The brand new single and title track, a powerful, anthemic journey into the world of Celtic mythology, is released today.
“‘Gods of Thunder’ is a mighty tale of Celtic mythology, packed with the spirit and power of true heavy metal,” exclaims Biff Byford.“Turn it up and bang your head!”

Produced by legendary founder and frontman Biff Byford and mixed by Andy Sneap (Judas Priest, Exodus, Accept and Priestguitarist), Gods of Thunder captures the band at the height of their powers, combining forceful performances with vivid, meticulously crafted storytelling. Pounding bass and drums, searing guitars and Biff Byford’s unmistakable voice combine to create a sonic barrage of pure British metal, carrying the spirit of the past, present and future. The album sees one of the world’s greatest live bands bring their legendary power and energy into the studio, delivering a metal masterpiece worthy of Saxon’s enduring legacy. Each track is built around the weight, dynamics and intricate arrangements that have long defined Saxon’s music, while the album as a whole maintains a strong sense of focus and purpose.

“We had great fun making this album,” says Biff. “This is gonna be one to beat!”

Byford’s longstanding passion for history is central to the album, with his distinctive storytelling bringing characters and events from the past vividly to life across ten powerful, quintessential Saxon songs. On “The Bloody Tower (The Ballad of Anne Boleyn)”, Byford recounts the politically charged execution of Anne Boleyn, while in “Medusa” the focus shifts to myth, driven by a taut, mesmeric riff and delivered at a relentless pace. “Remember the Alamo” charges forward with the fast-paced energy and spirit of early ’80s NWOBHM. The twin-guitar attack of Doug Scarratt and Brian Tatler is particularly prominent on “Temple of Rock”, underpinned by the rock-solid rhythm section of Nigel Glocker and Tim ‘Nibbs’ Carter. The album closes with “MI5”, a timeless headbanger that brings together themes of the Berlin Wall and Cold War espionage.

With the new single landing today, anticipation for the album is already building, while Saxon’s forthcoming UK shows are selling fast. Fans can expect a set packed with thunderous new material alongside the classic songs that have made the band a formidable live force for generations. And this is just the beginning: fans around the globe should keep their eyes peeled for further dates on the Gods of Thunder – World Tour to be announced soon.

Gods of Thunder – World Tour Part 1 (Castles & Eagles Production)
13 Feb – CIVIC HALL, Wolverhampton (UK)
14 Feb – O2 ACADEMY, Glasgow (UK)
16 FEB – TELEGRAPH BUILDING, Belfast (UK)
17 FEB – 3OLYMPIA THEATRE, Dublin (IE)
19 FEB – O2 APOLLO, Manchester (UK)
20 FEB – O2 CITY HALL, Newcastle (UK)
21 FEB – CITY HALL, Sheffield (UK)
23 FEB – THE GREAT HALL, Cardiff (UK)
24 FEB – BEACON, Bristol (UK)
25 FEB – O2 GUILDHALL, Southampton (UK)
27 FEB – EVENTIM APOLLO, London (UK)

“Gods of Thunder” will be available on a range of vinyl variants, CD, exclusive bundles and digital formats.

Το άρθρο SAXON: 25TH STUDIO ALBUM TO ARRIVE IN JANUARY 2027 εμφανίστηκε πρώτα στο Myth Of Rock.

The forthcoming release will be the band’s first studio album since the critically acclaimed 2019 record “Undress Your Madness”, ushering in an exciting new era for one of Europe’s most iconic and enduring hard rock acts.

Driven by the unmistakable creative partnership of Ronnie Atkins and Ken Hammer, PRETTY MAIDS have spent more than four decades developing a distinctive sound that blends hard-hitting guitar riffs, soaring melodies, atmospheric keyboards and massive, instantly memorable choruses.

Since emerging in the early 1980s, the Danish outfit has built an impressive discography featuring landmark releases such as “Future World”, “Jump The Gun”, “Pandemonium”, “Motherland” and “Kingmaker”, cementing PRETTY MAIDS’ status as one of the most enduring and influential names in melodic hard rock and heavy metal.

