Category: news

Something in the studio.

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Band:	Exhumed
Release:	Red Asphalt
Genre:	Death Metal
Country:	America
Release Date:	20th of February, 2026
Released via	Relapse Records

Gore and Death Metal maniacs Exhumed are back behind the wheel. This time they’re flooring it straight down a blood-soaked highway. Red Asphalt is out February 20 via Relapse Records. After more than 20 years of gore-soaked carnage, you’d think Exhumed might run out of ideas. Wrong. This time, the horror unfolds on the road. Think gore-filled car crashes, zombie biker gangs and twisted highway carnage. Buckle up.

Led by mastermind Matt Harvey, the band packs ten tracks into their Death Metal truck and tears down Route 666 with zero regard for safety regulations. Opener “Unsafe At Any Speed” immediately sets the tone. It checks every box for the classic Exhumed sound. It’s vile, contains gruesome vocals, a punk-fueled attitude and riffs that stick in your head like shrapnel. If you’ve enjoyed their last few releases, the production here will feel just right. Red Asphalt feels sharp, powerful and filthy without losing clarity.

The title track comes in with a ridiculously catchy opening riff that manages to be melodic and crushing at the same time. Matt Harvey’s guitar work inevitably brings a bit of that Chuck Schuldiner spirit into the mix. Not in a copycat way, but as a respectful nod that longtime death metal fans will immediately recognize. A lot of the leads and solos also recall the more melodic era of Carcass, especially on tracks like “The Iron Graveyard“, where the drumming and guitar interplay create that perfect blend of brutality and surgical precision. Exhumed have always been masters at translating their concept directly into sound, and here the entire album feels like a cinematic pile-up.

“Shock Trauma” is a pure ripper that captures the violent chaos of a catastrophic crash. Getting flipped in a car has probably never sounded this brutal (in the best possible way). “Shovelhead” slows things down. Just enough to give you a groovy, head-nodding crusher that fits perfectly between the high-speed assaults filled with blast beats and burning gasoline.

One standout is “Signal Thirty“, which might be the album’s defining moment. It perfectly captures the spirit of Exhumed. It sounds punky, aggressive, hook-driven and absolutely ruthless. It feels like everything the band does best condensed into one track.

Honestly, I don’t think a seatbelt or airbag could save you from the beautiful wreck Exhumed have delivered here. Red Asphalt proves that this is far more than just another death metal album with a gimmick. It’s a fully realized concept executed with skill, humor and a ton of guts.

The road is definitely not safe when Exhumed hit the red asphalt. Time to fire up the gore-soaked engines and blast this absolute banger at full volume.

R.I.P. Tompa.

The post At The Gates To Release Their Final Album With Tomas Lindberg In April, Debut New Track “The Fever Mask” appeared first on Theprp.com.

Love isn’t supposed to sound like this. With Love Is Dying, Lost in Hollywood tap straight into the moment where everything starts to crack — and they don’t look away. Featuring Philip Strand of Normandie, the new single by Lost In Hollywood blends crushing metalcore weight with a haunting melodic pull, balancing raw aggression and […]

Hailing from country towns across Australia, Slippery Gypsy are known for their down-to-earth vibe, unfiltered songwriting, and passionate live shows. Their mix of Rock Grit, Pop sensibilities and musicianship creates a unique style driven by singer Luke’s distinct, powerful vocals. With six singles already released, the band is now sitting on four unreleased tracks that […]

August Burns Red‘s brand new track “Behemoth” has just gone up online. The Lancaster, PA metalcore veterans are unveiling it seemingly as the first glimpse at their forthcoming eleventh studio album. Recording sessions for that outing wrapped up last fall, once again taking place under the production team of Carson Slovak and Grant McFarland.

The post August Burns Red’s New Track “Behemoth” Debuts Online appeared first on Theprp.com.

It would be all too easy to call Paul McCartney: Man On The Run a documentary about Paul McCartney and Wings. There is another documentary called Wingspan that came out in 2001, and it covers the same 10 years of McCartney’s life after the Beatles. One difference is that it seems to be more hands-on, with McCartney popping up on camera, providing commentary throughout. He speaks but is never seen in Man On The Run, which is fueled by archival footage and brutal honesty.

