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Danish thrash/death metal band HATESPHERE have released a video for “Mouth Filled With Barbed Wire,” the third single from their forthcoming twelfth studio album, Guillotine. The record arrives on October 9, 2026, through Scarlet Records. The song addresses liberation through rejecting systemic, societal and religious oppression, presenting defiance as a means of reclaiming personal agency. […]

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A nor’easter is on the way, devastating every music festival in its wake. So far, All Things Go NYC, Global Citizen Festival, and Oceans Calling have all been canceled due to severe weather conditions.

The post All Things Go NYC, Global Citizen, Oceans Calling Festivals Canceled Due To Nor’easter appeared first on Stereogum.

I’m a living god
In the same way as all human flesh

A pretty song can pose a problem when your band has spent a decade cultivating less agreeable habits. Melbourne quartet Bitumen found themselves facing precisely that predicament with “Perffect Dress,” a handful of chords that had begun behaving suspiciously well. Their response was to introduce a little trouble: vocal distortion, an outlaw-country inflection, and a bouzouki. Beauty survived the intervention, though its manners became considerably less predictable.

The single offers an unexpected turn ahead of Reality Red, the band’s third album, due November 6 via It Records. Acoustic instruments and live drums open up fresh possibilities for a group whose post-punk has long accommodated goth, metal, and electronic abrasion. Here, that expansion takes the form of something loose-limbed and oddly pastoral, with a threat tucked into its Sunday best.

A slow drum crash and twanging acoustic guitar set the pace, with further strings gathering around the opening figure. There is a country-folk lilt to the arrangement, carried by the easy movement of Andrew Huhtanen McEwan’s drums and Bryce Maher’s bouzouki. As the layers accumulate, a deep bass hum draws the music toward alternative rock and post-punk, while a high electric-guitar line swims through the spaces overhead. The song seems happy to wander, even as its low end keeps track of where everyone is going.

Kate Binning’s voice gives that wandering its peculiar charm. Her vocal suggests Marianne Faithfull meets Thom Yorke’s languid reverie. The distortion adds texture without making the performance abrasive; there is an almost whimsical quality to the delivery, a daydream being sung aloud before anyone has checked its contents. Simon Maisch’s murmured backing vocals move beneath her, introducing a second, less easily deciphered train of thought.

The words supply ample reason to inspect that daydream. Revenge, freeway exposure, pursuit, and the vulnerability of flesh run through lyrics that keep shifting between smallness and grandiosity. The speaker can be a little sound one moment and a living god the next, claiming divinity on the same terms as every other mortal body. Rearranging a perfect dress becomes a wonderfully incongruous gesture amid all this damage: a small adjustment to one’s appearance while existence itself appears to be coming apart. The overlapping vocal lines complicate the picture further, slipping bodily images and cryptic instructions beneath the lead.

The accompanying video places the band around an open fire against corrugated metal, their faces and instruments catching its orange light. Rectangular close-ups overlap the wider performance, bringing hands on strings and Binning’s singing face into the foreground while the gathering continues behind them. As those frames change size and position, the clip moves between collective intimacy and private concentration. It suits the song’s peculiar hospitality: pull up a chair, enjoy the acoustic guitars, and try to overlook the revenge being discussed beside the flames.

Watch the video for Perffect Dress below:

Formed in Melbourne in 2016, Bitumen brings together Kate Binning, Sam Varney, Bryce Maher, and Simon Maisch. Working with a drum machine has been a deliberate part of their approach, allowing guitars, synthesizers, samples, and programmed rhythms to change the terms of each song. On Reality Red, Tongue Dissolver’s McEwan adds live drums to that existing setup, while acoustic instrumentation and a greater openness to melody give the four-piece further room to experiment. Perffect Dress was recorded by Maisch at Lily Street Studios in Coburg North, with McEwan assisting, and produced by the band.

Reality Red is available to pre-order here on digital and limited-edition transparent red vinyl through It Records.

Follow Bitumen:

• Instagram
• Facebook
• Bandcamp

The post Melbourne Post-Punk Quartet Bitumen Gather Around the Fire in Video for “Perffect Dress” appeared first on Post-Punk.com.

That game is now available.

The post Dave Mustaine Voiced The Commander For ‘Space Metal Mania’ Video Game, Megadeth, Iron Maiden, Pantera, Avenged Sevenfold & Mastodon Tracks Featured appeared first on Theprp.com.