After a five-year hiatus, PRETTY MAIDS made their long-awaited return to the stage in 2024. The chemistry and energy between the members were undeniable, and what initially began as a return to live performances has now grown into something fans worldwide have been eagerly awaiting: new PRETTY MAIDS music.

The upcoming album is due for release in 2027 through Frontiers Music Srl and will be produced by acclaimed Danish producer Jacob Hansen, known for his work with AMARANTHE, VOLBEAT, EPICA, PRIMAL FEAR and EVERGREY.

PRETTY MAIDS 2026 is:

Ronnie Atkins – Vocals
Ken Hammer – Lead Guitar
Rene Shades – Bass
Chris Laney – Rhythm Guitar/Keyboards
Allan Tschicaja – Drums

Το άρθρο PRETTY MAIDS: RETURN WITH NEW ALBUM IN 2027 εμφανίστηκε πρώτα στο Myth Of Rock.

♦ 8,5/10

Dimitris Zacharopoulos

Το άρθρο FLUISTERAARS – “JACHT DER MYSTERIËN” (2026, EISENWALD) εμφανίστηκε πρώτα στο Myth Of Rock.

by Dimitris Zacharopoulos

When, where and by whom was Pyroclast formed? Give us a short biography of the band!
Mark: The band is really a natural progression from a band that most of us we were from before.  I’d say that Baz and I inherited the band in 2022 from the guys who started the band back in 2016.  The more time went on, though, and the more we wrote, we started to see the original members drop off.  Eventually, after all of the original guys had moved on and we had a much more solid lineup in place, we realised that we were vastly different from the band we initially joined, so it was time to start fresh with a brand new name and a new philosophy.  It would have been March 2025 that we announced the new name and new direction. I believe.

You are now ready to release your new album, “Fractured State”. Which are your feelings about that?
Mark: It’s exciting, and it’s scary.  We had so many 9/10 and 10/10 reviews for the previous album (released under our original name and then re-released after the name change) that we genuinely wondered if we’d not only top that last album but even come close to it.  The reaction we’ve had so far, though, shows that we definitely improved on it.  I can’t wait for everyone to hear it!

Chris: I’m very much looking forward to getting it out into the world. It’s been the soundtrack to my life since about September of last year so it’s quite surreal that it’s finally about to release!

How would you describe the new album musically?
Mark: It’s a progression, but not necessarily progressive.  We’ve gone from writing riff-fests to spending more time on the arrangements, individually and as a band, and I’d say the writing itself has matured considerably.

Baz: This time around we brought our song ideas into the rehearsal room and worked out dynamics and arrangement ideas as a full band rather than leaving it up to the person who wrote the song. I think this has worked very well for the new songs.

Chris: You’re naturally going to hear our traditional heavy metal influences throughout, but the songs have developed musically and carry more weight with them this time. There are a lot of twists and turns but everything feels like it belongs, like it’s intentional, and not just thrown in for the sake of it.

Where would you trace the differences between “Fractured State” and the previous album?
Mark: Overall, I’d say this new album is more… it’s not that we didn’t put everything into the last one, because we did, but it’s almost as though we’ve still put everything into this one, just in a different way.  It’s much more collaborative.  With the last one, I’d write with Baz or I’d write with Chris, and that would be it.  With this one, we’d still do that, but then we’d actually open the floor to the other guys and go “Right… now what?” and see what changes could be made to the arrangements.

Where do your lyrics refer to? Do you try to send any messages to the listeners through your songs?
We don’t consciously write lyrics in order to deliver a message to the listener.  Even when we’re writing about mental health, social conditions, child poverty, or anything like that, we’re not writing to preach.  We’re just writing because we have something we feel strongly about, but we’re not trying to change minds or steer people in a particular direction.  I think we just have a lot to say.  But there are also the songs like “Erebus and Terror”, “Ozymandias”, and “Slaughterhouse” that are about real-world occurrences, so we also have to make sure we treat those subjects with the tact and respect that they deserve.

