On Friday, Australian indie rock guitar hero Courtney Barnett will release Creature Of Habit, her first album since leaving Melbourne for Los Angeles. We’ve already posted a bunch of early tracks: “Stay In Your Lane,” the Waxahatchee collab “Site Unseen,” the two-pack of “Mantis” and “Sugar Plum.” Today, Barnett shares one final song before the…
The post Courtney Barnett – “One Thing At A Time” appeared first on Stereogum.
For what feels like forever now, Acid Bath has been touring all over the place as if they’re making up for lost time. We’ve reported on pretty much every tour date announcement since the band’s reunion because we don’t know how long it’ll be before they slink back into hiding. Gotta appreciate the time we get with ’em, so of course when they play an unexpected song to close out a recent set, you know I’m going to share it with you all.
While playing at The Caverns in Pelham, Texas, Acid Bath pulled out “The Blue” from their 1994 album When The Kite String Pops. It’s an incredibly heavy number and definitely one that caught the crowd by surprise.
So yeah, be sure to check out the clip below. If you’d like to catch ’em live, you can do so by checking out the list of remaining tour dates below and grabbing yourself a ticket.
Acid Bath Tour Dates
3/28 Houston TX White Oak Music Hall Lawn (w/ Obituary, High On Fire & Necrofier)
4/4 Dallas TX South Side Ballroom (w/ Baroness & Fugitive)
4/17 Atlanta GA The Eastern (w/ Crowbar & Eyehategod)
4/24 Las Vegas NV Sick New World
6/25 Manchester UK O2 Ritz (w/ Green Lung & Conan)
6/29 Stockholm SWE Strawberry Arena
7/2 Paris FRA Stade de France
7/4 Paris FRA Stade de France
7/6 Milan ITA Ippodromo Snai la Maura
7/8 Berlin GER Olympiastadion
7/10 Dusseldorf GER Open Air Park Dusseldorf
7/13 London UK Tottenham Hotspur Stadium
7/15 London UK Tottenham Hotspur Stadium
7/18 Warsaw POL PGE Narodowy
7/19 Warsaw POL PGE Narodowy
8/16 Portland OR Pioneer Courtside Square (w/ YOB, Shawn James & Lacabra)
9/5 Asheville NC Hellbender (w/ Melvins & Kylesa)
The post You Have to Watch Acid Bath Playing “The Blue” Live for the First Time in Three Decades appeared first on MetalSucks.
Winston McCall confirmed the band supports the victim, condemns the actions without hesitation, and accepts moral responsibility for employing Jed Gordon.
Parkway Drive frontman Winston McCall issued a detailed video statement addressing Jed Gordon’s guilty plea, making it clear the band supports the victim, condemns the actions, and accepts responsibility for their past association. The statement also calls for broader accountability within the scene.
There’s no ambiguity in how this was delivered.
No softened language. No attempt to distance without addressing it. The statement is direct, uncomfortable at times, and clearly meant to leave no room for interpretation.
And in situations like this, that clarity matters.
This wasn’t an immediate reaction—it came days after the news broke.
That gap gave the band time to respond carefully, but it also raised questions about tone and intent. This follow-up makes it clear they understood how their initial response was received—and why they needed to address it head-on.
Before this statement, reports confirmed that Jed Gordon—former Parkway Drive employee and brother of drummer Ben Gordon—pled guilty to having sexual intercourse with a person between the ages of 14 and 16.
The case stems from alleged contact that began in 2002, when Gordon was 21, and continued into 2003. According to reports, the victim attempted to reach out to Gordon years later, beginning in 2021, before eventually going to authorities.
Gordon has since been released from custody and is currently awaiting sentencing, which is scheduled for May 19.
McCall made the band’s position clear from the start: “Number 1, we support the victim.
The victim. We support the victim 100%. She deserves justice. She deserves her space. She deserves her time.
She deserves to be heard. We 100% support that. 20 years of trauma, I cannot imagine what that is like to bear.”
There’s no hedging in that statement.
McCall continued his statement with a clear stance: “Number 2, we condemn this. We condemn this without hesitation.
If there was anything in our initial response that left people wondering about that. I want to make this crystal clear for everyone: this is fucked.
This is fucked, and this is Jed’s reckoning to answer for. It’s his reckoning, and he will answer for it.”
The wording is blunt—and intentionally so.
McCall didn’t avoid the connection: “We employed him for a long time, and we put him in a position where he had contact with a lot of people, and, um, it’s our moral responsibility to carry.
That’s our moral responsibility to carry. We see it, we see it and we hold it.”
That admission is a key part of the statement.
He continued: “Anyone that’s had bad interactions with Jed while employed with us, we’re so sorry. Yeah, we’re so sorry.
We knew he could be bad with people, and our inaction on just that level is— yeah, there’s no excuse for that, and we apologize.
