PROX Intake

Category: news

  • Secret Sleep Token Members Exposed in Brand-New Transatlantic Supergroup Following Legendary Download Festival Assault

    spitting-glass-promo-2026

    The meticulously guarded, highly enigmatic empire of alternative metal icons Sleep Token has officially suffered a massive breach in its wall of anonymous lore. For the last three years, the London-based collective has ruled the global heavy music stratosphere on the strength of gold-certified hooks, arena-scale production, and strict visual secrecy.

    However, the heavy music underground has just repeated its favorite party trick. Following an absolute demolition of a set over the weekend at the legendary Download Festival at Donington Park, internet detectives have cross-referenced data arrays and unmasked the secret creative masterminds behind a highly anticipated new supergroup called Spitting Glass—tracing the lineup directly back to Sleep Token’s iconic masked live instrumentalists, III and IV.

    Listen To Today’s Metal Breakdown Daily News Update Below:

    THE SPITTING GLASS ARCHITECTURE

    • Voice of Authority: Joe “Bad” Badolato (Fit For An Autopsy) – Lead Vocals
    • The Token Anchor: David Ball (Sleep Token’s “III”) – Guitars
    • The Secret Weapon: Rhys Griffiths (Sleep Token’s “IV” / Mourn) – Guest Vocals
    • The Riff Engine: Chris Keepin (Osiah, Viscera) – Guitars
    • The Low-End Catalyst: Reuben Bescoby (A Night In The Abyss) – Bass
    • The Engine Room: Danny Yates (Osiah, Viscera) – Drums

    Unmasking the Collective: How III and IV Linked Up with Deathcore Royalty

    The intense viral hype surrounding Spitting Glass reached a boiling point leading up to the second weekend of June. Download Festival organizers raised eyebrows across the entire industry by placing the band on the official 2026 billing before the group had ever dropped a single piece of recorded studio material.

    As the band kicked off a whirlwind run of introductory club warm-up dates hitting spaces like London’s iconic Underworld and Manchester’s Deaf Institute, fans began digging into the personnel files. According to verified tracking coordinates from the deep metal underground, Spitting Glass guitarist David Ball is the exact musical talent operating under the mask of bassist III in Sleep Token’s live ritual lineup.

    To push the excitement into overdrive, the band deployed their second official single, titled “Full Send.” The track features a devastating guest vocal appearance from Rhys Griffiths of the UK outfit Mourn. Griffiths has long been cataloged by deep-tier internet forums as the multi-instrumentalist performing under the identity of Sleep Token’s backup vocalist and guitarist, IV.

    🤘 LIVE & LOUD: Stream the World’s Hardest Radio Station 24/7 Below:

    Dogtooth Devastation: What Happened at Donington Park

    Stepping onto the Dogtooth Stage at Donington Park on Sunday, June 14, 2026, Spitting Glass faced one of the most notoriously difficult slots in all of live music: an 11:00 AM festival morning opener. Historically, early slots see exhausted, mud-soaked crowds slowly filtering into the arenas.

    Instead, the sheer gravity of the Sleep Token connection and the presence of Fit For An Autopsy’s frontman drew an absolute sea of bodies. Delivering a cartilage-tearing 20-minute masterclass in premium metallic hardcore and down-tuned slam grooves, Joe Badolato commanded absolute compliance from the massive crowd. The pit split open at the snap of a finger, triggering chaotic scenes during the tracking of their debut single, “1HP.” While the band maintained an air of stoic professionalism regarding their secondary musical empires, Badolato did address the constant chatter surrounding the band’s rapid viral trajectory, telling the chaotic crowd: “We got some crazy fucking people who get involved in shit they don’t need to be involved with.”