Why did you name the new album “Fractured State”?
Baz: Most of the songs’ themes refer to challenges faced, and how people overcome them or are consumed by them.

When and where was the new album recorded? Who was the producer? Who did the mixing and the mastering?
Mark: We have our own recording facilities and we’re blessed to have Chris Horne (our guitarist) as our recording engineer for drums and other parts, and as mixing engineer.  I tend to take care of the mastering myself.  We’re just really lucky that we all know how to record to a high quality with our own gear and that we understand what sounds good, I suppose.

Chris: The whole production has been handled in-house. We recorded the drums and gang vocals in our rehearsal space. Mark and Liam recorded their parts at their respective homes; and guitars were recorded at my house. I do the mixing (with feedback from the rest of the guys of course), and Mark does the mastering.

Who is responsible for Pyroclast’s music and lyrics?
Mark: Up until now, I’ve primarily written with Baz and Chris.  But it’s not some monopoly where nobody else can get involved; it’s just worked out that way so far.  I’d love to spend an entire day in the studio where we all go in with NO ideas whatsoever and just see what comes out of it.

Baz: Mark likes this idea more than me! I find it challenging to write on the spot and under pressure. When I’m writing lyrics I try to find a theme suggested by the music or a title. They don’t come easy, but writing good lyrics is a challenge I love.

Chris: I enjoy coming up with music at home, or collaboratively in person with others. I find that other folks’ ideas can influence a new riff that you wouldn’t have otherwise come up with. Liam and I came up with our songs mostly collaboratively in our old band from years ago. It was so easy to just bounce ideas off each other and create a full song. I recall, in our old band, coming up with a new song with Liam in the time it took the other guys to make up some super noodles.

How is a typical Pyroclast song composed? What comes first, music or lyrics?
Mark: When I was a young teen, learning to play guitar, I’d write lyrics first and make the music fit.  I have NO idea why I did that!  Now, I’ll just listen to what the music is saying to me and the first line will come from the music, and then every subsequent lyric will flow naturally.
Baz: I’m the same. Music first, then melodies and rhythms for lyrics come to me.

Chris: Music first, 99% of the time. Though my one lyrical contribution to the band, “Judge, Jury, Executioner”, was written first, and I wrote the music around that. Mark handles the rest of the lyrics in that song, thankfully!

I’ve not got one set way, though. Sometimes I’m just noodling and something will stick. Other times I may start with a melody in my head, or even just an energy that I’m trying to capture.

How do you make decisions in Pyroclast?
Mark: I tell them all what to do and then they just ignore me and do what they want.  Actually, no, we’re fully democratic when it comes to decisions.  It can be a good thing and it can be a bad thing.  We’ve done things that I personally think are wrong because the decision fell that way, but if you fight against a decision and try to sway it so it falls your way, there’s really no point in having a democracy at all, so you learn to live with every decision and make it work.

Which are the main music influences of Pyroclast?
Mark: Speaking for myself only, the music I write… hmm… I’m not actually sure what my musical influences are.  Last week, I was playing Kansas’ “Leftoverture” to Baz and Chris while we were painting the studio and Chris said “I hear where your influences come from now!” and it made me think a little deeper into the songs I write.  I think most of my musical influences come from the bands I listened to in the early ‘90s like Conception, Helloween, Dream Theater, Sabbath (with Dio, mainly), Spock’s Beard, and The Beyond.  Vocally, it’d be Kiske, Dio, Dickinson, and a bit of Tate.

Baz: I’m a little more traditional in my influences for writing heavy music, I guess. Iron Maiden, Judas Priest and a light sprinkling of Thin Lizzy’s Celtic melodies.

Chris: For the song writing itself, I’m very much influenced by Maiden, Halloween, Priest, Sabbath, and Deep Purple. Most of that comes through in my solos, but I try change it up a bit which probably comes from my progier influences by the likes of Dream Theater and Symphony X.

