Devil Master have booked a North American tour for this fall. Here’s the dates:

10/28 New York, NY – Saint Vitus Bar
10/29 Worcester, MA – Ralphs Rock Diner
10/30 Brattleboro, VT – The Stone Church
10/31 Philadelphia, PA – First Unitarian Church
11/01 Baltimore, MD – Metro
11/03 Richmond, VA – The Canal Club
11/05 Atlanta, GA – Cultured South
11/07 New Orleans, LA – Holy Diver
11/08 Houston, TX – Black Magic Social Club
11/09 Austin, TX – The Lost Well
11/11 Mesa, AZ – The Nile Underground
11/12 Los Angeles, CA – 1720
11/13 Sacramento, CA – Wretched Rites
11/16 Portland, OR – Star Theatre
11/17 Seattle, WA – Clock-Out Lounge
11/18 Vancouver, BC – Astoria Pub
11/20 Salt Lake City, UT – Aces High Saloon
11/21 Denver, CO – HQ
11/23 Minneapolis, MN – Turf Club
11/24 Chicago, IL – Cobra Lounge
11/25 Millvale, PA – The Funhouse at Mr Smalls

PRAYERS, aka Leafar Seyer, has shared an official video for his new song “No Tengo Calma.” That track will appear on his upcoming EP “ORACIONES.”

Seyer commented:

“This new music is deeply personal to me. ‘No Tengo Calma’ is about that fire inside you when love, pain and survival all collide. I’m excited for people to hear where PRAYERS is going with this song and the new music, and even more excited to bring it to life on tour. ORACIONES is a love letter from Mexico to the world, and this is just the beginning.”

In other news PRAYERS also have a tour booked with Devora, Ex Lover, Hallows and Chriz Amaya:

10.14.26 – Gabe’s – Iowa City, IA
10.15.26 – X-Ray Arcade – Cudahy, WI
10.16.26 – Turntable – Indianapolis, IN
10.17.26 – Bottom Lounge – Chicago, IL
10.18.26 – Zanzabar – Louisville, KY
10.19.26 – The Foundry Concert Club – Cleveland, OH
10.21.26 – Skullys Music Diner – Columbus, OH
10.22.26 – The Magic Bag – Ferndale, MI
10.24.26 – Photo City Music Hall – Rochester, NY
10.25.26 – Crafthouse Stage & Grill – Pittsburgh, PA
10.27.26 – Underground Arts – Philadelphia, PA
10.28.26 – Alchemy – Providence, RI
10.29.26 – Space Ballroom – Hamden, CT
10.30.26 – The Sultan Room – Brooklyn, NY
10.31.26 – The Sultan Room – Brooklyn, NY
11.01.26 – Pearl Street Warehouse – Washington, DC
11.03.26 – Terminal West – Atlanta, GA
11.04.26 – Chelsea’s Live – Baton Rouge, LA
11.05.26 – Numbers Night Club – Houston, TX
11.06.26 – Elysium – Austin, TX
11.07.26 – The Rock Box – San Antonio, TX
11.08.26 – Trees – Dallas, TX
11.10.26 – Lowbrow Palace – El Paso, TX
11.11.26 – Hotel Congress – Tucson, AZ
11.12.26 – Swan Dive – Las Vegas, NV
11.13.26 – Music Box – San Diego, CA
11.14.26 – Darker Waves 2026 – Huntington Beach, CA
11.15.26 – Strummer’s – Fresno, CA
11.16.26 – Great American Music Hall – San Francisco, CA
11.17.26 – Harlow’s – Sacramento, CA
11.19.26 – Airport Tavern – Tacoma, WA
11.20.26 – Star Theater – Portland, OR
11.21.26 – Shrine Social Club – Boise, ID
11.22.26 – The Urban Lounge – Salt Lake City, UT
11.24.26 – Meow Wolf Denver | Convergence Station – Denver, CO

Suicide Silence have shared an official video for the title track of their new album “Graceless.” That record will be available on November 20. The group commented:

“This is the title track off our new record. It’s a short ‘n’ sweet crusher that gives you a taste of what this record is all about. Check out our podcast where we go in detail about the song, video and album.”

Guitarist Chris Garza added:

“[The goal was to] just get out of the way and serve that band logo. When we choose to do that, great things follow. We’re back to doing it exactly as we did it when we were kids: Just playing heavy shit and doing it from the heart.”

