Just Mustard have previewed their forthcoming album We Were Just Here with a new track, ‘Endless Deathless’, which is both nervy and dreamlike. It follows the previously released title track and ‘Pollyanna’. Check out David Noonan’s video for it below.
“I wrote the lyrics for this song by imagining myself on a dancefloor,” the band’s Katie Ball explained in a statement. “We wanted to write more songs that suited places like that. I suppose I would describe it as an existential love song, but you can hear it and feel it any way you like.”
We Were Just Here is due out October 24 through Partisan.
Searows, the project of Pacific Northwest singer-songwriter Alec Duckart, has announced a new album Death in the Business of Whaling. It’s slated for release on January 23 via Last Recordings on Earth. Today’s announcement comes with the release of the stirring, eerily cathartic lead single, ‘Dearly Missed’, alongside a Karlee Boon-directed video. Check it out below.
“’Dearly Missed’ is my contribution to the so-called ‘good for her’ horror genre,” Duckart said in a press release. “I’m an avid horror lover for many reasons, but I appreciate it in particular for the ability of the genre to explore societal issues without reading as too preachy. The reality of this world for marginalized people gets bleaker by the day and watching someone on screen who you can relate to fighting back and winning and taking back their dignity can be an extremely cathartic and empowering experience. I wrote this song for the part of me that desires retribution for all the ways I and every marginalized person has been harmed and betrayed by society. I had a lot of fun writing this song and exploring a musical genre that I don’t often write in, but enjoy listening to.”
Death in the Business of Whaling, Searows’ second album, marks the first time Duckart has recorded outside his bedroom, working with co-producer Trevor Spencer (Father John Misty, Beach House, Mary Lattimore). “I had really wonderfully connective and intimate experiences sharing my first couple of projects with live audiences. Those projects were very personal and vulnerable and revealing my life and specific experiences to an audience began to feel a bit dissonant and exposing,” he explained. “One of my favourite things about music is its ability to connect people. It has done so for me time and time again and it has been so special to see my own writing do that for people too. I just began to learn that for myself, there were specifics that I wanted to keep for myself.”
Opening up about the writing of the record, Duckart added: “Something your subconscious understands before your conscious mind does. Visceral rather than literal. And that relationship to our deeper selves, our subconscious, our souls, is a major theme of the album for me. Most of these songs are about the different ways we all bump up against the human condition. Our spirit, the shadow self, our egos, trauma, love and fate. How we cope with our experiences and how we connect and take care of one another in an exceedingly dark and violent world. This record is still deeply personal to me. But it is an attempt to reveal my cards in a more coded, symbolic manner.”
Geese stopped by Jimmy Kimmel Live last night (October 1) to deliver a rousing rendition of ‘Taxes’, a standout from their latest album Getting Killed. Watch it happen below.
Getting Killed, the follow-up to 2023’s 3D Country, came out on Friday. Earlier this year, Geese frontman Cameron Winter made his late-night television debut as a solo artist on Kimmel, performing ‘Drinking Age’.
Overwatch 2 has just launched a new Stadium update. The latest patch from developer Blizzard comes with big adjustments to competitive gameplay. At the same time, it brings changes to hero balance and progression. This update also fixes different bugs in the game.
Stadium Competitive Updates
According to Blizzard Entertainment, the patch fixes an issue faced by players. Mainly, they were getting very low Stadium Points when close to their predicted ranks. It slowed down their progress in ranking. So, the developers adjusted the distribution curve. It now helps players reach the Elite rank more easily. The studio also revised the maximum and minimum points gained or lost in Stadium matches. It lightens the impact of losing. In the same way, this makes competitive play feel a lot more reasonable. So, there is now a more balanced system.
Hero Balance Changes
The update also focuses on improving gameplay consistency and fairness, said Blizzard Entertainment. In particular, it addresses hero balance with buffs and nerfs.
