The records that the Whitby, Ontario musician Brandon Williams makes under the name Chastity are pretty simple and direct, but it’s hard to put an exact genre tag on them. Heavy emo? Heart-on-sleeve shoegaze? Power-pop that’s drowning in fuzz and also anguish? Chastity’s music sounds like Jesu and the Promise Ring at the same time. I’m very into it.
The post Chastity Announces New Album <em>I Built This Prison Myself</em>: Hear “Misled Youth” appeared first on Stereogum.
Signs Of The Swarm have released a cover of Rob Zombie’s “Dragula,” out now as a standalone single via Century Media, marking one year since their sixth album To Rid Myself Of Truth. The Pittsburgh deathcore band tuned the guitars into the basement, ran it through beat loops with producer Josh Schroeder, and finished the whole thing in a day. Then they made a video — and what started as a simple homage turned into a warehouse full of people from half the bands in modern heavy music, plus a professional skateboarder throwing himself off a roof.
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Drummer Bobby Crow says the band spent years looking for the right song to put a Signs Of The Swarm spin on, and the shortlist was all over the place — The Prodigy, Slayer, Static-X.
What kept pulling them back was Hellbilly Deluxe. They’d had it on repeat on long tour drives to stay awake, and Crow name-checks “Living Dead Girl,” “Superbeast” and “Spookshow Baby” as the ones they loved most.
Then one day somebody started mouthing out what a Signs Of The Swarm version of “Dragula” might sound like, and that was that. His words: this is the one.
They took it to Josh Schroeder, who helped build out beat loops. The guitars got tuned down about as far as guitars go. And the whole thing came together inside a day.
That speed shows in the best possible way — it sounds like a band having fun rather than a band doing homework.
Worth noting for anyone tracking the modern deathcore production lineage: Schroeder produced To Rid Myself Of Truth, he produced this, and he produced Lorna Shore’s I Feel The Everblack Festering Within Me. He’s quietly become one of the most important people in the genre.
LIVE & LOUD: Stream the World’s Hardest Radio Station 24/7Vocalist David Simonich’s account of how the video happened is the best thing in this whole story, and it’s a masterclass in accidental momentum.
The original plan was a one-to-one recreation of Rob Zombie’s 1998 video. That fell apart immediately because they couldn’t find the right car. While looking at rentals, somebody suggested a Polaris Slingshot — which is the polar opposite of what they were going for, and that’s exactly why it worked. If they were modernising the song, why not modernise the video too?
Simonich says they usually take their videos seriously, and this one gave them permission to let the freak flag fly.
So they started inviting friends. And then it snowballed.
And then the long shot.
Their friend Vicente, who’s shot videos for both the band and Bam Margera, was asked whether the skater might be up for dropping in. As luck had it, Margera was coming back to West Chester — the area he made famous — for the first time in months, and he made it happen. He brought fellow pro skater Dalton Dern, who looked at the warehouse and suggested ollieing off the roof of a room inside it.
Simonich says that’s not even everybody, and sums the day up in three words: sure, why not.
That’s how the best videos get made. Nobody planned it. Somebody just kept saying yes.
On paper, a deathcore band covering a 1998 industrial-metal radio hit could go badly wrong. In practice it fits, and here’s why.
“Dragula” was always built on groove rather than speed. That stomping, mechanical bounce is the whole song, and it’s exactly the territory Signs Of The Swarm have been moving into — Hellbilly Deluxe sits high in Rob Zombie’s catalogue precisely because it’s relentlessly physical rather than technical.
Meanwhile the band have spent the last few years shedding the pure slam skin. Their own framing is that they’re now as indebted to Meshuggah, Gojira and Fear Factory as to the deathcore bands they grew up on. Fear Factory in particular is the tell — that’s industrial machinery in heavy music, which is the same well “Dragula” was drawn from.
So this isn’t a novelty. It’s a band covering a song from the tradition they’ve been quietly moving toward.
Zombie himself, incidentally, is out on the road with Marilyn Manson this year on the Freaks On Parade run.
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The cover marks twelve months since album six, and that record deserves the anniversary.
Produced by Schroeder, To Rid Myself Of Truth was the band’s most serrated, least compromising album — a deliberate move away from the djent-adjacent bounce of its predecessor toward something angrier and more technical. Knotfest called it a level-up that struck as both sonically powerful and refined, and it landed on plenty of year-end lists.
