#frozensoul — Public Fediverse posts

Texan five-banger Frozen Soul crept into my promo pile back in 2021 with their glacially imposing Crypt of Ice. Unfortunately, I missed covering the improved follow-up Glacial Domination properly, relegating it to a Filter blurb instead. But that’s no excuse for Century Media to withhold No Place of Warmth from me when it was time. No matter, because Frozen Soul deserve a full-bodied tongue bath from this hot-blooded sponge, and I intend to give it with great relish.

The Frozen Soul formula carries over into No Place of Warmth, but evolves incrementally just as Glacial Domination did three years prior. As these homo glaciali continue their ascent into a full upright stance, their Bolt Thrower-meets-Sanguisugabogg-meets-Rotpit riff orgy enters a new realm of ferocity, carrying a murderous momentum and relentless grooves across a dick-skin-tight 35 minutes. Vocalist Chad Green puts down a vicious performance of caveman roars, rancid rasps, and infectious barks. Matt Dennard pounds the mammoth skins with a single-minded bludgeoning that oozes blood, pus, and attitude. Bassist Samantha Mobley, always rumbling beneath these well-tread tundras, anchors the affair in muscular heft and scalpel precision (though the unforgiving compression in the mix makes her great work difficult to make out in many listening environments). Most importantly, however, are guitarists Chris Bonner’s and Michael Munday’s unflappable riffs and infectious hooks. Familiar perhaps to a fault but nonetheless brutally effective, Frozen Soul’s guitar work crests a summit on No Place of Warmth, generating heaps of energy with minimal tooling and using it to slam skulls into each other with devastating impact.

What more could you ask for in a stripped-down, meat-and-potatoes death metal record? A better mix, sure, but not much else. “Invoke War (ft. Machine Head)” brings Bolt Thrower aggression, anvils, and icepicks to my cranium with cold prejudice, leaving me a drooling mess whose only joy in life demands MOAR RIFFS. Thankfully, the slamtastic “Absolute Zero,” “Dreadnought (ft. Sanguisugabogg),” and “Skinned by the Wind,” along with mid-paced stompers “Chaos Will Reign,” “DEATHWEAVER,” and “Frost Forged” shoot overdoses of riff-laced adrenaline directly into my veins, reducing me to animalistic mindlessness. As that progresses, the urge to zoom becomes a new inconvenience in daily life, but Frozen Soul prepared for that. Rippers “No Place of Warmth (ft. Gerard Way),” “Eyes of Despair,” “Ethereal Dreams,” and “Killin Time (Until It’s Time to Kill)” roar and rage through flesh and bone with sleazy grooves that fit right at home at any local bar brawl, giving my overflowing energy reserves an outlet through fist and boot.

You might notice a rare occurrence in the preceding paragraph: I highlighted every song on No Place of Warmth to extol their virtues. This was no accident, as every track has something memorable and engaging to take away, but No Place of Warmth isn’t perfect. As mentioned earlier, No Place of Warmth is crushed pretty heavily. Consequently, Samantha’s bass struggles for audibility—despite offering ample textural heft—behind chunky guitars and ferocious roars. With a little less compression and a few tweaks to instrumental positioning, her input would be heard more fully and thereby make even greater impact. Additionally, Matt Dennard’s bass kick feels a bit plastic, creating a bit of tactile unpleasantness during initial spins. In other areas, the album’s various guest spots don’t stand out as distinctly as a guest spot should. It took a few spins to nail down Machine Head’s contributions to “Invoke War,” especially, and Gerard Way’s unexpected blackened rasps deserve greater presence, too. I still can’t confidently pick out Sanguisugabogg in “Dreadnought,” though it is a killer tune. As a criticism, this mostly points to a thoughtfulness in features that Frozen Soul neglected, but that they might easily rectify with more intentional writing that gives those features more significance and definition going forward.

All told, No Place of Warmth is more than just rock-solid Bolt Thrower worship. It is a consistently entertaining record tailor-made to ensure gains in the gym, incite massive mosh pits in any given venue, and cause spinal trauma to any receptive passers-by. It’s nothing new, and nothing groundbreaking, but its tectonic grooves and boundless vitality crack the crust regardless. Should you be in need of more quality death metal this year—and we all know you can never have too much—No Place of Warmth is a worthy part of a balanced breakfast rotation.

Rating: Very Good!
DR: 4 | Format Reviewed: PCM
Label: Century Media Records
Websites: Bandcamp | Official | Facebook
Releases Worldwide: May 8th, 2026

Texan five-banger Frozen Soul crept into my promo pile back in 2021 with their glacially imposing Crypt of Ice. Unfortunately, I missed covering the improved follow-up Glacial Domination properly, relegating it to a Filter blurb instead. But that’s no excuse for Century Media to withhold No Place of Warmth from me when it was time. No matter, because Frozen Soul deserve a full-bodied tongue bath from this hot-blooded sponge, and I intend to give it with great relish.

The Frozen Soul formula carries over into No Place of Warmth, but evolves incrementally just as Glacial Domination did three years prior. As these homo glaciali continue their ascent into a full upright stance, their Bolt Thrower-meets-Sanguisugabogg-meets-Rotpit riff orgy enters a new realm of ferocity, carrying a murderous momentum and relentless grooves across a dick-skin-tight 35 minutes. Vocalist Chad Green puts down a vicious performance of caveman roars, rancid rasps, and infectious barks. Matt Dennard pounds the mammoth skins with a single-minded bludgeoning that oozes blood, pus, and attitude. Bassist Samantha Mobley, always rumbling beneath these well-tread tundras, anchors the affair in muscular heft and scalpel precision (though the unforgiving compression in the mix makes her great work difficult to make out in many listening environments). Most importantly, however, are guitarists Chris Bonner’s and Michael Munday’s unflappable riffs and infectious hooks. Familiar perhaps to a fault but nonetheless brutally effective, Frozen Soul’s guitar work crests a summit on No Place of Warmth, generating heaps of energy with minimal tooling and using it to slam skulls into each other with devastating impact.

What more could you ask for in a stripped-down, meat-and-potatoes death metal record? A better mix, sure, but not much else. “Invoke War (ft. Machine Head)” brings Bolt Thrower aggression, anvils, and icepicks to my cranium with cold prejudice, leaving me a drooling mess whose only joy in life demands MOAR RIFFS. Thankfully, the slamtastic “Absolute Zero,” “Dreadnought (ft. Sanguisugabogg),” and “Skinned by the Wind,” along with mid-paced stompers “Chaos Will Reign,” “DEATHWEAVER,” and “Frost Forged” shoot overdoses of riff-laced adrenaline directly into my veins, reducing me to animalistic mindlessness. As that progresses, the urge to zoom becomes a new inconvenience in daily life, but Frozen Soul prepared for that. Rippers “No Place of Warmth (ft. Gerard Way),” “Eyes of Despair,” “Ethereal Dreams,” and “Killin Time (Until It’s Time to Kill)” roar and rage through flesh and bone with sleazy grooves that fit right at home at any local bar brawl, giving my overflowing energy reserves an outlet through fist and boot.

You might notice a rare occurrence in the preceding paragraph: I highlighted every song on No Place of Warmth to extol their virtues. This was no accident, as every track has something memorable and engaging to take away, but No Place of Warmth isn’t perfect. As mentioned earlier, No Place of Warmth is crushed pretty heavily. Consequently, Samantha’s bass struggles for audibility—despite offering ample textural heft—behind chunky guitars and ferocious roars. With a little less compression and a few tweaks to instrumental positioning, her input would be heard more fully and thereby make even greater impact. Additionally, Matt Dennard’s bass kick feels a bit plastic, creating a bit of tactile unpleasantness during initial spins. In other areas, the album’s various guest spots don’t stand out as distinctly as a guest spot should. It took a few spins to nail down Machine Head’s contributions to “Invoke War,” especially, and Gerard Way’s unexpected blackened rasps deserve greater presence, too. I still can’t confidently pick out Sanguisugabogg in “Dreadnought,” though it is a killer tune. As a criticism, this mostly points to a thoughtfulness in features that Frozen Soul neglected, but that they might easily rectify with more intentional writing that gives those features more significance and definition going forward.

