has been largely inactive in the live scene since 2002, with their last full performance taking place at Wacken Open Air 2015. Now they are set for a series of concerts across South America in April and Europe in June. The return begins in Brazil, where SAVATAGE will perform at the Monsters Of Rock festival on April 19 at Allianz Parque, São Paulo. The event will also feature SCORPIONS, JUDAS PRIEST, EUROPE, OPETH, QUEENSRŸCHE and STRATOVARIUS. However, one key member will be missing: Jon Oliva, SAVATAGE's founding vocalist and keyboardist. In 2023, Oliva suffered a T7 vertebra fracture in three places, a severe injury that has left him relying on a wheelchair. Additionally, he was diagnosed with multiple sclerosis and Ménière's disease, conditions that have further complicated his health.

In an interview with Brazilian music journalist Marcelo Vieira, Oliva repeatedly emphasized that his injuries prevent him from taking part in the tour, explaining how his condition has affected even basic activities, let alone performing.

"Oh, I feel like shit," Jon said (as transcribed by BLABBERMOUTH.NET). "Well, I've learned my lesson. First of all, never fracture your spine. That's my first tip, because it's incredibly painful and it takes a long time to heal. And, unfortunately, I fractured my spine in three places. Other than that, I'm okay, except with the fracture, I mean, I can't sing. I can't really move around that well yet because it isn't completely healed yet. And I can't do therapy, physical therapy, because it's not healed enough yet for that. So I'm basically stuck, and it sucks and I'm very disappointed, but what are you gonna do? Things happen. And if I would've hit where I did a foot to the left, I'd be dead right now. My truck, my vehicle got cut in half and I missed being grounded to a tree by about a foot. It was scary. And it was a freak accident. I hit a puddle on the road, I hit a puddle and I hydroplaned and I went off the road and hit a tree, and the tree cut my car in half. And, like I said, I just missed hitting the tree with my body by about a foot, they said."

After Vieira noted that Oliva will still serve as SAVATAGE's "musical director" for the upcoming shows and inquired as to what "this new dynamic" has been like for Jon and the rest of the band, Oliva said: "Well, it's weird, it's strange, but I put everything together. I was the first one that started putting this whole tour thing together. And then when the accident happened, I ended up in the hospital for seven months and my managers were, like, 'Well, I guess we're just gonna cancel.' I'm, like, 'Oh, man. No, no. Let me think on this for a little bit.' And I talked to all the guys, and I said, 'Well, look, what if you guys just go and do it and do it without me for this time, for this run, and then when I'm healed up, I'll come back and everything will be like it used to be.' I didn't wanna disappoint the SAVATAGE fans because everyone was looking forward to it and the guys in the band were really looking forward to it. And then, of course, I got in that accident and it screwed everything up. And I'm not that egotistical of a guy where I'm, like, 'Well, if I'm not there, nobody's [gonna play].' I'm not like that. So I talked with everybody. I put a setlist together, song list together, and I said, 'Okay, well, you guys wanna do this? Let's do it. I'm with you.' I'm gonna go to all the rehearsals and everything like that. I'll be there doing musical directing and stuff and whatever.

"The guys are hungry. They're gonna do great," Oliva continued. "I'm very confident that that they're gonna kick your ass. I mean, I wish I could be there, but physically I can't. And I won't go out on stage if I can't be at a hundred percent. And with this injury, there's just no way that I can sing at a hundred percent, and I won't do that. I'd rather just let the guys do it, and when I'm healed up — hopefully next summer, next spring, summer — I'll be okay to be back in there and I'll be back out there."

Asked if this return to the stage is a "one-off celebratory event" or if fans can expect the band to continue to release new material in the future, Oliva said: "Well, we've basically got a whole album that's written, that I've been working on and worked on some stuff with [guitarist] Chris Caffery and I worked on some stuff with [guitarist] Al Pitrelli and some stuff on my own, and we basically got all the material. It's just we were getting ready to start working on it together and this accident happened. I was actually on my way to the studio when this accident happened. It was just bad timing, and what are you gonna do? I mean, it was just a freak accident, but that stuff happens. I'm lucky to be alive. I decided, well, let the guys go and do these shows in South America and maybe a couple shows in Europe and then we'll get to work on the album. And I can do that, I can work on the album, as I am right now, but I can't do any live performances, because I can't stay on my feet that long with this spine thing, and I can't sing. I sing from my diaphragm, and let me tell you, trying to sing with a fractured spine is very painful — it's like being stabbed with a screwdriver. So until I'm better, I'm sending the guys out there to bust ass, and they're gonna do great. And they're very excited, and I'm excited for them. And there's a few surprises we have in store."

Regarding the musical direction of the new SAVATAGE material, Jon said: "It's a little bit of everything. There's some really great, great heavy, heavy dark songs. There's some great progressive, QUEEN-ish type songs. It's a little bit of everything. As a matter of fact, there's so much stuff, it might have to make it a double album, 'cause I've just got too much material. And it's all good. I'm not gonna just slap together some crappy album and call it SAVATAGE: 'Here you go.' No. Every song has gotta be a 10, and so far every song we've worked on is really good. And I think you guys are gonna love it."

Joining Chris and Al in SAVATAGE's current touring lineup are Johnny Lee Middleton on bass, Zak Stevens on vocals and Jeff Plate on drums.

Zak joined SAVATAGE in 1992 as the replacement for Jon. Zak sang on four albums with the band — "Edge Of Thorns" (1993),"Handful Of Rain" (1994),"Dead Winter Dead" (1995) and "The Wake Of Magellan" (1997) — before departing in 2000, allowing Jon to return. Both Jon and Zak took part in SAVATAGE's 2015 performance at Wacken Open Air, which marked the band's first, and only so far, appearance on stage since they went on hiatus back in 2002.

SAVATAGE's last album release, "Poets And Madmen", in 2001 was highlighted by Jon's return as lead vocalist, replacing Zak, who left the band citing family reasons, and the departure of Pitrelli, who accepted an offer to join MEGADETH in 2000. Pitrelli did record solos for some songs prior to his exit. Another very limited U.S. tour followed, supported by FATES WARNING in the early shows, and then NEVERMORE for the remainder. Around this time, Jon chose Zak's replacement in the form of Damond Jiniya (DIET OF WORMS). Damond performed Zak's parts on tour, with Jon having an increased vocal role in proceedings.

In September 2021, Jon Oliva was arrested on the west central coast of Florida for driving under the influence as well as possession of a controlled substance. Police charged Oliva with possession of cocaine, which is a felony, and DUI, which is a misdemeanor. Oliva was reportedly arrested again in July 2023 on another cocaine possession charge.

Back in 2016, Jon announced on social media that he suffered a stroke in April of that year. At the time, he said: "It was not as serious as it could have been, but it did leave me with some physical recovery challenges often associated with strokes."

Despite his health issues, Jon said that he didn't regret the way he had lived his life. He wrote: "I lived the rock 'n' roll lifestyle since I was 18. It's all I knew and I enjoyed the ride very much. But there comes a time in everyone's life where you have to step back and make some life-changing decisions... which I have."

Shortly after SAVATAGE's reunion performance at the 2015 Wacken Open Air festival in Wacken, Germany, Oliva claimed that he felt better than he had in 20 years because he had "stopped drinking and eating" in preparation for the concert. He explained: "It's my voice that's freaking me out, because, even when I was in my late 20s, early 30s, doing songs like '24 Hours Ago' were always really hard to do. And, of course, I didn't realize that it was all the drugs and alcohol I was doing. But, after doing that, getting my act together and stuff, singing '24 Hours Ago', it's actually easy now. [Laughs]"

In addition to his work with SAVATAGE, Oliva is well known for co-creating the classical music-meets-prog rock and pyro act TRANS-SIBERIAN ORCHESTRA alongside Paul O'Neill. Oliva has reportedly remained involved in TSO's activities even after O'Neill's April 2017 death of an accidental drug overdose.

