Category: news

Swedish heavyweights thrown return with their brand new single “unwanted,” another crushing statement from one of the most exciting

Canadian hardcore heroes Comeback Kid have unleashed their new single “Yesterday’s Gone,” featuring Brendan Garrone of Incendiary. The

Based between Amsterdam, Berlin, and Cologne, Smile recorded the album with Olaf Opal at Bear Cave studio in

On Saturday, the Chicago cult rap star Lucki reportedly got hurt in a brawl outside the Los Angeles version of ComplexCon. TMZ reports that 30-year-old Lucki, whose government name is Lucki Camel Jr., was posing for photos with fans outside the Los Angeles Convention Center on Saturday afternoon when a fight broke out. The LAPD tells TMZ that four people were stabbed in the fight, three of whom are in stable condition and one of whom transported themselves to a hospital. In videos from the incident, Lucki, holding a towel to his bloodied neck, gets put into a waiting car, then moved to the backseat, looking shocked and angry.

The post Lucki Slashed In ComplexCon Brawl As Playboi Carti Looked On, LAPD Investigating Attempted Murder appeared first on Stereogum.

FOR IMMEDIATE RELEASE
GHANGES RELEASE NEW ALBUM ABRÍ LOS OJOS

Buenos Aires Alternative Rock/Metal Band Delivers Nine Tracks of Heavy Guitars, Introspection, and Raw Emotional Weight

González Catán, Buenos Aires, Argentina | Independent alternative rock/metal band Ghanges have officially released their new nine-track album, Abrí los ojos , available now through FirstWave Canada .
Blending alternative rock, grunge, metal, and industrial influences, Ghanges builds its sound around heavy guitars, powerful rhythms, atmospheric textures, and direct, introspective lyrics. The result is a record that embraces both the weight and vulnerability of modern alternative music while maintaining a distinctly personal identity.
Abrí los ojos , which translates to Open Your Eyes , explores reality, inner conflict, personal struggles, and the questions that often remain beneath the surface. Rather than delivering easy answers, Ghanges uses its music to challenge listeners to confront difficult truths, question what surrounds them, and search for their own meaning within the chaos of everyday life.
For fans of Seether, Staind, and Three Days Grace , Ghanges offers a heavy yet melodic approach that connects the emotional directness of alternative rock with the darker textures of metal and industrial music.
Formed in González Catán, Buenos Aires , Ghanges operates with a strong DIY philosophy and an uncompromising commitment to creative freedom. The band’s music exists outside rigid genre boundaries, allowing them to move naturally between crushing guitar-driven passages, atmospheric moments, and emotionally charged songwriting.
At the center of Ghanges’ approach is authenticity. Their songs are rooted in personal experience and observation, addressing struggles that are familiar to anyone who has questioned their surroundings or wrestled with their own thoughts. Abrí los ojos continues that evolution, presenting nine tracks built around honesty, intensity, and a constant desire to grow.
The album was produced by Ghanges and engineer Rodrigo Paez , with recording and mixing handled at Kuervo Estudio by Ing. Rodrigo Paez . FirstWave Canada handles management.
With Abrí los ojos now available worldwide, Ghanges continues carving out its own place within Argentina’s alternative rock scene, delivering music that is heavy, atmospheric, emotionally direct, and unwilling to look away from the darker realities of life.
GHANGES – ABRÍ LOS OJOS

Released: September 10, 2026
Label: FirstWave Canada
Genre: Alternative Rock / Metal
For Fans Of: Seether, Staind, Three Days Grace
Tracks: 9
Produced by: Ghanges & Ing. Rodrigo Paez
Recorded & Mixed at: Kuervo Estudio / Ing. Rodrigo Paez
Management: FirstWave Canada
Listen to Abrí los ojos now:
https://hypeddit.com/ghanges/abrilosojos


Band Social Media Links:
https://firstwavestudio.com/mi-realidad-ghanges
https://www.facebook.com/ghanges.oficial
https://www.instagram.com/ghangesoficial/
https://www.youtube.com/@ghangesoficial311
https://ghanges.bandcamp.com/
https://open.spotify.com/artist/1igzhXrp8EEUYf16FQRH5w
https://music.apple.com/ca/artist/ghanges/1797276295
https://hypeddit.com/ghanges/abrilosojos
Contact:  Firstwaverstudio@gmail.com

“I Don’t Wanna Drag You Down” drop on all DeeCRACKS’ streaming platforms, accompanied by an official music video

