Category: news

Swedish glam metal group Crashdïet has announced a short touring run in Italy later this year. Flyer with confirmed venues and dates is available below.
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As Brazil’s groove metal heroes prepare to call it quits, we speak to guitarist Andreas Kisser about their swansong EP

Finnish melodic death metal force Sigyn has officially joined the ranks of Noble Demon and concurrently present the new single and lyric video “The Crawlers”, taken from the band’s upcoming sophomore full-length From Nation To Chaos, set for release on July 10.
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Quite like its illustrious barbecue, North Carolina’s sludge offers a variety of flavors. Raleigh’s own COC serves the slow-smoked standard, Wilmington’s Weedeater plate a vinegary take on the subgenre, and even Asheville’s Bask season their heavy Americana with sludge. To stand out in this vibrant culinary scene, MAKE brand theirs as ‘thematic psychedelic noise-sludge.’ Formed in Raleigh in 2008 by Scott Endres (guitar, vocals) and Spencer Lee (bass, guitar, vocals), MAKE made waves in 2016 when they aligned with Accident Prone Records for their Pilgrimage of Loathing. Joining Endres and Lee for Exegesis at the End of Time, the band’s fourth full-length (and first in a decade), are drummer John Crouch and bassist/vocalist/synthesizer-ist Aaron Smithers.¹ MAKE’s self-description suggests a whole-hog approach² to extreme metal/rock, but branding is not execution—these ingredients must coalesce into a delicious, satisfying tray.

Exegesis at the End of Time amiably shares a table with formative noise-sludge outfits. Not just because their names rhyme, MAKE reminds me most of Rwake, insofar as a panoply of extreme vocal stylings—gutturals, anguished shrieks, shout-singing—dresses longish songs with a Southern flair (“The End of the Night”). The paradigmatic dynamism of Neurosis also makes appearances, with quiet, bass-driven incantations giving way to harsh punctuations of razor-wire riffing (“Forking Paths”). The frequent centrality of the bass also recalls Isis; MAKE similarly thrives when the low end establishes a melodic groove that opens the door to crushing dirges (“The Augur”). Though its production isn’t as thick n’ rich as I would like for a sludge record, Exegesis skillfully balances its ingredients, ensuring that riffs never get lost in the sauce.

Despite its branding, Exegesis at the End of Time doesn’t strike me as particularly ‘psychedelic.’ I think of psychedelic music as requiring acquiescence to agents of transcendence from below, so as to ascend to the noumenon. MAKE does make the effort to put listeners into a meditative headspace. “The End of the Night” opens the album with three minutes of rhythmless synth/guitar shimmering before a simple, bluesy bass line emerges. Mid-album track “Forking Path” and closer “The Augur” make similar moves: ritualistic bass sets a droning tone, an abrasive sludge-hammer responds. It is in moments like these that MAKE falters a bit as a purportedly ‘psychedelic’ act. The heavy responses frequently pulverize, but they don’t uplift to a new plane of existence. “Chimera,” one of the most straightforward songs on Exegesis, stands as something of an exception. Its chaotic ending, layering heavily-effected, high-register guitar noise over a stank-faced head-bobber, does induce a degree of transcendence.

On the ‘thematic’ side of its branding, Exegesis at the End of Time grows in enjoyment with knowledge of its lyrics, even as it feels thematically divided. In their promo materials, MAKE speaks of a singular ‘concept’: ‘[T]he order that rules our world represents a cosmic violence that will destroy us if we don’t conquer it.’³ The distorted, dissonant chords punctuating the chill spaciness of opener “The End of the Night” sonically establish earthly violence impinging upon a serene cosmos. But despite their singular concept, MAKE also outlines multiple literary influences: McCarthy, Pynchon, DeBord. The labyrinth adorning the cover suggests that “Forking Paths,” a song dramatizing the disorienting temporality of the Borgesian labyrinth, connects the album’s overarching concept to its particular literary allusions. As a retelling of “The Garden of Forking Paths,” though, the song removes [SPOILER ALERT] the climactic gunshot [END SPOILER ALERT]. In my deeper dive, the album felt like it forked between paths puzzling over possible futures (“The End of the Night”) and those explicating our destructive present (“Chimera,” “The Spectacle”). Still, the lyrics almost always enhance the tracks—the seemingly-endless tension chord in the middle of “The Augur,” for one, excellently captures Sisyphus futilely pushing the boulder up the hill.

