In a new interview with Planet Rock, GHOST mastermind Tobias Forge addressed the band's announcement last fall that GHOST's 2025 world tour would be "a phone-free experience", with guests maintaining possession of their phones at all times, secured in Yondr pouches. He said (as transcribed by BLABBERMOUTH.NET): "I really wanna underline that the ban has nothing to do with, let's say, copyright control. It's not that we wanna sit on all the material and we don't want anybody to monetize [GHOST videos]; it has nothing to do with that."

Referencing the fact that GHOST's feature film debut "Rite Here Rite Now" was filmed over two nights in September 2023 at the Kia Forum in Los Angeles, Tobias continued: "The 'Rite Here Rite Now', the film, the essence of messaging in that film was exactly that, but also I, but us collectively, working, making that film… We filmed two shows in L.A. in front of audiences where they had to put their phones into pockets. You don't give it away. You have your phone; you don't have to worry about that. If you need to call, you can go out. If you need to take a photo, you can take a photo of yourself out in the lobby; that's fine. But what ended up happening was that we had such an engaged crowd that seemed joyous in a way that… I had to go back years and in time since I last saw a fully engaged crowd where everybody's actually watching [the show]. They don't have to watch me, but they're watching the band."

The 44-year-old Forge added: "I don't wanna turn this into an ageist thing where I'm gonna tell 14-year-olds everything was better back then. But I swear that the experience of shows and the making of memories, the making of magic, was much more powerful. Some of the best shows I've ever been to, I have maybe not even seen a picture from that because they all live here [in my head]. They live in my core. That's the memory I have of that. And that is an experience I wish for… Obviously, the part of our crowd that are older and more aware, maybe this becomes a little bit nostalgic then. But I really believe that the younger portion of our crowd will, as they did in L.A., come out saying, like, 'That was not only a great concert; that was also an overwhelming experience.' Because I do believe that you will feel that."

Through the use of technology like Yondr, fans are able to place their phones in a pouch that unlocks only after they leave the no-cell-phone zone. The pouch can also be unlocked at specific cell phone stations inside the venue.

Phone-free concerts are touted as a way to cut down on illegal filming and non-stop selfies that can take away from the performance.

Yondr founder Graham Dugoni said his company's pouches were created for "phone-free spaces" where "creativity and productivity could flourish in the absence of technology."

Phones, Apple watches and other communication devices are placed in the pouch and sealed using a magnetized lock, which can be opened with an unlocking base.

Musicians like Jack White, Alicia Keys, and comedians Dave Chappelle and Jerrod Carmichael have used Yondr pouches at their shows to encourage people to live in the moment.

A number of other musicians have come out in recent years to say that mobile technology is ruining the concert experience, including SLIPKNOT and STONE SOUR singer Corey Taylor. He told "Loudwire Nights" that "it's fine" if people want to take pictures of his bands' shows, but not so much if they are videotaping entire performances. "It's one thing to film it, it's another thing to just be staring at your screen while you're filming it," he said. "It's right there. Are you so terrified of real life that you can't do anything unless it's on that little four-by-four screen? Ugggh. It's very weird."

Former SKID ROW singer Sebastian Bach in 2015 urged fans to keep their cell phones at the bottom of their pockets and just watch his performances. "Be in the moment," he said. "You're distracted and it's distracting to the performer as well. Like, put your fuckin' cell phone away, dammit! You're never even going to watch that footage."

The overuse of cellphones to capture grainy, blurry photos and videos at concerts has for years vexed and enraged artists like Bach, who lamented the fact that every one of his performances could be recorded and shared on YouTube almost immediately.

"If I go to a wedding and sing a song, it's on Blabbermouth the next day and everybody analyzes it," said Bach. "It's a really backwards way to watch a band. It's a drag sometimes when I go up there and the first thing I see is everybody getting their phones out and holding them toward my face. It makes you feel intimidated."

Back in 2012, Bruce Dickinson chastised a fan for texting during an IRON MAIDEN concert, calling him a "wanker."

When Axl Rose reunited with his former GUNS N' ROSES bandmates Duff McKagan and Slash for the first time in 23 years at the Troubadour in Los Angeles in April 2016, the concert was phone-free.

"God, it was wonderful," McKagan told The New York Times. "It was the old-school feeling, where people were dancing and getting down. It was really cool."

GHOST will release its new album, "Skeletá", on April 25 via Loma Vista Recordings.

The European leg of GHOST's 2025 world tour will kick off on April 15 in Manchester, United Kingdom and conclude on May 24 in Oslo, Norway. The North American leg of GHOST's 2025 tour will launch on July 9 in Baltimore, Maryland and wrap up on August 16 in Houston, Texas.

The physical home video of "Rite Here Rite Now" was made available on December 6, 2024.

Danish rock and rollers VOLBEAT — Michael Poulsen (vocals, guitar),Jon Larsen (drums) and Kaspar Boye Larsen (bass) — have announced their ninth album, "God Of Angels Trust", due on June 6 via longtime label Vertigo/Universal.

The LP will coincide with plenty of touring on the band's "Greatest Of All Tours Worldwide".

Today the band shares the first taste of new music via the video for the first single "By A Monster's Hand". The song is a mid-paced riff-fest with no concessions to standard meter, juxtaposing pummeling rhythms with point-counterpoint hooks.

The video, which splices footage of VOLBEAT in their most natural state of performing, all the while following an ominously unsettling and familiar face, can be seen below.

The video was produced by Ghost Atomic and directed by Adam Rothlein, the same team that lensed videos for prior VOLBEAT hits "Shotgun Blues", "Die To Live" and "Leviathan".

With "God Of Angels Trust", the Danish band — which has scored ten #1 songs on the Billboard Mainstream Rock airplay chart, the most ever for a band based outside North America — has thrown caution to the wind, ignored comfort zones, and paid little heed to traditional songwriting in the search for something more immediate and surprising. The end result will thrill VOLBEAT's dedicated legion of fans.

