Category: news

That track finds him joined by his Mötley Crüe bandmate Tommy Lee.

The post John 5 Launches “You, Me & The Devil Makes Three” Music Video, Fall Touring Plans Booked appeared first on Theprp.com.

Spanish drone-doom sect Pylar are back with their ninth album, Delyrio, another descent into the strange darkness the quintet are so used to exploring. Steeped in occultism and cosmic horror, Delyrio moves in waves and swirling energy as much as in traditional doom metal structure. The dual vocal approach from Ibb-ib’thu The Renegade and Linea Serpentinata only adds to the strangeness, which you can hear in full below.

Speaking as a unit, Pylar had this to say about Delyrio:

“As a result of a heretical reading of certain literary and philosophical treatises, Pylar chose to utilize an arsenal of dark and speculative compositional techniques on Delyrio. We applied resources of deterritorialization to trace a dark rhizome structure that forces the music to spin in an irrational spiral toward delirium.

“In this manner, Pylar delves into a sonic anomaly where we invoke the occult music… that which is the product of the superposition of a multitude of sonic strata, forming a hallucinatory and extravagant textural web…”

Dig in for yourself. Delyrio is out on Friday, with physicals available via Bandcamp.

The post Full Album Stream: Pylar – “Delyrio” appeared first on Decibel Magazine.

It’s that time of year again where we talk to as many bands as we can who are raring to blow you away at Bloodstock! Imperial Demonic will be rocking the New Blood stage on the Saturday… Simple things first – where are you guys from? We’re from Belfast, Northern Ireland How long have you … Continue reading Road To Bloodstock 2026: Imperial Demonic

FOR IMMEDIATE RELEASE
METAL DEVASTATION PR CLIENTS MOTHERTOMB AND BURNT WITCH RECEIVE NEW COVERAGE FROM OUTLAWS OF THE SUN
Underground Doom Heavyweights Continue Building Momentum With Acclaimed Album Review and Exclusive New Release Coverage
Metal Devastation PR is proud to announce new coverage for two of our clients, as underground heavy music champions Mothertomb and Burnt Witch receive features from our friends at Outlaws of the Sun , further showcasing the incredible talent and creativity thriving throughout the doom, stoner, and heavy underground scenes.
MOTHERTOMB – “DYING TO LIVE” ALBUM REVIEW

Gothic Doom/Stoner Rock outfit Mothertomb have earned a glowing review from Outlaws of the Sun for their highly anticipated debut album, Dying To Live , arriving July 14th, 2026.
Featuring Alice Gawlinski on vocals, Chance Gawlinski on guitar, Alton Minor on bass, and Mike Benitez on percussion, Mothertomb blend haunting Gothic atmosphere, Appalachian influences, psychedelic textures, and crushing Doom/Stoner Metal into a sound that is both timeless and forward-thinking.
Reviewer Steve Howe praised the band’s ability to create a deeply immersive listening experience, highlighting the album’s storytelling, massive riffs, emotional intensity, and dynamic shifts between atmospheric passages and crushing heaviness.
The review describes Dying To Live as a powerful statement from a band that combines “classic levels of intense storytelling” with “superb forward-thinking Doom/Stoner Metal music,” calling it a standout underground release that deserves attention from fans of heavy music.
With comparisons to acts like Acid King and Windhand while forging their own unique path, Mothertomb are proving themselves to be one of the most exciting emerging forces in the Doom and Stoner Metal community.
BURNT WITCH – “WE HATE YOU” ELECTRIC WIZARD COVER FEATURE

West Tennessee Doom outfit Burnt Witch are also receiving attention from Outlaws of the Sun following the release of their crushing cover of Electric Wizard’s legendary track “We Hate You.”
Fresh off the exclusive world premiere of the track on The Zach Moonshine Show on Metal Devastation Radio , Burnt Witch have unleashed their swamp-soaked, fuzz-drenched interpretation of the doom classic exclusively through Bandcamp.
Rather than simply recreating the original, Burnt Witch inject their own signature sound into the track with crushing low-end, massive riffs, and an atmosphere rooted in the heavy traditions of Doom and Sludge Metal.
The release continues the momentum created by their acclaimed EP Dopelich , which earned recognition through Weedian’s “Best Releases” spotlight, while the band continues to expand their presence throughout the underground heavy music community.
Burnt Witch recently joined The Zach Moonshine Show for an in-depth conversation about their evolution, songwriting, gear, the Memphis doom scene, and the upcoming Delta Doom Fest , taking place October 17th, 2026, at Growlers in Memphis, Tennessee.
SUPPORTING THE UNDERGROUND