Which are the trademarks of Pyroclast?
Mark: Beautiful twin guitars, exhausting double kick, crazy basslines, stupid vocal sustains, and in-depth special edition packages!

How would you describe a live show by Pyroclast?
Mark: We take our music very seriously, but when we’re on stage, we don’t just entertain the audience, we like to keep ourselves entertained, too.  So we’ll have a lot of fun with it.

If Pyroclast was a movie, what kind of movie would it be?
Mark: I’m the wrong person to ask that question of, so I’ll pass that one over!

Baz: Horror! Psychological horror.

Chris: Yeah, psychological horror is quite accurate. Especially those ones where they introduce some comedy, so you find yourself in a horrific moment where you’re tempted to laugh but you’re questioning the ethics of it. That kinda horror. Crossed with Rom-com.

If you had the opportunity to collaborate with a famous musician on a song of yours, whom would you select?
Mark: From my perspective, I’d sell what’s left of my soul to have a duet with Roy Khan or Michael Kiske.
Baz: If I could bring Phil Lynott back to life or have Adrian Smith play a solo on one of our songs, I could die a happy man.

Chris: I think I’d have to go with Kai Hansen, in terms of writing a song together.

If you were stranded on a tropical island, which three albums would you want to have with you?
Mark: “Permanent Waves” by Rush (not an island pun), “Keeper of the Seven Keys” by Helloween (I don’t care if it’s Pt 1 or Pt 2), and “Parallel Minds” by Conception.

Baz: “Jailbreak” by Thin Lizzy; “Moving Pictures” by Rush; “Live After Death” by Iron Maiden

Chris: “A Matter of Life and Death” by Iron Maiden, “Firepower” by Judas Priest, and “Rising” by Rainbow.

How are things for classic heavy metal in Scotland today?
Mark: Bleak.  We were discussing it the other day when we were throwing around ideas to bring another classic metal band on to some gigs with us.  The bands are either dead now (Bastyon, Wild Fire, Carbon Replica) or they just appear to have stopped gigging and releasing music.  It’s sad, but I think the economy has a lot to do with it.  When you’re spending £60 for one rehearsal, and you typically rehearse twice a week, that’s £480 a month JUST to remain a tight unit.  Before you take venue hire, merch production, CD production, travel etc into consideration.  Yeah, it’s bleak.

Baz: I’ve been banging the drum for classic metal in Glasgow for 20 years. There’s always been one or two bands of our genre at any one time, and I’ve been in them all! We know our primary audience is in Europe, but getting there to play after Brexit is a big problem for an independent artist.

Chris: Scotland’s metal scene is on the heavier/more aggressive side predominantly, with no shortage of incredibly talented bands. Traditional/melodic metal bands aren’t quite as common. It would be nice to see more of course, though I’m not sure there’s much of a demand for it.