"In the past, I've taken a long time to write and obsessed over so many elements of the songs before finishing them," says Poulsen. "This time, I wanted to make a VOLBEAT record without thinking too much about it. Instead of following any kind of structure I said, 'Okay, there are no rules. I can do anything I want. I can start with a chorus or do songs that are just a bunch of verses stacked on top of each other. Anything goes.' That was freeing for me and made it exciting to write this album."

Poulsen's excitement to thwart convention is palpable throughout "God Of Angels Trust", a punchy, crunchy album that's undeniably VOLBEAT, yet marches to a fresh new metallic and melodic energy.

Poulsen started working on songs for the follow-up to 2021's "Servant Of The Mind" in the summer of 2024. VOLBEAT was taking a year-long break from touring to give Michael a chance to recover from throat surgery and to tour with his death metal band ASINHELL. Driven equally by his excitement to record a new VOLBEAT album and by his determination not to follow convention, Poulsen worked on songs for a mere three weeks with bandmates drummer Jon Larsen and bassist Kaspar Boye Larsen. Amazingly, they worked on a new song at every rehearsal. Three weeks into the process, VOLBEAT had arranged half of "God Of Angels Trust". That's when Poulsen decided that having no rules meant he could follow his muse wherever it took him, and he veered off on a different path. He and the band still wrote and rehearsed two songs a week, but they started composing more familiar rock songs that drew from traditional elements.

The band entered the studio with their longtime producer Jacob Hansen in the fall of 2024. As with the songwriting, Poulsen wanted to work quickly and rely on instinct, so they just plugged in and started to play. To keep the music sounding urgent and immediate, VOLBEAT recorded live in the studio, playing as few takes as possible before moving from one song to the next.

When it came time to add lead guitar, there was no question that VOLBEAT would tap Flemming C. Lund, who currently tours with the band and worked with Michael in ASINHELL. A mere 13 days after they started working with Hansen, VOLBEAT were finished.

As impressive as it is that VOLBEAT wrote and recorded an entire album in about five weeks, what's more incredible is that "God Of Angels Trust" sounds as fleshed out, eclectic, and fulfilling as albums that have taken 10 times longer (or more) to create. In the end, creating such a strong album so quickly was a tremendous challenge that demanded Zen-like calm, a joy for exploration, maximal creativity, and razor-sharp concentration to pull off.

"In some ways, it feels like we've come full circle," Poulsen explains. "If you start drawing a circle over an extended period of time, eventually you've going to get back where you started, and that's how I feel now. I've dealt with medical operations, lineup changes, and all these things, and now it feels like a rebirth. It doesn't feel like we're doing our ninth studio album, it feels like we're on our first album again and there's something really refreshing about that."

VOLBEAT will return to the road on the "Greatest Of All Tours Worldwide" beginning in June and running throughout 2025. The tour begins in June with a co-headline Canadian run with THREE DAYS GRACE and special guests WAGE WAR, which will be followed by headline treks in the U.S. with special guests HALESTORM and THE GHOST INSIDE, and Europe with special guests BUSH and GEL. All dates are below.

Fans who pre-order the album from volbeat.dk or select Universal Music Group webstores through 5 p.m. local time on Sunday, March 9 will receive a code to access tickets before anyone else starting Monday, March 10 at 10 a.m. local time. Regular on-sales begin Friday, March 14 at 10 a.m. local time.

"God Of Angels Trust" track listing:

01. Devils Are Awake
02. By A Monster's Hand
03. Acid Rain
04. Demonic Depression
05. In The Barn Of The Goat Giving Birth To Satan's Spawn In A Dying World Of Doom
06. Time Will Heal
07. Better Be Fueled Than Tamed
08. At The End Of The Sirens
09. Lonely Fields
10. Enlighten The Disorder (By A Monster's Hand Part 2)

"Greatest Of All Tours Worldwide" tour dates:

2025 co-headline with THREE DAYS GRACE and WAGE WAR:

June 7 - Vancouver, BC - Rogers Arena
June 9 - Calgary, AB - Scotiabank Saddledome
June 10 - Edmonton, AB - Rogers Place
June 12 - Saskatoon, SK - SaskTel Centre
June 13 - Winnipeg, MB - Canada Life Centre
June 16 - Laval, QC - Place Bell
June 17 - Quebec City, QC - Videotron Centre
June 19 - Toronto, ON - Budweiser Stage
June 21 - London, ON - Canada Life Place
June 22 - Ottawa, ON - Canadian Tire Centre

2025 U.S. headline tour with special guests HALESTORM and THE GHOST INSIDE:

July 17 - Denver, CO - Ball Arena
July 19 – Salt Lake City, UT - Utah First Credit Union Amphitheatre
July 21 - Auburn, WA - White River Amphitheatre
July 22 - Ridgefield, WA - Cascades Amphitheater
July 24 - Wheatland, CA - Toyota Amphitheatre
July 25 - Inglewood, CA - Kia Forum
July 26 - Phoenix, AZ - Talking Stick Resort Amphitheatre
July 28 - Irving, TX - The Pavilion at Toyota Music Factory
July 29 - Houston, TX - 713 Music Hall
July 31 - Rogers, AR - Walmart AMP
August 2 - Franklin, TN - FirstBank Amphitheater
August 3 - Alpharetta, GA - Ameris Bank Amphitheatre
August 4 - Tampa, FL - MIDFLORIDA Credit Union Amphitheatre
August 6 - Charlotte, NC - PNC Music Pavilion
August 7 - Bristow, VA - Jiffy Lube Live
August 9 - Camden, NJ - Freedom Mortgage Pavilion
August 10 - Holmdel, NJ - PNC Bank Arts Center
August 12 - Bangor, ME - Maine Savings Amphitheater
August 13 - Gilford, NH - BankNH Pavilion
August 14 - Mansfield, MA - Xfinity Center
August 16 - Hershey, PA - Giant Center
August 17 - Cincinnati, OH - Riverbend Music Center
August 19 - Clarkston, MI - Pine Knob Music Theatre
August 21 - Noblesville, IN - Ruoff Music Center
August 22 - Tinley Park, IL - Credit Union 1 Amphitheatre