The singles: “Natural Selection,” the title track, “Scars Upon Scars,” “HELLMUSTFEARME,” and “Clouded Retinas” featuring Will Ramos — which explains why Ramos was an easy phone call for the video.
Signs Of The Swarm have become one of the most reliably heavy bands in modern deathcore at exactly the point where the genre has stopped being underground. The lineup is Bobby Crow on drums, David Simonich on vocals, Carl Schulz on guitars and Michael Cassese on bass.
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They’ve just come off a run of major European festivals, and the North American headline trek starts in October with Nekrogoblikon, Aborted, Party Cannon and The Last Ten Seconds Of Life.
Oct. 13, 2026 – W Chicago, IL @ WC Social Club
Oct. 14, 2026 – St. Louis, MO @ Red Flag
Oct. 16, 2026 – Phoenix, AZ @ Van Buren ~
Oct. 17, 2026 – Albuquerque, NM @ Sunshine Theater ~
Oct. 19, 2026 – San Antonio, TX @ Vibes Event Center ~
Oct. 20, 2026 – Dallas, TX @ Echo Lounge ~
Oct. 21, 2026 – Houston, TX @ House of Blues ~
Oct. 23, 2026 – Orlando, FL @ The Beacham ~
Oct. 24, 2026 – Tampa, FL @ Ritz Ybor ~
Oct. 25, 2026 – Atlanta, GA @ Buckhead ~
Oct. 26, 2026 – Myrtle Beach, SC @ House of Blues ~
Oct. 28, 2026 – Philadelphia, PA @ Brooklyn Bowl ~
Oct. 29, 2026 – Brooklyn, NY @ Brooklyn Bowl ~
Oct. 30, 2026 – Boston, MA @ Paradise Rock Club ~
Oct. 31, 2026 – Norwalk, CT @ District Music Hall ~
Nov. 1, 2026 – Toronto, ON @ Opera House ~
Nov. 3, 2026 – Detroit, MI @ St Andrew’s Hall ~
Nov. 4, 2026 – Cleveland, OH @ House of Blues ~
Nov. 5, 2026 – Indianapolis, IN @ Deluxe at Old National Centre ~
Nov. 7, 2026 – Denver, CO @ Oriental ~
Nov. 8, 2026 – Salt Lake City, UT @ The Depot ~
Nov. 10, 2026 – Spokane, WA @ Knitting Factory ~
Nov. 11, 2026 – Portland, OR @ Crystal Ballroom ~
Nov. 12, 2026 – Seattle, WA @ Crocodile ~
Nov. 14, 2026 – Ventura, CA @ Majestic Ventura Theatre ~
Nov. 15, 2026 – Los Angeles, CA @ Belasco ~
Nov. 18, 2026 – Tulsa, OK @ The Vanguard
Nov. 19, 2026 – Louisville, KY @ Headliners ^
Nov. 20, 2026 – Columbus, OH @ Summit ^
Nov. 21, 2026 – Pittsburgh, PA @ Preserving ^
~ = w/ Nekrogoblikon, Aborted, Party Cannon
^ = w/ The Last Ten Seconds of Life
Toronto gets them at the Opera House on November 1, and they finish at home in Pittsburgh on the 21st — which, for a band who built this video by phoning everyone within driving distance, is the right way to end it. Plenty more on the rest of the heavy touring calendar if you’re planning ahead.
Yes. The Pittsburgh deathcore band released their cover of Rob Zombie’s “Dragula” on August 24, 2026 as a standalone single through Century Media Records, timed to the one-year anniversary of their sixth album To Rid Myself Of Truth. It arrived with a video.
Cameos include skateboarder Bam Margera, Will Ramos of Lorna Shore, Tyler Beam of The Last Ten Seconds Of Life, Trey Williams of Dying Fetus, Matt Greiner of August Burns Red, Jack Murray of 156/Silence, Galactic Empire’s Kevin Corkran and pro skater Dalton Dern, among others.
Josh Schroeder, who also produced the band’s 2025 album To Rid Myself Of Truth. Drummer Bobby Crow says Schroeder helped develop the track’s beat loops, and that the cover was completed within a day.
