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The upcoming release was captured during his tour with the E Street Band and Tom Morello earlier this year. Continue reading…

Since releasing her debut album Speak In The Dark in 2024, Tara has opened for Raye in London and collaborated with King Krule. Today, the British-Bengali musician is back with a sprawling new song called “Break The Motion.”

The post Tara Lily – “Break The Motion” appeared first on Stereogum.

Sets from Helloween, The Ghost Inside, Kim Dracula, Unprocessed, Blackbraid and Alestorm have also been shared this week.

The post Pro-Shot Footage Of Arch Enemy, Thy Art Is Murder, Paleface Swiss, Amorphis, Etc. Sets At The 2026 ‘Summer Breeze’ Festival Released appeared first on Theprp.com.

We regret to announce that, due to unforeseen circumstances, our upcoming September shows in Mexico and Las Vegas will need to be postponed.
We are extremely disappointed but look forward to returning in 2027 along with a number of European shows with details to be announced soon. We cannot wait to rock with you all again! To those who have purchased tickets, all tickets will be honored for the rescheduled dates. Refunds will be available for those who cannot attend the rescheduled shows.

Tourdates here…

In an act of unconscious serendipity, shortly before beginning this review, I re-read Jean-Paul Sartre’s Nausea. The serendipity is not in the proximity between Nausea and Vomit—though that’s also interesting—but in a particular manner of revelation. There’s a part in the book where our protagonist, suddenly seized by a violent attack of his titular malaise, rushes near-blindly through the streets, and his thoughts become fragmented into repetitive near-word-association as he begins to confront the horror of things existing.¹ The lyrics of Acausal Intrusion’s fourth album, Vomit Meditations, are disjointed and uncanny in precisely this sense; reading them instantly linked these two works in my mind. The music itself is no less viscerally chaotic and confrontational, as the duo step into what’s possibly the heaviest and strangest iteration of their already intense and avant-garde sound so far—one which pairs perfectly with a life-altering existential crisis.

Vomit Meditations lives up to its moniker as it sees Acausal Intrusion’s signature hyper-dissonance and unsettling contemplativeness contorted into a bizarre series of violent spewings, punctuated by uneasy moments of reflective resonance, even beauty, to which Panpsychism’s doomier shades are confined, channeled through the acoustic and ambient. The free-jazz influence is stark, and not only in the prominence of piano in the album’s stiller passages (“Vomit Meditation,” “Psychic Abolishment”). Twisted guitar lines—more Cosmic Putrefaction or Ad Nauseum than Gorguts—writhe up and down and in and out of focus above the churning miasma of impossible tempos and abyssal belches—unheard this side of Portal—their seeming stochasticism belied as they coalesce into a shape more than their sum. Spasmodic scales and sudden lead switches from which one reflexively recoils start to make sense, and the real melodicisms that arise over the runtime grow more apparent. Recurring seizures of percussion grow hypnotic as the curve of their circularity becomes clear (“Convex Hidden Echoes”), and a ringing mass of wails and riffs rises until the overlapping tones produce the illusion of symphonics (“Psychic Abolishment”). The barrier to entry remains high, but the rewards are significant.

It’s in this paradox of chaotic reasoning where Vomit Meditations develops its vice grip. With alluring psychedelic rock (“Vomit Meditation”) it beckons its subject in, and with a chilling nocturne it leads them to the final, most awful revelation of all (“Psychic Abolishment”). With barely a beat between the unironic beauty and the hellish cacophony, the latter in particular gains near-transcendence. Although the album is marked by repeated 180-degree turns in rhythm (most aggressive on “Usurping Vaporous Primal Vibrations” and “Convex Hidden Echoes”), it has an unexplainable almost groove, which actually becomes explicit at times (“Vital Transformation”), and the endless about-turns and restless rolling and crashing morph into a hideously compelling dance (“Vomit Meditation,” “Requiem Murmur”). Once again, I struggle to believe drummer and vocalist Cave Ritual’s humanity, hearing such things. Although guitars jump in and out of focus (“Usurping…,” “Psychic Abolishment”) with riffs mostly possessing a stabbing, dragging, flailing discordance as though Nythroth’s fingers were strangling the very instrument used to produce them, their purpose never fails to manifest in the organic yet unpredictable shapes they create (“Convex…,” “Requiem Murmur”). Plus, there’s a lot more melody infused into the music than an uncritical ear would like to acknowledge (“Vomit Meditation,” “Vital Transformation”).

Vomit Meditations also largely improves on areas where previous records fell short. It flows with remarkable ease considering its freeform style and considerable 50-minute runtime and grows more compelling as it progresses. The second half’s superiority is arguably down to paying off what is better than the first in pacing, intrigue, and memorability, though arguably this is dependent on the first half having set up the themes it pays off. The production, continuing to be rich and dynamic for death metal but with the vocals and drums relatively forward, works better than it has previously. I’d recommend listening on a pair of good headphones that will enable you to catch the myriad horrors occurring within the soundscape. Nonetheless, the mix, as well as the relentless complexity and improvisational feel, will persist in alienating many listeners. Though Acausal Intrusion distinguish themselves from the ultra-extreme-for-extremity’s sake crowd by demonstrating that they can turn apparent randomness into a form of reason, they could perhaps tone it down just a tad.

Vomit Meditations is Acausal Intrusion’s best album. Some will interpret this as damning with faint praise an album in a discography otherwise too ugly and over the top to be good. I mean it quite differently. Vomit Meditations is violently, masochistically enjoyable and multifaceted and arresting, and it gets better on each spin. It requires a certain receptiveness—what experimental extreme metal doesn’t—and Acausal Intrusion will maintain a modest following, but its mania feels so deliciously meaningful I don’t even want to try escaping it.

