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Some say imitation is the sincerest form of flattery, but Geoff Barrow definitely wouldn’t. The Portishead member was not flattered when he accused the Weeknd and Phantogram of plagiarism over a decade ago, nor when he alleged that Lil Pump sampled him without permission in 2019 and then made the same claim about Kanye West and Ty Dolla $ign in 2024. Now, he says composer Harry Escott’s new score for ITV’s Gone rips off his and Ben Salisbury’s 2020 Devs score.

The post Geoff Barrow Says <em>Gone</em> Composer Admits To Ripping Off His <em>Devs</em> Score appeared first on Stereogum.

Sage Elsesser is a skateboarder, artist, and model, but this is a music blog, so around here he’s known for rapping. As Navy Blue, Elsesser has carved out a space within the heady, abstract underground hip-hop landscape. In March he guested on a track with Cavalier, Quelle Chris, and Denmark Vessey, and he’s since followed that with “Ocean Light (Phase 1: Prelude),” which seemed to be a warning shot for a project to come. Indeed, there’s a new Navy Blue record called Sir Render dropping this Friday, and its guest list is formidable.

The post New Navy Blue Album <em>Sir Render</em> Feat. Ka, Earl Sweatshirt, Armand Hammer Out This Friday appeared first on Stereogum.

In my continuing exploration of Boston bands, the promo pit exhaled the latest from a stoner stalwart. Gozu have been dispensing their hybrid strain of stoner rock/metal since 2007, with riffmeisters Marc Gaffney (vocals, guitar) and Doug Sherman (lead guitar) serving as the only consistent members. Current bassist Joseph Grotto joined Gozu for Revival (2016), and Seth Botos began helming the drums on Remedy (2023), the band’s most recent output. Since their move to Metal Blade Records for Equilibrium (2018), Gozu have increasingly poppified their sound as Gaffney grows into a more versatile vocalist. Still, these Boston veterans haven’t abandoned their identity; catchy choruses sweeten a familiar beanpot of droney riffs. Also intact is their tongue-in-cheek humor; this is a band that named a song “Charles Bronson Pinchot” in 2012 and another “Tom Cruise Control” in 2023. As the first Gozu album to be covered on AMG, Gozu VI will achieve ‘wicked pissah’ status by continuing the band’s trend of refining their sound while maintaining their signature charm.

On the stoner continuum, Gozu veers closer to rock than metal while straddling the line. Indeed, this Boston quartet pack Clutch’s shuffling grooves (“Corinthian Leatherface”), Corrosion of Conformity’s bluesy dirges (“Midnight Express”), and Motörhead’s straight-ahead speed (“Banacek”) into their musical chamber. Gaffney and Sherman’s simple yet satisfying riffs hit listeners by way of production as warm and fuzzy as a Bay State bruin. Sometimes, the riffing is just as ferocious. On the excellently titled (and almost certainly referential) “Gimme the Lute,” fretboard gymnastics mingle with driving chugs and soupy sludge that feels more metallic than geological. Though new to the Gozu crew, Grotto and Botos form a serviceable rhythm section that doesn’t necessarily shine, but that understands the assignment: let the riffs (and vocals) pop. Avoiding the monotony of stoner metal and the banality of stoner rock, Gozu VI strikes a salutary balance.

In his role as vocalist, Gaffney elevates Gozu by displaying a varied arsenal of skills. His voice recalls Neil Fallon of Clutch but with a grunge coloring that’s more nose than chin (think Weiland, not Vedder). Gaffney’s choruses shift between nimble croons suiting the livelier tracks (“Corinthian Leatherface”) and diaphragm-ed belts fitting the doomier cuts (“Midnight Express”). Throughout the album, he tucks falsetto harmonies into his main lines, blending major and minor tonality in a manner akin to Soundgarden and Stone Temple Pilots. ”Corner Lariat” stands as Gaffney’s most ambitious and arresting performance, threading tender verses through a big, wistful chorus, broaching power ballad territory. Not every verse and chorus on Gozu VI knocks it out of Fenway, but enough do to give Gozu a pure listenability that most stoner acts do not possess.

At 8 tracks in 46 minutes, Gozu VI mostly delivers a cohesive album experience. “Corinthian Leatherface” gets this Boston Tea Party started strong, effortlessly tossing energetic riffs and sugary hooks off the side of the Stoner Ship in a rebellious yet controlled demonstration.¹ From there, the album intermittently slows down, culminating with the pensive power of “Corner Lariat.” This is a solid run of tracks, though “Killer Khan” comes off as a bit redundant (and has some ham-fisted profanities). “Banacek” picks the pace back up, adding a unique freneticism to the album via interplay between Gaffney’s chunky power chords and Sherman’s wild shredding. Closing out the album is a scattershot three-track run. “Gimme the Lute” doles out some of the finest riffwork on Gozu VI, but “They Did Know Karate”² suffers from bloat, while closer “Corvette Summer” anticlimactically fades out.

Gozu VI is, undoubtedly, a pissah. Gaffney, Sherman, and crew are pros who know how to produce high-quality jams built around strong riffs and vocal hooks. Stoner rock/metal proves a challenging paradigm within which to produce truly standout material, but Gozu come as close as I could imagine with their sixth LP. There’s nothing really innovative about Gozu VI, but there’s also nothing terribly wrong with it, and a lot to enjoy. While I hesitate to qualify their latest offering as ‘wicked,’ I don’t at all hesitate to recommend Gozu VI to anyone looking for a familiar, fun time.

