Category: news

  • HAGGUS – The Mincecore Manifesto EP From California Mincecore Masters Out Now And Streaming On Tankcrimes!

    The Mincecore Manifesto, the latest EP from California mincecore masters, HAGGUS, is out now on Tankcrimes! Positioned between classic anarcho-punk urgency and the most deranged edges of goregrind, The Mincecore Manifesto cements HAGGUS as the definitive force in modern mincecore. Arriving just one year after their critically adored Tankcrimes debut, Destination Extinction, the freaks are back and they’re faster, filthier, and more […]

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  • “The record company was terrified of You Oughta Know. But every woman I knew was pissed.” Alanis Morissette on the “patriarchal” criticism of her 33-million-selling album Jagged Little Pill, and harsh words from female artists she admired

    Alanis Morissette looks back on the phenomenal success of her 1995 album Jagged Little Pill in a new interview conducted for the ‘Talk Easy with Sam Fragoso’ podcast, and reflects upon the fact that some of the harshest criticism she received at the time came from trail-blazing female artists and music writers who she admired.

    “I think I had these fantasies that I would be snuggling up with Annie Lennox, and Joni [Mitchell] would be massaging my feet,” the 52-year-old Canadian singer/songwriter jokes. “I just had these fantasies of what it could be like… and it wasn’t.”

    Introduced by lacerating lead single You Oughta Know, an unforgettable takedown of a toxic ex-boyfriend, Jagged Little Pill, Morissette’s third album, won five Grammy Awards and has sold north of 33 million copies worldwide, making it one of the biggest-selling albums ever. But the phenomenal success of the record was accompanied by some scathing criticism, with some of the harshest critiques, as Morissette acknowledges, delivered by women she respected, Tori Amos, Sinead O’Connor and Joni Mitchell among them.

    In an interview with Details magazine, which Fragoso reads aloud, Mitchell commented, “I’m a musical explorer, and not just a pop songwriter or or an occasional writer of a song or half a song like these other women. Alanis Morissette writes words, someone helps set it to the music, and then she’s kind of stylized into the part.”

    “Yeah,that’s a that’s a woman who’s been baked in patriarchy, projecting it on a fellow woman,” Morissette responds. “Happens all the time… What a bummer.”

    “It’s also inaccurate,” she adds. “That’s the reduction of the patriarchy. A woman can’t possibly fill in the blank.”

    During the interview, Morissette also reveals that no-one at her record label, Maverick, wanted to have You Oughta Know, which featured Red Hot Chili Peppers duo Flea and Dave Navarro, come out as the first single from the record, and she had to fight for its release.

    “It wasn’t a popular choice,” she admits. “With the inner team, nobody wanted You Oughta Know. They were terrified of that song. I remember having thought at the time that I would much rather come out being maybe misinterpreted, maybe reduced, but starting on a note that is intense. And I am here for it. I can explain anger till the cows come home.
    “Every woman I knew was pissed, because they were paying attention. How do you not get pissed? You’re inside a patriarchal Truman Show woman-hating dome, and then you say to the feminine, ‘Have fun in there’.”

    Watch the interview in full below.

  • ELEINE – New Single/Visualizer “We March” out now

    Swedish metal band ELEINE released their new single and visualizer, “We March,” and revealed the title of their upcoming fifth studio album: The Water Taste of Blood. “With every new single release, news about the upcoming album will be revealed,” the band promises. Following the release of “Empire Of Lies” earlier this year, “We March” offers another glimpse into […]

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  • GWAR Auctioning Off Stage Axe to Help Sexecutioner’s Cancer Fight

    Chuck Varga, aka GWAR's Sexecutioner, and his wife Bambi can use your help with finances amid a difficult cancer battle. Continue reading…
  • Little Gold – “Public Dog”

    Christian “Smokey” DeRoeck, a founding member of Woods and Menaguar and a guitarist for Ryan Davis & The Roadhouse Band, also leads his own band called Little Gold. The Athens, Georgia combo is building up to the release of new album Public Dog, and if you have any affinity for the above associations, you’ll want to tap in.

    The post Little Gold – “Public Dog” appeared first on Stereogum.

  • Stephen Morris & Gillian Gilbert Will Not Be Touring With New Order “For The Foreseeable Future”

    New Order have been enmeshed in some drama as of late. Since they were revealed as members of the Rock And Roll Hall Of Fame’s Class Of 2026, founding bassist Peter Hook stated that he wouldn’t be standing with his ex-bandmates and hadn’t spoken with any of them in years. Now, the band has announced that drummer Stephen Morris and keyboardist Gillian Gilbert won’t be touring with them for the foreseeable future.