What do you think about the use of A.I. in music and art?
Mark: Ooof, that’s an interesting and very divisive question.  I’ll speak only for myself here as I know others in the band are dead against the use of AI in any form.  In terms of art, first… I’ve been a professional graphic designer for 36 years now, and one of the things that takes up most of my time is sourcing assets.  For example, if I’m designing a paperback wrap for an author and they want a female fantasy protagonist on the cover with a very specific sword and shield, there are two things that can happen.  The first is that I say to them “I can source the woman, even if I use legs from one person, arms from another person, and the head and torso from another… but your sword and shield are so incredibly specific that you’d need an illustrator rather than someone who works in composite imagery” or I say something similar but finish with “or we can just leave the sword and shield off the cover completely”.  NOW, though, I can direct them to my Gen-AI policy and have them read through it, and I can then create their sword asset in AI (typically 40 to 50 attempts to get it close) and do the same with the shield.  I have a local Stable Diffusion installation that contains the 1000+ covers that I’ve designed so that I know every single thing it generates is in MY style.  I can then still build their entire cover in Photoshop using the stock image background, stock image additional assets (trees, moon, mountains, etc), stock image woman (potentially several different women, actually) and then the Gen-AI sword and the Gen-AI shield, even though I’d still need to manually overpaint to get them 100% like the book’s description of them.  And then, 100+ layers and adjustment layers later, their cover is ready.  That’s using AI as a tool to supplement legitimate abilities.  In terms of music, though… I feel very differently towards that.  I wrote, recorded, mixed, and mastered a solo album in January 2026 and released it in March.  Everything was done by me.  All instruments (guitars, bass, keyboards, drums, vocals) were me with the exception of three solos (Chris and Baz).  I have a friend who is putting out albums that they describe as ‘my music’ yet none of it was done by them.  The lyrics are AI, all of the instruments are AI, the vocals are AI, and the production is AI, all done in Suno.  Let’s say I recorded my entire solo album and thought “I’d quite like a saxophone in this area”, I’d use my MIDI keyboard to synthesise a saxophone.  It would be easier to just take it into Suno and go (assuming you actually CAN) “shove a saxophone here” and it’ll do it.  I find it to be taking shortcuts… but if I didn’t have a MIDI keyboard, I’d probably do it but only because everything else was legit.  So, in short, if you’re using AI to create an entire artwork where you do nothing at all to it and have only typed prompts, then it’s not art.  If you ask AI to create music for you using only prompts, then it’s not music.  But if you’re still using legitimate abilities and the AI aspect is only a tool, then I have no issue with it.

Chris: Generative AI, I’m against. I’ve never used gen-AI for art or music, but I used to be okay with the idea of folk using it to generate assets, or even just to get inspiration. But I’d rather it just be avoided entirely, now. I think it should be used as a tool at most, I suppose!

Which are your future plans?
Mark: We have a number of things in the pipeline that we can’t talk about just yet.  There’s obviously the release of “Fractured State” on September 4th and we have gigs coming up with Wailing Banshee, Rattlesnakes, and our good friends at Spartan Warrior.  There are already festival bookings for next year, although I think we need to keep those under wraps for a while.  In terms of new music… as much as it pains me to say it (as I’d quite happily start writing a new album tomorrow), I believe we’re going to let “Fractured State” breathe a while, and so it’ll likely be 2028 before we put out another album.  But, we’ll see!

Send your message to our readers!
Mark: Grassroots music is begging to be resuscitated – the venues are closing all over the place because of the lack of patronage, the promoters aren’t paying bands because they’re concerned that they’ll end up losing money from venue hires, gigs are being cancelled days before the performance date because of poor advance sales, and band are in a position where they can’t sell their merch or CDs to stay afloat because there aren’t enough gigs to sustain them but streaming payouts are absolutely appalling.  So, if you can… do what I do – you hear a band and you like them, buy their CD even if you don’t have a CD player.  If they have an online store or a Bandcamp store, buy a t-shirt.  There aren’t huge profits on any of these things but it’s enough for the bands to know that there are still people out there who care about independent bands.  Buy your tickets in advance, and buy something from their merch stand.  You’d be surprised how much of a difference it makes.  A HUGE difference, actually.

Baz: If you like our music, become a pain in your local venue’s ass until they ask us to play!

Chris: Continue to support artists/bands where you can. Times are hard for bands and for fans, absolutely. Even just interacting on the socials helps massively. I know I’m terrible with that side of things!

Το άρθρο PYROCLAST: ERUPTING WITH FURY! εμφανίστηκε πρώτα στο Myth Of Rock.

♦ 7,5/10

Panos Niko

Το άρθρο MOTIONLESS IN WHITE – “DECADES” (2026, ROADRUNNER) εμφανίστηκε πρώτα στο Myth Of Rock.

Beartooth will be supporting “Pure Ecstasy” with the massive “Pure Ecstasy World Tour” that kicks off September 17 in Europe. The North American leg begins on November 11 in Boston and includes stops at New York City’s Hammerstein Ballroom on November 12 and The Hollywood Palladium in Los Angeles on December 18. Special guests Don Broco, Magnolia Park and Windwaker are the support for all dates.