Jon's brother Criss, who was one of the founding members of SAVATAGE, was killed in October 1993 by a drunk driver when he and his wife Dawn were en route to the Livestock festival in Zephyrhills, Florida. The driver of the other car was found to have a drunk driving record of seven prior DUIs and having a blood alcohol content of .294 percent.

In a new interview with "The Garza Podcast", hosted by SUICIDE SILENCE guitarist Chris Garza, MACHINE HEAD frontman Robb Flynn spoke about his band's upcoming eleventh studio album, "Unatoned", which will be released on April 25 via Nuclear Blast/Imperium Recordings. Regarding his songwriting approach for the follow-up to "Of Kingdom And Crown", which came out in August 2022, Robb said (as transcribed by BLABBERMOUTH.NET): "My last album was like a huge renaissance for the band. It just was fucking crazy. We headlined Hellfest [in France]. It was our tenth record. It was a concept record. It was the first time we ever did a concept record. Opening track was a 10-minute-long song. It's nuts.

"I'm fortunate enough to have been in this position a handful of times where I now have to follow up this record that is so beloved by fans, by people," he continued. "It's incredibly successful — elevates the band to another level. And everybody wants us to write another concept record. Everybody is just, like, 'You should just make another record like that one.' And I'm, like, 'You can't, because it's never gonna live up.' Nothing's ever gonna live up, ecause that moment for so many people. Lars [Ulrich of METALLICA] always talked about this — the reason so many people love [METALLICA's] Black Album, it's, like, they lost the virginity to the Black Album. Nothing is ever gonna top that. People lost their virginity to [MACHINE HEAD's] '[Unto] The Locust' or 'The Blackening' or whatever. Nothing's ever gonna top that. That's just life and stuff.

"So with this record, I set some pretty strict parameters around what I could do," Flynn explained. "And I'm not a big believer in talking about the direction of a record. I always feel like even if we have done it in the past, it never panned out. 'Oh, it's gonna be the heaviest or the thrashing' or the whatever, and you've just gotta follow it to wherever it goes… But I did want to put some structure around it. The last record had a bunch of long songs, so I was, like, 'I don't want any song longer than four minutes on this record.' So that was one structure. The other structure is — [I'm a] huge SLAYER fan to the death; [they're] one of my favorite bands, life-changing bands of all times. And one of the most underrated things about SLAYER is their genius use of chord changes — chord changes fucking galore all over every song. [They'd] have, like, three different chord changes in the lead section, and it the way it sets up the chorus or whatever. So I was, like, 'Every song has to have a chord change outside of the typical structure that you would expect.' … At some point it's gotta go to a key change that totally doesn't go with where the rest of the song went. Last thing is that the music in the last chorus had to be different from the music in the first chorus —maybe the drums drop out, maybe the guitars drop out, maybe that's where the key change happens, but something had to be [different]. The lyrics would always be the same. And at first it kind of took me a minute to kind of get into that mindset, like, 'Wow, this is a really challenging way to write,' but it always just became about trimming the fat, trimming the fat, trimming the fat. And in the end what we came up with was 10 songs plus two instrumentals. It's 41 minutes — the shortest album in MACHINE HEAD history. And I'm really proud of this thing. I really feel like we've got a fucking monster on our hands. It's just really unique."

Elaborating on the musical direction of "Unatoned", Robb said: "It's not our heaviest record; I would never say that it's our heaviest record. It's got a lot of melody. The last song on the record is a… I'm a total sucker for the Elton John piano ballad. I love Chris Stapleton… And that last song 'Scorn' is… It's, like, I've been trying to write a piano ballad for four albums in a row now, and I failed four albums in a row. And I finally nailed it with this album. I collaborated with this guy Joel Wanasek. I collaborated with Jordan [Fish], ex-BRING ME THE HORIZON, on the whole album. He actually got a piece on the record, which was really cool — added a really amazing element. I've got a few collaborators, like four guys that I work with, but me and this guy, Joel Wanasek, finally nailed down this piano thing… It was the last song I wrote on the record. And I know a lot of people think I'm super Mr. Libtard, social justice warrior guy and that's just not me, but that's kind of just what people think and the haters think. And I just started writing about — not that — but I just started writing about, I don't believe in Trump, but I think the fucking Democrats are a bunch of spineless fucking pussies. And I don't believe in anything anymore. I believe in myself. And I just wrote all of these lyrics kind of in that mindset. And the last line is, 'The wings of an angel, the heart of a king, the strength of a lion, the power I bring. I've lost faith in everyone, follow no more, my heroes have failed me, they look down on me with their scorn.' And so I took all of that. I was, like, 'I don't have any music, but I really like these lyrics.' So I came in with Zack [Ohren] — Zack's my engineer; he's my producer. He is fucking awesome; he's amazing… And I just picked up a guitar and I just said, 'I'm gonna play four chords here and I'm just gonna make this up as I go. I don't even know what I'm doing. I just wanna sing over this to something.' And I did, and I sang it, and I sang it in two takes. I laid out all the lyrics that I had written that morning. I pulled up some shit on my computer. I got two binders of lyrics. I wrote three and a half binders of lyrics from this record alone — just three and a half binders… And I literally sang the song in two takes, and when I was done, I was, like, 'That song's fucking done.' And it's the last song on the record. And I sent the chords to Joel and I was, like, 'Hey, like, can you make this into sad piano chords and put it together and kind of reverse engineer the rest of the song?' And I've gotta say, I'm so proud of this song. It's definitely kind of the outlier of the record, but I really just feel like it's a special song. And it's kind of something we've never done. And when you've been trying to do something for a long time — 15 years, I've been trying to write a fucking piano song — and it always just sounded too dorky… And it [finally] happened [on this album]."

Flynn also talked about his general approach to creating art with MACHINE HEAD, saying: "I don't know what I'm doing. I'm just trying to write music. Alls I ever wanted to do was just play guitar and write songs and sing and make motherfuckers circle pit and make motherfuckers jump and sing and fucking headbang and go crazy. That's all I've ever wanted to do.

"I'm not a businessman. I don't know what the fucking right decision is," he continued. "I just know the music that I do and where it comes from, and I do know that I'm really, really, really good at that. I know that. I'm not one of these guys who's good at a million fucking things — I'm not — but I do know that I'm really, really good at that. And I just try and focus on that. And I've got a good team of people that help me make decisions now and I feel like we've all got a good head on our shoulders and what MACHINE HEAD needs to be.

"We're not the heaviest band in the world," he added. "We're heavy, but we've been around for 32 years, and motherfuckers like you guys [SUICIDE SILENCE] came along and LORNA SHORE and SLAUGHTER TO PREVAIL, and you're fucking 10 times heavier than we will ever, ever, ever be. I can't sing like that. I don't even wanna try to; it'd be fucking ridiculous to. It would sound stupid for my fucking heavy metal Gandalf ass to be fucking trying to sing like that. We found our lane and we're super lucky that we found our lane and we fucking made that lane a little bit wider and a little bit wider so we can kind of go over here and do this and go over here and do this. But at the end of the day, it's just MACHINE HEAD music. That's what it is to me. It's metal, for sure — a hundred percent."

"Unatoned" was recorded at Flynn's Jam Room, Sharkbite Studios and Drop Of Sun Recording between July 2023 and December 2024. The album was produced by Flynn, as well as Zack Ohren, who was also responsible for the engineering. The mixing and mastering was handled by Colin Richardson and Chris Clancy at Audioworks UK, and the mastering of the record was handled by Ted Jensen and his assistant Justin Shturtz. The only exception was the track "Landscape Of Thorns" which was produced by Flynn and Joel Wanasek who was also in charge of mixing the single alongside Zack Ohren. MACHINE HEAD once again tapped Seth Siro Anton to create the album artwork.