    The post Stephen Morris & Gillian Gilbert Will Not Be Touring With New Order “For The Foreseeable Future” appeared first on Stereogum.

  • Rush’s New Tour Symbol: Artist Hugh Syme Explains the Meaning

    He tells UCR about it in an exclusive conversation, as well as some of the other artwork being used on the 2026 trek. Continue reading…
  • Thætas – The Irredeemable Age Review

    When I happened upon New York brutal tech troupe Thætas back in 2020, I likened their particular brand of brutalist, sprawling death metal to an alternate universe where Afterbirth were raised in a Brooklyn gutter. It was a sound I didn’t realize would resonate as strongly with me as it did, but it seemed as time passed that I wasn’t going to get another hit. Then, out of nowhere, an announcement for The Irredeemable Age graced me with a seedy cover and a nasty single to hook me in once more. Armed with one fewer member and enough angular songwriting to make AMG Himself spontaneously explode, can Thætas build an even grander structure atop their Shrines to Absurdity?

    Thætas still makes a great gritty companion to the more spiritually inclined Afterbirth, but The Irredeemable Age further develops and diversifies that sound. Boasting new twangs and bends that heavily recall Veilburner (“Daytime Lantern”) and a city-dwelling skew that echoes Imperial Triumphant (“Digital Locusts”)—working in concert with familiar gnarled twists that puts them in a similar space as Defeated Sanity—Thætas subverts my penchant for accessibility and lures me ‘neath the sewer grate. At one with the slime that writhes underfoot, The Irredeemable Age is a monstrous creature composed of ugly riffs, screeching scrapes and pinches, and enough stomping rhythms to level a mountain. It brooks no quarter as it tosses me through concrete walls, with very little in the way of telegraphing or transition in between pummels (“DHUKHA,” “Summers of Hate”). With such rapid shifting and relentless violence, I’d expect the experience to feel disjointed and scattered. Thætas are smarter songwriters than that. Somehow, they crafted these 31 minutes with such intricate and intentional technicality that no piece or portion can be excised from the whole without causing a major disruption to its form and flow.

    Despite its mangled anatomy, The Irredeemable Age is effortlessly enjoyable. This is in no small part due to its warm, natural, and full-bodied engineering, but its deceptively hooky songwriting too makes an airtight case. High-energy romps “Summers of Hate,” “The End of History,” and “For the Hope Devoid” invigorate The Irredeemable Age’s first half, moving with a springy agility that belies their brutal musculature. Those Veilburner twangs come in clutch at the center of the record—evoking imagery of skulls bashed against I-beams under the train tracks—and imbue stomping slams like “The Irredeemable Age” with huge personality. A delightfully clanky bass tone deepens this robust character as the record progresses, too. Additional nuance and texture develops in this meaty core before late album bangers “Stretched Paradox” and “Pillars of Fault” dress me down once more. None of that prepares for the white-hot branding that awaits with stunning closer “Digital Locusts.” A vast improvement in editing compared to Shrines’ closing track, this five-minute send off embodies all of the skills displayed up to that point and coagulates them into one final tear that makes it impossible to deny the replay button’s allure.

    That replay button turned out to be a critical piece of The Irredeemable Age’s success. Despite its more aggressive and propulsive attack, The Irredeemable Age is in some ways less immediate than Shrines. Shrines to Absurdity was so weird, darkly whimsical, and tricky that it made an instant impression. Here, however, I find refinement, sophistication, and maturity. A method informs madness. The whimsical aspects of Thætas’ sound acclimate better to their surroundings, and the unhinged nature of their songwriting settles into a smoother groove. Opening track “DUKHKA” is the only exception, posing a small introductory speed bump in pacing with its staggered slams. On the other hand, it tempers expectations just enough to make the subsequent obliteration all that much more impactful. All in all, though, The Irredeemable Age houses a greater density of details and ideas that reveal themselves with multiple spins, which in turn creates deeper memorability. But it comes at a price. Listeners must invest a small measure more time with The Irredeemable Age to see its magic unfurl.

    Unfurl The Irredeemable Age inevitably does. Thætas found a striking balance of memorability, technical precision, and filth that makes The Irredeemable Age an absolute joy of grotesque sounds. And thanks to tightened editing, diversified sonic elements, and refined songwriting, it only gets better the more often you spin it. So the next time you wander into sketchy back alleys sniffing for prime brutal tech death, ask for Thætas.


    Rating: Great!
    DR: 9 | Format Reviewed: 320 kb/s mp3
    Label: Profound Lore Records
    Websites: Bandcamp | Facebook
    Releases Worldwide: June 26th, 2026

    The post Thætas – The Irredeemable Age Review appeared first on Angry Metal Guy.