Last month, Macklemore was kicked off Ed Sheeran’s tour after Robert Kraft, the owner of Massachusetts’ Gillette Stadium, was unhappy with the rapper’s pro-Palestine activism during his performances. Sheeran has subsequently faced lots of backlash for his persistent refusal to take a stance on genocide, whereas Macklemore announced a Free Palestine Tour. On Friday (Oct. 2), country superstar Zach Bryan wore a Free Palestine shirt at his Gillette Stadium show.
As we race to catch up with modern times, we’ve finally entered the summer stage of 2026! June was sweaty with heat and also a slate of quality releases, and the staff voting list was long and confusing, but we did the best we could to make sense of it and give the little people their say. As we always say, democracy is a filthy, messy business, best left to the professionals. We are them.
Hyper-melodic doom-death crew Fires in the Distance have been on quite a roll since their 2020 debut, taking their classic sadbi melodoom template and slowly expanding it over several releases. Third gloom platter, Circadian Promise [out June 12th on Prosthetic Records] finds just the right balance between heaviness and melodic hooks, and with a new vocalist, they push their sound out to new horizons of fire. Death roars and clean vocals pair with stirring, emotive guitar and keyboard work to create grand tapestries of metal magic. Melancholy is the key, and you get saturated in it in all the best ways. As a fully impressed Thus Spoke concluded, “Circadian Promise fully becomes its concept as its powerful pieces coalesce into a fortifying tonic you surely can’t resist, lifting your spirits, and Fire in the Distance themselves, up into the stratosphere.” Light it up.
Runner(s) Up:
Warning // Rituals of Shame – Warning need no introduction to those who wallow in the darkest pits of doom. Their 2006 magnum opus, Watching from a Distance, is a touchstone of the genre. Powered by the creative genius of Patrick Walker, it created one of the most despondent, oppressive soundscapes ever heard, and it still packs a raw impact few albums will ever match. Warning didn’t follow up this legendary album with another full-length until this year, and it’s like the time in between just melted away. Rituals of Shame [out June 19th on Relapse] is very much the spiritual successor to Watching, and all the same crushing lows and illusory highs are here. No dust to knock off, no forced recycling of older ideas; this is pure Warning in all its misery and joylessness. As Grymm expertly summed up, “You listen to Warning to reflect, to purge, and to feel. And if you’re anything at all like me, you’ve been waiting a damn long time for a worthy follow-up to Watching from a Distance. Thankfully, Warning gave us exactly that. Welcome back.” Here come the tears!
Khemmis // Khemmis – Colorado-based doom troupe, Khemmis have taken the pole position in the new wave of American doom revival. Their blend of classic doom sounds mixed with 80s traditional metal and bits of extremity has been a potent witch’s brew over the years, though the balance sometimes missed the mark. Their self-titled fifth album [out June 12th on Nuclear Blast] finds a better equilibrium between the various elements, delivering shorter and catchier doom nuggets steeped in 80s heavy metal glory. While it doesn’t nail the same highs as their early material, it’s another strong statement on modern doom. As Lavender Larcenist succinctly put it, “It seems like Khemmis wants to move away from their traditional doom metal trappings and lean into more arena-driven, heavy metal tracks, and for a band with their talent, the sky is the limit.” Wizards, man.
State 51/Company of Corkbots [Release date 16.10.26] Ulster singer‑songwriter, harpist and biologist Bróna McVittie returns with ‘Supernatural’, her fourth solo album. Released to coincide with Samhain, the ancient Irish festival when the veil between worlds grows thin, ‘Supernatural’ stands at … Continue reading →
BOY GOLDEN I caught Boy Golden twice, and both sets were terrific in song and stagecraft. At the second show, I recognized a guy in a Boy Golden t-shirt from the previous set. I struck up a conversation and it turned out to be Dad Golden. Boy Golden also had to follow the reunion of […]
Cabaret Voltaire was kind enough to select Washington, DC as one of the few North American cities on their Final USA + Canada Tour. Founding members of the England-based band Stephen Mallinder (vocals, bass, keyboards, and sampling) and Chris Watson (keyboards and tapes) reprised Cabaret Voltaire to celebrate the group’s 50th anniversary and say farewell to their fans across the pond. And, while Watson is only appearing on a few, select European dates, Mallinder assembled a team to celebrate these songs in real life on North American soil one last time.
