Category: news

Norwegian prog metal crew TEMIC have revealed details and first single in what will be their sophomore record. Entitled Ceiba, it arrives October 2nd, 2026 via Season Of Mist. Mixed by Chris Edrich and mastered by Pierrick Noël at Atelier Mastering. In support of the release, the four-piece will embark on a short touring run in Europe.
Read more…

Post Malone is the latest musical artist to visit Sesame Street. The rapper-turnt-country singer and comedian Michelle Buteau will appear in Storm On Sesame Street, a new special premiering this Monday, Aug. 3 on Netflix and PBS Kids, Billboard reports. The special reportedly follows Elmo, Abby Cadabby, and their neighbors as they prepare for a major storm and clean up in its aftermath.

The post <em>Sesame Street</em> Recruits Post Malone For Storm Special, Releases Chappell Roan Potty Parody appeared first on Stereogum.

“They Have Names,” the new song from the Washington, DC hardcore/screamo band NØ MAN, is extremely heavy in all sorts of way. The heaviest part of the song, spiritually if not musically, is the end. The song itself is a fast, furious rager that bandleader Maha Shami, the daughter of Palestinian refugees, delivers with overwhelming passion and conviction: “Deny our death! Doubt our count! Three hundred thirty-five bullets, six bodies found!” As the song winds down from its thunderous conclusion, we hear recordings of loved ones saying the names of people who were murdered in Israel’s ongoing campaign of genocide. I get so sad and so angry when I hear it.

The post NØ MAN Announce New Album <em>Between The Sword And The Neck</em>: Hear “They Have Names” appeared first on Stereogum.

Shores Of Null are presenting a lyric video for “Son Of The Tide”, the latest new preview tune from their upcoming fifth album Homesick, due out on October 16th, 2026 via Dusktone.
Read more…

Los Angeles Satanic doo-wop’ duo Twin Temple made their US late night TV debut on The Daily Show last night (July 29) and called for “a little more Satanic Panic” in the modern world.

The husband-and-wife duo, Zachary and Alexandra James, were booked on the show to perform Haunt Me from their forthcoming third album, Doomed Lovers, and to talk about their controversial removal, earlier this month, from two shows with country musician Charley Crockett, who objected to their Satanic presentation.

“We were pretty shocked,” Zachary James admits to host Jordan Klepper.

“I feel like it’s time for maybe a little more Satanic Panic,” adds Alexandra James. “Like, let’s get it going again.”

When Klepper asks the duo what it means to be Satanists in the modern world, Alexandra James replies, “I think a lot of people think that Satanism is going to orgies and you’re nude under the full moon, drinking chalices of blood and hanging out with goats. And, I mean, we’re here to say that’s absolutely true. That’s what Satanism is.”

“I think, on the daily, it’s like living wilfully,” adds Zachary James. “Every day is the day we wake up and we get to live our true will. We get to make art. We get to do what we love. So to us, that is Satanism, being the individuals we are, like, know thyself, and being able to carry that out every day.”

Twin Temple will release Doomed Lovers, produced by Shooter Jennings at LA’s legendary Sunset Sound studio, on October 9 on their own label, Pentagrammaton Records.

“We poured everything into this new record,” the duo said in a press statement when announcing the record. “We wanted to push ourselves creatively and expand the production further than we have before, drawing inspiration from the lush orchestral productions of Roy Orbison, The Ronettes and The Shangri-Las and added in some Countrypolitan flair. We brought in some incredible musicians like Matt Chamberlain and Jay Bellerose and a 37-piece orchestra. We wanted to make something as beautiful as we possibly could – of course with our dark spin on things.

“The truth is, this album was made during one of the darkest periods of our lives,” the pair added. “We had been struggling with grief, health issues, addiction, and depression. But day by day, going into Sunset Sound, making music with incredible people who believed in us, and being surrounded by that creativity slowly brought us back to life.”\

Watch their performance of Haunt Me below.

And watch their interview with Jordan Klepper below.

