Metal & Hard Rock News – December 22, 2025: Deftones Drop “Infinite Source” Video, Megadeth Unleash Final-Era Single
Deftones, Megadeth, Behemoth, Powerwolf, War On Women, and Lionheart all made decisive moves this week, reinforcing how heavy music continues to evolve, resist, and push forward at every level of the scene.
Deftones closing out the year with a new visual statement feels intentional. The band’s freshly released music video for “Infinite Source” isn’t flashy or overproduced — it’s atmospheric, controlled, and unmistakably Deftones. The video leans into texture and tension rather than spectacle, reinforcing why the band remains one of the few alternative metal acts still capable of releasing material that feels current without chasing trends. If you’ve been paying attention, this is Deftones doing what they do best: trusting restraint over noise while still hitting hard.
Megadeth, on the other hand, aren’t interested in subtlety right now. “Let There Be Shred” arrives loud, unapologetic, and technically aggressive — a clear reminder that Dave Mustaine has zero intention of softening the band’s legacy as they approach what’s being framed as their final album era. At this point, Megadeth’s mission seems less about reinvention and more about reaffirmation. Precision, speed, and venom still drive the engine, and longtime fans will recognize the message immediately.
Let’s be real — the underground never waits for permission. War On Women announcing a spring 2026 U.S. tour with Oceanator is exactly the kind of forward-motion hardcore needs right now. This isn’t nostalgia touring or safe booking. It’s politically charged, confrontational music being put directly in front of audiences that still want their heavy music to mean something beyond riffs.
Lionheart keeping things raw with the “Salt The Earth” visualizer fits the band’s DNA perfectly. No overproduction, no forced storytelling — just blunt-force hardcore energy delivered with clarity. In an era where visuals are often used to distract from weak material, Lionheart flipping that script and letting the song stand front and center feels deliberate.
It’s not exactly shocking, but Behemoth’s Nergal defending the album title The Shit Ov God only reinforces why the band remains polarizing by design. This isn’t provocation for clicks — it’s philosophical hostility aimed straight at institutional comfort. Extreme metal has always existed to unsettle, and Behemoth refusing to sanitize their intent reminds everyone why the genre still has teeth.
Powerwolf closing the loop on this cycle with the live single and video “Alive or Undead” feels like a victory lap done right. Pulled from the upcoming Wildlive (Live at Olympiahalle), the performance captures Powerwolf exactly as fans expect — theatrical, massive, and dialed to eleven. Live albums only work when bands can actually command a room, and Powerwolf clearly still do.