"Unatoned" track listing:

01. Landscape Of Thorns
02. Atomic Revelations
03. Unbound
04. Outsider
05. Not Long For This World
06. These Scars Won't Define Us
07. Dustmaker
08. Bonescraper
09. Addicted To Pain
10. Bleeding Me Dry
11. Shards Of Shattered Dreams
12. Scorn

Last November, MACHINE HEAD released "These Scars Won't Define Us" as the first single from "Unatoned". The official lyric video for the track, which features guest appearances by the other three bands which will accompany MACHINE HEAD on the Flynn-fronted outfit's spring 2025 North American tour — Swedish metal icons IN FLAMES, Italian alt-metallers LACUNA COIL and American metalcore maestros UNEARTH — can be seen below.

The five-week jaunt will begin on April 5, 2025 in Oakland, California at the legendary Fox Theater, then heads south for a stop at Sick New World festival, then east, and back across Canada, before concluding on May 10 in Kelowna, British Columbia.

MACHINE HEAD's current lineup includes former HAVOK guitarist Reece Alan Scruggs. Scruggs stepped in for MACHINE HEAD's previous guitarist Wacław "Vogg" Kiełtyka, who had been unable to make some of the group's dates due to his touring commitments with his longtime band DECAPITATED.

Reece made his live debut with MACHINE HEAD in November 2022 at Strummer's in Fresno, California at the opening show of the "Electric Happy Hour (Live)" tour.

Vogg joined MACHINE HEAD's touring lineup prior to the launch of the band's "Burn My Eyes" 25th-anniversary tour in late 2019.

The rest of MACHINE HEAD's lineup consists of guitarist/vocalist Flynn, bassist Jared MacEachern and British drummer Matt Alston (DEVILMENT, EASTERN FRONT).

Earlier last year, MACHINE HEAD completed the "Slaughter The Martour" North American tour with support from L.A.'s FEAR FACTORY, Sweden's ORBIT CULTURE and Louisville, Kentucky's GATES TO HELL.

Fountainhead, the musical alter-ego of Berlin-based musician Tom Geldschläger, is a celebrated figure across diverse music landscapes. Known for his expansive involvement in the music industry, Tom has contributed to over a hundred releases in capacities ranging from guitarist to orchestrator, producer to mixing/mastering engineer, and occasionally even as an oud-player. His collaborations span globally recognized artists such as Obscura, Belphegor, Marco Minnemann, Defeated Sanity, Amogh Symphony, Hannes Grossmann, Voodoogods, Christian Münzner, Nader Sadek. Featured in numerous international music magazines, authored several books of non-fiction and musical notation, Tom has also been instrumental in integrating the fretless guitar into extreme metal genres.

Acclaimed as a “modern-day guitar legend,” Tom’s signature playing style and adventurous genre-defying compositions highlight his fearless approach to music. His endorsements include prestigious brands like Aristides Guitars, Elixir Strings, and Bare Knuckle Pickups. Additionally, Tom is a sought-after clinician and speaker, focusing on creativity, music production, and musician’s mental health, as well as being at the forefront of spatial audio and 360-degree audio production.

In a significant development in early 2024, Fountainhead, now branded under the name Changeling for his new project and album, signed with the label Season of Mist. This venture marks a new chapter in Tom’s career, amplifying his visionary approach to music. Accompanied by an all-star band featuring members from Fear Factory, Alkaloid, and Virvum, Changeling showcases a 60-minute concept album that takes all aspects of Tom’s artistry to new heights.

The self-titled debut album blends progressive metal, death metal, jazz/fusion, and world music, enriched with complex orchestrations by a 50-piece ensemble of guest musicians. It includes the eagerly anticipated “Part 2” to his renowned composition “Weltseele,” an orchestral metal epic from Obscura’s billboard-chart-entering Akroasis album, which broadly introduced Fountainhead to the metal community in 2016.

Available formats:

– Digital Download
– CD Digipak
– 2×12″ Coloured Vinyl – Crystal Clear w/ Red Splatters
– 2×12″ Coloured Vinyl – White w/ Red Splatters

Available on April 25, you can pre-save/pre-order here.



Tracklisting:

“Introject”
“Instant Results”
“Falling in Circles”
“World? What World?”
“Metanoia Interlude”
“Changeling”
“Abyss”
“Cathexis Interlude”
“Abdication”
“Anathema”

Core Lineup:

Tom Fountainhead (ex-Obscura, Amogh Symphony, Belphegor, Defeated Sanity) – Fretted & fretless electric & acoustic guitars, oud, keyboards, composition and arrangements
Mike Heller (Fear Factory, Malignancy, Raven) – Drums
Arran McSporran (Vipassi, Virvum) – Fretless bass
Morean (Alkaloid, Dark Fortress) – Lead vocals & lyrics

Guest Musicians:

Bill Hudson (Trans-Siberian Orchestra, Doro, I Am Morbid) – Guest guitar solo
Jason Gobel (ex-Cynic, ex-Monstrosity) – Guest guitar solo
Andy Laroque (ex-Death, King Diamond) – Guest guitar solo
Yatziv Caspi (ex-Orphaned Land) – Tabla, hangdrum, dabouka, riq & shakers
Ally Storch (Subway To Sally) – Violins, viola & cello
James Dorton (The Faceless, NeObliviscaris, Black Crown Initate) – Spoken words
Alexander Kerski (Vianova) – Backing & harmony vocals
Matthias Alexander Preisinger – Piano and glockenspiel, violins & viola
Martin Matiasovic – Horns & Wagnerian Tube
Jan Ferdinand – Vibraphone & marimba
Chris Rützel – Flutes
Ivar Ludvig Nitzler – Cello
Shiho Murano – Tuba
Juliane Erding – Wagnerian tube & horn
Eduard Cortez – Wagnerian tube & horn
Tillmann Schulz – Wagnerian tube & horn
Ava Bonam – Female vocals
Moran Magal – Piano
Cydney McQuillan-Grace, Lauren Gill, Shannon Bedford, Sara Robalo; Tenor and Bari – Ben Francis, John Schaffer, Alice Williams, Cyd McQuillan-Grace; Alto – Lauren Gill, Sara Robalo; Tenor and Bass – James Schouten & John Schaffer – Choir vocals
Krassimir Jossifov – Trumpet
Brandt Attema – Trombones & bass trombones
Kristian Petkov – Bassoon
Stefan Prost – Church organ
Seonghyeon Park – Clarinet
Arnfried Falk – Oboe
Rouven Haliti – Upright bass
Dalai Cellai – Cello

Recording Studio:

FountainheadHQ, Hellersounds, Saforill, Klanghafen, Landesmusikakademie Berlin, Musikhochschule Carl-Maria-Von-Weber, Muziek Studio Beeld, Sonictrain.

Production Credits:

Produced & Engineered by Tom Fountainhead.
Mixed by Tom Fountainhead at FountainheadHQ.
Mastered by Leon Schmidt at his home studio & FountainheadHQ.

Mobile Fidelity is set to release Heart’s Dreamboat Annie album on numbered, limited edition 45rpm 180g 2LP vinyl. The official release date is yet to be announced, but you can pre-order the release at Elusive Disc.

Heart’s breakthrough debut, Dreamboat Annie, has often been framed in the context of a female-led band successfully matching the moves of its male counterparts during an era when women weren’t associated with rocking out — particularly on a mainstream level. While that take is true — Ann and Nancy Wilson practically stood alone amid a commercial age dominated by testosterone — it undersells the appeal, scope, and craftsmanship of an album that deserves to be revered strictly because of its merit, not because of the gender of the group’s principal members.

Mastered at MoFi’s California studio, housed in a Stoughton gatefold jacket, and pressed at Fidelity Record Pressing in California, Mobile Fidelity’s numbered-edition 180g 45RPM LP puts the record’s artistic significance in proper perspective. Presented in definitive sound, it invites you to hear with stellar clarity the diverse architecture, passionate playing, and fervent emotions that help make Dreamboat Annie an all-time classic. This 50th anniversary edition also marks the first time Heart’s opening salvo has been available in audiophile quality on vinyl in more than four decades.