Sadly, Richard H. Kirk, who along with Mallinder and Watson formed Cabaret Voltaire, passed away in 2021 and isn’t around to help pay tribute to this band and their songs one last time. Mallinder, Watson, and Richard H. Kirk started their band in Sheffield, England in the early 1970s and forged their own path by incorporating electronic music, samples, and visual accompaniments with their songs and performances, setting an example for other genres such as industrial music, post-punk, and more.
I Speak Machine hit the stage at 8:00 p.m. sharp and plowed through a non-stop 30-minute set. Busch delivered a compelling vocal performance along with an energetic dance performance set before stunning videos of her on the backdrop. Busch co-founded I Speak Machine in 2013 with filmmaker Maf Lewis whose work makes up for the lack of live music performance through film work that accentuates Busch’s theatric talents. Busch wrapped up her performance at 08:30 p.m.
Busch commanded the stage with a killer set.
Cabaret Voltaire hit the stage at 09:00 p.m. and played for nearly 90 minutes, wrapping up their set around 10:30 p.m. Mallinder was in top form, singing, playing bass and keys, and dancing to the rhythm of Cabaret Voltaire’s exquisite songs. Mallinder and crew delivered a career-spanning setlist that should have had something for fans of any era of the band or electronic music in general.
Also released earlier this year, the live album, But What Time Is It Really? is available via the band’s website and on the upcoming tour. Be sure to check it out.
While he may have been the only original member, Mallinder’s sharing of these songs made it clear that they are a record of a band whose legacy ought to be documented, remembered, and appreciated. Were it not for Mallinder, Watson, and Kirk getting together 50 years ago and putting making the music we might not very well have had bands like Big Black, Ministry, or Godflesh. Hats off to Mallinder for making this a tour to remember.
Just a few days ahead of their upcoming tour with Tungsten and Kilmara, Induction are back with a very special release: The modern power metal outfit led by guitarist Tim Hansen has unleashed a video clip for the brand-new version of their epic anthem “Gods Of Steel,” featuring none other than Kai Hansen (Helloween, Gamma Ray) on guest vocals.
“Gods Of Steel” originally appeared as an exclusive track on the physical editions of Induction’s latest album, Love Kills!, featuring a guest appearance by Antonio Calanna (A Cold Paradise). With its massive choirs, soaring melodies and larger-than-life heavy metal spirit, the song already stood out as one of the band’s most epic compositions. For this new version, Induction are bringing one of the most influential voices and personalities in German heavy and power metal into the fold.
For Tim Hansen, the collaboration carries an additional personal significance. Not only does he consider his father’s unmistakable voice a perfect fit for a song like “Gods Of Steel,” the two also recently worked together on the new Hansen album, Born with a Hammer, that was released on September 18th via earMUSIC.
Tim Hansen comments: “‘Gods Of Steel’ is probably the most epic song we’ve ever written. It has everything we love about heavy metal: huge melodies, massive choirs, energy and that larger-than-life feeling that made us fall in love with this music in the first place.
Having Kai join us for this new version takes the song to an entirely different level. Of course, for me personally, having my dad on an Induction song makes this release even more special. But beyond that personal connection, there simply couldn’t be a more fitting voice and character for a song called ‘Gods Of Steel.’
We’re incredibly excited to finally unleash this version into the world. Turn it up louder than hell. This is heavy metal in its purest form!”
“Gods Of Steel” is part of Induction’s third studio album, Love Kills!, released on February 6, 2026 via Reigning Phoenix Music. The record sees the band continue to expand their modern power metal sound, combining their classic heavy metal roots with progressive elements, sweeping orchestration and a cinematic production.
At the same time, Love Kills! showcases Induction at their most versatile. Moving between hard-hitting metal anthems, soaring melodic passages and more atmospheric moments, the record explores different facets of love, passion and their darker consequences. Alongside “Gods Of Steel,” the album features tracks including “Dark Temptation,” “Steel And Thunder,” “Beyond Horizons” and the title track, “Love Kills.” “Strangers To Love” also features a guest appearance by Clémentine Delauney of Visions Of Atlantis.