But we did not know the extent of his behavior. We did not know.”
It acknowledges both awareness and limits.
McCall explained: “We’ve been completely blindsided by this. We found out about this, the band found out about this through screenshots of court dates, um, from documents that were already online circulating.
We were still finding out new information through Sydney Morning Herald article that we were part of yesterday.
Yeah, completely fucking blindsided.”
That context adds perspective—but doesn’t replace accountability.
McCall addressed concerns directly: “If our initial response came across as cold, uh, I also want to say that was never the intent.
We take this situation really, really seriously… we did not want to do anything to jeopardize the justice system.
But we can definitely understand if people felt… there was a coldness to our communication, and if that hurt someone, uh, we see that, we’re sorry for that.”
That acknowledgment is part of why this follow-up matters.
McCall didn’t keep the focus narrow: “This whole story is heartbreaking. The whole story is heartbreaking…
The Byron hardcore scene grew out of an already toxic Byron culture…
It was drug abuse, alcohol abuse, domestic violence… it was everywhere.”
This shifts the conversation beyond one individual.
And it raises a bigger question—how often do scenes take a hard look at themselves when something like this happens?
He continued: “To the women, women deserve to be safe, women deserve to be heard, women deserve to be seen, and women deserve to be respected.”
“Every person watching this now knows a sexual assault survivor. You might not know it, but you do.”
“We as men need to do better. We need to stand up and we need to be better.”
This is where the statement moves from response to call for action.
McCall made it clear this isn’t passive: “To the men in this scene, don’t stand for bullshit.
You gotta look at your mates… and you’ve gotta speak out. That’s how change happens.”
That’s a direct challenge—not just commentary.
He closed by tying it back to identity: “This music has always been about more than just the sound… it’s about the community.
And communities are responsible and they take accountability.”
“This is what this band stands for. It stands for a community. It always has and it always will.”
There’s a difference between addressing a situation and actually engaging with it.
This statement leans into the latter.
It’s not polished in a corporate way. It’s not trying to move past the issue quickly. It stays in it, acknowledges uncomfortable realities, and pushes the conversation outward.
And that’s what makes it stand out.
So the real question now is—does a statement like this actually lead to change, or does the responsibility shift to what happens next inside the scene?
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They stated full support for the victim, condemned the actions, and acknowledged their responsibility for employing him.
According to Winston McCall, the band says they were blindsided and learned through publicly circulating information.
To clarify their position and address concerns that their initial response felt too cold.
Accountability, support for the victim, and a call for broader cultural change.
Parkway Drive is an Australian metalcore band formed in Byron Bay in 2003. Known for their aggressive sound and global reach, they have become one of the most prominent acts in modern heavy music.
The post Parkway Drive Issue New Statement After Guilty Plea—Winston McCall Gets Direct In Uploaded Video appeared first on Loaded Radio.
Back on that bull…
The post Upon A Burning Body, Traitors, Carcosa & Swollen Teeth Set For June U.S. Tour appeared first on Theprp.com.
(Andy Synn has something a little grimmer and grimier for you all to enjoy today) By sheer coincidence today we’re talking about the second masked band in as many days. But whereas Gaerea‘s semi-anonymous aesthetic has started to feel more and more like a calculated attempt to craft a marketable mystique, Calvana‘s decision to conceal […]
The post CALVANA – SUB JANUS appeared first on NO CLEAN SINGING.
MetalTalk favourite James Kennedy And The Underdogs have signed to Combat Records, promising a new album for this autumn. The label, formerly run by Megadeth’s Dave Ellefson, is now owned by Robert Dujmusic and Alex Stojak and has its base in Germany.
“Combat is thrilled to back the mighty Underdogs,” Dujmusic told MetalTalk, “a hard-working, hard-touring band with a punk attitude worthy of the Combat name. And their new album is insane.”
James Kennedy, the author of Loud Medicine and Noise Damage, released the album Make Anger Great Again in 202 drawing the ire of YouTube, which banned the film for the single The Power.
“We’re so stoked to be working with the awesome crew over at Combat,” James Kennedy said. “It’s great to see that iconic name back in business, and we’ve got one hell of a new record to unleash on it.”
The Underdogs hit the road on tour with Gypsy Pistoleros through April and May, and Kennedy promises that we will get the chance to hear some of the new material live.
The band have been rehearsing an entirely new set at their band headquarters in Newport. “We’re so excited to start playing these new tunes live and see how people react to them,” Kennedy told MetalTalk. “We’re keeping some old favourites in the set, though, too.”
James Kennedy promises that more information about the new album, singles, videos and shows will be announced soon in what is shaping up to be a busy year for the band. They have also just launched a brand new website, which will be the central hub for music, photos, videos and info old and new. You can find out more at JamesKennedyOfficial.com.
