When someone took a shit in the Turnstile pit in 2021, it was the conversation topic of the week. Now Noah Kahan’s concert seat pooper is in the spotlight. In case you haven’t heard, a fan at Philly’s Citizens Bank Park relieved themselves while the folk-pop singer was only a few songs into his set on Friday (June 26). Kahan made a tweet afterward urging his fans to use the bathroom, and he brought up the subject again last night at his Toronto show.
From the very first moment, this track creates a dystopian feeling that envelops the listener, transporting them to an intense parallel universe. The echoing, hypnotic guitar arpeggio conjures dreamlike visions, accompanied by a solid drumbeat that offers a somewhat dark sound. The addition of keyboards, which punctuate the passage of time with their notes, enhances the ethereal ambiance.
Gradually, the song builds an atmosphere that feels slightly futuristic, allowing the imagination to wander to distant worlds. This track could easily serve as the soundtrack for a science fiction film. The production is excellent, showcasing Matt Mars, the architect of this musical project, and his deep understanding of music and its dynamics.
Around the two-and-a-half-minute mark, the song briefly empties, creating a suspended moment between two realities. Following this suspension, the music re-emerges, returning with its dystopian epic quality. The sounds presented are grand and ethereal, immersing the listener in a rich experience.
At one point, the drums double in intensity, sharply elevating the adrenaline. This instrumental piece stands out with its powerful moments and intricate arrangements.
Rive – Sound and Atmosphere
The evolution within “Rive” is masterfully executed, with sweeping builds and breaks that consistently maintain the listener’s engagement. Each instrument contributes to an overarching narrative, one that evokes contemplation and wonder.
Mars’ skillful use of dynamics allows for an exciting contrast between moments of intensity and pauses that guide the audience through the journey. The transitions serve to enhance the experience, drawing the listener further into the sound rather than distancing them.
With each repetition and variation, “Rive” maintains its essence while pushing the boundaries of traditional instrumental music. The song’s narrative unfolds organically, carrying an energy that feels familiar and groundbreaking.
Rive – Performance and Production
MARSUG demonstrates a clear understanding of composition by balancing emotional weight with technical skill. The juxtaposition of various elements creates a distinct character for the song, letting it stand out in a crowded landscape.
The experience of listening is akin to embarking on a journey, one that invites exploration of new realms. Every listener should have the opportunity to discover this evocative piece.
“Rive” is a beautifully constructed instrument that achieves a rare blend of depth and accessibility. The intricate layers and thoughtful arrangement make it an exceptional piece of music that will resonate across genres. This track is not just a musical experience; it’s an adventure for the mind and spirit.
The song begins with a very nocturnal quality. The vocals are supported by subtle bass notes and delicate guitar chords. This combination creates an atmosphere reminiscent of New Orleans. The track has strong roots in blues and rock, establishing an intense ballad in the vein of Tom Waits. The inclusion of the banjo adds a dimension that evokes the swamps of Louisiana. The song feels like it could belong on the Sinners soundtrack, infused with a dark noir atmosphere.
This noir essence is further accentuated by a trumpet solo, which envelops the listener like fog on a midsummer day. As the song unfolds, the addition of the saxophone allows the music to truly thrive. The interplay between the instruments is striking. It creates a dialogue that sparks the imagination, leading the listener through varying musical landscapes.
The band explores rich rhythmic and harmonic variations, showcasing their depth. Each transition encourages a complete immersion into the music. The rhythm gradually accelerates, inviting the return of the vocals. This escalation builds toward a grand finale. The trumpet, with its mute, intertwines with the saxophone, creating a dynamic and thrilling experience as everything comes together.
Birds Of A Feather – Sound and Atmosphere
The track is a remarkable achievement, showcasing Erik Neimeijer’s ability to create music that resonates deeply. Each element is expertly crafted, demonstrating a careful attention to detail. From the beginning to the thrilling conclusion, this single takes listeners on a vivid journey. The blend of instruments and styles creates a rich auditory experience.
Listeners can sense the passion and energy infused into every note. The nuances in the performance reveal a dedication to artistic expression. The way the track evolves keeps audiences engaged. It oscillates between moments of intensity and calm, reflecting the emotional landscape of the music.
Birds Of A Feather – Performance and Production
This single is not merely a display of musical talent; it is an exploration of atmosphere and emotion. The arrangement invites the listener to step inside a story, becoming part of a larger narrative. As the various instruments interact, they create a sense of unity.
The incorporation of traditional elements with modern influences makes this track stand out. It pays homage to roots while exploring new territory. This balance between homage and innovation is difficult to achieve, yet it is executed flawlessly here.
