(written by Islander) We’re at the start of a new week here at NCS and it’s usually a good idea to get a running start unless you’re running into a throng of heavy traffic, so let’s rush right into the Voroth song we’re about to premiere and fill in the details once we’re on the […]
The post AN NCS PREMIERE: VOROTH — “REMNANTS OF A FORMER FORM” appeared first on NO CLEAN SINGING.
In a move that has sent shockwaves through the global heavy music community, Bring Me The Horizon has officially announced a full-scale re-recording of their seminal 2006 debut album, Count Your Blessings. Titled “Count Your Blessings | Repented,” the project is being described by frontman Oli Sykes as a “reactivation” of the record that launched the deathcore explosion two decades ago.
Set for release on July 10, 2026, the album features a complete sonic overhaul handled by Sykes and guitarist Lee Malia in collaboration with acclaimed producer/mixer Buster Odeholm. The goal? To take the raw, chaotic energy of their teenage years and sharpen it with the world-class production standards of 2026.
To celebrate the release, BMTH will perform Count Your Blessings in its entirety for the first time in over a decade. The performance will take place on July 10 at the B.E.C. Arena in Manchester, UK, as a special curated event for Outbreak Festival.
The lineup for the “Repented” showcase is a “who’s who” of modern heavy music, featuring Static Dress, Rolo Tomassi, Dying Wish, Heriot, Car Underwater, and the hardcore supergroup Still In Love. Organizers are calling it “the most requested and mythologized single show of the last decade,” aimed at bridging the gap between original 2006 fans and the new generation discovered during the Post Human era.
Fans looking to catch Bring Me The Horizon live in 2026 can click here.
The decision to bring in Buster Odeholm is the most significant detail for gearheads and production nerds. Odeholm is a pioneer of “Thall”—a subgenre characterized by bone-crushing low-end and surgical precision. By pairing his mixing style with BMTH’s foundational deathcore tracks like “Pray For Plagues,” the band is effectively “modernizing” a genre they helped invent.
In 2026, the deathcore landscape has shifted toward “high-fidelity violence.” With bands like Lorna Shore and Slaughter to Prevail pushing the boundaries of what a mix can handle, the original 2006 Count Your Blessings production—often criticized for its “thin” and “tinny” drum sound—needed a massive structural update. Odeholm’s involvement suggests a shift toward the “wall of sound” approach, utilizing modern sub-bass technology and digital clarity that simply didn’t exist when a teenage Oli Sykes was screaming into a budget microphone in Sheffield.
Furthermore, this “reactivation” allows the band to address the evolution of Sykes’ vocals. Having spent years rehashing his technique to save his voice, “Repented” provides an opportunity to showcase how a mature, arena-ready vocalist handles the gutturals of his youth. This isn’t just a trip down memory lane; it’s a professional reclamation of a legacy that many critics originally dismissed as a “flash in the pan.”
The announcement comes on the heels of the band’s record-breaking “L.I.V.E. In São Paulo” concert film, which documented their massive 2024 stadium show in Brazil. While that film showcased the band as a polished, electronic-rock juggernaut, Repented serves as a stark reminder of the Sheffield quintet’s aggressive origins.
For fans, the return of the working title “Dragon Slaying” (for the track “Liquor & Lost Love”) is a nod to the deep lore of the band’s early days. This isn’t just a cash grab; it’s an archival project designed to give the album the “sharper, heavier” finish that 2006 technology simply couldn’t provide. By co-curating the Outbreak show with underground tastemakers, BMTH is ensuring that their 20th anniversary feels like a “defining moment for a generation” rather than a standard nostalgia tour.
Bring Me The Horizon has spent the last decade running away from their past, evolving into a genre-bending pop-metal force. Count Your Blessings | Repented feels like a victorious lap back to where it all began. By choosing Manchester’s Outbreak Festival—a bastion of underground hardcore—rather than a standard arena tour, they are signaling that this “reactivation” is for the culture, not just the charts. In the 2026 landscape of heavy music, authenticity is the highest currency, and BMTH just bought the bank.
