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youbet are releasing their eponymous new album next month. We’ve heard the singles “Ground Kiss,” and “Receive,” both of which are great. But today the Brooklyn band is back with “Undefined,” and it’s even better. “I wrote ‘Undefined’ while waiting for a guitar student and started to work out this interesting melody and chords,” Nick…

The post youbet – “Undefined” appeared first on Stereogum.

Lamb of God – The Masonic – San Francisco – April 3, 2026

Lamb of God played San Francisco’s 3500 cap venue The Masonic on Friday night and tore it down to its foundation. Perched high atop Nob Hill, The Masonic does double duty when it’s not serving up metal shows as the Grand Lodge for The Masons of California – quite a dichotomy of personalities – especially on this night when thousands of black shirt-wearing metalheads descended on the site.

Lamb of God formed in Richmond, Virginia, in 1994, and there is no better live band for firing up an audience. Proof of this came in the form of security guards – there were twenty guards standing at attention in the pit by the time Lamb of God hit the stage at 9:40pm – the most I’ve ever seen in this size venue, and they were immediately put to use. Crowd surfers started going wild during Kublai Khan TX’s set, and that intense energy only ratcheted up as the night wore on – turning into the most prolific night of crowd surfing one could imagine. Wave after unrelenting wave came, and the security guards never caught a break.

Photographers usually get three songs to do their work up against the stage before being ushered out, so the people who arrive early enough to get up to the front can have an unobstructed view of the stage. Prior to the Lamb of God set, the fifteen photographers at the show were told that in addition to the twenty security guards, there would be ten VIP fans up against the stage where the photographers usually jockey for position, bringing the total amount of people in the pit to forty-five before the crowd surfers were factored in. This had a ripple effect in that nobody (security, VIP, photographers, crowd surfers) had any room to move, and doing so to change positions was dicey with crazed fans raining down from above everywhere you looked.

Lamb Of God

Vocalist Randy Blythe has an infectious non-stop stage presence that demands attention – he puts out the energy, and you’re inclined to match it. Some artists talk to the audience, asking that they form a mosh pit, or asking to make the pit bigger, or request crowd surfers…there is no such need with Lamb of God – it’s instinctive, and the crowd feeds off Randy’s enormous energy, trying desperately to match it.

This tour is in support of the new album Into Oblivion, the band’s 12th, which was released in March. Two songs from the new album were featured on Friday, “Oblivion” and “Parasocial Christ”, and both went over really well with the San Francisco crowd. Lamb of God is an incredible live band, and by the time the opening notes to “Redneck” kicked in as the last song of the night, both the audience and band had truly put in the work – sweaty, exhausted, and completely satisfied – the perfect night!

Lamb of God is:

• Randy Blythe – Vocals
• Mark Morton – Guitar
• John Campbell – Bass
• Art Cruz – Drums
• Willie Adler – Guitar

Setlist:

1. Ruin
2. Laid to Rest
3. Blood Junkie
4. Into Oblivion
5. Resurrection Man
6. Grace
7. Desolation
8. 512
9. Walk With Me in Hell
10. Parasocial Christ
11. Omerta
12. Redneck

Kublai Khan TX

Kublai Khan, TX is a hardcore/metalcore band from Sherman, Texas. They formed in 2009, and have five albums and two EPs. They also kick ass. At the beginning of the night, I asked one of the security guards if he’d heard anything about the night, and what might be expected in the photo pit. He said that it should be fine, but to pay extra attention when Kublai Khan TX hit the stage, as things were likely to go off. It turns out that he had accurate information, because when the lights came up and the down-tuned guitars kicked in, the already fired up crowd went absolutely wild. I’d never seen Kublai Kahn TX before, but was aware of both their music and their reputation for killer shows – their set far exceeded my expectations.

Kublai Khan TX is:

• Matt Honeycutt – Vocals
• Eric English – Bass, Vocals
• Isaac Lamb – Drums
• Nicholas Adams – Guitar, Vocals

Fit For An Autopsy

Fit For an Autopsy was the second band of the night. The deathcore band out of New Jersey was formed in 2008, and were a perfect addition to the lineup. Their brutal brand of metal fit seamlessly with the mood of the night and the audience showed their appreciation by responding enthusiastically in the mosh pit. These guys have been doing it for almost twenty years, and they know what they’re doing. Song after furious song exploded from the stage and the fans loved every second of it. The night’s lineup of bands was great top to bottom, and Fit For an Autopsy more than earned their place on the stage.

