Leading the charge are New Found Glory, who make their 2000trees debut by closing the main stage and celebrating 30 years of the band with two exclusive sets. As well as their headline slot, they’ll play a deep cuts set in The Forest on the Friday.

The biggest surprise is an exclusive reunion from Reuben. Frontman Jamie Lenman has played every stage at the festival as a solo artist, but this will be the first time his legendary band have stepped out in front of a Trees crowd.

Anniversary celebrations run right through the bill. The Menzingers will mark ten years of After The Party, Lonely The Brave return with original vocalist Dave Jakes after a decade apart, and INME, who headlined the very first 2000trees, will perform a special 2007 anniversary set. Local post-hardcore heroes Crooks play their first gig since 2016.

Also confirmed are Creeper, Mannequin Pussy, Fever 333, unpeople, Chalk, Bayside, Vower, Hot Water Music, Electric Six, Baby Lasagna and Native James, plus many more.

On the Friday, The Revival Tour, curated by Chuck Ragan, takes over The Forest with Brian Fallon, Dave Hause, Dan Andriano, Tim Barry, Emily Barker and Jenny Owen Youngs.

“I’m very proud of where we are as we come into celebrating 20 years,” said organiser James Scarlett. “It is still the original 6 friends that started 2000trees and we’re all still involved in some way, and that isn’t going to change. 2027 is going to be a massive celebration.”

For a first announcement, that’s a seriously stacked bill. We’ll be watching closely as more names drop.

The post 2000trees Turns 20 With New Found Glory and Reuben appeared first on RAMzine.

The video finds the band performing in a hospital at the crossroads of death and rebirth, and the song carries a deeply personal message from frontwoman Aimee Interrupter.

“‘Back From the Dead’ is a reawakening,” she explains. “I had a near-death experience, and now when I look back on it, I realize that the version of me that died is truly gone. But that’s a good thing and something I celebrate. This is my letter to alcohol, the worst friend I ever had: you tried to kill me, you tried to hold me down, but I’m back from the dead.”

For their fifth full-length, the band reunited with some serious collaborators. Tim Armstrong (Rancid, Operation Ivy) co-produced the record with Kevin Bivona, and it was recorded on analogue tape. Jesse Michaels (Operation Ivy) co-wrote two tracks and guests on ‘Stranger’. Travis Barker (Blink-182) co-produced and drums on ‘Wild Heart’, ‘Unbreakable’ and ‘Warrior Spirit’, and Brett Gurewitz (Bad Religion) is also part of the reunion.

Musically, Battle Scars weaves new wave, post-punk and synth-pop into the band’s signature sound, while Aimee’s songwriting tackles forgiveness, mental health and resilience head on. “On this album, I’m speaking my truth, and some of it’s deeply personal,” she says.

UK fans won’t have to wait long to hear it live. The band head to Glasgow’s Barrowlands on 26 May, play Bearded Theory on 28 May and both Slam Dunk Festival weekends on 29 and 30 May, then headline London’s Roundhouse with The Selecter on 1 June. Tickets for the headline shows went on sale on Friday 6 November.

We love a comeback with a story behind it, and this one sounds like the band’s most honest record yet.

The post The Interrupters Announce Battle Scars With Travis Barker appeared first on RAMzine.

The return arrives off the back of the 30th anniversary of the first Ozzfest in 1996, and it will be the first edition since the passing of the late, great Ozzy Osbourne following his historic farewell concert, Back to the Beginning, in 2025.

The line-up is being curated by Sharon Osbourne herself and will be revealed soon.

“Ozzy was the first to launch his own traveling metal festival, and Ozzfest will always remain an important part of Ozzy’s legacy,” said Sharon. She also explained the choice of venue: “Unfortunately, due to continuing construction, Villa Park won’t be ready for any live shows this summer, so we had to relocate to Milton Keynes. The choice was to move Ozzfest or postpone it for another year.”

Promoter Andy Copping, who worked alongside Sharon on Back to the Beginning, added: “I’m thrilled to be working with her again on Ozzfest and bringing it back to the UK, back to the National Bowl where it all got started. We’re so excited about the lineup we’re putting together, and can’t wait to share it with the fans.”