Wednesday 13 are back with a new live album, Un-Alive from Pol’and’Rock. The band played Poland’s Pol’and’Rock Festival in the summer of 2025, and while the claim of 750,000 attendees mentioned in the album’s press information may be open to debate, there was still a sizeable crowd of rock and metal fans gathered at Czaplinek-Broczyno Airport… Continue Reading →

With her guitarist-partner, Fred Chichin, she formed Les Rita Mitsouko as a band that embraced a more multicultural France.

She won the latest season of the series earlier this week.

The post ‘America’s Got Talent’ Winner Nene Royal To Open For Avenged Sevenfold In Singapore appeared first on Theprp.com.

Apparently there’s a group called Treaty Oak Revival that make country rock that some call “Southwest emo,” and they played the MAGA-associated Rock The Country Festival earlier this year. On Thursday (Sept. 24), the Texas band had to post a video telling fans to stop throwing lawn chairs at their live performances.

The post Treaty Oak Revival Ask Fans To Stop Throwing Chairs appeared first on Stereogum.

Abstract sounds depict a complex narrative.

Starting from scratch is rarely an ideal disposition when an impressive legacy has already been paved, but it can be a magnet for opportunity. Such has been the state of affairs for progressive sludge/post-metal stalwarts The Ocean (aka The Ocean Collective) since the immediate aftermath of their previous and 2023 album Holocene.

The subsequent years have seen all of their previous lineup save for founder/guitarist Robin Staps and bassist Mattias Hagerstrand exit the fold, including and especially longtime front man Loic Rossetti. But being in the business for the better part of three decades tends to bring a level of resilience into the equation, and within roughly the span of about a year a newly minted seven-piece arrangement has been forged to continue the highly nuanced and expansive tradition that has preceded it. As such, this outfit’s 12^th studio album Solaris marks a new beginning, in spite of being a de facto continuation of its immediate predecessor’s conceptual narrative.

Blending inspiration from the famed Andrei Tarkovsky novel of the same name and the journals of various historical explorers, it is an extensive sonic journey that navigates a comparably complex mixture of styles handled by a highly apt cast of musicians. Drummer Jordi Farre fits his kit work seamlessly into the dream-like atmosphere and fleeting fits of heavy, progressive metal segments, gelling with Mattias’ steady bass work at every point. Staps’ guitar work has been bolstered further by the inclusion of two new guitarists in Emmanuel Jessua and Marco Gennaro, expanding the arrangement to allow for dueling lead guitar lines at key points while also stacking on top of a towering wall of sound that can be easily replicated in a live setting.

Yet the most consequential change that has been accomplished without detriment is the entry of Italian lead vocalist Enrico “Nrehk” Tiberi and co-vocalist Lane Oshi; the former of whom effortlessly weaves between a clean baritone bellow and a raw hardcore shriek as the latter adorns the arrangement with a deeper sense of mystique.

True to the 70s Sci-Fi aesthetic from which it flows, Solaris is the textbook embodiment of a slow burn set to music. Opening with an ethereal 2-minute overture with a set of coordinates as a title, the precedent that is set is one of the barest simplicity played at a subdued volume that gradually crescendos to an explosive progressive metal assault. Granted, it isn’t until about a minute into the second track “Departure Song” that the feeling of an extended prelude gives way to the first proper song, but once the trio of electric guitars land that first signature riff set, what felt like an ambient soundtrack immediately morphs into a cosmic fit of pure rage, tempered with a strong eye to technical musicianship.

This general sense of ambiguity between where one chapter ends and the next begins proves a continual theme as things progress and the songs continue to get longer, though at no point is coherence something that gets lost in the mix, even as the individual lengths of each entry reach and then break the 10 minute mark.

The entire middle of this colossal opus is essentially where exposition gives way to extremely deep contemplation with an elaborate sense of structure in tow. The de facto single track “Light Pollution” maintains the abstract sense of drifting through the interstellar depths while also throwing in some strong earworm melodies and a rather spellbinding set of chant-like wails out of Oshi interwoven between the seesawing torrent of serene and aggressive musical moments.

