Danny Wimmer Presents has done it again, this time bringing the legendary Iron Maiden to the Louder Than Life Stage.
Run For Your Lives
Iron Maiden will be making a stop on their “Run For Your Lives” world tour on September 17, 2026, to headline Louder Than Life.
Iron Maiden’s manager, Rod Smallwood, states, “We particularly look forward to playing the huge shows in Montréal and the Alamodome in San Antonio, two of the biggest shows we have ever played in North America plus, of course, Louder Than Life – America’s biggest Rock Festival! Along with the stadium shows in Los Angeles, New Jersey and Hershey we have also chosen to play a few of the biggest amphitheaters as they always have a fantastic atmosphere and great visual sight lines.”
The tour celebrates five decades of heavy metal, beginning in Toronto, Ontario, and ending in San Antonio, Texas. The band will be playing a career-defining set, featuring classics and deep cuts pulled from their first nine albums, Iron Maiden through Fear of the Dark. Some of the songs haven’t been played in the United States in over 20 years, making for an unforgettable experience.
Early bird passes drop this fall. Sign up here for priority access to the early bird pre-sale.
The RapxHardcorexManga band has unleashed their newest single, “Falcon”, in anticipation of their upcoming EP.
“Falcon” Single Art
Falcon
The band’s newest single, “Falcon”, follows “A.I.R. Max.” “Neo Paris” and “Back 2 Basics”. It comes paired with a music video that cycles between shots of the band playing in a plane hangar and animated scenes. The video, directed by Pavel Trebukhin, captures the band’s energy.
The band’s vocalist,Vitia, states, “Here is the track that guided all my artistic direction for ROTN’s new era, the one where it all begins, and the one that closes our promotional campaign for this fourth album. I wrote it like a prayer, inspired by the airy notes of Eva-B’s chorus. At first, the guys weren’t really feeling the title, but after working on it over time, they eventually accepted it. In the end, it became clear to all of us that it had to be the one to represent the album. It’s a unique song for us, and it carries a message of hope. I dedicate it to all our loved ones who left too soon, but also to those still here, standing strong. May it bring strength to those who need it, and guide those who are searching!”
Chapter 04: Red Falcon Super Battle! Neo Paris War!! Album Art
New Album
The single builds anticipation toward the band’s upcoming album, Chapter 04: Red Falcon Super Battle! Neo Paris War!!, set to release on November 14.
It was recorded between the band’s studio in the Parisian suburbs and Marseille with Florent Salfati from LANDMVRKS, who was also featured on “Back 2 Basics”.
The album will be available in various formats, including a Blue Print CD edition, which has a blue colored playback side. The Red Falcon CD edition will also be available with a red colored playback side. A Hawkeye vinyl and a Black vinyl will also be options for purchase.
Sabaton’s 11th Studio album, Legends, focuses on 11 different historical figures. It was released with the latest single “I, Emperor”, based on Napoleon Bonaparte, and arrives with an accompanying music video.
Legends
Sabaton has made their label debut with Better Noise Music with Legends. The album dives into the stories of Joan of Arc, Vlad The Impaler, Julius Caesar, Miyamoto Musashi, and more. This is the first time in Sabaton history that the whole band has come together on the songwriting process, and it truly showcases the bands evolution and storytelling.
The tracks already released from the album have accumulated tens of millions of streams and generated tons of views on youtube. Among these are “Crossing the Rubicon” featuring Nothing More, released September 12, “The Duelist” and “Lightning At The Gates”, released July 25, “Hordes of Khan”, released June 6, and “Templars”, released April 25.
The album is available on all streaming platforms now and can be reached here. It is also available for purchase here.
I, Emperor
The latest single, “I, Emperor” was released with the album and accompanying music video, based on Napoleon Bonaparte.
“Epic battles, bold moves and a rise from nothing to emperor,” explains frontman Joakim Brodén, “Napoleon is straight up legendary and his story is basically built for a SABATON song. Plus, this one was greatly—and I mean greatly—requested by fans. So here it is… you asked, we delivered!”
Bassist Pär Sundström continued, “I was excited about ‘I, Emperor,’ because I’ve seen countless requests for us to write a song about Napoleon, which is usually a sign that fans will get excited about a song. This one’s got that anthem energy, and we’ve got a feeling it’s gonna be a fan favorite.” He added, “It’s punchy, powerful and seriously catchy, that’s something we all felt when Joakim was singing along to the music during the filming of the video for the song. I can’t wait to hear what everyone thinks. I’m curious to see if fans think this one should make it into the setlist for future shows!”