Get ready for the heaviest release of the summer. Stream the best of BMTH and the new wave of deathcore 24/7 on Loaded Radio.
The post ‘PRAY FOR PLAGUES’ REBORN: Bring Me The Horizon Announces 20th Anniversary Re-Recording of ‘Count Your Blessings’ appeared first on Loaded Radio.
Here at Stereogum, we haven’t had too much to say about the Icelandic jazz-pop singer Laufey, but she is a very big deal now. She’s got five platinum singles, and her 2024 album A Matter Of Time won the Grammy for Best Traditional Pop Vocal Album. At the Olympics, gold medal-winning figure skater Alysa Liu skated to Laufey’s song “Promise.” On Sunday, Laufey played one of the main stages at Coachella. Now, Laufey’s name is turning up in all sorts of weird places.
The post Laufey Unveils “Madwoman” Video, Erewhon Smoothie, Electric Lexus Honoring Miles Davis For Amazon appeared first on Stereogum.
Cherry Red [Release date : 24.04.26] CD1 : Live From The Bottom Line, Nagoya Japan, 1993 Part One. CD2 : Live From The Bottom Line, Nagoya Japan, 1993 Part Two CD3 : Live From The Bottom Line, Nagoya Japan, 1998 … Continue reading
The post Album review : PRAYING MANTIS – The Official Bootleg Boxset Vol 1 – Live In Japan appeared first on Get Ready to ROCK!.
Two decades ago there used to be this amazing band in Columbus called El Jesus de Magico. One of their best songs was called “New Moses.” The first time I saw them perform it in 2005, I just about lost my mind. (That was around the same time I was getting into their peers Times…
The post Truck Violence Announce New Album <em>The Weathervane Is My Body</em>: Hear “New Jesus” appeared first on Stereogum.
Reviewed by Eric Clifford
You know that bit in Full Metal Jacket when the sergeant demands to see a recruit’s “war face”? Good grindcore should command the same of you. There should be a need to scream your lungs out, to engage in unrestrained, gratuitous violence the second the blastbeats hit. That’s the standard I apply whenever I’m reviewing a grind release – less a checklist of attributes to be scored, but a more basic, primitive criteria that boils down to a single question: “does this make me want to break shit”? I cannot listen to last year’s Sulfuric Cautery or Barren Path releases while driving for I am an impulsive creature, and I do not trust myself to defy the urge to begin plowing through solid objects. Now the same is to be asked of Italy’s own Ape Unit. So; how safe is the world when you listen to this?
Some bands mete out intensity through relentless punishment; Ape Unit do it via a jittery, spasmodic approach to rhythms, twitching between tempos and metres in an 11 minute bout of frantic heart arrhythmia. It’s flighty and hyperactive, as boundlessly energetic as a toddler shot full of raw cane sugar. But this strain of barely-controlled chaos takes skill to unleash – skill that Ape Unit have in abundance. They’re tight, burying you beneath a vicious allostatic load comprised of endless facets all clicked into place with molecular precision. At it’s best it feels something like a mathcore progenitor accelerated to eyewatering speeds, something like Botch or Cave In gnawing through crack rocks for breakfast instead of corn flakes. Tracks like “Where the Smile Lives” smear a malformed death/thrash grease into the cyclone, bolstered by an erratic mania spree of harsh vocal approaches used with fantastic effect throughout. The obligatory zany samples rear their demented heads throughout, yet are never so long as to feel like padding or a diversion from the bug eyed lunacy of the actual music itself. Despite the dwarven shortness Ape Unit are working within, the band still find time to dabble in different tones and textures – “Plower Rangers” featuring a curious bass (I think) effect that makes it sound like something between an Atari 2600 and a mallard rap battle, which is explored further on “Old Style Garibuya”. And speaking of which…
Really, the only thing I don’t care for is “Old Style Garibuya” – a needless bit of fx-pedal meddling that snaps the album’s flow like an advert break. It’s longer than every other song for one thing, yet feels aimless despite that and adds almost nothing for it’s relatively drawn out runtime. It’s not as though the release is lengthy enough to warrant a breather even given it’s hurtling pace, and while there’s possibly an argument to be made that it fits with the band’s penchant for taking the piss a bit, I still wouldn’t miss this one if it fell off the tracklist. But at the risk of making something of a mountain out of a molehill, it is after all just one track, and what’s more it’s one track sandwiched between hulking slabs of schizophrenic grind that otherwise ensnares your attention from the jump. When a “Withnail and I” clip heralds a siege of blastbeat-propelled atonal chords bolting up and down the strings only to swanton bomb into a histrionic Voivod-in-a-veyron riff on “Lieutenant Tennents” a few fleeting minutes away, then it’s hard to begrudge a singular stumble out of the whole set.
