Category: news

UCR has your chance to score a copy of the newly expanded edition, which features a previously unreleased concert from 1975. Continue reading…

We’ll do our best to avoid any cheap dinosaur references in regard to the new video and single,”Flesh Eternal,” from Scottish trio Tyrannus. The name actually translates into “lord,” “monarch” or “tyrant” and these dudes—Callum John Cant (lead vocals/guitars), Alistair Harley (bass/guitars/backing vocals), Alasdair Dunn (drums/backing vocals)—are offering up a fresh track and accompanying moving pictures from their upcoming second album, Mournhold. The video, a very tightly shot, red/pink-tinted B&W performance video, was filmed and edited by Ryan Chapman, with additional filming and lighting provided by Jordan Harvey. The track itself is a powerful post-punk-leaning composition built around the pulsing rhythm section and enhanced with well-placed guitar arpeggios and distorted chords. It builds to a black metal-inspired explosion before returning to the post-punk pounding.

Mournhold was produced, recorded and mixed by Scott McLean at Neon Fable Studios in Edinburgh. Mastering was done by Brad Boatright at Audiosiege. It’s set for release on vinyl, cassette and digitally via True Cult Records on May 15. Place your preorder here.

Callum John Cant described the new track as such:
“‘Flesh Eternal’ is a song that digs under the concept of romantic love and goes into the primal body horror which results from the feeling of yearning being taken to its most extreme. We often look at the people we want to be with and love and make proclamations of ‘together forever.’ This is a sardonic take on that concept where the saying is taken literally and the results of flesh between two people merging physically.The composition represents everything Tyrannus is and has been in our style of aggression and atmosphere building, and shows starkly that we will pull from unexpected sources where appropriate.

For this song, I pulled on my personal love for post-punk and wrote it to be very focused on the relationship between the bass guitar and drums, with the guitars and vocals acting as delicate layers increasing in intensity with the lyrics and the song’s progression. The heavy post-punk influence gives the song the intimacy which the lyrics convey in their imagery before exploding into full blown black metal fury. That tension of the cherished familiar corrupting into something painful and deeply unsettling is exactly what Tyrannus and our album, Mournhold, is built to achieve.”

The post Video Premiere: Tyrannus – “Flesh Eternal” appeared first on Decibel Magazine.

Written by Kep

Welcome to the review, folks. Hold on one second…

“BATHE IN THE FILTH OF 
DECAYING LOVED ONES”

Sorry, had to get that out of my system. Anytime Necropia’s name comes up it just bursts out of me, one of the nastiest, gnarliest lines from Desecration Complex, their 2018 banger of a debut. It’s one of several moments on that record that has stuck with me over the years and kept Desecration Complex in regular rotation. It was the first album I purchased on Bandcamp, and I’ve been preaching the Necropia gospel ever since. In fact, I picked it years back in the Noob Heavy Discord album swap, where it was received with all the debate you’d expect from cleanly-produced techcore in a group of opinionated metalheads (lowest score: 3/10, highest: 11/10, which isn’t mathematically possible but who cares, math is for chumps). 

At long last Necropia is back for round two with Our Kingdom Befouled, a slicker, beefier, tricksier outing than its predecessor that delivers pretty much everything you’d expect. They still play nifty technical deathcore with clean production that on some levels hearkens back to fifteen or so years ago (think early Born of Osiris, etc., which isn’t a knock at all), though I’d argue this record leans less into deathcore tropes and the songs feel more distinguishable from one another as a result. There’s still plenty of those tasty syncopated core rhythms, and they don’t shy away from flourishing arpeggiated licks and tricky technical passages over them as they’ve always been wont to do, but in between you’ll find greater amounts of jagged techdeath riffing and thick tremoloed walls of sound. I wouldn’t call this a technical or melodic death metal record by any stretch, but lovers of those style will find more to enjoy here than previously. There are lots of futuristic, cosmic sort of vibes that hit here, too, especially in tracks like “Judgement Final”. 

Our Kingdom Befouled isn’t a short listen, so make sure you’ve buckled in for a substantial ride when you press play. Opener “Disgraced Martyr” is a great mood setter with tasty minor roil in its verse riff, spiky stair-climbing tech jabs, and towering breakdowns. “Deceiver” is the first track to really play with off-kilter rhythms, a fun new twist Necropia leans into across the runtime. Lead single “Unhallowed Dominion” is still a powerhouse track, blending some TBDM vibes and killer solo of flurrying notes into the established techcore framework. The middle of the record is highlighted by the guitars in the chorus, cosmically melodic à la Rings of Saturn (complimentary!), the absolute groove bomb that is “The Serpent Idol”, and single “Ghost” and its rad stuttering main riff. In the closing stretch, the title track is a hard-charging slab of brutal riffs with a stunning solo section, and “Dusk & Decay” closes things with big rhythms and more flailing cosmic dual guitar lines. 

