Winzz Guitars proudly announces the launch of the WGS150 Gravity PRO, the flagship model in the company’s new Gravity Series of electric guitars. The WGS150 stands as Winzz’s statement of purpose — combining refined design, precision craftsmanship, and professional-level performance at an unbelievable player-friendly price point. Built for musicians who demand more from their instruments, the WGS150 bridges traditional craftsmanship and modern innovation to inspire guitarists around the world.
The WGS150 features a flame maple top paired with either a selected North American alder body (offered in Maldives Blue and Cherry Red) or African mahogany (available in Jungle Green and Midnight Purple). Its contoured offset body merges comfort and style, while a curved arm cut and ergonomic asymmetric heel joint allow effortless access to the highest frets. The 25 ½-inch scale, five-bolt roasted Canadian maple neck, and rosewood fingerboard deliver both strength and silky playability. Winzz’s signature “glider neck” C+D profile blends speed with comfort for a feel that adapts to any style. Medium stainless-steel frets improve sustain and accuracy, while white ring inlays and Luminlay side dots ensure precision even on dimly lit stages.
At its core, the WGS150 is powered by a custom Alnico V SSH pickup configuration, combining a medium-high-output humbucker with vintage-voiced single coils for a wide tonal palette. A push-pull tone control engages series-parallel switching, delivering everything from crisp single-coil shimmer to full-bodied humbucker punch. The carefully tuned internal circuitry and durable anti-oxidation components provide consistent, noise-free performance for both stage and studio environments.
Every detail of the WGS150 is designed for reliability and expression. A premium two-point tremolo bridge with block saddles enhances tuning precision and sustain, while a synthetic bone nut, locking tuners, and 4+2 headstock layout maintain stable string tension and balance. Each instrument ships fully set up and ready to perform right out of the box.
Born from a partnership between passionate guitar builders from Germany’s village of Winz and Aileen Music in China, Winzz Guitars blends German precision with Chinese industriousness — a union that celebrates both artistry and innovation. Guided by the belief that music should be accessible to everyone, Winzz creates instruments that invite players to “find their voice and make every stage their own.” The WGS150 embodies that mission, offering a professional instrument that welcomes beginners, creators, and seasoned musicians alike.
For more information on the WGS150 Gravity PRO and other Winzz Guitars instruments, please visit www.winzzguitars.com
For more than three decades, Converge have delivered musical and emotional catharsis, putting purpose before perception and intent before interpretation. Whether it’s their 2001 landmark recording Jane Doe or their 2021 Bloodmoon: I collaboration, Converge have created some of the most compelling music, lyrics, and visual art of the 21st century. During that time, fewer bands have had a greater impact on the underground imagination.
It seems unlikely that anyone who has been making music for this long would create one of their best works for their eleventh album, in their 35th year as a band. And yet: Love Is Not Enough— incoming February 13, 2026— might be the apotheosis of Converge’s decades-long journey through the punk, hardcore and metal microcosm. What vocalist/lyricist Jacob Bannon, guitarist/producer Kurt Ballou, bassist/vocalist Nate Newton and drummer Ben Koller have created is a strident artistic statement on the turmoil of living that hones their collective strengths to a razor’s edge.
Today, Converge shares the album's title track / music video "Love Is Not Enough." The song is intensely emotional, and lyrically it "...explores what it means to remain empathetic and compassionate in the modern world. A reckoning with who we are today and hope to be in the future— if we can fend off the scavengers," comments Bannon.
Love Is Not Enough features no special guests, no studio trickery, no relentless massaging of human imperfection in trying to manufacture the perfect take. “I think that realism is missing from a lot of modern music of any genre, but especially our genre,” Bannon says. “Things either go super raw and almost chaotic to the point where it's distracting, or bands take the life out of what they’re doing by editing every aspect. Sometimes the perfect take is the one that has some wildness to it. It's not perfectly executed. There’s a lot of powerful moments on this record and a lot of angry moments. The realism amplifies that.”
Unlike so many albums that adhere to a time-honored sequencing format, cherry-picking favored tracks for the all-important first, second, and final spots, Love Is Not Enough is all about momentum. “It does a thing that no other Converge record does—it keeps ramping up,” Bannon says. “And that’s definitely by design. Internally, we passed around dozens of ideas for sequencing because everyone interprets music differently and there’s no right way of doing it. When we do that, we always joke that we all have to be equally unhappy. But this is the one that works.”
Love Is Not Enough was recorded and mixed by Kurt Ballou at God City in Salem, Massachusetts, with engineering assistance from Zach Weeks. Jacob Bannon did the artwork and design, creating an image for each song and a commanding cover depicting a celestial witness to a world aflame. “We still identify this band as the outlet that’s essential to our lives,” Bannon says. “We give everything we have to it. Being past your average middle age, we’re starting to see deeper than before into a variety of places. And I don’t think that’s specific to us. I think that’s something that’s utterly relatable.”
Converge will perform at Saddest Day fest on December 13th in Boston, MA with Touché Amoré, Coalesce, The Hope Conspiracy, Full of Hell, Soul Glo and more. Pre-order Love Is Not Enoughhere and look for more information to surface soon.
Affordable, expertly built in Berlin, mechanically noise-free and with our signature eye catching looks, our Utility Series of little helpful boxes have graced thousands of rigs the world over.
Consistent Connectivity Part II
Complementing our existing range of useful Utility pedals, KMA Machines bring you the all-new DUAL LOOP SWITCHER pedal. This diminutive mini sized pedal allows for dead simple switching between two distinct loops of Mono or Dual Mono/Stereo signal chains, to help you easily avoid tap dancing on your pedal boards. It can even combine signals and change the loop order in Mono or Stereo, making super creative flexibility a breeze.