Palaye Royale emerged from Las Vegas with a theatrical blend of rock and roll, glam, garage rock, punk energy and carefully constructed visual identity. The group was formed by brothers Remington Leith, Sebastian Danzig and Emerson Barrett, who first performed together under the name Kropp Circle before adopting the Palaye Royale name in 2011. Their new name was inspired by the Palais Royale dance hall in Toronto, where their grandparents had met, and the change marked the beginning of the band’s more ambitious fashion-art rock era. Palaye Royale’s first releases under the new name arrived with the 2012 single “Morning

The post Complete List Of Palaye Royale Songs From A to Z appeared first on ClassicRockHistory.com.

Before my band Nekrogoblikon embarks on a 33-city, headlining tour across the great American north, I thought it would be helpful to peel back the curtain and shed green light on the preparation that goes into being the lead singer of the premier goblin-metal band and this is how: A GOB PREPARES.

So, these are my TOUR TIPS, my TT’s. Metal dudes love TT’s. 

1. Pack only the essentials.

Most everybody else in my band has a small designated drawer or space under the bandwagon to store their personal items for the 6-week excursion. Me? The lead singer and most important part of the band? I get special treatment, of course; there is something called a JUNK-BUNK that veteran musicians like myself are super familiar with, where there is an extra bunk not being used on a tour bus, and everybody tosses their crap into it haphazardly. Now, my band uses a tiny storage unit towed behind the bandwagon to hold all the music equipment, and we’ve dubbed it our JUNK-TRUNK. “John, is that where you get to store your things?” No. No. That is where I get to store ME. Yes. That is where I sleep. A snare drum as a pillow, a guitar case as a blanket, and my mic stand to spoon me, keeping me warm and safe at night. Which is why I pack, say it with me: ONLY THE ESSENTIALS. Which is me, myself, and one shirt and tie that I wear for every single show. Like a cartoon character. I never remove them. Ever. Nor wash them. Each night, the smells and liquids from the previous town I take with me like souvenirs and trophies to remind myself where I have been and where I am headed next. 

2. Prepare your mind and body for The Road.

Everybody has this perception of what being a rockstar is. It’s traveling the world, seeing all the sites, meeting new people, eating exotic food, etc. NAY. The harsh reality is, arriving at a venue, watching your bandmates unload all their equipment while you nap, doing a soundcheck you slept through, eating the scraps of your drummer’s Subway sandwich for dinner, taking another nap during all the opening acts, being woken up by your frantic tour manager screaming at you that your band has already started playing and you’re needed on stage to “do your job!”

Then, AFTER the show it’s another nap, while all your bandmates unload the equipment back into the Junk-Truck aka your bedroom, and next thing you know you wake up in the middle of the night after the driver hath struck your 127th pothole to you realize you’re driving through yet another empty field in the never-ending darkness only to arrive to a new venue that looks vaguely similar to the last twenty–all just to do it all over again, meanwhile the only faces you’ve seen are your bandmates same sweaty, unwashed grimaces that never make eye-contact. Sure, in the midst of all this chaos, there IS an amazing show you get to perform at each night, that you absolutely crush, by the way, but that’s no easy task either, shaking your hump all night, melting faces, and hitting notes higher than Snoop Dogg! It takes a mental and physical toll. 

3. Remember You’re Doing GOB’s Work

Sometimes I find it hard to muster the strength to embark on such a strenuous journey, but then I think of one thing: YOU. Yes, you. The exact person reading this article. You (fill in your name here) help put everything into perspective. You might be reading all the above and be thinking to yourself, “How can one endure all of this? I wouldn’t wish it upon anybody.” Well, I would wish it upon one person, ME… and my bandmates because currently, I am not a solo act.

Sure, touring is grueling at times, but it’s also the freakin best; I’ve never felt more rested, and if it stops, I have to go back to selling life insurance for BRAD! Not to mention, we are out there not only melting faces, but we are converting the masses. Turning any human (or troll) into a GOBLIN. Reuniting goblins of old and new, bringing goblin families together in one sacred place to circle each other and eventually crash into one another in the mosh pit of their choosing. It’s a beautiful thing, a Gob damn beautiful thing. So if touring is a bit of a grind, I guess that’s just my cross to bear… though I can’t actually bear a cross this tour, no f*cking way, a giant ass wooden cross is going to fit in this trailer/my bedroom?!? Psh! Oh, and if anybody is reading this, PLEASE LET ME OUT OF HERE. IT IS VERY HOT, AND I ACCIDENTALLY KNOCKED OVER MY WATER WHEN I WAS TRYING TO CUDDLE WITH MY GIRLFRIEND, AKA THIS GUITAR AMP! 