2025 European headline tour with special guests BUSH and GEL:

September 18 - Herning, DK - Jyske Bank Boxen
September 19 - Copenhagen, DK - Royal Arena
September 23 - Amsterdam, NL - Ziggo Dome
September 24 - Antwerp, BE - Sportpaleis
September 26 - Stuttgart, DE - Hanns-Martin-Schleyer-Halle
September 27 - Cologne, DE - LANXESS Arena
September 28 - Oberhausen, DE - Rudolf Weber-ARENA
September 30 - Vienna, AT - Wiener Stadthalle
October 3 - Prague, CZ - O2 universum
October 4 - Berlin, DE - Uber Arena
October 6 - Munich, DE - Olympiahalle
October 8 - Frankfurt, DE - Festhalle
October 10 - Leipzig, DE - QUARTERBACK Immobilien Arena
October 11 - Hamburg, DE - Barclays Arena
October 13 - Warsaw, PL - COS Torwar
October 15 - Tampere, FI - Nokia Arena
October 17 - Stockholm, SE - 3Arena
October 18 - Oslo, NO - Unity Arena
October 19 - Gothenburg, SE - Scandinavium
October 21 - Hannover, DE - ZAG Arena
October 22 - Rotterdam, NL - Rotterdam Ahoy
October 23 - Esch-Sur-Alzette, LU - Rockhal
October 25 - Zurich, CH - Hallenstadion
October 28 - Bilbao, ES - CUBEC - Bilbao Exhibition Centre
October 30 - Barcelona, ES - Sant Jordi Club
October 31 - Madrid, ES - Palacio Vistalegre
November 2 - Paris, FR - Zénith Paris - La Villette
November 5 - Nottingham, UK - Motorpoint Arena
November 6 - Cardiff, UK - Utilita Arena
November 8 - Manchester, UK - AO Arena
November 10 - Glasgow, UK - OVO Hydro
November 12 - Birmingham, UK - Utilita Arena
November 13 - London, UK - OVO Arena Wembley

In a new interview with Chile's PowerOfMetal.cl, guitarist Greg Mackintosh of British gothic metal pioneers PARADISE LOST was asked if he and his bandmates are working on the follow-up to their latest album, "Obsidian", which was released in May 2020 via Nuclear Blast. He responded (as transcribed by BLABBERMOUTH.NET): "Yeah. It's already halfway recorded. Next week I go to Sweden to finish off recording vocals, and then we mix it and master it and then we give it to the label. And I think it's coming out, like, September time. So, yeah, it's almost finished. It's been the longest time we've ever had between albums. But that's kind of because of the pandemic as well… So shit happens. And, yeah, hopefully it'll come out September, October time this year."

As previously reported, PARADISE LOST will embark on "The Devil Embraced" North American tour in May 2025. The trek will kick off on May 16 at the Milwaukee Metal Fest and conclude on May 24 at Maryland Deathfest.

In a November 2023 interview with Jorge Botas of Portugal's Metal Global, PARADISE LOST singer Nick Holmes spoke about how the band's songwriting process has evolved over the decades, Nick said: "The writing process is 100 percent different to how we used to write when we were younger. I mean, it's completely different now. We never meet up. We don't discuss things necessarily. Everything's through file sharing, e-mail and we don't write that way. It's equally as productive, I think, but it's just — maybe you're kind of more fussy. You can listen to things more than maybe you would do in the old days. Like I said, again, it goes back to the spontaneity thing. There isn't an element of that as much now, I don't think, but then you get there in the end anyway. There's a lot of ping-ponging ideas backwards and forwards, and you have more time to dwell on things and think, 'Well, is this right? Is this wrong?' Blah, blah. Whereas years and years ago, you think, 'Well, it's kind of shit, but we'll see. It might be all right.' There's benefits of both ways of writing, I think. Like I said, you can have too long and you can have too short. And some songs come together in no time. And then other songs can take months. We're just not the kind of band who can just kind of throw out a song and it's just brilliant. Well, people say they do that. I don't necessarily believe that's true, but I guess you can pretend that you're spontaneous and you just can throw out a genius song in about 10 minutes. I don't think that really happens with many people. But yeah, like I said, the songwriting, how we do it, has changed dramatically to where it was when we started."

When Botas noted that the different songwriting approach is something that was developed through experience, Holmes said: "When you start writing something, and if you spend a lot of time on it, you can spend a full day thinking, 'This is fantastic,' and then you can wake up in the morning and you think it's rubbish. You can get too locked into something. And then sometimes you have to take a step backwards, which is always really important, having a step backwards and maybe let someone else have a listen. I mean, we always get there, and when it comes together, it's great. That's the nice part. That's the rewarding part, I guess. It's like any kind of art. Once you've gone to the top of the hill and you're coming down, that's a nice feeling. It's not always easy getting there, but it's always fun when you go there."

Asked if he can still trust his instincts when writing music, Holmes said: "Yeah, absolutely. Gut reaction's pretty much… I mean, you could hear something that's not necessarily you think, 'Oh, hang on, this is strange.' And then you've gotta listen to it and then get into the… I don't instantly dismiss something — I would never do that — but I've gotta give it a few [listens]. And if I still feel the same way after a few listens, then I would trust my instinct on it, yeah. But I don't instantly dismiss things 'cause I don't think that's really a positive thing to do. But, yeah, definitely, you've gotta go with a gut reaction."

Asked if he can write a whole set of lyrics without music or if he needs the music to get some like melodies in his head, Nick said: "I prefer the music as a springboard to write lyrics to. And I always like how lyrics, how words sound on certain parts of songs. And that's always something I've admired about certain bands over the years. I'm not particularly interested in hearing stories in songs, although sometimes it's nice to hear that, but it's more about how, particularly metal, for me, it's more about how the songs sound at a certain time, how the lyrics sound at a certain time and the words. I mean, I can write without music, but I prefer to have something to kind of bounce off, really."

To celebrate the 30th anniversary of their fourth album, "Icon", PARADISE LOST re-recorded the LP for a special new release. There was also "an extra special vinyl" version of the album, both of which were made available in December 2023.

"Icon 30" is a totally re-recorded version of "Icon", and PARADISE LOST once again worked with longtime collaborator and producer Jaime Gomez Arellano.