“Graceless” Track Listing:

01. “Graceless”
02. “Unenlightened”
03. “Make Your Exit”
04. “Rotting Inside”
05. “Cursed Since Birth”
06. “Incisions”
07. “Parasitic”
08. “Reminders of Hell”
09. “NVRFXLD”
10. “Devoured Dreams”
11. “Sour”

From First To Last have announced a new EP titled "We Were Bleeding Anyway.” The effort will be available on October 2 and it will feature the following tracks:

01. “They Said Your Ghost Was A Promise“
02. “Your Name In Red Ink“
03. “Everything Ends In Silence“
04. “Picking Clothes To Die In“
05. “Hate Me All You Want, I Still Got Your…“
06. “Pale Blue“

A video for the opening track, “They Said Your Ghost Was A Promise,” is available below. The band said the following about that song:

“‘They Said Your Ghost Was a Promise’ is a really special song. It tackles the subject of loss of a loved one, and we hope it can resonate with others dealing with the same.”

Alice Cooper has debuted a live video for “Ballad Of Dwight Fry” featuring magician Criss Angel. The clip was filmed during their “Welcome To Our Nightmare” shows at the Criss Angel Theater at Planet Hollywood in Las Vegas, Nevada. That residency will continue on November 27-28 and December 4-5. Notably, guitarist Nita Strauss will return for those dates. Cooper said the following:

“We added the November and December shows after the March, April and May shows sold out so quickly, so that more of our fans could experience this very special show that Criss and I created.

Nita opened our 2026 touring season in Las Vegas back in March and is now returning to close out 2026 with us there, and we’re really looking forward to welcoming the Hurricane back onto the stage. Bringing Nita back after she took a break to start a family is the perfect way to wrap up 2026.

We couldn’t believe our luck when we confirmed Anna Cara to fill in for her for all of our shows across North America and Europe this year. Anna has been a true asset to the tour and she’s now part of the family. Who could ask for anything more than to have these two amazing musicians in the Cooper family?”

Miss May I have debuted an official video for their new song “Highbrow Thieves.” That track will appear on their new album, “No Place For Me,” which will be out on October 2. Frontman Levi Benton commented:

“‘Highbrow Thieves’ is written from the perspective of someone worked to the bone, taking orders from people with no remorse for who they’re giving them to. The ‘thieves’ here aren’t after riches or objects — what they’re really stealing is something far more valuable: Time.”

Underoath have debuted a new live video for “All The Love Is Gone.” The clip was recorded during the 2026 Vans Warped Tour event in Long Beach, CA. Keyboardist Chris Dudley said the following:

“‘All The Love Is Gone’ has slowly morphed into one of our favorite songs to play live. So much so that we even had to get Garth in on the action.”

INTRODUCTION

Let the Alpine Play began its life as a series of demos called ‘The Desertion Sessions,’ written and recorded in and around The Altar Studios in N. Hollywood, CA.

The self-recorded demos came in two frenetic sessions spanning day and night, yielding over 30 tracks.

Sixteen of the songs were then recorded with engineer Stewart Tuttle at the helm, Sean McCarthy on drums, and Steve Fishman on bass.

Sean makes alien glam pop music as Joan Darwin. He brought a singer/songwriter’s sense of hookiness to the drums, leaving a lot of space for Anthony and me to shriek and preen. Exactly the “serve the song” player you want in there.

Steve’s a seasoned vet whose most recent gig has been playing with Bay Area psych-punk legends Chrome. He’s playing upright, electric, fretless, and synth basses at various points and I’ve gotta say he’s relentless throughout, an absolute ringer we’re glad to have brought in.

We’d never worked with Stewart before and chose him because he was constantly working — we’d see him recording rappers, hardcore bands, country acts, R&B singers. I’ve got a particular respect for what you could call “the art-worker,” which is to say someone who is always doing and improving. Dynamos, dervishes. I wrote about our experiences with Stewart and the studio in a piece called “Make it Sound Like Amphetamine Teeth,” which you can read here.

“Amphetamine Teeth” ended up landing with people who actually study this stuff for a living: Dr. Paul Thompson at Leeds Beckett University said the piece connected with his research and pointed me toward academic work on studio language, translation and musical semiotics. Eric Clarke, Emeritus Professor of Music at Oxford, said he could “just about hear it in [his] head,” then sent me his own paper on musical perception. Veteran producer John Simon, guy who did the first Leonard Cohen record, called it “quite a dark view.” So the basic idea seems to hold up: musicians and engineers constantly use language that sounds ridiculous, but in the right room, with the right people, it can communicate something very precise.