Bobby Crow on drums, David Simonich on vocals, Carl Schulz on guitars and Michael Cassese on bass. The band formed in Pittsburgh, Pennsylvania.
The North American headline run begins October 13, 2026 in Chicago and ends November 21 in Pittsburgh. Nekrogoblikon, Aborted and Party Cannon support the majority of dates, with The Last Ten Seconds Of Life on the final three. The Toronto date is November 1 at the Opera House.
A rooftop ollie, a robot suit, and a moustache with its own screen time. What’s the best metal cover of the last decade — and does this crack it? Tell us in the comments. And keep it locked on the Loaded Radio stream — follow Loaded Radio for daily rock and metal news.
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Be Me begins the album with an immediate sense of refinement. The initial guitar chords present a progression that feels suspended. As the vocals enter, they carry a unique quality that feels modern and alternative. The use of innovative techniques is evident here without sacrificing emotion or clarity in communication. This track paves the way for the exploration of profound themes throughout the album.
Next, The Story of a Mistress unfolds with a guitar loop that has a funky feel. The strumming creates a rhythm reminiscent of a relaxed cocktail setting. This minimalist arrangement offers ample space for listeners to breathe, resulting in a particularly understated elegance. The simplicity in the composition allows the listener to connect more deeply with the music.
Following this, Bowie on the Wall presents a nostalgic ballad that truly resonates. This song has a nighttime ambiance, reaching into the soul of the listener. The reflective nature of the lyrics pairs beautifully with the melodic composition, drawing one further into the atmosphere. Its emotive quality confirms the artist’s ability to deliver a heartfelt performance.
Bittersweet, one of the standout tracks, features an interesting rhythmic cadence that feels suspended in time. This introspective piece showcases unexpectedly intriguing harmonic variations. The song’s unpredictability keeps listeners engaged as the twists in the melody unfold. It highlights the artist’s compositional style, emphasizing intimate, minimalist creations that resonate with the listener’s essence.
The artist behind this work skillfully combines human emotions with innovative recording processes. This creates a unique musical experience that exists in a realm of its own. By focusing on elevating the listener’s experience, the artist crafts melodies that linger and provoke thought. The album consistently demonstrates creativity and emotional depth, making it a remarkable entry in the contemporary music scene.
Through its heartfelt themes and adventurous compositions, the album is a thought-provoking work. It urges listeners to reflect on their emotions and experiences. Each track offers a glimpse into the artist’s unique world, inviting everyone to join the exploration. This work captures and ignites varied emotions, making it a significant addition to the modern musical landscape.
The innovative approach to instrumentation is a noteworthy element. As listeners navigate through the album, they encounter a dynamic range of emotions. The production techniques elevate the music while keeping the focus on authenticity and expression.
The artist’s voice serves as a guiding force, leading the audience through a labyrinth of emotions. “Scenes from a Well Worn Path – Side One” is truly a remarkable work that stands out. It emphasizes a personal journey that invites self-reflection and connection with others. A sophisticated blend of sounds and emotions makes this album worthy of repeated listens.
This album is well crafted and musically engaging. Each song invites listeners to explore and discover something new with every listen. Undoubtedly, the artist’s commitment to artistic integrity shines brightly throughout.
Refined
If you love this music: Discover MoreThe post Music by Jeremy Scenes from a Well Worn Path – Side One Review appeared first on Edgar Allan Poets – Noir Rock Band.
The first aspect that stands out about “Invisible Light” by Amarah is the delicate yet intense atmosphere crafted from the start. The track envelops the listener in a nostalgic and profound ambiance. This immediacy breaks down the barriers between the artist and the audience, making the experience deeply personal. The music reaches the soul quickly and effectively.
The tone of the song is twilight, combining modern and slightly futuristic sounds that also evoke an atmosphere related to the 1980s. This blend of styles adds a unique quality. Amarah’s vocal interpretation is gentle and inspiring. Her voice infuses the song with a depth that transports listeners into the heart of the music.
The accompanying video enhances the emotional weight of “Invisible Light.” It complements the song’s themes, creating a visual representation of hope and strength. The imagery adds layers to the already rich auditory experience.