The music video features a boardgamer meets Napoleon style video. Boardgames were a favorite pastime of Sundstörm in his childhood, and the band aimed to create a historical boardgame reenactment of the Battle of Waterloo. Brodén took the role of the French, while Sundström and guitarist Chris Rörland represented the British. Sabaton drummer Hannes Van Dahl and guitarist Thobbe Englund played the Prussians.
Prior to playing, Brodén read a book explaining how Napoleon could have won the battle. He used this knowledge in the video to reverse history and win. However, the band is completely unaware that by playing the game, they are controlling the real battle. When leaving the gaming room, they see that the British pub that they were in was now a French café.
Touring
Sabaton has headlined many major festivals and sold out arenas across the globe. The band is now in the middle of a world tour that kicked off on October 6 in Istanbul, Turkey, and continues through November 14, in Cologne, Germany.
The tour will pick up again on February 9, 2026 in Fort Lauderdale, Florida, beginning a 32-date voyage across North America. They will be venturing across the United States and Canada, making stops in Los Angeles, Boston, Chicago, and more before ending on April 20 in Vancouver, BC.
Singer-songwriter Maggie Rose has officially released her EP, Cocoon. The EP arrived on October 10 via One Riot Records and is available on all streaming platforms.
Cocoon
Cocoon captures Maggie Rose’s powerful vocals while showcasing her ability to seamlessly blend elements of rock, pop, soul, Americana, and folk. It is a deeply personal collection of songs that features themes of self-acceptance, transformation, and growth.
When speaking to Hit Parader about a lyric in “Relentless”, “The best things take their time”, Rose replied, “The best things take their time in terms of self acceptance. It’s not always like getting people to understand who you are. It’s also about understanding your own self, and I think that’s been one of the best parts about just being able to make music for as long as I have, like I’ve learned so much about myself, because the audience is a mirror to me, and we connect on things that are real, and what’s not real doesn’t get to go in the next album. [laughs].”
Photo: Shervin Lainez
The album features a collaboration with Grace Potter on the song “Poison In My Well”. Rose spoke with us on how the feature came to be, stating, “I was pregnant, I had a Grammy nomination, just things seemed to be going well, and then I couldn’t quite focus on the successes. I was focused on the people who couldn’t be happy for me. So we cut the song, and it was a bop.” She continued, “I sent the EP to Grace, and she’s always someone who has been happy for me. She’s always, lifting up other people, like, if you know Grace, she’s very true to that. And I wanted feedback on the whole EP once it was done. But really, I was angling for her to join me on ‘Poison In My Well’. And I asked her on that phone conversation, and she said ‘yes’ on the spot, and the next day she sent me back her part.” She stated, “It was beyond my wildest dreams.”
Along with “Poison In My Well” and “Relentless”, the Cocoon also brings the title track, “Fly”, “Same Way”, and “Sting.” Rose’s longtime collaborator Ben Tanner co-produced the EP with Davis Naish, who co-wrote “Sting” along with Rose, Natalie Hemby, and Steph Jones. Cocoon is a perfect exploration of self-evolution, showing where Rose finds herself as both an artist and a new mother. “The whole EP is about growth and how it can be taxing but also rewarding,” She said. It sets the stage for 2026 to be the most exciting year for Maggie Rose yet.
Team NINJA took the Ninja Gaiden 4 launch to new heights, literally. To celebrate the game’s release, two helicopters soared above Miami, one carrying a 26-foot-wide aerial screen and the other hosting Team NINJA community manager Emmanuel “Master” Rodriguez and Diamond-certified artist Swae Lee.
The live event set a new Guinness World Record for the largest video game display flown by helicopter, as footage of Ninja Gaiden 4 hero Yakumo battling enemies illuminated the night sky. The display was synced to Swae Lee’s unreleased track “Flammable,” turning the stunt into a fusion of gaming, music, and technology.
Inspired by the game’s lore, where survivors build skyward cities above flooded Tokyo, the event brought Ninja Gaiden 4’s high-flying action to life. Using live broadcast tech from aerial media company HELI-D, gameplay was streamed directly from one chopper to the other’s massive airborne screen.
Ninja Gaiden 4 launches tomorrow, October 21, on Xbox Series X|S, Xbox on PC, Xbox Cloud Gaming, Steam, and PlayStation 5. It’s also available day one with Game Pass.
The Deluxe Edition includes the upcoming “The Two Masters” expansion, plus exclusive skins and items. Pre-orders for any version unlock the Dark Dragon Descendent Yakumo skin at launch.
