There are zillions of heavy metal and hard rock bands out there and a good chunk of them are working hard to carve out a name for themselves. Some are driven by pure passion, happy to record a few tracks and play the local club circuit. Others are chasing something bigger: recognition, touring opportunities, and maybe even making music their full-time life.

Both paths are valid. But the truth is that making it in heavy music is brutally tough. The bar is high, the field is so crowded, and the rules keep changing. What counts as “success” is deeply personal and relative to your own goals, but if you're genuinely ambitious and want to break through the noise, there are a few things worth knowing.

First off: it’s not just about following a checklist or hiring a publicist and expecting some kind of magic. PR can amplify your message, especially if you already have something compelling to say, but it won’t automatically catapult your band into the spotlight.

There’s no shortcut. No secret formula. No matter what some self-proclaimed “wizards” are selling you with their paid plans promising to boost your followers, skyrocket your Spotify numbers, and land you on international tours, most of it are just empty promises.

Let’s cut the bullshit: when you hire a publicist, you’re hiring their network and their influence, their ability to reach the right outlets, the right editors, the right gatekeepers. And if you’ve got a real story, a strong identity, and you’ve already done the groundwork, they can absolutely help you get noticed.

But that’s not the same as blasting out a generic press release to a list of blogs that get ten visitors a day. That’s not PR, it’s basically checking boxes and hoping someone notices.

Good PR isn’t about hype for hype’s sake. It’s about connecting your band with the right people, in the right way, at the right time. And that only works when it’s backed by substance: music that matters, visuals that stand out, and a vision that feels authentic and alive.

You can pay a few hundred dollars for a consulting call, just to be told to comment on other people’s posts and hope they follow you back or how to “beat the algorithm” and rack up Spotify streams. You can spend more on a professionally written bio and EPK. You can spend some serious money on a promo campaign.

And then... nothing happens.

No major publication picks it up. No radio play. Just a couple mentions on small blogs with barely any readership. You get 10 more listeners on Spotify, 2 Bandcamp sales, and you’re still paying out of pocket to play a show 100 miles from home.

So don’t look for shortcuts. And definitely don’t fall for what seems like the “easiest” way.

Making it in music and especially heavy and hard music, is far trickier than that. Focus on perfecting your sound. Build authentic, honest relationships with fellow musicians, fans, promoters, and anyone else in the scene. Don’t engage on social media just to chase attention or coverage. People can sense that from a mile away.

Don’t give Spotify too much credit! It’s overrated. It pays nothing and won’t help smaller bands get noticed. It won’t get you tour invites or take you outside your local circuit. A truly great live show, where you impress the crowd, connect with fans, and treat other bands and venue staff with respect, will get you further than 10,000 passive streams ever could.

And please, don’t waste your money on “career builders” who charge hundreds of dollars just to give you basic advice over the phone. Talk to musicians you respect. Ask questions. Most of them will gladly give you a few minutes and maybe even a contact or two that can actually help.

Don’t trust managers who ask for money up front. Any well-respected manager only makes money when you do. And don’t work with publicists who just blast your music to an impersonal list of a thousand emails. That’s not a strategy, that’s just spam.

Good work speaks for itself. Real connections matter. There’s no magic formula, but there is a path, and it starts with being great, being genuine, and showing up.

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There was a time when Century Media Records stood at the cutting edge of heavy music, home to some of the most innovative and genre-defying metal and hardcore acts like Tiamat, Eyehategod, and others who all helped reshape the heavy music scene. Now, under the umbrella of Sony Music, the label’s roster feels more diluted. Some of the recent signings seem questionable, lacking the bite and originality that once defined the label’s legacy.

Unfortunately, new Estonian signees Pridian appear to fall into that category. Their brand of modern metalcore: a blend of chugging riffs, polished melodies, and glossy electronics sounds all too familiar, echoing the formulaic approach of countless similar bands chasing the same old and tired blueprint. Not that their debut album Venetian Dark released under the Pridian moniker (they previously went by ÆØNS) is a bad record, but by the time the second track wraps up, I'm already tempted to hit the skip button. Their particular blend of Architects-style modern metalcore mixed with Static-X-flavored industrial gloss wears thin quickly, offering little to hold attention beyond the polished production.

Tracks like “Near Dark” and “Idoldust” follow that formula closely, and whether that works for you will likely depend on your affinity for bands like Static-X or Architects. Personally, I’m not a big fan of either, but if those names appeal to you, there’s a good chance you’ll find something to enjoy in Venetian Dark.

That said, while the band shows technical proficiency, I feel they’re still in the process of searching for a distinct identity and could benefit from a bit more maturity in their songwriting. (5/10)

Jason Hicks

Band info: https://www.facebook.com/pridianband
Label info: https://www.centurymedia.com

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In the ever-challenging world of heavy music, there's a stubborn idea that clings to the scene like a bad hangover: that paying to play with bigger bands or buying your way onto a tour will magically catapult your career. Reality check: it won’t, well at least not anymore, and it might even wreck your finances (and your spirit) in the process.

