Category: news

Former Creedence Clearwater Revival frontman recently earned the highest honor given by the Songwriters Hall of Fame. Continue reading…

Hayley Williams is finally busting out her non-Paramore hits at her solo shows. Right now, she’s on the tour dubbed the Hayley Williams Show. At a New York show last month, she sang her smash 2010 B.o.B. collab “Airplanes” for the first time since the song was new, with tourmate Rico Nasty doing B.o.B.’s parts. On Monday night in Los Angeles, Williams brought back another oldie: “Stay The Night,” her 2012 track with German EDM hitmaker Zedd. She also brought out Zedd himself.

The post Hayley Williams Brought Out Zedd For Her First Live Performance Of “Stay The Night” In 12 Years appeared first on Stereogum.

UK progressive sludge metal outfit Boss Keloid have unveiled a second single, “Pedestal”, from their upcoming sixth studio album, Float & Aperture. The album is set for release on October 23rd via Church Road Records.
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Flint, Michigan–born singer-songwriter Miko Marks takes us inside Redtone Records, the red-walled basement studio where she rehearses, in a house tied to the founding of East Palo Alto. She also recalls her first gig, a second-grade show with a $25 fee she never saw, and talks about the day job she still holds as social director at a tennis club.

I’m really excited to show everyone this song today. There’s a few styles of death metal that seem to endlessly endure over time, having been long-established as pillars of the sound’s brutal legacy. This includes the especially bestial variant on display with Invulation‘s new song, “Third Degree Warfare.” It’s a style that packs all the power of Immolation and Formulas-era Morbid Angel but is delivered with the blasphemous, iconoclastic attitude of bands like Angelcorpse, Archgoat and Blaspherian. There’s probably a bit of Hate Eternal and Dead Congregation in there as well.

But aside from these comparisons, here’s what you need to know: the song is a thrilling, well-composed composition of volcanic death metal. If you want to hear something that embodies sheer ferocity and power, it’s hard to beat a sound like this. Nothing needs to be innovated, reimagined, or reinvented here. All you need is dedication, good writing, and the right guitar tones.

Here’s what the project’s mastermind, Andrew Lampe, tells us about the song:

“Fire has always been a tool for inflicting maximum destruction and pain upon the enemy. Only the most diabolical will praise the inhumanity of war and the use of incendiary and chemical weapons on an entire population.”

Regarding the upcoming album, he sums it up with the cheerful thought that “”Humanity has brought its destruction upon itself through its endless desire for conquest and masochism — the culmination of our terminal illness bringing about a cleansing fire. The inferno now descends to burn away the mistakes of a people gone mad.”

Listen to “Third Degree Warfare” below (that song title goes hard, damn). And keep your ears set for October 30 when Inferno Descends will unleash its full destructive fire upon us all.

The post Track Premiere: Invulation – “Third Degree Warfare” appeared first on Decibel Magazine.

Posted on October 6th 2026, 2:30pm

Here are the new releases for October 4th to 10th. Releases reflect proposed North American scheduling, if available.

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Upcoming Metal Releases: 10/4/26 – 10/10/26

Desolat — People As Idiots & Idiots As Leaders | Bloodshed666 | Sludge Metal + Hardcore Punk + Noise Rock | Austria (Vienna)

Desolat are anarcho-punks. Surprising, given the title of their third full-length record, I know. Fortunately, they reach far outside the anarcho-punk grab bag, incorporating bass-gurgling noise rock (“Pig Race to the Apocalypse”) and Southern-tinged riffs (“Wannabe V.I.P.”) for a robust revolt against democracy’s decline.

–Colin Dempsey

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Avrak — Avrak | Peaceville Records | Heavy Metal | Norway

The current state of Darkthrone, in which Nocturno Culto and Fenriz pray at heavy metal’s altar, stubbornly possesses traces of the Norwegian duo’s black metal reign, although they’re traces at most. Avrak strips all that away for darkened metal. Perhaps, divorced from Darkthrone baggage, Avrak will gain appreciation for its doomy riffs and repurposing of genre tropes.

