Category: news

  • J. Cole & Cam’ron End Legal Battle With Long, Revelatory Podcast Interview

    In 2024, Harlem rap legend Cam’ron had a verse on “Ready ’24,” a track from J. Cole’s Might Delete Later mixtape. Earlier this year, Cam sued Cole over that feature. Cam didn’t make a huge noise about the lawsuit, but it still became a news story. As it turns out, that lawsuit, at least according to Cam, was simply an attempt to get Cole’s attention. Cole owed Cam a podcast interview, and Cam intended to collect. Now, that podcast interview has finally happened, and it involves a whole lot of big-news rap stories.

    The post J. Cole & Cam’ron End Legal Battle With Long, Revelatory Podcast Interview appeared first on Stereogum.

  • Vomitory Unleash “Wrath Unbound” with New Single

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    Swedish death metal outfit Vomitory have a little over two weeks until the release of their forthcoming album In Death Throes, so naturally they dropped another brutal new track. This time, it’s “Wrath Unbound”.

    Released alongside a Marcus Svensson-directed music video, drummer Tobias Gustafsson said “Wrath Unbound” was written from the ground up to get people moving wherever they hear the song.

    “‘Wrath Unbound’ is inspired by dark powers and built for headbanging! This is probably the heaviest song on the album. The catchy melody combined with lots of double bass drums will roll over you like a tank. Musically it’s influenced by British giants like Iron Maiden, Bolt Thrower, and Carcass. Lyrically, I don’t really know where [vocalist/bassist] Erik [Rundqvist] found the inspiration. Probably somewhere far, far away…”

    In Death Throes will be released on April 10 via Metal Blade Records, but you can preorder your copy today.

    In Death Throes Track Listing:

    1. Rapture In Rupture
    2. For Gore And Country
    3. Forever Scorned
    4. Wrath Unbound
    5. In Death Throes
    6. Cataclysmic Fleshfront
    7. Two And A Half Men
    8. Erased In Red
    9. The Zombie War General
    10. Oblivion Protocol

    Vomitory Unveil New Album ‘In Death Throes’, Lead Single “For Gore and Country” Now Online

    VOMITORY Live w/ Hypocrisy, Abbath, Vreid:

    4/02/2026 Astra – Berlin, DE
    4/03/2026 Amager Bio – Copenhagen, DK
    4/04/2026 Traedgarn – Gothenburg, SE
    4/05/2026 Fryshuset – Stockholm, SE
    4/07/2026 Tavastia – Helsinki, FI
    4/08/2026 Spelet – Riga, LV
    4/09/2026 B90 – Gdansk, PL
    4/10/2026 Sono Centrum – Brno, CZ
    4/11/2026 Ragnarök Festival – Lichtenfels, DE
    4/12/2026 Majestic Music Club – Bratislava, SK
    4/14/2026 Joy Station – Sofia, BG
    4/15/2026 Arenele Romane – Bucharest, RO
    4/17/2026 Cvetlicarna – Ljubljana, SI
    4/18/2026 Metal Franconia – Geiselwind, DE
    4/19/2026 Z7 Konzertfabrik – Pratteln, CH
    4/21/2026 Gruenspan – Hamburg, DE
    4/22/2026 LKA Longhorn – Stuttgart, DE
    4/23/2026 Essigfabrik – Köln, DE
    4/24/2026 Felsenkeller – Leipzig, DE
    4/25/2026 Backstage – München, DE
    4/26/2026 Stadsgehoorzaal – Leiden, NL
    4/28/2026 Trix – Leiden, DE
    4/29/2026 Machine du Moulin Rouge – Paris, FR
    5/01/2026 Academy 2 – Manchester, UK * No Abbath
    5/02/2026 Incineration – London, UL * No Abbath

    Vomitory Unveil New Album ‘In Death Throes’, Lead Single “For Gore and Country” Now Online

    The post Vomitory Unleash “Wrath Unbound” with New Single appeared first on MetalSucks.

  • 11 Best Covers of ’80s Songs By ’90s Rock + Metal Bands

    Bands like Nine Inch Nails, Sublime and Deftones have dipped back into the past to give a hit from the '80s a second life. Continue reading…
  • Tyrannus Call for Regicide on “Reignfall” (Video Premiere)

    Tyrannus inhabit the no man’s land between thrash metal, death metal, and black metal, packing a punch while eluding genre conventions. The miasma they cultivate is pungent, but on their new single “ Reignfall,” they cut through it for a more direct method. That’s usually the best one for offense. On “Reignfall,” the Scottish trio commits to thrash metal to take aim at, well, you can infer that from the song’s title. Watch the video below. 