Let's get one thing straight: pay-to-play has always existed. But like 20 or 15 years ago, there was a bigger safety net. Labels would invest in promising young bands, covering tour support with the expectation of earning it back through record sales, merchandise, and long-term career building. Today, that support system has largely eroded, mostly due to the decline in record sales. If you're paying out of your own pocket to open for a bigger act or to join a tour package, you’re carrying all the risk — and there's often little chance of seeing any real return.

Why Paying to Play Doesn’t Pay Off

First, you’re basically funding someone else’s success. When you fork over hundreds or thousands of dollars to get a 20-minute opening slot, you're not investing in your career — you're filling the pockets of promoters, headliners, or booking agents who already have built-in audiences. Worse, your own fans might not even make it given the early slots. You’ll often be given the bare minimum of time to soundcheck (if any) and might even get a sound guy who’s actually the lighting guy, bartender, and doorman all rolled into one.

Then there’s the financial sinkhole: travel costs, gear expenses, food, lodging, and lost work hours pile up fast. If you’re lucky enough to score a deal, maybe you’ll ride on the tour bus with the bigger bands and crew. But more often, you’ll have to rent a van, sleep in it, or crash in some sketchy hostel — because depending on the location, a halfway decent hotel room can easily cost 100€ a night. You could rack up debts that take months (or years) to clear — all for the honor of saying you once opened for someone like Kreator or Morbid Angel. Good luck selling enough T-shirts and vinyl to make that money back.

Then there’s the fact that labels aren’t the safety net they used to be. Even if a label gets involved today, many will demand a huge chunk of your merch sales on tour, sometimes 20–30% right off the top, and also take royalties from your album sales. You’re effectively working for free (or worse, paying to work) while they gamble on whether your name will become profitable. If it doesn’t? You're stuck holding the empty bag.

"Exposure" Doesn’t Pay the Bills

Opening for a massive band might get you in front of a bigger crowd, but that doesn’t automatically translate into a loyal fanbase. Building real fans takes time, authenticity, and repeated exposure — not just a single rushed set while half the audience is still buying beers.

It Sets a Bad Precedent

Every time a band agrees to buy onto a tour, it sends a message to the industry: "This is okay." It normalizes predatory practices and pushes truly talented but broke bands even further into the margins.

So, What Should Bands Focus On Instead?

Grow Your Own Audience: Grind it out locally and regionally. Build a fanbase that will actually show up for you.

Smart Support Slots: Say yes to shows that make sense — geographically, financially, and musically. A few good opening gigs are better than a dozen random ones.

Save for the Right Opportunities: Invest your money where it counts — recording, merch, gear, smart DIY tours.

Build Relationships, Not Debts: Make genuine connections with promoters, bookers, and other bands. People remember good bands and good people — and when they put together a show, your name will be on their mind.

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From time to time, a band comes along that completely blows everything else out of the water, and the last few months have been packed with incredible surprises, like Septaria (review coming soon) and this astonishing band from Iceland, simply called Múr. Their self-titled debut album is a masterpiece that demands attention. 

 The record kicks off with the epic "Eldhaf," a nine-minute journey that showcases the band's ability to craft grandiose, melodic post-metal. But it doesn’t stop there—Mur effortlessly transitions into fierce, relentless death metal, at times evoking the intensity and complexity of Gojira. 

This momentum carries through into the next track, "Frelsari," which delivers crushing riffs and hard-hitting rhythms, further redefining what we can expect from modern metal. Elsewhere, "Messa" dives into electronic elements, creating a vicious blend of Strapping Young Lad’s chaotic energy and Gojira’s precision. 

Then, "Heimsslit" sees the band returning to their post-metal moments, weaving spacious and contemplative atmospheres that add depth and contrast to the album’s already dynamic sound. 

The closing track, and personal highlight, "Holskefla" delivers more punch than an enraged bull. It begins with a subtle, melodic guitar intro, luring the listener into a false sense of calm before erupting into massive, bone-crushing riffs, played with a precise, almost militaristic rhythm that commands attention. This track alone proves Múr’s unrelenting force and musical prowess. 

 Snatched up by Century Media, Múr is an album brimming with potential—a testament to a band that’s not just making waves but destined for even greater things. Their unique blend of intensity, complexity, and sheer power is bound to elevate them to the next level in the metal scene. (8/10)

Jason Hicks

Band info: https://www.facebook.com/mur.official.band

Label info: https://www.centurymedia.com

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Black Aleph's debut album, Apsides, is a sonic journey that unfolds through layers of atmospheric weight and textural complexity. Consisting of Lachlan Dale (guitar, effects), Peter Hollo (cello, effects), and Timothy Johannsen (percussion), the Australian trio masterfully blends elements of post-metal, ambient, and experimental rock, weaving together influences from the likes of Neurosis, Godspeed You! Black Emperor, Sunn O))), and Earth.