Rigor Sardonicous is a two-man funeral doom project from my neck of the woods of Long Island, New York, featuring members of Teloch Vovin and Abhorrence. Despite their lurking in the scene since 1999, I didn’t hear of them until Thus Spoke reviewed their seventh album, 2023s Praeparet Bellum. How could a band like this exist right under my nose for so long without me catching a whiff? Well, as Thus summed up in her review, they aren’t exactly tearing a hole in the metalverse with their lo-fi, quasi-industrial style of funerary music. The material on Praeparet Bellum was one-dimensional, plodding, and devoid of the necessary tricks and treats to keep such slogging doom interesting and, well, listenable. I hoped Diatriba Deorum would see the duo elevate their game, and in some ways, I suppose they have. But will it be enough to take them from deep, dark obscurity into the sunlight?

In a word, no. While Diatriba Deorum is a step up from last time and shows some improvement in pacing, atmosphere, and overall execution, this is still an inky grey slab of slow-motion doom without much in the way of engagement. Things do open quite strongly on “With God’s Love,” which is a slightly more aggressive creature for Rigor, rocking a pseudo-industrial, lo-fi hum that feels ominous and eerie. Subteranean vocals belch and burp over simple, plodding riffs and a programmed drum clicks and thumps in the background (I’ll refer to the drummer as “Clanger” henceforth). What helps is that the song is only 2 minutes, and if it was pushed much past that, things would go off the rails. “Death Cult” is a classic funeral-death-doom track with an unmistakably Sabbathian lead riff winding endlessly through a colorless glade of dead spruce as Clanger thumbs along lifelessly and Joseph J. Fogarazzo roars quietly in the mulch of the lo-fi mix. It’s got a certain dark, hypnotic mood that works well enough to let the 6-plus minutes slip by without testing your resolve too aggressively.

There are more tracks here, however, that are all too happy to test your resolve and attention. “I Am” is 8-plus minutes of ugly plodery with very little in the way of change-ups or tempo shifts. It’s an aural experience akin to being slowly chased down a long yellow corridor by Pirate Clark from Backrooms. It starts to feel overlong before the halfway point, and that’s a problem. By the end, even Clanger sounds tired and uninterested. “Commandment” is the album’s bright spot, with riffs evoking a strong Warning flavor as things stagger and shamble around the corpse yard unhurried. Closer “Actus Tragicus” also manages to rise slightly above the standard drudgery heard across Diatriba Deorum, offering enough melody to keep things mildly interesting over 9-plus minutes. The weird thing with Rigor’s music is that any song taken in isolation works as a standard funeral doom piece. It’s when the whole album bum-rushes you that you realize how one-note and monotonous their style and approach can be. At 44:36, Diatriba Deorum feels about a week longer, and it’s nearly impossible to focus intently throughout. That said, I’ve had it on in the background as I worked, and it was almost meditative and somewhat soothing. Go figure. The production is super raw, unprofessional, and soupy, but it does help convey a cold, soullessly industrialized aura. The guitars lack enough raw force to deliver meaningful impact, and the vocals feel like they were recorded under several layers of wet concrete. Other than that, good job!

Joseph J. Fogarazzo handles vocals and guitar. His death groans and grunts are appropriately wet, sticky, and hideous, booming away in the hidden caverns below like some eldritch abomination. His guitar work can best be described as minimalist and simplistic. He’s definitely an adherent to the less is MOAR school, offering rudimentary leads that barely change or morph over long run times. If he offered more (or some) decorative, forlorn harmonies over the leads, we would be getting somewhere, but he’s largely content to slowly riff away as time crawls and fingernails grow. Glenn Hampton’s bass work is there but does nothing to stand out. It’s like he doesn’t want to draw attention away from the threadbare riffs or inelegant drumbeats. Basically, there’s not a lot going on here, even for just two people and a machine.

Though better than Praeparet Bellum, Diatriba Deorum plays out like one long repetitive death march into nothingness. Aside from a few vague bright spots, this is a never-ending morass of bargain-basement funeral doom. I want to love it, but it refused to let me. Instead, I’ll use it as a relaxation tool when the need arises. Rigor Sardonicous are obscure as fook even in their own neighborhood, and now I know why.

---

Rating: 2.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Meuse Music
Websites: rigorsardonicous1.bandcamp.com | facebook.com/rigorsardonicous.official
Releases Worldwide: July 31st, 2026

The post Rigor Sardonicous – Diatriba Deorum Review appeared first on Angry Metal Guy.

While not nearly as progressive and experimental as the 70s Yes albums, the 4 albums that Trevor Rabin was part of, 90125, Big Generator, Union, and Talk, brought a much needed rock edge to the group and produced their biggest hit ever with “Owner of Lonely Heart.” There are some amazing songs in the collection outside of their mega-hit and we decided to look at those here.