Drop the needle and experience the textures of the guitars, full range of Ann Wilson’s voice, spacious backdrops of the arrangements, and rhythmic momentum — crucial components of Heart’s songs — free of veiled tones and artificial ceilings. Ample separation between instruments and black backgrounds bring the music into detailed focus, whether it’s the full decay of percussive accents, layered stacking of group harmonies, or depth of the bass lines. Helmed by Mike Flicker, Dreamboat Annie features advanced production that belies that of most independent releases of the time. The dynamics alone on this pressing confirm that fact.

Although the passage of time, as well as Heart’s Hall of Fame career, have nearly caused the historical tidbit to fade into obscurity, Dreamboat Annie was originally issued by the tiny label Mushroom Records after major imprints inexplicably took a flyer on the album. Released in Canada in September ’75, it hit shelves in the States in February of the following year. By the fall of 1976, Heart had a platinum LP and three hit singles. As well as an upcoming battle with Mushroom Records that, while another story entirely, further underlined the Wilson sisters’ toughness and determination.

Those traits resonate throughout Dreamboat Annie, which kicks off with the spellbinding “Magic Man.” Released in advance of the LP as the quartet’s second single, the Wilson sisters’ anthem partially doubles as an autobiographical tale based on Ann Wilson’s then-relationship with band manager Michael Fisher. His brother, Roger, turns in memorable lead-guitar passages that connect with the song’s funk-laden structures and Ann Wilson’s commanding singing. Mystical, rugged, sensual, persuasive, steady, edgy, well-composed: “Magic Man” possesses a majority of the elements that would define Heart’s finest songs and, fittingly, stands as the ensemble’s first Top 10 smash.

While the record’s debut Stateside single, “Crazy on You” didn’t climb quite as high, it cracked the Top 40 and demonstrated the authoritative momentum, melodic build, and contagious crunch that the group was capable of summoning without seemingly breaking a sweat. Heart’s now-trademark acoustic-electric frameworks, Ann Wilson’s ravishing power, and ace timing are all here in spades. Not to be overlooked, the declarative “Sing Child” and strutting “White Lightning & Wine” contain similarly aggressive elements, with the latter combining boogie riffs, cowbell-driven beats, and blustery vocals to remind anyone paying attention that Heart means business.

The band further separated itself from its rock contemporaries via a trove of lighter material. Eclipsing the six-minute mark, “Soul of the Sea” depicts Heart’s ambitious interest in psychedelia, blues, and folk. Heart’s tender side also emerges on the misty ballad “How Deep It Goes,” a prime example of Ann Wilson’s penchant to deliver softness with the same penchant she does heaviness — and a standout for Nancy Wilson’s prowess on guitar. Both sisters similarly shine on the crossover “(Love Me Like Music) I’ll Be Your Song,” whose mix of vulnerability, strings, and handclaps signal the extraordinary vision Heart had from the start. Decades later, it all sounds better than ever.

Features:

– Numbered, Limited Edition
– 180g Vinyl
– Double LP
– 45rpm
– Mastered from the 1/4″ / 15 IPS Dolby A Analog Copy to DSD256 to Analog Console to Lathe
– Pressed at Fidelity Record Pressing
– Stoughton Gatefold Jacket



Tracklisting:

Side A:
“Magic Man”
“Dreamboat Annie (Fantasy Child)”
“Crazy On You”

Side B:
“Soul Of The Sea”
“Dreamboat Annie”

Side C:
“White Lightning & Wine”
“(Love Me Like Music) I’ll Be Your Song”
“Sing Child”

Side D:
“How Deep It Goes”
“Dreamboat Annie” (Reprise)

Reunited California thrash metal pioneers DARK ANGEL will release the title track of their upcoming album, "Extinction Level Event", on Friday, April 11. The cover artwork for the LP can be seen below. Also available is a short teaser for the effort.

DARK ANGEL's first new album in 34 years, "Extinction Level Event", is due to be released later in 2025 via Reversed Records.

Fan-filmed video of DARK ANGEL performing two new songs, "Extinction Level Event" and "Circular Firing Squad", on March 23 at the Metal Beer Open Air festival at Hipódromo Chile in Santiago, Chile can be seen below.

Last month, DARK ANGEL drummer Gene Hoglan was asked by Chile's PowerOfMetal.cl about the progress of the songwriting sessions for the band's long-awaited new album. He said: " Well, we are going to be debuting a couple of new songs, some new material, at these upcoming couple of South American shows that we have. I know we are playing Buenos Aires [on March 21], and that's two nights before the Metal Beer [Open Air] fest. So, at both of those shows we are debuting some new material, and we're really excited to be able to play some new stuff after all this time. And hey, man, hopefully that's gonna lead to a whole bunch more stuff. And we're very excited to be unleashing some new material on the metal world."

Regarding the possibility of a new DARK ANGEL album being released this year, Gene said: "Boy, you never know. We're working and trying to make things happen. And so hopefully at some point — I've said this many times in the past — hopefully at some point we'll be able to give some kind of exciting update on progress of anything. And so hopefully we'll be able to do that somewhere in the near future. And everybody, keep your eyes peeled to DARK ANGEL. We'll see what happens."

DARK ANGEL was originally scheduled to play new music for the first time since 1991 during its January 29 concert at the Whisky A Go Go in West Hollywood, California. However, that show ended up getting postponed due to the wildfires in the state.

In July 2024, DARK ANGEL officially entered the studio to begin recording its new LP. Two months earlier, Hoglan told Rocking With Jam Man that he had "been working diligently for the last couple of years on some projects that are gonna make DARK ANGEL fans really happy, I think. So, everybody, just sit tight," he said. "I just don't wanna nebulously announce something and then have circumstances beyond my control come along and make things delayed. I just wanna be able to be able to say, 'Yes, this is gonna be a solid date that we can announce for people, and we're gonna be able to stick to that date.' That's what I'm all about. So, keep your eyes and ears peeled, everybody."

Asked what it has been like making new DARK ANGEL music more than 30 years after the release of the band's last album, 1991's "Time Does Not Heal", Gene responded: "Well, that's one thing. It's like we had a choice. I had an entire DARK ANGEL album written that was ready to start getting recorded after the 'Time Does Not Heal' record, and circumstances occurred where the band just had to dissolve. So, I had a bunch of material written. And when [DARK ANGEL guitarist] Jim Durkin and myself — Jim is no longer with us, but when we put DARK ANGEL back together and we started talking about, like, 'What do we wanna do for the future? Do we wanna write some new material?' And 'I've got some ideas, Gene, and you probably have some ideas.' And I have a number of songs that I sent to Jim. And when Jim heard that — I sent it to him on a CD — he freaked out and he was, like, 'My God, here's our new album. This is gonna be our next record. Hell yeah.' And he got really excited about that material. But I was, like, 'Hey, Jim, tell you what. I feel really strongly about my writing chops, and the songs I'm hearing from you right now are crushing. So how about we just write new stuff, get together and start writing new material?' And so we kind of went that route."

He continued: "For my elements of what I wanted DARK ANGEL to sound like, Jim Durkin is a huge influence on my writing style. So I wanted this to have a lot of the Jim Durkin influence on it. In terms of riffs, there's not as many from Jim as we were hoping for, but Jim's entire presence is all over the new DARK ANGEL material that I've been working on. And he's a huge guitar influence on me, as well as a lot of people. So, there's definitely gonna be a pretty hardy Jim Durkin influence. And I just wanna write a kick-ass metal album. So what I've tried to do is not go back 35 years or 37 years or whatever, 'Darkness Descends' or even 'We Have Arrived', those early albums, or 'Leave Scars' or 'Time Does Not Heal', I've not tried to duplicate anything from any of those albums, but I tried to put myself in the mindset of what if DARK ANGEL just kept writing albums for the last 30-whatever years, 32, 33 years, where would we be at now? And so that has been my approach on the new DARK ANGEL material."

Durkin died on March 8, 2023 at the age of 58. An original member of DARK ANGEL, Durkin played on the band's first three albums — 1985's "We Have Arrived", 1986's "Darkness Descends" and 1989's "Leave Scars" — before departing the group in 1989. He was part of DARK ANGEL's lineup when the band reformed in 2013, and had been playing with them, on and off, ever since.

