Category: news

Listen To “My Girlfriend’s Girlfriend” HERE: https://youtu.be/4ZNjFrE2pmQ

Chile’s heavy ensemble ATER present their interpretation of TYPE O NEGATIVE’s “My Girlfriend’s Girlfriend”, released via Torque Records. The band’s shadowy sound combines extreme metal and gothic rock, seeing ATER unveil a dark and heavy take on TYPE O NEGATIVE’s iconic track. 

ATER’s frontman Fernando Bühring comments: “I was introduced to Type O Negative by my older brother back when I was in my early teens. I was immediately hooked, and they have been at the top of my favorite bands list and are great inspiration for me and the music I write with ATER to this day.

Making our own rendition of ‘My Girlfriend’s Girlfriend’ was a lot of fun. The whole process took just a couple of days. I demo’d the whole thing during the course of a morning. Vincent laid down the drums quickly and we kept the rest from the demo. We also invited fellow guitar player and producer Tebby Muñoz to do the solo on this one. Personally I’m not into making covers much at all, but when I realized October Rust was turning 30, I wanted to celebrate with making a tribute to it. We will probably never do a cover again, so here ya go!.”

About ATER:
Based out of Santiago, Chile, extreme metal act ATER unveiled their debut album Eternal Gray Spiral in 2018 through Insania Recordings. The band’s sophomore album Somber arrived in 2024 via Torque Records, with 2025 seeing the release of singles, “The Fall” and “Venus”. 

Describing their sound as Dark Metal or Extreme Dark Metal, ATER‘s music is constructed primarily from extreme metal and gothic rock. Their production feels both modern and organic, with composer Fernando building songs around the guitars and bass often leading to centered bass parts in the mix. Thematically, ATER‘s music is introspective, open and honest in its emotional delivery. ATER explore gothic romanticism with an updated, modern perspective. 

ATER have traversed across global stages including European tours: Epic Prophecy Europe 2024 (BATUSHKA, VLTIMAS, GOD DETHRONED, ATER), Beyond The Black Tour Europe 2025 (VENOM INC, KRISIUN, HATE, ATER), and Morbidfest Tour Europe 2025 (POSSESSED, TERRORIZER, SUICIDAL ANGELS, NIGHTFALL, ATER). In 2025 alone, ATER performed an impressive 110 shows including national support for CRADLE OF FILTH in Santiago, Chile, and Turock Festival, Essen, Germany. 

ATER:
Fernando Bühring
Vincent Zbinden
Christian Vallejos
Javier Ciudad

Credits:
Bass, Guitars, Synths and Vocals performed by Fernando Bühring.

Drums performed by Vincent Zbinden.

Guitar Solo by Tebby Muñoz.

Arranged, Recorded, Mixed and Mastered by Fernando Bühring.

Artwork by Aldo Rojas.

Connect With ATER:
Official Website: https://ater.cl/

Bandcamp: https://aterdark.bandcamp.com/track/venus

E-Shop: https://torquerecords.cl/

Facebook: https://www.facebook.com/atermetal

Instagram: https://www.instagram.com/ater_dark/

Spotify: https://open.spotify.com/artist/1HpPzWF2E6G8KfD5pOM6La?

Source: C Squared Music

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The Iron Roses are one of the most politically outspoken punk bands today.  This is cemented with their newest album, Molotov Nights, where they leave no opinion suppressed and every opinion they do have is screamed from their gut. 

 “Molotov Nights” is an album that shares the same beliefs that punk bands have but don’t want to write, featuring multiple songs that address genocide (Dead Eyes), capitalism (All American), ICE (The Good News), the fetishizing of women (Body Count) and other topics that validate their anger.  The powerful vocals of Natasha Grey (she/her) and Becky Fontaine (she/her) reaffirm the sincerity of the lyrics and convey a genuine cry of anger that makes you just as pissed as they are.

When discussing the album on their Bandcamp, they open up with the following: “Ever since November 2024 we’ve heard the same tired bullshit everywhere — ‘At least we’ll get some good music out of this.’ Fuck that. We’d much rather a world filled with equality, food, housing, health care, education, peace, and love”.  What makes this an important quote when discussing this album specifically is that it reaffirms that this is not an album that’s really meant to be enjoyed.

While you can enjoy it, and you should, “Molotov Nights” serves primarily as a wake-up call.  It is 25 minutes of telling the listener “Hey, this is what’s going on in the world right now”, in the hopes that others will get just as angry and call for a change. 

As far as sound goes, while it generally remains a melodic punk rock album, “The Good News” starts off as a folk tune, and “All American” also turns into ska punk.  Overall, they focus much more on the message of their lyrics rather than going into a lot of sound experimenting.

I was lucky to catch them live earlier this year and can confirm that their energy on this album matches with their energy on stage.  As a trans femme-fronted band, they have a lot to be angry about.  If you feel a part of a minority, or just as angry with the world and don’t know why, I would highly recommend that you give “Molotov Nights” a listen.

Favorite songs: “Dead Eyes”; “All American”; “Look Away”

“Molotov Nights” by The Iron Roses is available now on Bandcamp.