    As the first single from Tyrannus’ upcoming sophomore record Mournhold, “Reignfall” flaunts sharp riffs, barking vocals, and a tangible anger derived from this realm, shedding the veils of metaphor, allusion, and symbolism. It’s as if you could hold it in your hands. It also helps that, as a straight-up thrash track, it rips. In the music video, the Cthuluian creature watching the band perform cannot believe its auditory orifices. The jury is out on whether it has ears. You’d assume Tyrannus burned them off with their frenetic soloing. For the most part, Mournhold is more extreme than “Reignfall.” The trio explores darker and more ornate regions there, yet “Reignfall” shows that they are, above all other descriptors and niches, a metal band.

    The band comments:

    “Reignfall” is the opening statement of Mournhold, leaning heavily into our thrash roots to make something distinctly Tyrannus. It’s us at our most focused, fastest and aggressive; both musically and lyrically, and sets the tone for everything that will follow.

    Mournhold releases May 15 via True Cult Records.

  • Be Quiet and Drive (Three Winters Away): A Review of Këkht Aräkh’s “Morning Star”

    Oh boy. Where does one even start with Morning Star? I’ve been a fan of Këkht Aräkh since the Night & Love tape dropped on Livor Mortis in 2019, and I championed Pale Swordsman off the strength of its first single, so seeing the scene shift regarding this record, the project’s third, has been jarring, to put it lightly. Night & Love and Pale Swordsman both featured what was, at the time, a refreshing and intimate take on black metal that resonated during COVID. Then, Këkht Aräkh’s presentation shifted away from black metal and aligned itself more with the Soundcloud rap aesthetic. I saw the jokes, heard the people taking a stand against the album, and I started to wonder, “Holy hell, was I duped the whole time? Does this guy actually suck?” Pair that public backlash with the “holy shit fr?” SEVENTEEN SONG tracklist, and to say I was apprehensive going into this album would be a drastic understatement. 

    I understand why people thought Crying Orc (government name Dmytro Marchenko), the artist behind Këkht Aräkh, was losing the plot when he dropped the “Wanderer” single in 2023, but I’m also not going to grandstand and say that black metal artists should only listen to and be influenced by black metal. I get it, I’m also a white dude born in the ‘90s, I fucked with Yung Lean in 2013 too. The difference is, I wasn’t trying to turn my black metal songs into “Ginseng Strip 666.” Hearing “Still wandering in the night – Pale Swordsman, ØÜGH” as an adlib on “Wanderer” felt like a fucking psyop, and now, three years removed, it feels like memetic warfare. 

    When Morningstar isn’t aping Soundcloud rap aesthetics, the actual metal presented is passable and, at times, pretty good. The production is pillowy and dreamy, atmospherically feeling more like a foggy morning in the spring as opposed to the sunny afternoon vibes you’d expect from similarly lucid artists like Deafheaven or Møl, which is a good thing (blackgaze was a failed experiment, it’s time to move on). Instrumentally, Crying Orc hasn’t made many great strides. He hasn’t become a guitar virtuoso or gotten into metric modulation, but if you liked Pale Swordsman, you shouldn’t have any gripes with his performance. What should be noted is how good the bass guitar sounds here, most notably on the second track “Castle.” The low end is clear and pronounced, which is rare in black metal but feels like a steak dinner when you finally get it. 

     As with his previous releases, it’s apparent that Këkht Aräkh is forever indebted to the likes of Darkthrone and that he worships at Transilvanian Hunger’s altar, but does every song have to be so mid-paced? It isn’t until the latter half of the record where we start getting hints of speed or aggression. Tracks like “Three Winters Away,” “Vigil,” and “Land av Evig Natt II” demonstrate the strength and command Crying Orc holds when he cuts through the bullshit and plays black metal the way it’s meant to be played; cold and angry, with venom and malice coursing throughout in equal measure.

    Unfortunately, with repetition and repeated listens, Morning Star’s errors and missteps become even more glaring.  Earlier, I mentioned its titanic seventeen-song track list, and lemme tell you, you feel all seventeen of them. It has a total runtime of just over fifty minutes, but the problem lies in that so many of these songs function more as interludes rather than proper tracks. They’ll run for two or three minutes with sparse instrumentation, usually just a guitar plucking sleepily while Mr. Aräkh sings somberly overtop. When they aren’t immediately memory-holed due to their overabundance and lack of energy, they kill the momentum, to the point where an otherwise good song like “Angest” gets thrown in the bin because Crying Orc stops playing black metal abruptly to end the song on 30 seconds of bedroom guitars for no real reason other than because he could. 

    One of the main issues with Morning Star is that Marchenko allowed too many outside influences into the creative process. You’ll often see his music labelled as “black metal for TikTok kids” and that’s a fair comparison, considering it’s evident that he draws inspiration from the platform’s viral acts (he’s name dropped artists such as Lil Peep and BONES), and you can also hear the slightest influence from nu metal bands like Deftones (I wouldn’t be surprised if he covers “Sextape” or “House of Flies” eventually). That outside influence is most apparent on the collaborative track “Eternal Martyr” with Bladee. You know the one, you’ve seen the memes. Maybe there’s something to be said for the way Këkht Aräkh was so eager to work with outside influences from a scene so foreign to black metal. There’s an argument to be made for the preservation of “the ways of old” or whatever, about not diluting your craft with music for “normies,” but that argument can easily be brushed aside when you remember just how much techno and electronic music Fenriz and Varg were listening to in the 90s. 