PARADISE LOST recorded the vocals and drums for "Icon 30" at Jaime's new studio Arda Recorders in Porto, Portugal. The rest of the album was completed at Mackintosh's Black Planet Studios. "Icon 30" also features brand new artwork created by Scott Robinson and new liner notes from Kerrang!'s Nick Ruskell.

"Icon" marked a departure from the death-doom sound of PARADISE LOST's early work and was the last album to feature Matthew Archer on drums.

In February 2018, "Icon" was inducted into the Decibel "Hall Of Fame", with the magazine naming it influential to the development of the gothic metal subgenre.

In March 2023, PARADISE LOST welcomed Guido Zima Montanarini as their official new drummer.

In September 2022, Finnish drummer Waltteri Väyrynen left PARADISE LOST to join OPETH. At the time, he issued a statement saying that his decision involved "absolutely no bad blood or drama whatsoever."

Formed in Halifax, West Yorkshire, in 1988, PARADISE LOST were unlikely candidates for metal glory when they slithered from the shadows and infiltrated the U.K. underground. But not content with spawning an entire subgenre with early death/doom masterpiece "Gothic" nor with conquering the metal mainstream with the balls-out power of 1995's "Draconian Times", they have subsequently traversed multiple genre boundaries with skill and grace, evolving through the pitch-black alt-rock mastery of 1990s classics "One Second" and "Host" to the muscular but ornate grandeur of 2009's "Faith Divides Us - Death Unites Us" and "Tragic Idol" (2012),with the nonchalant finesse of grand masters. The band's "The Plague Within" (2015) and "Medusa" (2017) albums saw a much-celebrated return to brutal, old-school thinking, via two crushing monoliths to slow-motion death and spiritual defeat.

They made blasphemy sound fresh on their debut, but for their follow-up, Cryptopsy claimed the crown as the most vile band in all of death metal.

None So Vile established death metal as a truly vulgar art form. With each slurp from his chalice, Lord Worm smears the line between what’s sacred and profane until it’s dead and dripping. Lead guitarist Jon Levasseur shouldered more of the songwriting duties while seamlessly shredding between gut-slitting chugs, blistering technical riffage and orgiastic solos, though Cryptopsy still followed the textbook drumming of Flo Mounier. Trampled underfoot by a relentless piling-on of blast beats and oddly-timed bursts of double bass, “Graves of the Fathers” quickly cemented itself as a sacred rite amongst circle pits.

“In writing None So Vile, the idea was to create something heavier, faster and more technical than Blasphemy Made Flesh”, Flo says. “We were growing as musicians and so was our love for extreme music! At no point in time had we ever thought it would turn out to be one of the essential albums in death metal history. We are very happy that our fans did!”

Season of Mist is reissuing None So Vile on May 9.

Available formats:

– CD Jewel Case
– 12″ Black Vinyl in Deluxe Jacket
– 12″ Colored Vinyl (White with Gold Splatters)
– 12″ Colored Vinyl (Transparent Yellow and Blue-and-Black Marbled)
– 12″ Colored Vinyl (Crystal Clear with Blue and Black Splatters)

None So Vile tracklisting:

“Crown Of Horns”
“Slit Your Guts”
“Graves Of The Fathers”
“Dead And Dripping”
“Benedictine Convulsions”
“Phobophile”
“Lichmistress”
“Orgiastic Disembowelment”

In a new interview with Terry Palamara of Loud And Proud Italy, Dani Filth, the frontman and the sole remaining founding member of British extreme metallers CRADLE OF FILTH, was asked how he feels about some fans' perception that he runs his band as a Dani Filth solo project and whether he would actually ever consider releasing a solo album. He responded (as transcribed by BLABBERMOUTH.NET): "I'm too busy to release a blooming solo record. And, yeah, if it was just me, it'd be called Dani Filth, and it's not — it's called CRADLE OF FILTH.

"I think everything needs change," he continued, referencing CRADLE OF FILTH's past lineup changes. "We've never — well, that's not true. We sacked three people over the span of our career. And it was all a long time ago, like 20 years ago at least.

"People leave the band because it's just a lot of commitment, a lot of hard work, a lot of traveling, a lot of mental disrepair. As in the case of our previous guitarist, people leave to start families and find that the lifestyle is a bit too hectic … or they just think they can do it better or just drift apart.

"It's very important to be a family when you join our band, and as a musician joining [CRADLE] — well, any band, I guess, nowadays, you have to wear many hats," Dani explained. "So it's not just being a pretty face. In CRADLE OF FILTH, you have to write, contribute toward the album. That happened on [the upcoming CRADLE OF FILTH] record ['The Screaming Of The Valkyries']; everybody contributed to its creation. And then you've gotta do other things. You've gotta speak to people, meet-and-greets, videos. There's a lot of different things you have to actually get rather good at, or at least deal with."

CRADLE OF FILTH's 14th studio album, "The Screaming Of The Valkyries" will arrive on March 21, 2025 via Napalm Records. Joining Dani on the LP are drummer Martin "Marthus" Skaroupka, bassist Daniel Firth, guitarists Marek "Ashok" Smerda and Donny Burbage and keyboardist/vocalist Zoe Federoff.

"The Screaming Of The Valkyries" was produced, recorded, mixed and mastered by Scott Atkins at Grindstone Studios in Suffolk, England.

In a recent interview with U.K.'s Metal Hammer magazine, Dani stated about "The Screaming Of The Valkyries": "It's got elements of everything we've done, really. It has a few head nods to works like 'Midian' and 'Dusk[... And Her Embrace]', especially in the atmosphere and the subject matter. It's also got a very brilliant production, courtesy of Scott Atkins."

Asked if there is any overarching theme to it, Dani said: "No, I wouldn't say so. They're tricky things, concept records. You have to have tunnel vision and you can't veer from that path. So this is just an album. It's not an album with filly bits attached, like intros and outros. No guest appearances. Just nine songs. It's still quite a lengthy running time, obviously. We can't write a short song to save our fucking lives."

In 2023, CRADLE OF FILTH released its first live album in over 20 years, "Trouble And Their Double Lives", via Napalm Records. The LP was recorded between 2014 and 2019 at different performances in the USA, Europe, Australia and beyond during the band's "Cryptoriana" world tour and dates following.