“Birds Of A Feather” is an impressive single that captures the essence of various musical influences. Erik Neimeijer skillfully crafts a piece that is engaging and evocative. This song deserves widespread attention and appreciation. It stands as a true reflection of what modern music can achieve when rooted in tradition yet willing to explore new territories.
The album begins with “Take Me,” instantly immersing the listener in an intense atmosphere. The guitars are dystopian and powerful, while the female vocals enchant like sirens did to Ulysses. Following this, “What I Feel Like” continues the trend of intensity. The voice here is enveloped in strong reverb, and the ambiance nods towards hard rock, leaving an impression of breathlessness brought on by the intensity and modernity of the sounds.
“Another Time” opens with a very atmospheric introduction, featuring guitars reminiscent of The Edge. The rhythm gradually builds, creating an expansive feel. This ballad showcases another aspect of Ed Conley’s musical composition, who acts as the architect behind this project. One of the standout tracks is “Thinking,” which evokes a special nostalgia and intensity that leaves listeners breathless. Melodically, it resonates deeply, stirring emotional responses.
“The Vanishing” is also a solid tune. This song again creates intense, contrasting emotions with a hint of science fiction. The female voice becomes epic, incorporating almost screamo elements that heighten the intensity. Closing track “Marigold” features an impressive opening guitar riff that creates a truly unique atmosphere. The music of this artist could easily serve as the soundtrack for a science fiction film.
Beneath The Roots – Sound and Atmosphere
This album represents a leap into the future, offering soundscapes that recall movies like “Blade Runner.” The osmosis of modern technology with real instruments in the production adds to its uniqueness. Overall, “Beneath The Roots” presents a powerful and immersive journey through sound.
The traditional rock elements combine with modern influences to forge a distinctive musical identity. Conley’s work embodies innovation while honoring the past. The mix of genres and styles showcases versatility, making the album appealing to a broad audience. Each track contributes to a cohesive narrative, drawing the listener into diverse emotional landscapes.
Furthermore, the technical execution of each song reflects meticulous attention to detail. Every instrument is carefully placed within the mix, ensuring a harmonious experience throughout. The contrast between heavy and light tones emphasizes the emotional highs and lows effectively. This tonal variety keeps listeners engaged, never letting them settle into monotony.
Beneath The Roots – Performance and Production
Conley’s affinity for dynamic composition is evident in tracks like “What I Feel Like” and “Thinking.” The former captures raw energy, while the latter leans into introspection. This ability to shift between different musical emotions underscores the artist’s creative range.
“Beneath The Roots” reflects a future-oriented vision, one that pays homage to rock’s legacy while forging a new path. Ed Conley’s inventive approach will resonate with those who seek innovation and familiarity in music. The tracks are not just songs, but experiences that demand attention and reflection.
This album is a vivid exploration of emotions through music. It skilfully balances intensity and nostalgia, pushing boundaries while staying rooted in classic influences. Each song encapsulates a moment, inviting listeners to embark on a sonic journey that is refreshing and deeply satisfying.
True to their name, Temic are a dream come true for prog fans. The supergroup features current and former members of Devin Townsend, Mike Portnoy’s Shattered Fortress, Neal Morse Band, Haken, Shining and Maraton. In 2023, they quickly lived up to their billing when their debut album Terror Management Theory reached #15 on the iTunes Worldwide Metal chart.
Now, as they come closer to announcing their second album, a thunderous ode to grief and loss, ahead of a fall European tour with very special guest and Season of Mist labelmates Kingcrow, today, Temic are releasing a new single. Recorded live at Poppodium Boerderij in Zoetermeer, Netherlands, during their 2025 European co-headline tour, fan-favorite “Skeletons” gets the crowd’s blood pumping by putting the band’s extraordinary chemistry on full display.
“We love playing live. For us, each show is a real occasion where the music truly comes alive and the connection between the band and audience becomes something special”, Temic says. “This live performance of “Skeletons” is a snapshot of that moment. We can’t wait to get back on stage and share more nights like this with our audience. We’ll even have new music to share”.
Temic Autumnal Offerings 2026 European Tour with very special guests Kingcrow:
October 17 – Toulouse, FR @ Ready For Prog Festival October 18 – Pratteln, CH @ Z7 October 19 – Munich, DE @ Backstage October 20 – Maastricht, NL @ Muziekgieterij October 21 – Paris, FR @ Backstage By The Mill October 22 – Rüsselsheim, DE @ Das Rind October 24 – Toruń, PL @ Art Rock Festival
More dates to be announced soon.
