The bleary and majestic Philly punks Poison Ruïn were a Stereogum Band To Watch in 2023, and now they’re getting ready to release the new album Hymn From The Hills next week. We posted lead single “Eidolon,” and now they’ve shared a nasty new one called “Guts (Lay Yourself Aside).” “Guts (Lay Yourself Aside)” is…
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Corrosion Of Conformity will tour North America from July 6 through July 22, 2026, including a Vancouver stop on July 17.
Corrosion Of Conformity just locked in a July 2026 North American tour with Whores and Crobot, running Texas through the West Coast and into Canada. The run includes a Vancouver date, making it one of the few chances for Canadian fans to catch them live this year.
Short tours like this tend to fly under the radar… until they’re sold out.
That’s exactly why this one matters. It’s tight, focused, and heavily stacked across the West. If you’re anywhere near these cities—especially Vancouver—you’re not getting many second chances.
Corrosion Of Conformity’s July run stretches just over two weeks, moving quickly across key U.S. markets before crossing into Canada.
This is the only Canadian stop on the entire run.
That alone makes it a pressure point show. Vancouver typically draws from across B.C. and even Washington State, so expect this one to move quickly once tickets go live.
Fans interested in attending any of the band’s shows can find tickets here.
This isn’t a throwaway opener situation.
Whores bring a raw, noise-driven edge that fits perfectly with C.O.C.’s heavier side, while Crobot lean into groove-heavy rock that aligns with the band’s more southern, riff-driven DNA.
It’s a balanced bill that actually makes sense—rare these days.
Instead of dragging out a long, bloated tour, Corrosion Of Conformity are hitting specific markets with intention.
This approach usually means tighter sets, stronger crowds, and less burnout—something veteran bands have started to lean into more over the past few years.
And honestly, it works.
Tickets go live March 27 at 10 AM local time.
Given the limited number of dates and the single Canadian stop, hesitation is how you miss this.
Yes, they are playing one Canadian show in Vancouver on July 17, 2026.
Whores and Crobot are confirmed as support for the July 2026 tour.
Tickets go on sale March 27, 2026 at 10 AM local time.
The tour runs from July 6 to July 22, 2026.
Corrosion Of Conformity formed in Raleigh, North Carolina in 1982 and evolved from hardcore punk roots into one of the most influential crossover metal and southern sludge bands of all time. Albums like Blind and Deliverance helped define their legacy, blending heavy riffs with groove-driven songwriting that influenced generations of metal and hard rock artists.
The post Corrosion Of Conformity Set 2026 Tour In Motion With A Tight, High-Impact Run appeared first on Loaded Radio.
CORROSION OF CONFORMITY will head West this July for a two-week headlining tour with support provided by Whores and Crobot. The trek, which begins on July 6th in Houston, Texas and runs through July 22nd in Lincoln, Nebraska, serves as the second leg of their North American tour set to commence next month.
Tickets go on sale Friday, March 27th at 10:00am local time at coc.com/pages/tour. See all confirmed dates below.
CORROSION OF CONFORMITY w/ Whores, Crobot:
7/06/2026 Scout Bar – Houston, TX
7/07/2026 Granada Theater – Dallas, TX
7/08/2026 The Far Out Lounge – Austin, TX
7/10/2026 The Nile Theater – Mesa, AZ
7/11/2026 The Regent Theater – Los Angeles, CA
7/12/2026 The Glass House – Pomona, CA
7/13/2026 Great American Music Hall – San Francisco, CA
7/15/2026 Hawthorne Theatre – Portland, OR
7/16/2026 The Crocodile – Seattle, WA
7/17/2026 Rickshaw Theatre – Vancouver, BC
7/18/2026 Knitting Factory – Spokane, WA
7/19/2026 Shrine Social Club – Boise, ID
7/21/2026 Federal Theatre – Denver, CO
7/22/2026 Bourbon Theatre – Lincoln, NE
Previously announced dates:
CORROSION OF CONFORMITY:
4/07/2026 The Masquerade – Atlanta, GA *
4/08/2026 The Pyrle – Greensboro, NC *
4/09/2026 Starland Ballroom – Sayreville, NJ ^
4/11/2026 The Palladium – Worcester, MA ^
4/12/2026 Kodak Center Theater – Rochester, NY ^
4/14/2026 The Factory – Chesterfield, MO ^
4/15/2026 Manchester Music Hall – Lexington, KY ^
