Full Album Stream: Since the Death –Entangled Swedish extreme metal multi-instrumentalist Oscar Rask returns with his death thrash project Since the Death and new album, Entangled. The post Full Album Stream: Since the Death –Entangled appeared first on Decibel Magazine.

Decibel Magazine 🤘 Full Album Stream: Since the Death –Entangled: Swedish extreme metal multi-instrumentalist Oscar Rask returns with his death thrash project Since the Death and new album, Entangled.


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Northern Graves – Derelict Heart Review I don’t know exactly what it is, but the Canadian prairies seem to just do something to its metal practitioners. Occasionally, we talk about metal in terms of its geography—”Scandinavian black metal,” “European power metal,” and so on—but I don’t think I’ve heard much about Canadian metal. Canada is huge, of course, but I’ve yet to find a band from its rural corners that hasn’t really resonated. Northern Graves, formed in 2023 by Damian Smith of Altars of Grief, continue this trend with their take on blackened doom metal. Originally a solo project, the now fully-expanded lineup, relocated to the United States, is releasing its debut, Derelict Heart, inspired “by the seemingly endless Canadian prairies and the countless ghost towns that dot its landscape.” How could I possibly refuse? Having started as a solo project for Smith, it should come as no surprise that there are several Altars of Grief-isms at play here, but the “blackened” label is serious. Alike in their prairie ways, I would suggest Derelict Heart could be the result of a union between Arctos and Altars of Grief—there is a desolate, bleak darkness at the heart of the music befitting of Smith’s doom metal outfit, but the presentation is impassioned and fierce. Branson Heinz and Roman Chester kill it on drums and bass, respectively, each running marathons with bite throughout Derelict Heart. Andrew Caruana joins Smith on guitars and plays aggressively without quite the speed of Heinz’s drumming, give or take a tremolo here and there. Their vocals are similarly harsh and biting; the duo snarl, roar, and rasp in strange harmony. Smith also sings, and Caruana plays keys, both adding new dimensions to an already mighty sound. Derelict Heart by Northern Graves The result is metal that is more blackened than doom, and very strong for it. “Endless” gets off to a rocking start; Smith and Caruana play an upbeat riff, rasping their way through a strong intro. The doom elements persist through an acoustic guitar, a mournful solo, and a strong atmosphere of darkness. Northern Graves do a fantastic job of evoking the vast, empty plains of their native Saskatchewan. “Derelict Heart” is the best example, a grand, slow burn that starts in doom waters before treading its way to a beautiful, blackened climax. Smith and Caruana’s vocals are huge, and Heinz’s drumming reaches manic heights. The guitars surround you and carry you to ghost towns. During quieter moments, the singing, distant and orchestrations, are subtle, chill, and inspiring. It’s a staggeringly beautiful song and best demonstrates the union of black metal, doom metal, and unique inspiration that defines Derelict Heart and Northern Graves. Even the non-metal track, “Keeper of the Plains,” serves an important function in providing a highly specific atmosphere. Derelict Heart thrives in atmosphere, making it feel like more than the sum of two sub-genres and more like its own unique entity. From a production standpoint, Derelict Heart sounds amazingly clear and energized, with only two minor flaws. The first is that the drumming is curiously loud. As mentioned, Heinz is a fantastic drummer and a significant contributor to Derelict Heart’s energy. He gives it power and presence. But his own presence is often too loud, especially on “Lanterns.” “Lanterns” is a gorgeous song, falling more on the doom metal side of the equation with slower, more mournful passages dotted with orchestral melodies, clean/harsh vocal duos, and beautiful riffs—but the blast beat drumming is so high in the mix as to be distracting. The second is the album closer, “Hazard,” a Richard Marx cover that, while appropriately blackened to fit Northern Graves, is not effective as a closer for Derelict Heart. Especially following the phenomenal title track, it sticks out; it has less doom, quieter atmosphere, and much more clean singing than the rest of Derelict Heart, and, while it is a fascinating cover, it feels like an odd way to close the album. Tonally, it’s just a bit strange, though I can’t bring myself to actually dislike it—the skill and passion from Northern Graves is hard to dislike. There are a lot of ways to blacken doom metal, but Northern Graves has found an amazing sound on Derelict Heart. It’s not particularly mournful or even especially bleak, but it effectively evokes the enormity of a desolate wild. It is a powerful, memorable experience that I found resonant and affecting. I already cannot wait for more. --- Rating: 3.5/5.0 DR: 8 | Format Reviewed: 320 kb/s mp3 Label: Meuse Music Websites: northerngraves.bandcamp.com | facebook.com/northerngraves Releases Worldwide: April 17th, 2026 The post Northern Graves – Derelict Heart Review appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 Northern Graves – Derelict Heart Review: I don’t know exactly what it is, but the Canadian prairies seem to just do something to its metal practitioners. Occasionally, we talk about metal in terms of its… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

DOWN & SUICIDAL TENDENCIES to Headline Decibel Magazine Metal & Beer Fest: Denver 2026! Early Bird Ticket Pre-Sales Begin Wed, April 22 at 10am MT! Decibel Magazine Metal & Beer Fest returns to Denver on Friday and Saturday, December 4-5, 2026. Early bird tickets are on sale this week! The post DOWN & SUICIDAL TENDENCIES to Headline Decibel Magazine Metal & Beer Fest: Denver 2026! Early Bird Ticket Pre-Sales Begin Wed, April 22 at 10am MT! appeared first on Decibel Magazine.

Decibel Magazine 🤘 DOWN & SUICIDAL TENDENCIES to Headline Decibel Magazine Metal & Beer Fest: Denver 2026! Early Bird Ticket Pre-Sales Begin Wed, April 22 at 10am MT!: Decibel Magazine Metal & Beer Fest returns to Denver on Friday and… LinkInBio for More 🤘 #DecibelMagazine #Metal #HeavyMetal

Full Album Stream: Toxikull – “Turbulence” Speed demons Toxikull turn personal struggle into heavy metal anthems on their new album, Turbulence. The post Full Album Stream: Toxikull – “Turbulence” appeared first on Decibel Magazine.

Decibel Magazine 🤘 Full Album Stream: Toxikull – “Turbulence”: Speed demons Toxikull turn personal struggle into heavy metal anthems on their new album, Turbulence.