In addition, we are introducing fully Active versions of our Passive AB/Y and STEREO AB/Y pedals to our line-up. The Active AB/Y and Active STEREO AB/Y also incorporate Phase and Y Direction switches and as they are buffered, are ideal for those who like to use the splitting or combining functions with some signals that don’t always play nicely together. So, whether you want the choice of Passive or Active models, even more musos can now have the choice of how they want to split, combine or simply switch between audio devices with ease, no matter your setup or signal demands.
All three new Berlin made devices retain our Silent Soft Switching, which heavily reduces mechanical noise and pops on stage, plus feature KMA’s high quality buffered bypass circuit, to maintain your tone on even the lengthiest of cable runs.
Guitarist Doug Gillard breaks down his iconic black Les Paul, his tone secrets, early Cleveland punk roots, composed solos, and the gear behind “I Am a Tree.”
Doug Gillard (Guided by Voices, Nada Surf) joins the Axe Lords to dissect his signature sound , explain why why he’s one of the few “indie rock guys” running a Mesa Dual Rectifier and—bonus!-gives the A-Lords a guided tour of his battle-worn ’76 Les Paul Custom.
Doug — who also played bass in Dave’s Band Valley Lodge — breaks down his approach to composed solos, the harmony and capo tricks behind “I Am a Tree,” and how Cleveland punk, college radio, glam, and right-hand tapping shaped his style. Along the way: how annoying Tom is to work with in the studio, early guitars from Sears and Gibson, Cleveland-scene lore, surviving GBV’s marathon shows, and the most intense comedy monologue since Andy Kaufman shuffled off this mortal coil.
Axe Lords is presented in partnership with Premier Guitar. Hosted by Dave Hill, Cindy Hulej and Tom Beaujour. Produced by Studio Kairos. Executive Producer is Kirsten Cluthe. Edited by Justin Thomas at Revoice Media. Engineered by Patrick Samaha. Recorded at Kensaltown East. Artwork by Mark Dowd. Theme music by Valley Lodge.
Lamb of God return to the road this March for what promises to be the heaviest tour of 2026, with the North American trek, produced by Live Nation, featuring support from Kublai Khan TX, Fit For An Autopsy, and Sanguisugabogg.
Tickets for all shows are on-sale this Friday, Nov. 21 at 10 a.m. local time. An artist pre-sale launches today at 12 noon eastern. Tickets and VIP packages will be available at Lamb-of-god.com/tour.
“We are beyond thrilled to announce the loudest, proudest, floor shakin’-est, earth quakin’-est, ear-splittin’-est, mosh pittin’-est, undiluted, undisputed HEAVIEST tour of the whole damn year,” Mark Morton declares. “Is this the largest collection of RIFFS ever assembled under one roof? It would seem so. Lamb of God, Kublai Khan TX, Fit For An Autopsy, and Sanguisugabogg. Do not miss this shit.”
The tour news follows the recent release of “Sepsis,” the band’s first new original song since 2022’s Omens, and now the #1 song on the U.S. metal radio charts. Produced by longtime collaborator Josh Wilbur, the track celebrates the Richmond underground and the bands Lamb of God performed alongside during their early years. The band also shared a live video for “Sepsis,” capturing the electrifying live debut of the song at Aftershock Festival.
Consequence named the three-and-a-half minute track its “heavy song of the week,” describing the single as “crushing” while Revolver spotlighted “Sepsis,” calling it a “rock-solid addition to their ever-crushing canon.”
Lamb of God tour dates:
March 17 National Harbor, MD The Theater MGM National Harbor March 19 Montreal, QC Bell Centre March 20 Toronto, ON GCT Theatre March 22 Detroit, MI Fox Theatre March 24 Minneapolis, MN Armory March 25 Chicago, IL Byline Bank Aragon Ballroom March 27 Denver, CO Fillmore Auditorium March 28 Salt Lake City, UT The Union Event Center March 30 Portland, OR Theater of the Clouds March 31 Seattle, WA WAMU Theater April 1 Vancouver, BC PNE Forum April 3 San Francisco, CA The Masonic April 4 Inglewood, CA YouTube Theater April 5 Phoenix, AZ Arizona Financial Theatre April 7 Albuquerque, NM Revel Entertainment Center April 10 Austin, TX Moody Amphitheater April 11 Irving, TX The Pavilion at Toyota Music Factory April 12 Houston, TX 713 Music Hall April 14 Nashville, TN War Memorial Auditorium April 15 Atlanta, GA Coca-Cola Roxy Theatre April 16 Raleigh, NC Red Hat Amphitheater April 18 Reading, PA Santander Arena * April 19 Virginia Beach, VA The Dome April 21 Buffalo, NY Buffalo RiverWorks April 23 Brooklyn, NY Brooklyn Paramount April 25 Uncasville, CT Mohegan Sun Arena * April 26 Boston, MA MGM Music Hall at Fenway
*-Not a Live Nation show
2026 Festival Performances May 14 – 17 Columbus, OH Sonic Temple Art & Music Festival July 24 – 27 Plovdiv, BG Hills of Rock July 27 – 31 Râşnov, RO Rockstadt Extreme Fest August 1 Wacken, DE Wacken Open Air August 5 – 9 Lisbon, PT Vagos Open Air August 6 – 9 Kortrijk, BE Alcatraz Open Air August 7 Walton-on-Trent, UK Bloodstock Open Air August 12 – 16 Dinkelsbühl, DE Summer Breeze August 13 – 15 Sulingen, DE Reload Festival August 14 – 16 Eindhoven, NL Dynamo Metalfest October 30 – November 3 Miami, FL Headbangers Boat
Tickets to the band’s previously announced dates, including the 2026 edition of their annual Headbangers Boat cruise, are on-sale now via their website.
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