As the title of the film implies, Paul McCartney was very much “on the run” in 1970s. The emergence of Wings comprised a significant portion of it. What the film reveals, however, is that McCartney’s life — from the break-up of rock’s greatest rock band he was part of to the senseless death of his best friend and collaborator — was very much a marathon, mostly spent “running” away from the immeasurable legacy of The Beatles.

Directed by Morgan Neville, Man On The Run provides a fresh perspective, from a much older and wiser Paul McCartney, along with commentary from Linda, Mary, and Stella McCartney, Wings band members, Sean Ono Lennon, Mick Jagger, Chrissie Hynde, Nick Lowe, Elton John, and others.

From the outset, we’re with McCartney when the Beatles have broken up and — what he will do now. As we’re shown, he chose to live with wife Linda, stepdaughter Heather and new-born Mary in a “broken down farmhouse” in Scotland. Despite a bit of drinking and drugging, McCartney starts making music again, albeit on a much smaller, simpler scale.  Still, the influence of John Lennon, The Beatles partnership, and Apple Records weren’t going away any time soon.

“John broke up the Beatles, but I got the rap,” McCartney proclaims. “And that’s a bit of a weight to bear.”  Lennon, his moves, even his opinions about his former partner’s music come up here and there. After going over why the first McCartney solo album tanked, critically and commercially, we hear a sound byte of Lennon calling it “rubbish.”

We’re reminded the Walrus had his own issues with the Beatles and took square aim at his old songwriting partner with the venomous “How Do You Sleep?” To which, the 82-year-old McCartney responds with a mighty “Fuck you,” followed by: “How do I sleep at night? Actually, quite well.” As it were, It all seems to drive McCartney in getting back to “square one” by forming Wings.

The early live footage and photos of Wings touring Europe serve as a major turning point. As much as McCartney says he wanted Wings to be a real band with an equal partnership, the film suggests the playing field could never be level simply because whatever Paul McCartney did, he would always be a beloved Beatle. Until he embraced it years later, the shadow was as much of a curse as it was a blessing, especially with regards to Wings.

Still, the validity of Wings is called into question. Recording “Mary Had A Little Lamb” didn’t seem to resonate. Linda McCartney catches flak for even being in the band (Beatles wives couldn’t get a break). It becomes perfectly clear then and now how vital she was to McCartney’s state of mind and body.

To hear Lennon say on camera that “Paul’s suspicions were right” when news that he, George Harrison, and Ringo Starr had severed ties with uber manager Allen Klein is a major step forward. There’s another clip of Lennon responding to a question from a TV show audience member about Wings. “It’s getting better…he’s going in the right direction.”  We’re let onto the fact that the iciness between Lennon and McCartney at that time was beginning to thaw. “If I can’t have a fight with my best friend, then who can I have a fight with,” Lennon said.

It’s this kind of reinforcement that allows McCartney to expand Wings, with numerous bumps and band members to navigate along the way. After drummer Denny Seiwell and guitarist Henry McCulloch bailed before the band was set to go to Africa to make Band On The Run, McCartney dug his heels in to make the “best record” he could. As we are to learn, getting mugged and losing their demos in Lagos somehow provided the needed incentive for Wings to finally break through.

With number one records, a growing family, and a strong work ethic, McCartney was ready to tour big in Australia and America — the only proper tour he really ever did with Wings — though he admits it was “a scary moment.” You can watch Rockshow to see Wing’s finest lineup (with guitarist Jimmy McCullock and drummer Joe English on board) in full bloom.

Multiple frustrations from various band members about pay, being in the background, and musical direction are aired out. McCartney comes to grips with the fact that Wings was always his band, offering: “I try to be a good boss.” That seems to have been working well with subsequent hired hands.

Having achieved worldwide success, McCartney hesitantly added Beatles songs. At the same time, as the film vividly exposes, talk of a Beatles reunion started to circulate, resulting in multi-million dollar offers. Hearing McCartney talk about being with Lennon watching  Saturday Night Live’s paltry offer of $3,000 to reunite provides new revelations.