The post Full Album Stream: Toxikull – “Turbulence” appeared first on… LinkInBio for More 🤘 #DecibelMagazine #Metal #HeavyMetal

Armored Saint - Hit a Moonshot (Official Video) Buy here: http://www.metalblade.com/armoredsaint "Emotion Factory Reset," the lineup’s ninth studio album since 1984’s March Of The Saint, is a resurrection of sorts, a tearing down and a rebuilding in eleven songs of diverse musicality and lyrical themes. Produced, as were the previous four albums, by bassist Joey Vera and mixed by Jay Ruston (Anthrax, Stone Sour) the record finds the quintet challenging themselves. Songs like “Close To The Bone,” “Hit A Moonshot,” and “Every Man-Any Man” have ARMORED SAINT honoring their past as one of the most respected and recognizable bands in heavy music while making forward-thinking music rooted in the present. ARMORED SAINT is: Vocals: John Bush Bass: Joey Vera Guitar: Jeff Duncan Guitar: Phil Sandoval Drums: Gonzo Sandoval In advance of the record’s release, the band presents the first single and album opener, “Close To The Bone.” Comments Bush, “The first track on the record sounds like vintage ARMORED SAINT. Yet vintage that comes out in 2026! How did we do that? The title of the record, Emotion Factory Reset appears as the first line of the bridge. Killer riffs, awesome rhythms and attacking vocals gets this train rolling. The title implies the human response to withdraw and keep things to yourself instead of being confrontational; Something I believe we all struggle with as humans. Do you just say, ‘aww, whatever man,’ or do you say, ‘hey, fuck you!’ Depends on the moment I guess.” Adds Vera, “Musically, this song was inspired by my love and appreciation for metal that was coming out around the time of the NWOBHM, which is right when ARMORED SAINT was formed. As always, I try to reimagine my early influences by giving them a slight modern twist.” Guitarist Jeff Duncan agrees, “I like to think that ARMORED SAINT doesn’t keep making the same album over and over. Emotion Factory Reset is another musical chapter for the band. When the five of us play together, we have a special chemistry and our first single ‘Close To The Bone’ demonstrates this perfectly; it’s musically sophisticated but still retains the ARMORED SAINT signature sound.” ARMORED SAINT – HIT A MOONSHOT ARMORED SAINT is: Vocals: John Bush Bass: Joey Vera Guitar: Jeff Duncan Guitar: Phil Sandoval Drums: Gonzo Sandoval Director, Editor, Cinematographer, Colorist, Post-Production FX: David Brodsky for My Good Eye: Music Visuals @mygoodeyevisuals Producer, 1st AD, Cinematographer, Assistant Editor: Allison Woest for My Good Eye: Music Visuals Stunt Coordinator, Stunt Double: Kevin Barile Lighting Director: Jason Kinnard Gaffer: Bradford Jamieson Lighting Technicians: Myles Jamieson Chandler Tango Tyler Tango Additional Lighting Equipment: Larry Doerr Special FX Make Up Lead: Erik Albidress Special FX Make Up Assistant: Bryce Caldwell Production Assistants: Sam Hamer Brandon Long Ian Porter Kyle Van Beek Audio Playback Technician: Tig Moore Audio Playback Assistant: Nick Miller Location Manager: John Smartz Album Audio: Produced by Joey Vera Mixed by Jay Ruston Mastered by Paul Logus Audio Engineered By: Oliver Roman, Bill Metoyer, Joey Vera and Jason Constantine Behind the Scenes Photography & Videography: Stephanie Cabral Product Manager: Heidi Weaver Starring: John Bush Cazzey Louis Cereghino Ed Nathan Mecate Featuring: Jeff Duncan Gonzo Sandoval Phil Sandoval Joey Vera With: Olga Attack Shane Beck Sean Bokor Stephen Cano Michelle Carle Roger Charbonneau Solomon Daniels Eric David Jovani De La Cruz William Fletcher Michael Garnica David J Green Frankie Gunz Giovanni Iodice Kathy Kalousek Ron Kari Sara Kovach Sean Marin Ethan Miedecke Suzie Montero Mary Montgomery Jeff Napier Tim Noble Maritza Padilla Rawl Paredes Eddie Perez Rolando Perez Rodrigo Ramirez Scott Richards Richard Rodriguez Jonnie Rose Arnold Salazar Dan Thomas Sauceda Lynd Slaybaugh Kim Tardif Dianne Thomas Johnny Valdez David Waldrop Benjamin Yaffee Mike Yaffee Jim Youngblood Francisco Zamudio The Ayatollah of Rock and Rolla: Tracy Vera

Metal Blade Video 🤘 Armored Saint - Hit a Moonshot (Official Video): Buy here: http://www.metalblad
"Emotion Factory Reset," the lineup’s ninth studio album since 1984’s March Of The Saint, is a resurrection of… LinkInBio for More 🤘 #MetalBladeRecords #HeavyMetal #Metal

The Neptune Power Federation – Mondo Tomorrow Review The Neptune Power Federation was one of my favorite surprise discoveries in my first year of reading our esteemed blog. 2019’s Memoirs of a Rat Queen was a lively classic rock concept album about the exploits of The Imperial Priestess. GardensTale wasn’t quite as impressed by followup Le Demon De L’Amour, an entire record’s worth of love songs released on Valentine’s Day 2022, but I found it every bit as enjoyable, if not more. Goodnight My Children leaned even more into their classic hard rock sound with razor-sharp songwriting. Mondo Tomorrow is something of a strategy shift for these Aussies, as they attempt to take a rearview-looking genre and apply it to a futuristic, dystopian setting. In spite of these aspirations, for the most part, Mondo Tomorrow sounds just as retro as its predecessors. Guitar licks and chords of AC/DC or Deep Purple parentage come roaring in to start many of the songs, and the good, old-fashioned lead/rhythm onslaughts by Search and DesTroy and Inverted CruciFox adorn the bridge sections. The blaring Hammond organ also makes a comeback here and there. One key difference, however, is the computerized synthesizer tone that is subtly woven into the other instrumentation to fit the sci-fi theme. Of course, frontwoman Screaming Loz Sutch still sounds incredible. It’s impressive how high she can go without sounding shrill or losing an ounce of grit. Mondo Tomorrow by The Neptune Power Federation Mondo Tomorrow delivers more of The Neptune Power Federation’s straightforward and punchy numbers that are likely to resonate with anyone who has ever had a soft spot for classic rock. Sutch shines particularly bright in the ultra-catchy chorus of “And the Bones Decay,” where the harmonizing backing vocals augment her lead vocals (which has not always been the case in the past). “Mondo Tomorrow” is among the tightest and most fun songs in The Neptune Power Federation’s growing discography. “Living in the Gutter” is more mid-paced, with a slightly psychedelic section partway through, which serves as a good refresher. While no track comes close to being bad, “Cybernetic Times” is the least inspiring, with a somewhat lackluster chorus and a reverberating vocal effect that doesn’t work well for me. As solid as Mondo Tomorrow is overall, I struggle to think of many reasons to reach for it over The Neptune Power Federation’s three previous records. If I want no-nonsense, hook-driven songs, I have Goodnight My Children. If I’m in the mood for more experimental compositions, I turn to Le Demon De L’Amour. For fist-pumping sci-fi-inspired anthems, there’s Memoirs of a Rat Queen. Mondo Tomorrow contains all of these elements, but they feel somewhat diluted. The exception is the funky bass-driven closing track “The Barbarian Dominion,” which is quite good until it changes to a robotic narrator and eerie synths for the last two minutes. This same narration style also opens Mondo Tomorrow, and in both cases, it’s more irksome than immersive. Still, Mondo Tomorrow is a good entry point for those who may be unfamiliar with The Neptune Power Federation. It’s been satisfying to see them flourish over the years, and they have grown on me more and more with each release. It’s debatable whether the execution of this futuristic album concept was successful, but the music itself has lost none of its enthusiasm or charm. While Mondo Tomorrow doesn’t outdo its older siblings, it is every bit as fantastic a driving companion, and will be receiving further playtime during my trips this summer. Those in search of infectious, nostalgic riffs are highly encouraged to unite with the Federation. --- Rating: 3.0/5.0 DR: 7 | Format Reviewed: 320 kbps mp3 Label: Cruz del Sur Music Websites: theneptunepowerfederation.bandcamp.com | facebook.com/theneptunepowerfederation Releases Worldwide: April 10th, 2026 The post The Neptune Power Federation – Mondo Tomorrow Review appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 The Neptune Power Federation – Mondo Tomorrow Review: The Neptune Power Federation was one of my favorite surprise discoveries in my first year of reading our esteemed blog. 2019’s Memoirs of a Rat Queen was a lively classic… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