At Metal Devastation PR, our mission has always been about helping incredible independent artists connect with fans, media, and new opportunities across the global metal community. Seeing artists like Mothertomb and Burnt Witch gain recognition from respected underground outlets like Outlaws of the Sun is exactly why we continue pushing forward.
Congratulations to both bands on this outstanding coverage!
For more information, interviews, promotional opportunities, and updates: zach@metaldevastationradio.com
Mothertomb – Dying To Live
https://mothertomb.bandcamp.com/album/dying-to-live

Burnt Witch – “We Hate You”
https://burntwitch.bandcamp.com/track/we-hate-you

Live Gallery: Sunn O))) – O2 Institute, Birmingham

2nd July 2025
Support: Black Mountain
Photos: Natalie Chew

We look back at the epic Sunn O))) show through the eyes of our photographer Martin Hingley!

Sunn O)))

Black Mountain

Photo credits: Natalie Chew

For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.

The post Live Gallery: Sunn O))) – Birmingham appeared first on The Razor's Edge.

Live Review: Sunn O))) – O2 Institute, Birmingham

2nd July 2026
Support: Black Mountain
Words: Michael Chew
Photos: Natalie Chew

SUNN O))) are not the kind of band you casually pop along to see. At the O2 Institute in Birmingham, their set felt like being stood inside a vast, slow-moving current of sound. It was heavy, immersive and genuinely physical; the kind of performance that you leaves trying to work out whether your internal organs have quietly rearranged themselves during the set. Birmingham has heard its fair share of heavy music, but this was a different kind of sonic weight entirely.

Before all of that, though, Black Mountain gave the evening a beautifully measured opening. Their set began softly, almost carefully, with a delicate intro and vocals that seemed to wrap themselves around the room as the lights slowly warmed the stage. It had that rare quality of being able to pull people in gently, and the room responded by falling still.

As the set built, the sound gained more weight without losing that tenderness. The second song opened things out, bringing in a slow, bluesy rock feel that rolled and stretched before easing back into something gentler. Stephen McBean’s guitar had a slow, bluesy looseness to it, letting notes hang in the air before pulling the song forward again. It suited the mood perfectly: unhurried, and quietly absorbing.

There was a real warmth in the crowd during Black Mountain. Couples stood with arms around each other. People swayed without making a big performance of it. One man near the front gave himself fully to a bit of air guitar, which felt entirely fair. Sometimes the spirit arrives, and who are any of us to deny the imaginary fretboard?

The lighting helped carry that mood. At first, it was all warm reds and golds, like the last of the sun catching the stage, before deeper greens, purples, blues and magentas crept in. It gave the set a strange twilight feel; soft, psychedelic and just a little uncanny. Black Mountain did not feel like a support band filling time before the main event. They felt like the dusk before the night came down.

And then there was SUNN O))).

Even before Stephen O’Malley and Greg Anderson appeared, the stage had become a spectacle in itself. Twelve Sunn Model T amps were lined up like a warning. Watching the techs turn them on felt oddly ceremonial, which sounds ridiculous until you are stood in front of that much equipment and realise the backline has more stage presence than most bands.

Motörhead played over the PA while smoke began to thicken across the stage. Then Lemmy’s voice appeared, addressing a crowd somewhere in the ether, and for a moment it felt like the old gods of volume were being summoned one by one. When O’Malley and Anderson finally appeared in their robes, the room stilled. Smoke rolled across the stage, catching the light around them as they took their places in front of that huge wall of amps.

That first note was extraordinary. Both men raised their picking hands together, struck the strings, and the sound hit with ridiculous force. It did not simply come out of the amps; it seemed to occupy the room in one huge movement. You felt it through your feet, your chest, your teeth, the small hairs on your arms. The word “loud” barely covers it. Plenty of bands are loud but this was something else entirely; pressure, vibration, patience and menace, all moving at a glacial pace.

