The evening opened with Dorothy, the high-voltage Los Angeles rockers led by the powerhouse vocals of Dorothy Martin. They set an explosive tone with their bluesy, gritty sound, tearing through tracks that blend modern rock edge with classic riffs. The band’s energy was infectious right from the start, warming up the amphitheatre crowd while the band performed some of the hits like “Raise Hell”, “Rest In Peace”, “Down to the Bottom” and “MUD”.

Stone Temple Pilots followed, bringing their alt-rock/grunge legacy to the stage with unmistakable charisma. Hits like “Interstate Love Song,” “Plush,” and “Vasoline” had the audience on their feet, singing every word. The band sounded tight and revitalised for a band that has been around since 1989. Their songs prove that some bands just become timeless, making their creations not feel fit for a specific era, because they still make sense and are embedded in the Rock culture roots in 2026. A special mention to the performance of Jeff Gutt, who brilliantly fills the shoes left by Scott Weiland.

Then came Godsmack, who absolutely commanded the night. Frontman Sully Erna and the band delivered a high-energy performance packed with fan favourites. The set featured a strong mix of classics like their greatest hit “I Stand Alone”,  “Bulletproof”, “Awake”, and “Voodoo”, and deeper cuts like a Beatles cover of “Come Together” with a “Stairway to Heaven” outro. A special highlight for the St. Louis crowd was local guitarist Sam Bam Koltun joining the stage, turning the hometown stop into an unforgettable milestone. The amphitheatre was packed, and the energy stayed high throughout, with plenty of crowd interaction, guitar picks, and drumsticks flying into the audience.

Overall, The Rise of Rock Tour stop in St. Louis was a resounding success, a celebration of rock’s enduring power that satisfied longtime fans while winning over newer ones. Godsmack continues to prove they’re one of the most reliable live acts in the genre, and the full bill created a cohesive, high-voltage night that felt like a throwback to the golden era of mainstream rock without feeling dated. It’s a must-see for rock enthusiasts.

Special thanks to Live Nation.
Photos & text by Steve DeClue.

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The Black Planet - Alternative Music Magazine

The event is expected to gather fans of hardcore, metal, and crossover subgenres, reflecting the band’s long-standing relevance within these interconnected scenes. Hell Xis Agency continues its role as an active promoter within the extreme music circuit, curating lineups that emphasize legacy, intensity, and stylistic impact.

Originating from Cleveland, Ohio, Integrity formed in the late 1980s and quickly distinguished themselves through a sound that merged hardcore punk aggression with darker metallic and industrial elements. Their aesthetic and lyrical direction introduced a more atmospheric and confrontational approach to hardcore, influencing a wide range of subsequent bands across both punk and metal communities.

Throughout their career, Integrity have maintained a consistent conceptual identity while undergoing multiple lineup changes. Their discography is widely regarded as a cornerstone in the development of metallic hardcore, with releases that helped define the genre’s evolution in the 1990s and beyond. Their sustained activity over decades has reinforced their status as a reference point for bands operating at the intersection of hardcore punk and extreme metal.

The band’s career trajectory reflects a persistent commitment to intensity and stylistic experimentation within hardcore punk. From their emergence in the late 1980s to their continued presence on international stages, Integrity have remained a significant force in shaping the sound and aesthetic of heavier underground music scenes.

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The Chameleons are set to perform in Portugal, offering audiences a rare opportunity to experience one of the most distinctive names to emerge from the early 1980s British post-punk scene.
The concert is promoted by Hell Xis Agency, a long-standing advocate for alternative and extreme music programming in the country.

Formed in 1981 in Middleton, Greater Manchester, The Chameleons quickly developed a sound defined by layered, reverb-heavy guitars and introspective lyrical themes. Their early work positioned them alongside contemporaries of the post-punk movement, although their stylistic approach leaned more toward atmospheric construction than conventional pop structures. The band’s debut album Script of the Bridge (1983) is often cited as a defining release of the era, followed by What Does Anything Mean? Basically (1985) and Strange Times (1986), each reinforcing their reputation for textured arrangements and emotional restraint.