Sicarius – Nex Review Sicarius hit the ground raging in 2017 when the Californian black metal upstarts released their scathingly vicious debut album, Serenade of Slitting Throats, which captured the metal heart of AMG’s Diabolus in Muzaka, earning a coveted 4.0. Sicarius’s sophomore effort, 2020’s God of Dead Roots, didn’t fare as well; the band, adjusting to the departure of founding guitarist Argyris, ultimately turned in a less visceral, more workmanlike product. Then, when original drummer Brandon Zackay left to focus on his career in Whitechapel, and the other members exited, both voluntarily and not, Sicarius ostensibly died, leaving God of Dead Roots an unanticipated swan song. Fast forward to 2024, when Argyris reunited with original bassist Carnage and joined forces with new vocalist Akéfalos and session drummer Levi Xvl to begin recording a third album, Nex, which, after six long years, has arrived to reintroduce this risen phoenix iteration of Sicarius to the masses. Sicarius the resurrected doesn’t sound much different than Sicarius the dead. Nex adheres to the same modern black metal formula as its predecessors, maintaining channels of influence drawn from Dissection, Dark Funeral, Urgehal, and, despite Mick Kenney’s departure from the booth, Anaal Nathrakh. In keeping with their monikers’ Latin translation, Sicarius brings an assassin’s cache of weaponry to bear. Argyris sounds rejuvenated and lethal, his armory of blistering riffage (“Cold Death,” “No Witnesses”), chaotically tremolodic leads (“Nex”), and nifty solo work (“Crashing Into the Abyss”) on full display.1 Newcomer Akéfalos adds a layer of frigidity to Nex’s surgical, cold-steel across a warm-throat sound, his icy, high-pitched screeches a mix of Abbath and Hat from early Gorgoroth, while his low-bellied growls are reminiscent of Rotting Christ. Nex has the sound of a band pissed, Sicarius attempting to bury the remnants of what was for something altogether more destructive. Nex by Sicarius There’s no doubt Sicarius is exceptionally capable of speed, but for my money, I connected most with Nex’s melodies and mixed paces. Beginning with a brooding, tremoloed guitar melody, “Opened Obsidian Gateways” uses Sargeistian levels of repetition to drive its earwormy chord progressions home, a variation employed during the verses and identically replicated during the bridge before sliding into a nice, mid-song chug section and then back again. Simple yet effective, the song’s a highlight as I found myself humming the melody randomly throughout the day. Also noteworthy are the slow-moving melodic chords of “Banshee,” which gave off Dissection vibes, and the mid-paced marcher “The Hunger We Cannot Sate,” as it gallops along in true Watain fashion, instigating black-n-roll levels of head bobbery over its 5:24 runtime. There’s a lot of musical nuance woven into the details of Nex; my many play-throughs tell me as much, which makes it all the more disappointing that it’s so hard to hear them. “With a (t)reble yell she cried, NO more, more, more.” I’ve taken some slight liberties with Mr. Idol’s classic lyric to illustrate Nex’s most glaring flaw: a thin, imbalanced mix. Nex sounds much louder than its DR score might suggest. Serenade of Slitting Throats, for instance, with a DR lower than Nex’s, sounds light years warmer because Kenney was able to give Serenade’s lower tones some weight. Nex is nearly devoid of low end, completely negating anything Carnage is doing on bass and robbing much of Levi Xvl’s bass drum work of power, making for an extremely exhausting experience. I had to break my focused listening sessions up, in fact, because trying to listen through all 44:10 of Nex’s runtime left me so audially spent that I was reaching for aspirin. Whether this was a deliberate choice, I don’t know. It sure lends Sicarius an icier-than-thou edge, as much black metal of this ilk is known for, but it really robbed a large portion of my enjoyment, which sucks because, in bite-sized pieces, Nex is actually a pretty decent album. Sicarius has returned with a vengeance and a we’re-not-fucking-around attitude, as evidenced in no small part by that brutally distinctive cover art. Alongside other bands like Impious Throne, Unholy Altar and Wuldorgast, Sicarius is bringing a sense of menace back to the US black metal scene. Nex is an album worth spinning, despite being hampered by a production that makes it too tiring to listen to in a single sitting, which left me to score it thusly. Still, I’ll be keeping my eyes and ears peeled for the next outing. --- Rating: 2.5/5.0 DR: 6 | Format Reviewed: 320kbps mp3 Label: Adirondack Black Mass | Bandcamp (album) Websites: Bandcamp | Instagram Releases Worldwide: April 10th, 2026 The post Sicarius – Nex Review appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 Sicarius – Nex Review: Sicarius hit the ground raging in 2017 when the Californian black metal upstarts released their scathingly vicious debut album, Serenade of Slitting Throats, which captured the metal heart of AMG’s… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