All told, No Place of Warmth is more than just rock-solid Bolt Thrower worship. It is a consistently entertaining record tailor-made to ensure gains in the gym, incite massive mosh pits in any given venue, and cause spinal trauma to any receptive passers-by. It’s nothing new, and nothing groundbreaking, but its tectonic grooves and boundless vitality crack the crust regardless. Should you be in need of more quality death metal this year—and we all know you can never have too much—No Place of Warmth is a worthy part of a balanced breakfast rotation.

Rating: Very Good!
DR: 4 | Format Reviewed: PCM
Label: Century Media Records
Websites: Bandcamp | Official | Facebook
Releases Worldwide: May 8th, 2026

Texan five-banger Frozen Soul crept into my promo pile back in 2021 with their glacially imposing Crypt of Ice. Unfortunately, I missed covering the improved follow-up Glacial Domination properly, relegating it to a Filter blurb instead. But that’s no excuse for Century Media to withhold No Place of Warmth from me when it was time. No matter, because Frozen Soul deserve a full-bodied tongue bath from this hot-blooded sponge, and I intend to give it with great relish.

The Frozen Soul formula carries over into No Place of Warmth, but evolves incrementally just as Glacial Domination did three years prior. As these homo glaciali continue their ascent into a full upright stance, their Bolt Thrower-meets-Sanguisugabogg-meets-Rotpit riff orgy enters a new realm of ferocity, carrying a murderous momentum and relentless grooves across a dick-skin-tight 35 minutes. Vocalist Chad Green puts down a vicious performance of caveman roars, rancid rasps, and infectious barks. Matt Dennard pounds the mammoth skins with a single-minded bludgeoning that oozes blood, pus, and attitude. Bassist Samantha Mobley, always rumbling beneath these well-tread tundras, anchors the affair in muscular heft and scalpel precision (though the unforgiving compression in the mix makes her great work difficult to make out in many listening environments). Most importantly, however, are guitarists Chris Bonner’s and Michael Munday’s unflappable riffs and infectious hooks. Familiar perhaps to a fault but nonetheless brutally effective, Frozen Soul’s guitar work crests a summit on No Place of Warmth, generating heaps of energy with minimal tooling and using it to slam skulls into each other with devastating impact.

What more could you ask for in a stripped-down, meat-and-potatoes death metal record? A better mix, sure, but not much else. “Invoke War (ft. Machine Head)” brings Bolt Thrower aggression, anvils, and icepicks to my cranium with cold prejudice, leaving me a drooling mess whose only joy in life demands MOAR RIFFS. Thankfully, the slamtastic “Absolute Zero,” “Dreadnought (ft. Sanguisugabogg),” and “Skinned by the Wind,” along with mid-paced stompers “Chaos Will Reign,” “DEATHWEAVER,” and “Frost Forged” shoot overdoses of riff-laced adrenaline directly into my veins, reducing me to animalistic mindlessness. As that progresses, the urge to zoom becomes a new inconvenience in daily life, but Frozen Soul prepared for that. Rippers “No Place of Warmth (ft. Gerard Way),” “Eyes of Despair,” “Ethereal Dreams,” and “Killin Time (Until It’s Time to Kill)” roar and rage through flesh and bone with sleazy grooves that fit right at home at any local bar brawl, giving my overflowing energy reserves an outlet through fist and boot.

You might notice a rare occurrence in the preceding paragraph: I highlighted every song on No Place of Warmth to extol their virtues. This was no accident, as every track has something memorable and engaging to take away, but No Place of Warmth isn’t perfect. As mentioned earlier, No Place of Warmth is crushed pretty heavily. Consequently, Samantha’s bass struggles for audibility—despite offering ample textural heft—behind chunky guitars and ferocious roars. With a little less compression and a few tweaks to instrumental positioning, her input would be heard more fully and thereby make even greater impact. Additionally, Matt Dennard’s bass kick feels a bit plastic, creating a bit of tactile unpleasantness during initial spins. In other areas, the album’s various guest spots don’t stand out as distinctly as a guest spot should. It took a few spins to nail down Machine Head’s contributions to “Invoke War,” especially, and Gerard Way’s unexpected blackened rasps deserve greater presence, too. I still can’t confidently pick out Sanguisugabogg in “Dreadnought,” though it is a killer tune. As a criticism, this mostly points to a thoughtfulness in features that Frozen Soul neglected, but that they might easily rectify with more intentional writing that gives those features more significance and definition going forward.

All told, No Place of Warmth is more than just rock-solid Bolt Thrower worship. It is a consistently entertaining record tailor-made to ensure gains in the gym, incite massive mosh pits in any given venue, and cause spinal trauma to any receptive passers-by. It’s nothing new, and nothing groundbreaking, but its tectonic grooves and boundless vitality crack the crust regardless. Should you be in need of more quality death metal this year—and we all know you can never have too much—No Place of Warmth is a worthy part of a balanced breakfast rotation.

Rating: Very Good!
DR: 4 | Format Reviewed: PCM
Label: Century Media Records
Websites: Bandcamp | Official | Facebook
Releases Worldwide: May 8th, 2026

Texan five-banger Frozen Soul crept into my promo pile back in 2021 with their glacially imposing Crypt of Ice. Unfortunately, I missed covering the improved follow-up Glacial Domination properly, relegating it to a Filter blurb instead. But that’s no excuse for Century Media to withhold No Place of Warmth from me when it was time. No matter, because Frozen Soul deserve a full-bodied tongue bath from this hot-blooded sponge, and I intend to give it with great relish.

The Frozen Soul formula carries over into No Place of Warmth, but evolves incrementally just as Glacial Domination did three years prior. As these homo glaciali continue their ascent into a full upright stance, their Bolt Thrower-meets-Sanguisugabogg-meets-Rotpit riff orgy enters a new realm of ferocity, carrying a murderous momentum and relentless grooves across a dick-skin-tight 35 minutes. Vocalist Chad Green puts down a vicious performance of caveman roars, rancid rasps, and infectious barks. Matt Dennard pounds the mammoth skins with a single-minded bludgeoning that oozes blood, pus, and attitude. Bassist Samantha Mobley, always rumbling beneath these well-tread tundras, anchors the affair in muscular heft and scalpel precision (though the unforgiving compression in the mix makes her great work difficult to make out in many listening environments). Most importantly, however, are guitarists Chris Bonner’s and Michael Munday’s unflappable riffs and infectious hooks. Familiar perhaps to a fault but nonetheless brutally effective, Frozen Soul’s guitar work crests a summit on No Place of Warmth, generating heaps of energy with minimal tooling and using it to slam skulls into each other with devastating impact.

What more could you ask for in a stripped-down, meat-and-potatoes death metal record? A better mix, sure, but not much else. “Invoke War (ft. Machine Head)” brings Bolt Thrower aggression, anvils, and icepicks to my cranium with cold prejudice, leaving me a drooling mess whose only joy in life demands MOAR RIFFS. Thankfully, the slamtastic “Absolute Zero,” “Dreadnought (ft. Sanguisugabogg),” and “Skinned by the Wind,” along with mid-paced stompers “Chaos Will Reign,” “DEATHWEAVER,” and “Frost Forged” shoot overdoses of riff-laced adrenaline directly into my veins, reducing me to animalistic mindlessness. As that progresses, the urge to zoom becomes a new inconvenience in daily life, but Frozen Soul prepared for that. Rippers “No Place of Warmth (ft. Gerard Way),” “Eyes of Despair,” “Ethereal Dreams,” and “Killin Time (Until It’s Time to Kill)” roar and rage through flesh and bone with sleazy grooves that fit right at home at any local bar brawl, giving my overflowing energy reserves an outlet through fist and boot.