Freja
Before, this DPS hero struggled with the lowest win rate in Stadium. To fix it, the creators increased five of her powers. But players do not need to worry about her being too powerful. The changes only aim to boost her consistency. They do not increase her top damage or one-shot potential.
Tracer
Unlike Freja, who receives nothing but boosts, Tracer gets a more balanced set of tweaks. In detail, her health gains from items were cut down. It is to add a sense of risk in her engagements. Similarly, her cooldown reduction, mobility, and damage skills got modified. Tracer’s temporal powers also became better.
Brigitte
The developers found this character too powerful in Overwatch 2. So, they are reducing the damage output of her Shield Boomerang power. It avoids unintended damage spikes. At the same time, this reduction brings her power more in line with her other skills.
Corrects Mercy’s Ultimate animation and voice lines in Overwatch Classic
Fixes Wuyang’s Ultimate targeting behavior and damage issues
Re-enables the Aatlis map
Aside from these, the latest update includes many other bug fixes. For full patch notes, visit Blizzard Entertainment.
Availability and What’s Next
The new Overwatch 2 update is now live for all players. But it could be one of the last patches, if not the final, before the launch of Season 19. This next major update is expected to arrive on October 14.
There’s so much music coming out all the time that it’s hard to keep track. On those days when the influx of new tracks is particularly overwhelming, we sift through the noise to bring you a curated list of the most interesting new releases (the best of which will be added to our Best New Songs playlist). Below, check out our track roundup for Wednesday, October 1, 2025.
Jane Inc. – ‘what if’
Jane Inc., the moniker of Toronto musician Carlyn Bezic, has shared ‘what if’, which thrusts and pulses with existential questions over eight minutes. “The song imagines a car crash as the moment I split in two,” Bezic explained. “Carlyn walks away to continue a life in which the accident never happened, leaving Jane (pure, unadulterated, in her final form) to be born, hungry for life.” It’s the latest single from A Rupture A Canyon A Birth, following ‘Elastic’ and ‘freefall’.
The Last Dinner Party – ‘Second Best’
Drawing inspiration from the Sparks’ angular pop style, The Last Dinner Party guitarist Emily Roberts wrote explores the tension between obsession and betrayal on ‘Second Best’. “I wish I could go back and say to myself that I am worth more than that, and that no one needs to accept being second best,” Roberts commented on the From The Pyre single. “I hope that the song captures the pain, anger and despair I felt but most importantly the defiance and satisfaction I now have in being able to immortalise this person in a song and to look back on the situation with more maturity.”
Alan Sparkhawk – ‘No More Darkness’ & Benjamin Booker – ‘A Place for Us’
Alan Sparhawk and Benjamin Booker have shared hauntingly raw yet hopeful tracks for Passages: Artists In Solidarity With Immigrants Refugees, and Asylum Seekers, a new compilation by Western Vinyl. About his contribution, Sparhawk said: “Here is a song that came from the struggle to know what to say to someone who is having a hard time. There are real things that we can do to lift each other out of suffering — sometimes it is tangible charity, like this compilation to raise funds and awareness for the plight of immigrants and those who have been displaced. Sometimes it is words of encouragement. It can also just be time spent with someone who needs help getting through the moment. Let’s do our best to turn up the light.” Booker added, “The human struggle is a family struggle. We rise together and we suffer together. There are so many things out of our control, but we can always open our hearts to love and understanding. May you find light in the darkness.”
Agriculture – ‘My Garden’
Agriculture have unleashed ‘My Garden’, the relentless opener from their imminent new LP The Spiritual Sound. Flitting between sludgy riffs and a sweet melody, it sits on the opposite end of the tender previous single ‘Dan’s Love Song’.