Graufar – Via Necropolis Review Without question, Friday is my favorite day of the week. Even more tantalizing than the conclusion to an often grueling gauntlet of meetings, feedback, and GSD,1 I’m blessed with metal’s new releases. Trying to listen to everything that comes out is a fool’s errand—luckily, I’m a fool. During one of my customary Friday excursions, fortune smiled upon me when I stumbled onto Graufar’s sophomore opus, Via Necropolis. As I listened, the album’s grooves, riffs, and passions bathed me in blackened deathly glory. My luck persisted through the morning—Graufar’s promo still lurked unclaimed in the bin. Yoink! Though I discovered Via Necropolis late, I was powerless to resist the call of a review, especially given the band’s unsigned/independent status. Thus saddled with an unplanned bit of writing and a pocketful of tunes, let us sojourn down Necropolis way. Too many blackened death metal bands present a mixed bag of half-measures.2 To me, the peak allure of the subgenre promises the brutality and technicality of death metal united with black metal’s icy atmospherics and raw aesthetics. The quintessentially boilerplate BDM band brews a tepid concoction featuring a death metal base with black metal spices; fortunately, Graufar averts getting mired in pedestrian trappings. Honing a sound established on debut Scordalus, Via Necropolis flaunts chilly trems, grating rasps, and a coat of corpse paint that betrays their blackened heart, and it beats with the blood of Dissection, Necrophobic, and Rimfrost. Death metal’s influence is more subtle, skulking in chugging grooves and vicious growls that blend in seamlessly. Via Necropolis by Graufar Though Graufar’s performances across Via Necropolis merit praise, vocalist Gernot Graf deserves special recognition. His scathing vocals loose misery and malevolence that arouse a primal reflex, making my throat twinge at the thought of snarling along. Tracks like “Blizzard and Blaze” and “Foltertrog” exhibit Graf’s penchant for wringing out every ounce of emotion, from vitriol to agony. Black metal rasps aren’t his only trick, though. Graf roars with an insatiable fire on “Charon” and “Buried in Flames,” devolving into bestial throes within “Heralds of Doom” and “Via Necropolis” and ensuring that his versatile performance never lacks conviction or fervor. Graf also plays guitar alongside Michael Herber, and together they fashion a glittering heap of licks, leads, and grooves. And it’s the latter that stands out the most, because while death metal regularly brandishes them, black metal rarely deigns to approve the groove. Meanwhile, “Buried in Flames” and “On Your Knees” demonstrate Graufar’s shrewd understanding of songwriting, and bolstered by Thomas Buchmeier’s slinky bass and René Hinum’s precision drumming, Via Necropolis positively thrums. Throughout Via Necropolis, Graufar dazzles with their ability to conjure dynamic arrangements informed by influences. Kicking off with a Dissection-coded intro on “Blizzard and Blaze,” Graufar mingles with mellow cleans, slithers through second-wave savagery reminiscent of Mayhem,3 and even dabbles in throat-singing before ending back on the cleans. “Heralds of Doom” features a fiery solo that cedes to a pit-ready sway, “Via Necropolis” starts with a sleek Necrophobic-meets-Watain riff that builds to a doomy chorus played over rabid trems, and “On Your Knees” bashes you in the face with a potent Sepultura groove.4 Despite Graufar’s administration of reference points galore, they never linger overlong on any one. The songwriting is deceptively understated, and although this works in Graufar’s favor as a whole, over repeated listens I find my engagement more attuned to Via Necropolis’s back half. Reordering the tracks (“Buried in Flames” would make a fantastic opener) and slightly trimming the longer ones would add an immediacy that brings some of the back-end boom up front. All told, Graufar delivers a vibrant outing that boasts a refreshing take on blackened death teeming with wonderfully wicked ideas. Via Necropolis sizzles throughout its forty-two minutes and distinguishes the band as an act to watch. Considering both Graufar’s albums have been released independently, the band displays remarkable song craft and self-editing, and Via Necropolis gleams with talented musicians who forge well-crafted metal bangers. Better late than never, I’m glad this gem didn’t slip by. --- Rating: Very Good! DR: NA | Format Reviewed: WAV Label: Self-Release Websites: Website | Bandcamp | Facebook Releases Worldwide: March 20th, 2026 The post Graufar – Via Necropolis Review appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 Graufar – Via Necropolis Review: Without question, Friday is my favorite day of the week. Even more tantalizing than the conclusion to an often grueling gauntlet of meetings, feedback, and GSD,1 I’m blessed with metal’s new… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

Phil Campbell's Sons to Continue Band, Announce Memorial Concerts Phil Campbell's sons will keep their family band going in the aftermath of the guitarist's death earlier this year. Continue reading…

Noiecreep 🤘 Phil Campbell's Sons to Continue Band, Announce Memorial Concerts: Phil Campbell's sons will keep their family band going in the aftermath of the guitarist's death earlier this year. Continue reading… LinkInBio for More 🤘 #noisecreep #heavymetal #metal

15 Times Bands Named Themselves in Songs Here are 15 times bands shouted themselves out in songs or referenced their moniker in another way. Some of the bands did it in more than one song. Continue reading…

Noiecreep 🤘 15 Times Bands Named Themselves in Songs: Here are 15 times bands shouted themselves out in songs or referenced their moniker in another way. Some of the bands did it in more than one song. Continue reading… LinkInBio for More 🤘 #noisecreep #heavymetal #metal

The Last Ten Seconds of Life’s new album, ‘The Dead Ones’ is OUT NOW! New video for "Rat Trap" live! Stream/order HERE: https://www.metalblade.com/tltsol/

Metal Blade Video 🤘 The Last Ten Seconds of Life’s new album, ‘The Dead Ones’ is OUT NOW! New video for "Rat Trap" live!: Stream/order HERE: https://www.metalbla LinkInBio for More 🤘 #MetalBladeRecords #HeavyMetal #Metal

Ordh – Blind in Abyssal Realms Review Seeking revenge for her son’s death, Grendel’s mother thrusts her sword at Beowulf. ‘Him on eaxle læg / breostnet broden,’ the Beowulf poet pens,1 ‘þæt gebearh feore, / wið ord ond wið ecge ingang forstod.’ For those unfluent in Old English: Beowulf’s chainmail saved his life, withstanding both the edge and ‘ord’ (tip/spear) of the vengeful matriarch’s sword. From this archaic term for the spear of a sword, Ordh derives its appellation, which may suggest to readers an Anglo-Saxon-themed war metal outfit. That (killer) Paolo Girardi artwork, however, screams cosmic-prog death,2 with Blind in Abyssal Realms being the Vermont quartet’s first full-length lunge at the metal community. Ordh will need to be sharper than the sword of Grendel’s mother, though, for the generic chainmail of progressive death metal is more tightly braided than that adorned by the King of the Geats.3 The cosmic-prog death of Blind in Abyssal Realms claims roots in an earthier subgenre. After the dissolution of progressive sludgers Barishi, guitarist Graham Brooks joined forces with vocalist Jonathan Hébert of sludge-doomers Come to Grief to form a new band. In shifting from the slurry of sludge to the heft of death metal while retaining progressive and doom elements, Ordh ends up sounding like an atmospheric Mortiferum. Brooks’s riffs, whether on low or high strings, always possess grandeur, and his solos splotch like Jackson Pollock splashing paint across a canvas. Brooks also engineered the album’s synths, which are noticeable but never overpower the guitarwork. Hébert’s gutturals keep things terrestrial, hollering at the heavens from his earth-bound cave. Joining Brooks and Hébert are rhythm section Josh Smith (bass) and Dylan Blake (drums, ex-Barishi). Blake especially shines, mixing typical death-metal pounding with jazzy roving and glorious rototom runs. Given Ordh’s previous experience in sludge, it’s impressive how sharp their first attempt at cosmic-prog death is, standing toe to toe with the likes of Cosmic Putrefaction and Blood Incantation. Blind in Abyssal Realms by Ordh What makes Blind in Abyssal Realms cut deep is its balancing of atmosphere with instantly memorable riffs. Opener “Apis Bull” perfectly demonstrates this dichotomy; its big, bendy Oldpeth figure alternates with a spacey, higher-register version of itself before exploring new terrain. Similarly, “Moon of Urd” rises with a delightfully demented earworm that reveals a lush blanket of pure psych twilight. “Phlegraean Fields,” the most adventurous song on here, builds an ever-morphing, synth-laden melody, capturing a stranger surveying a mythical landscape with terror-tinged curiosity.4 Right out the gate, Ordh understands that the ‘cosmic’ in ‘cosmic-prog death’ should not be cosmetic. Indeed, the synths support consistently superb riffs on this debut, imbuing them with enriching depth. Some aspects of Blind in Abyssal Realms dull its attack. Production-wise, the record sounds good but lacks a bit of low end. The caveman parts don’t hit as hard as they should; Blake’s kick drum could use more oomph, and Smith’s bass is frequently hard to detect in anything other than clean sections. Concerning the album’s pacing, the last two tracks don’t quite measure up to the ascending quality of the opening trio. “Blind in Abyssal Realms” is a strong song that, at over 12 minutes, could use editing. “Hierothesion” refreshingly closes out the record as its most straightforward pummeler, but similarly, some concision would amplify its effect. And as for originality, Ordh mostly sounds like itself, though occasionally, combinations of blast beats, dive bombs, and ‘aaaghs!’ are a bit too on the Blood Incantation nose. Nitpicks aside, Ordh drives home its point with Blind in Abyssal Realms. This is an impressive debut that makes a mark on progressive death metal. Comprised of five tracks at just under 45 minutes, Blind in Abyssal Realms advances as a filler-free affair, trading violent slashes with chilled-out parries in a manner inviting repeat engagements. Fans of the genre should definitely spar with this sonic sword. Swīðe gōd weorc, Ordh! --- Rating: 3.5/5.0 DR: 6 | Format Reviewed: 320 kbps mp3 Label: Pulverised Records Websites: Bandcamp | Instagram | Facebook Releases Worldwide: April 17th, 2026 The post Ordh – Blind in Abyssal Realms Review appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 Ordh – Blind in Abyssal Realms Review: Seeking revenge for her son’s death, Grendel’s mother thrusts her sword at Beowulf. ‘Him on eaxle læg / breostnet broden,’ the Beowulf poet pens,1 ‘þæt gebearh feore, / wið ord ond wið… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

