Category: news

The vinyl pressings will be limited to 500 each.

The post Stuck Mojo “Pigwalk” & “Declaration Of A Headhunter” Vinyl & CD Remasters Announced appeared first on Theprp.com.

We don’t know if they were inspired by the recent “Revivalcore” nostalgia for early ’00s metalcore, but the, ahem, core—guitarists Dave Buschemeyer and Trevor Dykstra—of Canadian blackened metalcore outfit Spread the Disease have reunited on a new full-length, The Darkness, the Dread, the Suffering.  The pair brought in current Fistula vocalist Shane Post and enlisted the services of Ryan McInturff (ex-Killwhitneydead) to play bass on their first record in 27 years. Buschemeyer and Dykstra, who have both been in many other acts in the intervening years, haven’t forgotten the metalcore methodology on their blistering new effort and Post’s rage-filled rasps provide the essential hardcore foil to the black metal-inspired riffing. 

The Darkness, the Dread, the Suffering was recorded and mixed at Bravo Studios by Buschemeyer and mastered by Greg Dawson at BWC Studios. It’s set for release on vinyl, CD and digitally via Hypaethral Records on July 10. Place your preorder here (Hypaethral web shop) or here (Bandcamp).

Buschemeyer had this to say about the new album:

“Since Trev and I had remained friends after all these years and had both been a part of the short-lived New Day Rising reunion, where we recorded a bunch of new songs, the idea was floated around to potentially do a new Spread the Disease recording. As the two main songwriters, we knew that we could revisit the blackened hardcore style material with some fresh vigor. I had been keeping my chops up with that style of music with Die In The Light and Trev had been playing in multiple projects on his own as well.

“The songs came together relatively easily, but it took a long time to come to fruition. This is the reality of being older, with families, careers, etc. You put in the time when you can. In the end, we’re stoked on how they turned out and we’re excited to play them live!”

The post Full Album Stream: Spread the Disease –<em>The Darkness, the Dread, the Suffering</em> appeared first on Decibel Magazine.

A trio of concerts ahead of this year’s ‘Endless Fires’ festival.

The post E-Town Concrete & Lionheart Announce August East Coast Shows appeared first on Theprp.com.

Holy Wave’s new record i’m DADA arrives this Friday. So far we’ve heard “s33.u.in/HAL” and “dewey’s dirge,” and today the Austin psych rockers are back with the hypnotic title track.

“‘i’m DADA’ is a song about balance,” Kyle Hager says of the song, which features Lorena Quintanilla and Alberto González of Lorelle Meets The Obsolete and J. Zunz on synth arpeggios and feedback guitars. He continues:

I have two amazing children that I strive to spend all my time with. Watching and helping them grow is my life’s greatest work. It’s easy for me to feel guilty when the need to focus on myself and my creative endeavors takes over. To be a good parent, I believe one should continue to follow their passions as a form of self-care and a source of balance. In this song, I vent about the pressures of being in demand as a parent and also try to forgive myself for wanting to be more than just “DADA.”

Watch its video below.

i’m DADA is out 7/10 on Suicide Squeeze.

The post Holy Wave – “i’m DADA” appeared first on Stereogum.

Australian rockers Airbourne have released “Kid In A Candy Store”, the newest preview tune from their upcoming self-titled album.
Read more…

On September 11th 2026, Swiss hard rockers CoreLeoni will put out their fourth studio record dubbed Generection. Alongside unveiled details, check out also a music video for the first single “Generation Rock”.
Read more…

Of all metal’s subgenres, doom remains one of the most welcoming to outside influences, often stretching its boundaries past lethargic, downtuned tempos of despair and dread. Spanish duo TodoMal¹ embody that openness completely, drawing from a wide spectrum of styles to shape their unique blend of progressive doom. Formed by multi‑instrumentalists Christopher B. Wildman (Jade (live), ex-Asgaroth) and composer/producer Javier Fernández Milla (ex-Asgaroth), Ultracrepidarian (2021) and With a Greater Good (2023) pushed at the edges of classic doom with a big, cinematic approach rooted in the grandeur of Candlemass and the cosmic blues of Pink Floyd. Graveyards of Joy, their third record, closes the trilogy and marks their first expansion into a five-piece recording and live ensemble, joined by drummer Javier “Bud” Martínez (Jade), guitarist Javier Félez (ex-Teitanblood), and vocalist/keyboardist Cecilia Tallo (ex-Maud the Moth). And their contributions help unlock TodoMal’s most ambitious and articulate record to date.