Beartooth Pure Ecstasty World Tour
EUROPE

9/17 — myticket Jahrhunderthalle — Frankfurt, Germany =+*
9/18 — Rudolf Weber Arena — Oberhausen, Germany =+*
9/19 — Swiss Life Hall — Hannover, Germany =+*
9/21 — Ancienne Belgique — Brussels, Belgium =+*
9/22 — 013 — Tilburg, Netherlands =+*
9/24 — SaSaZu — Prague, Czech Republic =+*
9/25 — Uber Eats Music Hall — Berlin, Germany =+*
9/26 — Zenith — Munich, Germany =+*
9/27 — Gasometer — Vienna, Austria =+*
9/29 — Fabrique — Milan, Italy =+*
9/30 — Halle 622 — Zurich, Switzerland =+*
10/1 — Élysée Montmartre — Paris, France =+*
10/3 — O2 Academy Brixton — London, UK =+*
10/5 — O2 Academy Leeds — Leeds, UK =+*
10/6 — Barrowland Ballroom — Glasgow, UK =+*

= Non Live Nation Date
+ Silverstein
* Kingdom of Giants

Beartooth has become one of the most vibrant, and visceral forces in modern rock. Over the last decade, the Columbus, Ohio band led by Caleb Shomo has built a massive following by fusing hardcore intensity, arena-sized hooks, and unflinching emotional honesty into songs that resonate far beyond the boundaries of heavy music. In an era where a new generation of heavy bands increasingly dominates streaming services, TikTok, and legendary venues like Madison Square Garden, Beartooth have emerged as one of the movement’s defining acts – standing alongside Bring Me The Horizon, Pierce The Veil, and Bad Omens as the new leaders of the collision between heavy rock and melody.

Following the chart-dominating success of 2023’s The Surface – which debuted at No. 1 on Billboard’s Alternative and Hard Music charts and produced the No. 1 rock radio hits “Might Love Myself” and “I Was Alive” – Beartooth entered a new creative and commercial stratosphere. Pure Ecstasy, the band’s sixth album and first with new label home Fearless Records, builds on that momentum while expanding into even more ambitious territory, capturing Shomo reckoning with both the darkest and brightest parts of himself in real time. At 11 tracks in under 40 minutes, Pure Ecstasy wastes no time getting to the point. Bigger, sharper, and more exposed than anything Beartooth has released before, the album channels both the chaos and clarity of hard-won growth into some of the most direct and unguarded songs of Shomo’s career.

The title track throws listeners directly into the turbulence at the center of the record. “‘Pure Ecstasy’ was birthed in a studio with Misha Mansoor, ridiculous loudspeakers, and the dumbest heaviest chugs we could chug,” Shomo says. “Once it was brought home and expanded on with Jordan Fish, there was no question it was the album opener.” Raw, overwhelming, and disorienting in all the right ways, it’s an undeniable statement of intent.

Elsewhere on the album “Free” pairs towering hooks and radical self-examination, capturing Shomo refusing to hide from himself any longer. “The song is the start of the next chapter of my music and my life,” Shomo says. “The emotional roller coaster that is living can be very complicated at times. In one day you can equally experience pure fear and pure joy. ‘Free’ is the most honest depiction of my soul I will most likely ever make.”

“Eyes Closed,” and “Beautiful Again,” continue to push Beartooth’s balance of crushing heaviness and melodic immediacy into new territory. “There are so many fun riffs to play on ‘Eyes Closed,’” notes Shomo. “It was so fun to scream out and let go. The song was written from the ground up with Jordan, and the moment it was a demo, we knew we had something special.” He continues “‘Beautiful Again’ was the first song written during the sessions with Jordan after we wrote free a few months prior. He was adamant that I dig in and write about exactly what I’m going through and how I feel. To me, this song perfectly depicts the duality of my headspace while writing the album. Pure joy and pure despair, nothing in between.” Together with the title track and “Free,” they reveal an album that feels simultaneously monumental and deeply human – songs written for longtime outsiders and iconoclasts while opening the door to an entirely new audience.

