Category: news

And a whole of vinyl has been cut.

The post Hear Sparta Enlist My Chemical Romance’s Frank Iero For New Song “Crater”, “Cut A Silhouette” Album Due In May appeared first on Theprp.com.

Hunter Benson is a rock, country and Americana artist from Redondo Beach, California. Drawing from influences across Southern rock, grunge and classic Americana, his sound blends guitar-driven grit with reflective lyricism and a strong sense of melody. Benson writes from what he has lived, grounding his songs in struggle, faith and resilience, rather than abstract […]

Amy Helm is the daughter of two fellow folk singer-songwriters: Levon Helm, who died in 2012, and Libby Titus, who died in 2024. When Titus died, she was married to Steely Dan founding frontman Donald Fagen, whom Helm has been featuring on her Instagram a bit over the past few weeks.

The post Donald Fagen Still Committed To The Bit In Episode 3 Of This Year’s Best Vertical Video Series appeared first on Stereogum.

Hardbone .

The post Hardbone drop video for new single “Four To The Floor” from upcoming studio album first appeared on Sleaze Roxx.

FOR IMMEDIATE RELEASE
ACERBIC Premieres New Video “#216” at New Noise Magazine – A Defining Statement of Death-Thrash Intent
Olympia, WA — ACERBIC, the rising death-thrash force from Olympia, Washington, has just landed a major milestone with the exclusive premiere of their blistering new video for “#216” at New Noise Magazine . The track serves as a bold and uncompromising statement from their debut EP, Abhorrent Atrocities Against All Humankind , out now.
Far from just another extreme metal clip, “#216” arrives with purpose. As highlighted by New Noise Magazine , ACERBIC is pushing beyond the genre’s typical chaos, delivering what can only be described as “violence with purpose, brutality with memory.” The track clocks in at a relentless 216 BPM, making it the band’s fastest composition to date, while also tying directly into the conceptual narrative of the EP.
“‘#216’ is the best representation of our sound,” says guitarist Chris Thompson. “It’s everything we do, pushed to the extreme.”
Within the record’s storyline, the song marks a pivotal moment, following a central character reaching his 216th victim. Rather than leaning on shock value alone, ACERBIC channels something deeper—crafting a track that feels calculated, immersive, and disturbingly introspective.
Formed originally in 2013 as a solo project by Thompson, ACERBIC has evolved into a fully realized unit featuring Gabriel Glandon on vocals, Xander Provencher on bass, Chris Hannan on drums, and Thompson on guitar. Together, they fuse old-school death metal grit with razor-sharp melodic precision, delivering a sound that hits just as hard as it sticks with you.
That sense of intention carries through every aspect of their debut release. Recorded in August 2025 at Elektriccity Recording in Portland, Oregon, and mixed and mastered by Charlie Koryn, Abhorrent Atrocities Against All Humankind captures the band firing on all cylinders. The record balances raw aggression with a surprising level of control and clarity—never losing its edge while refusing to blur into noise.
“What I’m most proud of is how smooth the process felt,” Thompson explains. “Everybody was locked in, and Charlie didn’t just capture that energy—he cemented it.”
Visually, the “#216” video and the EP’s artwork—hand-painted by Matt Stikker—pull from the scarred landscapes of the Pacific Northwest, mirroring the record’s themes of destruction and loss. It’s a fitting backdrop for a band that’s as much about atmosphere and meaning as it is about sheer sonic force.
With the New Noise Magazine premiere shining a spotlight on their vision, ACERBIC isn’t just making noise—they’re making a mark. In a scene flooded with speed and aggression, this is a band focused on staying power.
Abhorrent Atrocities Against All Humankind is available now in limited CD and cassette formats via the band’s Bandcamp page. https://acerbic.bandcamp.com/
For interviews, review copies, or press inquiries: zach@metaldevastationradio.com
Check out the premiere here at this link: https://newnoisemagazine.com/premieres/interview-acerbic-discuss-video-premier-for-216/


Connect:
https://www.facebook.com/AcerbicMetal
https://www.instagram.com/acerbic.metal/
https://www.youtube.com/@AcerbicMetal
https://acerbic.bandcamp.com
Contact: riffsandspliffs666@gmail.com

Earthbound.

The post Armed For Apocalypse’s “Spellbound” Music Video Debuts appeared first on Theprp.com.

Rocking the same lineup since 2016, Helsinki foursome Chalice returns to serve up their sophomore offering, Divine Spear. Debut Trembling Crown dropped at the tail-end of 2020, and just over five years later, its follow-up retains Chalice’s essence while evolving the previous album’s rugged character. Where Trembling Crown rumbles with a raucous vigor, Divine Spear more often exudes a silky, polished sheen, enlivening its tracks with slick guitars, a vibrant production, and Jethro Tullian flourishes. The brew may have matured, but the core ingredients remain the same—so let us quaff from the Chalice and see if the draught is divine enough to raise our spears!