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Rating: Very Good²
DR: 8 | Format Reviewed: 256 kbps mp3
Label: I, Voidhanger Records
Website: Bandcamp | Facebook
Releases Worldwide: September 4th, 2026

The post Aucausal Intrusion – Vomit Meditations Review appeared first on Angry Metal Guy.

Their new album “Ydos” was released last week.

The post Black Spikes Launch “MOTINA” Live Video Featuring A Guest Choir appeared first on Theprp.com.

Dream Theater keyboardist Jordan Rudess will take the stage twice on Saturday, Oct. 3, 2026, performing at MIT‘s Thomas Tull Concert Hall as part of the inaugural MIT Future Fest. Joining him will be a roster of musical guests and jam_bot, an A.I. model built alongside Rudess and trained on his own playing. The whole project rests on a simple premise: jam_bot isn’t meant to replace musicians, but to widen what’s creatively possible for them and spark new approaches to making music.

The performances will mark the world premiere of Rudess and jam_bot improvising alongside the MIT Chamber Chorus, with the A.I. generating music for the singers on the fly. Shows run Oct. 3 at 5 p.m. and 8 p.m.

jam_bot has been three years in the making, developed through a partnership with the MIT Media Lab involving Lancelot Blanchard, Perry Naseck and Professor Joseph A. Paradiso, all working alongside Rudess during his stint as a Distinguished Visiting Artist with MIT’s Center for Art, Science & Technology. These concerts offer a rare look at where the research has landed, putting Rudess face-to-face with a real-time system built to bring generative A.I. into live performance.

Spanning everything from Baroque counterpoint to progressive rock, the set will lean heavily on live improvisation. jam_bot can listen and respond to Rudess in the moment while simultaneously generating material for other musicians onstage, opening up new territory for collaborative improv.

Rudess comments: “I’ve spent my entire life studying, exploring, and creating music. What excites me about jam_bot isn’t the technology by itself — it’s where it can take me musically. I can improvise, follow an idea in the moment, and suddenly have a choir or an ensemble responding to what I’m playing. That opens up a whole new world of creative possibilities.”

Event details:

What: Jordan Rudess + jam_bot: A Human-AI Musical Dialogue

When: Saturday, Oct. 3, 2026 — two performances, 5-6 p.m. and 8-9 p.m.

Where: Thomas Tull Concert Hall, Edward and Joyce Linde Music Building, MIT, Cambridge, Mass. (201 Amherst St, Cambridge, MA 02139)

Tickets: $5 for MIT community members, $10 general admission, available via Eventbrite. A portion of the 5 p.m. show is set aside for MIT Future Fest ticket holders.

Capacity: 300 per show.

Performers: Jordan Rudess, the MIT Chamber Chorus, and guest student performers.

Since the program is shaped through live improvisation, no two performances will play out exactly the same way, even with identical material on the bill.

Rudess is a Grammy Award-winning keyboardist, composer and technologist, best known for his work in the Grammy Award-winning, multi-platinum progressive metal band Dream Theater. Celebrated for his technical command and his ongoing curiosity about new musical technology, Rudess has spent decades operating at the crossroads of performance, composition and innovation.

Beyond his work with Dream Theater and as a solo artist, Rudess has partnered with researchers, designers and technologists to push forward new ideas in musical expression and human-computer interaction. His relationship with MIT dates back to 2023 and has grown into an ongoing collaboration focused on how artificial intelligence can broaden what’s possible in live music.

The MIT Media Lab is an interdisciplinary research hub at the Massachusetts Institute of Technology in Cambridge, Massachusetts. For four decades, its students, faculty and researchers have operated at the intersection of art, science, engineering and design, driven by the belief that everyone deserves the chance to flourish. Among its many research groups is Responsive Environments, led by Professor Joseph Paradiso, which studies how sensor networks, interactive systems and emerging tech reshape the relationship between people, information and environments — covering everything from human-computer interaction and wearable sensing to responsive spaces and new forms of artistic expression. More information is available at mitmedialab.info/mlresponsive.

The post DREAM THEATER’s JORDAN RUDESS To Premiere AI-Powered Jam_Bot Project At MIT appeared first on Sonic Perspectives.

Who let Jörmungandr loose?

The post Black Tide Launch Norse Mythology-Inspired “Midgardsormen” Music Video appeared first on Theprp.com.

2 Chainz, Cash Cobain, and Young Nudy are three great tastes that taste great together. The Atlanta rap comedic genius, the NYC sexy drill pioneer, and the Atlanta trap iconoclast have joined forces on the new single “Reign.” With its high-pitched soul sample and lush slo-mo beat, the vibe is reminiscent of the Kanye West/Twista/Jamie Foxx hit “Slow Jamz.” It’s a strip-club anthem that feels eminently listenable even without its strip-club music video. (I don’t know if that’s Atlanta’s famed Magic City we’re seeing, but Cash’s chorus begins, “Magic City, I’m with Tity Boi,” so probably.)

The post 2 Chainz, Cash Cobain, & Young Nudy – “Reign” appeared first on Stereogum.

Northern Irish pagan metal pioneers WAYLANDER have released “Macha”, the first single from their forthcoming album, Mac Tíre – Son of the Land. The band’s nine-track record will arrive on November 6, 2026, through Rockshots Records. Combining extreme metal with traditional Irish instrumentation, “Macha” draws upon a mythological figure closely connected to the region where […]

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