Posted on August 18th 2026, 1:00pm

Our Top 10 Dan Fogelberg Songs looks at the songs of a brilliant songwriter who released his first album in the 1970s. Dan Fogelberg’s songs attracted folk, rock, and pop audiences while achieving mass stardom. His lyrics and melodies carried a tenderness and beauty that captivated music fans. A golden voice, a magical pen, and an acoustic guitar sound that wrapped it all together into an artist for the ages. No one alive today who grew up in the 1970s and ’80s was unaffected by a Dan Fogelberg song. The 1970s were a time when the singer-songwriter flourished. Artists like

The post Top 10 Dan Fogelberg Songs Of All Time appeared first on ClassicRockHistory.com.

Before I Die is the latest single from Sydney melodeath unit Besomora.

It’s the second new track from the band as they gear up for the release of new EP Devotion to the Fear on September 18, featuring guest appearances from Chris Broderick and Per Nilsson.

On September 10 they’ll be a part of Shredfest in Sydney with Obscura and Fallujah. Get more from the band here.

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You’ve likely never heard of him, but Mauricio Guerrero has been a busy man of late. I hadn’t either, until Peruvian stoner-doom band Illwind, featuring lead guitar from Guerrero, dropped their debut album in early July. Clarkkent’s positive review of The Unfolding at the End of Light drew my attention to this ‘chill record with some outstanding moments,’ many of which arrive via Guerrero’s transportive solos. Not two months later, Guerrero returns with another stoner/doom debut: Argul’s Soledad & Orgullo (‘Solitude & Pride’). In Argul, Guerrero shares guitar and vocal duties with Jose María Venturi, both of whom formed the band in 2014. Filling out the lineup are Peruvian scene veterans Jian Holmes (bass) and Alonso Guerrero (drums).¹ In snatching Soledad & Orgullo from the promo bin, I was quite curious whether Argul’s debut would continue Guerrero’s hot streak or flood Peru’s stoner-doom market with middling/subpar wares.

Argul build their musical edifice on doom and stoner cornerstones, old and new. Based on Soledad & Orgullo’s cover art alone, you wouldn’t be wrong in guessing that this Peruvian quartet primarily channels early Black Sabbath. While its sylvan visual aesthetics scream ‘self-titled debut!’, Argul’s debut more closely parallels the tones and riff-work of Master of Reality. Indeed, M. Guerrero and Venturi generally keep the guitar lines dark, slow, and bluesy (“Ritual”), but they also bust out some livelier boogies that get the head boppin’ (“Hor Hodin”). The duo frequently melodicize in funerary modes (“Animal Dog”), sure to bring joy to those wallowing in sorrow at the extinction of old Pallbearer. And in their droniest moments, Argul recall Matt Pike’s minimalist axe-work in Sleep (“Engendro”). Soledad & Orgullo’s artwork perfectly portends its open, earthy music; the production is spaciously organic, and the interplay between the guitars, Holmes’s exploratory bass runs, and the backbeat drumming feels refreshingly present. You can hear minor deviations during rhythmic shifts, which is not a criticism—the album sounds like a well-curated live band.

Vocally, Argul avoid the bombast frequently found in doom and the coarseness often favored in stoner metal/rock. Instead, M. Guerrero and Venturi utilize not quite reverb-drenched ethereal lilts, frequently harmonizing with one another. This isn’t to say that Argul are peerless in how they drape voices over doom/stoner metal. Their approach reminds me of the way bands like Windhand and REZN summon ghostly atmospheres through singing, emphasizing the somber, resigned aesthetics of the genre. Soledad & Orgullo doesn’t deal out memorable hooks like the above-mentioned acts, but M. Guerrero and Venturi stitch a warm vocal blanket that’s enchanting in its own right. Other than the occasional sound clip,² which took me out of the album’s aura, Argul have a compelling vocal duo on their hands that could be further enhanced with more attention to memorability.

Soledad & Orgullo plays as a consistently enjoyable album, though it suffers from some issues. For starters, the album can be divided into stronger/weaker cuts. Epic opener “Ritual” sits in the stronger category, itself opening with an instantly striking descent that’s harmonized to Pallbearian heights. “Hor Hodin,” a shorter track, also triumphs, developing absolutely delectable Iommian shuffles. Meanwhile, “Engendro” and closer “Animal Dog” are comparatively weaker tracks, though they aren’t bad by any means. Soledad & Orgullo can also be knocked for its occasionally overdone songcraft. While “Ritual” mostly succeeds as a long song, “Animal Dog” definitely drags at times. Nevertheless, this four-track album runs for a reasonable 31 minutes, if you don’t count the concluding bonus track. With “Kamog,” Soledad & Orgullo clocks in at 45 minutes. Yes, that’s right—the bonus track (which could be trimmed) adds a whopping 15 minutes to the runtime.³

On the whole, though, count Soledad & Orgullo as another solid stoner-doom offering from Mauricio Guerrero. He and Venturi are a talented duo that know how to dress irresistible riffs in morose guitar melodies and gossamer vocal harmonies. While Argul’s songwriting is a bit hit-and-miss, they possess a captivating sound out of the gate that bodes well for the future. Argul should be proud of this debut, which fans of doom and stoner metal should certainly sample.

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Rating: 3.0/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Personal Records
Websites: Bandcamp | Instagram
Releases Worldwide: August 21st, 2026

The post Argul – Soledad & Orgullo Review appeared first on Angry Metal Guy.

Posted on August 18th 2026, 11:49am