Prior to his death, Durkin had been sitting out some of DARK ANGEL's gigs. He was replaced at the shows by Hoglan's wife Laura Christine, who has since joined DARK ANGEL as a permanent member.

DARK ANGEL released two albums with Don Doty on vocals — the aforementioned "We Have Arrived" and "Darkness Descends" — before he exited the group and was replaced by Ron Rinehart (after a brief stint with Jim Drabos in 1987). The band issued two more studio LPs — "Leave Scars" and "Time Does Not Heal" — before calling it quits in 1992.

Hoglan previously talked about DARK ANGEL's upcoming LP in May 2023 in an interview with Friday 13th. He said at the time: "Jim and I, we had gotten together a number of times to write some new material for DARK ANGEL. And we weren't able to get it down on tape too much. If DARK ANGELhas any new material, there's a song that he's got on there that is pretty darn DARK ANGEL-esque.

"In tribute to Jim, DARK ANGEL's new material will have a ton of his spirit all over it — his feel. Whether he actually wrote stuff on the new stuff or not, his spirit is very there. His imprint is felt throughout thrash metal, I feel. Even before I was in DARK ANGEL, I'd see Jim's influence on bands. Absolutely. So his legacy will live forevermore in the realm of extreme metal. His style will always be a part of DARK ANGEL, absolutely, big time."

Asked how the next DARK ANGEL album will compare to the band's previous efforts, Hoglan said: "Well, I can't really even comment on the fact that there might or might not be an album yet. But put it this way — if I were to have any new DARK ANGEL material, I would want it to be an extension of where the band is at now and where I'm at now. And I would probably approach the writing of it in a way as if DARK ANGEL never disappeared for a decade, two decades, three decades, or whatever it's been. It's just like we just kept doing what we do, and this would be where we're at right now. Which I would want to be putting out the most savage, heaviest material that DARK ANGEL could. And I'm no slouch with writing psychotic, heavy material. So I would be very, very excited with where DARK ANGEL's new material would be if that would be able to confirm."

Grammy-nominated doom pioneers CANDLEMASS have unveiled the title track of their upcoming EP, "Black Star", out May 9 via Napalm Records. The EP impressively marks the 40th anniversary of the legendary band.

"Black Star" seamlessly merges haunting melodies with deeply introspective lyrics, brought to life by the inimitable voice of Johan Längqvist. Written by mastermind Leif Edling, it delves into themes of existential struggle, temptation, and the allure of darkness — an intense atmosphere imbued with CANDLEMASS's signature sound. The single arrives with a dark, atmospheric music video, which can be seen below.

CANDLEMASS comments: "'Black Star' is the big heavy track. Contains a bit of everything, Melodic verse, monolithic riff, up-tempo SABBATHy mid part, grand ending a la RAINBOW!"

With "Black Star", the genre-defying band unveils two brand-new songs alongside two cover versions of timeless classics. The EP will be available in various formats, including a strictly limited vinyl edition featuring a 12-page vinyl booklet, an A3 poster, and a tote bag.

Edling commented: "Not all bands get to see their 40th birthday and it certainly hasn't been an easy ride. But many ups and downs later, we stand here as survivors, veterans even… a bit scarred perhaps? Still ready though to unleash another piece of doom-laden metal upon an unsuspecting world. You have to do something when you turn 40, right? Anyway, as always, it's been fun recording some new stuff as well as covering a couple of old favorites."

Following the title track, the second new song, "Corridors Of Chaos", marks a true old-school instrumental containing both classic metal riffing and stunning guitar playing by Lars Johansson, showcasing the band's mastery of dynamics. Adding to this tribute, CANDLEMASS delivers a cover of BLACK SABBATH's iconic "Sabbath Bloody Sabbath", taking listeners back to 1973. This is followed by their rendition of PENTAGRAM's classic "Forever My Queen", further cementing CANDLEMASS's remarkable contribution to shaping the genre into what it is today.

"Black Star" track listing:

01. Black Star (new song)
02. Corridors Of Chaos (new song)
03. Sabbath Bloody Sabbath (BLACK SABBATH cover)
04. Forever My Queen (PENTAGRAM cover)

As previously reported, a one-off world-exclusive performance of CANDLEMASS featuring the band's former vocalist Messiah Marcolin will take place at this year's edition of the Rock Hard Festival Greece, slated for September 12-13, 2025 in Athens, Greece.

Back in October 2022, Messiah and longtime CANDLEMASS guitarist Mats "Mappe" Björkman joined Canadian metallers ANVIL on stage at the Slaktkyrkan venue in Stockholm, Sweden to perform the classic ANVIL song "Metal On Metal". The event marked the first time in 16 years that the two musicians performed together.

Marcolin exited CANDLEMASS for the presumably final time in 2006, one year after the release of the band's self-titled album. He was later replaced by Robert Lowe (SOLITUDE AETURNUS),who sang on the band's "King Of The Grey Islands" (2007),"Death Magic Doom" (2009) and "Psalms For The Dead" (2012) LPs. CANDLEMASS's frontman between 2012 and 2018 was Mats Levén, who previously recorded and toured with YNGWIE MALMSTEEN and THERION. Seven years ago, CANDLEMASS fired Levén and rehired Johan Längqvist. Längqvist sang on CANDLEMASS's debut album, 1986's "Epicus Doomicus Metallicus", before exiting the group and being replaced by Marcolin.

Photo credit: Linda Åkerberg

Canadian rockers SUM 41 have shared the official music video for their song "Radio Silence". The track is taken from the group's last-ever album, "Heaven :x: Hell", which came out in March 2024.

SUM 41 says: "As the SUM quietly set Sunday night, we wanted to leave you with something special to show our appreciation for all of the love that you have shown us over the years. We present you with the final SUM 41 music video. Watch 'Radio Silence' now."

SUM 41 announced its retirement in May 2023 and revealed plans to tour the world one more time.

The band's final tour concluded with a show in SUM 41's original hometown of Toronto at Scotiabank Arena on January 30, 2025.

Earlier this week, SUM 41 was inducted into the Canadian Music Hall Of Fame at the Juno Awards in Vancouver, British Columbia. In his acceptance speech, SUM 41 frontman Deryck Whibley said: "Thank you to our families for all the love and support throughout the years and, of course, thank you to all the SUM 41 fans for sticking with us through all the ups and all the downs. All the struggles had made all the successes feel that much greater. We're proud of this journey. It's been exciting, it's been dangerous, but most of all, it's been honest."

"Heaven :x: Hell" received rave reviews from the likes of Kerrang!, Dork, NME and more. The band's hit singles off the record "Dopamine" and "Landmines" made waves in radio airplay, reaching No. 1 on Mediabase Alternative charts.

Looking back at the band's storied 29-year career, SUM 41 has firmly cemented their place in history with over 15 million records sold worldwide, multiple Billboard-charting releases and No. 1 hits, a Grammy nomination, two Juno Awards (seven nominations),a Kerrang! Award in 2002, multiple Alternative Press Music Awards, sold-out tours and packed venues everywhere, and countless other accolades.

In a new interview with Canada's The Metal Voice, EPICA singer Simone Simons reflected on her band's support slot with METALLICA for three shows on the latter group's "M72" tour in Paris, France; Hamburg, Germany; and Gothenburg, Sweden. She said (as transcribed by BLABBERMOUTH.NET): "That was one of our highlights. It was [May and June] 2023 [when] we played with METALLICA. It was amazing. I mean, it was a matter of seconds where we had to immediately jump in and confirm that we could do the gigs. And we couldn't believe it ourselves, but we were very grateful for it. It was lovely to play on that round stage — very different from what we're normally used to. But I decided to not think of the magnitude of that show, but just have a good time, run around on the stage. Luckily I was going to the gym a lot, so my stamina was pretty good so I could run, jump and sing and entertain the crowd."

Asked if she got to meet the METALLICA guys when EPICA played with the iconic San Francisco Bay Area-based act, Simone said: "Yes. Yeah, we met the whole band. And they were very lovely. And they were also very hospitable. They had welcome gifts in the backstage. There was a cake and there were cards — and, yeah, really nice. And we got a warm welcome from the guys."