CRADLE OF FILTH will co-headline the 2025 edition of the North American "Chaos & Carnage" tour, featuring fellow co-headliners DYING FETUS, as well as FLESHGOD APOCALYPSE, NE OBLIVISCARIS, UNDEATH, VOMIT FORTH and CORPSE PILE.

Dani Filth press photo courtesy of Napalm Records

Koldbrann’s latest album, Ingen Skånsel, has been nominated for the prestigious Spellemannprisen award, aka the Norwegian Grammy, in the “Hard Rock And Metal” category.

Says Koldbrann: “We are thrilled to announce that Ingen Skånsel is nominated for the prestigious Spellemannprisen, aka the Norwegian Grammy Award!”

Legendary Norwegian black metal band Trelldom, featuring iconic vocalist Gaahl, are also nominated in the category, for their latest album …By the Shadows…

Koldbrann and Trelldom are competing against Sibiir (nominated for their Undergang album), and Whoredom Rife (nominated for their Den Vrede Makt release).

The awards show will be held at Clarion Hotel the Hub in Oslo on Thursday, April, 24th of April. For a complete list of categories/nominees and more info about Spellemann, head here.

Swedish multi-instrumentalist, Snowy Shaw (King Diamond, Dream Evil, Mercyful Fate, etc.) has announced that he has joined the ABBA tribute band, ABBA Vision.

Snowy issued the following update: “Good Morning! Up early learning the liveset for this ABBA tribute band that I (lo & behold) have accepted the offer to play drums with live. It’s hardly no secret that I’m a fan and it’s really wonderful to play these classic gems and to groove the fuck out of them on drums. Note to self: Just need to remind myself NOT to overdo/play it out of sheer & pure enthusiasm and passion. Name? ABBA Vision, and 1st show on 22/3 at Konserthuset (Stora Salen) in Gothenburg, then Karlstad, Helsingborg etc etc. This is gonna be so nice and new to me. Live is good – if you choose to make it good.” ❤️🖤❤️

After more than two decades of dominating the Swedish power metal scene, Bloodbound is taking things to the next level by signing a worldwide contract with Napalm Records. With this powerful collaboration, the band is ready to expand their legendary sound and bring their epic metal anthems to even greater heights.

Formed in the summer of 2004, Bloodbound has consistently impressed with their signature blend of melodic and heavy power metal, earning their place among the genre’s finest. With ten studio albums under their belt, the band has captured the hearts of metalheads worldwide, and each explosive release reflects their dedication to epic fantasy realms while crafting unforgettable tunes and staying true to their roots.

With their signing to Napalm Records, Bloodbound is already hard at work on fresh material, promising even more of the electrifying, high-octane power metal that has defined their career. Stay tuned for more updates as Bloodbound continues to rise to new heights, taking the metal world by storm.

Bloodbound state about signing with Napalm Records: “We are absolutely thrilled that Bloodbound has officially signed with the mighty Napalm Records! This partnership marks a massive step forward for us, and we truly believe that Napalm has the power, passion, and reach to take Bloodbound to new heights! We can’t wait to embark on this epic journey together and unleash what’s coming next! Stay tuned—this is just the beginning!”

Senior A&R Sebastian Münch says about Bloodbound: “Bloodbound have been the epitome of super exciting and creative power metal for over 20 years. The energy of the Swedes is simply impressive! We are very happy that Napalm can support Bloodbound in reaching the next level!”

The countdown is on for the theatrical and official soundtrack release of "Queen Of The Ring", arriving in theatres and streaming platforms this Friday, March 7, 2025. In anticipation for the big day, Sumerian Records has released an emotionally gripping cover of METALLICA's "The Unforgiven" by KITTIE, THE PRETTY WILD and Diamante from the soundtrack for the hotly anticipated biopic. "Queen Of The Ring" chronicles the trailblazing journey of wrestling icon Mildred Burke, written and directed by Ash Avildsen and starring Emily Bett Rickards.

"Queen Of The Ring", written and directed by Ash Avildsen, brings to life the untold story of wrestling legend Mildred Burke, who shattered barriers in the 1930s-1950s to become the first million-dollar female athlete and headline arenas over male competitors in a time when women's wrestling was outright banned across much of the U.S.

The film stars Emily Bett Rickards ("Arrow") in a career-defining role as Burke, alongside a stellar cast featuring Josh Lucas, Walton Goggins, Gavin Casalegno, Tyler Posey and Deborah Ann Woll, with pro wrestling stars Kamille, Toni Storm, Trinity Fatu and Jim Cornette making appearances.

With its March 7 release strategically set during for the weekend of International Women's Day, the film is an ode to inspirational, trailblazing women who defied the odds and forever changed their industries.

Ash Avildsen grew up in a single-parent household, never having met his father but knowing who he was and having his last name. He chose to pursue music first as an artist, touring in a band and teaching himself the business through a DIY lifestyle. Using all the knowledge he learned from the road, he started his own record label. Sumerian Records has now become one of the top independents in the world for rock and alternative music, with several Grammy nominations and record-setting Billboard chart metrics for the hard-rock genre. Sumerian Records recently celebrated a historic achievement with the first Grammy nomination in the history of the Recording Academy for a solo female artist in the "Best Metal Performance" category, featuring avant-garde singer Poppy.

Avildsen's first feature film, "American Satan", won several awards on the festival circuit before being distributed by Miramax. The film had a theatrical release and was subsequently picked up by Showtime, where it developed a growing cult following. Avildsen expanded on this success by writing and directing the limited series spin-off "Paradise City".

