Category: news

An axe used by The Sexecutioner character is currently up for grabs.

The post GWAR Launch New Auction To Benefit Their Ex-Vocalist Chuck Varga’s Cancer Battle appeared first on Theprp.com.

Chuck Varga, aka GWAR's Sexecutioner, and his wife Bambi can use your help with finances amid a difficult cancer battle. Continue reading…

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.

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.

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…

Slowhole and Ordh will be out with them on select dates.

The post Pallbearer To Celebrate “Foundations Of Burden” On Summer North American Tour appeared first on Theprp.com.

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.

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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.

Bad Wolves have announced Sara “Killboy” Skinner as their new vocalist and released her debut single with the band, “Paint It Red,” out now via Better Noise Music. It is the Nashville-based band’s first release of 2026 and marks the opening of a new chapter following a period of transition.

Founder, drummer and songwriter John Boecklin said of the search that led to Skinner: “When we started looking for the next voice of Bad Wolves, we weren’t looking for someone to fill a spot; we were looking for someone who could help push this band into its next chapter. The first time I heard Sara sing, I knew she was different. She has an incredible voice, undeniable presence, and the kind of versatility that allows us to take our songwriting to places we’ve never gone before. Beyond the talent, she’s brought a renewed energy and excitement into this band. Sara isn’t here to recreate the past; she’s here to help us build the future.”

Skinner described the song’s themes: “‘Paint It Red’ is about being unafraid to tear everything down and start over — again and again if that’s what it takes. To live authentically and follow your heart, you have to be willing to rebuild when something no longer serves who you are. Sometimes growth means letting go of what you’ve built so you can create something even better. ‘Paint It Red’ is about having the courage to burn away what’s holding you back and the strength to begin again.” Boecklin added that the track is a metaphor for moments when diplomacy no longer serves: “There comes a point when it’s time to stop asking for permission and start making decisions for yourself. Burn it down. Tear it apart. There’s something freeing about reaching that point. ‘Paint It Red’ is about taking control, owning your choices, and refusing to let anyone else dictate your path.”

Propelled by pummeling drums and a polyrhythmic riff, the track pairs Skinner’s dynamic vocal range with the crushing sonic architecture Bad Wolves have built their reputation on, culminating in a chorus that chants: “And watch the blood flow down like a river from my mouth… ‘Cause they won’t miss you when you’re dead, so paint it red.”

Bad Wolves was founded by Boecklin in 2018 and has since accumulated a three-times-platinum single, two gold singles, six No. 1 entries at radio and billions of streams. The band has toured alongside Papa Roach, Volbeat and Hollywood Undead, and has collaborated with both Daughtry and Ice Nine Kills. The current lineup consists of Boecklin (drums), Sara “Killboy” Skinner (vocals), AJ Rebollo (guitar) and Derek Bolman (bass).

The post BAD WOLVES Introduce New Singer SARA “KILLBOY” SKINNER With Debut Single “Paint It Red” appeared first on Sonic Perspectives.

Tickets and lineups will be available Wednesday, July 1 at 12pm EST

Source

Hitting Oklahoma City in November.

The post Have Heart, Drug Church, Pain Of Truth, Comeback Kid, Etc. Set For 2026 ‘Flyover Fest’ appeared first on Theprp.com.