    Also Recommended – Sleep Token Members: Who Are Vessel, II, III And IV?

    spitting-glass-band

    SPITTING GLASS: THE INAUGURAL RUN 2026

    • June 9 – London, UK @ The Underworld (Live Debut)
    • June 10 – Manchester, UK @ The Deaf Institute (With Undeath)
    • June 11 – Glasgow, Scotland @ The Garage G2
    • June 14 – Donington, UK @ Download Festival (Dogtooth Stage Assault)
    • June 15 – Brighton, UK @ Concorde 2 (Direct Support for Thrown)
    • June 16 – Norwich, UK @ The Adrian Flux Waterfront

    FAQ: Spitting Glass & The Sleep Token Connection

    Which members of Sleep Token are in Spitting Glass?

    Guitarist David Ball, who handles six-string duties for Spitting Glass, is heavily identified by fans as live bassist III in Sleep Token. Additionally, single collaborator Rhys Griffiths has been unmasked by internet communities as Sleep Token’s live guitarist/vocalist, IV.

    Who sings for the band Spitting Glass?

    Spitting Glass is fronted by Joe “Bad” Badolato, the widely celebrated lead vocalist of American deathcore heavyweights Fit For An Autopsy.

    What songs has Spitting Glass released?

    As of June 2026, the band has officially distributed two massive tracking singles: their debut explosive anthem “1HP” and their newly deployed follow-up track “Full Send” featuring Rhys Griffiths.

    Check This Out – Every Sleep Token Album Ranked Worst To Best (One Clearly Stands Above The Rest)

    Analytical Index: The Currency of Mystery in 2026

    The rapid, high-velocity trajectory of Spitting Glass acts as a direct case study in how the currency of alternative rock has transformed in the digital era. In previous decades, a supergroup required massive corporate label backing and multi-million dollar promotional campaigns to move tickets. In the contemporary landscape, the mere proximity to an established lore engine like Sleep Token generates immediate, front-page consumer intent.

    By strategically blending the elite, blue-collar technical credibility of deathcore stalwarts Fit For An Autopsy and Osiah with the viral, underground mystery of the Sleep Token camp, Spitting Glass has successfully bypassed the traditional organic building phases of a touring band. Backed by stellar live reviews from their initial June 2026 tour routing, the group has positioned themselves as a permanent, high-yield fixture across search engine queries and streaming metrics for the remainder of the year.

    Now that the secret is officially out of the bag and the unmasked Sleep Token collective has taken over Download Festival, the floor belongs to the Loaded Radio family. Are you currently spinning “Full Send” on repeat, or do you prefer the members keeping their art completely inside the anonymous boundaries of Vessel’s collective? Drop your review, mosh pit stories, and structural theories in the comments section below!

    Recommended – Sleep Token Members DECODED: 13 Facts That Finally Explain Vessel, The Cult, and The Real Story

    TL;DR

    • The Forbidden Lore Explodes: Internet sleuths have officially blown the lid off the identities of masked Sleep Token instrumentalists III and IV following the live debut of an elite new supergroup.
    • The Bloodline: Titled Spitting Glass, the transatlantic outfit features heavy music royalty including Fit For An Autopsy powerhouse frontman Joe Badolato.
    • Donington Domination: The group just decimated the Dogtooth Stage at the iconic Download Festival 2026, drawing a staggering, overflow morning crowd despite barely having any music publicly released.
    • Sonic Assets Deployed: The band’s vicious new single “Full Send” features a guest spot from Rhys Griffiths—the exact musician heavily identified by the metal underground as Sleep Token’s mysterious guitarist/vocalist, IV.

    Never miss an unmasked lore breakdown, a live festival data track, or breaking supergroup distribution details. Download the free Loaded Radio App for [iOS App Store] and [Google Play Store] today to command our live 24/7 high-decibel digital stream and catch our Daily Podcast on demand.

    The post Secret Sleep Token Members Exposed in Brand-New Transatlantic Supergroup Following Legendary Download Festival Assault appeared first on Loaded Radio.

  • Classic Rock’s Tracks Of The Week: June 15, 2026

    Eight songs you need to hear right now, from Goose, The Warning, All Them Witches and more

  • Upcoming Metal Releases: 6/14/26 – 6/20/26

    Here are the new releases for June 14th to 20th. Releases reflect proposed North American scheduling, if available.