Ozzfest will also return to the US on Saturday 11 September 2027 at Glen Helen Amphitheater in San Bernardino, where it all began in 1996. A week later, on Saturday 18 September, it heads to Mexico City for its first ever edition there, at Estadio GNP Seguros.

Early Bat tickets went on sale on Friday 6 November.

We can’t wait to see who Sharon lines up to carry Ozzy’s flame. Whoever it is, Milton Keynes is going to be loud.

The post Sharon Osbourne Brings Ozzfest to Milton Keynes appeared first on RAMzine.

Founded in 2025 by Thorsten Giersch, and soon joined by Dee Christopher and Rebekah Knight, the band spent the past year completing their line-up and shaping their material before finally unleashing it on the world.

‘Ashes’ is steeped in atmosphere, dramatic vocal delivery and a strong sense of narrative. Once the growls and screams take hold, fans of Cradle of Filth will find plenty to sink their teeth into, while the band also cite Dark Tranquillity and Insomnium among their influences.

Thematically, the track tackles oppression, authoritarian control and the destruction of individual freedom, before turning from despair towards defiance.

“‘Ashes’ explores the devastating effects of oppression, authoritarian control and the destruction of individual freedom,” the band explain. “It’s about a society where people are stripped of their identity, dignity and ability to resist. As the song unfolds, that despair gradually gives way to defiance, collective strength and the courage to fight for a better future. But even when oppression is defeated, the scars remain.”

“We wanted to capture something dark, atmospheric and unapologetic, with a sense of storytelling that draws you in before taking you somewhere much heavier. It’s an introduction to who we are and the world we want our music to inhabit.”

It’s early days for Oathgate, but a debut with this much ambition makes them a band worth keeping an eye on.

The post Oathgate Rise From the Ashes With Debut Single appeared first on RAMzine.

The project belongs to Calle Johannesson, who blends cinematic soundscapes with sludgy grooves and scrap metal percussion, and writes and performs everything himself without any AI.

We caught up with Calle to talk ‘Godflesh meets Mick Gordon’, battling depression through song and the can of cider that helped write a track.

Who are you and where are you from?

I’m Calle “Arzenik” Johannesson and I currently live in Chicago, Illinois, USA. I’m originally from Västerås, Sweden, though, but moved to Canada in ‘99 and finally here in ‘22.

How did Arzenik begin, and how did you find your sound?

In a way, it began in 1991 with my first industrial metal project Neomystique with a friend, but that was abandoned prematurely with a lot of promise still lingering in my head. Then at a friend’s engagement party, I played an industrial metal cover of Kiss’ ‘God Of Thunder’ (which I have made available on streaming services as a standalone track). I had so much fun doing that, so I decided to keep going, but with my own original songs. It all coagulated nicely with my interest in cinematic soundscapes, the lingering ideas from the early industrial metal band, and a feeling that industrial metal itself could use a vitamin shot. So in 2024 I put the name Arzenik on the project and it’s been my main focus ever since.

How would you describe your music to someone discovering you for the first time?

In three words: cinematic industrial metal. To elaborate: imagine dense, dramatic and massive cinematic music driven by groovy heavy metal drums and scrap metal percussion. Then put some screechy synths on top of that and cover it all with gnarly and dark heavy metal guitar and growly vocals on top, and you’re getting close to having an idea.

You describe your sound as Godflesh meets Mick Gordon, with Melvins and Fear Factory in there too. How do those influences come together in your music?

Godflesh because of the heaviness and industrial foundation combined with a wall of distorted guitar sound. Mick Gordon was a milestone in industrial by modernising it, starting with the Doom game soundtrack and onwards. My guitar riffs are often sludgy and groovy by contrast, and that’s where Melvins come in; I’ve been a fan of theirs for a very long time. Fear Factory since my music has a similar death metal feel with double kicks and growly vocals.

What’s the story behind The Quantum Protocol?

The title refers to a quantum state of mind, meaning everything is a possibility, and the protocol is the process to find that something in everything to make it your ideal identity and escape the reality you are in today. It reflects my own life: I was in enterprise software when this project started, but now I am fully committed to a completely different life as an artist.