Let the Alpine Play’s lyrics typically function as “quantum entendre,” which is to say that they can be interpreted in many ways, often creating unusual superpositions or conflicts of meaning. 

The songs run like episodes, vignettes, plays.

1. Another Clock Song (The 7th Unveiling)

James Quentin Devine: 

This one rides in heavy-lidded and seductive, declarative. This is a confidence job, literally. We want listeners to embody a song, to internalize it and feel it. That’s the role of the singer, to interpret the music for an audience in the sense of a shaman. “Incantation,” it’s right there, “put-song-in.”

Astute observers will note the title’s allusion to “Another Space Song” by Failure. Oddly enough the record’s gotten into the hands of Ken Andrews from Failure, who dug it. We may end up working with him, which would be fitting. This record’s really taken on a life of its own, in terms of pulling us in old and new directions. The post-COVID artistic landscape is, generously, a devastated wasteland. A lot of mid-career artists rage-quit, some just sort of stopped showing up. It’s difficult to tell sometimes if new “artists” are human, fake “old” music is being spun up by audio generators and retroactively implanted into “the culture,” it’s all very sinister . . .

Anthony Percoco:

This song has some wide intervals in the piano left hand and repetitive arpeggio figures in the right. Some guitar tapping and highly syncopated guitar leads come in near the end. More and more I’m finding it necessary to phrase in a more syncopative and less rhythmically obvious way to keep myself interested in what I’m playing. There are Sus 11 chords leaping rapidly through various octaves of the piano at the end. Stylistically I think a bit of McCoy Tyner with the open voiced sus 11 chords. The ending happened as an improvisation, all at once, completely unrehearsed in the studio.

2. Celestial Sighs

JQD: 

Big song. Exercise in rollercoaster design, really. 

AP:

I want to bring this song back around again, re-record it sometime with chorus in the keys and a double time rock feel in the chorus. I think it has an anthemic quality.

3. Southerly

JQD: 

“Southerly” is one of the only songs on LTAP that was partially written in advance, if only as a voice memo. In its initial conception it had a bit more of a crunchy Jerry Cantrell da-dow-dow da-da-da-dow-dow thing that we eschewed in favor of the slinkier treatment that finds itself on the album, which does feel like a more appropriate approximation of slowly-moving fog.

AP:

Probably the most complex piece in terms of multiple sections and intricacy of the parts. I’d like to invoke our working draft of this when playing it live. I think I was levitating and sleep deprived when it was written. James had only the lyrics and counterpoint, and we wrote the rest in a span of hours in the studio writing space.

4. Space/Time

JQD: 

An island of my own stranding. 

AP:

Simple chord progression, but this one swings hard in the end. James asked me to take a lead at the end and he also suggested the vibraphone at the end.

5. Muffler (Chrome Viscera)

JQD: 

This song was written in the parking lot of Sunrise Liquors, just down the street from the studio. I wrote it in five minutes while I was pacing around pounding a Pacifico and getting eyed by a face-tat homie. North Hollywood, city on the edge baby. 

If a professional wrestling, auto racing, or combat sports organization isn’t using this as their theme by the end of the year I will have failed entirely in my mission in life.

AP:

Fun reckless abandon. I enjoy the bass tone and screams on this one.

6. T.T.M.S. (Sunyata)

JQD: 

This one’s for walking around alone at night. 

AP:

This song is perfect for the stillness of midnight. Very spacey but an “orchestrally” layered ending that crescendoed well. Sean and I improvised the entire ending and the recording is in the original one take. The “performance magic” happened in that take.

7. You Got H-O-R-S, You Want E Too?

JQD: 

This is the riskiest song on the record, I think, in terms of alienating conventional audiences, an exercise in which we have previously excelled. It’s a funk song in an odd time signature with a harsh street life narrative. Not for everyone. We got that huge drum sound on the intro out of an unfinished room at The Altar, just a big bunch of exposed concrete, gives it a real sense of menace.

AP:

This is a sort of blues/jazz, I’d say. Lot of room to improvise. There was not a whole lot of time for tracking leads, unfortunately.

8. Pink Diamonds

JQD: 

At some point I’d like to have the opportunity to apologize to Sade personally for this song.

AP:

Speaks for itself. Bass…

9. Neo Noir (Stelvio)

JQD: 

Just close your eyes. 

AP:

I felt we could have put chorus on the drums, in hindsight. The piano plays 3 voices simultaneously; bass, quick moving inner voices and melodic higher notes. The solo section aims for wide interval melody and syncopation. Then it hypnotically repeats and builds.

