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A multi-generational crowd packed into Washington, D.C. to catch Midwest emo icons American Football. Celebrating the release of their fourth self-titled record, LP4, the night was a masterclass in musical evolution, proving the band is deeply invested in expanding their sonic vocabulary rather than merely coasting on late-'90s nostalgia.

When American Football took the stage, a captivated silence fell over the room. Bathed in deep purple hues, the band spent most of the night playing in near-darkness, allowing a massive backdrop of hypnotic projections to steer the visual narrative. They kicked off the set with LP4 opener “Man Overboard,” instantly establishing a lush, spacey soundscape dense with layered guitars, resonant bass lines, and chiming vibraphones. Frontman Mike Kinsella’s vocals sounded remarkably clear and resonant, carrying an emotional weight that felt raw yet perfectly controlled.

The band’s performance felt less like a traditional rock show and more like a high-level open rehearsal among masters of their craft. While the set heavily favored the explorative textures and polyrhythms of their newest material, they masterfully wove in highlights from across their history, including LP3’s “Uncomfortably Numb” and LP2’s “Home Is Where the Haunt Is.” A particular highlight of the night belonged to drummer Steve Lamos, who repeatedly stepped out from behind his kit to deliver gorgeous, melancholic trumpet leads on tracks like “Stay Home,” illuminated by a single, stark spotlight.

The visual production reached its peak when the screen faded to show the iconic, instantly recognizable facade of the 'American Football house' from their legendary 1999 debut album cover. The room exploded into cheers as the band launched into “Never Meant.” The crowd transformed into a massive choir, passionately shouting every word back to the stage in a collective moment of emotional catharsis.

After closing the night with the great track "Bad Moons", American Football left the stage, having successfully transformed a packed D.C. venue into a deeply intimate, unforgettable experience

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Garry Brents is one of the busiest people in heavy music, writing, recording and issuing a few dozen releases since the Covid pandemic began (and plenty more before that). Brents’ latest ripper comes from Sallow Moth, a progressive death metal duo from Dallas. Their new album, Hydrophilous Brood, is out later this week and it’s one that every progressive, technical and brutal death metal fan needs in their life. 

Coming just a year after Sallow Moth’s last album, Mossbane Lantern, the new album plays with a lot of the same musical and sci-fi ideas but with a more brutality-forward mentality. On Mossbane Lantern, Brents performed every instrument and was very open about his influences from bands like Ackercoke and maudlin of the Well. With Hydrophilous Brood, Sallow Moth zero in on the project’s more technical and heavy influences, citing bands like Wormed, Deeds of Flesh and Cephalic Carnage. 

The album’s most notable change is the addition of drummer Allen Gingerich, who matches Brents’ creative approach to guitar with his own performance. From the time the drums hit on opener “Nebulous Appendages of Vacillant Seafoam,” Gingerich elevates Sallow Mouth to a higher level.

Other album highlights come in the form of the spacy “Arcane Benthic Umbilicus,” the title track, which combines dizzying guitar leads and raging drums, and album closer “Serene Aqueous Leech,” which shows off Sallow Moth’s love for jazz-inspired death metal. 

“Hydrophilous Brood is a thematic sequel to Mossbane Lantern, but sonically extends the project’s signature of evolution (or mutation) into more brutal territory while not staying in a box,” Brents says about the album. “We are super proud of the end result and hope that it will resonate with the fans for a long time to come.”

Sallow Moth will release Hydrophilous Brood on Friday via Willowtip Records but they are streaming the album early tonight at 8:30pm EST via a Bandcamp listening party.

The post Sallow Moth’s New Album, <i> Hydrophilous Brood</i>, Is a Progressive Metal Rager appeared first on Decibel Magazine.

His recording for the theme song, written by Henry Mancini, included a solo improvised in the studio. He also backed Frank Sinatra and Barbra Streisand.

Bad news if you hope to pre-order it though.

The post Minus The Bear’s “Bands Like It When You Yell “Yar!” At Them” Set For Its First Vinyl Release appeared first on Theprp.com.

Ahead of new album ‘One Assassination Under God – Chapter 2’

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The prolific Chris Cornell tribute band are back with their latest tribute.

The post Halestorm Members & Matt Cameron Join King Ultramega For A Cover Of Soundgarden’s “Birth Ritual” appeared first on Theprp.com.

Deathcore’s heaviest hitters are coming back for you this fall. Suicide Silence have announced the “Reminders Of Hell Tour,” a full North American run kicking off November 6 in their hometown of Riverside, California, with a punishing support bill of Emmure, AngelMaker and Synestia. The twist for longtime fans: the band makes this run without co-founding guitarist Chris Garza, who stepped away on hiatus late last year — with Ian Waye of Soreption filling the void.

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The trek runs from that November 6 opener through a December 13 finale in Los Angeles — nearly a full month of California deathcore devastation crisscrossing the U.S. and Canada. For a genre that’s arguably never been hotter, this is one of the marquee packages of the winter touring season.

A Deathcore Package Built To Level Rooms

The bill does not let up. Underneath Suicide Silence, Emmure bring two decades of divisive, breakdown-obsessed chaos led by Frankie Palmeri. AngelMaker add a layer of blackened, symphonic-tinged brutality, and Synestia round out the bill with raw underground weight. It’s a lineup engineered for exactly one thing: maximum heaviness in a room, night after night.

The Chris Garza Question

Here’s the storyline every Suicide Silence fan will be watching. Back in December, co-founder and guitarist Chris Garza announced he was stepping away to “press the reset button” after nearly 25 years of non-stop commitment since founding the group in 2002. It was framed as a hiatus, not a departure — but it means one of the two architects of the band’s sound won’t be on this stage. Filling that slot is Ian Waye of Swedish tech-death outfit Soreption, whom the band recruited this past January. This tour will be the biggest test yet of the current live lineup. Garza, meanwhile, has stayed visible through his popular “The Garza Podcast,” where he digs into metal history and culture with fellow musicians.

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Where The Band Stands Now

Suicide Silence’s most recent album, 2023’s “Remember… You Must Die,” arrived via Century Media and was produced and mixed by Taylor Young (Nails, Xibalba), with cover art from necrosurrealist painter David Van Gough. It marked a confident return to the band’s crushing signature form. The current lineup centers on vocalist Eddie Hermida — who joined in 2013 from All Shall Perish — alongside guitarist Mark Heylmun, bassist Dan Kenny, and drummer Ernie Iniguez, who took over after longtime drummer Alex Lopez exited in 2022. Hermida stepped into the role following the death of founding frontman Mitch Lucker in 2012, and the band has carried that legacy forward for over a decade since — history that gives a tour named “Reminders Of Hell” its weight. For fans still digging into the scene, Suicide Silence and tourmates AngelMaker both feature in our complete guide to deathcore’s essential bands.

Suicide Silence ‘Reminders Of Hell Tour’ Dates

With Emmure, AngelMaker and Synestia:

Nov. 06 — Riverside, CA — Riverside Municipal Auditorium
Nov. 07 — Mesa, AZ — The Nile Theater
Nov. 09 — Houston, TX — Warehouse Live
Nov. 10 — Dallas, TX — South Side Music Hall
Nov. 11 — San Antonio, TX — Vibes Event Center
Nov. 13 — Atlanta, GA — The Masquerade
Nov. 14 — Orlando, FL — (venue TBC)
Nov. 15 — Greenville, SC — Radio Room
Nov. 17 — Greensboro, NC — (venue TBC)
Nov. 18 — Baltimore, MD — Soundstage
Nov. 20 — Philadelphia, PA — TLA
Nov. 21 — Worcester, MA — Palladium
Nov. 22 — Brooklyn, NY — The Brooklyn Monarch
Nov. 24 — Montreal, QC — Club Soda
Nov. 25 — Toronto, ON — The Concert Hall
Nov. 27 — Pittsburgh, PA — (venue TBC)
Nov. 28 — Cleveland, OH — Globe Iron
Nov. 29 — Detroit, MI — St. Andrews Hall
Dec. 01 — Chicago, IL — House Of Blues
Dec. 02 — Minneapolis, MN — Myth
Dec. 04 — Denver, CO — Summit Music Hall
Dec. 05 — Salt Lake City, UT — The Complex
Dec. 06 — Boise, ID — Treefort Music Hall
Dec. 08 — Seattle, WA — The Showbox
Dec. 09 — Portland, OR — The Hawthorne Theater
Dec. 10 — Sacramento, CA — Ace Of Spades
Dec. 11 — Reno, NV — Cargo Concert Hall
Dec. 12 — San Jose, CA — The Ritz
Dec. 13 — Los Angeles, CA — 1720

General on-sale begins Friday, July 24 at 10 a.m. local time.

TL;DR

Suicide Silence have announced the “Reminders Of Hell Tour,” a fall 2026 North American run with Emmure, AngelMaker and Synestia. The tour opens November 6 in Riverside, California and closes December 13 in Los Angeles. It’s a major run for the current lineup, which is touring without co-founding guitarist Chris Garza — on hiatus since late 2025 — with Ian Waye of Soreption filling in. The band’s latest album, “Remember… You Must Die,” was released in 2023 via Century Media. General on-sale is Friday, July 24 at 10 a.m. local.

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FAQ

A stacked deathcore bill, a hometown kickoff, and a lineup question mark hanging over it — this run has all the makings of a scene highlight. Which stop are you circling on the calendar, and who are you most stoked to catch on this bill? Drop it in the comments, and follow Loaded Radio for daily rock and metal news.

The post Suicide Silence Announce ‘Reminders Of Hell’ Fall 2026 Tour With Emmure, AngelMaker And Synestia — Without Co-Founder Chris Garza appeared first on Loaded Radio.

The band's Gerald Casale shares the current roadblock and also, his new "finger-snapping ditty for fascist America." Continue reading…

This is the fourth album from US death metal band Sallow Moth. Sallow Moth play adventurous death metal that brings together elements of the technical, progressive, and brutal subgenres, (with dissonant and jazzy touches too). Brought to us by an ex-member of Cara Neir, Memorrhage, and Wildspeaker, Hydrophilous Brood contains 39 minutes of sci-fi extremity … Continue reading “Sallow Moth – Hydrophilous Brood (Review)”