But in terms of the creation of the album… First of all, when I decided to make an album I didn’t want to just have a collection of songs. It needed to be a cohesive piece to experience as a whole. It wasn’t until after I had a few finished songs that the concept was clear, and those first songs also fit together well. That was close to two years ago that I felt it clicked and that an album was what I wanted to do. So not only does the music feel like it evolves throughout with a sense of progress and cohesion, but the topics are in that lane too. It tells a story of struggling internally with inner conflict, perception of reality, and getting to a point of self-understanding and peace. The first song is simply a recognition that “I am here”, the second goes into “the future has been decided and there’s nothing I can do about it”, but then continues with various struggles to not accept that kind of reality. The last song is a kind of ambiguous resolution that you are what you perceive yourself to be.

Are there any tracks on the album you are especially proud of, or that mean the most to you?

The song ‘Battle Lines’ is the most deeply personal of them. I was having a hard time battling depression at the time and decided to try to write a song that sounded like what it felt like to go through what I did. The mantra of “get back darkness, you will not conquer me” that I repeated to myself often also made it into the chorus. It’s a pretty quirky song from a traditional songwriting perspective, but I think the song achieved its purpose and earned a place as a single and a song on the album.

You’re clear that nothing in your work is made with AI. Why does keeping your art entirely human matter so much to you?

Simple: art is created by the mystery that is being human. Nobody knows how or why art comes out of a person the way it does, despite centuries of millions of published theories to explain it. I love that mystery and I think it’s a core principle of being human, and it’s something to protect and maintain.

I see great uses for AI and we’re in the steam engine era for it right now. It has more potential than we can imagine at the moment. I am not against AI holistically, and I do use AI myself in terms of help in tracking and prioritising the massive amounts I need to do as a solo independent artist without a team to keep me in line. But it never generates the art itself, and I don’t allow it to impersonate me by writing my emails or deep faking my social posts. Certainly not doing anything in creating my music; only I know what’s in my head and how I want to express it, so it’s a choice or decision only I can make. This way, me and anyone else who reaches out to me or listens to my music knows it, and a connection happens that is very much a human to human interaction.

Can you tell us a funny, emotional or dramatic story from your time making music?

I’ve had plenty of experiences since I got into the underground scene in the late ’80s. For Arzenik though, the song ‘Destiny Control’ was in a way co-written by a can of cider. For a social media post, I decided to take on the “will it riff?” challenge, where a barcode on a product decides what frets to play on a guitar. I had a can of El Chavo Mango Habanero cider next to me and threw something together rather quickly. The reaction, though, was that enough people told me it was so good that it should be developed into a full track. It turns out that it actually worked out after approaching it with my full attention as any other song, just with a rather unusual starting point.

What’s next for Arzenik?

The album’s release on 30 October means that the most immediate future is to promote this album now and to reach as many as possible, something that’s always difficult for a somewhat unknown artist who isn’t surrounded by a team to help execute on it. It does take a lot of effort, but I am fully committed to do what it takes while keeping my integrity intact.

In mid-November I will start to actively reach out to find opportunities to play live, but if anyone comes to me first before then, I’d be very excited. My live show, by the way, is me with my guitar, screaming over a backing track. That decision is to keep things honest. It’s been all me so far, and I feel the right thing to do at the moment is to own that and do as much as I can in person without losing the impact of what people hear on the recordings.

I am also about to start to write new songs so fans don’t have to wait too long to hear new stuff coming out.

Where can people find and follow you?

My music is available on all the major platforms under the name Arzenik. I’m also on YouTube, Instagram and TikTok as @callearzenik, and on Facebook I have an artist page as Calle Arzenik. People can sign up to my newsletter on my website, and it’s also where there will be merchandise and physical media for sale. To buy my album digitally, I’m on Bandcamp.

Thank you so much for your interest, and a big thanks to everyone who listens to my music, comes out to a show, and everyone gets bonus points for sharing it or saying hi to me anywhere.

The Quantum Protocol is out now.

The post Arzenik on Cinematic Industrial Metal and Staying Human appeared first on RAMzine.

The project is the work of Sergiy Nikolaienko, who turned to music as the one form of resistance left to him.

He now continues from Hamburg, and with a video selected for the Berlin Music Video Awards and a second album on the way, we caught up with him to talk tanks outside his window, a tense border interrogation and why he isn’t taking a break.

Who are you and where are you from?