The honesty found across Pure Ecstasy has always been the foundation of Beartooth. Shomo started the project in his Ohio basement in 2013, self-producing and playing every instrument on songs that transformed anxiety, depression, anger, and isolation into something fans could scream back at the world. Over time, Beartooth became both bomb and balm – a vehicle for turning pain and self-destruction into songs that resonate with millions worldwide.

What began as an intensely personal outlet has evolved into one of modern rock’s most powerful success stories, from the gold-certified “Hated” and platinum “In Between” to sold-out tours and a rapidly expanding global audience.

Yet Pure Ecstasy represents something different. Bigger and more open than any previous Beartooth album, the record finds Caleb Shomo stretching himself toward a new level of vulnerability – and for the first time, he didn’t do it alone. Where earlier Beartooth records often documented survival, Pure Ecstasy wrestles with what comes after: acceptance, self-awareness, confronting every fractured part of yourself without looking away, and ultimately, letting people in.

While Beartooth historically functioned almost entirely as Shomo’s solo vision in the studio, Pure Ecstasy became the project’s most collaborative album to date. Early songwriting contributions from Skyler Accord (Issues, Twenty One Pilots, Bilmuri) helped shape tracks including “For Me By Me.” Meanwhile, working alongside Fish (Bring Me The Horizon, Poppy, Architects) cracked Caleb fully open, pushing a rawer examination than ever before. Caleb calls the process “the single scariest thing I’ve ever done,” but knows the result is a gift.

“He was feeling those things with me and pushing me to express them,” Shomo says of Fish. “Every time I felt like I didn’t have it, he’d carry me to the finish line – and every time, a few days later, I’d listen back and think, ‘I’m so glad I didn’t back off. I’m so glad I didn’t hide.’”

The collaborative spirit continued throughout the recording sessions. Bassist Oshie Bichar (by Caleb’s side since 2014), guitarists Zach Huston and Will Deely, and drummer Connor Denis — who have evolved into a formidable live unit around Shomo — all played larger roles than ever before. Pure Ecstasy also marks the first Beartooth album where Shomo did not perform every instrument himself, with Denis performing on all the songs, many captured in complete takes, at NRG Recording Studios.

For years, Beartooth turned pain into anthems shouted back at the world. Pure Ecstasy captures what happens on the other side of that fight: not perfection or peace, but the possibility of freedom. It’s the sound of Shomo stepping fully into the light, no longer hiding from the parts of himself he once tried to outrun. And looking back, the journey was always written in the titles – Sick, Disgusting, Aggressive, Disease, Below, The Surface. Pure Ecstasy was always where it was heading.

Το άρθρο BEARTOOTH: SHARE NEW MUSIC VIDEO, TOUR STARTS IN SEPTEMBER εμφανίστηκε πρώτα στο Myth Of Rock.

No doubt about it: ‘Lost Horizon’ oozes legendary musical history and bridges the gap to Molly Hatchet’s previous studio album, ‘Justice’, which came out 16 years ago. Alongside Bobby Ingram and the long-standing bandmates John Galvin (keyboards) and Tim Lindsey (bass), two new, younger recruits, Garrett Ramsden (drums) and Parker Lee (vocals), stand in the long tradition of first-rate Molly Hatchet musicians. “Garrett has brought a breath of fresh air to the band, and Parker brings to mind a young Danny Joe Brown, our unforgotten original singer,” says Ingram, obviously delighted. “Both are perfect for our kind of Southern rock and have been instrumental in making ‘Lost Horizon’ one of our most emotional and profound albums to date!” Which pretty much says it all!

The debut single ‘Dixie Highway’ is the perfect song and starts to sum up the whole album.

Bobby Ingram: “This song in many ways is a true story of growing up in the south and living life on the edge. We were fearless and ran with the wind. Driving down a famous Highway in Florida with the pedal to the medal. Looking in the rear view mirror to see what was passed by”.