Despite critical recognition, the band did not achieve mainstream commercial success. Internal tensions and industry pressures contributed to their initial split in 1987, shortly after the death of their manager Tony Fletcher. The group later reformed in the early 2000s, releasing Why Call It Anything (2001), before disbanding again in 2003. In recent years, the band has returned to active status in various configurations, maintaining a steady live presence and continuing to attract audiences drawn to their early catalogue.

Their influence, however, extends far beyond their commercial trajectory. The Chameleons have been frequently cited as an inspiration by artists in alternative rock, shoegaze, and post-rock scenes, with their use of expansive guitar layering and melancholic tone shaping the aesthetic direction of later generations. Their music is often associated with a transitional moment in British rock, where post-punk experimentation began intersecting with more atmospheric and emotionally driven forms of expression.

The upcoming performance in Portugal, promoted by Hell Xis Agency, underscores the continued relevance of The Chameleons within contemporary live circuits, reaffirming their position as a cult reference point in modern alternative music culture.

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The announcement confirms Portugal as one of the key stops on a broader Iberian tour that will also include several dates across Spain. For Portuguese audiences, the concerts represent another opportunity to witness a band whose uncompromising blend of death metal, grindcore and politically charged themes has secured a unique place within the international extreme music landscape.

The “Estamos Chingados Tour 2026” arrives at a significant moment in the band’s history.
Following the death of founding vocalist Juan Brujo in September 2024, questions emerged regarding the future of the project.
However, Brujeria has continued its activities, maintaining its commitment to live performance while preserving the identity and artistic direction that have defined the group for more than three decades.

Known for performing under aliases and concealing their identities with masks, bandanas and other visual elements, Brujeria developed a distinctive image that became inseparable from their music.
Their performances combine aggressive musical intensity with themes inspired by social commentary, border politics, organised crime narratives and satire, creating a presentation that remains immediately recognisable within the extreme metal community.

The Portuguese dates promoted by Hell Xis Agency are expected to draw both long-time followers and newer listeners familiar with the band’s more recent work.
The intimate nature of the selected venues offers an environment well suited to Brujeria’s direct and uncompromising live approach, providing audiences with a close connection to a band that has consistently operated outside mainstream conventions.

Brujeria: History of Anonymity, Violence, and Resistance

Formed in Los Angeles in 1989 quickly established itself as one of the most unconventional and controversial names in extreme metal. Emerging from a collective of musicians associated with various metal and punk projects, the band built its reputation through anonymity, provocative imagery and an uncompromising musical style. Albums such as Matando Güeros (1993), Raza Odiada (1995), Brujerizmo (2000), Pocho Aztlan (2016) and Esto Es Brujeria (2023) helped shape a catalogue that combined brutality with social and political commentary. Despite numerous line-up changes and the loss of key members, including Juan Brujo and Pinche Peach, Brujeria has demonstrated remarkable longevity, maintaining its relevance within the global extreme metal scene while continuing to influence successive generations of death metal and grindcore artists.

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The track is lifted from the album “The Conquering Darkness”, released in November on Agonia Records, and recently reissued on vinyl. It was recorded, mixed and mastered at Menegroth The Thousand Caves (Gorguts, Origin, Atheist) with Colin Marston. Drummer John Longstreth hints at the outcome as “extremely brutal and infernal nuclear death metal”. Its cover artwork was painted by renowned artist Daniele Valeriani (Mayhem). Christophe Szpajdel (Emperor, Moonspell) crafted the band’s logo.

Gene Palubicki emphasised that Malefic Throne’s distinctive sound is rooted in the equal creative input of all three members. The guitarist explained that every musician contributed significantly to both the songwriting and execution of the material, resulting in a rare musical synergy. This collaborative dynamic broadens the boundaries of extreme Death Metal and establishes the band as a truly singular force within the genre.