"Queen Of The Ring" soundtrack track listing:

01. Corey Taylor - "Dust In The Wind" (feat. Bad Omens, Aaron Gilhuis)
02. Zoe Wees, Aaron Gilhuis - "Keep Your Lamps Trimmed And Burning"
03. Larkin Poe, Aaron Gilhuis - "God's Gonna Cut You Down"
04. Lanie Gardner - "A Woman Scorned"
05. Lanie Gardner - "Dead Beat Lover"
06. Des Rocs, Aaron Gilhuis - "Never Ending Moment"
07. Zhavia - "Burned You"
08. Kittie, The Pretty Wild, Diamante - "The Unforgiven" (feat. Aaron Gilhuis)
09. Kat Von D, Aaron Gilhuis - "House Of The Rising Sun"
10. Danny Worsnop, Aaron Gilhuis - "The Seeker"

Photo credit: Dante Dellamore

Progressive death metallers FALLUJAH will release their sixth album, "Xenotaph", on June 13 via Nuclear Blast Records. Picking up where they left off with 2022's critically heralded "Empyrean", the band expands the depth and breadth of their dexterous, aggressive sound while exploring extraterrestrial realms on an epic sci-fi journey through space and time.

FALLUJAH vocalist Kyle Schaefer states: "We are excited to finally reveal FALLUJAH's new album 'Xenotaph', marking the sixth chapter in our discography. This is our most ambitious record yet, and is certainly the band's most technical, dynamic and progressive material to date. The music carried out by these eight tracks is matched with an equally ambitious concept, a lyrical story that traverses unfolding layers of time and reality in an otherworldly, post-death realm of existence."

He adds: "'Xenotaph' is also our most collaborative album, with broad input from the current lineup leading us to expand the scope of our songwriting while simultaneously highlighting the true potential of everyone involved. We hope you'll join us in welcoming this bold new stage of the band's evolution."

Today, FALLUJAH reveals the album's stunning cover by Peter Mohrbacher, track listing and release date as well as the first single, "Kaleidoscopic Waves", that's accompanied by the music video below.

Speaking about the new song, Schaefer says: "We knew 'Kaleidoscopic Waves' would be the perfect track to usher in this new era of FALLUJAH. It unmistakably showcases the soaring atmospheres and remarkable technicality the band is already known for, but with a new level of melodic depth and an invigorating desire to push beyond the boundaries of our previous work. It's hard to fully encapsulate the vast scope of our new album with a single song, but 'Kaleidoscopic Waves' is a great place to start."

"Xenotaph" track listing:

01. In Stars We Drown
02. Kaleidoscopic Waves
03. Labyrinth Of Stone
04. The Crystalline Veil
05. Step Through The Portal And Breathe
06. A Parasitic Dream
07. The Obsidian Architect
08. Xenotaph

FALLUJAH's confidence in the lineup that made their previous album, "Empyrean" (2022),such a resounding success — earning high marks from Metal Injection, New Noise and Guitar World — has been reconfigured slightly, with guitarist Sam Mooradian (INHALE EXISTENCE, SAM MOORADIAN) and drummer Kevin Alexander (DISEMBODIED TYRANT, BROUGHT BY PAIN) bringing their jaw-dropping musical proficiency to the fold, as vocalist Kyle Schaefer, guitarist Scott Carstairs, and bassist Evan Brewer enter a new chapter with FALLUJAH.

"Xenotaph" was produced by FALLUJAH, engineered by Dave Otero (CATTLE DECAPITATION, ARCHSPIRE) and Mike Low (VITRIOL, ABORTED) at Flatline Audio in Denver, Colorado and Top Track Studios in Nashville, Tennessee. Otero also mixed and mastered "Xenotaph". The main goal was elevation, building upon yet soaring upward from "Empyrean", one of the group's strongest productions to date. The team focused the separation of FALLUJAH's breakneck pace, meticulous songcraft, euphonious leads, and unrivaled intensity, creating an experience pulls the listener into "Xenotaph"'s high-caliber music and concept.

FALLUJAH is:

Kyle Schaefer - Vocals, Programming
Scott Carstairs - Guitars
Sam Mooradian - Guitar
Evan Brewer - Bass
Kevin Alexander - Drums

Photo credit: Brian Krahe

Former DREAM THEATER drummer Mike Mangini's drum-cam playthrough video for "Oligarchs", the first single from his new band MONOLITH, can be seen below.

In addition to Mangini, MONOLITH features Hernán "Motley" Rodríguez on bass and vocals, and Andy Barrow on guitar.

The trio describes itself on social media as "a genre-defying band that embodies the fusion of rock and metal."

The official music video for "Oligarchs" was released on February 28.

Mangini released his debut solo album, "Invisible Signs", in November 2023. Accompanying Mangini on the LP were Tony Dickinson on bass, Ivan Keller on guitar, Gus G. (FIREWIND, OZZY OSBOURNE) on lead guitar and former EVANESCENCE guitarist Jen Majura on vocals.

Mangini joined DREAM THEATER in late 2010 through a widely publicized audition following the departure of Mike Portnoy, who co-founded DREAM THEATER 40 years ago. Mangini beat out six other of the world's top drummers — Marco Minnemann, Virgil Donati, Aquiles Priester, Thomas Lang, Peter Wildoer and Derek Roddy — for the gig, a three-day process that was filmed for a documentary-style reality show called "The Spirit Carries On".

Mangini made his name in the hard rock world in the mid-1990s when he played with EXTREME, before landing the gig with guitar legend Steve Vai in 1996. Nearly a decade later, Mangini took up a full-time teaching position at the world-renowned Berklee College Of Music.

In a recent interview with Loaded Radio, DREAM THEATER singer James LaBrie was asked how Mangini took the news in October 2023 when LaBrie and the rest of DREAM THEATER broke it to the drummer that Portnoy was coming back. James said: "Well, he was very professional about it. [It was] very admirable of him to have been… He took it in style and class. I mean, obviously, I think it would have been upsetting — it must have been upsetting — but he took it for what it's worth and even saying things like, 'It kind of makes sense, guys. I see why this should be happening and why this would maybe inevitably be happening. It just makes sense for the band and the amount of history that you all have together. It seems natural.' So, yeah, no, he was a class guy. Classy. Yeah."

In a January 2024 interview with Chris Akin Presents…, Mangini was asked if he had any "advance notice" that Portnoy would return to DREAM THEATER in the fall of 2023 or if it was "really immediate". He responded: "Immediate. But it's like… So the fish comes up out of the water, it's immediate, but the fish was swimming for a while. Where was the fish? Whatever."

