Left For Dead – Beatings From Orlando 1996

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LEFT FOR DEAD came out of the mid-’90s Orlando hard rock scene with “Beatings From Orlando”, a tough, hook-heavy record sitting somewhere between hard rock, alternative metal and the last fumes of the glam era. Crunchy guitars, big choruses and a darker post-grunge edge give the album more bite than its Sunset Strip connections might suggest.

The record is especially interesting in hindsight because guitarist Jeff Blando would later join SLAUGHTER and work extensively with Vince Neil. Here, though, the sound is rougher and less polished, with more grit in the riffs and a stronger alternative-rock influence running underneath the melodic hard rock foundation.

“The Turtle” opens with a heavy, slightly twisted groove, while “No One Else To Blame” and “

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Virgin Steele – Hell’s Heroes 8 (Houston, TX 03⧸21⧸2026) FULL SET – 1080p

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VIRGIN STEELE brought their grandiose blend of epic heavy metal, mythology and old-school steel to Hell’s Heroes VIII in Houston, delivering a compact but powerful festival set built around some of the band’s most dramatic material. David DeFeis still commands the stage like a high priest of metal theatre, while the songs hit with that unmistakable mix of triumph, darkness and ancient-war atmosphere.

Recorded at White Oak Music Hall on March 21, 2026, the performance runs through several eras of the band’s catalogue without wasting much time between blows.

“A Token of My Hatred” opens with immediate force before “In the Light” brings in more melody and atmosphere. “Invictus” remains one of those VIRGIN STEELE songs th

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CONSECRATION – Exanimis (2026)

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UK death-doom veterans CONSECRATION sink even deeper into the grave with “Exanimis”, a crushing fourth album built from monolithic riffs, funeral-weight atmosphere and bursts of raw death-metal violence. Bleak, patient and mercilessly heavy, it feels like the walls are moving inward with every song.

Rooted firmly in the old British death-doom tradition, “Exanimis” carries echoes of early MY DYING BRIDE, ENCHANTMENT and DECOMPOSED, but CONSECRATION avoid sounding like a museum piece. The production is thick and modern enough to give every riff real physical weight, while the songs retain that early-’90s sense of dread and decay.

“Herald Of Darkness” opens the record with a slow descent, setting the tone before “Configuration Of Lamenta

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John Torra’s Debut – Quiet Riot Full Show 2026 – 1080p, Video, OneCamera

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QUIET RIOT open a new chapter with 23-year-old John Torra behind the microphone, and his first full show feels less like a cautious introduction than somebody being thrown straight into the furnace. Backed by Rudy Sarzo, Alex Grossi and Johnny Kelly, Torra attacks the classics with a young voice, plenty of nerve and zero interest in sounding intimidated by the history behind him.

The debut took place at the Cherokee Event Center in West Siloam Springs, Oklahoma, on October 1, 2026. Torra had only recently been announced as the band’s new lead singer after an open audition process, replacing Jizzy Pearl and stepping into one of the most recognizable vocal positions in ’80s American metal.

“Run For Cover” opens the set with imm

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GENESIS – Live At Knebworth (2021) EP, MP3+FLAC

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GENESIS return to one of their most famous festival appearances with “Live At Knebworth”, a limited Record Store Day release capturing the band in full arena-rock flight at Knebworth in 1990. Short in running time but huge in atmosphere, this is Phil Collins-era Genesis with the crowd already in the palm of their hand.

Recorded during the legendary Silver Clef Award Winners Concert at Knebworth, the performance found Genesis sharing the bill with some of the biggest names in British rock. Rather than presenting the entire show, this 2021 vinyl edition concentrates on two heavyweight moments.

“Mama” arrives with all the menace and tension that made the original such a defining ’80s Genesis track, Phil Collins moving fr

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Lunachicks – We Can Be Worster 2026

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LUNACHICKS finally get their first proper best-of with “We Can Be Worster”, a 13-track blast of punk, metal, trashy glamour and New York attitude. It is loud, funny, abrasive and gloriously wrong in all the right places.

Formed as teenagers at New York’s LaGuardia High School, LUNACHICKS came up through the same downtown ecosystem that fed bands into CBGB, The Limelight and the wider alternative underground. Their sound was never cleanly punk or metal; it carried bits of RAMONES velocity, BLACK SABBATH weight, KISS theatricality, BLONDIE cool and enough sarcasm to keep the whole thing dangerous.

“We Can Be Worster” works like a guided tour through that mess.

“Drop Dead” and “Less Teeth More Tits” hit first with exactly t

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Everrime – The Sea Is Calling Our Names – 2026

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German symphonic metallers EVERRIME return with “The Sea Is Calling Our Names”, a darker and more expansive second album built on soaring vocals, heavy guitars and a strong gothic undertow. It feels cinematic without becoming overblown, with enough doom-weight in the atmosphere to keep the melodies from floating away.

Formed in Hannover in 2021, EVERRIME began as a personal recording project before developing into a full band. On “The Sea Is Calling Our Names”, that evolution feels complete: the songs are more confident, the arrangements broader and the contrast between beauty and heaviness much more pronounced.

“Sunset” opens the record like a slow descent into twilight before “A Lifetime Asleep” brings in the album’s fu

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Confessori – Realm Breaker – 2026

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Ricardo Confessori steps out from behind the drum kit with “Realm Breaker”, a cinematic metal concept album built around humanity, technology and the fear of losing control of both. Heavy riffs, orchestral layers and a rotating cast of powerful Brazilian voices give the record the scale of a dystopian metal opera.