My real name is Sergiy Nikolaienko. I’m from Kherson, Ukraine. Before Anger Outburst, I was primarily a vocalist in different bands, from melodic death metal to nu/industrial metal.

How did Anger Outburst begin, and how did you find your sound?

My first four songs that later ended up on the first Anger Outburst album (‘Through the Dark Times’, ‘Gather the Fools’, ‘What Does It Take’ and ‘Free We Are’) were originally written for my previous band, Amental. But since my bandmates were not musically active because of the start of the war in Ukraine, I decided to proceed alone. As music was the only option to express myself freely and let my anger out, I decided to give it the name Anger Outburst.

I didn’t plan any particular sound for the project; it came out naturally. I wrote music I liked: melodic but aggressive.

How would you describe your music to someone discovering you for the first time?

I would describe my music as a combination of Amon Amarth, Arch Enemy and Soilwork. Depth, fighting spirit, low-tuned guitars and lots of guitar melodies like in Amon Amarth, the aggression and power of Arch Enemy with a strong voice like in Soilwork, but with my own approach. Something like that.

You started the project in Kherson in 2022 and wrote your debut album under occupation. How did that experience shape the music?

Music was the only option for resistance when other forms of resistance were impossible. Kherson was occupied by Russians during the first two days of the war. I saw tanks passing by outside my window. Every night, they took someone from their apartment. They destroyed schools with tank fire. They destroy, as they cannot create. And I couldn’t do anything about it. I put all this anger and helplessness into my music and expressed it in my lyrics. Yes, it definitely shaped my music.

What has it been like continuing the project from Hamburg?

Everything has remained the same. I still feel this anger, and I still express it through my music. But I can do it freely.

What’s the story behind your latest single ‘There Is No God’?

I think that God is a combination of yet-undiscovered scientific facts and the reluctance of people to take responsibility for their lives. There are billions of suns with trillions of planets in endless space, and we still think that some God came to our small planet and died for our sins? Not to mention the hundreds of errors that were made in every religious book, as they were written by pretty limited people long ago. The chorus of this song says that man created God, not God man, as man had failed to explain facts.

The video for ‘Feel the Fear’ was selected for the Berlin Music Video Awards. Can you tell us about making it?

It was not easy. As a solo musician, I had to find musicians who were ready to learn their parts and film themselves in front of a black screen with pretty much the same lighting. Fortunately, my editor made everything look just like it was filmed in one room. You can see the result.

What can you tell us about the second album so far?

I’ve already released six of the ten songs from the album. But I still have four very cool songs to release that will see the light of day in the coming months. I will have a beautiful melodic death metal ballad, one very fast and dynamic song, one dark and very heavy song, and one with Ukrainian lyrics. I can’t wait to share them; they are very cool. I’ve also written nine songs for the third album. So you won’t get any break from me.

Can you tell us a funny, emotional or dramatic story from your time making music?

I guess music helped me the most during the occupation. I poured out my anger and let it out. When we decided to leave Kherson, I was interrogated at the border with Crimea. They asked me about my music. Fortunately, they didn’t find out what my songs were about.

Where can people find and follow you?

You can find Anger Outburst on Spotify, Bandcamp and YouTube.

The post Anger Outburst on Writing Metal Under Occupation appeared first on RAMzine.

For more than two decades, the masked producer, born in Venezuela and now based in Germany, has been smashing drum and bass and heavy metal together under the banner of Metal & Bass. DIGICIDE pushes that philosophy further, taking aim at algorithmic control, surveillance capitalism, online manipulation and the slow erosion of human identity.

“This album is easily the most difficult body of work I’ve ever put together,” says Zardonic. “It stems from deeply traumatic personal experiences that forced me to see the darkest corners of our system. After months of reading and research into how these systems actually work, I had a moment like Roddy Piper’s character Nada putting on the glasses in They Live, and to this day I can’t take them off.”

Few musicians are better suited to a record about the rise of the machine than Dino, whose work with Fear Factory has been sounding that alarm for decades. The pair go way back, with Zardonic contributing to Fear Factory’s Recoded and adding synths to some of the band’s new material.

“He’s always understood the connection between crushing metal riffs and the aggression of electronic music,” says Dino. “The track is a collision of heavy guitars, industrial electronics, and pure sonic aggression. I think fans of both Fear Factory and Zardonic are going to dig this one!”