He continued: "The reason it was easy for me to deal with — very easy, actually — I was, like, 'Oh, okay. Yeah. Yeah. Original guy back in band.' I got I got it. And I didn't have to go do through a drop-down menu; I didn't have to do it. It was just I looked at it and went, 'Okay.' And plus I don't know whether it was intuitive, instinctual [or] intellectual… but I have left so many things on the table for so many years — the publishing of more books, the classes that I wanna teach, the interaction that my own self-development comes largely from me having to teach and talk about it to people. At some point, I mean, I see the whole picture, the grid, and I know what I can't do, and that inspires me.

"But anyway, the answer to your question is, I got a call and understood the call, and said, 'Okay, let's do a joint statement,'" he explained. "And then the next day, I'm, like, 'Okay.' I'm having coffee and quite literally, at my think tank, looking at my list and going, 'How am I gonna complete this job now? I've gotta fix this or do that. I've got a lot to do.' My studio facility had construction, there was stuff that had to be fixed. I was, like, 'Let me just let all of this stuff happen and breathe and just finish these things.' So that's what my mindset was. I can't tell you anything different because that's what it was."

Asked how he managed to avoid being angry over the fact that he was being pushed out of DREAM THEATER when Portnoy wanted to come back, even though Mangini was the drummer that helped the band win its first Grammy Award, Mangini said: "Well, a) because I don't know that that's what is the full picture. I don't know that that is what happened indeed. And I don't let myself even think about it. People decide things and I respect that. It's just it is what it is."

In early November 2023, Mangini told SiriusXM's "Trunk Nation With Eddie Trunk" about his exit from DREAM THEATER and the return of Portnoy: "All I know is the decision was made and when I heard it, all I pictured was, 'Oh, this is an original guy going back to his band. Uh, okay. All right. Let's go to the next thing.' It was nothing more. I was told. It was just nothing more than — it seemed so simple to me. And maybe intuitively it's, like, 'Oh yeah, I get it.' And that was that. That's really it… So that's really the crux of it all is it was an easy thing for me to understand. And then once the news hit and it became real, which is when it set in, because once I knew about it, I just got busy. I was, like, 'Okay, I've got all these videos to finish.'"

The 61-year-old Mangini, who joined DREAM THEATER in 2010, continued: "I'm actually doing like a lot of stuff for my [recently released solo] album. I'll do some drum playthroughs. Not to yap and yap and yap about it, but I have a lot on my cork board and my lists and things to do and things to accomplish and things to complete. There's so much there I haven't been able to do. But once it hit and it became real, it was real quick for me. I'm, like, 'Okay, I get it.'"

When host Eddie Trunk noted that everything about his exit from DREAM THEATER, from the way it was handled to the fans' response to Mike's attitude about it, was "about as good as it could be," Mangini concurred. "It is as good as it could be," Mike said. "I think people are where they need to be. It's, like, there's stuff to do, there's places to be, there's people to see, there are things to accomplish and roles to fulfill and tasks to do. And that's what it is. That's really what it is.

"How lucky am I, how fortunate am I to be just a part of that history, to have all this amazing stuff happen?" he continued. "It's positive, positive, positive.

"I know I've accomplished some things with my career, and I've had a lot of struggles and a lot of things that didn't work or whatever, but for my parents to be in their 90s, to see this happen, and I'm not talking about career stuff; I'm talking about how I've treated people and how they treat me. I mean, I think that's what I want for my kids — I wanna feel well about how they are with people and how people treat them at the end of the day. I think that's just awesome."

May we introduce you to the first stop of this story we’re about to tell you. 📠

‘Oligarchs’ out this Friday 28th.

#Oligarchs #TheyAreWatching #Monolith

Posted by Monolith Band on Tuesday, February 25, 2025

The family of Kimberly Burch, the fiancée of FASTER PUSSYCAT frontman Taime Downe, is demanding answers from the musician in connection with her death after going overboard from the Royal Caribbean ship Explorer Of The Seas during the first day of The 80s Cruise, a nostalgia music cruise featuring such acts as FASTER PUSSYCAT, WARRANT, DOKKEN, FIREHOUSE, SQUEEZE, Adam Ant, Tiffany and MEN AT WORK.

A search operation involving several ships was conducted after Kimberly Burch went overboard around 11 p.m. on Monday, March 3. She fell to her death after a heated argument with Downe aboard the ship, according to Kimberly's mother. It is still unclear whether Kimberly jumped or accidentally fell from the ship, but Carnell Burch told TMZ Kimberly wouldn't purposefully hurt herself.

Kimberly's sister-in-law, Kellie Burch, told DailyMail.com that the family hasn't heard from Downe after he called Kimberly's mom to notify her of her daughter's death on Monday.

"We haven't spoken to him," Kellie told DailyMail.com. "He called my mother-in-law to notify her, but she hasn't had any contact with him since then. None of us have."

Like Carnell, Kellie said that she didn't believe Kimberly would intentionally harm herself. "She wouldn't do that," Kellie said. "It's just not her.

"We just want to know what happened," Kellie added. "We just want answers… All we want is answers. We've had absolutely zero contact with the cruise company. We've emailed, we've called, and nobody has gotten back to us."

Kimberly's family announced her death in a statement on Facebook Tuesday morning.

"It is with broken hearts that we share the sad news that Kimberly Burch has passed away," they wrote. "She was a beloved daughter, sister, sister-in-law and aunt. She will be greatly missed by all that knew and loved her. We ask for prayers during this time for our family as we try to wrap our minds around this heartbreaking tragedy. We love and miss you Kimberly Burch!!"

A Royal Caribbean Group spokesperson said in a statement: "Our crew immediately launched a search and rescue effort, is working with local authorities, and we are providing support and assistance to the guest's family during this difficult time. To respect the privacy of our guest's family, we have no additional details to share."

A U.S. Coast Guard spokesperson told TMZ the incident happened roughly 20 miles away from Freeport, Bahamas.

The ship's captain informed passengers of the situation via the public address system, and crew members promptly deployed a speedboat to search for the missing individual. Two nearby vessels also joined the search efforts.

On Monday, Kimberly posted a selfie with Taime on social media with the caption, "We made it aboard @the80scruise."