Opening with "Descent," the track immediately sets the tone with a dark, brooding atmosphere that feels almost claustrophobic and ritualistic. The haunting combination of dissonant guitar riffs, throbbing cello lines, hypnotic beats and dark chants instantly draws the listener into a world that feels heavy and foreboding. The use of effects adds an additional layer of menace, making this track a powerful introduction to the album's thematic exploration of space, tension, and inner conflict.

However, as the album progresses, Black Aleph begins to shift gears, leaving behind the almost claustrophobic intensity of "Descent" for a more expansive and contemplative sound. The influences of Arabic music become more apparent, especially in tracks like "Ascension," where the intricate, almost hypnotic rhythms blend seamlessly with the ethereal, echoing sounds of the cello. This shift in tone creates a dynamic contrast, allowing the music to breathe and open up, transforming from moments of tension into waves of introspective calm.

This album is a bold and adventurous exploration of sound, texture, and atmosphere. The lack of traditional song structures gives Apsides a fluid, organic quality, but also a sense of unpredictability. It's a journey through sonic landscapes that feel at once alien and familiar, with every moment offering something new to discover. For fans of dark, atmospheric music with a profound emotional depth, Apsides is an essential listen. (8/10)

Jason Hicks

Band info: https://blackaleph.bandcamp.com

Label Info: https://www.artascatharsis.com

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On their latest release, In Resonance Nexus, earthtone9 embark on a journey of rediscovery, reconnecting with their core sound while pushing their boundaries further than ever before. Known for their intelligent and nuanced approach to music, the band reflects on creating what they describe as their heaviest and most melodic work to date. In this interview, earthtone9 discuss the creative process behind In Resonance Nexus, their collaboration with producer Lewis Johns, and offer insight into the album’s exploration of themes like perception and reality.

In Resonance Nexus is described as rediscovering the essence of earthtone9. Can you share more about the journey of finding this core and how it influenced the creation of the new album?

We changed our approach for the writing process of IRN. We primarily used home studios instead of gathering in a rehearsal room. This meant that ideas were more fully realized without compromise or negotiation, and in turn this meant we leaned into some aspects of our sound that had fallen away over recent times. 

We wanted this album to have an urgency and savagery that had been missing from our post 2010 work.

Your music has always been praised for its nuanced palette and intelligent approach. With In Resonance Nexus being both your heaviest and most melodic work to date, how do you feel the band’s sound has evolved? How did you balance these two contrasting aspects during the songwriting and recording process, and what challenges did you encounter in achieving this balance?

It feels to us like finally have enough perspective and experience to draw upon all the era of the band and combine them into compelling music. There have been periods of time when heavy, aggressive music stopped being interesting to us and we focused on melody and melancholy.
Now we’re able to fully combine all the elements of our sound in a coherent way. Balancing the contrast comes naturally to us at this point.

The collaboration with producer Lewis Johns has been highlighted as a significant factor in bringing the intensity and drive back to your music. Can you elaborate on how working with him shaped the final sound of In Resonance Nexus?

Lewis is a very good musician, music technology technician, music arranger and communicator/interpreter…basically all the attributes that support and drive a band to realise their musical vision.
Lewis brought to the table tones, post-production elements, instrumental parts and a mix that we wouldn’t have naturally gone for. All these aspects contributed to making the album what it is.

The lead single "Oceanic Drift" features lyrics that reflect on the concept of things not being what they appear. How do these themes of perception and reality play out across the rest of the album?

The idea of the perception vs reality gap is a reoccurring theme. There are so many dimensions to it: Personal delusion, accidental and intentional misinformation, group think, mythic figures who embody the trickster – it’s such a rich seam for inspiration.

After such a long hiatus, what motivated you to come together and create new music again? How did the creative process differ this time around compared to previous albums?

Creating and collaborating on music was an incredibly important anchor point for Joe, Owen and I during the lockdown era. Writing and being in regular contact, and creating music for its own sake was a joy.
After a while we felt like the music was earthtone9 and that we had some very strong material. The main difference is that we weren’t working to a deadline, we had the bones of 30 something songs to choose from and around 20 songs were completely finished.

With In Resonance Nexus marking a significant point in earthtone9’s journey, what are your hopes and plans for the future? Are there any new creative directions or projects on the horizon that you can share with us?

It would be killer to keep the momentum going, to play shows regularly and to release new music every 18 months or so. We’ve been so start-stop for a long time and want to change that.
We have a really loyal core fanbase and want to do events directly with and for them. We still figuring out what that looks like but it’s going to happen.

Follow earthtone9 for more info and updates: https://www.facebook.com/earthtone9

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