More a conceptual record than a concept record, Exegesis at the End of Time nevertheless comprises a worthy tray. ‘Exegesis’ usually connotes long-windedness, but MAKE’s fourth album is relatively concise at 41 minutes, leaving me full but not overstuffed. It may imply a scope it doesn’t realize, but Exegesis delivers a well-sequenced smattering of thinking-man’s sludge brimming with potential. It’s not a spot to necessarily frequent, but it’s a spot that satisfies all the same.

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Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Accident Prone Records
Websites: Instagram
Releases Worldwide: June 12th, 2026

The post MAKE – Exegesis at the End of Time Review appeared first on Angry Metal Guy.

Blues Rock Review is exclusively premiering the music video for Sherri Harding’s “Through It All,” featuring Jeff Rogers.

The song is featured on Harding’s newly released album, Storyland, which arrived June 5 via Instant Replay Music. Blending soul, blues, and R&B, the album showcases Harding’s powerful voice across a collection of songs centered on love, resilience, and life’s hard-earned lessons.

“Through It All” is one of the album’s standout tracks, pairing Harding with fellow Canadian vocalist Jeff Rogers for a heartfelt duet about enduring love, loyalty, and perseverance. The accompanying video reflects the song’s emotional core, allowing the performance and message to take center stage.

“I loved the song THROUGH IT ALL from the first time that Dick Cooper played me his demo version,” says Harding. “It’s about loyalty and never giving up on something real, even when the odds are stacked against you. Turning it into a duet with the incredible Jeff Rogers made it all the more special. And for the video, we wanted something that matched to emotional honesty of the song. Nothing over the top. Chris Paine, the videographer, got the vibe right away. We had a great team!”

Storyland continues Harding’s connection to the legendary Muscle Shoals music scene. The album features contributions from acclaimed Muscle Shoals guitarist Kelvin Holly, while the iconic Muscle Shoals Horns recorded their parts in Alabama. Grammy-winning engineer Jimmy Nutt mixed the album at The NuttHouse in Muscle Shoals.

Harding has earned a reputation as one of Canada’s premier soul and blues voices, and Storyland further showcases her ability to blend heartfelt storytelling with authentic Southern soul influences. “Through It All” serves as a fitting example of the album’s themes, delivering a powerful message of commitment and staying true to what matters most.

Watch the exclusive premiere of Sherri Harding’s “Through It All” featuring Jeff Rogers below.

The post Video Premiere: Sherri Harding – “Through It All” appeared first on Blues Rock Review.

The musical journey of Blackberry Smoke began in Atlanta, Georgia, where the band officially formed in 2001. Anchored by lead vocalist and lead guitarist Charlie Starr, rhythm guitarist Paul Jackson, bassist Richard Turner, and keyboardist Brandon Still, the group initially secured their foothold on the competitive Southern touring circuit; co-founder and drummer Brit Turner rounded out the original lineup, providing the steady heartbeat of the band until his tragic passing from glioblastoma in March 2024. In the early days, the group steadily built an intensely loyal grass-roots following by playing tireless live sets and eventually securing opening slots for legendary

The post Complete List Of Blackberry Smoke Songs From A to Z appeared first on ClassicRockHistory.com.

Swedish progressive metal outfit Binary Creed has recently put out a brand new single titled “The Madness From Within”. Check it out.
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The Press Release: The mystery wearer of the super stylish new Red & Blue Venom suit was revealed this past April in Web of Venom #1 to be none other … Continue reading Marvel Announces “The Amazing Venom” Limited Series for September →

Now their new collaborative track has been premiered, Olivia Rodrigo and Robert Smith have been speaking about what it has been like collaborating with each other in various forms over the last year.

Whilst speaking to Popcast, Olivia explained how it felt to have Robert perform with her during her headline set at Glastonbury Festival.

“I obviously wrote to him a bunch before Glastonbury. I was so shocked that he said yes. He’s everything to me, and I was just so nervous, even to ask, but I was so delighted when he said that he wanted to. That night at Glastonbury was like the best night of my life. It was so special. There was just something in the air.”

She then goes into how the pair then got working on more music together, which then materialised into him putting his mark on her new track ‘what’s wrong with me’.

“After that we hung out a bit after, and I was in London a lot, and he was like, “Well, we should, we should hang out in the studio, like, come and let’s, let’s hang, and he’s nocturnal, also, which is amazing. He’s only awake when it’s dark out.