10. Selling It

JQD: 

Ian MacKaye called this one “pure economy.” The lyrics call back to 2024’s “Venusian Furs” from our previous record Peak Arousal. We’re hoping to bring some of those songs back on the next record, like we did with “Throwaway Lines.”

AP:

I would have loved to extend this one. Sharp 9 Dom. 7 chords and a walking/arpeggiated bass. The chords are chromatically adjacent. Definitely need to improvise on this one live.

11. Slow Motion

JQD: 

This is an attempt to get Birdman’s attention.

AP:

This might be my favorite from the album. The chorus really gains a lot of energy and the way the vocals cut through the layers worked out well.

12. Impro (The Imp Of The Perverse/The Pimp Of The Inverse)

JQD: 

“Impro” is goofy as hell, commentary on awareness and social comfort and inside jokes. “Shtick,” you might say. Gimmickry. This is the most we have ever sounded like the Red Hot Chili Peppers, and if someone doesn’t stop us, we might do more of it.

AP:

This one has chromatically shifting tritones in the piano that remind me of how Chopin’s “Tristesse” is played. But of course it’s highly syncopated and jazz/funk adjacent.

13. I Think We Met In Setagaya (Maybe It Was Seville)

JQD: 

Unreliable memory strikes again. 

AP:

This one was somewhat prewritten before the studio session; one of only 3 that I had prepared. Like each of the three, it morphed as we got together and wrote. Sean’s drumming inspired the intensity and the guitars came in later. The more verbose lyrics filled it out nicely. This one, “Southerly” and “Slow Motion” I look forward to performing live.

14. Lemon Zest

JQD: Moon music, drunk and dissociated. I think this one’s got some of the more interesting drum-and-bass interplay on the record. The automythology of “The Altar” really comes into play here. The record’s
got a lot to say about hagiography, about who gets played, what sticks around, what’s permissible or admissible or possible.

AP: There are sounds happening in the tune that I don’t even remember creating.

15. Tentacoli

JQD: 

A lot of these songs run like stage plays, and “Tentacoli” is effectively three gestures — an introduction, a build, and a release. In prior work we’ve often found ourselves mired in complication, so creating something that gets right to the point was novel.

AP:

We can still play metal when provoked.

16. Throwaway Lines (Leo II)

JQD: 

“Throwaway Lines” first appeared on 2024’s Peak Arousal. The lyrics contain probably the most straightforward social/artistic commentary on the record.

AP:

The big guitars and sweeping vocals serve as a crescendo to the controlled ambiance. If you listen closely you can hear the keyboard synth with a violin patch in the highest register.  

SCALED ALPS thanks you for taking the time to listen. LET THE ALPINE PLAY is available everywhere.

Website | Bandcamp | YouTube | Spotify | Apple Music | Amazon Music | Joyzine | Infectious Unease |

Master Boot Record have announced a new album titled "Computer Metal.” The effort will be released on October 30 and it will feature the following tracks:

01. “DOT MATRIX”
02. “COMMAND PROMPT”
03. “PLUG AND PLAY”
04. “FIRMWARE”
05. “SOCKET 7”
06. “BOOT SECTOR”
07. “TURBO BUTTON”
08. “VOODOO2”
09. “CRT”
10. “CTRL + ALT + DEL”

Multi-instrumentalist Vittorio D’Amore commented:

“’Hardwarez’ was about the hardware; ‘Computer Metal’ is more connected to what computers represent in our lives and the memory we have of them. This album is a sort of codex of the genre, since each song expresses a different style of metal, while still being done with the computer.

These are terms that entered everyday language, and that is the point: this culture is not a niche, it was a generation’s shared experience. Even someone who never opened a computer case knows what it means when a screen asks you to press Ctrl+Alt+Del.”

The lead single, “DOT MATRIX,” can be found below. D’Amore added the following about that:

“Angry printers head slamming characters into your face. Hardcore metal was never in the MASTER BOOT RECORD codebase before. Now it boots first, no warm-up.”

LEAP have released a new single titled “Bloodlines.” Jacky commented:

"Bloodlines is our first single since our debut album last year, and it's the first thing we wrote after we wrapped that record. A lot has changed for us in the past year, and this track kinda feels like it captures the madness of that journey a bit. It's a song about that cosmic pull that keeps bringing you back to someone no matter how toxic, but it's still got that playful side, like we're celebrating the chaos. We've been writing loads, so we cannot wait to start releasing music again, and this single feels like the start of something new." 