Best known for his work with KORZUS, ANGRA and SHAMAN, Confessori has spent decades shaping Brazilian heavy metal from behind the drums. “Realm Breaker” is the first time he places his own name at the center of a full-length project, and he uses that freedom to build something much broader than a conventional solo record.

The album unfolds as a science-fiction narrative about the collision between human instinct and artif

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Tapio Mattlar – Maailmassa monta on virheellista asiaa – 2026

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Genre: Prog Folk
Artist (band) Country: Finland
Year of Release: 2026

01. Itsevaltiaita ei saada syrjaytettya (03:12)
02. Syyllinen on sivustakatsoja (05:14)
03. Lapset joutuvat syyttomina karsimaan (03:42)
04. Rikkaat palkitaan rahalla ja koyhat kunniakirjoilla (04:14)
05. Okyrikkaat eivat ymmarra vastuutaan (03:41)
06. Jalopuu (04:01)
07. Sodissa kuolevat ihminen ja luonto (03:57)
08. Maahanmuuttajat ja pakolaiset jatetaan heitteille (06:45)
09. Kaupungistuminen sairastuttaa ihmisia (05:07)
10. Maailmassa monta on virheellista asiaa (04:58)

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AMERICAN MAFIA – Partners In Crime (2026), MP3+FLAC

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AMERICAN MAFIA open the vaults on “Partners In Crime”, a ten-track collection that traces their bloodline from early-’90s HOLY WATER demos to the tougher, bluesier sound of the present day. It is melodic hard rock with grease on the gears — big hooks, thick guitars and enough Bad Company swagger to keep everything loose.

At the center of the story are guitarist Thomas Jude Innamorato and bassist Freddy Villano, whose partnership goes back to the late ’80s. Their earliest recordings under the HOLY WATER name leaned hard into the classic language of FREE, BAD COMPANY, HUMBLE PIE, WHITESNAKE and FOREIGNER, but with a more American street-rock edge underneath.

The first three tracks — “I’m Not Worried Anymore”, “

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Pelegrin – The Curse Of Nephtar (2026)

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French heavy psych trio PELEGRIN return with “The Curse Of Nephtar”, a dense seven-track journey where desert-colored psychedelia, progressive structures and stoner-weight riffs move like heat over black stone. It is heavy without being blunt, mystical without disappearing into smoke, and easily their most ambitious record yet.

At the center of the album sits Nephtar, a mysterious black orb born in the depths of the prehistoric Tethys Ocean. Over time, its power reaches the surface and seduces humanity with the promise of abundance, only for that promise to twist into control, dependency and conflict.

That story is more than fantasy decoration. PELEGRIN use it as an allegory for fossil fuels and the so-called resource curse — the paradox in which countr

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Old Man of Wandering Mountain – I (2026)

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OLD MAN OF WANDERING MOUNTAIN make their full-length statement with “I”, a vast, atmospheric collision of progressive rock, post-metal and slow-burning psychedelic weight. Heavy riffs rise like cliffs through fog, then dissolve into quieter passages where synths, saxophone and space are allowed to breathe.

The project is led by Brandon Bodhi Denton, who handles vocals, guitars, bass, keyboards, songwriting and production. That gives “I” a remarkably unified character: even when the music shifts from crushing heaviness into ambient drift, it still feels like part of the same landscape.

“Buried Thrones” opens with a patient, cinematic build before the guitars begin to gather weight. “The Mountain Pass” keeps that sense of scale alive, while “S

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Stereophrenics – Paracosm 2.0 (2026)

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Swiss progressive metallers STEREOPHRENICS make their full-length debut with “Paracosm 2.0”, a dark and atmospheric record where heavy riffs, gothic tension and theatrical vocals keep slipping in and out of focus. It feels less like a straight metal album and more like wandering through somebody else’s subconscious with the lights flickering.

The album revolves around altered states of consciousness, imaginary worlds and the uneasy border between reality and perception. That concept suits the music perfectly: STEREOPHRENICS rarely stay in one place for long, moving from heavy progressive passages into melancholy keyboards, quieter interludes and more dramatic vocal sections.

“Hypnagogia” acts as a short doorway into the record before “Paracosm”

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AEROSMITH AND FRIENDS – California, Dream On: Hollywood Bowl 2026 1080p, MultiCam

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On October 29, 2026, the Hollywood Bowl became the center of the rock ’n’ roll universe for “California, Dream On: Aerosmith & Friends”. Nearly four hours of music built toward one extraordinary moment: AEROSMITH finally walking back onto a concert stage together.

Hosted by Bill Burr, the night unfolded like a giant love letter to the band’s catalogue. Sully Erna, Warren Haynes, Billy Idol, Sammy Hagar, HEART and Eric Church all took turns tearing into Aerosmith classics, each bringing a different shade to songs that have spent decades living inside American rock culture.

THE BLACK CROWES followed with a set steeped in Aerosmith’s dirtier ’70s side, reaching for “Write Me A Letter”, “Combination” and “No Mor

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Teacher’s Pett – Tearing Up The Night – 2026 AOR Blvd Records (1988-1991), FLAC+MP3

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Seattle metal obscurity TEACHER’S PETT finally gets dragged out of the demo-tape underground with “Tearing Up The Night”, a 12-track archival collection built from recordings made during the band’s late-’80s and early-’90s run. Raw, melodic and proudly old-school, this is US heavy metal before grunge slammed the door shut.

TEACHER’S PETT formed in Washington in 1983 and spent the rest of the decade carving out a place in the Northwest metal scene. They shared stages with bands such as SAVATAGE, CRIMSON GLORY, RIOT, VICIOUS RUMORS and ALICE IN CHAINS, but like many strong regional acts of the era, never managed to land the record deal their material deserved.

The sound sits right between traditional US heavy metal and power me

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