Fit For an Autopsy is:

• Will Putney – Guitars
• Pat Sheridan – Guitars, Backing Vocals
• Josean Orta – Drums
• Tim Howley – Guitars
• Joe Bad – Vocals
• Peter "Blue" Spinazola – Bass

Sanguisugabogg

Columbus, Ohio’s Sanguisugabogg was the first of four bands to play, and they started the night off right. While 7:00pm seems a little early to play this brand of metal at ear-shattering volume, Sanguisugabogg had no problem delivering on this. Unlike other cities and fanbases, the San Francisco metalheads showed up early, and the venue had an impressive number of people inside from the start. Expectations from the Lamb of God fanbase were high, and Sanguisugabogg were enthusiastically up to the challenge.

Sanguisugabogg is:

• Devin Swank – Vocals
• Drew Arnold – guitars/Bass
• Cody Davidson – guitars
• Eric Morotti – drums

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Since spewing out from the Swedish death metal scene back in 1996, Vomitory have been one of the most consistent acts in extreme metal. Album after album of no-frills, brutal, yet enthralling Swedeath emerged from the puke shack, and you could always look forward to getting something gruesome and sick from them. They had a long layoff after 2011s Opus Mortis VIII, but when they came back with 2023s All Heads Are Gonna Roll, it was as if they never left at all. That platter was tried-and-trve Vomitory: aggressive, heavy, abrasive, but weirdly catchy. Now they’re back in the hunt with 10th album, In Death Throes, sporting new axe worker Christian Fredriksson in place of Peter Östlund. Is this corpse still delectable and appropriately unsavory? Will their simple but effective template finally start to show signs of metal fatigue? Let’s discuss these questions at the Vomitorium.

Mere seconds into opener “Rapture in Rupture,” you know you’re in for a good, rough time. This is Vomitory in all their putrid glory. HM-2 powered riffs buzz loudly like diseased insects, drums thunder and blast, and Erik Rundqvist roars over the chaos like a sick wilderbeast in heat. The energy level is set to “Berserk Meth Nutter on Crack,” and the riffs work to peel away your skin and degrade your bone structure. It offers nothing you haven’t heard before, or even something you haven’t heard from Vomitory before, but that matters not at all because this shit kills. Lead single “For Gore and Country” keeps the adrenaline and testosterone pumping with more high-speed gore and near-grind death, and it’s a joy to be bulldozed by it. The band refuse to ease back on the death throttle until 4th track, “Wrath Unbound,” where they slot into Bolt Thrower territory and appropriate that war-loving crew’s iconic riff palette for a bit of tank-in-the-muck grinding. It works very well, though it makes me long for a new Bolt Thrower album.

Elsewhere, “Cataclysmic Fleshfront” goes extra fast and mean on those still left in the fight, at times verging on beef-brained slam in a way that will bring Dolphin Whisperer to the yard faster than any cheesy milkshake ever could. This is abrasive, brain-deadening shit, but Vomitory uses the chaos to try a few new things, and damn if those big chugs aren’t satisfying. If you were to play this at the gym, your primal ape rage would increase tenfold as other gym goers fled in terror. “Two and a Half Men” introduces a simple yet effective riff, then absolutely beats you into a bloody pulp with it for 3 in the most relentless way possible. I mean this as a positive. Closer “Oblivion Protocol” injects interestingly melodic and moody harmonies into the mix, possibly as a balm to help you recover from the 30-plus minute mega-ass whopping they just put on you. It’s a cool changeup, and it sticks out. Are there lesser moments? I suppose one could say “Forever Scorned” isn’t quite as tremendously murderous as its peers, but it’s still a good song with loads of death boulders to hurl. At a very tight 38-plus minutes and with all songs in the 3-4 minutes window, In Death Throes blows your head off and then fucks off in quick order. Nothing stays too long or feels bloated. At the same time, the songs all have their own identity and don’t bleed into a revolting mush as they easily could with a less practiced hand at the wheel.

I’ve always been a huge fan of Erik Rundqvist’s death vocals, and In Death Throes is another testament to his unnatural abilities. His roars are just guttural enough to hit that subhuman level and add the right amount of sick extremity to the material. He isn’t puking up nuclear hairballs a la Cryptworm, but he doesn’t sound restrained either. Longtime guitarist Urban Gustafsson pairs well with newcomer Christian Fredriksson and together they uncork a nonstop succession of ragged, jagged riffs designed to traumatize and harm. They even toss a killer Exodus riff into “Erased in Red” that’s better than what we actually heard from Exodus recently. Tobias Gustafsson has the unenviable task of keeping up with the rest of these maniac mauraders, and his kit work is frantic, frenzied, and just technical enough to satisfy. Once again, Vomitory stick to what always worked for them, and somehow, it works as well now as it did in 1996.