–Colin Dempsey

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Odious Spirit — The Sourceless Scourge | I, Voidhanger | Technical Thrash Metal + Death Metal + Experimental | United States (New York)

The desire to prick and prod drives The Sourceless Scourge, the second album from James Oskarbski’s avant-garde outfit. It’s post-2010s New York metal, meaning repetition, strides against conventional wisdom, dissonant guitar harmonies, and a bucking of genre norms run amuck. In some ways, the record is a Coroner album bloated with unregulated chemicals, sprouting teeth and hair in places it shouldn’t.

–Colin Dempsey

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Esoctrilihum — Annochiül Xar Sorthïlazur | I, Voidhanger Records | Avant-garde Black Metal + Death Metal | France

There’s someone up-to-date with Esoctrilihum who can explain Annochiül Xar Sorthïlazur‘s place within the transdimensional extreme metal realm, someone who’s dissected the dozen or so full-length albums the French artist has released in the past decade, someone who can chart the spiritual and avant-garde channels crissed and crossed and thus explain what Annochiül Xar Sorthïlazur, purportedly Esoctrilihum’s most synth-heavy and falsetto-laden work, is about. When you find them, please tell them we’d love to feature their writing.

–Colin Dempsey

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Maera — A Caress Of Autumn For All The Lost | Hypnotic Dirge Records | Atmospheric Black Metal + Doom Metal | Italy

Long-form sentimental black metal that advises you to find peace and joy amidst isolation, with an autumnal hue and riffs that absorb you; it may seem like you’ve heard Maera before. Indeed, much of their sophomore album rings familiar, but doom metal power makes A Caress Of Autumn For All The Lost more tangible and sticky.

–Colin Dempsey

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Following the critically acclaimed release of their sixth studio album, ‘Closer To The Sun‘ (review here), earlier this year, hard-rocking songsmiths Tyketto return with something special for the fans who have been with them every step of the way: ‘Closer To The Sun (Deluxe)‘. The collector’s edition is set for release on November 27th, via […]

The post Tyketto Release New Single ‘The Picture’ + Announce ‘Closer To The Sun (Deluxe)’ appeared first on ROCKPOSER DOT COM.

A great reemergence might be taking place. A few weeks ago, mercurial Deerhunter frontman Bradford Cox returned to the stage. At the Making Time ∞ fest in Philly, Cox played his first proper set in seven years — his first performance of any kind since a 2023 noise improvisation at a vintage market in Athens, Georgia. At Making Time ∞, Cox performed as Atlas Sound, and his show consisted entirely of new songs. Just yesterday, we learned that Cox will also play as Atlas Sound at next year’s Primavera Sound Festival. And today, we learn that Cox and his Deerhunter bandmate Lockett Pundt have been added to the already stacked lineup of next year’s Big Ears Festival in Knoxville.

The post Deerhunter’s Bradford Cox & Lockett Pundt Added To Big Ears 2027 appeared first on Stereogum.

Danny Elfman – The Masonic – San Francisco – October 3, 2026

The last time I saw Danny Elfman perform on stage was Oingo Boingo’s last ever concert on Halloween 31 years ago.  A lot had changed since then – that show featured a rather slight Danny, wearing a t-shirt, shorts, and bounding around the stage barefoot for over four hours.  Saturday night’s show featured a completely transformed/metamorphosed Danny – shirtless, fully covered in tattoos, and jacked – as if he’d spent the intervening decades weight training in a prison yard instead of writing the scores to some of Hollywood’s biggest movies.  His hair was now longer and chaotic, covering his eyes so that they only revealed their inner gleam when his head bent back to lean into a note.  Danny was in San Francisco to rock – the songs performed were harder than their original versions, the setlist was tailored to push his heaviest work, and he leaned hard into the macabre vibe of their lyrical content.