With its 7-minute runtime, “Skeletons” gives Temic the opportunity to stretch out and flex their well-trained muscles. Right from the jump, the band’s individual talents complement each other with impressive ease. Keyboardist Diego Tejeida and guitarist Eric Gillette exchange haunting melodies and heavy riffs. After crushing through the first chorus, drummer Simen Sandnes and bassist Miguel Pereira lock into an unexpectedly funky groove.
“We could have had it all”, vocalist Fredrik Bergersen Klemp belts in harmony with Gillette. As the stakes rise during the song’s fiery finale, it’s clear to the Boerderij’s packed crowd that Temic have everything a prog fan could want.
Last December, adopting the trend of playing albums in their entirety, veteran thrashers Death Angel hit the road for a three-week trek across the States to celebrate the 35th anniversary of the release of their third full-length album, their first on a major label, the ingeniously entitled Act III. The band deemed the public reaction to that short tour, “Very humbling and so fulfilling.” So much so that they chose to replicate it with a full nationwide tour.
Death Angel
The Observatory, Santa Ana, California – 19 June 2026
Words And Photography: Matt Roberts
Act III marked a huge turning point in the Death Angel songwriting career, proving for the first time that there was much more than just a Thrash Metal string to their bow.
Elements such as funk rock, vocal melodies and acoustic guitar, virtually unheard of at the time in the world of Thrash, were thrown into the mixer proving beyond a doubt that they had matured from the bunch of high school kids who had formed the band eight years earlier into a group of accomplished musicians who had to be taken seriously.
Death Angel – The Observatory, Santa Ana – 19 June 2026. Photo: Matt Roberts/MetalTalk
This performance, the third from last stop of a 35-date trek, saw them arrive at the near full house 1,200 capacity Santa Ana Observatory, situated 30 miles from Los Angeles, with support from the pre-Xmas jaunt, Phoenix’s Incite, led by Max Cavalera’s stepson Richie, and ’80s Bay Area Thrash buddies Vio-lence, once again on board.
Incite – The Observatory, Santa Ana – 19 June 2026. Photo: Matt Roberts/MetalTalk
A short, sharp and very heavy set from Incite was followed by the more Punky Oi Oi influenced Vio-lence, fronted by manically staring, battle jacket wearing stalwart Sean Killian.
This served to raise the temperature and blow the cobwebs from the pitters who were starting to circle the floor with increasing enthusiasm in anticipation of the headliners who hit the stage at 9:20 pm with the full force of a pneumatic battering ram.
Vio-Lence – The Observatory, Santa Ana – 19 June 2026. Photo: Matt Roberts/MetalTalk
Seemingly Endless Time hits hard on vinyl as a record opener, but in the live environment, it is, quite simply, breathtaking. Sole remaining founder-member Rob Cavestanys opening riff moving along at breakneck speed, accompanied by his second cousin, vocalist Mark Osegueda, defying his 57 years by shaking his mane in perfect unison. It is quite an introduction.
There is simply no let-up as Death Angel launch straight into Stop, another riff-oriented barnstormer, powered along by the rhythm section of beanpole bassist Damien Sissons and the thunderous if unorthodox drumming of Will Carroll.
Death Angel – The Observatory, Santa Ana – 19 June 2026. Photo: Matt Roberts/MetalTalk
Carroll was described by Osegueda later during his band introductions as “The meanest motherfucker in the building.” He looks it, too.
It instantly becomes obvious, as would be expected after five weeks on the road, that the band is operating at the peak of its powers, and it is almost a relief to the senses when, upon the song’s conclusion, the stage tech brings out an acoustic guitar on a stand and plonks it in front of rhythm guitarist Ted Aguilar.
Aguilar promptly strums the intro bars to Veil Of Deception before the rest of the band kick in, in electrical accompaniment.
Death Angel – The Observatory, Santa Ana – 19 June 2026. Photo: Matt Roberts/MetalTalk
The engaging Osegueda is one of Metal’s more talkative frontmen. He likes to talk, and he thanks the audience on numerous occasions throughout the evening, not just for turning up tonight but for supporting the Metal music that has enabled him and his bandmates to have lived the life they live.
“We’re a metal community,” he announces, “Thank you all SO, SO much.” His words sound wholeheartedly genuine.
Death Angel – The Observatory, Santa Ana – 19 June 2026. Photo: Matt Roberts/MetalTalk
A Room With A View, a haunting ballad about life through the eyes of a blind man (if that’s possible) and one of the album’s two singles, sees Cavestany take over lead vocal duties before Osegueda joins in a duet.
It is a welcome chance for the audience to recover their senses and offers a welcome temporary respite from the nuclear blast.