 

10. I Am Waiting (From Talk) – An underrated track from the greatly undervalued Talk album. The album was not promoted enough when it came out due to the label going bankrupt, but it remains one a fan favorite. This track features some outstanding guitar work from Trevor, epic singing from Jon, and somehow sounds better today then when it first came out.

 

9. Rhythm of Love (From Big Generator) – The second single from Big Generator is a solid rock track that was one of the few from the modern Yes era that was always performed live, even after Rabin had left the band.

 

8. The Calling (From Talk) – The opening track from Talk is a monster, a powerful track that encompasses everything about that era of Yes: big drums, loud guitars, abundant harmonies and a few twists and turns musically.

 

7. Cinema/Leave It (From 90125) – “Leave It” sounded like nothing else when it came out and really broke Yes out of being just a Prog group. The harmonies were prototypical Yes but the music behind it really took the song in an unexpected direction. The video helped push the song as well. We also wanted to give a nod to “Cinema”, since it is a great instrumental number (and this line-up’s first band name), even though it is more of an intro to “Leave It” on the album.

 

6. Shoot High Aim Low (From Big Generator) – This was the standout track from the commercially disappointing Big Generator which was unfairly panned at the time it came out. The back and forth vocals from Trevor and Jon was a great touch here and the explosive chorus really gives this song a cinematic quality. There was early hope ARW would be playing it on their tour but it apparently got cut from the set.

The post Prog Report Playlist – Top Trevor Rabin-era Yes Songs appeared first on The Prog Report.

Brooklyn-based Lora Mouna is among the legion of musicians making dreamy rock music, but her new single is not boilerplate zoomer shoegaze. It is, however, among the many new rock songs to flaunt a Deftones influence, albeit with plenty of personality to put her own stamp on the sound.

The post Lora Mouna – “The Difference” appeared first on Stereogum.

Deko Entertainment will release Trapeze, the self-titled debut album from legendary British rock band Trapeze, in October on 180-gram blue vinyl and limited to just 500 copies worldwide.

Originally released in 1970 and produced by John Lodge of The Moody Blues, Trapeze captured the band’s early psychedelic and progressive rock sound before they evolved into the hard-rock powerhouse that would go on to influence generations of musicians.

Formed in 1969, Trapeze originally featured former The Montanas members John Jones (trumpet, vocals) and Terry Rowley (keyboards), alongside former Finders Keepers members Glenn Hughes (bass, vocals, piano), Mel Galley (guitar, vocals) and Dave Holland (drums). Following the release of their debut album, Jones and Rowley departed the group, leaving Hughes, Galley and Holland to continue as a trio.

Fans can listen to the original version of “Send Me No More Letters” below.

The band’s legacy extends far beyond this groundbreaking debut. Glenn Hughes would go on to join Deep Purple and later be inducted into the Rock and Roll Hall of Fame as a member of the legendary group. Mel Galley would become a member of Whitesnake, while Dave Holland would achieve international success with Judas Priest.

Making this release even more special, Trapeze has not been available on vinyl since its original 1970 pressing. This newly remastered edition is presented on 180-gram blue vinyl and includes a beautifully designed inner sleeve, with only 500 copies being pressed worldwide.

For more information and to pre-order, visit the Trapeze webstore.

The post TRAPEZE’s Self-Titled Debut Album (Featuring GLENN HUGHES) Will Be Reissued On Limited-Edition 180 Gram Blue Vinyl This October appeared first on Sonic Perspectives.

Paul McCartney is an 84-year-old Beatle, and he has won just about every accolade that a musician could possibly win, up to and including knighthood. But up until today, McCartney had never been nominated for the Mercury Music Prize, the annual award given to what a jury chooses as the best album released by an artist from the UK or Ireland. The Mercury Prize was introduced in 1992, so it’s not like those folks were snubbing Revolver. Still, McCartney has released 11 solo albums in the time since the Mercury Prize started, so he’s been passed over plenty of times. Some of those records were pretty good, too! Anyway, the drought is over. As of today, McCartney is a first-time Mercury Prize nominee.

The post Paul McCartney Is A First-Time Mercury Prize Nominee appeared first on Stereogum.