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Marilyn Manson returns with the next entry in his ongoing creative resurgence, announcing the forthcoming new album One Assassination Under God – Chapter 2, co-produced and co-written with Tyler Bates, set for release on August 14 via Nuclear Blast Records.

To mark the announcement, Manson has unveiled the album’s first single, “Exit Wound”, available now on all streaming platforms.

Dark, cinematic, and unrelentingly visceral, “Exit Wound” continues the evolution of the sound found on Chapter 1 while pushing deeper into unsettling atmosphere, crushing industrial textures, and haunting melodic tension. The track serves as the first glimpse into a record that further expands the conceptual and sonic world established by its predecessor.

One Assassination Under God – Chapter 2 will arrive days before the start of his late summer co-headline tour with Rob Zombie. Visit here for a complete list of Manson’s 2026 worldwide tour dates.

Pre-Order One Assassination Under God – Chapter 2 here.

The post MARILYN MANSON Announces New Album “One Assassination Under God – Chapter 2” & Shares Latest Single “Exit Wound” appeared first on Sonic Perspectives.

The new record releases late August

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The post Bitter Blue: Levity EP Review appeared first on INFRARED MAGAZINE.

Aleesha Dibbs has spent enough time inside other people’s music to know the difference between presence and ornament. As a keys player, vocalist, and session musician, she has moved through large stages and strange rooms alike, working with Karen O, Angus & Julia Stone, Lisa Mitchell, MT Warning, Prudence, Lorelei, All Sparks Burn Out, and her own earlier projects Dive Bell and Double Vision. On Big Mood, her debut solo album, that accumulated fluency becomes a private language, one built from post-punk pressure, alternative-pop immediacy, and the kind of low-lit physicality that suggests Fontaines D.C., Kim Gordon, and Warpaint passing through the same locked corridor without agreeing on the exit.

The first single, Waiting Game, sets the tone with unusual patience, taking an existential premise and keeping it close to the body: postponement, delayed consequence, the strange private arithmetic of choosing one door while imagining the life behind another. Dibbs sings as though she is measuring the distance between instinct and action, holding herself in the charged interval before a decision hardens into fate.

The track gathers force by degrees, refusing any cheap revelation; its tension comes from pressure carefully held, from the sense that hesitation can become its own kind of habitat. Around her, the guitars scrape and flare, bringing to mind the slackened bite of Liz Phair, the bruised melodic force of The Breeders, and the serrated pop logic of Pixies. Dibbs bends those references toward her own temperament, allowing the song’s hook to feel less like a slogan than a communal exhale, a chant formed at the edge of recognition.

Waiting Game treats pause as an active state, full of consequence, appetite, and risk. The song understands that waiting can be a form of paralysis, but also a form of preparation: the breath before speech, the hand before the handle, the life one imagines before stepping into the one that remains. That credo could sound inflated in lesser hands. Dibbs makes it lived-in, tensile, and exact. Waiting Game is the sound of an artist ready to step into the limelight.

Listen below, and order the single here.

Across Big Mood, Dibbs writes against emotional compression, against the tidy self one is expected to maintain while screens multiply, attention fragments, and feeling becomes another inconvenience to be managed. The record’s title has a wry bluntness, yet the songs are finely calibrated, turning large states of mind into taut arrangements and charged vocal lines.

Produced, engineered, and mixed over three years by longtime collaborator Tom Crandles, whose credits include Au.Ra, Prudence, and DMA’s, the album carries the mark of careful construction without losing its nerve. The mastering, completed at Black Knoll Studios in New York City, gives the record a clean edge that suits its conflict between control and release.

Dibbs’s own description remains the best key to the album’s ethic: “For the most part, Big Mood is about fighting back,” she says. “It’s about saying, unapologetically, yes to big feelings. It’s about uncovering and embracing self-agency, taking up as much or as little space as you need. And ultimately, it’s about remembering we’re human, submitting to whatever needs to pass through, without guilt and without apology.”

Follow Aleesha Dibbs:

• Facebook
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• Spotify
• Bandcamp
• LinkTree

The post Sydney’s Aleesha Dibbs Asks Existential Questions With “Waiting Game,” The First Single From Forthcoming Album “Big Mood” appeared first on Post-Punk.com.

Legendary Iron Maiden drummer Nicko McBrain has officially announced a comprehensive UK and European spoken word tour for autumn 2026. Titled An Evening With Nicko McBrain: In Conversation, the massive theatrical run arrives in celebration of his highly anticipated, deeply personal autobiography, Hello Boys And Girls!, which is scheduled for publication on 22nd October 2026 … Continue reading Iron Maiden legend Nicko McBrain announces autumn 2026 spoken word tour

The track appears on their upcoming album ‘FANGDRILLER: Scars Beneath Memory’s Wrist’

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After years of dancing for the Knicks, Molly Day is finding a new rhythm. Her unique fitness classes celebrate movement, metal music and authenticity. Continue reading…

The concert fan known as 'Banana Man' has shared what he would say to End It after they ordered his suit to be shredded by fans during a recent Toronto show. Continue reading…

This week brings us new tour announcements for Whitechapel, Chad Gray, Underoath, Wage War and more. Continue reading…

Well, here we are again.