    Upcoming Metal Releases: 6/14/26 – 6/20/26


    Saidan — Fangdriller: Scars Beneath Memory’s Wrist | Avantgarde Music | Melodic Black Metal | United States (Nashville, TN)

    Adorned in beautified corpse paint and warping black metal into a cheery entity, Tennessee duo Saidan prioritize visual kei on their new album, Fangdriller: Scars Beneath Memory’s Wrist. It tells the story of an isolated schoolgirl who becomes the ideal prey to a cult of witches out of classic giallo. Red blood sparkles when splattered over arena rock riffs and bouncy keyboards. The tropes of black metal are not dismantled; they are the foundations for Saidan’s castle. Multi-instrumentalist Splatterpvnk’s raw shrieks pave paths for haunting riffs and blast beats as well as the pyrotechnics of a sold-out stadium. Fangdriller takes the visual camp of black metal wardrobes and infuses it into the music.

    –Aidan Sibley


    …



    Warning — Rituals of Shame | Relapse Records | Doom Metal | United Kingdom

    Do you feel the full weight of sorrow and grief? English doom metallers Warning sure do. Rituals of Shame is their first full-length in twenty years after reuniting in 2016. Living up to the legacy that has grown around Watching From a Distance is not easy, and only time will tell if Rituals of Shame succeeds. However, it is a powerful statement in its own right, a tome of grief, shame, feelings of personal failure, obsession, and longing, creating an expansive, emotional, and weighty experience. The songs are lengthy and complex, but also slow and purposeful, like a dark cloud suspended in the space above you.

    –Kevin Zecchel


    …



    Lumen Ad Mortem — A Grave Ascent | Hypnotic Dirge Records | Black Metal | Australia (Adelaide)

    Grandiose, theatrical black metal is coming back into style. Lumen Ad Mortem are not as over-the-top as some, but their second album showcases a flair for dramatic melodies. The keyboards and orchestrations are on the subtler side, deepening the sound and providing a backing for the scorching guitar riffs. The songwriting is complex, with each track building up to diabolical splendor. This is anthemic melodic black metal at its absolute peak.

    –Kevin Zecchel


    …



    Destructor — Tales of Glory | Shadow Kingdom Records | Thrash Metal + Power Metal | United States

    Destructor are veterans of USPM, having released their debut album in 1985. They took a hiatus in the 90s but have been consistently putting out music every few years since 2003. US power metal is a very different beast from its European counterparts, and Destructor is a great example. Only one song from Tales of Glory is available to stream at time of writing, but it is everything you could ask for: big, meaty riffs, a breakneck pace, and vocals that lean closer to thrash metal than the operatic.

    –Kevin Zecchel


    …



    Gold Spire — Steps into Shadow | Shadow Kingdom Records | Avant-garde Death Metal + Doom Metal | Sweden

    Gold Spire’s second album, Steps Into Shadow, feels like it wants to drag you down into the darkness. These songs possess a heavy, inhuman malevolence, with dense arrangements and crushing death-doom riffs. However, it is also a deep and intricate album, with songwriting heavily informed by jazz and progressive rock as well as doom and death metal.

    –Kevin Zecchel


    …



    Mork — Monolitt | Peaceville Records | Black Metal | Norway (Halden)

    Monolitt refines Mork’s reserved black metal, boasting the clearest and deepest production ever attached to a Thomas Eriksen release. Never the fastest, darkest, or heaviest black metal act, Mork is arguably the ideal representation of second-wave black metal getting old without losing its teeth. Stay tuned for a full interview with Eriksen soon.

    –Colin Dempsey


    …



    Procession — The Witch King | Iron Fortress Records | Death-Doom | United States (Cleveland, OH)

    We’ve got a full premiere of The Witch King coming later this week, so keep watch for that. Their elevator pitch is death-doom that’s heavy on atmosphere, constructed from a skeletal framework, as if Procession realized all they need to converse with the afterlife is drums, guitar, and bass.