Speaking about the finished album, John Longstreth characterised the record as an overwhelming barrage of “nuclear, brutal, and infernal death metal” underscoring the relentless intensity and uncompromising vision that have defined the project since its inception.

Formats and production details of The Conquering Darkness

First issued in November 2025 through Agonia Records, The Conquering Darkness was recently made available in a new vinyl pressing. Recording, mixing, and mastering duties were handled by Colin Marston at Menegroth, The Thousand Caves, a studio widely recognised for its work with Gorguts, Origin, and Atheist.

The album’s visual presentation also features contributions from respected figures within the extreme metal community. Cover artwork was produced by Daniele Valeriani, whose portfolio includes work for Dark Funeral and Mayhem. The band’s logo, meanwhile, was designed by Christophe Szpajdel, renowned for collaborations with Emperor and Moonspell.

Malefic Throne

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On 16 June 2026, Playboy Manbaby will bring their new album Violence to the stage alongside SPACEMAN BOB and SMALL for what should be one of the more interesting punk shows of the summer.

Violence is a collection of songs living on the edge of sarcasm, frustration, anxiety, and moments that feel surprisingly personal. This album is genuinely fun. Tracks like “Shitshow” and “Mental Breakdown” lean into the chaos of modern life, while others like “Good Times” slow things down a bit to let you sit with your emotions.

Over the last few months, Violence has become one of those albums I find impossible to stop playing. It stays on Bandcamp during all the drives, grocery runs, and any random commute. The songs just hit differently every single day. So relatable to the news, work, family or anything else going on.

What makes Playboy Manbaby work so well is how they balance all these emotions with humor.  Beyond the eclectic range of their songs, they are also just flat out storytellers and packed full of antics. Recently they went to social media and announced a break up only to come out the next day rebranded as a “corporation”.

The corporations are people toour is kicking off June 11th in New Mexico. They will hit Atlanta five nights later at an intimate venue called The Drunken Unicorn. Honestly, the venue could only be more fitting if the show were happening inside a Costco food court. I cannot wait to see the show.

Support comes from SPACEMAN BOB and SMALL, who describe themselves as “pervy punk for sad fucks,” which feels like a pretty natural fit for this lineup. Overall, this feels less like a polished concert experience and more like a room full of people trying to laugh through the stress together.

Date & Time: Tuesday, 16 June 2026 — 8:00 PM EDT

Venue: The Drunken Unicorn

Tickets: $16–$19

Featuring: Playboy Manbaby, SPACEMAN BOB, SMALL

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The track arrives ahead of the band’s upcoming full-length album, scheduled for release later this year through Black Water Records and Fight For Your Mind Rec.

Originally written by Killing Joke, “Europe” is reworked here through The EU’s Arse’s raw hardcore punk approach, with Barney Greenway joining the band on vocals for the recording and video.

The band comments:

“Our heartfelt tribute to a band that’s been a great source of inspiration and motivation: Killing Joke. Of course, thanks to Barney for joining us. Dude, you kick ass!”

Links:
Facebook: https://www.facebook.com/EUSARSE
Instagram: https://www.instagram.com/eusarse

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The festival will take place between 29 April and 2 May 2027 in Barroselas, Portugal, continuing a tradition that has established the event as one of the most enduring gatherings dedicated to extreme music in Europe.

The announcement arrives shortly after the conclusion of the 2026 edition and allows attendees, artists and industry professionals to begin planning for next year’s event.

As in previous years, the festival is expected to bring together a diverse selection of artists from across the extreme metal spectrum, alongside its characteristic community atmosphere and independent spirit.

Held in the northern Portuguese village of Barroselas, SWR Barroselas Metalfest has developed a reputation for presenting established names alongside emerging acts from the international underground. The festival’s programming has consistently embraced a wide range of styles, including death metal, black metal, doom, grindcore, crust punk and experimental forms of heavy music.