You might notice a rare occurrence in the preceding paragraph: I highlighted every song on No Place of Warmth to extol their virtues. This was no accident, as every track has something memorable and engaging to take away, but No Place of Warmth isn’t perfect. As mentioned earlier, No Place of Warmth is crushed pretty heavily. Consequently, Samantha’s bass struggles for audibility—despite offering ample textural heft—behind chunky guitars and ferocious roars. With a little less compression and a few tweaks to instrumental positioning, her input would be heard more fully and thereby make even greater impact. Additionally, Matt Dennard’s bass kick feels a bit plastic, creating a bit of tactile unpleasantness during initial spins. In other areas, the album’s various guest spots don’t stand out as distinctly as a guest spot should. It took a few spins to nail down Machine Head’s contributions to “Invoke War,” especially, and Gerard Way’s unexpected blackened rasps deserve greater presence, too. I still can’t confidently pick out Sanguisugabogg in “Dreadnought,” though it is a killer tune. As a criticism, this mostly points to a thoughtfulness in features that Frozen Soul neglected, but that they might easily rectify with more intentional writing that gives those features more significance and definition going forward.

All told, No Place of Warmth is more than just rock-solid Bolt Thrower worship. It is a consistently entertaining record tailor-made to ensure gains in the gym, incite massive mosh pits in any given venue, and cause spinal trauma to any receptive passers-by. It’s nothing new, and nothing groundbreaking, but its tectonic grooves and boundless vitality crack the crust regardless. Should you be in need of more quality death metal this year—and we all know you can never have too much—No Place of Warmth is a worthy part of a balanced breakfast rotation.

Rating: Very Good!
DR: 4 | Format Reviewed: PCM
Label: Century Media Records
Websites: Bandcamp | Official | Facebook
Releases Worldwide: May 8th, 2026

Texan five-banger Frozen Soul crept into my promo pile back in 2021 with their glacially imposing Crypt of Ice. Unfortunately, I missed covering the improved follow-up Glacial Domination properly, relegating it to a Filter blurb instead. But that’s no excuse for Century Media to withhold No Place of Warmth from me when it was time. No matter, because Frozen Soul deserve a full-bodied tongue bath from this hot-blooded sponge, and I intend to give it with great relish.

The Frozen Soul formula carries over into No Place of Warmth, but evolves incrementally just as Glacial Domination did three years prior. As these homo glaciali continue their ascent into a full upright stance, their Bolt Thrower-meets-Sanguisugabogg-meets-Rotpit riff orgy enters a new realm of ferocity, carrying a murderous momentum and relentless grooves across a dick-skin-tight 35 minutes. Vocalist Chad Green puts down a vicious performance of caveman roars, rancid rasps, and infectious barks. Matt Dennard pounds the mammoth skins with a single-minded bludgeoning that oozes blood, pus, and attitude. Bassist Samantha Mobley, always rumbling beneath these well-tread tundras, anchors the affair in muscular heft and scalpel precision (though the unforgiving compression in the mix makes her great work difficult to make out in many listening environments). Most importantly, however, are guitarists Chris Bonner’s and Michael Munday’s unflappable riffs and infectious hooks. Familiar perhaps to a fault but nonetheless brutally effective, Frozen Soul’s guitar work crests a summit on No Place of Warmth, generating heaps of energy with minimal tooling and using it to slam skulls into each other with devastating impact.

What more could you ask for in a stripped-down, meat-and-potatoes death metal record? A better mix, sure, but not much else. “Invoke War (ft. Machine Head)” brings Bolt Thrower aggression, anvils, and icepicks to my cranium with cold prejudice, leaving me a drooling mess whose only joy in life demands MOAR RIFFS. Thankfully, the slamtastic “Absolute Zero,” “Dreadnought (ft. Sanguisugabogg),” and “Skinned by the Wind,” along with mid-paced stompers “Chaos Will Reign,” “DEATHWEAVER,” and “Frost Forged” shoot overdoses of riff-laced adrenaline directly into my veins, reducing me to animalistic mindlessness. As that progresses, the urge to zoom becomes a new inconvenience in daily life, but Frozen Soul prepared for that. Rippers “No Place of Warmth (ft. Gerard Way),” “Eyes of Despair,” “Ethereal Dreams,” and “Killin Time (Until It’s Time to Kill)” roar and rage through flesh and bone with sleazy grooves that fit right at home at any local bar brawl, giving my overflowing energy reserves an outlet through fist and boot.

You might notice a rare occurrence in the preceding paragraph: I highlighted every song on No Place of Warmth to extol their virtues. This was no accident, as every track has something memorable and engaging to take away, but No Place of Warmth isn’t perfect. As mentioned earlier, No Place of Warmth is crushed pretty heavily. Consequently, Samantha’s bass struggles for audibility—despite offering ample textural heft—behind chunky guitars and ferocious roars. With a little less compression and a few tweaks to instrumental positioning, her input would be heard more fully and thereby make even greater impact. Additionally, Matt Dennard’s bass kick feels a bit plastic, creating a bit of tactile unpleasantness during initial spins. In other areas, the album’s various guest spots don’t stand out as distinctly as a guest spot should. It took a few spins to nail down Machine Head’s contributions to “Invoke War,” especially, and Gerard Way’s unexpected blackened rasps deserve greater presence, too. I still can’t confidently pick out Sanguisugabogg in “Dreadnought,” though it is a killer tune. As a criticism, this mostly points to a thoughtfulness in features that Frozen Soul neglected, but that they might easily rectify with more intentional writing that gives those features more significance and definition going forward.

All told, No Place of Warmth is more than just rock-solid Bolt Thrower worship. It is a consistently entertaining record tailor-made to ensure gains in the gym, incite massive mosh pits in any given venue, and cause spinal trauma to any receptive passers-by. It’s nothing new, and nothing groundbreaking, but its tectonic grooves and boundless vitality crack the crust regardless. Should you be in need of more quality death metal this year—and we all know you can never have too much—No Place of Warmth is a worthy part of a balanced breakfast rotation.

Rating: Very Good!
DR: 4 | Format Reviewed: PCM
Label: Century Media Records
Websites: Bandcamp | Official | Facebook
Releases Worldwide: May 8th, 2026

Do you know what day is today? Yes, the 81st anniversary of the #VEday ✌🏻

And what else? Yes, new #FrozenSoul is out now. I know. Sounds great!

Aaaaand....
today is the 13th anniversary of our #EP 'Onward'.
To celebrate this, here are 13 #Bandcamp codes for the EP. 🎉
Spread the riffs

#ONWARD !!! 🤘🏻

Grab your digital copy. First come, first serve. Please write in the comments which code you used.

Enter your code here: https://ossarium.bandcamp.com/yum

5̶m̶3̶4̶-̶j̶2̶l̶v̶
b8vq-ycq8
aub6-bhg2
85vu-wvrh
2r9a-hycv
uh83-eqn4
xenw-u85m
h8dq-jnng
qn49-yavu
9wpu-b7gp
3h9x-xvfn
5q3s-jyej
b8xe-grfy

Do you know what day is today? Yes, the 81st anniversary of the #VEday ✌🏻

And what else? Yes, new #FrozenSoul is out now. I know. Sounds great!