Protopig, who has known Zardonic since their early days in the Venezuelan metal scene of the 2000s, adds: “In this modern era of algorithmic manipulation, the story behind DIGICIDE feels more urgent than ever, and I’m glad to be part of it!”

The guest list doesn’t stop there. Mayhem’s Attila Csihar and Charles “Ghul” Hedger join forces on ‘Dehumanize’, while drum and bass MC Coppa, Atlanta rapper Sinizter, Neuroklast, Liv Sin and Danny Saber also feature.

We love seeing Zardonic keep tearing down the wall between the rave and the pit, and teaming up with Dino feels like a perfect fit. If ‘Godhead Interface’ is the first transmission, DIGICIDE could be his heaviest work yet.

Catch up on our chat with Dino Cazares at Download Festival.

DIGICIDE tracklist

1. ‘Samsara’ (ft. Melek-Tha)
2. ‘Ready For War’ (ft. Sinizter)
3. ‘Put To Death’ (ft. Redpill)
4. ‘Lose Control’ (ft. Coppa)
5. ‘From The Ashes’ (ft. Neuroklast & Liv Sin)
6. ‘Salvation’ (ft. Danny Saber)
7. ‘I Am The Weapon’ (ft. Enduser)
8. ‘Dehumanize’ (ft. Attila Csihar & Charles “Ghul” Hedger)
9. ‘Godhead Interface’ (ft. Dino Cazares & Protopig)
10. ‘DIGICIDE’ (ft. Hallway Omega)
11. ‘Set Me Free’ (ft. Triangular Ascension)

The post Zardonic Unleashes ‘Godhead Interface’ with Dino Cazares appeared first on RAMzine.

Officially launched on 2nd May 2008, exactly ten years after the passing of X Japan guitarist hide, the band are now preparing their most ambitious project yet: NANTO 2077, a concept album inspired by the legendary manga Fist of the North Star, featuring a host of international guests who are still under wraps.

We caught up with Kira to talk Visual Kei, power naps and why the band have never played the UK.

Who are you and where are you from?

We’re DNR (Dreams Now Reality), an Italian rock band made up of Flow on vocals, paZ on guitar, Ash on drums, and myself, Kira, on bass.

We’re four musicians with a clear vision of what we want to express, both through our sound and our image. We like doing things our own way and staying true to who we are.

Oh, and we’re from Italy, but we don’t like pizza… Just kidding! We’d probably have our Italian citizenship revoked if that were true!

How did DNR form, and how did you find your sound?

DNR started with an idea that Ash and I had while we were playing together in a Poison tribute band. We wanted to create something of our own, bringing together the energy of classic Western hard rock and the melodies of Japanese rock and metal, which we both loved.

We officially announced DNR on May 2, 2008, exactly ten years after the passing of hide, the legendary guitarist of X Japan. That date wasn’t a coincidence. He was a huge inspiration to us, and in many ways, his music helped guide the direction we wanted to take.

How would you describe your music to someone discovering you for the first time?

Even journalists sometimes struggle to put our music into a specific category. But I remember an Italian journalist once saying that our melodies have a way of sticking in your head, and I think that’s the best compliment we could receive.

To me, music is food for the soul. If someone finds themselves humming one of our songs the next day, then we’ve achieved something special.

But if you really need a label, I’d say melodic hard rock, with touches of pop and metal.

Your music blends melodic hard rock with Japanese influences. Where does that connection to Japan come from?

We’ve been passionate about Japanese rock and metal for many years, long before Visual Kei became widely known in Europe. Bands like X Japan and Luna Sea showed us a different way of approaching rock music, both musically and visually.

But we never wanted to copy anyone. We wanted to keep our Western hard rock roots while learning from those incredible Japanese musicians and creating something of our own.

When we released one of our early singles, ‘Beyond This World’, along with its music video, we caught the attention of two remarkable people in the Japanese music scene: Seiichi Hoshiko, widely regarded as the father of Visual Kei and the man who coined the term itself, and music journalist Akemi Oshima. Both believed in us and helped open doors that eventually led us to perform at events such as V-ROCK Festival and Stylish Wave in Japan.