Back in July 2023, Simons told Balkanrock about what it was like to share the stage with METALLICA: "It was amazing, mind-blowing. First we got the call if we could do shows with METALLICA and if everyone had time, because it was like in a couple of days. Magically we all had time and could not believe it. It still feels surreal. Even though we done three shows, they were all beautiful in their own way — Paris, Hamburg and Gothenburg. The METALLICA family was so nice to us. We met them in person and that was one of the highlights of my career. Still thinking about it."

Two years ago, EPICA guitarist Isaac Delahaye told Bring The Noise UK about how he found out that his band was going to open for METALLICA: "It was funny as my manager gave me an urgent call. I was in my home studio working on a new song and he kept calling me and eventually I answered and asked, 'What the fuck?', all agitated. He told me to check my WhatsApp and there was details of three European shows. I just checked dates and overlooked the words 'supporting METALLICA' and just said, 'Yeah, that's fine,' and then went back to work on my song. And it took a good five minutes for me to suddenly realize and go back to read it and sink in that it was METALLICA."

He continued: "It was a very last-minute thing, as FIVE FINGER DEATH PUNCH had to drop out, but we got the call to do three European shows with them which was very cool. The guys all came to say hi to us and the whole crew and band were very welcoming. Having now played a couple of shows with them to those huge crowds, it makes everything from now on easier."

Asked if EPICA were to cover any METALLICA song, which would it be, and at the same time, which of EPICA's own tracks he would like METALLICA to reimagine, Isaac said: "Oh, that's a hard question and something I've never thought about before. I'd probably choose 'Master Of Puppets' as the song maybe we would cover, and for them I'd get them to cover 'Consign To Oblivion'. It is a long song, but they could do a lot with it and maybe shorten it to two minutes and tell us this is the good parts and this is what we would do with it."

EPICA's new album, "Aspiral", will see the light of day on April 11 via Nuclear Blast.

To celebrate the "Aspiral" release, EPICA will play three exclusive shows in the United States in early May: in New York City, Atlanta, and Los Angeles.

The "Aspiral" LP title is derived from the eponymous bronze sculpture made by Polish sculptor and painter Stanisław Szukalski back in 1965 and stands for renewal and inspiration — key words that define EPICA in 2025. In Szukalski's work every detail is a piece of art in its own right, and there's always more to the story than you initially think. The band saw this as the perfect analogy for the creation of this ninth album: each song stands on its own with a distinctive vibe and meaning, while together they enforce each other into a monumental effort.

The album, featuring stunning cover artwork by Hedi Xandt (RAMMSTEIN, GHOST, PARKWAY DRIVE),is now available for pre-order. The special editions even include the Blu-ray and audio recordings of the full monumental "Symphonic Synergy" performance in Amsterdam that the band recorded in 2024 with an orchestra and choir.

Recorded once again at Sandlane Studios and expertly mixed and produced by Joost Van Den Broek, "Aspiral" boasts 11 new tracks.

Released last November, "Aspiral"'s lead single, "Arcana", marked EPICA's first new release since "Omega" and the collaboration EP "The Alchemy Project".

The "Arcana" single also included "The Ghost In Me (Danse Macabre)", EPICA's collaboration with Europe's second-most visited theme park, Netherlands's magical De Efteling, and their new attraction, Danse Macabre.

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In a new interview with Heavy Consequence, METALLICA guitarist Kirk Hammett spoke about the fact that his band will appear at the upcoming "Back To The Beginning" charity show on July 5 at Villa Park in Birmingham, United Kingdom. The concert will mark the original lineup of BLACK SABBATH's last-ever performance and Ozzy Osbourne's final appearance as a solo artist. Kirk said: "It's a real opportunity to say thank you to Ozzy and Tony [Iommi] and Geezer [Butler] and Bill [Ward], 'cause they fricking wrote the book on the genre. They developed it, they fleshed it out so that we can use what they did as a stepping stone to other ways to do this."

Hammett continued: "If it wasn't for those four guys, man, we might still be just kind of like wandering around in the dark. But the fact that they created a genre — not only created it, but then developed it and, and, and then turned it into like a few different things over the course of their career — is completely awe inspiring to me and my peers musically. I mean, how do you thank someone like that? … I feel lucky and blessed that I'm in a situation where I can actually say thank you to the progenitors of a fricking genre. I love those guys. I have love for them for what they did. And I just want them to know that I'm just extremely thankful, 'cause my life would be extremely different if they didn't do what they did."

Nearly two decades ago, METALLICA frontman James Hetfield told Rolling Stone magazine that he was surprised at how choked up he had gotten while honoring BLACK SABBATH at the Rock And Roll Hall Of Fame induction ceremony in March 2006 at the Waldorf-Astoria Hotel in New York City. Hetfield — dressed in black jeans and a black shirt amid a sea of tuxedos — fought back tears as he recalled a young James, nine years old, stealing SABBATH records from his older brother. "Those monstrous riffs lived inside of him and spoke the feelings he could never put into words, sending chills of inspiration through him," Hetfield said. "They helped crack the shell he was stuck in. Also, scaring his mom and sister was an extra bonus. And now, as the former nine-year-old speaks to you here, as an adult musician — I know those two words really don't go together — I realize that without their defining sound, there would be no METALLICA, especially with one James Hetfield. Never have I known a more timeless and influential band. They have spread their wonderful disease through generations of musicians. They are always listed as an influence by heavy bands to this day. They are loved and highly respected as the fathers of heavy music."

Afterward, Hetfield told Rolling Stone, "It was like, 'Oh, no, I'm going to start crying,'" he said. "I'd never known it until I had to access all those emotions in front of that crowd, but it just goes to show how much SABBATH mean."

In addition to inducting SABBATH into the Rock Hall, METALLICA performed a medley of SABBATH songs ("Hole In The Sky" and "Iron Man") during the ceremony.

In his induction speech, METALLICA drummer Lars Ulrich said about BLACK SABBATH: "Bill, Geezer, Ozzy and Tony, if it weren't for you, we wouldn't be here. Obviously if there was no BLACK SABBATH, there would be no METALLICA. If there was no BLACK SABBATH, hard rock and heavy metal as we know it today would look, sound and be shaped very, very differently. So if there was no BLACK SABBATH, I could possibly still be a morning newspaper delivery boy — no fun, no fun. So thank you for meeting, thank you for knowing each other, and thank you for forming a band.

"As one who has fought labeling at any opportunity given, I hereby not only acknowledge but scream from every fucking rooftop that BLACK SABBATH is and always will be synonymous with the term 'heavy metal.'

"SABBATH join what I consider a very short list of artists who can claim to be synonymous with their specific genre of music — one being Bob Marley with reggae, Bob Dylan with folk, Johnny Cash with country, perhaps Bill Haley with rockabilly, but no matter how you fucking slice and dice it, when you say 'heavy metal,' the words BLACK SABBATH hover in the shadows fighting for pole position. On any given day, the heavy metal genre might as well be subtitled 'music derivative of BLACK SABBATH.' Sure, we're all respectful to BLUE CHEER, we're enamored with LED ZEPPELIN, we're in awe of DEEP PURPLE and of course admiring of STEPPENWOLF and John Kay's first uttering of the words 'heavy metal,' but when it comes to defining a genre within the world of heavy music, SABBATH stand alone. They took pre-existing elements of blues, rock and soul, threw in the right amount of darkness and street cred, and fused those elements with a previously undiscovered 'X' factor — whatever the fuck that was — creating something unheard, unexperienced, unique and utterly groundbreaking with their huge hymns of doom. BLACK SABBATH are an entity of their own — in my mind, the only word that fits is the word 'pioneer.' They were, and much more importantly, still are considered pioneers of all things heavy. All the metal bands and all the so-called subgenres of metal still trace their lineage to one place: four kids in their late teens from the black country of Birmingham who named their band after a 1963 Italian horror movie starring Boris Karloff. Subsequently they changed hard rock and by doing so the entire family tree of metal and everything that metal, for better or worse, stands for, was and will be forever both invigorated and elevated."