Aaaaand....
today is the 13th anniversary of our #EP 'Onward'.
To celebrate this, here are 13 #Bandcamp codes for the EP. 🎉
Spread the riffs

#ONWARD !!! 🤘🏻

Grab your digital copy. First come, first serve. Please write in the comments which code you used.

Enter your code here: https://ossarium.bandcamp.com/yum

5̶m̶3̶4̶-̶j̶2̶l̶v̶
b8vq-ycq8
aub6-bhg2
85vu-wvrh
2r9a-hycv
uh83-eqn4
xenw-u85m
h8dq-jnng
qn49-yavu
9wpu-b7gp
3h9x-xvfn
5q3s-jyej
b8xe-grfy

Do you know what day is today? Yes, the 81st anniversary of the #VEday ✌🏻

And what else? Yes, new #FrozenSoul is out now. I know. Sounds great!

Aaaaand....
today is the 13th anniversary of our #EP 'Onward'.
To celebrate this, here are 13 #Bandcamp codes for the EP. 🎉
Spread the riffs

#ONWARD !!! 🤘🏻

Grab your digital copy. First come, first serve. Please write in the comments which code you used.

Enter your code here: https://ossarium.bandcamp.com/yum

5̶m̶3̶4̶-̶j̶2̶l̶v̶
b8vq-ycq8
aub6-bhg2
85vu-wvrh
2r9a-hycv
uh83-eqn4
xenw-u85m
h8dq-jnng
qn49-yavu
9wpu-b7gp
3h9x-xvfn
5q3s-jyej
b8xe-grfy

Do you know what day is today? Yes, the 81st anniversary of the #VEday ✌🏻

And what else? Yes, new #FrozenSoul is out now. I know. Sounds great!

Aaaaand....
today is the 13th anniversary of our #EP 'Onward'.
To celebrate this, here are 13 #Bandcamp codes for the EP. 🎉
Spread the riffs

#ONWARD !!! 🤘🏻

Grab your digital copy. First come, first serve. Please write in the comments which code you used.

Enter your code here: https://ossarium.bandcamp.com/yum

5̶m̶3̶4̶-̶j̶2̶l̶v̶
b8vq-ycq8
aub6-bhg2
85vu-wvrh
2r9a-hycv
uh83-eqn4
xenw-u85m
h8dq-jnng
qn49-yavu
9wpu-b7gp
3h9x-xvfn
5q3s-jyej
b8xe-grfy

Do you know what day is today? Yes, the 81st anniversary of the #VEday ✌🏻

And what else? Yes, new #FrozenSoul is out now. I know. Sounds great!

Aaaaand....
today is the 13th anniversary of our #EP 'Onward'.
To celebrate this, here are 13 #Bandcamp codes for the EP. 🎉
Spread the riffs

#ONWARD !!! 🤘🏻

Grab your digital copy. First come, first serve. Please write in the comments which code you used.

Enter your code here: https://ossarium.bandcamp.com/yum

5̶m̶3̶4̶-̶j̶2̶l̶v̶
b8vq-ycq8
aub6-bhg2
85vu-wvrh
2r9a-hycv
uh83-eqn4
xenw-u85m
h8dq-jnng
qn49-yavu
9wpu-b7gp
3h9x-xvfn
5q3s-jyej
b8xe-grfy

https://www.europesays.com/nl/204520/ Frozen Soul – No Place Of Warmth #album #albumrecensie #albumreview #Amusement #CenturyMediaRecords #DeathMetal #deathmetalband #Dutch #Entertainment #FrozenSoul #metalalbum #Music #Muziek #Nederland #Nederlanden #Nederlands #Netherlands #NL #NoPlaceForWarmth #ZwareMetalen2026

https://www.europesays.com/be-nl/58367/ Frozen Soul – No Place Of Warmth #album #albumrecensie #albumreview #Amusement #BE #België #Belgium #CenturyMediaRecords #DeathMetal #deathmetalband #Entertainment #FrozenSoul #metalalbum #Music #Muziek #NoPlaceForWarmth #ZwareMetalen2026

Grond – The Temple Review

Ten long years passed since Grond released Worship the Kraken, a fun and meaty slab of Bolt Thrower-meets-Autopsy-meets-Lovecraft…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2026 #3.5 #Apr26 #autopsy #BoltThrower #Corpsessed #DeathDoom #DeathMetal #Entertainment #frozensoul #Grond #review #reviews #RussianMetal #SulphurAeon #TempleofVoid #TheTemple #XtreemMusic
https://www.newsbeep.com/us/627054/

Grond – The Temple Review

Ten long years passed since Grond released Worship the Kraken, a fun and meaty slab of Bolt Thrower-meets-Autopsy-meets-Lovecraft…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2026 #3.5 #Apr26 #autopsy #BoltThrower #Corpsessed #DeathDoom #DeathMetal #Entertainment #frozensoul #Grond #review #reviews #RussianMetal #SulphurAeon #TempleofVoid #TheTemple #XtreemMusic
https://www.newsbeep.com/us/627054/

Ten long years passed since Grond released Worship the Kraken, a fun and meaty slab of Bolt Thrower-meets-Autopsy-meets-Lovecraft madness. With such a protracted lull in recording activity, I was sure there was never going to be another Grond record, but lo and behold, The Temple peeked above the horizon just enough for me to catch it on the approach. I quiver with anticipation to see what cosmic horrors await me there.

Grond is the same stomping monstrosity that left the world all those years ago, muscular and be-tentacled as ever. Their Bolt Thrower riffs and nasty bass tone still take center stage, ensuring that any listener’s face scrunches up in grotesque relief (“Weddigen,” “Submergence”). A Temple of Void-like doom/death shroud adorns The Temple in shadowed moods and ominous atmosphere, creating a vastness of scale and stature Worship the Kraken didn’t have (“U-29,” “Dreadnought”). Much like other modern old-school revival acts like Frozen Soul, simplicity is Grond’s best friend, choosing reliable parts and pieces of the death metal arsenal to ensure maximum impact in their songwriting. Thankfully, Grond’s high-fantasy horror theme, frightful guitar pyrotechnics in solos and flourishes (“Dreadnought”), and beefy production help set The Temple apart from contemporary examples of the style and make for a highly engaging 48 minutes.

At first, though, I wasn’t sure if The Temple justified its ten-year incubation period. It’s their slowest, their longest, and arguably their simplest record in terms of structure. I wondered if this meant it offered less substance or weaker engagement. I was wrong. Without sacrificing heft or extremity, Grond doubled down on accessibility and groove to make The Temple their most easily digestible outing thus far (“Pour le Merite,” “Radiant Fury”), but they made considerable effort using accessibility to their advantage. In place of compositional complexity, odd time signatures, or speed, wild lead guitar exhibitionism, gut-punching bass burbles, and clever drum fills abound. This trade, in turn, makes even the most straightforward cuts exciting and distinctive (“The Temple”). Furthermore, revisits uncover even more nifty details and entertaining embellishments—again sourced primarily from the guitar work—that bring depth and charm to The Temple for which initial impressions don’t account.

The Temple boasts many traits and nuances that not only make it a joy to return to, but also help shrink its inflated runtime, yet some areas could still use a trim. At a bloated six-and-a-half minutes, the title track only barely justifies its length with the strength of its guitar work, but would be stronger still with a full minute or so hacked off the first half for brevity. In fact, most of The Temple’s nine tracks toy with that ambitious six-minute barrier. While a vast majority of them don’t feel nearly that long, they all have at least one small grouping of measures that, if culled, wouldn’t detract from the compositions to which they belong (“Weddigen,” “Dark Solitude of the Sea,” “U-29”). Additionally, instrumental intro “Rotter Himmel” adds very little to the whole except to tumble right into the opener proper. At three minutes, it begs either to be nipped, tucked, and integrated into “Weddigen,” or to be cut altogether.