Over the years, SWR Inc. has maintained a clear commitment to underground culture, helping the festival preserve its distinct identity while attracting audiences from Portugal and abroad. Beyond the musical programme, the event has become known for fostering a sense of community among attendees, artists, labels and independent creators.

Further information regarding tickets, camping, travel logistics and the first artist announcements for the 2027 edition is expected to be released through the festival’s official channels in the coming months.

SWR Barroselas Metalfest

Founded in 1998 and organised continuously by SWR Inc., SWR Barroselas Metalfest has grown into one of Europe’s longest-running festivals dedicated exclusively to extreme music.

Throughout its history, the event has welcomed influential artists from across the global underground while maintaining a strong focus on discovery, artistic diversity and independent values.

Its longevity and consistency have made it an important reference point within the international metal community, balancing heritage acts with contemporary voices and contributing to the visibility of extreme music far beyond Portugal.

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Joining the bill are the Melbourne punk trio Clamm, Jesus The Snake, Wizard Master, Spin The Skull and Volksradiomoos Dj set.

Scheduled to take place between 6 and 8 August 2026 at Praia da Duna dos Caldeirões, with a warm-up event on 5 August, SonicBlast Fest continues to reinforce its reputation as one of Europe’s most respected gatherings for heavy and alternative music.

With more than 30 artists already confirmed, the festival built a lineup that balances established international names, cult favourites and emerging acts.

The latest announcement further broadens the musical scope of the event while remaining consistent with the identity that has defined SonicBlast throughout its history.

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A track heavily influenced by the work of Devin Townsend, particularly his album “Ki”, contrasting clean guitars full of tension with bursts of distortion and backing vocals, with irregular time signatures thrown into the mix. “Dead Sympathies” explores the darkest parts of the human psyche, as in his work with “Aoidos”, but focuses particularly on his own emotional wounds and the long journey towards forgiving himself and moving on. The figure depicted in the lyrics is immersed in a sea of pain from his past and is forced to confront his fears, and although he returns
renewed, he remains fragile after leaving all his “Dead Sympathies” behind.

The single is out today on all digital platforms, marking the second release in the run-up to the album, which is set to be released digitally on 26 June 2026.

About Freitanás

“Freitanás” is the name adopted by the lead singer and guitarist of the Coimbra-based band “Aoidos”, created by his close friend Rui Martins during a get-together at the legendary Taberna 58. In 2026, it also became the name of his solo project. Following the release of the first single “Ninguém” on 24.02.26, “Dead Sympathies” follows on 29.05.26, on a path leading to the release of the album, with a title yet to be revealed, on 26.06.26.

The album consists of tracks that were written after the creation of “Aoidos”, but which did not fit the band’s sound, as well as some more recent ones, written after the solo project was formed,
such as the first two singles. The sound ranges from the metal of Zakk Wylde and his various projects, including Nevermore, to the rock of Ornatos Violeta and the creative spirit of Portugal. The most prominent influence, however, is the extensive work of Devin Townsend.

“Freitanás” further explores the limits of his clean vocals, as well as more intricate orchestral arrangements; it combines Devin Townsend’s own guitar tuning with that of a bouzouki and
begins to embrace the distinctive sound of the neck pickup on a Stratocaster. But it is in its themes that this album really delves deeper. Being an adult is a far more difficult process than anyone can imagine as a child. But, beyond the accumulation of responsibilities that come with independence, there is a whole process of personality formation for which there is no manual. However many warnings educators may give, nothing prepares a person for the whirlwind of situations that will engulf them, sooner or later. Choices are made, decisions taken, most of the time without any real sense of their ramifications. And just as quickly as one is thrown into the storm, so it passes, leaving the new adult often unaware of exactly what has happened, with responsibilities such as
earning a living and a traumatic burden that gradually unfolds.

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