"Back To The Beginning" sold out in less than 10 minutes last month. The concert will mark the first time that the original lineup of BLACK SABBATH — Osbourne, Iommi, Butler and Ward — have played together in 20 years.

Also set to appear at the event are GUNS N' ROSES, TOOL, SLAYER, PANTERA, GOJIRA, ALICE IN CHAINS, HALESTORM, LAMB OF GOD, ANTHRAX and MASTODON.

In addition, there will be a performance by a "supergroup of musicians" including Duff McKagan and Slash (GUNS 'N' ROSES),Billy Corgan (THE SMASHING PUMPKINS),Fred Durst (LIMP BIZKIT),K.K. Downing (JUDAS PRIEST),Jake E. Lee (OZZY OSBOURNE),Wolfgang Van Halen (VAN HALEN, MAMMOTH WVH),Tom Morello (RAGE AGAINST THE MACHINE),Andrew Watt, Chad Smith (RED HOT CHILI PEPPERS),David Ellefson (MEGADETH),Vernon Reid (LIVING COLOUR),Whitfield Crane (UGLY KID JOE),David Draiman (DISTURBED),Frank Bello (ANTHRAX),Jonathan Davis (KORN),Lzzy Hale (HALESTORM),Mike Bordin (FAITH NO MORE),Rudy Sarzo (OZZY OSBOURNE, QUIET RIOT),Sammy Hagar, Scott Ian (ANTHRAX),Sleep Token II (SLEEP TOKEN) and Papa V Perpetua (GHOST).

Ozzy — who hasn't played a full show since late 2018 — announced his last-ever performance on February 5.

Proceeds from the "Back To The Beginning" show will support Cure Parkinson's, the Birmingham Children's Hospital and Acorn Children's Hospice, a Children's Hospice supported by Aston Villa.

The original lineup of BLACK SABBATH last performed in 2005. Since then, SABBATH has played in partial reunions but never in its original lineup.

The legendary BLACK SABBATH frontman was diagnosed in 2003 with Parkin 2 — a very rare genetic form of Parkinson's. During a TV appearance in January 2020, the singer disclosed that he was 'stricken" with the disease which occurs when the nerve cells of the body degenerate and levels of dopamine are reduced. Dopamine is an essential chemical that is produced by these nerve cells which send signals to different parts of the brain to control movements of the body.

Ozzy's health issues, including suffering a nasty fall and dislodging metal rods placed in his spine following a quad-bike accident in 2003, as well as catching COVID-19 three years ago, forced him to cancel some of his previously announced tours.

While Osbourne's health issues forced him to scrap most of his live appearances, the musician said he would return if his condition improved.

Despite his health problems, Osbourne has performed a couple of times in the last three years, including at the Commonwealth Games in Birmingham in August 2022 and at the NFL halftime show at the season opener Los Angeles Rams and Buffalo Bills game in September 2022.

Photo credit: Ross Halfin

DIRKSCHNEIDER, the band featuring former ACCEPT members Udo Dirkschneider (vocals) and Peter Baltes (bass),along with drummer Sven Dirkschneider (Udo's son) and the talented guitar duo of Andrey Smirnov and Fabian "Dee" Dammers, is celebrating the 40th anniversary of "Balls To The Wall" — originally released in late 1983 and the most commercially successful and best-known album by ACCEPT — by performing the LP in its entirety on a European tour which kicked off on February 26 in Vienna, Austria.

Fan-filmed video of DIRKSCHNEIDER's March 25 concert at Z7 in Pratteln, Switzerland is available below.

Featured songs:

Video 1

00:01 Love Child
03:49 Turn Me On
09:04 Fight It Back
12:43 Midnight Mover
16:02 Breaker
20:36 Living For Tonite
24:12 Losers And Winners
28:29 Head Over Heels
32:31 Balls To The Wall
40:44 Metal Heart

Video 2

0:01 Burning
7:02 Up To The Limit

In a recent interview with Andrew McKaysmith of the Scars And Guitars podcast, Udo and Sven spoke about the recently released reimagining of "Balls To The Wall" to celebrate the LP's 40th anniversary. The band's founding member and former frontman reinterpreted this classic with a fresh and star-studded twist. Far from a simple remake, this project was born out of countless conversations with prominent artists across the global rock and metal scene, who frequently asked: "Are you planning anything special for the 40th anniversary of 'Balls To The Wall'?" These discussions sparked the idea to re-record the album's legendary tracks alongside a stellar lineup of guest musicians, transforming the project into a heartfelt tribute.

Asked if there were any "complications" with ACCEPT guitarist Wolf Hoffmann and ACCEPT's management about releasing a reimagined version of "Balls To The Wall", Udo said: "No… Everybody can record [their own version of] the 'Balls' album, if they don't change arrangements or stuff like that. You can do that, my brother can do it, my sister, whatever — you don't have to ask."

He continued: "No, about this, there was no communication [with Wolf]. In a way, with Peter [Baltes, former ACCEPT bassist and current member of U.D.O. and DIRKSCHNEIDER] and with me singing and playing on this album, and, of course, a third member of ACCEPT, [former ACCEPT drummer] Stefan Kaufmann, was behind the scenes. He was very much involved in recording the drums and showed Sven how he had to play ACCEPT songs right. [Stefan] was [also] very much involved in guitar stuff — he was sitting together with the guitar players and told them, okay, how they had to play the rhythm guitars exactly, that it's getting nearly perfect. Stefan, he was a member of U.D.O. — I don't know — for a long time. And I know he's a really brilliant rhythm guitar player. He's a machine. And also Stefan is definitely a guy, he's really critical."

Added Sven, who plays drums in both U.D.O. and DIRKSCHNEIDER: "Stefan will always tell you if he doesn't like something. He will tell you right away. And he's very straightforward. So if he doesn't like something, when we record, he's very straightforward as well. So, that makes it more productive because you don't have to see what the guy's actually meaning, and is he telling me the truth? Is he just saying this is good, but he thinks it's bad or whatever? So it makes it easier in the studio, but also you have to face facts. If he doesn't like something, then you have to keep up with it and say, 'Okay, I will have to do it better.' So it was very productive working with Stefan. I was nervous when I recorded the drums because I had the original [ACCEPT drummer] sitting there on the mixing desk recording my tracks. But, yeah, it was really cool to have him and to hear his feedback on what he thinks and put my touches on it. He let me do that, which I really appreciate, and it's a big honor."

The reimagined "Balls To The Wall" was made available on February 28, 2025 via Reigning Phoenix Music.

In a separate interview with Jorge Botas of Portugal's Metal Global, Udo and Peter spoke about the new version of "Balls To The Wall". Asked what led to the decision to release a reimagined version of the LP, Udo said: "Normally it was not planned to do an album; it was only planned to do a tour about the 40-years anniversary of 'Balls'. And so on some festivals, a lot of singers [from other bands] came up [and asked], 'Oh, you do something special for the 40th anniversary.' And then we said, 'Yeah, touring, definitely.' And then they said, 'Oh, I would love to sing a song of the 'Balls' album.' And then the idea came up very slowly. We said, 'Yeah, it can be interesting.'"

Udo continued: "To re-record the 'Balls' album, it's like, 'Don't touch the holy cow.' But with the guest-singer thing now, what we did, I think it worked out very well. The reactions are very good so far. And so I think I'm happy with the result of everything."

Asked if he enjoyed the process of hearing different guests singing with Udo, Peter said: "I enjoyed it tremendously. I also was nervous touching the album again. But after we started recording, I felt really into it. And I played it the way I play live today, the songs. I decided not to copy the original, on my bass playing specifically, because these songs evolved over so many years to what I'm playing today. And that was one of the reasons. The other as much as the holy cow and iconic it is, it also sits on the shelf somewhere and everybody's behind you and it hasn't been moved in 20 years. So it is an honor for us to be able to reintroduce the album to a younger generation, to a whole new world today. And I think it gives the album a great honor that it deserves, where it stands."