This single serves as a beacon of hope. Designed to empower listeners during times of uncertainty. Amarah’s lyrical content encourages perseverance, reminding listeners that resilience is possible. The sincere and introspective nature of the lyrics resonates deeply with anyone who has faced challenges.
The production quality is polished, showcasing Amarah’s vocal talents while enhancing the overall mood of the track. Each note and lyric work harmoniously to maintain the song’s emotional intensity.
The melody stays in your mind long after the song ends. The intricate layers of instrumentation support the vocals without overshadowing them. They weave together, creating an immersive listening experience. This careful balance illustrates Amarah’s understanding of musical dynamics.
What is particularly striking is how “Invisible Light” evokes a sense of nostalgia. The song recalls emotions from past experiences, making it relatable to many listeners. It surfaces memories that may have been buried, prompting reflection and connection.
The overall production captures a dream-like quality. This characteristic gives the song a unique identity within the contemporary music landscape. The immersive atmosphere invites repeated listens, allowing listeners to discover new nuances each time.
“Invisible Light” is a remarkable single that encapsulates a journey of emotion. The careful crafting of each element enriches the listener’s experience. Amarah successfully creates a transformative space through her artistry. This single is not just a song; it is a heartfelt message wrapped in expressive music.
Hopefulness, along with a unique sound, positions this single as one of the standout tracks of the moment. Amarah has indeed delivered a piece that strikes a chord with many, and it is one that deserves attention and recognition.
Hopeful
If you love this music: Discover MoreThe post Amarah Invisible Light Review appeared first on Edgar Allan Poets – Noir Rock Band.
Corrosion of Conformity will return to US stages this Fall on a co-headlining tour with The Sword. The two-week journey will commence on November 2nd in Buffalo, New York, and run through November 19th in Pensacola, Florida. Additional support will be provided by Hippie Death Cult.
Comments Corrosion of Conformity vocalist/guitarist Pepper Keenan: “Well well welll… to all the free thinkers and beer drinkers, the Corrosion train won’t stop. Everywhere all the time! Gonna be ripping with The Sword and Hippie Death Cult. See ya on the horizon. Let’s fucking go!”
Artist ticket presales begin today, Tuesday, August 25th at 12:00 pm ET. Password: COC2026. The general on-sale date is Friday, August 28th. Secure your tickets here, and see all confirmed dates below.
Corrosion of Conformity will be touring in support of their mammoth new double album, Good God / Baad Man, released on April 3rd via Nuclear Blast.
Produced by Grammy award winner Warren Riker (Fugees, Down, Cathedral) and featuring cover art by famed New Orleans artist Scott Guion, Good God / Baad Man was recorded at Blak Shak Studios in Riffissippi, USA, Dockside Studios in Maurice, Louisiana, and Bee Gee Barry Gibb’s home studio in Miami, Florida.
The Sword is celebrating the 20th anniversary of their groundbreaking debut album, Age Of Winters, and is finishing up their highly anticipated tour with Red Fang on the West Coast.
The Sword has handcrafted their own immersive mythology underscored by undeniable and
unpredictable guitar fireworks, cinematic themes, and otherworldly concepts. Since emerging out of Austin, Texas in 2003, the quartet — JD Cronise (vocals, guitar), Bryan Richie (bass, keys), Kyle Shutt (guitar, vocals), and Santiago Vela (drums) — have incited the obsession of a diehard fanbase and the applause of tastemakers such as Rolling Stone, The Washington Post, Decibel, and more.
The band’s catalog encompasses six full-length albums, namely Age Of Winters (2006), Gods Of The Earth (2008), Warp Riders (2010), Apocryphon (2012), High Country (2015), and Used Future (2018). The group has shared the stage with everyone from Metallica to Lamb Of God and Clutch in addition to selling out headline tours on multiple continents. After a two-year hiatus, the band officially reunited and returned in tandem with the celebration of the 15th anniversary of Warp Riders. Hailed as a “classic” by Consequence, it originally garnered praise from the likes of Premier Guitar, SPIN, and more. Standing out as one of the 21st century’s most important heavy bands, The Sword architects the next chapter of their mythology with more touring and subtle hints of new music on the horizon.
The post CORROSION OF CONFORMITY & THE SWORD Announce US Co-Headlining Tour appeared first on Sonic Perspectives.