We also paid tribute to hide by featuring his iconic Yellow Heart guitar in one of our music videos. He left us far too soon, with so much more music still to give.

Looking back after eighteen years, I think those experiences and the people we met along the way have shaped us just as much as the music itself.

What’s the story behind the new album NANTO 2077?

NANTO 2077 is probably one of our most ambitious projects. It’s a concept album inspired by Hokuto no Ken (Fist of the North Star), particularly the six masters of Nanto and the guiding stars that shape their destinies. Each song reflects the emotions and inner struggles of a different master, while the album as a whole takes you on a journey where every chapter has its own meaning.

But you don’t need to know the manga or anime to enjoy it. Just close your eyes, press play and let the music take you somewhere else.

There’s also a deeper message behind it. We live in a world where everyone wants everything immediately, often forgetting that life is a journey. Every step matters, every challenge teaches us something, and even the smallest victory can give us the strength to face what comes next.

And when you look at the world today, the post-apocalyptic vision imagined by Buronson and Tetsuo Hara sometimes feels disturbingly close to reality. Yet we wanted NANTO 2077 to carry a message of hope: no matter how dark things become, there’s always a reason to keep moving forward.

Concept albums might not be the most commercial choice, but this was a story we felt we needed to tell.

The album features some international special guests. Who’s involved, and how did those collaborations come about?

For three seasons, I co-hosted a rock and metal radio show called Tommy n Kira NoisePark! with my friend Tommy (Tommaso Dettori) on Metal Maximum Radio. Thanks to our collaboration with Frontiers Records, every week we had the opportunity to introduce one of their artists, sometimes presenting a new album, other times interviewing them personally.

Over the years, I developed a special connection with some of those musicians, both on a personal level and through our shared musical ideas. So when we started working on NANTO 2077, I asked a few of them if they would do me the honour of being part of the album. The response was incredible, and I’m genuinely proud of what we’ve created together.

Their contributions will be revealed when the full album comes out, so I can’t give away the names just yet. But here’s a little clue: if you look back at the rock stars we interviewed on the show, you’ll find them among those names!

Are there any tracks you are especially proud of, or that mean the most to you?

I’m particularly proud of our two latest singles, ‘SHIN’ and ‘REI’, especially ‘REI’.

‘SHIN’ is about inner suffering and the strength we can find to turn that pain into something positive, into the energy we need to fight back. ‘REI’, on the other hand, has an almost theatrical quality hidden beneath its melodies and arrangements.

Even when we write a fast, powerful song, we never want to sacrifice melody. If you listen closely, you’ll discover orchestral layers, strings and vocal harmonies that create an atmosphere beyond what you hear at first.

Our guitarist, paZ, is a conservatory-trained composer, and his musical background brings a wonderful orchestral perspective to our songwriting. We spend a lot of time shaping and reshaping every arrangement, drawing inspiration from classical music as well as modern rock.

For me, a song isn’t just the melody you remember. It’s also everything happening underneath, all those little details that give it a soul.

And that’s why I’m so proud of these songs and can’t wait for everyone to hear what’s coming next.

What is the rock scene like in Italy?

To be honest, it’s going through a difficult time. Many small live venues are struggling or closing down, and it’s becoming increasingly difficult for bands playing original music to find opportunities to perform.

Strangely enough, over the years we’ve often had more opportunities to play abroad than in our own country!

But there’s another side to the story. Italy is full of talented musicians, young bands and people who still put their hearts into what they do. That passion is very much alive, and I find it encouraging.

I don’t think Italy has a shortage of good rock bands. What we’re missing are more stages, more opportunities and perhaps a little more willingness to take a chance on something new.

After all, every great band started somewhere, usually in a small club with a handful of people listening.

Can you tell us a funny, emotional or dramatic story from your time as a band?

Oh, we could tell you plenty of stories, but there’s one running joke in the band that never gets old: our drummer Ash and his legendary power naps!

Ash is probably the funniest person you’ll ever meet, but also one of the most reliable. The funny thing is that he has this incredible ability to fall asleep absolutely anywhere, a bit like Grandpa Simpson!

Over the years, we’ve collected videos of him sleeping in the most unlikely places, from backstage areas to video shoots. You can even find some of these moments in our Instagram reels.