The upbeat tone of Paul McCartney: Man On The Run shifts once the tour ends and more lineup changes happen as McCartney ages and reflects. Denny Laine says Wings was no longer the same. McCartney weathers the storm, the “run” continues and he never stops making music. Out of nowhere, a tribute to Scotland, “Mull of Kintyre,” with its undercurrent of bagpipes, became a huge hit. And more additions to the family kept the hive happy and healthy.

Even as McCartney’s infamous arrest for possession of marijuana in Japan nearly ended his career, it most certainly ended Wings. Looking back, the whole controversy hasn’t aged well. “I was an idiot” is how McCartney sums it up. Once he was free, he turned face and made “Comin’ Up.” It was enough to even inspire Lennon’s brief return to music.

Which brings us back to John Lennon and Paul McCartney’s relationship. “It’s beautiful we made up,” McCartney says. But then Lennon’s untimely demise and the official end of Wings brings the story to a close. While diehard Wings fans will want to compare notes with Wingspan, perhaps the end result of the rip-roaring decade covered here is a man no longer on the run, but rather a man who, in his own words, “grew up.”

~ Shawn Perry

Only Human are fresh to the prog space, but the Danish upstarts are already on the brink of a major discovery with their debut album. "Planned Obsolescence" invents an existential form of prog metal that speaks to our not-too-distant dystopia. Today, Only Human are releasing the second advanced single from "Planned Obsolescence." "Breach" is pus… Read More/Discuss on Metal Underground.com

Perth melodic death metal unit Vanta drop their album Perpetual Selection on March 13.

Before that happens, they’ve unleashed a visualiser for latest single Transmorcide, which you can check out below. The band’s album launch happens on March 27 at the Milk Bar in Perth with Allocer, King Zog and Crailbone.

Today, it would probably fall under the tribute to the swingin’ 60s; but in 1973, Pin Ups, David Bowie’s extemporary covers album, was looked upon as an odd, yet daring move. Bowie was just beginning to come into his own, having unearthed his alter ego as the androgynous Ziggy Stardust. Likewise, the Spiders From Mars — Bowie’s high-charged backing band — was amassing praise for its rapid-fire delivery. It seemed out of the ordinary for the rising star to suddenly come up with a collection, jam-packed with other people’s songs. Maybe it was intended to demonstrate how diverse Bowie and his band were. But, in fact, it was something else altogether: A signpost pointing the Thin White Duke in a new direction.

By their very nature, cover albums can deliver devastating blows to certain artists’ careers. Examples include John Lennon’s emphatic, half-hearted Rock N’ Roll album and Guns ‘N’ Roses’ mind-bogglingly lowbrow Spaghetti Incident. On the other hand, Bowie’s tribute to mid-60s British rock is conveyed with a great deal of loving care. But it came with a price. Pin Ups was the final album Bowie would ever record with guitarist Mick Ronson and producer Ken Scott. With Ziggy more or less buried the year before, and Bowie pushing forward with the post-apocalyptic Diamond Dogs — itself a transitional album of sorts — Pin Ups could be interpreted as a quick nod and wink to the singer’s influences before moving on to other creative ventures.

Nevertheless, Pin Ups is first and foremost about the music — a diverse selection of England’s most treasured gems. “Rosalyn,” a Pretty Things single, is a cool reminder of how well Ronson could make his axe swing and sway. Them’s “Here Comes The Night” draws smooth treatment and Pink Floyd’s “See Emily Play” receives a gaudy shakedown. The covers of the Who’s “Anyway, Anyhow, Anywhere,” the Yardbirds’ “Shapes Of Things,” and the Kinks “Where Have All The Good Times Gone” are all pretty faithful, and consequently unremarkable. Ever the iconoclast, Bowie’s takes on the Merseys’ “Sorrow” and the Easybeats’ “Friday On My Mind” prove to be far more engaging. Despite its disparities, Pin Ups made quite a splash on the U.K charts, ands remains an essential component of the David Bowie catalog.

~ Shawn Perry