“I brought him this song, and he’s just incredible. I think when he sent us back the like his vocals in the chorus, like the first time the chorus came in, I was like, ‘Oh my god’. Just the way that it elevates that song and the way that it blends together almost brought me to tears. I thought it was so beautiful, and hearing him sing something that I had written was just so wild”

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The pair gave the song its debut at Primavera Sound over the weekend, where The Cure were scheduled to headline and Olivia popped up for a surprise set.

A soft and tear-stained synth-laden ballad, one that allows the heartwrenching words that accompany it to take the forefront. Stories of not being able to get out of bed but unable to eat or sleep but being told by others that there’s nothing actually wrong, it’s a raw and very real look at what it means to have the weight of the world on your shoulders.

Following the performance, Robert spoke to BBC Radio 6Music, where he described his admiration for Olivia as an artist.

“She’s so good, I mean, she is genuinely fantastic as a songwriter and as a singer, as a performer, and the band, everything about it. I genuinely love what she does. I am slightly in awe of how easy she finds it all. It’s not really comparable to how I do things. [At] 23 you’ve got a lot more energy than someone of my age, but it just comes across as very effortless. Very natural. And I’m not really a natural performer. When I write songs, I’m writing for a very specific reason. I agonize, to be honest, a lot of the time in later life, and she’s just banging it out and saying, “What do you think of this? That’s great.”

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The song is set to appear on Olivia’s new album ‘you seem pretty sad for a girl so in love’, which will be released this Friday (June 12).

The post Robert Smith On Olivia Rodrigo: “I Am Slightly In Awe Of How Easy She Finds It All” appeared first on Rock Sound.

Sometimes you just need a little pick-me-up from the stresses of daily life from someone who gets it. That’s what the new Sleeping With Sirens album is; a friend when you’re in need of a helping hand. The arc that they’ve followed over the last two records is completed with ‘An End In Itself’ and while the twelve songs are imbued with the same energy that catapulted them into the mainstream a decade and a half ago, it’s more than that; ’An End In Itself’ is rooted in solidarity and understanding of the struggles of the everyday and contains the power to inspire you to push on through. 

“Don’t give up, don’t let it bury you,” implores Kellin Quinn as the gritty title track opens the album, twisting from empty chords into screaming, flammable choruses ripe with optimism amid the chaos. The cry for comfort extends into ‘Forever/Always’, a surprisingly tender track from Sirens but one which  beams with a love for the human connection. If anything, that’s what ‘An End In Itself’ is all about: the joy of finding solidarity in the people around you. ‘God In My Head’ feels like a rush of realisation that you can always rely on yourself, albeit with atmospheric layered drop-downs to add a touch of spookiness, and ‘Need You Here’ feels destined to become a metalled’s wedding song this summer with its gorgeous blend of solos and romantic chemistry. However, it’s ‘Left On Repeat’ which brings the most vulnerable moment on the album, one that reaches out to us and invites us to share the connection which Sleeping With Sirens celebrate.

There’s been a magnetic shift in Sleeping With Sirens’ sound since 2022’s ‘Complete Collapse’; the heaviness on tracks like ‘Paralyzed’ feels so much more dense than we remember, and the pop opening to ‘House of Matches’ feels like something that could be from a chart-topping crooner. The moments where the band manage to compress those two sides into one, such as the atmospheric singalong future classic ‘Waiting For You’, are the points where ‘An End In Itself’ truly shines.

‘PTSD’, probably the heaviest track we’re dealing with, is gorgeously venting, but immediately followed with the moody, slow crashing of ‘Looking Back At Me’. Both sides that we experience are brilliant, of course, but both offer different paths to the future for Sleeping With Sirens. Is this a clue that we’re sliding towards an emotional pop sound, or that they’ll throw all caution to the wind and pack their next record with deep and intensive chug? At this point, all speculation is irrelevant as we’re barely letting ‘An End In Itself’ sink in, but with the sound we love splitting into intriguing shards, anything could be possible. 

‘An End In Itself’ represents that rare beast of a record that will delight the fanbase and pull in new fans thanks to the universal comfort that slamming it out with a bunch of strangers can bring. There’s enough heaviness lurking in there to keep us satisfied, but the lightness makes it accessible for the newcomers. It might just be the album that propels them even further into the stratosphere, or it might be a crossroads to a new era now their three-album saga has reached its conclusion. We’re left with more questions, but we have to trust the process. After all, if Sleeping With Sirens keep making albums of this quality, the answers will reveal themselves in no time.

KATE ALLVEY