Rosie Carney – ‘Here’
Rosie Carney is back with a heavenly, expansive single called ‘Here’, her first new music in three years. Accompanied by a Cal McIntyre-directed video, the track was co-produced by Ross MacDonald of The 1975 and Ed Thomas. “Since recording my first album, Bare I’ve always known that someday I wanted to build a much more expansive musical world,” Carney expounded. “It wasn’t a matter of if, it was a matter of when and how? Since signing to Polydor when I was sixteen I’ve probably done hundreds of sessions with some really wonderful musicians. But for the longest time I shied away from truly embracing collaboration, as I feared it would mean surrendering my identify. It wasn’t until I got into the studio with Ed and Ross and we finished “Here” that I felt comfortable with the idea of there being a team of collaborators who would amplify my voice and vision while staying true to own intimacy and I am so grateful for their help in forging this new world to come.”
McDonald added: “Rosie was the first artist who let me express myself fully as a producer outside of my band, so I am immensely proud of what she, Ed and I have created together. Also, to be tasked with changing her musical expression and exploring new parts of her talents and tastes has been a real privilege. I learned a lot from working with her and I’m incredibly excited for ‘Here’, and everything else in this project, to be heard.”
Witch Post – ‘Changeling’
Witch Post, the duo of Dylan Fraser and Alaska Reid, is the latest act to sign to Partisan Records, marking the news with ‘Changeling’, a track that showcases their vocal chemistry. The pair offered this statement introducing the song:
We met a changeling that inspired this song. We didn’t realise it ’till a year later…
Once knew a changeling Julie was her name Foxglove & roses painted tears on her face I knew she was restless, I knew she had pain Then she tried to consume me we were never the same
Skullcrusher – ‘Living’
“Am I living/ In the details of a drawing/ In the traces/ In the fading of the morning,” Skullcrusher ponders on the latest single from And Your Song is Like a Circle. “One day, I was wandering around Brooklyn, and I felt like I was watching everything through a window or on a screen,” Helen Ballentine recalled. “I felt like everyone was moving so fluidly and certainly like moving through a piece of choreography. ‘Living’ is about being a voyeur, catching a glimpse of brief moments of people’s lives. Like watching a play through a small peep hole, or through the slit of a curtain. I wonder if I am the same. If my life feels a part of this production or if it exists in a small detail somewhere off stage.”
Lianne La Havas – ‘Disarray’
Lianne La Havas is back with an intimately stunning new song called ‘Disarray’.“The song felt very intimate, almost like a secret just for me,” La Havas said in a statement. “It’s about vulnerability, honesty, and giving listeners a window into a moment of my life.”
HighSchool – ‘Sony Ericsson’
HighSchool have dropped a hazy, jittery new track, ‘Sony Ericsson’, from their self-titled debut LP. According to the band, it’s “about the strange dynamics of modern connection, the games people play over text, and how a single message can spiral into endless over-analysis.”
Clara Mann – ‘500 Miles’ and ‘My Life’
Clara Mann has shared two instantly hummable tunes that will appear on Rift (Extended Edition), the newly announced expanded version of her debut LP. The former reimagines the traditional song based on Hedy West’s version, while the latter is a rendition of the Iris DeMent ballad; both feature fiddle player Owen Spafford. “It is rare, in my line of songwriting, that you get to have fun on stage,” Mann said of ‘500 Miles’. “I often feel excited, or energised, or lifted by the music- as often as I feel heavy or moved- but when I first played this folk tune through with my friend Owen Spafford, we did, in fact, have fun. I love the part that Owen wrote, the fiddle like a train, on this version of the American tune (which I first came across as sung by Hedy West), and the way we shaped the song together around my vocal and guitar part. I feel, always, lucky to play with Owen: the friendship and music that we share are forces of light in my life. I have always felt careful around folk music – I do not have roots in any particular community around trad, did not grow up around session culture. There are spaces in which I do not want to take up space that should be occupied by other, more experienced, more authentic musicians. It’s light and wistful and I like it because it’s a moment in the live set in which I don’t have to excavate my own big heavy feelings, or go digging – it’s just singing for singing’s sake, singing to be together, singing for joy.”