Chalice covers a variegated landscape of inspirations on Divine Spear, drawing from the realms of heavy metal and hard rock. Especially refreshing about Chalice’s ingestion of influences is their ability to seamlessly weave homage into their songs. “Hollow Curtain,” for instance, radiates top-Týr charisma throughout verse and chorus, with vocalist Verneri Benjamin Pouttu sustaining notes that echo Heri Joensen’s longship-ready croon. Later in the song, particularly in the solo, the marrow of Iron Maiden crackles with a guitar tone ripped from Brave New World. This modus operandi holds true throughout the album, whether it’s the Ian Anderson flute toots in “Empyrean Liturgy,” the “Aqualung”-coded solo from “Age Ethereal,” or the Pink Floydian psychedelia of “Alioth,” which is redolent of “Comfortably Numb” and patchouli. Despite the diverse calls to other bands, Chalice’s magic on Divine Spear lies in blending inspirations into a cohesive whole, taking the sounds of influences and knitting them into a unified platter informed by muses rather than mimicking them.¹

Aiding the lush instrumentation on Divine Spear, Chalice nails the production and mix. The dynamic range boasts an impressive score, and while that doesn’t guarantee a great soundscape,² it proves true here. Divine Spear sounds incredible throughout its forty-eight minutes, regardless of whether I’m listening in my car, through my headphones, or on my phone speaker.³ The six-string tandem of Mikael Cristian Haavisto and guitarist/vocalist Pouttu is especially arresting, from the twists and chugs of “Dwell of a Stellar Trance” to the acoustic warbles in “Mare Imbrium” and “Empyrean Liturgy.” Chalice’s rhythm section also avails itself niftily, never quite in the spotlight but handily hammering away in service of the songs. Drummer Olli Törrönen rarely reaches fever pitch, but neither is he content to remain planted in the pocket, loosing a quick fill here and a double-kick roll there. No moment ever feels compressed or too busy, and the overarching aural experience goes down as smooth as Joni Adrian Petander’s bass.⁴

Offsetting the myriad reasons to love Divine Spear, Chalice’s subtle songwriting occasionally suppresses what could be an even better album. Divine Spear is rife with variety, both in pacing and instrumentation, but while satisfyingly spirited moments dot the experience, too often I feel like Chalice holds back rather than capitalizing on big moments. According to the Bandcamp page, the band delivers ‘poignant shifts into cleaner, quieter territory, truly heightening the drama.’ This rings true, but composing livelier moments, particularly on “Empyrean Liturgy” and “Alioth,” could elevate songs by imbuing atmospheres with a contrast that ratchets up tension rather than maintaining a subdued pace for six minutes. And speaking of runtimes, every now and again, song durations on Divine Spear push past what’s needed. Other than “Age Ethereal,” whose eight minutes could be significantly trimmed, Chalice does well not going far past tracks’ expiration dates. Still, tightening them up would engender greater results.

In total, Chalice proves their interpretation of trad metal works as well through a gentler lens as it does on their rough-and-tumble debut. The choruses catch, the riffs hook, and the music feels familiar and novel all at once, eliciting an engaging encounter that rewards multiple listens. A few small adjustments could make an immediate and outsized impact, though I have to emphasize that, even as is, Divine Spear merits a listen. There’s no doubt Chalice possesses a winning recipe, and I hope we don’t have to wait quite so long for their next effort. Until then, Divine Spear’s formulation is plenty Good enough.

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Rating: Good!
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook
Releases Worldwide: February 27th, 2026

The post Chalice – Divine Spear Review appeared first on Angry Metal Guy.

Maryland's Montgomery County Department of Police has released a report on Brady Ebert's attempted murder charge, revealing new details. Continue reading…

BEYOND THE SAZ Turkish psych rock has been widely praised in the past few years and many new bands with similar sounds have emerged. Here we present the other side of the recent Turkish alternative music scene. What other music is happening in Turkey? One of the most respected bands from the local alternative scene […]

The post BEYOND THE SAZ : Buyuk Ev Ablukada and Turkish music beyond the psyche scene appeared first on Louder Than War.

BEYOND THE SAZ Turkish psych rock has been widely praised in the past few years and many new bands with similar sounds have emerged. Here we present the other side of the recent Turkish alternative music scene. What other music is happening in Turkey? One of the most respected bands from the local alternative scene […]

The post BEYOND THE SAZ : Buyuk Ev Ablukada and Turkish music beyond the psyche scene appeared first on Louder Than War.