Aside from a spot of bloat, there’s a lot to enjoy in The Temple. It’s a rare kind of classically informed, doom-tinged, mid-paced death metal that grows with every spin. Grond achieved that grower status with their third LP, and it was worth the ten-year wait. It might not be a groundbreaking album, but competes well in its field and pairs very nicely with other Lovecraft-inspired death metal from the likes of Sulphur Aeon or Corpsessed. So if that’s your bag, Grond’s your monster. Choose your vessel, and enter the gate The Temple!

Rating: Very Good
DR: 5 | Format Reviewed: ~260 kbps VBR mp3
Label: XTreem Music
Websites: grond.bandcamp.com | facebook.com/grondrus
Releases Worldwide: April 30th, 2026

Ten long years passed since Grond released Worship the Kraken, a fun and meaty slab of Bolt Thrower-meets-Autopsy-meets-Lovecraft madness. With such a protracted lull in recording activity, I was sure there was never going to be another Grond record, but lo and behold, The Temple peeked above the horizon just enough for me to catch it on the approach. I quiver with anticipation to see what cosmic horrors await me there.

Grond is the same stomping monstrosity that left the world all those years ago, muscular and be-tentacled as ever. Their Bolt Thrower riffs and nasty bass tone still take center stage, ensuring that any listener’s face scrunches up in grotesque relief (“Weddigen,” “Submergence”). A Temple of Void-like doom/death shroud adorns The Temple in shadowed moods and ominous atmosphere, creating a vastness of scale and stature Worship the Kraken didn’t have (“U-29,” “Dreadnought”). Much like other modern old-school revival acts like Frozen Soul, simplicity is Grond’s best friend, choosing reliable parts and pieces of the death metal arsenal to ensure maximum impact in their songwriting. Thankfully, Grond’s high-fantasy horror theme, frightful guitar pyrotechnics in solos and flourishes (“Dreadnought”), and beefy production help set The Temple apart from contemporary examples of the style and make for a highly engaging 48 minutes.

At first, though, I wasn’t sure if The Temple justified its ten-year incubation period. It’s their slowest, their longest, and arguably their simplest record in terms of structure. I wondered if this meant it offered less substance or weaker engagement. I was wrong. Without sacrificing heft or extremity, Grond doubled down on accessibility and groove to make The Temple their most easily digestible outing thus far (“Pour le Merite,” “Radiant Fury”), but they made considerable effort using accessibility to their advantage. In place of compositional complexity, odd time signatures, or speed, wild lead guitar exhibitionism, gut-punching bass burbles, and clever drum fills abound. This trade, in turn, makes even the most straightforward cuts exciting and distinctive (“The Temple”). Furthermore, revisits uncover even more nifty details and entertaining embellishments—again sourced primarily from the guitar work—that bring depth and charm to The Temple for which initial impressions don’t account.

The Temple boasts many traits and nuances that not only make it a joy to return to, but also help shrink its inflated runtime, yet some areas could still use a trim. At a bloated six-and-a-half minutes, the title track only barely justifies its length with the strength of its guitar work, but would be stronger still with a full minute or so hacked off the first half for brevity. In fact, most of The Temple’s nine tracks toy with that ambitious six-minute barrier. While a vast majority of them don’t feel nearly that long, they all have at least one small grouping of measures that, if culled, wouldn’t detract from the compositions to which they belong (“Weddigen,” “Dark Solitude of the Sea,” “U-29”). Additionally, instrumental intro “Rotter Himmel” adds very little to the whole except to tumble right into the opener proper. At three minutes, it begs either to be nipped, tucked, and integrated into “Weddigen,” or to be cut altogether.

Aside from a spot of bloat, there’s a lot to enjoy in The Temple. It’s a rare kind of classically informed, doom-tinged, mid-paced death metal that grows with every spin. Grond achieved that grower status with their third LP, and it was worth the ten-year wait. It might not be a groundbreaking album, but competes well in its field and pairs very nicely with other Lovecraft-inspired death metal from the likes of Sulphur Aeon or Corpsessed. So if that’s your bag, Grond’s your monster. Choose your vessel, and enter the gate The Temple!

Rating: Very Good
DR: 5 | Format Reviewed: ~260 kbps VBR mp3
Label: XTreem Music
Websites: grond.bandcamp.com | facebook.com/grondrus
Releases Worldwide: April 30th, 2026

Ten long years passed since Grond released Worship the Kraken, a fun and meaty slab of Bolt Thrower-meets-Autopsy-meets-Lovecraft madness. With such a protracted lull in recording activity, I was sure there was never going to be another Grond record, but lo and behold, The Temple peeked above the horizon just enough for me to catch it on the approach. I quiver with anticipation to see what cosmic horrors await me there.

Grond is the same stomping monstrosity that left the world all those years ago, muscular and be-tentacled as ever. Their Bolt Thrower riffs and nasty bass tone still take center stage, ensuring that any listener’s face scrunches up in grotesque relief (“Weddigen,” “Submergence”). A Temple of Void-like doom/death shroud adorns The Temple in shadowed moods and ominous atmosphere, creating a vastness of scale and stature Worship the Kraken didn’t have (“U-29,” “Dreadnought”). Much like other modern old-school revival acts like Frozen Soul, simplicity is Grond’s best friend, choosing reliable parts and pieces of the death metal arsenal to ensure maximum impact in their songwriting. Thankfully, Grond’s high-fantasy horror theme, frightful guitar pyrotechnics in solos and flourishes (“Dreadnought”), and beefy production help set The Temple apart from contemporary examples of the style and make for a highly engaging 48 minutes.

At first, though, I wasn’t sure if The Temple justified its ten-year incubation period. It’s their slowest, their longest, and arguably their simplest record in terms of structure. I wondered if this meant it offered less substance or weaker engagement. I was wrong. Without sacrificing heft or extremity, Grond doubled down on accessibility and groove to make The Temple their most easily digestible outing thus far (“Pour le Merite,” “Radiant Fury”), but they made considerable effort using accessibility to their advantage. In place of compositional complexity, odd time signatures, or speed, wild lead guitar exhibitionism, gut-punching bass burbles, and clever drum fills abound. This trade, in turn, makes even the most straightforward cuts exciting and distinctive (“The Temple”). Furthermore, revisits uncover even more nifty details and entertaining embellishments—again sourced primarily from the guitar work—that bring depth and charm to The Temple for which initial impressions don’t account.

The Temple boasts many traits and nuances that not only make it a joy to return to, but also help shrink its inflated runtime, yet some areas could still use a trim. At a bloated six-and-a-half minutes, the title track only barely justifies its length with the strength of its guitar work, but would be stronger still with a full minute or so hacked off the first half for brevity. In fact, most of The Temple’s nine tracks toy with that ambitious six-minute barrier. While a vast majority of them don’t feel nearly that long, they all have at least one small grouping of measures that, if culled, wouldn’t detract from the compositions to which they belong (“Weddigen,” “Dark Solitude of the Sea,” “U-29”). Additionally, instrumental intro “Rotter Himmel” adds very little to the whole except to tumble right into the opener proper. At three minutes, it begs either to be nipped, tucked, and integrated into “Weddigen,” or to be cut altogether.

Aside from a spot of bloat, there’s a lot to enjoy in The Temple. It’s a rare kind of classically informed, doom-tinged, mid-paced death metal that grows with every spin. Grond achieved that grower status with their third LP, and it was worth the ten-year wait. It might not be a groundbreaking album, but competes well in its field and pairs very nicely with other Lovecraft-inspired death metal from the likes of Sulphur Aeon or Corpsessed. So if that’s your bag, Grond’s your monster. Choose your vessel, and enter the gate The Temple!