To see all this hard work and preparation come to fruition, please go HERE to see where you can catch my band this month! 

The post MONDAYSUCKS with JOHN GOBLIKON: A Goblin’s 3 Crucial Tips For Embarking on a Nationwide Tour appeared first on MetalSucks.

(The Kentucky-based black metal band Anagnorisis are returning after a long hiatus with their fourth album, Caregriever, which will be released on October 23rd. Below you will find Wil Cifer’s review of the album.) After a ten-year absence, this project is back with its darkest work yet. Black metal should be the darkest of all […]

The post ANAGNORISIS: “CAREGRIEVER” appeared first on NO CLEAN SINGING.

by Prog Nick

It’s all about connection, really. Connection that is created by a thoughtful balance of musical skill and lyrical emotion. Since 1999, The Pineapple Thief (TPT), led by British Progressive Rock minstrel Bruce Soord, has thus far delivered fifteen albums of very consistent quality to great acclaim. All these albums, to some degree, exhibit some feeling of connection due to Soord’s very particular songwriting, but it is TPT’s sixteenth studio album, 2026’s Far and Wide, that is likely to garner the most attention of all. Because the skill and emotion to be found on this album is elevated to another level. – a level that will create an impenetrable connection with the music. And all you have to do is listen.

The nine songs on the album are quite concise and might even be described as short. With the longest being under 7 minutes, it might seem at first blush that TPT have casually opted to release a collection of singles. But nothing could be further from the truth. Far and Wide is a deeply considered album of connected thematic progressions that are profoundly related. They connect with each other, and they will connect with you.

TPT’s line-up has been consistent since 2017, when Soord (lead vocals, guitar and main composer), Jon Sykes (bass) and Steve Kitch (keyboards) were joined by the astounding Gavin Harrison on drums. As is highly apparent on ‘Far And Wide’, Harrison is very much more than the player seated behind the drum kit. He is a gifted rhythmic and compositional designer. He composes when he plays, and his playing causes the other band members to compose interactively with his drum patterns. There is no doubt that Harrison’s drumming, as technically perfect as it is, is more than just a performance. It contributes creatively to all the song structures and melodies, making him, as he once stated, an ‘ideas man’. Put another way, Gavin Harrison is a generator of musical connections.

But while the resulting ideas are as innovative and original as anything you could wish for, they are never unnecessarily complex. On the contrary, the intention this time around seems to be simplicity and directness, in the form of concise songs that combine into a thematic and emotional complexity on the album level. This intention succeeds beautifully – because the connection is even easier to make.

The album launches straight into an intense modern prog feel with ‘New World Order’. The song has a wonderfully intricate 10/8 groove in which Harrison makes his immediate mark and Sykes confers a similarly inventive bass line,. The track gels and flies from the first second and the scene is well set by it. After that highly impressive start, second track ‘Hold The Ashes’ might easily have brought the tone down, but it does not. Despite the more straightforward time signature and an economical but rugged bass-line, the drum fills and accents are no less ingenious. Sykes’ jagged aggression on the low end is beautifully counterpointed by Soord’s soft, almost buoyant vocals and textured guitar on the high end. With the lyrical theme of ‘scattering ashes far and wide’, it is a dark and sombre composition, but somehow it still has a melodic lightness. I guess that this is by now one of Bruce Soord’s recognisable trademarks – the counterpointing of heavy guitar grooves and pastel melodies.

The pace is slowed by the ballad ‘Still Living’. To begin with, this track seems just good enough not to be classed as filler, but then it is more than rescued by a gorgeous interlude which extracts it from the risk of being labelled just another derivation of Porcupine Tree. After that interlude, the song is fully delivered to grace by a gorgeous guitar solo and outro played in 5/8.

‘God Knows’ has not surprisingly already been released as a single. It is solid and heavy enough, but its composition is, by this album’s standards, just adequate. The song certainly rocks and the playing, of course, is unstoppable, but this is not the song on which the album should be judged. There is much more brilliance to come.