Vomitory made a fierce comeback in 2023, and now they’re showing it was no late-career fluke with In Death Throes. This is a rowdy, skull-crushing death metal opus with plenty of meat to chew on. All that meat is rancid, so all the better! Trust in Vomitory and get your ears assailed by this blasty bastard. It would be wise, my friends.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Metal Blade
Websites: vomitory.net | vomitory.bandcamp.com | facebook.com/vomitoryband | instagram.com/vomitoryband
Releases Worldwide: April 10th, 2026

The post Vomitory – In Death Throes Review appeared first on Angry Metal Guy.

Jah Gordy delivers a pretty smooth R&B treat, dripping with a fresh, effortless cool and a steady, flowing groove. The track glides on silky production, where mellow beats and subtle melodic touches give space for the vocals to breathe and unfold naturally. There’s a quiet confidence in the delivery—nothing forced, just a clean, modern sound that feels both laid-back and emotionally in tune.

It’s the kind of track that doesn’t chase attention but earns it, blending warmth, finesse, and a hint of edge into something easy to sink into and hard to skip.

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In 2024 — a couple of years after she likened Alex Jones’ Sandy Hook conspiracy theories to celebrities advocating for COVID vaccination — M.I.A. appeared on Jones’ show Infowars to promote Ohmni, her line of clothing which she claimed blocked 5G. Today the artist has announced her first album since then: M.I.7, which is out in just…

The post M.I.A. Announces New Album, 10G-Blocking Clothing appeared first on Stereogum.

Thirty-three years ago in 1993, Porcupine Tree performed their debut gig at The Nag’s Head in High Wycombe. A year prior, Steven Wilson’s experimental double album On the Sunday of Life laid the groundwork for the band’s sound. Now, in 2026, Voyage 35 invites fans on a nostalgia trip back to those heady days through the doors of “The Nostalgia Factory”— a unique cover version of a standout track from that debut album.

The reimagined eight minute version of the song pays homage to Porcupine Tree’s formative era, where the spirits of ’60s and ’70s space rock collided to create an intoxicating, psychedelic symphony. Whilst acknowledging that past, ex Porcupine Tree members Colin Edwin and John Wesley Dearth are intent on driving the music firmly toward the future.

“There is so much love for the early Porcupine Tree material, and many people have expressed a desire to hear it again,” Colin Edwin told Louder Sound. “As the band evolved, much of this music fell by the wayside. It feels right to revisit it now with a fresh approach and new musical talent.”

John, who joined the band’s touring lineup in later years, shares that enthusiasm: “I’ve always been intrigued by the band’s early period. I’m really looking forward to playing these songs live and seeing where we can take them.”

While Porcupine Tree famously spearheaded a progressive rock revival with 2002’s In Absentia, the decade of incredible music that preceded it remains a fan favourite—much of which was never performed live. Those lucky enough to witness the band’s formative years remember a sense of languid experimentalism and spaced-out improvisation, all enhanced by the immersive projections of the Fruit Salad Lightshow.

Reunited with that original visual magic, Voyage 35 will head out on a short tour of Italy, Germany, the Netherlands, and the UK in September 2026. Fans can also look forward to some very special guests at the London show.

Tour Dates:

Fri 4 Sep Revislate, Italy Campo Sportivo
Tue 8 Sep Aschaffenburg, Germany Colos-Saal
Thu 10 Sep Utrecht, Netherlands TivoliVredenburg
Fri 11 Sep Uden, Netherlands De Pul
Sat 12 Sep Zoetermeer, Netherlands Boerderij
Tue 15 Sep Bristol, UK O2 Academy Bristol
Wed 16 Sep London, UK O2 Shepherd’s Bush Empire
Thu 17 Sep Manchester, UK O2 Ritz
Fri 18 Sep Newcastle, UK The Grove
Sat 19 Sep Glasgow, UK The Classic Grand

The post Colin Edwin & John Wesley’s Voyage 35 shares new version of Porcupine Tree classic “The Nostalgia Factory” appeared first on The Prog Report.

Broward County by Curtis Smoove hits with that raw, street-rooted energy that feels both nostalgic and immediate. There’s a clear Southern pulse running through it—hard drums, bouncing rhythm, and a flow that carries weight without trying too hard. You can hear echoes of classic influences, but it stays grounded in his own story, turning lived experience into something direct and unfiltered.

What makes it stick is its linear, no-frills drive—no distractions, just bars, groove, and attitude. It’s the kind of track that moves between storytelling and movement effortlessly, equally built for the streets and the dance floor. Authentic, catchy, and built to ride loud.

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