“My mum and I had an Iris Dement CD in the car when I was little, and this was the final track on it. I have always loved it,” Mann added. “The first time I performed it live, a friend came up to me and said ‘It breaks my heart, hearing you sing those words’- I know what she meant, I guess this song is really about looking back on life rather than being, as I am, still quite near the beginning of it. Up until that moment, though, I hadn’t thought of it as sad. I think I associate it with the ‘mother and daughter’ moments of my life, like being in the car together, or her sitting on the end of my bed when I’m back home and we’re chatting, catching up – in a sense, the song sits between me and my ma’s chapters in life, between our ages. She could sing it, and so can I, and we both understand it from different angles.”
Show Me the Body – ‘Sabotage’ (Beastie Boys Cover)
Show Me the Body have offered up a studio version of their ‘Sabotage’ cover. They recorded it with Kenneth Blume, the producer formerly known as Kenny Beats, and it comes with a video from directors Jake Hanrahan and Jonny Pickup that features archival footage from the independent news organization Popular Front. “I support and consume independent journalism in general, but full disclosure, I am a straight up a fan of Popular Front,” the band’s Julian Cashwan Pratt shared. “Their crew does hard work to tell true stories, or as they put it, ‘honest reporting’. To work together on ‘Sabotage’ is a self-fulfilling prophecy. New York band with a New York song reaching out to the world at war with a message of love and solidarity.”
wavepool – ‘blue moon’
wavepool have shared a dazed, dreamy new song called ‘blue moon’, which is “about those moments when nothing really makes sense, and that’s perfectly fine,” according to the Rouen-based shoegazers. “Absurd and a little lost in an offbeat everyday life, the song invites you to let go and fully live in the moment without trying to figure everything out. It embodies the subtle art of not caring, with a touch of elegance.”
Helen Ballentine has released the latest single from her upcoming Skullcrusher LP, And Your Song Is Like a Circle. The softly ethereal ‘Living’ follows previous cuts ‘Exhale’, ‘March’, and ‘Dragon’. Check it out below, along with a live performance video.
“One day, I was wandering around Brooklyn, and I felt like I was watching everything through a window or on a screen,” Ballentine said in a statement. “I felt like everyone was moving so fluidly and certainly like moving through a piece of choreography. ‘Living’ is about being a voyeur, catching a glimpse of brief moments of people’s lives. Like watching a play through a small peep hole, or through the slit of a curtain. I wonder if I am the same. If my life feels a part of this production or if it exists in a small detail somewhere off stage.”
The benefit comp also features tracks by Dirty Projectors, Oneohtrix Point Never’s Daniel Lopatin, Tim Heidecker, Bonnie “Prince” Billy, William Tyler, Lambchop, Lonnie Holley, and more. Proceeds will be directed to Texas-based organizations American Gateways and Casa Marianella, which provide no-to-low-cost legal services, food, shelter, access to health care, and other essential services to immigrants, refugees, and asylum seekers.
“Home, as we know it, is under threat,” the album’s producer and organizer Rick Alverson commented. “When immigrants, refugees, and asylum seekers exercise their human right to safe passage, they defend our ability to do so — and our right to be and feel at home.”
Sparhawk had this to say about ‘No More Darkness’: “Here is a song that came from the struggle to know what to say to someone who is having a hard time. There are real things that we can do to lift each other out of suffering — sometimes it is tangible charity, like this compilation to raise funds and awareness for the plight of immigrants and those who have been displaced. Sometimes it is words of encouragement. It can also just be time spent with someone who needs help getting through the moment. Let’s do our best to turn up the light.”
Booker added, “The human struggle is a family struggle. We rise together and we suffer together. There are so many things out of our control, but we can always open our hearts to love and understanding. May you find light in the darkness.”