The trio of epic journeys from point A to B among the sea of celestial bodies that are the grueling 17-minute progressive slough “Simulacra” and its two slightly shorter sisters “Belligerence” and “Ultima Esperanza” present extremely challenging listening endeavors for even the more seasoned of progressive rock/metal consumers with a correspondingly massive pay off; Nrehk and Oshi exploring just about every permutation of smooth and rough vocalizations in the book as a similarly elaborate and evolving musical backdrop follows their lead and fills in the gaps in between.

In every respect, Solaris is as much an exercise in continuing a tradition of existing outside of conventional music as it is a sheer curiosity in itself. This is particularly underscored in the rather unique away that it concludes with the moderate length chapter “Milk Of My Dreams” and the outro track featuring another set of coordinates as the title, both of which essentially blur into a singular, near 10-minute long song that listens more like a meditative ambient epilogue with an electronic dance groove like a lost entry from The Matrix: Revolutions film thrown in for good measure.

It underscores an album produced by a band that has set their own rules and are not beyond occasionally bending or breaking them when things have even the slightest potential of becoming mundane. Yet when all is said and done, it remains reasonably accessible and holds up well even when compared against The Ocean’s magnum opuses Precambrian and Pelagial, though newcomers to this band should still prepare for a wild ride.

Release Date: September 25, 2026
Record Label: Pelagic Records
Genre: Progressive Metal

Musicians:

• Robin Staps / Guitar and Vocals
• Mattias Hägerstrand / Bass
• Jordi Farré / Drums and Percussion
• Enrico Tiberi / Vocals and Keys
• Lane Shi / Vocals
• Emmanuel Jessua / Guitar
• Marco Gennaro / Guitar

Solaris Tracklist:

1. 52°30’11″N, 13°26’12″E
2. Departure song
3. Light Pollution
4. Simulacra
5. Belligerence
6. Ultima Esperanza
7. Milk of My Dreams
8. 51°28’30″S, 73°6’11″W

Order the album here.

The post THE OCEAN – Solaris (Album Review) appeared first on Sonic Perspectives.

Thundermother has announced their seventh studio album, Mothers Of Thunder, set for release Feb. 5, 2027 via Napalm Records — the band’s debut on the label. Alongside the announcement, the Swedish hard rock quartet has shared the album’s first single, “Bimbo Boost,” and its official music video.

“Bimbo Boost” is built around Deep Purple’s iconic “Smoke On The Water” riff played backwards, with the band using the single to address the pressure placed on female artists to always look perfect onstage — an expectation that does not apply to their male counterparts.

Thundermother comment on the single: “It’s damn hard being a woman. We have to do our makeup, straighten our hair, reverse aging, and always look our best. It’s exhausting.

“We wish we had a magic guitar booster pedal that instantly did all of that for us! We love making fun music videos, and this time we went bananas!”

On Mothers Of Thunder, the band share: “We know that it’s what every band says when they’re releasing a new album, but this time it’s true. This is the best Thundermother album yet! The songwriting, the playing, and the lyrical themes have reached the next level, and we can’t wait to share ‘Mothers Of Thunder’ with the world!”

“‘Mothers Of Thunder’ has killer riffs, groovy grooves, and powerful vocals paired with fun energy and the occasional serious tone. But most importantly, it has Filippa, Joan, Linnéa, and Majsan! Our musicianship gets a real chance to shine, and I think you can hear how much fun we’re having through your speakers.”

“This album is for you, the old fans, the new fans, and the future fans. Together we will make sure to keep rock’n’roll alive and kicking! We are Thundermother, and this is ‘Mothers of Thunder.’ Play it loud, sing along, and don’t forget to ROCK!”

Among the album’s highlights, “Restless” features an authentic father-daughter collaboration: vocalist Linnéa Vikström Egg teams up with her father, Therion’s Thomas Vikström, for a song depicting a parent’s concerns versus a child’s longing for freedom — delivered by real family members. Thundermother have previously opened for Scorpions and Judas Priest and appeared at festivals including Wacken Open Air, Summer Breeze and Sweden Rock.

Thundermother is: Filippa Nässil (guitar, backing vocals), Linnéa Vikström Egg (lead vocals, guitar), Majsan Lindberg (bass, backing vocals), Joan Massing (drums).

The post THUNDERMOTHER Announces New Album “Mothers Of Thunder” & Shares Music Video For “Bimbo Boost” appeared first on Sonic Perspectives.