    –Colin Dempsey


    …



  • Reviews: The Fifth Alliance, Bong Voyage, Blood Of Angels, Mirror Of My Soul (Spike, Rich Piva, Mark Young & Matt Bladen)

    The Fifth Alliance – Stenahoria (Tartarus Records/Breathe Plastic/Ardua Music) [Spike]

    The first hit is a cold, heavy blow to the solar plexus. When the opening movement of Phoenix first rattles out of the speakers, the sense of total, suffocating confinement is immediate, like the grey, freezing rain of the Netherlands has suddenly found its way inside. 

    Hailing from the region, The Fifth Alliance have spent the last decade building a reputation for a grim, uncompromising brand of post-metal and doom. Their latest effort, Stenahoria (distress, in the Greek), is a record born from sorrow and fear, and it doesn’t offer a single melodic line without also offering a crushing weight designed to pull you straight back down into the mud.

    I’ll admit that on the first pass, I struggled a bit with the architecture. There is a tendency here to push too much into a single track, pulling the listener in three directions at once, it’s doom, it’s post-metal, it’s blackened fury and in isolation, it can feel slightly disjointed. 

    But you can’t treat Stenahoria like a collection of singles for a playlist; you have to take the whole thing in as one massive, forty-minute monolith. When you commit to the holistic transit, the joins disappear, and you realize the band are actually forging a very distinct, uncompromising path of their own.

    Natalya Thelen (ex-Yantras) is the undisputed catalyst for this new era. Her voice elegantly slides from fragile, ghostly whispers to a raw, bone-shivering wail on Benandanti, completely redefining the band’s emotional reach. She is backed by the relentless, heavy-handed precision of new drummer Peter Scheffer (Soliton), whose performance gives the crushing, progressive riffs on The Fool On The Hill a physical, bone-shaking gravity.

    The production retains all the raw, icy bleakness you want from this genre, but with a massive, high-fidelity presence. You can hear every string groan on Battle Of Barnet, a track that builds a suffocating amount of pressure before eventually dropping you into the dark of the finale, Jakob. It’s a clean, professional mix that somehow manages to keep the “gristle” firmly embedded in the tracks.

    It’s not an easy record, nor should it be. If you’re looking for a comfortable, predictable post-metal crawl, you’re in the wrong place. Stenahoria is a deliberate confrontation with discomfort, demanding your total commitment and rewarding you with a rare, cathartic sense of survival. I’m walking away from this one with the realization that the band has created something genuinely formidable here, a dark, suffocating monument of tone that I’ll be listening to for a very long time. 8/10

    Bong Voyage – Hedonistic Hard Rock (Ripple Music) [Rich Piva]

    Your summer party record is here in the form of Hedonistic Hard Rock, from the supergroup of sorts, Bong Voyage. “All we wanna do is make a living playing rock n roll!” is the quote on their Bandcamp page and one of the opening lines on their debut record, Hedonistic Hard Rock, and if it is tongue and cheek or not, it screams of all the bands on the Sunset Strip who pilgrimaged there to make it big, even if these guys are from Oslo. No matter where they are from, this is super fun and most importantly, it rocks.

    I get early Van Halen, early Quiet Riot, Jetboy, and other fun and sleazy bands when I listen to Hedonistic Hard Rock. Saturday Rite Special kicks off the party, and that is exactly what it is, a party. But don’t dismiss what these guys are doing here. There are cool tempo changes and layers to these songs. 

    Large And In Charge may be their theme song, and it certainly kicks the door down at the party house with a keg over their shoulder and ready to take shit to the next level. UFOria has an early 80s metal feel, more Maiden than their party obsessed brethren, keeping this one heavier, but in music only, not in subject matter. 

    The space theme continues with another standout, Outer Space Freebase, which has a fun gallop to it and big vocals, and is probably my favourite track on the record. I dig Enabler too, which reminds me of Y&T musically, and that is a great thing. There are no stinkers on this record, you just have to be in the right mood to fully enjoy it end to end.