I obviously enjoy the record quite a bit, but its length is my chief complaint, as 52 minutes is asking a lot the listener in this style of music. Big moments and unique riffs help to keep things distinct, but there is some run-together due mostly to the sheer amount of material. I also find myself wishing there was a track like Desecration Complex’s “Forsaken”, which friend of the site April Hutchins of Anna Pest described as “a techcore power ballad”, to really break up the overall mood with something unexpected.

Now, one of the few (in my opinion) legitimate knocks on Desecration Complex was its drum production, which felt sort of flat and toothless—an understandable issue when you consider budget and that the band self-produced. They’ve solved that problem this time around, handing drum recording duties over to Ray Marte of Moon Tooth, who gets good depth and power out of the kit (the part is performed by Beneath the Massacre’s Anthony Barone, who you might remember as the drummer on Shadow of Intent’s Melancholy, one of the greatest deathcore albums ever). The highly processed modern tone still won’t be everyone’s cup of tea, but this is modern tech deathcore we’re talking about after all. The whole package is more polished than last time around and a tip of the hat goes to Jonathan Reinheimer, who handled guitar/bass recording as well as mixing on both albums—the step up in quality is noted and appreciated. 

Speaking of, the guitar performances by Reinheimer, Peter LaFata, and Steve Segal (bass) are exciting and fun as hell. These are fun riffs across the board, and they find a way to mix up patterns and use cool techniques to make familiar rhythms feel fresh. Check out the rapid-fire picking in the breakdown-esque shit in the middle of “Ruins of Sanctum”—memorable little bits of a song that needs their extra punch. Meanwhile, vocalist Tameem Shaker remains a goddamn stud who can do it all, reminiscent of Luis Ferre from Phasma: false chord screams, gutturals, snarls, chesty roars, and everything in between, and they all sound awesome.

THE BOTTOM LINE

Eight years is a long time to go between your first and second LP, but Necropia make it worth the wait with an album full of technical fire and monstrous breakdowns. It’s a big listen but there’s plenty to make it worthwhile, and if techy deathcore is your scene then you’ll likely find yourself returning to this befouled kingdom many times over.

The post Album Review: Necropia – “Our Kingdom Befouled” (Technical Deathcore) appeared first on Noob Heavy.

Check out the setlists and see some of the big moments from the 2026 Sick New World festival in Las Vegas. Continue reading…

Philly underground fixtures Nyxy Nyx make a whole lot of music, and it’s rarely completely clear whether that music is done or whether it’s a work in progress. Last year, Nyxy Nyx released Cult Classics, Vol. 1, their first-ever studio LP, and they followed it with a self-titled record. This year Nyxy Nyx released “Devil…

The post Nyxy Nyx – “Concerning Evil Spirits” appeared first on Stereogum.

Both were overseen by Daniel Joseph.

The post Architects Release “Broken Mirror” & “Everything Ends” Remixes appeared first on Theprp.com.

Olivia Rodrigo is officially three-for-three on sending her albums’ lead singles to the top of the chart. Like “Drivers License” ahead of Sour and “Vampire” before Guts, “Drop Dead,” our first taste of Rodrigo’s forthcoming you look pretty sad for a girl so in love, has debuted atop the Billboard Hot 100. Because “Good 4 U” also hit #1 (it happens to be featured in our latest Number Ones column), Rodrigo is now up to four career #1 hits.

The post Olivia Rodrigo Lands Fourth #1 Hit, Plays Brooklyn Open Mic, Raves About Nine Inch Nails, Has A Clean Conscience appeared first on Stereogum.

A few years ago, the extremely young North Carolina musician Ash Blue Gutierrez signed to Interscope and emerged hyperpop’s great teenage commercial hope. Glaive still hasn’t taken off as a straight-up pop star, though god knows there’s still time. He’s doing fine. At the moment, Glaive is three albums deep, and he just turned 21…

The post Glaive & Kurtains Announce New Collaborative Album <em>God Save The Three</em>: Hear “The Troubles” appeared first on Stereogum.

Dave Lombardo, Justin Pearson and more play in the group.

The post Satanic Planet (Dead Cross, Ex-Slayer, Etc.) Sign With Relapse Records appeared first on Theprp.com.

Survival tactics.

The post ’68 Launch Four More Songs From Their Upcoming Farewell Album “They Are Survived By” appeared first on Theprp.com.