Graveyards of Joy finds TodoMal pushing their sound into more progressive territories, with their immersive strain of atmospheric doom feeling far more melodic and balanced than their previous work. Juxtaposing processional tones with airy, luminous passages in a way that resists categorization, each song on Graveyards of Joy is incredibly dense yet no less urgent. “Mare Ignis” could have come straight from a Devin Townsend record, elevated by an expressive, gothic shimmer and reverb-drenched textures, while “Misericordiah” offers a moment of pure acoustic beauty before “Unholy” snaps back with brooding gothic rock heaviness and bright, pop-minded sensibility. Tallo’s lush choral backdrops (“Mare Ignis”), coupled with orchestral elements like horns (“Point of Coalescence,” “Mare Ignis”), violins (“Misericordiah”), Hammond-esque synths (“For Mercy”) and piano (“Graveyards of Joy,” “Lucid Nightmare”), create soaring, hook-laden melodies with an ethereal, dreamlike quality that lets the heavily layered arrangements feel deceptively lighter than they are, even in the face of Martinez’s thunderous drums, Felez’s chunky riffing and the record’s saturating production.

TodoMal excel at balancing darkness and light, constantly offsetting heaviness with melody and atmosphere. “Lucid Nightmare” leans into melodic allure without losing heft, pairing resonant guitars with Tallo’s bright piano and choral layers, while “Point of Coalescence” contrasts ominous horns and crushing riffs against airy vocals that keep the song from ever feeling too oppressive. The guitar work on Graveyards of Joy favors big, expressive solos and memorable phrasing, emphasizing emotional lift over technicality and adding another dimension to TodoMal’s cinematic, textured identity. “Deliverance” delivers the record’s most dynamic moment, moving from delicate acoustics into a massive, emotional swell, while “Humanised Gods” distills their approach into a punchy, hook- and synth-laden standout. Across Graveyards of Joy, TodoMal uses melody, orchestration, and texture to let the material surface for air before pulling you back into its darker depths.

Wildman’s vocal performance is one of Graveyards of Joy’s defining highlights, channeling a tone that lands somewhere between Jón Aldará’s (Iotunn, Barren Earth) soaring melodicism and Robert Smith’s (The Cure) emotive, gothic inflection. Instead of leaning into brutality, Wildman avoids growling entirely, opting for an indie-tinged, gothic rock delivery that softens and reshapes TodoMal’s traditional doom foundation. “For Mercy” evidences the full reach of his character, with an untethered vocal line floating above an upbeat acoustic guitar that initially feels awkward but quickly captures my admiration with its off-kilter charm. The track recalls the Violent Femmes in many respects and shows the breadth of the group’s influences. The duo also leans heavily on background harmonies and choral passages to amplify the material’s emotional weight, creating a soundscape that reveals new nuances with each listen. The production reinforces this, feeling enveloping and bright, and the concise runtime—aside from the sprawling “Deliverance” and the similarly lengthy closer—ultimately strengthens the record’s pacing.

Graveyards of Joy pulls all of its many ingredients into a layered, multifaceted whole that grows more rewarding with every listen. TodoMal’s twist on doom may feel occasionally strange, but it’s insanely stylish and unmistakably their own. It’s the kind of take that makes genre labels feel irrelevant because there is no denying this is simply great music. A couple of longer tracks could stand a trim, and a few endings land a bit abruptly, but those small quibbles fade quickly. What stays with you instead is the album’s accessibility, scope, and immensity. TodoMal may mean “all wrong,” yet Graveyards of Joy is anything but.

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Rating: Great!
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Season of Mist
Websites: todomalband.bandcamp.com | facebook.com/todomalofficial
Releases Worldwide: July 3rd, 2026

The post TodoMal – Graveyards of Joy Review appeared first on Angry Metal Guy.

With three bonus tracks.

The post Misery Index’s “Overthrow” Set For Newly Remastered Vinyl Reissue appeared first on Theprp.com.

Ciara is back with her first new music of 2026. The singer is celebrating 10 years of marriage with her husband, the recently retired NFL quarterback Russell Wilson, by sharing a steamy, sweet R&B tune called “Yes.”

The post Ciara – “Yes” appeared first on Stereogum.

Toy donations for children in need will be fielded at the show.

The post The Tony Danza Tapdance Extravaganza, Filth, Heavy//Hitter, Evergreen Terrace, Etc. Set For ‘Mosh For Tots’ Benefit Show appeared first on Theprp.com.