Rating: Very Good
DR: 5 | Format Reviewed: ~260 kbps VBR mp3
Label: XTreem Music
Websites: grond.bandcamp.com | facebook.com/grondrus
Releases Worldwide: April 30th, 2026

Ten long years passed since Grond released Worship the Kraken, a fun and meaty slab of Bolt Thrower-meets-Autopsy-meets-Lovecraft madness. With such a protracted lull in recording activity, I was sure there was never going to be another Grond record, but lo and behold, The Temple peeked above the horizon just enough for me to catch it on the approach. I quiver with anticipation to see what cosmic horrors await me there.

Grond is the same stomping monstrosity that left the world all those years ago, muscular and be-tentacled as ever. Their Bolt Thrower riffs and nasty bass tone still take center stage, ensuring that any listener’s face scrunches up in grotesque relief (“Weddigen,” “Submergence”). A Temple of Void-like doom/death shroud adorns The Temple in shadowed moods and ominous atmosphere, creating a vastness of scale and stature Worship the Kraken didn’t have (“U-29,” “Dreadnought”). Much like other modern old-school revival acts like Frozen Soul, simplicity is Grond’s best friend, choosing reliable parts and pieces of the death metal arsenal to ensure maximum impact in their songwriting. Thankfully, Grond’s high-fantasy horror theme, frightful guitar pyrotechnics in solos and flourishes (“Dreadnought”), and beefy production help set The Temple apart from contemporary examples of the style and make for a highly engaging 48 minutes.

At first, though, I wasn’t sure if The Temple justified its ten-year incubation period. It’s their slowest, their longest, and arguably their simplest record in terms of structure. I wondered if this meant it offered less substance or weaker engagement. I was wrong. Without sacrificing heft or extremity, Grond doubled down on accessibility and groove to make The Temple their most easily digestible outing thus far (“Pour le Merite,” “Radiant Fury”), but they made considerable effort using accessibility to their advantage. In place of compositional complexity, odd time signatures, or speed, wild lead guitar exhibitionism, gut-punching bass burbles, and clever drum fills abound. This trade, in turn, makes even the most straightforward cuts exciting and distinctive (“The Temple”). Furthermore, revisits uncover even more nifty details and entertaining embellishments—again sourced primarily from the guitar work—that bring depth and charm to The Temple for which initial impressions don’t account.

The Temple boasts many traits and nuances that not only make it a joy to return to, but also help shrink its inflated runtime, yet some areas could still use a trim. At a bloated six-and-a-half minutes, the title track only barely justifies its length with the strength of its guitar work, but would be stronger still with a full minute or so hacked off the first half for brevity. In fact, most of The Temple’s nine tracks toy with that ambitious six-minute barrier. While a vast majority of them don’t feel nearly that long, they all have at least one small grouping of measures that, if culled, wouldn’t detract from the compositions to which they belong (“Weddigen,” “Dark Solitude of the Sea,” “U-29”). Additionally, instrumental intro “Rotter Himmel” adds very little to the whole except to tumble right into the opener proper. At three minutes, it begs either to be nipped, tucked, and integrated into “Weddigen,” or to be cut altogether.

Aside from a spot of bloat, there’s a lot to enjoy in The Temple. It’s a rare kind of classically informed, doom-tinged, mid-paced death metal that grows with every spin. Grond achieved that grower status with their third LP, and it was worth the ten-year wait. It might not be a groundbreaking album, but competes well in its field and pairs very nicely with other Lovecraft-inspired death metal from the likes of Sulphur Aeon or Corpsessed. So if that’s your bag, Grond’s your monster. Choose your vessel, and enter the gate The Temple!

Rating: Very Good
DR: 5 | Format Reviewed: ~260 kbps VBR mp3
Label: XTreem Music
Websites: grond.bandcamp.com | facebook.com/grondrus
Releases Worldwide: April 30th, 2026

Ten long years passed since Grond released Worship the Kraken, a fun and meaty slab of Bolt Thrower-meets-Autopsy-meets-Lovecraft madness. With such a protracted lull in recording activity, I was sure there was never going to be another Grond record, but lo and behold, The Temple peeked above the horizon just enough for me to catch it on the approach. I quiver with anticipation to see what cosmic horrors await me there.

Grond is the same stomping monstrosity that left the world all those years ago, muscular and be-tentacled as ever. Their Bolt Thrower riffs and nasty bass tone still take center stage, ensuring that any listener’s face scrunches up in grotesque relief (“Weddigen,” “Submergence”). A Temple of Void-like doom/death shroud adorns The Temple in shadowed moods and ominous atmosphere, creating a vastness of scale and stature Worship the Kraken didn’t have (“U-29,” “Dreadnought”). Much like other modern old-school revival acts like Frozen Soul, simplicity is Grond’s best friend, choosing reliable parts and pieces of the death metal arsenal to ensure maximum impact in their songwriting. Thankfully, Grond’s high-fantasy horror theme, frightful guitar pyrotechnics in solos and flourishes (“Dreadnought”), and beefy production help set The Temple apart from contemporary examples of the style and make for a highly engaging 48 minutes.

At first, though, I wasn’t sure if The Temple justified its ten-year incubation period. It’s their slowest, their longest, and arguably their simplest record in terms of structure. I wondered if this meant it offered less substance or weaker engagement. I was wrong. Without sacrificing heft or extremity, Grond doubled down on accessibility and groove to make The Temple their most easily digestible outing thus far (“Pour le Merite,” “Radiant Fury”), but they made considerable effort using accessibility to their advantage. In place of compositional complexity, odd time signatures, or speed, wild lead guitar exhibitionism, gut-punching bass burbles, and clever drum fills abound. This trade, in turn, makes even the most straightforward cuts exciting and distinctive (“The Temple”). Furthermore, revisits uncover even more nifty details and entertaining embellishments—again sourced primarily from the guitar work—that bring depth and charm to The Temple for which initial impressions don’t account.

The Temple boasts many traits and nuances that not only make it a joy to return to, but also help shrink its inflated runtime, yet some areas could still use a trim. At a bloated six-and-a-half minutes, the title track only barely justifies its length with the strength of its guitar work, but would be stronger still with a full minute or so hacked off the first half for brevity. In fact, most of The Temple’s nine tracks toy with that ambitious six-minute barrier. While a vast majority of them don’t feel nearly that long, they all have at least one small grouping of measures that, if culled, wouldn’t detract from the compositions to which they belong (“Weddigen,” “Dark Solitude of the Sea,” “U-29”). Additionally, instrumental intro “Rotter Himmel” adds very little to the whole except to tumble right into the opener proper. At three minutes, it begs either to be nipped, tucked, and integrated into “Weddigen,” or to be cut altogether.

Aside from a spot of bloat, there’s a lot to enjoy in The Temple. It’s a rare kind of classically informed, doom-tinged, mid-paced death metal that grows with every spin. Grond achieved that grower status with their third LP, and it was worth the ten-year wait. It might not be a groundbreaking album, but competes well in its field and pairs very nicely with other Lovecraft-inspired death metal from the likes of Sulphur Aeon or Corpsessed. So if that’s your bag, Grond’s your monster. Choose your vessel, and enter the gate The Temple!

Rating: Very Good
DR: 5 | Format Reviewed: ~260 kbps VBR mp3
Label: XTreem Music
Websites: grond.bandcamp.com | facebook.com/grondrus
Releases Worldwide: April 30th, 2026

Avatar delivered a massive two-hour set in Los Angeles, backed by standout performances from Fleshgod Apocalypse and Frozen Soul.