Whenever Ash disappears, we know exactly what’s happened. He’s finished everything he needed to do and has found somewhere to take a nap. The only problem is that sometimes he hides so well that we can’t find him, and suddenly the whole band is on a treasure hunt!

Honestly, finding Ash before a show should probably be an official Olympic sport by now!

What’s next for DNR?

Our main goal right now is to release NANTO 2077 and then get back on the road to promote it.

That’s actually one of the reasons we’re working so hard behind the scenes. We don’t want to simply release an album and leave it there. We want to bring these songs to life on stage, meet our fans and hopefully reach new audiences along the way.

So, for us, the next chapter is pretty clear: a new album and a new series of live shows. We’re working to make those two things go hand in hand.

After all, there’s nothing quite like the feeling of playing your music in front of a live audience. That’s where everything really comes to life!

Where can people find and follow you?

You’ll find all our official channels on Instagram, Facebook, X, Spotify and YouTube.

I’d genuinely love it if RAMzine readers stopped by, listened to our music, left us a comment or simply said hello. And of course, if you like what you hear, we’d be delighted to have you following our journey!

There’s also something I’d really love to see happen: DNR playing in the UK! Believe it or not, we’ve never had the opportunity to perform there, and it would mean a lot to us.

And luckily, our singer Flow speaks excellent English, so at least one of us could do all the talking without giving away our Italian origins in the first five seconds! Haha!

Seriously though, we’d love to bring our music to a British audience one day. Hopefully, this interview will be the beginning of something special!

The post On The Radar: DNR, Italian Melodic Hard Rock With a Japanese Heart appeared first on RAMzine.

Their 2025 debut Elegy From A Dying World mixed aggression and melody with melancholic, cinematic atmospheres. ‘Empire Down’ keeps those melodic death metal roots and symphonic touches but takes a more modern, direct and compact approach, built for immediate impact.

The track was produced by Eddy Cavazza, whose credits include Awake For Days, Logical Terror and Trick or Treat. Visually, the single introduces new imagery: an empire built on power, oppression and worship, where an ancient presence summoned by mankind grows into something they can no longer control.

Formed in 2023, the band are Mira on vocals, Promether on guitar, Nanse on bass and Iskandar on drums. The title of the new album will be revealed later.

‘Empire Down’ is out now.

The post Obsidian Fall Return with Empire Down appeared first on RAMzine.

After four legendary sailings from Miami, the fifth voyage of the heavy metal celebration at sea marks its first ever European itinerary. Aboard Norwegian Jewel, the ship heads for the gateway to the Costa da Morte, the “Coast of Death”. It earned that name over centuries of wild storms and shipwrecks, and it stretches towards Cape Finisterre, which the Romans believed was the end of the known world.

The five-time Grammy nominated Lamb of God will play two sets on board. They’re joined by a first wave of guests that includes Zürich deathcore marauders Paleface Swiss, Glasgow’s Bleed From Within, Texas hardcore heavyweights Kublai Khan TX, Massachusetts metalcore legends Shadows Fall and Swindon’s genre mangling Heriot, with more bands still to be announced.

Beyond the music, members of the band will host exclusive activities. Co-founder Randy Blythe will sit down for an in-depth conversation and Q&A, drummer Art Cruz will spin a “Heavy In The Mix” DJ set, and fans can battle for a seat at the final table of a poker tournament with bassist John Campbell. Metal trivia, karaoke and a swag swap complete the onboard mayhem.

Before setting sail, cruisers can explore Southampton’s medieval city walls and maritime history. Once they land in La Coruña, there’s the Tower of Hercules, the oldest working Roman lighthouse in the world, plus Galician tapas and fresh seafood to enjoy.

Headbangers Boat alumni get their own presale from 12th to 16th November. First round presale sign ups close on 16th November and final round presale sign ups on 19th November, with public on sale from 20th November at 7pm GMT via the official Headbangers Boat website. Booking during the presale saves £75 per cabin and secures an exclusive onboard photo opportunity with Lamb of God. An instalment plan is available from a £37 deposit.

The boat sails in support of Lamb of God’s tenth studio album Into Oblivion, out now via Century Media Records.

A floating metal festival leaving from a UK port is a first, and with Paleface Swiss and Heriot on board, this is one voyage we’d happily get seasick for.

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