It’s fortunate that this release is only eleven minutes because I do not think I could suppress my urge to kill again for much longer. It’s solitary misfire aside, Ape Unit’s nervous breakdown of a grind attack is exactly the adrenaline shot I needed. It might be my ADHD, but god damn if this album doesn’t just hammer the button in my brain marked “Dopamine” over and over again. I hope and pray that they go for a full-length next – ideally sans the interlude – but whatever shape a followup of this neurotic, skittish glory takes, it will have my undivided interest.
The post EP Review: Ape Unit – Sticks appeared first on The Razor's Edge.
The EP opens with “Fine Time,” introduced by a distinctive guitar whistle. Immediately, the listener is immersed in an alternative rock genre that feels dystopian and mysterious. This band brings forth vibes reminiscent of Pearl Jam and R.E.M., while also drawing from gothic and punk influences. The combination of these elements sets a unique tone for their music.
Next is “Smokescreen,” which maintains those nocturnal and atmospheric vibes established in the opening track. The chord progression is impressive, showcasing the band’s ability to create intricate musical layers. There is a significant chemistry among the musicians, highlighted by their seamless collaboration. The lead vocalist has a unique timbre that stands out, defining the band’s overall sound.
Following “Smokescreen” is “Rainbows,” a track that captures nostalgia through its melodic structure. The melody evokes memories of classic R.E.M. songs, making it relatable and heartfelt. The effective use of dynamics within the song adds to its emotional weight, engaging the listener on multiple levels.
“Desire” brings in elements reminiscent of the Counting Crows. The band’s refined melodies stand out as they create genuinely enchanting atmospheres. Each note resonates, and their artistic choices reflect a thoughtful approach to songwriting. The musicians draw you in with their crafted tunes, which feel both fresh and familiar.
The EP concludes with “Day After Day,” another excellent song. What is particularly surprising is that this entire EP is recorded live. The band’s proficiency shines through, as each song is executed with professionalism and skill. This live performance captures the raw energy of the group, bringing an authentic experience to the listener.
Throughout the EP, there are strong references to the sound of the 1990s, which makes the music particularly exciting. The nostalgia factor combines with their modern twist to create something truly appealing. The Wheel Workers present themselves as a band that is not only aware of their influences but also successfully pushes that envelope.
“Live From The Attic” is a superb EP that offers a blend of atmospheric melodies and influential rock sounds. The band has achieved a fantastic balance between their influences and their original style. This is a noteworthy project that showcases their talent and musical understanding.
The Wheel Workers presents a strong addition to the current music landscape. Their dedication to crafting songs with depth and emotion deserves commendation. For those who appreciate the rich sounds of alternative rock, this EP is a must-listen. It perfectly encapsulates the essence of a talented group that is ready to make an impact.
Nostalgic
If you love this music: Discover MoreFor fans of:
R.E.M | Pear Jam | Continuing Crows
The post The Wheel Workers Live From The Attic Review appeared first on Edgar Allan Poets – Noir Rock Band.