Danny Elfman

There was no opening band on Saturday, the second show in San Francisco, and the second to last stopover on Danny’s fall tour.  All eyes were on Danny, and despite a long history of crushing stage fright and anxiety, he pulled it off with aplomb.  In a recent interview with the New York Post about the current tour, Danny said, “My live shows are going to be a mishmash of things.  A collage that makes absolutely no sense being put together on the same stage. But there it is. That’s me.  My idea was to have nothing fit at all… For me, my world, it's all about contrast. I love the idea of like throwing fun, crazy, dark, fucked up shit up there and elements and styles that do not have a single uniform aesthetic to them.”  That thought describes this run of shows perfectly – yet despite hearing the 45-year-old Oingo Boingo classic “Only a Lad” played in the same set with the fan favorite “This is Halloween” from The Nightmare Before Christmas, it all seemed intentional, with one song flowing easily into the next regardless of their origin or release date.

The Masonic in San Francisco is a 3500-seat venue, but on this night not one of the seats was utilized.  Fans were there to rock and actively participate, and the staging was designed to help facilitate that.  The lighting was unique – the band wasn’t illuminated with any front lighting, but instead was lit from banks of lights on either side of the stage directed towards the center.  I first noticed this because Danny’s moving profile shadow appeared on the upper balcony on either side of the stage.  The side lights were complimented by spinning lights behind the drum riser that were in sync with lyrics during certain songs, pulsing on and off as Danny sang.  Last but not least was the screen at the back of the stage.  Most songs were accompanied by videos that were in perfect synchronicity with the music – a nightmarish job for either (or both) the video tech and drummer tasked with keeping perfect time, but percussion extraordinaire Josh Freese was more than up for the assignment.  The videos depicted disturbing and grotesque imagery for many of the tracks – none more so than 2020’s “Happy” and 2021’s “Kick Me”.

A favorite moment was watching the pure joy wash across the faces of lifelong fans in the audience as Danny donned a jacket similar to Jack Skellington before singing “This is Halloween” from The Nightmare Before Christmas.  Another came before “Monkeys on the Loose”, with its accompanying video – Danny asked “Do you like the monkeys?  You won’t like these monkeys – they’ll fuck you up!”, which was met with a roar from the crowd.  Almost every cellphone in the room went up when the first notes of “Dead Man’s Party” were played.  This is the song that got me into Oingo Boingo during the endless summer between my high school graduation and the start of college, and has always been something powerful in my life – capable of transporting me back to the important moments of my youth. 

Danny Elfman is a musical genius, floating effortlessly between film and television scores, alternative rock and industrial music, and writing music for symphonies to perform – most of this done with a wink to the listener to assure them that the frequent dark themes will eventually make way for the light…or not.  He has scored over 100 films (The Nightmare Before Christmas, Batman, Beetlejuice, Edward Scissorhands), and many iconic television themes including The Simpsons, as well as collaborating with musical artists as disparate as Trent Reznor and A$AP Rocky. 

He is used to working with the top musicians in the world, and his band on this night was a tour de force – Josh Freese (drums) and Robin Finck (guitar) from Nine Inch Nails, Matt McJunkins (bass) from A Perfect Circle, Nili Broshon (guitar) from Dethklok, with Dorothy Micklea (percussion) and Irene Kim (keyboards) rounding out the all-star group.  All were immensely talented and interesting visually, while playing their part in telling the decades-in-the-making story of these amazing songs – presented on this night in a fresh and new way.

• Danny Elfman – Vocals
• Nili Broshon – Guitar
• Robin Finck – Guitar
• Josh Freese – Drums
• Matt McJunkins – Bass
• Dorothy Micklea – Percussion
• Irene Kim – Keyboards

Setlist:

1) Sorry

2) Insects

3) Nothing to Fear (But Fear Itself)

4) Native Intelligence

5) Just Another Day

6) True

7) Sayonara

8) Happy

9) Upside Down

10) Ain't This the Life

11) On the Outside

12) This Is Halloween

13) The River of Life

14) Monkeys on the Loose

15) Dance With the Lemurs

16) Kick Me

17) Dead Man's Party

18) In My Head

19) Only a Lad

20) No One Lives Forever

Encore:

21) Who Do You Want to Be

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