Passages: Artists in Solidarity With Immigrants Refugees, and Asylum Seekers Tracklist:
1. Alan Sparhawk – No More Darkness
2. St. Panther – Everybody Is
3. Daniel Lopatin – Country
4. Benjamin Booker – A Place for Us
5. Lambchop – Afterburner
6. Quin Kirchner – Home [feat. Tekle Mezghebe]
7. Marisa Anderson – No Place to Rest My Head
8. Y La Bamba – Wrong Crowd
9. Lonnie Holley – A Border Is Just a Space Between Two Lines
10. Bonnie Prince Billy – The Autumn Wind (No. 71)
11. Erik Hall – Parallels
12. Dirty Projectors – One Hundred-Twenty Dollar Song
13. William Tyler – 13 Lakes
14. Aisha Burns – All That I Know
15. Anjou – Un Trayecto Largo [feat. I. Nova]
16. Heather Woods Broderick – White Sage
17. Tim Heidecker – Alone Until I’m Home
Swedes have always had a keen interest in gambling. From the national lottery and bingo nights in small-town community halls to today’s sleek mobile apps, playing for money has been part of Swedish entertainment culture for decades. What’s striking in 2025 is how much the landscape has shifted in just a few short years. Gambling is no longer confined to state-run operators or occasional visits to physical casinos —it’s a digital pastime that cuts across age groups, lifestyles, and even cultural debates about freedom versus responsibility.
As technology advances and regulations tighten, Swedish players are finding new ways to engage with casino entertainment. Some stay loyal to the homegrown market and its safeguards, while others explore international platforms offering a wider range of games and incentives. Together, these trends tell a story of how gambling has become embedded in Sweden’s broader cultural fabric—and why it’s changing faster than ever.
The rise of casinos without a Swedish license
One of the most striking shifts in Swedish gambling habits over the past few years is the move toward playing on platforms beyond the domestic market. In 2025, more Swedes than ever are choosing to sign up with casinos licensed outside of Sweden. The reasons are varied but often come down to choice and freedom.
Players who feel constrained by Sweden’s strict deposit limits, time controls, and bonus caps often look abroad for sites that offer larger welcome packages, ongoing promotions, and more flexible playing conditions. Beyond the bonuses, casinos without Swedish license frequently host bigger game libraries, niche slot titles, and innovative features that Swedish-licensed operators sometimes cannot provide under current rules.
For many Swedes, this isn’t about rejecting regulation altogether—it’s about entertainment value. Just as they might shop internationally for fashion or music streaming, players are increasingly open to mixing local safety with global variety in their gambling choices.
How Swedes play in 2025
Gambling in Sweden today is not just about the games themselves but also about how and where people play. By 2025, the industry has fully adapted to Sweden’s tech-driven lifestyle, and players’ habits reflect that. From quick spins on mobile slots to following live-streamed casino influencers, Swedes are embracing a digital-first culture that blends convenience, entertainment, and community.
Mobile-first gambling
In 2025, Swedish gambling is dominated by smartphones. Casino apps and mobile-optimized sites allow players to dip in and out of games during commutes, lunch breaks, or while relaxing at home. This on-the-go access has shifted the way Swedes view gambling—from a planned activity to a casual form of entertainment woven into daily routines.
Slots, live dealers, and sports
Slots remain the most played category, with classic themes still popular but new, gamified titles drawing younger crowds. Live dealer tables have seen a surge thanks to sharper video technology, creating a more social experience that resonates with Swedes who value realism and connection. Sports betting, particularly on football and ice hockey, continues to be a cultural staple, while international leagues like the Premier League and NHL command strong attention.
Esports and younger audiences
Among younger Swedes, esports betting is steadily climbing. These players, already comfortable with competitive gaming, see betting as an extension of their existing entertainment habits. It’s less about “traditional casino play” and more about merging gaming culture with gambling opportunities.
The role of influencers
Streaming platforms such as Twitch and YouTube have transformed how Swedes discover new casinos and games. Popular casino streamers provide commentary, strategies, and live reactions that make gambling feel interactive and communal. In a way, they’ve replaced the old bingo halls and horse-racing clubs as hubs for shared experiences, only now the audience is digital and international.