Across seven albums, Jupe Jupe has created a catalog that blends synth-pop, the darkness of post-punk, and atmospheric elements. They are unafraid to explore emotional themes, wrapping them in a unique sound, showcased in “Kill Your Darlings”.
“Kill Your Darlings” Single Art
Kill Your Darlings
“There are sounds colored by breaths of Depeche Mode, Gary Numan and OMD, and even some quick little winks and grins towards Haircut 100 and early Cure. Sonic references to further the genre and push it into the future. A future that is danceable, joyous, and stained with beautiful melancholy.” Says The Big Takeover
Synth-pop and post-punk fusion band Jupe Jupehave unleashed a new single, titled “Kill Your Darlings”. The song arrives paired with a visualizer, which showcases various black and white scenes. Clips of scissors, driving, and the song title cycle throughout the video. The song is perfect for fans of Depeche Mode, with a touch of The Cure, Cold Cave, Nation of Language, and Psychedelic Furs.
The song is available on all streaming platforms now!
“Anyone with even a passive appreciation for expertly applied, fluid synth riffs, drama-filled vocals, infectious pop choruses, and deft dance-rock grooves will be able to ease right in.” States All Music Guide.
Guitarist and Multi-instrumentalist Bryan Manzo spoke about the new single, “Darkwave and Post-Punk…’Synthesis’ is not just about electricity, but also about texture and sound. What if Marc Bolan played guitar on Depeche Mode’s Black Celebration or Trent Reznor programmed synths on Echo and the Bunnymen’s Heaven Up Here? That is the sonic firmament we tried to build for ‘Kill Your Darlings.’ Through that we wanted to drive a pulsing bass, tribal drums, and post-punk rhythmic guitar jangle. The lyrics, which often arrive more as a process of channeling than grinding, tell a tale with which every artist struggles; what to keep and what to kill. We hope this song provides a fresh heartbeat for introspective listeners looking for sanctuary, out in the darkness of the Pacific Northwest.”
King of Sorrows
“Kill Your Darlings” is the first single from Jupe Jupe’s upcoming album, King of Sorrows. The album will be available in February of 2026.
The album was created with help from the band’s longtime collaborators Evan Foster and Matt Bayles. Foster, known for working with The Sonics, Dirty Sidewalks, and The Boss Martians, engineered recordings at No-Count Studios in Seattle. Bayles handled mixing at the Red Room in Seattle as well. He is known for being a previous member of Minus the Bear and working in audio for bands such as Mastodon, Botch, Nox Novacula, and more.
Upcoming Tour Dates
October 17 – Seattle, WA @ Slight of Hand Cellars SODO
A “Hellish” billboard has appeared in Sanguisugabogg’s hometown of Columbus, Ohio, directly across from the Capitol building. The billboard parodies the “Hell Is Real” billboards that were put up across the United States in 2004 to promote Christianity to motorists.
“To have our logo plastered on a billboard just across our state Capitol building should be considered vandalism in some way,” the band theorizes. “This is so cool. Thank you to Century Media for giving OUR city the sickest merch it could ever receive.”
Courtesy of Century Media
Hideous Aftermath
The creative billboard was the band’s on-brand promotion of their new album. Hideous Aftermath is available now through Century Media and can be accessed here.
The album follows their 2021 album Tortured Whole and 2023’s Suicidal Ecstacy, both of which are highly regarded by fans. But this album is “the one where we rolled our sleeves up and brought our A-Game,” Vocalist Devin Swank states.
Hideous Aftermath was produced by Kurt Ballou, known for his work with Nails and High on Fire. It was recorded in Salem, Massachusetts, in God City Studios during the Spring of 2025. “We got off the road after A LOT of touring and wanted to drill down and be as purely creative as possible without distraction,” says Swank of the band’s decision to work with the Converge guitarist in Witch City. “Kurt mixed Homicidal Ecstasy, so he already understood what we were going for.
Hideous Aftermath Album Art
On The Road
The band has played plenty of United States and international tours with acts such as Cannibal Corpse, Lorna Shore, and Kublai Khan TX, along with their own headlining tours and festivals.
“Eight or nine years ago, it seemed like what we were doing was pretty niche,” Swank admits, “Where we’ve come, some of the rooms and festivals we’ve played is kind of remarkable.” The ‘Bogg has made its way to some of the more major festivals such as Sonic Temple in Columbus, Ohio, and Welcome to Rockville in Daytona, Florida. “I think we were a band that was set up to do nothing or a lot of something,” Swank concludes. “Why ‘normies’ ever ended up liking it was weird. Who knows? Maybe we made pain and suffering fun.”