Timeline - What We Know About 'Look Outside Your Window' Here's everything we know about the Slipknot members' album 'Look Outside Your Window' that they recorded while working on 'All Hope Is Gone.' Continue reading…

Noiecreep 🤘 Timeline - What We Know About 'Look Outside Your Window': Here's everything we know about the Slipknot members' album 'Look Outside Your Window' that they recorded while working on 'All Hope Is Gone.' Continue reading… LinkInBio for More 🤘 #noisecreep #heavymetal #metal

The Last Ten Seconds of Life - Rat Trap (ft. Nate Johnson) (Official Video) Buy here: http://www.metalblade.com/tltsol Intense and intensely personal, "The Dead Ones" marks The Last Ten Seconds of Life’s Metal Blade label debut. For the 10 original tracks of pulverizing deathcore produced by Carson Slovak and Grant McFarland of Pennsylvania’s Atrium Audio, the band focused on “the guitar/bass/drum tones as well as the mix/master to achieve a super-thick sonic output and ‘rolling-tank’-like feel,” guitarist Wyatt McLaughlin explains. Directed by Jake Lepley & Tyler Beam Camera operation by Jake Lepley, Eric Bluebaum, Tyler Beam "The Dead Ones" was recorded/mixed/mastered by Atrium Audio With the singles “The Dead Ones,” “Make It to Heaven,” and “Rat Trap,” TLTSOL have once again “reasserted their position as innovators and leaders in the deathcore genre…crafting an experience that challenges and captivates their audience,” as Knotfest raved about the lineup. Four stellar guests are featured on the album—"Make It to Heaven” has David Simonich of Signs of the Swarm; Nate Johnson, ex-Fit For an Autopsy, appears on “Rat Trap;” “Dollar to a Dime” has Alan Grnja of Distant; and “XXXXXXXXXX” features original TLTSOL vocalist Storm Strope. In creating The Dead Ones, “everyone took what we learned from the past two releases and assembled what we thought would bring out the best of us from song structure, tonality of instruments, the mix/master, and the lyrical themes,” furthers McLaughlin. The end result reflects a more personal and human experience rather than the philosophical and fictional approach used on NNG. The first single, “The Dead Ones,” is specifically about how the actions of humanity can take an individual’s actual innate humanity away. “Dealing with these emotions can make you want to reach out to people who bring you comfort or peace and be a vessel to speak to them again,” McLaughlin says. “It invokes the physical scene of a seance and connecting with those, but questions if good is only a temporary veil for evil and warns about what lines might be crossed looking into the void.” "The Dead Ones" was recorded with a six-string baritone Viper from ESP-LTD tuned to Drop F, the same tuning used on the band's 2012 "Warpath" EP. To elevate the intensity, the band also used an Earthquaker Devices Sunn O))) and Keeley Octa Psi drop tune pedal on certain sections. Lineup: Tyler Beam - Vocals Dylan Potts - Drums Andrew Petway - Bass Wyatt McLaughlin - Guitar/Synthesizer LYRICS: Out of all the rats I've trapped You're by far the most bitch made one of the pack Fist to face You can fuckin' count on that after everything i gave Your first move was backstab Sewer rat Sewer rat Bloodbath Judas from the start We will never be the same Sewer rat Sewer rat Bloodbath Grab you by the tail and send you straight to hell Boom, boom, boom With that thunder crack All that lightnin' crashin' down as you take your last breath No rest for the wicked no hope for you Sewer rat Sewer rat Bloodbath Judas from the start We will never be the same Sewer rat Sewer rat Nowhere to hide You're stuck in the trap Six feet deep in your lies Out of all the rats I've trapped the most bitch made that's a fact Out of all the rats I've trapped I can't wait to cut you down Your soul is black Strung out Rotten in the center You won't live You wont get out You'll be cut down Cast out Banished for forever You won't live You won't get out No way out Of all the rats I've trapped I can not wait to cut you down We got a rat in the house and it's time to flush him out Bloodbath You judas Limb from limb Dismembered slowly Leave no paper trail or body Fuck your life and all you love the time has come to send you straight to hell Grab you by the tail So I can drive the nails Beyond the pale

Metal Blade Video 🤘 The Last Ten Seconds of Life - Rat Trap (ft. Nate Johnson) (Official Video): Buy here: http://www.metalblad
Intense and intensely personal, "The Dead Ones" marks The Last Ten Seconds of Life’s Metal… LinkInBio for More 🤘 #MetalBladeRecords #HeavyMetal #Metal

Five For Friday: April 17, 2026 This week's edition of new releases includes the latest from Inferi, Immolation, Leila Abdul-Rauf and more! The post Five For Friday: April 17, 2026 appeared first on Decibel Magazine.

Decibel Magazine 🤘 Five For Friday: April 17, 2026: This week's edition of new releases includes the latest from Inferi, Immolation, Leila Abdul-Rauf and more!