Following the path established with Born From Fire, Induction have broadened their musical scope on Love Kills! while adding an even more modern and cinematic dimension to their sound. Crafted at Chameleon Studios and Boogie Park Studios in Hamburg, the new album was produced by Tim Kanoa Hansen, and was mixed and mastered by Eike Freese in collaboration with the guitarist. Love Kills! marked the beginning of a new era for Induction, defined by musical evolution, emotional depth, and a fearless drive to push the boundaries of modern power metal.
Now, Induction will take their high-voltage shows back to the stage. Starting October 7, 2026, the band will hit the road alongside Tungsten and special guests Kilmara for the Anthems Of Steel Tour 2026. The run will take the bands across Germany, Switzerland and Austria; for more information and to get tickets, check here.
If you put on the new Exbats album without any advance knowledge of what the band had been cooking up the last couple years, you were probably shocked out of your shoes. The Exbats falling in love with synthesizers and drum machines is something literally no one could have seen coming. But of course this bold departure is an unequivocal success. It’s the freaking Exbats! Anything they touch turns to gold!
So here’s the story behind My Dinner With Crumar. The Exbats became massively inspired by Sweeping Promises a few years back, and a close friendship between the bands was formed. The Exbats were intrigued by the idea of recording in Sweeping Promises’ house studio, and Caufield Schnug kindly agreed to record them. So the band trekked from Bisbee, Arizona to Lawrence, Kansas four different times between the summer of 2024 and the spring of this year and made a record. I love the idea of bands inspiring and pushing each other to grow and evolve. The Exbats would not have been able to make this exact record in any other studio. The band discovered the Crumar Orchestrator (an Italian string synth from the ’70s) in the studio and realized it perfectly fit the mood they were going for. And hence we have the name of the album. Yes, it’s really, really different. But it’s also really, really great. The McLains took a really huge swing with this album, and they knocked it out of the park.
What I love about My Dinner With Crumar is that all those electronic instruments (there are also a Moog Grandmother, Oberheim DMX, and Pulsar 23 in the mix) aren’t just there for show. They serve a purpose and fit a more modern, atmospheric wall of sound. The programming here is beautiful and very intentional. You can still hear the band’s love for ’60s pop and girl groups coming through, but on this record, the McLains advance their time machine into the heyday of new wave and synth-pop. A five minute, 31-second slow-burning epic is an interesting choice for a lead track, but “Will You See Me in the Morning” really is the perfect table-setter for this album. It’s a bold, emphatic statement. If “I Only See You When I’m Dancing” sounds like classic Exbats turned electronic dance band, I suppose that’s exactly what it is! “Back Where You Belong” is picture-perfect new wave pop. “Come and Get Me” is funky, punky disco-pop and a certified earworm. “Call Me An Idiot One More Time” ought to be a smash hit on every continent. Songs like “Falling Into Something” and “Nobody Told Me I Was Dead” aren’t that far off from The Exbats of old, yet they sound perfectly in place on this record. “Hide My Baby,” which Franksteins together The Shangri-Las and Velvet Underground, will be the track of choice for those who always like a punkier Exbats. And how about a synth-pop reprise of the band’s old favorite “Hercules” to remind us that what’s old can always be new?
I will admit that I was a little dubious when I started listening to My Dinner With Crumar. I’d been waiting a long time for the band to release music, and I wasn’t sure I was ready for a synth-pop Exbats. But my skepticism was very short-lived since the songs are just so undeniable. Given that this band had been so long known for a traditional guitar-based rock style, it was a gutsy move to embrace synthetic sounds. But whatever instincts were guiding Inez, Kenny, and friends as they conceived, wrote, and recorded this album must have been deemed by the music gods. They knew what kind of album they wanted to make. And with a lot of help from their friends, they made it. This record turned out to be everything I was hoping for and then some.
I don’t think there’s anything better for a band than catching that jolt of inspiration and finding yourself super-excited about a new direction. The first rule of making music is that you have to love what you’re doing. Whether or not anyone else loves what you’re doing is largely out of your hands, but I don’t think My Dinner With Crumar will have many people hopping off the Exbats train. If anything, more people will be jumping on. Any time I talk about the best bands out there right now, The Exbats are always in the conversation. They are a reminder that new, exciting music is still out there if you care to look for it. That remains truer than ever. As this band, now 16 years into its story, enters its self-described “middle period,” I can’t help but be pumped about what’s still to come.
Warning // 
Khemmis // 