The groan of a tortured guitar opens ‘This Empty Space’, which re-introduces the lyrical theme of ashes – indicating this time that all of us, together with our hopes and dreams, might be lost in those ashes. You can almost see the flakes of ash gently falling from the ether to the earth. Musically, the track is quite triumphant. It has a building suspense and expectation that is created by Harrison’s formidable restraint, Soord’s gentle vocals and the delicate but anguished guitar and keyboard parts.

‘Scattering Like Flies’ is yet another Harrison masterclass in variation, taste, temperance and originality. The song starts off in a foreboding and sinister mood with the pay-off line ‘Something’s got to give, we know’. These gentle but cynical observations soon turn into a heavy and defiant instrumental middle section – almost as a symbol that there will not be resignation or acceptance after all. In this context, Harrison is fully pressed to follow the ebb and flow of the song, which he does wonderfully. The track has peaks and troughs, ambience and weight, and it vacillates with full intent until the whole band combines and connects to make the perfect apex ending.

‘Through The Noise’ similarly builds on a beautiful Steve Kitch keyboard part, but this time to a much darker, heavier and more tormented climax. The lead solo stretches notes and bends them like a tortured soul searching for salvation. You will be breathless by the time Soord’s otherworldly vocal returns to extract you from the anguish. These musical variations are not about volume. Far from it. They are about melody, emotion, instrumental versatility and, ultimately, musical connection.

Penultimate track ‘Who Wants It’ is the story of a paranoid man in a state of mental confusion who will call anyone he can at 4 am to let him out of his misery. The melody is surprisingly poppy in parts, but serpentine Prog-metal variations soon arise, always in service of the song. Each member plays his role to perfection: Soord’s voice reflects a terrible longing; Harrison’s ghost notes and complex kick-drum strikes create perfect symmetry; Sykes’ 16th-note bass riffs are exquisitely chunky and raw and Kitch’s keyboard drone is beyond sinister.

‘No Exceptions’ closes the album with seven minutes of highly accomplished TPT that makes a very strong statement. It contains a sophisticated melody, wonderful chord progressions, yet more fabulous drumming and the mightiest, most yearning guitar crescendo on the album. It is everything you would want from a TPT track, really. But it is the arrangement of this song that makes the strongest statement of all, because, as the lyrics state, ‘Now we understand just what’s been going on,’ and the music fully reflects this catharsis. It is all about resolution, whether lyrically, musically or thematically, and the notion that there is no more need for fear shines through the song in the most connected way, as the last notes of the album fade away into the ether.

While never abandoning TPT’s Progressive Rock aesthetic, ‘Far and Wide’ presents TPT at their most direct, dynamic and crisp. All nine songs are strongly integrated over the album’s 48 minutes, without necessarily being part of a ‘concept’. However, central themes, including societal upheaval, personal loss and moral fortitude, do recur to create a composite whole. The album patently succeeds as a singular journey, despite the brevity and singularity of the individual songs. They stand alone, but they also combine to create the album’s overall feeling of connectedness.

The songwriting is succinct, measured, well-paced and subtle. The production is balanced and brisk, and the excellence of the performances is indubitable. You might hear complexity (or perhaps not), but you will never hear self-indulgence. Everything that is played belongs precisely where it is, always respecting the space around it, and good taste is to be heard everywhere.

Far and Wide is an album that has been exceptionally well-crafted. It is considered, prepared, patient and fulfilling, and a lot of this has to do with counterpoints. Beautifully constructed instrumentals create moods of drama and despair, after which Soord’s voice regularly intercedes like a hand reaching out of the shadows. His emotive guitar parts then confer resolution in spades. But all this is done in a way that is never overstated or obvious. There is no unnecessary showmanship here. Every performance, as technical as each might be (especially Harrison’s), serves the composition and the feeling of connection. Every crescendo, climax, solo and drum fill has a considered and thought-out reason for being there. Because ‘Far and Wide’ is not an album about highlights – it is about the moments that connect them. Listen to it from beginning to end – you will feel connected.

Released on Oct. 9th, 2026 on InsideOutMusic

Order here: https://thepineapplethief.lnk.to/FarAndWide-AlbumID

1. New World Order
2. Hold the Ashes
3. Still Living
4. God Knows
5. This Empty Space
6. Scattering Like Flies
7. Through the Noise
8. Who Wants It?
9. No Exceptions

Bruce Soord / lead vocals, guitars
Gavin Harrison / drums
Steve Kitch / synthesizers, keyboards
Jon Sykes / bass, backing vocals

The post The Pineapple Thief – Far and Wide (Album Review) appeared first on The Prog Report.