The post Five For Friday: April 17, 2026 appeared first on Decibel Magazine. LinkInBio for More 🤘 #DecibelMagazine #Metal #HeavyMetal

Vomitory's 'In Death Throes' has been out for entire WEEK! Let's unbox some of that sweet wax! Order yours HERE: https://www.metalblade.com/vomitory/

Metal Blade Video 🤘 Vomitory's 'In Death Throes' has been out for entire WEEK! Let's unbox some of that sweet wax!: Order yours HERE: https://www.metalbla LinkInBio for More 🤘 #MetalBladeRecords #HeavyMetal #Metal

Vomitory - In Death Throes (Unboxing) Order yours HERE: https://www.metalblade.com/vomitory/

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Demons My Friends – Survive/Yourself Review From their origins in Mexico City to the 2022 SXSW Festival in Austin, Texas, the three members of Demons My Friends have a shared journey that made their union fateful. This shared geography has played a role in their musical process, as they split recording their sophomore album, Survive/Yourself, between Mexico and Texas. Post-COVID personal struggles inform the record’s themes, with illness, job losses, and family crises cited as sources of the anxiety that fueled their songwriting. Demons My Friends don’t deliver doses of sadboi, however. What they play is a raw, rough, and gritty style of grunge. Though it flirts with mainstream acts like Alice in Chains and Soundgarden, Survive/Yourself plays its grunge outside the box. While creating music is undoubtedly a healthy outlet, the question remains as to whether it’s a good idea to get too friendly with your demons. Demons My Friends mixes thick stoner/sludge guitar tones with catchy alternative rock hooks for a compelling sonic palette. The fuzzy guitar on opener “The Theory of Change” evokes Mastodon, while the chorus takes a page out of ’90s rock acts like Nirvana and Bush. Yet the tracks on Survive/Yourself run a bit longer than the more radio-friendly examples of grunge, allowing room for meandering and play. Often these moments serve as highlights, especially the melodic lead that pops up mid-song on “The Last Dance.” And though the sludge proves to be the dominant guitar tone, Demons My Friends also show their more sensitive side. “Kalorama,” with its catchy strummed guitar lead, borrows heavily from Pearl Jam’s soft jams. On other tunes, the guitar grows more playful, with a twangy arpeggio on “We All End Up Here” and a really cool psychedelic bit on the record’s catchiest song, “Brain Holographics.” Survive/Yourself by Demons My Friends Unfortunately, Demons My Friends also end up being their own worst enemy. The back half of Survive/Yourself finds a pretty successful formula with some catchy tunes that could almost pass for radio-friendly. Yet the band makes some questionable choices that hold them back. As great as “Brain Holographics” is, it stretches on for too long thanks to a lengthy instrumental detour that sees the song nearly lose its way. The fun, High on Fire-inspired stoner track, “Smile,” includes a weird bit of growling that mars a rather tight tune. Also at issue are the vocal performances. Since both Pablo Anton and Lu Salinas have vocal credits, I’m not sure who’s the culprit, but one of the two consistently sounds off-key, and his voice especially strains on higher registers (most noticeable on “Last Dance” and “Star Child”). These sound issues give a sense of raw emotion, but they also distract from the flow of the songs. The production, with a DR score of 10, proves a boon, but some production choices prove a bane. The largest boon belongs to the guitars. The thick, fuzzy tone is so satisfying as it fires up on “The Theory of Change” and then again about two minutes into “We All End Up Here.” Similarly, Salinas’s bass benefits, contributing some funk on “Brain Holographics” and some nastiness on “Smile.” Littered throughout Survive/Yourself, however, are odd sound issues that detract from the music. The finale of “The Theory of Change” sounds like someone let their kid play with the recording equipment, as a childlike voice repeats “I” over and over. Other noise effects tricked my brain into thinking I was hearing something outside the music. Pattering raindrop drum beats on “Brain Holographics” had me looking up at the ceiling, scared to see a leak. Vocal oddities here and there, such as the strange spoken parts on “Star Child,” gave me the feeling someone had crept up behind me. Cleaning these issues up would have resulted in a much smoother album. While they showcase some nice licks and cool ideas, Demons My Friends have some demons to exorcise from their songwriting repertoire. There are aspects of their more experimental side that work well—some exploratory instrumental passages and the varied guitar tones. Yet some of what they do just pulls listeners out of the musical experience. They have a clear knack for some great hooks—I find myself humming the chorus on “Brain Holographics” pretty frequently, for one. I look forward to hearing how they are able to evolve their blend of experimental and mainstream music on their next release. --- Rating: 2.0/5.0 DR: 10 | Format Reviewed: WAV Label: Ripple Music Websites: Bandcamp | Facebook | Official Site Releases Worldwide: April 17th, 2026 The post Demons My Friends – Survive/Yourself Review appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 Demons My Friends – Survive/Yourself Review: From their origins in Mexico City to the 2022 SXSW Festival in Austin, Texas, the three members of Demons My Friends have a shared journey that made their union fateful. This shared… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

The Last Ten Seconds of Life - The Dead Ones (FULL ALBUM) ARTIST: The Last Ten Seconds of Life ALBUM: The Dead Ones RELEASE DATE: 04/17/2026 US Store: https://metalblade.indiemerch.com/collections/the-last-ten-seconds-of-life EU Store: https://shop.metalblade.de/collections/the-last-ten-seconds-of-life 01. The Dead Ones (00:00) 02. Make It to Heaven (03:32) 03. Rat Trap (07:18) 04. Freak Reflection (10:51) 05. 1-800-DO YOU WANT TO DIE? (14:12) 06. Stiletto (17:41) 07. Stereo (20:11) 08. Dollar to a Dime (23:48) 09. Corruption Concerto (27:42) 10. XXXXXXXXXX (30:46)

Metal Blade Video 🤘 The Last Ten Seconds of Life - The Dead Ones (FULL ALBUM): ARTIST: The Last Ten Seconds of Life
ALBUM: The Dead Ones
RELEASE DATE: 04/17/2026

US Store:… LinkInBio for More 🤘 #MetalBladeRecords #HeavyMetal #Metal

Video Premiere: Killcrown – “DEATH” Michigan heavy band Killcrown drop the official music video for their debut single “DEATH,” from their upcoming, yet‑to‑be‑titled, full‑length album due later this year on Exitus Stratagem Records. The post Video Premiere: Killcrown – “DEATH” appeared first on Decibel Magazine.

Decibel Magazine 🤘 Video Premiere: Killcrown – “DEATH”: Michigan heavy band Killcrown drop the official music video for their debut single “DEATH,” from their upcoming, yet‑to‑be‑titled, full‑length album due later this year on Exitus… LinkInBio for More 🤘 #DecibelMagazine #Metal #HeavyMetal

GOZU - Corinthian Leatherface (Official) Buy here: https://blacklightmediarecords.com/gozu/ Boston stoner/fuzz rock outfit GOZU will release their long-awaited new full-length, Gozu VI, on May 15th through Blacklight Media/Metal Blade Records. “We wanted something that really moved and hit a nerve,” says GOZU singer/guitarist Marc Gaffney on composing the band’s sixth studio album. “I was pretty roughed up emotionally while writing. I played guitar more in the past two years than ever before. I would work, go to the gym, come home, eat and then play guitar until I went to bed.” The end result is eight action-packed tracks, produced and mixed by Benny Grotto at Boston’s Mad Oak Studios. Emotion is writ loud and large for the band that’s been praised for their “deep grooves, thick riff mechanics, soulful melodies,” and for creating a “musical stew that intoxicates the listener, sweeping them into another aural universe.” Gaffney has spoken about the band’s, “maturity mixed with a childlike enthusiasm to play music,” and Gozu VI’s songs are proof positive. “I think this is more of a soulful, straight forward, guitar-driven album. Lyrically, this took on a whole different feel, and it wrote itself.”