An anonymous ship passenger told The Hollywood Reporter the incident occurred at the end of the evening when SQUEEZE was on stage.

"There was an announcement over the PA saying someone went overboard so the ship was going to stop and turn around to try and locate the person," the ship passenger said.

The passenger added that the ship stopped for a few hours deploying safety boats and floodlights to search. Eventually, the Explorer Of The Seas continued, arriving at its next destination at Nassau, Bahamas just a few hours behind schedule.

The cruise began on Sunday, March 2 and returns on Sunday, March 9.

Taime and Kimberly were together for about 6 to 7 years, according to TMZ.

For this year's Valentine's Day, Kimberly shared a series of photos of her with Taime and she wrote in an accompanying caption: "Happy Every Day! From your first hello to me I fell head over heels in love. You are my Valentine every day of my life. We are a tornado at times and pure raw love. I wouldn’t have it any other way. We do us like no other. I love you with my entire heart and soul".

Originally formed during the mid-1980s glam rock era, FASTER PUSSYCAT has gone on to have a triumph of success, with over two million albums sold worldwide, and has accompanied some of rocks most distinguished names on tour, such as ALICE COOPER, OZZY OSBOURNE, MÖTLEY CRÜE, GUNS N' ROSES and KISS.

In a new interview with Loaded Radio, Canadian visionary musician, composer, and producer Devin Townsend spoke about his relationship with guitar god Steve Vai with whom he collaborated on the VAI band's "Sex & Religion" album back in 1993. Devin said (as transcribed by BLABBERMOUTH.NET): "[Steve] was just at my house for a week and a half. We have a good relationship and he's involved with [Townsend's rock opera] 'The Moth'.

"[Steve is] a very important person in my life for a lot of reasons," Devin continued. "But after so many years, we can be honest with each other too. And I think that where a lot of times collaborative efforts fall apart is everybody has to pussyfoot around each other. Specifically, if you're both even reasonably accomplished in terms of putting out material, a lot of times collaborations with other musicians end up — everybody's very, very careful with each other's ideas. As opposed to saying, 'Hey, no. I listened to the idea and I appreciate it, but it's not for me. I don't like it.' Sometimes that falls apart with people that don't have these more long-term relationships. And Steve and I now are in a position where when we do get together and we do jam and we do talk about concepts, we can vet each other's ideas from a place of more objective creative analysis. And I value that greatly, specifically with somebody who, again, is so accomplished. It's a great experience… I think what's important about that as well is the reason why we're able to still communicate is because we've gone through difficult periods."

Townsend added: "Another quote that I love [is] that 'progress is only an awkward conversation away.' And I think that if you're in a position with somebody, if you're fortunate enough to be in a position with somebody where you can have those difficult conversations, then that's where real music is going to come from.

"You get asked these questions when you're younger, like, 'Oh, could you describe what a dream band would be like?' [You go], like, 'Oh, okay, Jimi Hendrix on guitar, John Bonham on drums.' But you think to yourself maybe the reason that those players were so fantastic is because the environments that they found themselves in. Maybe the reason why Jimi Hendrix is brilliant came out is because he didn't have to answer to anybody. He just had the two players in his band and perhaps if you did put him into a ban, maybe his social anxiety would make it that the other guitar player, maybe Jimmy Page or whatever, would just steamroll him. And then by the time you're done, you get this supergroup album that's not as good as any of them individually. And I think a lot of the reason why that happens is the dynamic has to be established. And if you're fortunate enough to be with musicians for many years, then you've worked through the arguments, you've worked through the 'fuck this guy' or the romance period even. And then at that point, when someone has an idea, you're best suited to listen to it because why would they say it other than this person who's brilliant has a good idea. Or an idea at least. And that's where [Steve and I] find ourselves."

Asked when fans can expect to hear some of this material that he has been working on with Steve, Devin said: "Well, I think it's a work in progress in that what we're working on together with 'The Moth' is rooted in something that I've already written. So when he comes here, a lot of it is just, like, he has ideas. He's, like, 'What if we tried this? What if the chorus was doubled?', things like that. So in an immediate sense, 'The Moth', the performances that we start with, because we're doing performances of it with the orchestra prior to the record coming out, happens in March of 2025. But then where it evolves with Steve and I — I guess the thing that is frustrating to some of the audience is I personally am in no rush with any of these things. So, the honest answer is when it's ready, it'll be out. And what plays into when that is, is just everybody's so busy. There's no direct plans, but it's already in the process. That's a copout of an answer, but it's an answer nonetheless."

Devin will perform "The Moth" together with the Noord Nederlands Orkest symphony orchestra in late March at De Oosterpoort in Groningen, The Netherlands.

"The Moth", a "rock opera" Devin has been working on for years, represents his lifelong ambition. "The Moth" tells the story of the human experience from birth to death, comparable to the transformation of a caterpillar into a moth. It symbolizes the human quest for meaning and offers perspectives on the fear of death through analogy and narrative. Ever since Townsend witnessed large musicals such as "Jesus Christ Superstar" and "Phantom Of The Opera" in the 1970s, he has seen this project as his calling.

"The Moth" has been in the making for over a decade, and Townsend has been building towards it for 30 years. Now, he is ready to bring it to life. He will share the stage at De Oosterpoort in Groningen with no less than seventy musicians from the Noord Nederlands Orkest, a sixty-member choir, and his own band, which includes Mike Keneally, Joseph Stephenson, Darby Todd and James Leach.

"Sex & Religion" saw Vai joining forces with a band of "monster musicians" — including drummer Terry Bozzio and bassist T.M. Stevens — to create an effort that was radically different from 1990's "Passion And Warfare". The VAI band split up after the album was finished, and Vai subsequently toured only with Townsend and several session drummers and bassists.

More than a decade after their initial musical partnership, these two creative giants again crossed paths. In 2005, Vai played a guest guitar solo on Townsend's "Synchestra" album, and in 2013, was cast as narrator on Townsend's "The Retinal Circus" live album. When Vai decided to record 2016's "Modern Primitive", which featured music he wrote in the period between his debut solo album, "Flex-Able", and the aforementioned "Passion And Warfare", he enlisted Townsend to sing on a song called "The Lost Chord".