Sanguisugabogg is hitting the road again on their headlining tour with Despised Icon, Defeated Sanity, and Corpsepile. Tickets are available here.
Tour Dates:
11/4 — Detroit, MI — St. Andrew’s Hall
11/5 — Chicago, IL — Metro
11/6 — Indianapolis, IN- Deluxe @ Old National Centre
156/Silence has announced their new home label to be Pure Noise Records. In response to the signing, the band states, “Pure Noise has always been a label we have all been fans of so when the option to sign with them was there we couldn’t pass it up. Everyone at the label has been so accommodating and supportive, very excited for the future of 156 with Pure Noise!”
Our Parting Ways Single Art
Our Parting Ways
In celebration of their new label, the band has unleashed their new single “Our Parting Ways”. The single is their first release since their 2024 album “People Watching”.
When asked about the song, the band stated, “Our parting ways will always come together. The spaces left between what was and what is hold a place of their own to be remembered with grace. As the pages decrease in our story, we bleed to gain access to the memories of the path we once shared.”
The single arrived paired with a music video directed by Errick Easterday. It showcases a dark, grainy atmosphere of a campsite in the middle of the night, with clips of the band’s performance.
The song is available on all streaming platforms here.
On The Road
156/Silence has kept busy on the road in 2025, packed with tour dates. They are currently on their North American tour with Counterparts, Thrown, and Split Chain until October 26.
A few days later, on October 30, they will begin their tour with Fit For A King, Make Them Suffer, Spite, and Currents.
Spring 2026 will mark the band’s first EU/UK tour, playing again with Fit For A King. This time joined by Memphis May Fire and Acres.
Mitski is known for her outstanding, emotionally packed, and theatrical live performances. As of today, October 16, 2025, fans can experience the magic of Mitski’s live show from the comfort of their own homes, with proceeds going towards a charitable cause.
The Land: The Live Album Artwork
The Land: The Live Album
The Land: The Live Album is available now via Dead Oceans. The 21-track digital album is available exclusively on Bandcamp for a limited time only. Also, as of today, Mitski’s entire digital catalog is available for ‘name your price’ purchase on Bandcamp. This will last until Sunday, October 19, at 12:00 a.m. Eastern Time. Produced by Mitski’s longtime producer, Patrick Hyland, the 21 tracks are both songs from the 2023 album The Land is Inhospitable and So Are We and re-workings of other songs. Of these songs are “Washing Machine Heart”, “I Bet On Losing Dogs”, “First Love/Late Spring”, “My Love Mine All Mine”, and “Nobody”.
The funds from these name-your-price digital downloads will support Direct Relief. Direct Relief is an organization that expands access and resources to medicine and healthcare by providing doctors with life-saving medical resources. They also work in disaster relief, helping with hurricanes and wildfires. Direct Relief works in all 50 states and in over 80 countries across the globe. More information about Direct Relief is available here.
A limited-edition Blue Light color vinyl for the album is available for pre-order exclusively on Bandcamp now. The vinyl contains 12 authentic tracks and can be accessed here.
Mitski: The Land Film
The release leans into the October 22 release of the stunning concert film, directed by Grant James. Tickets and information can be accessed here. Fans have the opportunity to gather and witness the magic of Mitski: The Land in 630 cinemas across 30 countries.
Synthwave is all about curating a message through atmosphere. Which is why the genre is often used for more than just streaming purposes. French synthwave producer Perturbator is no stranger to the talent that is curating emotions. His new album Age Of Aquarius showcases this talent well. With the thematic focus on the concept of war, he went to work laying out the soundscape of a bleak and blunt event. The existential scream into the void that this album represents is his best work yet. As the last project was focused on himself, for the new body of work he wanted to move the scope of the album to larger topics. Using song titles as bread crumbs, the message sneaks up on you. Making for an evocative experience that can’t be missed out on.
Photo: Andy Julia
HP: Correct me if I’m wrong, but before you were Perturbator, you played in some black metal bands?
James: Yeah, I was sort of a hired gun. I would play some parts people would give me. I had one actual band that I was actually writing in. It wasn’t really black metal but more Prog.
HP: What about that experience do you think helped prepare you for where you are now music-wise?
J: I’m a guitarist first, and death metal/black metal have always been the kinds of music I listen to the most. It’s always a little bit in the DNA of what I do now, synth space music. I would say there is a moody tone to it. When I compose, I think about how I make a techno track. I go back to make what you’d call a riff or something like that. Structure-based music with courses and bridges. I make synthesizer music the same way I compose metal music.
HP: In a previous interview, you stated that you think of every album as a movie. What genre does this upcoming album, Age of Aquarius, fall into?