The glam punk goth ‘n’ roll outlaws Gypsy Pistoleros will release Dark Faerie Tales, their “most ambitious and eclectic album yet,” on 17 April 2026. Tickets and Dark Faerie Tales pre-orders are available from gypsypistoleros.com.
Rolling out in July.
The post Hatebreed, Devourment, Snuffed On Sight, Etc. Set For 2026 ‘The Summer Slaughter Tour’ appeared first on Theprp.com.
by Dave Campbell
Norway’s Green Carnation have had quite a journey in their career. Formed in 1990, they began as a Death Metal band before seguing into a Progressive Metal band with Gothic influences. Their roots go deep. Founded by Emperor’s bassist Tchort, they burned prolifically through five early releases in the 2000’s, and then took a hiatus in 2007. They regrouped just before the COVID-19 pandemic, and began to envision a trilogy based on Shakespeare’s tragic Ophelia, with reflections of life and death. A Dark Poem II – Sanguis is the second part of this trilogy. “We wanted A Dark Poem to start off with guns blazing. Judging by the reaction, The Shores of Melancholia was successful in doing that”, the band’s vocalist Kjetil Nordhus says. “But for Part II, we have some very personal stories that we want people to hear. Sanguis invites listeners into our darkest inner rooms with some of the most raw and vulnerable songs that we’ve ever written.”
The lengthy title track leads us off, and it has a weighted, groovy, and energetic riff coupled with old school keyboards…using the kind of vibrato from the 70’s that is nostalgic and sentimental. The harmonies in the chorus are warm gold, providing a sense of warmth until the snarl of harsh vocals rears its head. The two vocal styles trade off and move freely between dark, stormy skies, and passages of light, and varied emotions come with them…anger, and resolve. Sanguis means “blood” in Latin. “Loneliness Untold, Loneliness Unfold” downs the noise from the thoughts in your head, and leaves you feeling melancholy. Loneliness can be a comfort for some, and a constant ache for others. For me, the song represents the dull ache of regret. “Sweet to the Point of Bitter” raises the raging tide once again, and the heavy riff buts up against the sweet vocals trying to push them down and away. It’s a story in contrast that the band tells vividly.
The first half of the album presents three distinct songs that have a common thread. In Shakepeare’s Hamlet, Ophelia’s death is viewed as a tragic suicide. Following the murder of her father, at the hands of her lover, she descends into madness, and accidentally drowns in a river while hanging flowers from a willow branch. Did she commit suicide, or what is an unforeseen accident? The music reflects this question by raising suspicion and doubt in the hardened passages and vocals fry, while also presenting the innocence of a senseless misfortune. “I Am Time” has dark and firm tones, but also a lot of melody, and it makes me feel melancholy, but also content. The vocals are heavy with burden, and so expressive. Time is a strange thing. When you are young, you think you have an endless amount of it. But when you are older, you begin to count the days and think of what might be next…if anything.
“Fire in Ice” represents the duality and conflict inherent on the album. The riffs are weighted at first, but they give way to smooth, gentle vocals, and a familiar lead break brings you back to the center so that you can find your way…for it’s easy to get lost in this song. “Lunar Tale” closes the album. Lunar refers to the moon, which has always had a sense of mystery for humans on earth. All of your fight has been drained from you, and you are left with your own thoughts. Is it time to rebuild, or stay in bed, defeated? It’s a gentle, nostalgic, and pretty ending to a wonderful album. “A Dark Poem II – Sanguis” has an anti-climactic ending, essentially leaving the way for Part III to come.
It’s a dark and tragic story at its core, and it’s the kind of darkness that envelopes you and doesn’t offer any beacons of hope. It’s also one without a defined resolution. This kind of suspension creates a heightened sense of wonder and even tension that does not offer relief. In more familiar terms, it’s an itch that you can’t scratch, or a heated fight where neither side was victorious. A Dark Poem II – Sanguis finds Green Carnation at their most raw and emotionally exposed, weaving crushing heaviness and haunting melody into a dark, unresolved journey that lingers long after the final note.
Release Date: April 3, 2026
1. Sanguis
2. Loneliness Untold, Loneliness Unfold
3. Sweet to the Point of Bitter
4. I Am Time
5. Fire in Ice
6. Lunar Tale
Purchase Link:https://greencarnationsom.bandcamp.com/album/a-dark-poem-part-ii-sanguis
Kjetil Nordhus — Vocals
Stein Roger Sordal — Bass, Rhythm Guitars, Lead Guitars, Keyboards, Vocals
Bjørn Harstad — Lead Guitars, Effects
Endre Kirkesola — Keyboards, Synthesizers, Organs, Effects, Vocals
Jonathan Alejandro Perez — Drums
The post Green Carnation – A Dark Poem II – Sanguis (Album Review) appeared first on The Prog Report.