I can still vividly recall standing outside Mocvara three years ago, in disbelief, waiting to see the band Possessed. If you’re looking to credit the origins of the death metal genre, you can point to their album of the same name. Now, here we are again, this time in front of the larger venue, Boogaloo, ready to see Possessed once more.

However, tonight places a strong emphasis on local support with Haxanking, Corpsegrinder, and Serpentslain. While they may not have been my first choice for opening acts, their diversity contributes positively to the overall experience, so let’s dive in.

Since it was a Wednesday, the gates opened around 18:30, with Haxanking kicking off the night at 19:15. To get straight to the point, this band was definitely the highlight of the evening. Formed in 2022 in Varaždin, they are still relatively new but have embraced the Blood Fire Death formula with fervor. Although they might not fully agree with my assessment, this is Bathory School at its finest. Their black/speed metal, combined with barbaric and Viking aesthetics on stage and in their outfits.  With their second album, Troubadoom, released just a week ago, the band exuded confidence and delivered an impressive performance, despite a less-than-stellar audience turnout. Having seen them three times now, I can confidently say they improve with each show, continually gaining strength. Their sound is a refreshing addition to the Croatian metal scene, supported by a solid live mix that complements their visual and musical approach. It’s unfortunate that a larger audience wasn’t present to witness it.

After a brief sound check, Corpsegrinder took the stage as the second act of the evening. These musicians are true veterans of the scene. You might wonder just how seasoned they are?  Well, they are nine years younger than Possessed and Possessed is formed in 1983. Unfortunately, despite being one of the oldest bands in the genre, Corpsegrinder has a very limited discography due to a history of lengthy hiatuses. However, they excel at delivering exceptional live performances year after year, and you can always count on them for a solid show. Personally, this marks my fifth time seeing them, and I practically know the setlist by heart since it hasn’t changed since my first concert. Each of those five performances, including tonight’s, has been fantastic. The set was tight and energetic as always,  but its about damn time for the band to rellase their first full-length and change up the setlist. The quality and potential is there.

 

Now, we move on to the third and final support band before another history lesson from Possessed: Serpentslain. Before I proceed, I must mention how refreshing it is to see local bands performing as support for legends like Possessed, rather than wasting our time with pay-to-play acts that have a 90% chance of sounding damn dreadful. We owe a big thanks to the folks from Nasty Abyss, not only for organizing this event but also for giving local bands the opportunity to play in larger venues for luckly bigger audiences. Unfortunately, tonight we weren’t so lucky. During the support acts, I could barely count 40-50 attendees, and Boogaloo is a venue that could easily accommodate around 200 people without a hitch. What a shame.

Returning to the band, Serpentslain is another one of those older acts with a few false starts throughout the years. Their first full-length album, Age of Verdict, was released in 2020, and their latest EP, Cognitive Dissonance, came out in 2024. They bring a more melodic death metal vibe to tonight’s repertoire. This doesn’t imply they are softer than the previous two bands. Hell no. If I were to compare them to a well-known band, it would be At The Gates, filled with intense parts that can truly blow you away. A standout performance tonight was definitely from Frane Belinic on drums; despite being heavily triggered, he provides a distinct sonic identity in their live show. When the fast parts hit and the blast beats kick in, you feel like you’re on another level with these guys. Unfortunately it seems, at least to me their set was the shortest one with around 30-35 minutes of playtime.

With that, we experienced the longest line checks in recent memory for Possessed, stretching around 35 minutes with sound guys slouching around with infrequent “check check!”  reverbly yelling at the microphone for Jeff.  If there was more echoes in the microphone the venue would turn into a cave.

Finally in 22:30, Possessed hit the stage and finally a bigger crowd showed up, not the most impressive crowd in numbers but just enough not to feel embarrassed. For us who saw them three years ago we knew what is going to hit us so that element of novelty is somewhat diminished. Nevertheless, we got another professional and tight performance by the band with the set list mainly consisting of albums Beyond the gates and Seven Churches and a few from the last album. I thought since is 40 years since the first album they are going to perform Seven Churches in its entirety. Well, call it a personal bummer.

Jeff again was in great spirits shaking hands and fist-pumping with everyone he could reach. Unlike last time in Mocvara, you can actually hear the guys voice during the songs but unfortunately the live mix had such a strange reverb on the mic that I could not understand a fucking word what the was saying between the songs. Highlight were definitely The Exorcist and Death Metal, which the former should have been the opener. Another highlight that as worth mentiong were the drum sound were the snare and tomes really captured that old school vibe from their first two albums.

It’s was an immersive performance overall, but it felt very much by-the-numbers act and with the novelty gone I would lie to you if I told you I would be running to see the again for the third time.

Photo soul capture by Noah & Gita.