Community and culture
For a long time, gambling in Sweden was associated with communal activities: bingo nights in small towns, betting at the racetrack, or watching the lottery draw together on television. While those traditions still exist, the digital era has reshaped how Swedes connect around gambling.
Today, much of that sense of community is found online. Social media groups, casino forums, and live-stream chats create spaces where players swap tips, celebrate wins, and discuss strategies. Casino influencers in particular play an outsized role, turning solitary spins into shared entertainment moments.
This cultural shift reflects Sweden’s broader embrace of digital life. Just as Swedes use streaming services to discover music or join online communities around gaming, gambling too has become a form of interactive entertainment. It’s less about chasing winnings and more about being part of a scene where the thrill is collective—even if everyone is playing from their own sofa.
Regulation and responsible play
Sweden’s gambling market continues to operate under the Swedish Gambling Act, which provides one of the most detailed regulatory frameworks in Europe. The Act sets strict rules for licensing, player protection, and marketing, aiming to ensure that gambling is conducted in a safe, transparent, and socially responsible way.
Among its key provisions are requirements for licensed operators to verify players’ identities, provide clear information about odds and risks, and offer tools that support responsible play. The national self-exclusion system, Spelpaus, remains a cornerstone: players who register are automatically blocked from all licensed casinos, betting sites, and even physical venues across Sweden.
Supporters see these measures as essential for maintaining consumer protection, but critics argue that the limits on advertising, promotions, and bonuses make Swedish-licensed casinos less attractive compared to international competitors. In 2025, the ongoing policy debate centers on how to maintain strong safeguards while ensuring that players still feel engaged within the regulated system.
Conclusion: A culture of balance and choice
Swedish gambling in 2025 is defined by contrasts. On one side, a regulated market built to protect players with strict safeguards and responsible play tools; on the other, a growing curiosity for international platforms that promise more freedom, bigger bonuses, and cutting-edge innovation. Between these two worlds, Swedish players are making their own choices, shaping a culture where gambling is not just about winning money but about entertainment, community, and lifestyle.
From mobile-first habits to influencer-driven play and emerging trends like crypto casinos, the Swedish market reflects the country’s tech-savvy, globally connected identity. As regulations evolve and new technologies enter the scene, one thing is certain: gambling will remain woven into Swedish culture—not as a static pastime, but as a dynamic part of everyday entertainment.
Television changed the day people discovered someone playing video games on their phone was more entertaining than primetime shows. Live streaming has revolutionized entertainment. Nobody saw it coming.
Livestreaming has evolved into a global industry, encompassing everything from video games and news broadcasts to online casinos where players can interact with real dealers and compete against others in real-time.
Chat Rooms Beat TV Commercials
Streamers engage directly with their audiences, chatting in real time and responding to messages instantly. It’s a level of interaction that easily outshines sitting through TV ads between segments.
Regular viewers become part of a tight-knit group. They know streamers’ favorite foods, pet names, and daily schedules. Some have followed the same person for three years straight. That’s friendship, just through screens.
Livestreamed matches turn strangers into instant teammates. Fans cheer together, share the highs of victory, and feel the sting of defeat as one. While the streamer breaks down key plays and explains winning strategies, viewers jump in with their own suggestions. It’s a shared experience that makes the game more than just something to watch; it becomes something to belong to.
This appetite for real-time interaction isn’t limited to gaming streams. Online casinos have embraced the same model, with real dealers hosting tables that players can join from anywhere in the world. Live casino games from NetBet illustrate this shift well, with professional hosts, chat features, and an atmosphere that feels closer to a social event than a solitary wager.
Geography Became Meaningless
Someone in rural Scotland can teach origami to viewers in downtown Tokyo. Distance means nothing now. Language barriers still exist, but translation apps help bridge gaps.
Cooking streams introduced British audiences to authentic Korean recipes. Travel streamers show hidden gems in countries most people cannot afford to visit. Music streams feature underground artists who would never get radio play.