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Rating: 3.0/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Metal Blade Records | Blacklight Media Records
Websites: Official | Bandcamp | Facebook | Instagram
Releases Worldwide: May 15th, 2026

The post Gozu – Gozu VI Review appeared first on Angry Metal Guy.

Vanity Box reach for something genuinely expansive on Die Natur Macht Ihre Gesetze, a soaring centerpiece that effortlessly bridges shoegaze haze, indie pop melodicism, and post rock grandeur. Built around an emotionally resonant lyric and elevated by lush production, the track slowly unfolds toward a breathtaking crescendo where shimmering guitars and ethereal textures bloom into full cinematic glory. The contrast between intimacy and scale is particularly striking, allowing the song’s emotional core to remain intact even as the arrangement grows increasingly vast. Beautifully crafted and deeply affecting, Die Natur Macht Ihre Gesetze stands as the emotional heart of Sudden Loud Sounds in a Capital City and a highlight of contemporary dream-soaked indie rock.

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“Dead In The Water”, the newest single from DevilDriver‘s upcoming full-length Strike And Kill, has premiered online in the form of an official music video.
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Swedish melodic black metal entity Wormwood has announced the release of a new 2-track EP, Å, on August 7th. Mixed and mastered by Sverker Widgren at Wing Studios in Stockholm, Sweden.
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Jenny Gillespie Mason embraces grace, patience, and spiritual reflection on Medicine of Light, a beautifully understated folk composition that unfolds with the quiet power of a modern hymn. Centered around warm acoustic guitar, luminous melodies, and a deeply expressive vocal performance, the song creates a sense of stillness that invites careful listening. Its sparse yet elegant arrangement allows every note and lyric to resonate, gradually revealing an emotional depth rooted in hope, healing, and human vulnerability. Tender, contemplative, and profoundly moving, Medicine of Light shines as one of the most affecting moments from the forthcoming album In the Safety of the Light.

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FOR IMMEDIATE RELEASE
FORMER WAYNE STATIC MANAGER ISSUES STATEMENT IN SUPPORT OF MATT ZANE’S UNAUTHORIZED WAYNE STATIC DOCUMENTARY
Former Wayne Static manager Lyndsi Hellard has issued a public statement regarding filmmaker Matt Zane’s unauthorized documentary project focused on the late Wayne Static and Tera Wray Static.
Hellard, who previously managed Wayne Static Tours LLC during the final chapter of Wayne’s career, says the project reflects wishes she understood were clearly expressed by both Wayne and Tera prior to their passing.
“This statement is provided to clarify my knowledge and to support the fulfillment of Wayne and Tera’s clearly expressed wishes to tell their story,” Hellard said.
She further explained her role working closely with both Wayne Static and Tera Wray Static during that period.
“For a period of time before Wayne’s last tour, I had the honor and responsibility of managing Wayne Static Tours LLC and working closely with both Wayne and his wife, Tera Wray Static.
During that time, Wayne and Tera were clear and committed about their desire to have a documentary created that would accurately reflect their lives, their relationship, and their experiences surrounding the evolution and dissolution of Wayne Static’s time in Static-X and his collaboration with Tony Campos.
This was not a vague or fleeting idea. Wayne spoke about it often and in detail, and had discussed plans to produce it with his wife’s close friend, Matt Zane.”
Hellard also addressed the broader context surrounding the band’s legacy and the complicated dynamics in the years leading up to Wayne’s passing.
“Since their passing, the estate and band name have been handled by separate parties, none of whom were actively involved in Wayne or Tera’s lives or careers in the years prior to their deaths,” Hellard continued.
“From my perspective, Wayne’s inability to tour or perform under the Static-X name during that time played a significant role in his desire to tell his story in a documentary format.
At the same time, I understand there were ongoing business and personal decisions within the band that contributed to those circumstances. It is a complex history with multiple perspectives.”
Hellard emphasized that while tensions existed, she is not speaking from a place of personal hostility.
“I respect Tony Campos and understand that every artist makes decisions based on their own circumstances and relationships,” she said. “There was a great deal of tension during that period, including around Tera’s involvement in performances, which has been publicly discussed in various contexts.
It is important to approach Wayne’s legacy with honesty and respect, and to recognize the complicated reality of those years.”
Hellard also commented on Wayne Static’s relationship with family members, noting it was a difficult subject during his lifetime.
“There were also strained relationships within Wayne’s family, which he openly struggled with at different points in his career,” she said.
In closing, Hellard reaffirmed her belief that Wayne and Tera wanted their story documented.
“Based on my experience and conversations with both Wayne and Tera, I believe they did want their story told.
Honoring their wishes is, in my view, the most respectful way to recognize Wayne’s legacy and the impact he had on fans and music as the voice behind Evil Disco.
This story belongs to Wayne and Tera, and it deserves to be heard as authentically as possible.”
Also check out this recent interview:

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Last month, Bright Eyes announced a collaboration with Woodstock (the official cannabis brand of the 1969 Woodstock Festival) for limited edition pre-rolls. The band is currently celebrating 21 years of I’m Wide Awake, It’s Morning and Digital Ash In A Digital Urn with an anniversary tour, so the product includes .5g sativa pre-rolls for Wide Awake and two .5g indica pre-rolls for Digital Ash. Naturally, we had our Cannabis Correspondent Rachel Brown investigate the situation.

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