A diverse lineup, strong energy, and one of the more unique tour packages of the year.

Full Photos/Review: https://metalinsider.net/reviews/review-avatar-captivate-los-angeles-on-4-17-2026-w-fleshgod-apocalypse-and-frozen-soul

#AvatarBand #FleshgodApocalypse #FrozenSoul #Metal #LiveMusic #ConcertReview

Avatar delivered a massive two-hour set in Los Angeles, backed by standout performances from Fleshgod Apocalypse and Frozen Soul.

A diverse lineup, strong energy, and one of the more unique tour packages of the year.

Full Photos/Review: https://metalinsider.net/reviews/review-avatar-captivate-los-angeles-on-4-17-2026-w-fleshgod-apocalypse-and-frozen-soul

#AvatarBand #FleshgodApocalypse #FrozenSoul #Metal #LiveMusic #ConcertReview

Nach drei Jahren sind HEAVEN SHALL BURN endlich wieder im Wiener Gasometer zu Gast. Im Rahmen ihrer „Heimat over Europe“ Tour werden die Thüringer von der schwedischen Melodic-Death-Metal-Supergroup THE HALO EFFECT, der amerikanischen Melodic-Death-Metal-Band THE BLACK DAHLIA MURDER und den amerikanischen Death-Metallern FROZEN SOUL begleitet. Wir waren für euch beim drittletzten Konzert dieser epischen Tour dabei.

#heavenshallburn #thehaloeffect #theblackdahliamurder #frozensoul #deathmetal #melodicdeathmetal

https://www.burnyourears.de/live/54870-heaven-shall-burn-auf-heimat-over-europe-tour-bilder-und-bericht-aus-dem-wiener-gasometer.html

Nach drei Jahren sind HEAVEN SHALL BURN endlich wieder im Wiener Gasometer zu Gast. Im Rahmen ihrer „Heimat over Europe“ Tour werden die Thüringer von der schwedischen Melodic-Death-Metal-Supergroup THE HALO EFFECT, der amerikanischen Melodic-Death-Metal-Band THE BLACK DAHLIA MURDER und den amerikanischen Death-Metallern FROZEN SOUL begleitet. Wir waren für euch beim drittletzten Konzert dieser epischen Tour dabei.

#heavenshallburn #thehaloeffect #theblackdahliamurder #frozensoul #deathmetal #melodicdeathmetal

https://www.burnyourears.de/live/54870-heaven-shall-burn-auf-heimat-over-europe-tour-bilder-und-bericht-aus-dem-wiener-gasometer.html

Frozen Soul Surprise Crowd with Appearance from Gerard Way

Talk about a good surprise! If you were one of the lucky fucks who attended Frozen Soul‘s show…
#NewsBeep #News #Music #CA #Canada #Entertainment #frozensoul #gerardway #MyChemicalRomance
https://www.newsbeep.com/ca/613419/

https://www.europesays.com/ie/442397/ Frozen Soul Surprise Crowd with Appearance from Gerard Way #Éire #Entertainment #FrozenSoul #GerardWay #IE #Ireland #Music #MyChemicalRomance

Frozen Soul Surprise Crowd with Appearance from Gerard Way

Talk about a good surprise! If you were one of the lucky fucks who attended Frozen Soul‘s show…
#NewsBeep #News #Music #AU #Australia #Entertainment #frozensoul #gerardway #MyChemicalRomance
https://www.newsbeep.com/au/616047/

Frozen Soul Surprise Crowd with Appearance from Gerard Way

Talk about a good surprise! If you were one of the lucky fucks who attended Frozen Soul‘s show…
#NewsBeep #News #Music #AU #Australia #Entertainment #frozensoul #gerardway #MyChemicalRomance
https://www.newsbeep.com/au/616047/

FROZEN SOUL (Estats Units) presenta nou single: "Deathweaver" #FrozenSoul #DeathMetal #Abril2026 #EstatsUnits #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

FROZEN SOUL (Estats Units) presenta nou single: "Deathweaver" #FrozenSoul #DeathMetal #Abril2026 #EstatsUnits #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

FROZEN SOUL (Estats Units) presenta nou single: "Invoke War" #FrozenSoul #DeathMetal #Març2026 #EstatsUnits #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

FROZEN SOUL (Estats Units) presenta nou single: "Invoke War" #FrozenSoul #DeathMetal #Març2026 #EstatsUnits #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

https://www.europesays.com/at/36296/ Galerie: Heaven Shall Burn live – Metal Hammer #AT #Austria #bilder #Entertainment #fotos #FrozenSoul #HeavenShallBurn #LiveGalerie #Music #Musik #Österreich #TheBlackDahliaMurder #TheHaloEffect #Unterhaltung

FROZEN SOUL (Estats Units) presenta nou single: "No Place of Warmth" #FrozenSoul #DeathMetal #Febrer2026 #EstatsUnits #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

FROZEN SOUL (Estats Units) presenta nou single: "No Place of Warmth" #FrozenSoul #DeathMetal #Febrer2026 #EstatsUnits #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

#HeavenShallBurn
#TheHaloEffect
#TheBlackDahliaMurder
#FrozenSoul
03/03/2026
#HeimatOverEurope2026
#LeTransbordeur #Transbo #LeTransbo

https://www.purgatoire.fr/concerts/c-646_2026-03-03_heimat-over-europe-2026

Heaven Shall Burn am 27. Februar 2026 in der Inselpark-Arena in Hamburg

Heaven Shall Burn am 27. Februar 2026 in der Inselpark-Arena in Hamburg – frontstage-magazine.de Cookie Hinweis Diese Website…
#Hamburg #Deutschland #Deutsch #DE #Schlagzeilen #Headlines #Nachrichten #News #Europe #Europa #EU #frozensoul #Galerie #Germany #hamburg #HevaenShallBurn #TheBlackDhaliaMurder #thehaloeffect
https://www.europesays.com/de/835916/

New post: Gig Review: Heaven Shall Burn / The Black Dahlia Murder / Frozen Soul – The Garage, Glasgow (22nd February 2026) https://moshville.co.uk/reviews/gig-review/2026/02/gig-review-heaven-shall-burn-the-black-dahlia-murder-frozen-soul-the-garage-glasgow-22nd-february-2026/ #FrozenSoul #HeavenShallBurn #TheBlackDahliaMurder

New post: Gig Review: Heaven Shall Burn / The Black Dahlia Murder / Frozen Soul – The Garage, Glasgow (22nd February 2026) https://moshville.co.uk/reviews/gig-review/2026/02/gig-review-heaven-shall-burn-the-black-dahlia-murder-frozen-soul-the-garage-glasgow-22nd-february-2026/ #FrozenSoul #HeavenShallBurn #TheBlackDahliaMurder

New post: Gig Review: Heaven Shall Burn / The Black Dahlia Murder / Frozen Soul – The Garage, Glasgow (22nd February 2026) https://moshville.co.uk/reviews/gig-review/2026/02/gig-review-heaven-shall-burn-the-black-dahlia-murder-frozen-soul-the-garage-glasgow-22nd-february-2026/ #FrozenSoul #HeavenShallBurn #TheBlackDahliaMurder

New post: Gig Review: Sylosis / Heaven Shall Burn / The Black Dahlia Murder / Revocation / Frozen Soul / Distant / Life Cycles – O2 Forum Kentish Town, London (20th February 2026) https://moshville.co.uk/reviews/gig-review/2026/02/gig-review-sylosis-heaven-shall-burn-the-black-dahlia-murder-revocation-frozen-soul-distant-life-cycles-o2-forum-kentish-town-london-20th-february-2026/ #Distant #FrozenSoul #HeavenShallBurn #LifeCycles