The barrier to entry has nearly vanished. A simple phone camera is enough to start streaming, where personality outweighs pricey gear and authenticity always wins over polish.
Society Shifted Without Anyone Noticing
Teenagers spend more time watching streams than even some of the most-viewed Netflix shows. BBC competes with bedroom broadcasters for attention. This happened gradually, then suddenly.
Streamers became trusted advisors. Their product recommendations carry more weight than celebrity endorsements. Followers believe these people understand their interests better than marketing executives.
Teachers discovered streaming works brilliantly for education. Students ask questions during lessons instead of staying confused until homework time. Language exchanges happen naturally in chat rooms.
Fitness instructors stream workouts that feel like exercising with friends. Cooking lessons become interactive experiences where viewers can ask for ingredient substitutions immediately.
Problems Nobody Talks About Enough
The livestreaming boom has its downsides. Some viewers spend staggering amounts on donations, often prioritizing support for their favorite streamers over their own bills. Mental health experts also raise concerns about people substituting real-world friendships with online relationships formed through social media streams.
For creators, the pressure is relentless. Streaming demands hours of constant performance, and many burn out under the weight of needing to be “on” every day. Even the most successful streamers often work harder than traditional entertainers to maintain momentum.
Then there’s harassment. Unlike other public figures who can avoid the spotlight between appearances, streamers face abuse in real time. Live chat moves fast, and even with moderators, keeping up with toxic comments remains a constant struggle.
Technology Keeps Pushing Boundaries
Streaming has transformed entertainment forever. With faster internet, lower costs, and VR on the horizon, viewers expect interactive, real-time experiences that traditional media struggles to match. Platforms continue to evolve with new features, making static content feel outdated.
This cultural shift extends to gaming, sports, and even casinos, where livestreaming fosters authentic, shared experiences.
Call of Duty: Black Ops 7 has officially confirmed key details for the upcoming Beta period. The announcement comes with still over a month to go before the game’s official launch. In particular, the Beta will have two phases. These are accessible to players ahead of the popular shooter’s release on November 14. During the Beta, players will get the chance to try new maps, game modes, and earn rewards.
Black Ops 7: Early Access Beta (October 2-5)
According to the Call of Duty Staff announcement, there are two ways to join the Betaearly access. First, players should pre-order the game. Second, they must subscribe to select Xbox Game Pass plans.
Players can also download the Beta through Battle.net, the Microsoft Store, the PlayStation Store, or Steam. Likewise, anyone who pre-orders digitally will not need a Beta code to participate. Their purchase comes with automatic Early Access registration.
At the same time, fans of the beloved shooter game can test out several new pieces of content during the period.
Core Multiplayer Maps:
Cortex
Exposure
Imprint
The Forge
Zombie Survival Map:
Vandorn Farm
Game Modes:
Domination
Kill Confirmed
Hardpoint
Team Deathmatch
Newly Added Game Mode:
Overload – it is a new 6v6 mode where players deliver an Overload Device to enemies.
Black Ops 7: Open Beta (October 5-8)
As per the Activision guide, the Open Beta is not like the Early Access Beta. Particularly, it does not require conditions to join. The Open Beta is available to all players across platforms.
Also, the second phase will feature all the same maps and modes during the Early Access Beta. At the same time, it adds two new maps for players to explore. Specifically, the additional multiplayer maps are Blackheart and Toshin.
Beta Rewards: Unlock and Keep
The developers also announced that players can earn items during the Multiplayer Open Beta. All they have to do is reach Player Level Milestones. Once players accomplish this, they will get exclusive cosmetic rewards.
“Beta Legend” Weapon Blueprint – M15 Mod 0 (Level 30)
Players also do not need to worry about wasted efforts. All of these rewards carry over to the game when it fully launches next month.
Beta Schedule
Call of Duty: Black Ops 7 Early Access Beta begins on October 2 (10 AM PT) and runs through October 5. Meanwhile, the Open Beta starts October 5 (10 AM PT) and ends on October 8 (10 AM PT).