Acres have debuted a cover of HIM’s “Buried Alive By Love.” Their take on the track will appear on the new deluxe edition of “The Host,” which will be out on November 6.

Vocalist Ben Lumber said the following about the single:

“When we were planning a cover, HIM were instantly the first band that came to mind. They’ve been such a huge part of my life and honestly one of the main reasons I ever wanted to be in a band. When I was younger, my friends and I would spend hours in the garage learning and playing HIM songs so getting to bring ‘Buried Alive By Love‘ into the world of Acres all these years later feels like a proper full circle moment. It’s our way of paying respect to a band that had a massive part in shaping who I am as a musician.”

He also commented on the album:

“‘The Host‘ has always felt closely connected to the ‘What It’s Like to Feel Worthless‘ EP, so doing a deluxe version felt like the perfect way to bring those two worlds together and close out this era of the band. We loved the idea of putting everything into one record, but also giving people something new with the additional tracks and different versions of songs.

We’ve always been into reworking our music whether that’s stripping a song back, a live version, or letting it exist in a completely different way. As music fans ourselves, we’ve always loved when bands give you another side of a record you already know, so it felt right to do that with ‘The Host.‘”

“The Host” Deluxe Edition Track Listing:

01. “Bloodlust”
02. “Not So Different”
03. “Staring At The Sun”
04. “Take My Last Breath”
05. “Built To Bleed”
06. “Push Me Away” (feat. Landon Tewers)
07. “Empty Room”
08. “Steal The Light”
09. “Welcome to the Family”
10. “Around Again”
11. “Leave You To Rot”
12. “A Different Shade Of Misery”
13. “Lost”
14. “Deadweight”
15. “Lost” (acoustic)
16. “Buried Alive By Love” (HIM cover)
17. “Bloodlust” (deletetheinternet re-wire)
18. “Staring at the Sun” (acoustic)
19. “Not So Different” (Live in Munich)
20. “Built to Bleed” (Live in Munich)

Dead Poet Society have shared a new track called “Miami For The Weekend.” That song will appear on their new album, “Monarch,” which will be out on October 2.

Orbit Culture have shared an official video for “Nuclear God” off the deluxe edition of “Death Above Life.” That expanded album will be available on October 9. The band commented:

“‘Nuclear God‘ was originally released as a bonus track on the Japanese edition of ‘Death Above Life‘. When we started going through all the footage we had gathered from the summer festivals, we wanted to turn it into something that felt like a tribute to our fans and the community that has grown around this band. The relentless chaos of ‘Nuclear God‘ perfectly matched those moments. Riivata took all of that footage and brought it together into the video you see today.”

Saosin have shared an official video for their new single “Just Be Honest.” Guitarist Beau Burchell commented:

“We knew there was something special about ‘Just Be Honest‘ from the moment of its inception. It had that rare feeling early on where you just know a song is going to matter on an album. Hearing Cove‘s vocals on it for the first time confirmed it, and then Phil‘s leads gave it that extra push. The whole thing blossomed into something bigger than we imagined. This is really just the beginning of a much bigger body of work for us, a whole new era. We weren’t planning to share anything this soon, but we got so excited about where the music was heading that we couldn’t sit on it any longer.”

Caspian have announced a new self-titled album. The effort will be available on October 16 and it will feature the following tracks:

01. “Hiraeth”
02. “Far Country”
03. “Remain”
04. “A Great Fire”
05. “No One Left To Tell”
06. “Waltz for the End”

A visualizer/short film for “Remain” is available below. Guitarist Philip Jamison said the following about the record:

“Our sixth full length album isn’t particularly uncharted sonic territory for the band but rather a process of self-discovery and coming to terms with the decisions we’ve made and the people we are. Caspian revives musical pledges established over 22 years ago, forgotten somewhere along the way but rediscovered here, hopefully, in the form of structural simplicity, approachable melodic sensibilities and being ruthlessly direct as possible with our own emotions. In a culture that shows no signs of slowing down, we find these core tenants more important than ever and it’s our hope that they’re put to the best use we are collectively capable of. We did this record for the 5 of us.”