The fog kept pouring across the stage, sometimes from behind them, sometimes from the front, until the whole thing started to feel like watching a ship come slowly into dock through impossible weather. Every so often the haze would thin and the two figures would appear again, caught in hard beams of light from above. Then the smoke would fold back over them and they would vanish into it. Watching from the stalls they completely disappeared into the fog, leaving only the sound of their guitars reverberating through the room.

There is a strange beauty to SUNN O))) live, and it is easy to miss that if you only talk about the volume. The sound is punishing, yes, but it is also incredibly controlled. O’Malley and Anderson know exactly how long to let a note hang, how far to push the feedback, when to turn towards the speakers and let the guitar howl back into the room. The higher frequencies cut through the low-end like something sharp catching the light. The drones moved slowly, but they were never static.

Everywhere, people stood with their eyes closed, completely absorbed. Nobody seemed to be waiting for a chorus or a drop or any kind of conventional release. That is the peculiar magic of SUNN O))). You either stand outside it and wonder what on earth is happening, or you step into it and let the whole thing take over like a wave. Last night, Birmingham allowed itself to be immersed in sound.

There were moments where the sound felt genuinely wicked, in the old sense of the word. Deep, dark, and slow enough to feel ancient. Sound that could probably summon something unpleasant up through the floorboards if given half a chance. Yet there was tenderness in the performance too. At one point O’Malley and Anderson bowed to each other across the stage, a small, human gesture inside all that smoke and force. It landed beautifully.

That contrast ran through the whole evening. Black Mountain brought warmth, colour and loose-limbed psych-rock grace. SUNN O))) arrived afterwards like the robed usher of night itself, leading the room somewhere far heavier and stranger. The two sets should have been wildly different on paper, and they were, but the transition worked. One made the room glow and the other made it tremble.

By the end the fog, the amps, the robes and the sheer physical weight of the sound had left the O2 Institute reeling. It was devastation by decibels, but delivered with absolute control.

Photo credits: Natalie Chew

For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.

The post Live Review: Sunn O))) – Birmingham appeared first on The Razor's Edge.

The band performed four songs during an in-studio session this past May.

The post Oranssi Pazuzu’s In-Studio Session For KEXP Is Now Streaming appeared first on Theprp.com.

Foo Fighters have also newly announced a show in Uncasville.

The post Dave Grohl Praises Pixies’ “Surfer Rosa”: “I’ve Probably Listened To It 10,000 Times” appeared first on Theprp.com.

Reanimated death dealers Grim Legion, featuring current and former members of Evoken, Condition Critical and Biohazard, have been on a bit of a killing spree since reuniting in 2011, twenty years after their last release. Harbingers of Death, which you can stream below, is Grim Legion’s second album and first new music in eight years, continuing down the path of fast, old-school style death metal.

Grim Legion is quite a departure from the music that guitarists John Paradiso and Randy Cavanaugh play with funeral doom mainstay Evoken. No one who’s heard Evoken will be surprised that Paradiso and Cavanaugh have technical chops, but they might be surprised by the speed, precision and frantic solos on Harbingers of Death. They’re matched in intensity by drummer Ryan Donato, who blasts forward with impressive energy. When Grim Legion do slow down, it recalls the death/doom style of Asphyx or Incantation.

From a production standpoint, Harbingers of Death reflects the members’ old-school pedigrees, integrating the late ’80s sound into their new songs. Harbingers of Death is out on July 10, but you can hear it early now.

The post Full Album Stream: Grim Legion – “Harbingers of Death” appeared first on Decibel Magazine.

Meet Blimp, a band that falls somewhere between grunge and emo. They’ve shared stages with bands like julie and Rocket, and their member Ren Takekawa also plays in yeule’s band. The LA-based four-piece has been on the rise since their dark, enticing 2023 Egg EP. But more recently, they built excitement with May’s “Saccharine,” and they did it again on Monday (July 6) with “Awayward.” The latter is a cathartic, emo-leaning journey that’s riveting and enthralling for all of its six minutes. Hear it below alongside “Saccharine.”

The post Blimp – “Awayward” appeared first on Stereogum.