Udo added: "I was quite nervous when I started recording the album, with vocals. I mean, I was not quite sure that I'd hit all the notes [laughs], the high notes and all that. But in the end, I think it works. So I'm lucky. And I think especially the whole atmosphere between the guest singers and my vocals, I think it gives the whole thing a new dimension, a new atmosphere. And yeah, I like it very much."

Speaking with The Brutally Delicious Podcast, Udo stated about "Balls To The Wall - Reloaded": "Let's say in the beginning it was just planned to do a tour [celebrating] the 40 years of 'Balls To The Wall'. But then on festivals, some musicians came up and said, 'Oh, you do something special for this 40-years anniversary of 'Balls'. And I said, 'Yeah, touring.' 'Yeah. You know I love this song. I would love to sing on this,' and blah, blah, blah, blah. And then I think it developed."

Sven added: "The idea came together. We had so many great vocalists that wanted to participate on this album. So we sat down and had a thought if we can — because it's very tough in managing all this. I mean, everyone is busy, everyone is doing their own records and whatnot. So it was quite challenging, but in the end it worked out. I think we got the last vocals in last minute to get this done. But yeah, we have really good people on this album and we appreciate that they wanted to do it. And I think they're great new versions of the legendary album."

Asked if they had certain vocalists in mind for certain songs, Sven said: "We had a very long list. And stuff like [SAXON's] Biff Byford on 'London Leatherboys' was kind of obvious, that we wanted to have him for this. And, yeah, we're going on tour with SAXON as well in November this year. So, it all makes perfect sense. And, yeah, [there are some] very, very good collaborations."

Udo continued: "All the singers, they did a great job on it. For example, Joakim [Brodén] from SABATON, 'Balls To The Wall', he did a great job. And also [TWISTED SISTER's] Dee Snider on 'Losers And Winners'. And also Biff on 'London Leatherboys'.

"The thing was we did not tell them, 'Okay, you have to sing this line and this line and this line and this line.' [We told them to] sing the whole song and then we can see which parts fit together with my vocals," Udo explained. "And then, when you listen, for example, to the vocals of Biff for 'London Leatherboys', it can be a SAXON song… I mean, Doro [Pesch] did a great job on 'Winter Dreams'. And also Mille [Petrozza] of KREATOR, 'Fight It Back'. And also Michael Kiske, from HELLOWEEN, he was singing 'Losing More Than You've Ever Had'. He did a great job. Also for me, especially, it was interesting to hear this. 'Wow, okay. Good.' Yeah, I think we are happy and I think also the guest singers, I think they really enjoyed to do this. And that was the most important thing. And also that they put their own character on each song, not trying to be Udo. That makes no sense."

Referencing the new version of "Balls To The Wall" featuring Brodén, Sven said: "We called [Joakim] up because we have a long relationship with SABATON. We played their festival multiple times and we've always had a good time with them. So that was kind of natural, and he was totally up for it. But it was also very interesting. He, for example, did the speaking part. And then he came back to us and said, 'No, use Udo's, because he does it better.' But it was super cool that, yeah, everyone put his character and his style of singing on to the songs. So that was great."

Sven also talked about the overall approach when it came to the production of "Balls To The Wall - Reloaded", saying: "'Especially with the drum sound, we tried to get as close as possible from this old-school vibe, but still, I mean, now we have modern technology recording stuff, so it definitely sounds up to date, but it's still with the old-school vibes. It's natural. I mean, when Peter [Baltes, former ACCEPT and current DIRKSCHNEIDER and U.D.O. bassist] plays bass, it's Peter playing bass. So it is that sound. And as soon as Udo's kicking in… And our guitar players, they're doing it for such a long time that they also are totally into the vibe of this kind of music. So it came along naturally, I would say, the sound of this album. But still, it's modern quality, which I think is awesome."

Ten years ago — in 2015 — Udo announced that he would embark on a special tour during which he would perform ACCEPT songs one last time under the DIRKSCHNEIDER banner before closing that chapter for good. Since then, the former ACCEPT frontman has continued to play ACCEPT material at select shows, including at the September 18, 2020 U.D.O. concert in Plovdiv, Bulgaria, which was released on DVD and Blu-ray.

When he first announced the original DIRKSCHNEIDER tour in 2015, Udo said that had "to make a clear break for myself — close the book and this is it. And I have the problem that people come to me and ask me to play more ACCEPT songs," he explained. "Other people ask me why I play ACCEPT songs at all, because there are [more than] fifteen U.D.O. records. I want to avoid such things and avoid the repeating questions concerning ACCEPT. I just can't stand that anymore. There is nothing more to be said. U.D.O. exists longer than ACCEPT. We have more records than ACCEPT."

While acknowledging that some ACCEPT fans want to hear the band's classic songs performed by the group's original singer, Dirkschneider explained that "you always have these comparisons [between how these songs are played by ACCEPT and U.D.O.]. I don't want this anymore either. [The current lineup of ACCEPT] also play 'Metal Heart', they play 'Balls To The Wall' and 'Princess Of The Dawn'. And then some people tell me, 'Oh, [current ACCEPT singer Mark Tornillo] is doing it better than you.' And I go, 'That's fine. Enjoy yourself.' But I don't want this anymore. And to avoid all of this in the future, I said, 'We are doing this one more time.'"

Dirkschneider said that his vow to never play ACCEPT material again came with one caveat. "If the band ACCEPT dissolves one day in the near future and I am still around with U.D.O., then there is a chance that I put ACCEPT songs back in the setlist," he said. "But currently there is ACCEPT, so go see them [if you want to see those songs performed live]. They are playing these songs."

Udo previously said the original plan was for DIRKSCHNEIDER to only "a few shows," and "then [the tour] got bigger and bigger [due to demand]." But, he added, "I don't want to complain about that."

In the ever-turning wheel of existence, where past, present, and future blur into a singular, cyclical motion, GEMINI SYNDROME — whose current lineup includes COAL CHAMBER guitarist Miguel "Meegs" Rascón — has unveiled its latest offering, "Carousel", a haunting meditation on the cycles we trap ourselves in and the courage it takes to break free.

"I am my own worst enemy."

A confession. A revelation. A truth buried beneath layers of pretense. We sabotage ourselves in the shadows, hiding behind the illusion of control. The turmoil within is relentless, unseen yet omnipresent. "Carousel" rips the mask away, exposing this eternal conflict — the conscious self at war with the unconscious. The driver and the passenger. The master and the captive.

"We can often be our own worst enemies," says GEMINI SYNDROME drummer Brian Steele Medina. "There's this illusion of control, like we're holding the reins, but sometimes we don't realize we're just along for the ride. 'Carousel' captures that duality — the war between who we are and who we want to be."

To break the cycle requires an act of will — but true will is more than defiance; it is surrender. The courage to let go of the illusions that bind us. How can we evolve if we refuse to release the weight of our past? How can we ascend if we remain tethered to a wheel that never stops spinning?

"How can we become better than our present selves, when we live our lives like we're on a carousel?"

The question lingers like an incantation, a challenge to all who dare to listen. "Carousel" is not just a song — it is a rite of passage, a moment of reckoning for those willing to look into the mirror and confront the storm behind their own eyes.

"At some point, you have to face the mirror," GEMINI SYNDROME vocalist Aaron Nordstrom adds. "The song is about that reckoning — when you finally admit that you're the architect of your own suffering. But acknowledgment is the first step to change."

With towering riffs, hypnotic rhythms, and a chorus that lingers like a whispered truth, "Carousel" embodies the struggle between stagnation and self-awareness.

This is the journey of Origin: From Nothingness To Everything — the transmutation of the self through trial and tribulation. The endless fight to wake up, break free, and become more than the sum of our past mistakes.

The ride is not over. But the choice is yours: remain in endless repetition, or shatter the cycle and step beyond.

As GEMINI SYNDROME continues its journey of musical and philosophical alchemy, "Carousel" stands as a call to arms for those willing to step off the loop and forge a new path.