    This one is growing on me. I bet by the end of the year Hedonistic Hard Rock is one of my more listened to records. A completely different vibe then some of the guy’s other bands, Håndgemeng (who rule), but just as much love was put into this record by Bong Voyage as anything these guys have done. Not sure if this is just a side project, but if it is, let’s hoe we see what else these guys can do with this style. Party in Olso, everyone is invited. 7/10

    Blood Of Angels – Les Agnst Ov Thanatou (Self Released) [Mark Young]

    Formed in 2015, with a home base in Tampa, Florida which holds a special place in the heart of all death metal fans for the sheer volume of bands that have sprung forth from there. Blood Of Angels are promising a lot here, lets see what it’s about.

    Transitional Portal is their starter, the first offering in what they promise is an to redefine extreme metal. I’m all for big statements like this; the thing is having the necessary tools to back it up. As it stands, this is a largely normal/standard/dull opening instrumental which I’ve constantly moaned about elsewhere. Beating You comes in with a riff and a sound that is straight from 1989, I’m not sure if they were approaching this as a live in the studio recording because this sound very lo-fi. 

    Randy Reyes harsh vocals dominate and are suitably guttural which in turn provides a balance to their sound. I’m assuming that they wanted it to sound like this; primitive, served practically raw with no unnecessary fat. It’s taken me by surprise, The Last Rites coming next and it sounds different, a fuller tone now on display. 

    In any respect it has probably one of the most annoying arrangements to it, a repeating passage that is similar to an alarm going off. Once it gets going, it gets better. This has a classic DM vibe to it, with the four players all on point with it. The main riff is chunky, and again the vocals underpin everything. The closing lead is just right, and there is a sense now that we have found our level.

    Red River Death echoes this statement, with another step up in its tone. It’s an urgent guitar line that drops into trem picking time. They throw in some technical tapping before returning to the more brutal way of doing it. One of the things they aren’t afraid of is throwing changes in direction on a whim, especially if they feel that the song is growing stale. On the flip side is that they could have deployed the scissors on this one, but where is the fun in that?

    Where it isn’t fun is on The Pain Inside. I think that it was intended for this to be the albums cornerstone, and with starting with an acoustic passage, you knew that this was going to be one of those earnest, cleanly sung and potentially overwrought songs that just kill an album dead. Luckily, they pull it back and get the distortion going. 

    Another change in tone, its deeper and thicker now but it will need to absolutely slay in order to get the first 3 or so minutes out of my mind. I feel like I’m being harsh here, I don’t mean to be because A – I’m not in a band B – I’ve never released any music so what gives me the right to say this? Well it’s because I’m a fan and if a band is telling me that they are doing wonderous things with the genre I love they better deliver. 

    There is a good song in this, cutting out the clean passages at the start and end would have made this a belter. When you look at this against those before it, there is definitely an upward trajectory in their respective builds and this is a song that would be better without the cleans. Spillage flies in like it knows it has to take care of a damaged relationship, this is such a welcome blast from them, 3 minutes of death metal that has a fiendish riff set and is furious too. 

    Likewise, Minds Of The Broken goes down the same route of just being heads down, brutal metal that fans of the genre can get behind. That lo-fi recording style works in their favour, as mentioned its raw and stripped back to the bone. When they do this, you can’t help but sit back and appreciate it for what they are.

    And then they drop the ball with Nevermore. Its not clean singing, its that in between place that’s used before the real guttural style kicks in. It feels forced on this, bearing in mind that this clocks in at nearly 8 minutes long, the immediate energy of Spillage and Minds is now a distant memory for me. 

    If you look at the song itself, its got a decent descending pattern to it, nothing wrong with it all. For me, it needed to keep the rough style right through. There is a cracking set of riffs in here, massive even that totally work when the vocals are harsh. I don’t want slightly harsh vocals with my death metal, I just don’t.

    Eulogy is just a spoken piece that closes out the album, and there’s not an awful lot I can say about it other than that is the end of this.

    I’m not sure how to end this, because despite the ropey sound there are some good endeavours here. The two shorter songs are certainly high points of what they can do, its just that there are some severe missteps on here, which I just can’t get past. I don’t see where they are redefining metal, I also believe that they have talent to write decent death metal. Its just that they need to really look inwardly as to what they want to be. 6/10

    Mirror Of My Soul – October Is Rising (Majestic Mountain Records) [Matt Bladen]

    The solo project of journeyman bass player Patrik Andersson Winberg (Dun Ringill, ex-The Order of Israfel, Doomdogs), Mirror Of My Soul is a project that serves as vehicle for his storytelling, his writing, outside the constraints of a band.