New post: Gig Review: Sylosis / Heaven Shall Burn / The Black Dahlia Murder / Revocation / Frozen Soul / Distant / Life Cycles – O2 Forum Kentish Town, London (20th February 2026) https://moshville.co.uk/reviews/gig-review/2026/02/gig-review-sylosis-heaven-shall-burn-the-black-dahlia-murder-revocation-frozen-soul-distant-life-cycles-o2-forum-kentish-town-london-20th-february-2026/ #Distant #FrozenSoul #HeavenShallBurn #LifeCycles

New post: Gig Review: Sylosis / Heaven Shall Burn / The Black Dahlia Murder / Revocation / Frozen Soul / Distant / Life Cycles – O2 Forum Kentish Town, London (20th February 2026) https://moshville.co.uk/reviews/gig-review/2026/02/gig-review-sylosis-heaven-shall-burn-the-black-dahlia-murder-revocation-frozen-soul-distant-life-cycles-o2-forum-kentish-town-london-20th-february-2026/ #Distant #FrozenSoul #HeavenShallBurn #LifeCycles

#FrozenSoul and #HeavenShallBurn this evening 🤗

Also #TheBlackDalhiaMurder but I'm not as familiar or sure of 'em

#Metal #DeathMetal
https://on.soundcloud.com/30TYTYvRfmerhG4WK3

#FrozenSoul and #HeavenShallBurn this evening 🤗

Also #TheBlackDalhiaMurder but I'm not as familiar or sure of 'em

#Metal #DeathMetal
https://on.soundcloud.com/30TYTYvRfmerhG4WK3

#FrozenSoul and #HeavenShallBurn this evening 🤗

Also #TheBlackDalhiaMurder but I'm not as familiar or sure of 'em

#Metal #DeathMetal
https://on.soundcloud.com/30TYTYvRfmerhG4WK3

#FrozenSoul and #HeavenShallBurn this evening 🤗

Also #TheBlackDalhiaMurder but I'm not as familiar or sure of 'em

#Metal #DeathMetal
https://on.soundcloud.com/30TYTYvRfmerhG4WK3

New post: Frozen Soul get straight to the point with new rager “Absolute Zero” https://moshville.co.uk/news/video/2026/02/frozen-soul-get-straight-to-the-point-with-new-rager-absolute-zero/ #FrozenSoul

New post: Frozen Soul get straight to the point with new rager “Absolute Zero” https://moshville.co.uk/news/video/2026/02/frozen-soul-get-straight-to-the-point-with-new-rager-absolute-zero/ #FrozenSoul

Frozen Soul Release New Single And Video “Absolute Zero”

Revered death metal / hardcore forerunners Frozen Soul unleash their fierce 53-second “Absolute Zero” – no bells, no whistles, just a punch to the gut. “More relevant than the day written – with all of the chaos happening in our country, with ICE killing and ripping apart families, ‘Absolute Zero’ comes as our stance against authoritarianism and the monsters that are enforcing it,” frontman Chad Green states. The sharp banger is an ode to Frozen Soul’s love of punk, hardcore and death metal. Its video clocks in at just over a minute and is straight to the point. Green tells, “I went and got the biggest sledgehammer I could find, and Sam [bassist] carved ‘icebreaker’ into it. We wrote a little message to the world on it—then I froze a skull I painted in my freezer, put it on a cinder block, and obliterated it. The best ice is crushed ice.”

https://youtu.be/WU9kWz77U0I?si=Gl6yrtOekjUKqTd_

Frozen Soul’s brand of all inclusive, in-your-face death metal is a gasp of fresh air in a genre that has stretched the very limits of technicality. Emerging from Texas’ underground, the band’s hardcore intentions gave way to their thrash / death metal roots and obsession with the old school sounds of Bolt Thrower, Mortician and Obituary. Their fresh and theatrical take on old school death metal has quickly won them generation-spanning fans worldwide, alongside sold out tours and support slots with an array of heavy staples like Dying Fetus, Blood Incantation, Obituary, Amon Amarth, Killswitch Engage and Napalm Death just to name a few. Across their breakout EP ‘Encased in Ice’ (2019) and two full-lengths ‘Crypt of Ice’ (2021), ‘Glacial Domination’ (2023), Frozen Soul continue to be hailed as one of the leading forces of metal’s next generation. In April they cross the states with Sweden’s Avatar and Fleshgod Apocalypse. For tickets go here. See below for a full list of dates.

Frozen Soul Live Dates: 

UK, EU

Feb 20: London, UK – Electric Ballroom
Feb 21: Bristol, UK – Bristol Electric
Feb 22: Glasgow, UK – Garage
Feb 23: Birmingham, UK – XOYO
Feb 24: Dublin, IRE – The Academy
Feb 25: Manchester, UK – Academy
Feb 27: Hamburg, GER – Inselpark Arena
Feb 28: Cologne, GER – Palladium
Mar 01: Tilburg, NET – 013
Mar 03: Lyon, FRA – Transbordeur
Mar 04: Paris, FRA – Élysée Montmartre
Mar 05: Brussels, BEL – Ancienne Belgique
Mar 06: Stuttgart, GER – Porsche-Arena
Mar 07: Wiesbaden, GER – Schlachthof
Mar 08: Zurich, SWI – Halle 622
Mar 10: Milan, ITA – Live Club
Mar 11: Esch-sur-Alzette, LUX – Rockhal
Mar 13: Berlin, GER – Columbiahalle
Mar 14: Jena, GER – SPK-Arena Jena
Mar 15: Brno, CZE – Sono Centrum
Mar 17: Budapest, HUN – Barba Negra Red Stage
Mar 18: Krakow, POL – Klub Studio
Mar 19: Vienna, AUT – Gasometer
Mar 20: Dresden, GER – Messe Dresden
Mar 21: Munich, GER – Zenith

Feb 20 – Feb 25 w/ Heaven Shall Burn & The Black Dahlia Murder
Feb 27 – Mar 21 w/ Heaven Shall Burn, The Halo Effect & The Black Dahlia Murder

US

Apr 16: Sacramento, CA – Channel 24
Apr 17: Los Angeles, CA – Novo
Apr 19: Tucson, AZ – Rialto Theater
Apr 20: Albuquerque, NM – Revel
Apr 22: San Antonio, TX – Aztec
Apr 23: Oklahoma City, OK – Criterion
Apr 25: Omaha, NE – Steelhouse Omaha
Apr 26: Des Moines, IA – Val Air
Apr 28: Lawrence, KS – Liberty Hall
Apr 29: Moline, IL – The Rust Belt
Apr 30: Grand Rapids, MI – GLC Live at 20 Monroe
May 01: Milwaukee, WI – Eagles Club Stage
May 02: Fort Wayne, IN – The Clyde
May 04: Huntsville, AL – VBC Mars Music Hall
May 05: Atlanta, GA – Tabernacle
May 06: Knoxville, TN – Mill & Mine
May 07: Myrtle Beach, SC – House of Blues
May 10: Raleigh, NC – The Ritz
May 12: Richmond, VA – The National
May 13: Philadelphia, PA – Franklin Music Hall
May 15: New York, NY – Palladium Times Square
May 16: Buffalo, NY – Buffalo Riverworks
May 19: Wallingford, CT – The Dome
May 20: Hampton Beach, NH – Hampton Beach Casino

Apr 16 – May 20 w/ Avatar and Fleshgod Apocalypse

FROZEN SOUL (Estats Units) presenta nou single: "Absolute Zero" #FrozenSoul #DeathMetal #Febrer2026 #EstatsUnits #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic