Category: news

He explains why “it felt like it could be the end” of the band. Continue reading…

Today, we get the first glimpse of Ariana Grande’s forthcoming eighth album petal with the lead single “Hate That I Made You Love Me.” It was co-written and produced by Ariana Grande, ILYA, and Max Martin. And, ya know what? It sounds like a hit! “Hate That I Made You Love Me” has an uncanniness…

The post Ariana Grande – “Hate That I Made You Love Me” appeared first on Stereogum.

The Poison singer is the fifth act to withdraw from the event in the past two days. Continue reading…

The Poison singer is the fifth act to withdraw from the event in the past two days. Continue reading…

Posted on May 29th 2026, 1:04p.m.

Bristol’s Grandmas House unveil plans for their long-awaited debut album, Baby You’re A Winner, ahead of an August 21st

Knocked Loose, Alter Bridge and Down are among the acts that have just announced new tours for 2026. Continue reading…

BABYMETAL have shared another of the remixes set to appear on the deluxe edition of their album ‘METAL FORTH’, and it’s been produced by a modern metal legend.

That legend is Jordan Fish, and it makes sense why he would be involved with the track considering that it features Poppy, and he has been behind the desk on her last two albums. So it serves as a melding of worlds, but also a chance for him to flex his electronic muscles once more.

Combining shimmering beats with club-ready intensity, it perfectly suits the pace and power of the track. The result is pulsating and complex, luscious and kaledescopic. With plenty of space for metalcore battery peaking through the cracks as well, it’s as BABYMETAL-coded as you can get.

A banger, to say the least.

Here it is:

It follows on from another remix of the track released last month, delivered by Major Lazer:

The post LISTEN: Jordan Fish’s Remix Of BABYMETAL ‘from me to u’ appeared first on Rock Sound.

Dead like a black window
And white clouds and eraser
Hold tight and the end will begin
Come alive on the other side
If I make it, I’ll be stuck in this place

The mirror rarely tells the truth cleanly. It flatters, distorts, doubles, and accuses, turning the face into evidence and the self into a suspect. Desire, decay, vanity, and death all gather at the glass, staring back with the same painted eyes.

Omar Doom, also known through his darkwave and EBM project Straight Razor, has released “Reflections,” a new collaborative single with acclaimed French producer Arnaud Rebotini. And now the track is accompanied by a striking new music video steeped in gothic romance, death-disco atmosphere, and decadent noir imagery, marking the beginning of a new chapter for Doom ahead of a forthcoming collaborative album co-produced with Rebotini.

Best known on screen for his work in Quentin Tarantino’s Death Proof and Inglourious Basterds, Doom has spent the last several years building a severe, sensual musical world rooted in darkwave, EBM, techno, and post-punk. Recent releases such as “The Curse,” “Casualty,” and his hard synth-driven cover of The Cure’s “One Hundred Years” have sharpened that vision into something cinematic, club-hardened, and apocalyptic.

With “Reflections,” Doom pushes further into that territory. The song is built around a heavy, bass-driven foundation, laying a deep and ominous pressure beneath an instantly catchy beat. The EBM rhythm hits with a menacing snap, revving the pulse forward while cold synth lines coil around Doom’s commanding vocals. It carries the perfume of goth and darkwave, but its engine is fully electric: lean, lethal, and alive with movement.

In the chorus, strange synthesizers buzz and contort into the mix, adding a playful but uneasy texture to the track. Rebotini’s presence gives the song added force and depth, his production bringing a cold cinematic precision that suits Doom’s apocalyptic romanticism. The back half kicks harder, with layered synth effects and small production touches cutting through the track before it winds down into icy pads and lingering unease.

“The song feels like romance at the edge of the apocalypse,” says Omar Doom. “Arnaud and I wanted ‘Reflections’ to feel seductive, doomed, and strangely triumphant at the same time. Like dancing at the end of the world.”

Lyrically, “Reflections” reads like a fevered dispatch from a self already split in two. Images of a “black window,” a “black ghost in the corridor,” and a body with “no beating heart” suggest a figure trapped between glamour and erasure, performance and possession. The repeated cry of “Heat” becomes less a release than a pressure point, a pulse still kicking somewhere inside the song’s deadened corridors.

The video for “Reflections” opens like a funeral procession arriving at a pleasure palace: a black limousine pulls up to a pale green Gothic mansion as the title blooms across the screen in grand yellow script. From there, Doom’s world turns into a strange courtship with death, vanity, and the self. A skeletal glove glides across the car’s interior; a veiled figure waits behind black fringe; a tuxedoed attendant appears with ritual precision. Inside, Doom moves through an ornate estate of red drapery, gold mirrors, antique lamps, four-poster decadence, and eerie devotional objects, with Matthew Lineham’s artwork making a sly cameo on the walls.

The mystery woman remains just out of reach: a silhouette, a mourner, a lover, an omen. She appears in a black veil and gloves, accompanied by the flash of a skull ring and the hush of a secret being passed from hand to hand. Who is she? The video gives the answer only if you know where to look: in the reflection. As Doom faces himself in the mirror, the clip turns its gothic romance inward, suggesting that the seduction, the threat, and the ghost may all be part of the same private haunting.

Watch the video for “Reflections” below:

Arnaud Rebotini is a French musician, DJ, composer, producer, singer, and co-founder of Black Strobe, the Parisian project whose fusion of electro, rock, EBM, and death-disco helped define a severe strain of European club music. He has also released music under the name Zend Avesta and is renowned for his use of analog synthesizers, drum machines, and sequencers. In 2018, Rebotini won the César Award for Best Original Score for 120 battements par minute, further cementing his reputation as one of French electronic music’s most formidable figures.

To celebrate the release, Omar Doom will perform live at The Viper Room in West Hollywood on June 26 alongside MVTANT, Grizz Cll, Jet Cemetery, and Post Crucifixion, with DJ sets by DJ Sins. The night promises dark synths, industrial energy, and gothic excess in one of Los Angeles’ most storied venues.

• June 26 — West Hollywood, CA — The Viper Room

“Reflections” is available now on all streaming platforms.

Listen to “Reflections” via Spotify below:

Follow Omar Doom / Straight Razor:

• Website
• Instagram
• Facebook
• YouTube
• Bandcamp
• Merch
• LinkTree

Follow Arnaud Rebotini:

• Instagram

The post “Black Ghost in the Corridor” — Omar Doom and Arnaud Rebotini Wander Through a Mirror Darkly in Video for “Reflections” appeared first on Post-Punk.com.

While most people would argue that “black metal” was founded by bands like Venom, Bathory, and Mercyful Fate, the scene didn’t really become what it is without the creation of Norwegian black metal. Which, in turn, people will argue was founded by Mayhem, Burzum, Darkthrone, Immortal, and the like. But people forget acts like Ulver, Urgehal, Satyricon, and Gorgoroth (and others) that helped form the genre. If you know Grier, you know how much Urgehal and Gorgoroth mean to his youthful, black metal development. They are also home to two of his favorite black metal raspers of all time: Trond Bråthen (Trondr Nefas) and Kristian Eivind Espedal (Gaahl), respectively. Before Gaahl made his mark on Gorgoroth classics like Twilight of the Idols – In Conspiracy with Satan and Ad Majorem Sathanas Gloriam, he already had his own band: Trelldom.

Trelldom doesn’t get enough love. But Angry Metal Guy knew what was up when he went back in time to explore easily one of the genre’s greatest hits: Til et annet…. This record is a fucking masterpiece that shows a side of Gaahl you might not know. Those who have followed him throughout his various exploits know full well that Gaahl is a weird guy with some of the creepiest fucking vocals on the planet. But Trelldom’s trilogy of albums from 1992 to 2007 was untouchable. Fast forward to 2024, and the band returns with …By the Shadows…, an even weirder concoction of songs than ever before. Taking a darker direction with a new lineup of legends, …By the Shadows… represented an impressive comeback for the band, rebranded into something more diverse and heartfelt than before. Right on the coattails of that album comes this year’s …By the Word…. And it’s everything you’d expect from a follow-up.

Returning with the mighty Stian Kårstad (ex-Djerv, ex-Gaahls Wyrd, ex-God Seed) and kit powerhouse Kenneth Kapstad (Thorns, Goat the Head, ex-God Seed, and a billion other bands), Gaahl rounds out his lineup with practitioners of the bass, saxophone, clarinet, organ, Dobro guitar, bass harmonica, mandolin, Shankar guitar, and even the fucking Optigan to deliver one of the most unique records of his life. “When This Was Young” opens the record with proggy bass and drums, matching perfectly with Gaahl’s soothing cleans. When the chuggery kicks in, Kapstad’s drums let loose, showing off his impressive skills and giving the song (A) Senile Animal-era Melvins vibes. As it progresses, the effects intensify, melding themselves into the guitars and creating unnecessary madness throughout.

But the opener might be the “chillest” song on the record. By “I Speak Forgotten Voices,” you’ll know that …By the Word… is far more unhinged than its predecessor. The overlapping effects, unsettling vocals, and relentless, pounding drums remove any peace …By the Shadows… might have had. But it’s the mindfucking back-to-back closers, “The Word – Choose to Vanish” and “In There Outside,” that show just how far Trelldom has pushed their sound. Chock-full of all those different instruments mentioned before, “The Word – Choose to Vanish” doesn’t so much add layers as mold everything into the most grotesque monster I’ve heard in a long time. And when you think you’ve heard everything you could from Trelldom, “In There Outside” proves to be one of the more diverse on the album. Throwing you off immediately, the whining woodwinds are replaced with yet another alteration of Gaahl’s vox as the song builds on itself over and over again, resulting in more orchestral qualities than any other track.

…By the Word… is batshit crazy and cerebrally damaging. Where …By the Shadows… at least had moments of relief, this new record does not. Beyond the weird combination of guitars, saxophone, and clarinet screaming at you from all directions, it’s the bass and drums that cause the most damage. Mixed far too the front, the drums, in particular, are ear-shattering. That sounds negative, but it does a hell of a job keeping you off balance. Specifically, when it comes to the devastating “Folding the Mind.” It’s almost as if the band decided it was time to let Kapstad off the leash. …By the Word… is an interesting album that pushes beyond anything the band has done before. It can never be Til et annet… but that’s OK because they aren’t going for it. This new era is worth exploring and …By the Word… is a new benchmark.

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Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Prophecy Productions
Websites: trelldom.bandcamp.com | trelldom.no | facebook.com/trelldom1992
Releases Worldwide: May 29th, 2026

The post Trelldom – …By the Word… Review appeared first on Angry Metal Guy.