    Full transparency, I like Bladee. Obviously, Mr. Aräkh does too. That still doesn’t excuse the promotional photo. I mean, come on, Mr. Blad-double-E, a Minnesota Twins hat? Wrong ALC team (GO TIGERS). Getting a Bladee cosign is huge for any underground artist, especially for one who is a genuine fan of the Swedish rapper, but one almost starts to question if the collaboration is in good faith, if it’s for honest musical integrity, or if it’s for bragging rights and a chance to climb some mythical clout ladder (I mean, could you imagine 1349 working with Birdman or Paul Wall in the 2000s?) Musically, “Eternal Martyr” is standard fare for Crying Orc, sad and pillowy black metal with softly sung passages that Bladee handles. I guess Marchenko didn’t want to sing on this one, because Bladee isn’t doing anything that Marchenko hasn’t done elsewhere. While there’s nothing abhorrently wrong with it, that damn promotional photo and Bladee’s lazy inclusion leave a bad taste in the mouth. 

    Maybe I’m not the target audience, I mean, I thought I was, I’ve liked everything else this dude has made before, but Morning Star doesn’t sit well. Maybe Morrissey was onto something when he asked, “Has this world changed or have I changed?” Has Këkht Aräkh changed or have I? Is this still a project I can enjoy or is it too bogged down by all of this outside bullshit? Are there too many cooks in the kitchen? Am I just not “with it” anymore? I don’t know dude, but I’m not into it.

    –Caylen Darling

    Morning Star is available this Friday via Sacred Bones.

  • Namasenda – “Bad Love”

    We’ve been loving Namasenda’s singles from debut album Limbo, including “Cola” and “White Crest.” Today the Swedish singer has a short, sweet one for us. OK, maybe sweet isn’t the right word. Conceptually, the 95-second “Bad Love” is pretty self-explanatory, and Namasenda gets straight to the point. Its mixture of trance, hyperpop, and delicate PinkPantheress-esque…

    The post Namasenda – “Bad Love” appeared first on Stereogum.

  • AN NCS INTERVIEW: URLUK

    (Comrade Aleks brought us the following excellent interview of the two members of Urluk, an Italian band whose new album will be released next month by Pest Records.) We interviewed Italian Urluk two years ago or so, and back then they performed haunted and doomed black metal with an original authentic concept that was soaked […]

    The post AN NCS INTERVIEW: URLUK appeared first on NO CLEAN SINGING.

  • Skid Row’s Rachel Bolan Announces Solo Debut As Bolan With ‘At War With Myself’

    Rachel Bolan announces his solo debut album, Gargoyle Of The Garden State

    Skid Row bassist and songwriter Rachel Bolan has announced his first-ever solo album under the name Bolan. The debut record, Gargoyle Of The Garden State, is set for release on 12 June 2026. The first single, At War With Myself featuring Danko Jones, is out now.

    Produced by multi‑Grammy winner Nick Raskulinecz (Foo Fighters, Skid Row, Rush, Evanescence, Alice In Chains), the album began as a simple conversation between friends.

    What started casually quickly evolved into a record that would ultimately define Bolan’s voice as both a songwriter and storyteller.
     
    “Gargoyle Of The Garden State is not a project, it is every bit of my soul,”  Rachel Bolan said. “Like me, it knows when to be serious and also knows where the party is.”

    Expanding beyond his role as a bassist, Bolan performs the majority of instruments, shaping the record from the ground up. Drawing on influences from Brit Pop and Glam to Punk Rock and New Wave, the album represents a lifetime in music.

    The album features guest appearances from Corey Taylor, Danko Jones, Nuno Bettencourt, Damon Johnson, Steve Conte, and fellow Skid Row members. “It was incredible to work with so many of my talented friends,” Bolan says, “an experience I wish everyone could have at least once.”

    Gargoyle of the Garden State is out on 12 June 2026 and will be available on CD, LP, and digital formats. Pre-orders are available from bolan.lnk.to/GargoyleoftheGardenStatePR.

    Rachel Bolan - Gargoyle of the Garden State is out on 12 June 2026
    Bolan – Gargoyle of the Garden State is out on 12 June 2026
    The post Skid Row’s Rachel Bolan Announces Solo Debut As Bolan With ‘At War With Myself’ first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.
  • CORROSION OF CONFORMITY Announces July North American Shows With WHORES & CROBOT

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    Corrosion Of Conformity will hit the road this July with Whores and Crobot for a largely West Coast tour of North America.

    The post CORROSION OF CONFORMITY Announces July North American Shows With WHORES & CROBOT appeared first on Metal Injection.