Metal Blade Video 🤘 GOZU - Corinthian Leatherface (Official): Buy here: https://blacklightme
Boston stoner/fuzz rock outfit GOZU will release their long-awaited new full-length, Gozu VI, on May 15th through Blacklight… LinkInBio for More 🤘 #MetalBladeRecords #HeavyMetal #Metal

GOZU treating you this fine Thursday to another new track! "Corinthian Leatherface" is now playing! Check it out here: https://youtu.be/GRFhDMEvNOk New album, 'GOZU VI' drops May 15th.

Metal Blade Video 🤘 GOZU treating you this fine Thursday to another new track! "Corinthian Leatherface" is now playing!: Check it out here: https://youtu.be/GRF
New album, 'GOZU VI' drops May 15th. LinkInBio for More 🤘 #MetalBladeRecords #HeavyMetal #Metal

Video Premiere: State of Illusion – “Death Is Not The End” State of Illusion share their new video for "Death Is Not The End" ahead of their forthcoming album Pluto's Ghost, out independently tomorrow. Check it out now. The post Video Premiere: State of Illusion – “Death Is Not The End” appeared first on Decibel Magazine.

Decibel Magazine 🤘 Video Premiere: State of Illusion – “Death Is Not The End”: State of Illusion share their new video for "Death Is Not The End" ahead of their forthcoming album Pluto's Ghost, out independently tomorrow. Check it out now.… LinkInBio for More 🤘 #DecibelMagazine #Metal #HeavyMetal

Crimson Glory – Chasing the Hydra Review Crimson Glory hold a special place in my own personal Metal Hall o’ Fame. I was a huge fan of their 1986 debut with its classic Queensrÿche-style and larger-than-life energy. Midnight immediately became one of my favorite vocalists, and I was dazzled by the way the band took classic metal idioms and made them feel so grand and elegant. 1988s Transcendence took their sound even further, getting proggier, heavier, and more epic in scope. This is the album that essentially invented the progpower genre. At that point in time, the band seemed poised to achieve amazing things and conquer the metaverse. Then they dropped Strange and Beautiful in 1991, and the wheels came off the Glory cart hard. To call that album a dumpster fire of a sellout is an understatement, and it still makes me wonder what the holy fuck the band was thinking when they released it. It’s on the same par as Celtic Frost’s Cold Lake, Metallica’s St. Anger, or Krokus’ Change of Address, and it will forever live in infamy as a career killer. Unsurprisingly, the band fell apart after that, with Midnight departing for good, leaving disgruntled fans to reflect on what might have been. The band attempted a jump-start in 1999, but Astronomica was nowhere near the quality of the early albums, and the band sank back into self-inflicted oblivion. 26 years later, three of the original members are attempting a new comeback with Chasing the Hydra. The cynic in me wondered why they’d even bother. They created 2 all-time classic metal albums, and nothing they do now could come close to rivaling them. With great expectations as their eternal enemy, it’s much more likely they’d only diminish the luster of their stellar releases. Still, the naive teen in me hoped for a miraculous rebirth of the band I still love. Where does Chasing the Hydra fall between those polar opposite scenarios? As you might expect, somewhere in the middle. Aided no doubt by a set of very low expectations, I’ve been pleasantly surprised by Chasing the Hydra. Obviously, it can’t touch the classic albums with a 100-foot Poke Em Pole, but it’s effective, entertaining progpower with enough of the classic Crimson Glory sound to trigger nostalgic reminiscing. Opener “Redden the Sun” is aggressive and urgent as new vocalist, Travis Willis, shows off his impressive collection of pipes. The guitarwork from OG Ben Jackson and new axe Mark Borgmeyer is fluid and technical, and the song itself is decent, though it gets a bit scattered. The title track opens with the lead riff from Transcendence classic “Red Sharks,” which is either cool or cornball, I can’t decide. The song sounds more like something off Sanctuary’s debut than Crimson Glory, but it’s good nonetheless, although Willis overdoes it at times. The first real winner comes with “Broken Together,” which sounds enough like vintage Glory where you could imagine it appearing on the early classics. Wills sounds so close to Midnight as to be unsettling, and the whole package has that same strange power the old albums did. “Angel in My Nightmare” is a sprawling epic that plays out like a pastiche of “Lonely in Love” and “Azrael,” and it takes you on an interesting voyage through the various eras of the band (wisely excluding Strange and Beautiful). It’s a bit too long, but the goods are delivered. “Indelible Ashes” is another success story, sounding like the love child of 80s Crimson Glory and Rage for Order era Queensrÿche. Wills moves between Midnight and Geof Tate homage vocals, and this is another cut that feels like the logical successor to the Transcendence material. “Beyond the Unknown” is a good song where Wills shifts tone to sound almost exactly like Lance King, and the winning chorus sounds like essential Pyramaze. The only song that doesn’t really gel for me is “Armor Against Fate” where the writing gets too herky-jerky and proggy, jettisoning transitions to skitter from idea to idea. Even then, it isn’t bad and the chorus sticks in the head. At 47 minutes, and with most songs in the 4-5 minute frame, Chasing the Hydra ends up an easy spin with a nice ebb and flow. A lot of the success of Chasing the Hydra comes down to the vocal magic of Travis Willis. Yes, the guy can emulate Midnight, which is no easy feat, but he doesn’t spend the entirety of the album trying to be a clone. He shifts tones and styles to suit the material and generally does a bang-up job elevating the solid-to-above-average material. Ben Jackson and new axe Mark Borgmeyer do a great job of decorating each song with the right mix of burly riffage and pretty, ethereal harmonies, never drifting too far into Cheese Meadows. There’s a surprising amount of scrotal power on some of these tracks, which offsets the lighter moments. If you ran into me at a drunken New Year’s Eve shindig last December and told me I’d be giving good reviews to Metal Church and Crimson Glory in 2026, I’d have denounced you as a fool and a charlatan. Here we are, though, and I underrated Metal Church! Chasing the Hydra is the album we should have gotten in 1991. It may be 34 years late, but better that than never. The Glory days may not be behind us after all. I hope that somewhere in the Great Beyond, Midnight is smiling.  --- Rating: 3.0/5.0 DR: 7 | Format Reviewed: 320 kbps mp3 Label: BraveWords Websites: theofficialcrimsonglory.com | facebook.com/crimsonglory | Releases Worldwide: April 17th, 2026 The post Crimson Glory – Chasing the Hydra Review appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 Crimson Glory – Chasing the Hydra Review: Crimson Glory hold a special place in my own personal Metal Hall o’ Fame. I was a huge fan of their 1986 debut with its classic Queensrÿche-style and larger-than-life energy. Midnight… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

ROOTS of New York Hardcore | on SiriusXM ROOTS of NYHC: New York Hardcore | on SiriusXM Liquid Metal Week of April 18, 2026 Sat 4/18, 6PM ET Sun 4/19, 1PM ET Mon 4/20, 9AM ET Tues 4/21, 4PM ET Thurs 4/23, 9PM ET This week Ian Christe smashes his fist through a crack in the pavement, and seizes a fistful of wild, urban hardcore roots from New York City. Join us for a journey across the New York Hardcore family tree… Source