The rest of the album, including the funky thumb slap bass intro of Disturbing The Peace, flies by in a blur of shaking heads, flailing limbs and devil horns before the band depart the stage for a much-needed brief hydration break, returning, as Osequeda announces, to play a selection of cuts from the rest of their catalogue.
Death Angel – The Observatory, Santa Ana – 19 June 2026. Photo: Matt Roberts/MetalTalk
First up is the Grammy-nominated title track from their most recently released full-length recording, 2019’s fan favourite Humanicide, which succeeds in whipping the crowd into even more of a frenzy than they were before the break.
Cult Of The Used, the single released to coincide with last year’s short pre-Christmas tour, is next up, and if this is an indication of the standard of material currently being written for a new album expected later this year, then we are all in for a real treat.
It is another colossal Cavestany riff that powers along like a runaway steam train and is followed by two cuts from 2016’s The Evil Divide, The Moth, and Lost, described by Osegueda as “A very personal song about being a weird child, a weird teenager, a weird adult just trying to get by doing what you love.”
Death Angel – The Observatory, Santa Ana – 19 June 2026. Photo: Matt Roberts/MetalTalk
With this being Death Angels’ first national headline tour since the fall of 2019, most present will have grown accustomed to seeing only support-length sets, so with the clock well past 11 pm, they are all likely expecting the performance to conclude.
A brief onstage conversation between Cavestany and the singer, however, ends with him announcing that, as a thank you and because they are having so much fun, they are going to play an extra song that is not even on the setlist.
He asks the audience, “Are you physically up to the challenge?” and gets his answer when every single person in the building roars their confirmation.
Death Angel – The Observatory, Santa Ana – 19 June 2026. Photo: Matt Roberts/MetalTalk
A huge grin spreads across his face as his bandmates burst into Mistress Of Pain from their 1987 debut The Ultra-Violence, and the evening draws to a conclusion with another fan favourite, Thrown To The Wolves, lifted from 2004’s The Art of Dying.
After a short break to recharge their batteries, Death Angel head over to Europe for a series of summer dates including a single UK appearance at Bloodstock Open Air.
Album Review: Witchsorrow – The Devil And All His Works
Reviewed by Matthew Williams
With bells tolling, a creepy organ rings out menacingly, before an almighty doom riff and pounding rhythm punctures your inner soul in search of a foreboding darkness. Yes, it can only be one thing, and that’s the beginning of the fifth offering from the doom metal obsessives known at Witchsorrow.
Their latest album, “The Devil and All His Works” has taken the lyrics and title from an occult book by Dennis Wheatley, as vocalist/guitarist Nick Ruskell, better known as Necroskull, said that “everything had to be total doom”. The mammoth first song “Omnia Finiuntur” is a weighty, beastly piece of music, and if you’ve ever seen them live, you know that this is one band who always deliver on the heavier side of things.
With Emily Ruskell on bass, the duo has produced another album that fans of doom metal and the occult will adore, as the next song “Bacchus” emphasises further, as it celebrates the “joy of decadence and sin” and doesn’t stray from their winning formula of the last two decades. They have a new drummer firmly in place, Scott “Doom” Taylor, and the rhythm is at is dark and gloomy best on this bruiser of a track. They are joined by Svalbard’s Serena Cherry on “Hades Chains” as she adds her roaring fury to the scintillating song, which is lit up by a decadent head banging riff that flows across the heavy track and one you’ll never tire of listening to.
The pace gets slower on “Altar” as a huge bass sound bounces around the mix, doing untold damage to your eardrums in the meantime. There are cleaner vocals from Necroskull embedded here, adding some subtlety into the song, as they cast their spell far and wide. The frontman commented he “wanted everything to be as pure as possible” and they are certainly hitting all the right notes, especially during the full blooded “In Triumph We Rot!!!” as they sing about their dedication and passion to everything doom metal.
“Lamentation” deviates from their usual lengthy song times, at just under two minutes, but is a joyous blend of dramatic drums, brooding bass and gritty guitars with a layered monologue over the top, that leads into final track, “A Quintessence of Dust”. It’s another sinister sounding track, featuring some shredding from Employed To Serve’s Sammy Urwin, which adds a different dimension to the song. It encapsulates the dark forces that surround the entire production and is the perfect way to end as the riff is killer, heavy and ready to tear you a new one.
New music from prog supergroup coming soon ahead of European headline tour with labelmates Kingcrow TEMIC, the prog supergroup featuring current and former members of Devin Townsend, Mike Portnoy’s Shattered Fortress, Neal Morse Band, Haken, SHINING, and Maraton, have released a live version of fan-favorite: “Skeletons.” Recorded at Poppodium Boerderij in Zoetermeer, Netherlands during their […]
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