Category: news

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.
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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”.
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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.

Recent Relapse Records signees Left To Die will unleash their debut full-length, Initium Mortis, on July 17th. Today, the band shares the album’s third single and opening track, “Legion Of Doom,” which originates back to the original Mantas and Death Death By Metal demos!

Comments Terry Butler (Obituary, ex-Death), “‘Legion Of Doom’ is heavy as hell. One of the best and earliest knuckle-dragging riffs out there. So heavy in fact, that Death brought the main riff back out of retirement for the song ‘Spiritual Healing!’”

Initium Mortis sees the supergroup – including original Death members Terry Butler (Obituary) and Rick Rozz (Massacre) – joining gore metal pioneer Matt Harvey (Exhumed, Gruesome) and Gus Rios (Gruesome) to capture the morbid depths of Death’s early catalog.

Initium Mortis will be released on CD, LP, cassette, and digital formats. Find pre-orders here.

Members of Left To Die comment on the new album: Matt Harvey: “After Gus and I performed Spiritual Healing in its entirety with Terry and James [Murphy], Rick wondered if people might want to hear something similar, but with him joining the three of us to perform Leprosy. Of course, I leapt at the chance to do it, and we quickly threw together a tour which surpassed everyone’s expectations, especially in terms of how much fun we were having playing together. As we continued to tour throughout the US, Europe, Latin America, Australia, and Asia, people kept asking if we were going to record or write anything. After going back and forth on the topic, we felt that (ahem) exhuming some of these old tracks made the most sense for us, after all, we’re not gonna top Leprosy.

“I gleefully combed through the myriad Death/Mantas demos and rehearsals looking for stuff that would make sense for a record, and we ended up going with tunes that we felt would make the most cohesive album, hence why ‘Skill To Kill’ and ‘Back From The Dead’ sadly didn’t make the cut. I look at Initium Mortis as a kind of ‘alternate-universe’ version of the Scream Bloody Gore track list, as so many of these tunes were circling around the many Death lineups and rehearsals from ’83-’87. In fact, Chuck [Schuldiner] and Chris [Reifert] recorded a version of “Legion Of Doom” for SBG that never got completed. In revisiting these songs, it was crystal-clear to me that Rick’s fingerprints are all over the Mantas stuff and tunes like ‘Slaughterhouse,’ so with that connection, the songs where his style really shone through immediately made sense to include on Initium Mortis.”

Terry Butler: “Left To Die went from a thought to doing a full US tour in about three months! Pretty remarkable. We wanted to play the early material for the fans that couldn’t see the first albums in a live setting. There are many young fans at our shows that are hearing the foundation that Death stands on to this day live for the first time! With Matt channeling the best Chuck Schuldiner out there and Gus playing the material perfectly and respectfully we hit the road and haven’t looked back!

“For Initium Mortis, we wanted Death fans who never heard these demo songs to hear them with good production. Most of these early demos were recorded on a boom box, so by the time someone got their demo through tape trading it was almost inaudible! We think these tracks are a good representation of the birth of Mantas/Death. This is ground zero – where it all started: three 15-year-old kids creating death metal history, and even within these choice cuts from the demo days you can hear the evolution of the music.”

Rick Rozz: “First, I would like to thank Gus, Matt, and Terry for making Left To Die happen. It’s been an honor and a pleasure working with them for the past few years and beyond. It’s really cool to be able to hear these tunes from 1984 properly! The old-school Death fans are going to dig this release.”

Gus Rios: “The band started simply because Rick called me and asked if I’d be into it… Which I very promptly replied by referencing bears, shit, and woods. I then called Matt and Terry, and the rest is history. Death’s Leprosy record is my favorite death metal album, let alone Death album. To be given this unbelievable opportunity to play those songs with Rick and Terry across the globe is an honor and a blessing I find hard to put in words. Matt and I are living our 14-year-old selves’ death metal fantasy!

“And now, to make an album with the guys, is flat out surreal. I’m a pretty solid Death fan if I do say so myself, and yet these songs were all new to me. I never really gave the Mantas stuff much of a listen because I’m just not a ‘demo’ production fan. To hear these songs with clean and solid, yet classic analog style production for me is like getting new Death songs… Which rules!”

Featuring tracks like “Archangel,” “Witch Of Hell,” and “Legion Of Doom” expertly executed in the now, Initium Mortis is a must-have for Death fans and collectors alike. Ultimately, Left To Die celebrates a seminal band and the camaraderie of the genre’s most extreme corner of music.

The post LEFT TO DIE Shares “Legion Of Doom” Single From Debut Full-Length “Initium Mortis” appeared first on Sonic Perspectives.

In February, Twisted Teens unleashed their second album, Blame The Clown. The New Orleans punk duo is already back with the announcement of its followup, Florida Water Blues, whose title track is out today.

The post Twisted Teens Announce New Album <em>Florida Water Blues</em>: Hear The Title Track appeared first on Stereogum.