BazillionPoints 🤘 ROOTS of New York Hardcore | on SiriusXM: ROOTS of NYHC: New York Hardcore | on SiriusXM Liquid Metal Week of April 18, 2026 Sat 4/18, 6PM ET Sun 4/19, 1PM ET Mon 4/20, 9AM ET Tues 4/21, 4PM ET Thurs 4/23, 9PM ET This week… LinkInBio for More 🤘 #bazillionpoints #heavymetal #metal

Cannibal Corpse ‘Violence Unimagined’s 5th anniversary TODAY! Unrelenting brutality from the best! Check out the full album HERE: https://youtu.be/MptVkuh8cQ8

Metal Blade Video 🤘 Cannibal Corpse ‘Violence Unimagined’s 5th anniversary TODAY! Unrelenting brutality from the best!: Check out the full album HERE: https://youtu.be/Mpt LinkInBio for More 🤘 #MetalBladeRecords #HeavyMetal #Metal

Q&A: An Interview with the Fire in the Mountains Festival Crew The folks who bring you the Fire in the Mountains Festival discuss the power of music and community. The post Q&A: An Interview with the Fire in the Mountains Festival Crew appeared first on Decibel Magazine.

Decibel Magazine 🤘 Q&A: An Interview with the Fire in the Mountains Festival Crew: The folks who bring you the Fire in the Mountains Festival discuss the power of music and community.


The post Q&A: An Interview with the Fire in the… LinkInBio for More 🤘 #DecibelMagazine #Metal #HeavyMetal

Foetorum – Incongruous Forms of Evergrowing Rot Review I am writing this review with tequila and lime salt still oozing out of my pores. My eyeballs each have a different heartbeat, and I am honestly amazed (if not a little disappointed) that I began the day with my pants still on. And yet the call of the promo pit continues, as I was shaken out of my birthday-shenanigans-induced stupor by the smell of gorilla breath outside my lion’s den, and something rancid chucked at its entrance. The Ape being pleased post-album release usually means great news for hopeful bands and an increased labor for those under his watchful and merciless eye, and one peep at this moldy art spelled out the whole mission statement from the get-go. Denmark’s Foetorum are a very young outfit, having just penned their sole demo last year1 before unleashing their debut full-length Incongruous Forms of Evergrowing Rot on the unsuspecting masses. I hope you’re hungry, because we’ve got some leftovers from rotsgiving waiting for you! Foetorum specialize in a refreshingly energetic breed of death/doom. Blasts feature aplenty, but are typically used as points of transition or introduction/outro to songs. Most of Incongruous Forms of Evergrowing Rot operates on second and third gear, with the sustained open chords you’d expect often molding into mid-paced chugging savagery. Indeed, if you’re a sucker for mid-paced chuggathons, this will be a euphoric experience for you as the overwhelming backbone of most of the songs rely on such a trope. Imagine the most downtempo moments of Cannibal Corpse with a lot of atmospheric high-trem plucking for atmospherics and run through some extra fresh grave soil—something between Phobophilic and SEDIMENTUM—and you have a good idea of what’s waiting. The high note musings are a great addition, giving whiffs of melancholy and gloom to the proceedings, which might otherwise threaten to be an overly simplistic sound with their engaging melodies (“Mors Viaturis – The Death Traveler”) before collapsing into the next jackhammer assault. Incongruous Forms Of Evergrowing Rot by Foetorem And boy howdy, jackhammers are aplenty. Despite the relative simplicity of the approach, a great deal of thought has gone into each arrangement to keep one concrete-burrowing assault after another fresh and engaging. “Tapestries of Misery” commands with a gripping 6/8 time signature and a whiff of unexpected SKRONK, while “Oozing with Pustulent Fluids” keeps burrowing into the earth’s crust with a classic Vader riff played at half speed while drummer Geistaz keeps things engaging with an ever-shifting focus between creative bass fills and high-hat ting-and-tangs. His drumming is part of what keeps the Foetorum recipe so engaging (“Rebirth in Morbid Disgust”) as no chug sounds exactly the same despite the band drawing so deeply from what is a usually very narrowly defined well. If you’re about that chug life, the death here is excellent; the only real stumbling block comes from some of the doomier elements. Foetorum have improved on the Sanctuarium formula of sandwiching their blasts and chugs between sudden slowdowns, but there’s no escaping that some moments are real momentum killers. “Oozing…” drops down to bare-minimum quarter note walks lacking any weight to carry the empty space, while “Decay of the Flesh” throws in some harmonized leads that don’t quite overcome the lack of progression in the songs. Not every doom element is poor, by any means, but it happens enough to degrade decompose Incongruous Forms of Evergrowing Rot” to an album more memorable by its moments than by the wholeness of its songs. And yet, those highlights are plenty, and it’s great to hear when the band really stick the landing, like in album finale “Peeled Face Mask”. This is a contender for the top of the song pile, with the most ruthless chugs, groovy riffing, great doomy moments, and even a major dollop of leads sounding pulled from Gates of Ishtar.2 This track shows the band have a great grasp of what makes their sound a success, and more of this across the whole body of work would lead to a real RotM contender. Incongruous Forms of Evergrowing Rot is less an excellent debut and more an excellent debut. It shows a band with a clear purpose and musical vision, but a vision not free of warts and rough edges. When it hits, though, it hits. Foetorum have erupted from the grave, covered in fluid and mold, ready to make their deathly mark on the world. With enough force to change cave structure and a grasp of atmosphere beyond their youth, the band have announced their presence in style, and I believe the best is yet to come for their cemetery anthems. Now, if you’ll excuse me, I need to get myself some coffee and some food. Preferably, something a little extra raw and rotted… --- Rating: 3.0/5.0 DR: 8 | Format Reviewed: 320 kbps mp3 Label: Everlasting Spew Records Website: Album Bandcamp Releases Worldwide: March 27th, 2026 The post Foetorum – Incongruous Forms of Evergrowing Rot Review appeared first on Angry Metal Guy.

Angry Metal Guy 🤘 Foetorum – Incongruous Forms of Evergrowing Rot Review: I am writing this review with tequila and lime salt still oozing out of my pores. My eyeballs each have a different heartbeat, and I am honestly amazed (if not a little… LinkInBio for More 🤘 #AngryMetalGuy #HeavyMetal #Metal

Jury Rules Live Nation Guilty of Running Illegal Monopoly The jury ruled that Live Nation had operated as a monopoly and overcharged fans and now the judge will now oversee deliberation on the next steps to remedy the situation. Continue reading…

Noiecreep 🤘 Jury Rules Live Nation Guilty of Running Illegal Monopoly: The jury ruled that Live Nation had operated as a monopoly and overcharged fans and now the judge will now oversee deliberation on the next steps to remedy the situation.… LinkInBio for More 🤘 #noisecreep #heavymetal #metal

Are Iconic Goth Band HIM the Next to Reunite? Ville Valo says he misses his former bandmates and would be up for playing with HIM again someday. Continue reading…

Noiecreep 🤘 Are Iconic Goth Band HIM the Next to Reunite?: Ville Valo says he misses his former bandmates and would be up for playing with HIM again someday. Continue reading… LinkInBio for More 🤘 #noisecreep #heavymetal #metal