J: A very moody post-apocalyptic movie. There are a couple of movies that come to mind. One being Apocalypse Now, which one of the tracks is named after. Another is the movie Hardware—very stylized, very bleak. Sort of a nihilistic future that is pretty much doomed. A lot of dystopian movies with a lot of background areas.
HP: “Stylized” is a very good way to describe this album. What about the process of thinking of an album in movie terms gives you an advantage when you’re creating it?
J: I don’t know if it’s an advantage. It does give me a good focus point. I know it helps with the themes. It’s a blend of using very harsh industrial music with a lot of cinematic elements. Without the cinematic stuff, without all the reverbs on the scenes. Without other layering of sounds, it would just sound like industrial music. I love to use movie soundtrack instruments and sound palettes. There is this atmosphere that is always there.
HP: Speaking on atmosphere, in your music the atmosphere is your way of bringing a message to a song. Compared to other genres that can just say lyrics about what the song means. How do you work through getting a message across without lyrics?
J: Well, it’s in the atmosphere, of course. But it is also in the structure of it as well. A lot of the tracks I make are not structured in a normal way. It can go in various different directions. Even within one track, which can become sort of experimental and soundtrackish or veer into very different styles. One moment you’re listening to a normal techno beat, and then afterwards there can be a very lush sound. It helps guide my music and the listener.
Photo: Andy Julia
HP: This album contains a lot of duality and division. It feels like different parts of a song conversing with each other. What attracted you to song structures like this when making the album?
J: Most of them I already had in my mind while I was making them. I had the structure, and I had the mood, so I was just trying to execute them. Some of them I went with the flow. Nothing was rough in it. If I did not know how to end the track, I would just make it up as it goes. “Oh, let’s try this. Let’s try to bring the guitar here and see how it goes.” We will sort of go along with it. Sometimes it works and sometimes it doesn’t. When it didn’t, you just started over or maybe started a new track, but most of the time it worked. I was composing the album pretty much at the same time. It was very focused like that.
HP: Without the use of lyrics or very few. How important is the song title in giving the listener a hint into what the meaning of the song may be?
J: It’s probably the most important because, as you said, it’s pretty difficult to convey an idea with just an instrumental track. So the title track is the easiest way to talk about and convey that this track is about that.
HP: A title for a song on this album is “Mors Ultima Ratio”. Which translates to “death is the final accounting”. What was the inspiration or event that caused you to find this title fitting?
J: Because it is an album about conflict, and it’s also about individualism. I found the phrase would sum up what the album was about. Those two themes come together in a sort of climatic manner because it is the penultimate track on the album. So it just fit what I wanted to convey.
HP: In press around the album, you talked about wanting to convey the concept of war compared to a specific event. How did that change your process, and what in the album conveys that?
J: It’s mostly in the heaviness and chaoticness of some of the tracks. Some of the tracks are pretty hectic. I wanted that to be sort of the whole idea for conflict. I remember thinking that my previous album was pretty intimate. It was more about my own vision of myself. So I wanted this one to be about people and the way I see the world instead of myself. It’s not just current events. People have been in conflict, or there has always been conflict. Humanity is like that, and the concept for me pretty much writes itself.
Photo: Andy Julia
HP: In the music video for “Art Of War”, there is military equipment and soldiers made of porcelain with Delftware patterns on them. Is this commentary on how we romanticize war and what comes with it?
J: A little bit of that. It’s also about the futility of said conflicts. The porcelain war machines and weapons all get painted on. It’s all very useless. It’s all about to explode.
HP: What’s your favorite piece of media or content your music has been used in?
J: The Guest by Adam Wingard. I really like that movie, and my music is in one of the scenes. It plays a bit of an important role inside the movie. I don’t know, for some reason I’m pretty proud of that.
HP: What’s one game or movie you wish you could retroactively score?
J: To be honest with you, I wish I would have done the soundtrack for one of the Terrifier movies. Which I was pretty close to doing. The first one isn’t really called All Hallows’ Eve, and it was scored by a good friend of mine; his stage name is Radical. I was pretty close to being able to do that one. I wish I would have done that. On a grander scale, I would have loved to do some but not all of the music for the latest Blade Runner.
HP: One piece of media you run to when you are feeling nostalgic?
J: There are a lot. Especially the older I get, the more I start to listen to stuff I already know that I like. I would say the movie Halloween is somewhat of a comfort movie for me. I will always go back to it. For video games there are a bunch. The Dig and Vampire Masquerade: Bloodlines. Check out Perturbator’s new album Age Of Aquarius out now.
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