Tracklist:
1. Firing Line (Enhanced Version)
2. Whiskey Desperado
3. Jacksonvillain
4. Dixie Highway
5. Lost Horizon
6. The Answer
7. Moonshine All Mine
8. Helter Skelter
9. Stand Up For Freedom
10. Stronger
11. Once A Gambler
12. Coming Home

• Standard Stream & Download
• Exclusive LP Version and CD/LP Bundles with a shirt and hoodie only at Steamhammer shop
• 2 LP, gatefold, 140 g, black vinyl, padded inner sleeves, 2 x coloured inserts
• CD DigiPak + poster

Pre-Order link for all configurations: https://mollyhatchet.lnk.to/LostHorizon

Το άρθρο MOLLY HATCHET: NEW ALBUM “LOST HORIZON” TO BE RELEASED IN NOVEMBER 2026 εμφανίστηκε πρώτα στο Myth Of Rock.

Το άρθρο QUEENS OF THE STONE AGE – “INSIGNIFICANT OTHER” εμφανίστηκε πρώτα στο Myth Of Rock.

With more than two decades of history behind it, MYSTIC PROPHECY has long established itself as one of the driving forces of the German and international heavy metal scene. Following the success of its acclaimed albums “Metal Division” and “Hellriot”, the quintet surrounding charismatic frontman R.D. Liapakis, also known for his work as a vocalist with Michael Schenker, now returns with renewed energy, a strengthened lineup and a record built to hit with maximum impact.

The first taste of “In Metal” comes in the shape of “Robots,” a hard-hitting statement that turns its attention to one of the defining questions of our time: In an age increasingly shaped by technology, how much control over our own humanity are we willing to surrender?

Vocalist R.D. Liapakis and Dan Baune (guitars) comment on “Robots”:

“In this age of technology our future seems uncertain. We must ask ourselves: How do we keep/protect our humanity? Who decides for us? Or is it too late and we are all Robots already?”

Following “Hellriot”, MYSTIC PROPHECY is entering its next era with three powerful new additions to the fold. Tommy Gun takes over bass duties, while guitarist Dan Baune, known from NWOBHM act Monument, and drummer Christophe de Combe of Belgian metallers FireForce complete the renewed lineup. Together, they inject even more power, precision and fire into the unmistakable MYSTIC PROPHECY sound.

“In Metal” was produced by Dan Baune and R.D. Liapakis, with mixing and mastering handled by Henrik Udd. The album stays true to everything that has made MYSTIC PROPHECY a force for more than 20 years while pushing its sound firmly forward. Fans can expect powerful, concise hooks with instant shout-along appeal, technically brilliant riffs and a hard-hitting, monstrous sound. A modern production gives the songs weight, depth and unstoppable headbanging force without sacrificing the band’s classic heavy metal spirit.

Whether on stage or on record, MYSTIC PROPHECY has always treated heavy metal as a passionate ultimate fight: no compromises, no holding back, just pure power. With “In Metal”, the band is ready to prove once again why it remains at the forefront of international heavy metal. In support of their upcoming album, MYSTIC PROPHECY will hit the road in late 2026, joined by special guests IRON SAVIOR and GENERATION STEEL. Find all dates listed below!

“In Metal” will be released on November 27, 2026, via PERCEPTION.

“In Metal” tracklist:

01. Robots
02. In Metal
03. March or Die
04. Don’t Run Away
05. Warhead
06. Angels Are Falling
07. When the Hammer Will Fall
08. My Inner Innocence
09. Devil’s Son
10. Warrior of Asgard

Το άρθρο MYSTIC PROPHECY: NEW ALBUM ANNOUNCED, FIRST SINGLE OUT NOW! εμφανίστηκε πρώτα στο Myth Of Rock.

♦ 8/10

Dimitris Zacharopoulos

Το άρθρο THEN COMES SILENCE – “JUDGEMENT DAY” (2026, METROPOLIS) εμφανίστηκε πρώτα στο Myth Of Rock.