Tour Dates:

10/15 Leeds, UK – Brudenell Social Club
10/16 Manchester, UK – Academy 2
10/17 Glasgow, UK – Art School
10/18 Bristol, UK – The Fleece
10/19 Paris, FR – Trabendo
10/20 Nijmegen, NL – Doornroosje
10/21 Cologne, DE – Gebäude 9
10/22 Wiesbaden, DE – Schlachthof Wiesbaden
10/23 Dresden, DE – Beatpol
10/24 Prague, CZ – Rock Café
10/25 Vienna, AT – Flex
10/26 Ljubljana, SI – Kino Šiška
10/27 Milan, IT – Circolo Magnolia
10/28 Breda, NL – Mess
10/29 London, UK – Electric Ballroom
10/30 Dublin, IE – Opium
10/31 Galway, IE – Roisin Dubh
12/03 Brooklyn, NY – Saint Vitus
12/04 Boston, MA – The Paradise

Puscifer have released “Tales From The Pusciverse #4: Assimilation,” the fourth issue of their ongoing comic series. You can get that effort HERE.

The following was said about the new issue:

“The Synth Whisperer finally cracks the code for communication between silicon and carbon-based intelligence, bringing Bellendia and Fanny to life and teaching them what it is to be human, including record shopping, bowling, and baking. When a routine diagnostic unleashes something far more powerful than expected, the trio discovers that the Briefcase has given them abilities beyond communication, and their mission to ‘Observe. Integrate. Synthesize. Assimilate.’ begins.

Written by Maynard James Keenan, the new issue features cover art by Gus Vasquez and Ross Campbell, artwork by Marlin Shoop (‘Captain Action,’ ‘G.I. Joe,’ ‘Unprepped’), lettering by Jack Morelli (‘Afterlife with Archie,’ ‘Peter Parker Annual,’ Marvel Comics) and faux advertisements by Andy Belanger.”

Creed have announced a new 25th anniversary expanded edition of “Weathered.” The effort will be available on CD, vinyl, and digitally on November 20. The track listing can be viewed below:

01. “Bullets”
02. “Freedom Fighter”
03. “Who’s Got My Back?”
04. “Signs”
05. “One Last Breath”
06. “My Sacrifice”
07. “Stand Here With Me”
08. “Weathered”
09. “Hide”
10. “Don’t Stop Dancing”
11. “Lullaby”
12. “Riders On The Storm” (The Doors cover) (feat. Robby Krieger)
13. “My Sacrifice” (Radio Edit)
14. “Weathered” (Edit)
15. “Don’t Stop Dancing” (Acoustic Version)

The album can be pre-ordered in the following formats:

• CD

• Digital

• Sunspot Swirl vinyl (Official Creed Store)

• Ember Swirl vinyl (Craft Recordings)

• Tiger’s Eye vinyl (Revolver)

• Moss Swirl vinyl (Barnes & Noble)

• Translucent Forest Green vinyl (Urban Outfitters)

• Golden Yellow vinyl (Books-A-Million)

• Burnt Red Swirl vinyl (Indie Record Stores/Vinyl Voice)

A preview of the release is available in the form of a trailer and a radio edit of “My Sacrifice”:

Slipknot have shared an official video for their new single “Arsenal.” The track's release follows the departures of Sid Wilson, Craig Jones, and Jay Weinberg. It also marks the recording debut of the group's latest drummer Eloy Casagrande.

Saves The Day have debuted a music video for “Invader” featuring Quicksand’s Walter Schreifels. Frontman Chris Conley commented:

“It was a dream to work on ‘Invader’ together with our hero Walter Schreifels at his studio in Upstate New York, and we’re still pinching ourselves that he co-wrote this song with us. Bringing the song to life with Steve Evetts in Nashville and New Jersey was like coming home after a long stay away, and we couldn’t be more proud of the results.”

Neurosis have booked some additional U.S. shows. Their updated itinerary is available below:

10/16 San Francisco, CA – The Fillmore (feat. Terry Gross)
10/17 San Francisco, CA – The Fillmore (feat. Kowloon Walled City)
10/30 Brooklyn, NY – Warsaw (feat. Uniform)
10/31 Brooklyn, NY – Warsaw (feat. Primitive Man)
11/21 Chicago, IL – Metro (feat. Mr. Phylzzz)
11/22 Chicago, IL – Metro (feat. Primitive Man)
11/27 Portland, OR – Revolution Hall (feat. Great Falls)
11/28 Portland, OR – Revolution Hall (feat. Great Falls)
11/29 Seattle, WA – Showbox Sodo (feat. Great Falls)
12/12 Boston, MA – Roadrunner (‘Saddest Day‘)
01/02 Los Angeles, CA – The Wiltern
04/17 Tilburg, NET – Roadburn Festival (two sets)

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