    Inspired by gothic rock along with classic hard and prog rock, it may not be the doom be ply’s his trade in day to day but October Is Rising is a record that has an introspection and a heaviness to it, though that’s emotional rather than in terms of volume.

    It’s been a record that’s had a long gestation period. probably because there’s so many involved with it but underneath it all is the songwriting, bass, keys and more of Winberg that steer these experimentations in style, sound and feel.

    Be it the Nick Cave sadness of the title track and A Good Day To Die, the flute driven progging of Mina Fotavtryck, the creeping organs of Grandpa, the songs here weren’t recorded until they were ready, regardless of genre, Winberg was committed to making sure his songs were the best expressions of his skill and passion.

    Joining Winberg are drummers Pete Campbell (Axe Dragger) and Tobbe Strandvik (ex-Kamchatka), there’s guitarist Patric Grammann (Dun Ringill) and keyboardist Per Wiberg (Spiritual Beggars, ex-Opeth, Tiamat).

    While there’s also a cast of singers who all bring their own personality to the characters these musical stories deal with. The vocalists are; Terry Slesser (Beckett, Backstreet Crawler, Geordie), Richard Reynolds (Lunar Tantrum), Andy Campbell (Rust Bucket), Damon Collum (ex-Don Darlings), Philip Lindgren (ex-Hypnos), and Niklas Sjöberg (Graviators).

    With extra musical power from Lovisa, Songdog, Tobias Jansson (Saffire, Gathering of Kings), Niklas Börjesson (ex-Lotus), Tony Jelenchovich (Transport League, ex-M.A.N), October Is Rising is an exploration of Patrik Andersson Winberg’s creative muscle and while it is diverse and beguiling, you may be looking for something a bit louder when this ends. 6/10

  • Monday Morning Video – Charlie Marie, Ward Hayden and Greg Hall

    Charlie Marie and Ward Hayden & the Outliers, anchored by Ward Hayden and Greg Hall, are two acts carving their own paths through country music — and both dropped new music this month. Charlie’s new album landed June 5th. Ward and Greg’s duo EP dropped last week. We’re thrilled to celebrate both releases with them […]

  • Julia Jacklin Announces New Album The Gem: Hear “Get Away From Me (I Think I’ll Love You Soon)”

    It’s a good day. It’s a great day. After announcing a big tour and a new record deal with 4AD, Julia Jacklin has returned with new music and the promise of a forthcoming album. She’s shared the new single “Get Away From Me (I Think I’ll Love You Soon)” to announce her new album The Gem, out Sept. 25.

    The post Julia Jacklin Announces New Album <em>The Gem</em>: Hear “Get Away From Me (I Think I’ll Love You Soon)” appeared first on Stereogum.

  • The Essence Of The Universe – Bring All Your Lovers

    Let’s be real and honest now, when it comes to psychedelic rock music, originality and unpredictability are qualities

  • FEAR FACTORY – five shows in Germany

    With Fear Factory, the undisputed kings of industrial metal are returning to concert stages around the world! Over the course of their long and storied 36-year history, the band has experienced many ups and downs, soaring to new heights and weathering personal conflicts—yet somehow, all of this has only made them stronger. This was proven… Continue Reading →

  • “Kraftwerk barricaded themselves in the dressing room. Our reviews were great and theirs weren’t, so we were asked to leave the tour”: Prog paradigm-changers Greenslade were warned two keyboardists and no guitarist would fail. They didn’t listen

    When the late Dave Greenslade left Colosseum, he had a handful of unfinished songs which launched a short but inspiring run at the dawn of the synth era

  • Marillion bassist Pete Trewavas unveils new Edison’s Children album

    Trewavas and bandmates Rick Armstrong and Eric Blackwood will release A Light In Ethereal Night in September