4/17/2026 VooDoo at Harrah’s Kansas City – North Kansas City, MO ^
4/18/2026 Anthem at Hard Rock Sioux City – Sioux City, IA **
4/19/2026 The District – Sioux Falls, SD ^
4/21/2026 Mesa Theater – Grand Junction, CO ^
4/22/2026 Metro Music Hall – Salt Lake City, UT (COC only)
4/23/2026 Treefort Music Hall – Boise, ID ^
4/24/2026 Cargo Concert Hall – Reno, NV ^
4/25/2026 Sick New World – Las Vegas, NV Festival Date
4/27/2026 Sunshine Theater – Albuquerque, NM ^
4/28/2026 The Horseshoe – Midland, TX ^
4/29/2026 The Aztec Theatre – San Antonio, TX ^
5/01/2026 Vinyl Music Hall – Pensacola, FL ^
5/02/2026 The Signal – Chattanooga, TN ^
5/03/2026 The Orange Peel – Asheville, NC ^
5/05/2026 Phoenix Concert Theatre – Toronto, ON *
5/06/2026 Fairmount Theatre – Montreal, QC *
5/07/2026 Le Poisson Rouge – New York, NY ***
5/08/2026 Underground Arts – Philadelphia, PA ***
5/09/2026 Mr. Smalls Theatre – Millvale, PA ***
5/10/2026 The Roxy – Lakewood, OH ***
5/12/2026 The Machine Shop – Flint, MI ***
5/13/2026 The Pyramid Scheme – Grand Rapids, MI ***
5/14/2026 Outset – Chicago, IL ***
5/15/2026 Cannery Hall – Nashville, TN ***
5/16/2026 Tipitina’s – New Orleans, LA ***
CORROSION OF CONFORMITY will be touring in support of their mammoth new double album, Good God / Baad Man, set for release next Friday, April 3rd via Nuclear Blast!
Produced by Grammy award winner Warren Riker (Fugees, Down, Cathedral) and featuring cover art by famed New Orleans artist Scott Guion, Good God / Baad Man was recorded at Blak Shak Studios in Riffissippi, USA, Dockside Studios in Maurice, Louisiana, and Bee Gee Barry Gibb’s home studio in Miami, Florida.
Watch a video for the record’s first single, “Gimme Some Moore,” HERE and “You Or Me” HERE.
Good God / Baad Man will be released on digipak CD and digital formats as well as vinyl in the following color variants:
Gatefold 2xLP w/ Belly Strip – Black Vinyl (Retail)
2 Separate Jacket LPs w/ Belly Strip – LP 1 Blue/LP 2 Red (Mail Order + Band Exclusive)
Find all preorders at THIS LOCATION.
CORROSION OF CONFORMITY:
Pepper Keenan – guitar, vocals
Woody Weatherman – guitar
Stanton Moore – drums
Bobby Landgraf – bass
http://www.instagram.com/coccabal
http://www.facebook.com/corrosionofconformity
Source: EARSPLIT PR
In 2024, Harlem rap legend Cam’ron had a verse on “Ready ’24,” a track from J. Cole’s Might Delete Later mixtape. Earlier this year, Cam sued Cole over that feature. Cam didn’t make a huge noise about the lawsuit, but it still became a news story. As it turns out, that lawsuit, at least according to Cam, was simply an attempt to get Cole’s attention. Cole owed Cam a podcast interview, and Cam intended to collect. Now, that podcast interview has finally happened, and it involves a whole lot of big-news rap stories.
The post J. Cole & Cam’ron End Legal Battle With Long, Revelatory Podcast Interview appeared first on Stereogum.
Swedish death metal outfit Vomitory have a little over two weeks until the release of their forthcoming album In Death Throes, so naturally they dropped another brutal new track. This time, it’s “Wrath Unbound”.
Released alongside a Marcus Svensson-directed music video, drummer Tobias Gustafsson said “Wrath Unbound” was written from the ground up to get people moving wherever they hear the song.
“‘Wrath Unbound’ is inspired by dark powers and built for headbanging! This is probably the heaviest song on the album. The catchy melody combined with lots of double bass drums will roll over you like a tank. Musically it’s influenced by British giants like Iron Maiden, Bolt Thrower, and Carcass. Lyrically, I don’t really know where [vocalist/bassist] Erik [Rundqvist] found the inspiration. Probably somewhere far, far away…”
In Death Throes will be released on April 10 via Metal Blade Records, but you can preorder your copy today.
In Death Throes Track Listing:
1. Rapture In Rupture
2. For Gore And Country
3. Forever Scorned
4. Wrath Unbound
5. In Death Throes
6. Cataclysmic Fleshfront
7. Two And A Half Men
8. Erased In Red
9. The Zombie War General
10. Oblivion Protocol
VOMITORY Live w/ Hypocrisy, Abbath, Vreid:
4/02/2026 Astra – Berlin, DE
4/03/2026 Amager Bio – Copenhagen, DK
4/04/2026 Traedgarn – Gothenburg, SE
4/05/2026 Fryshuset – Stockholm, SE
4/07/2026 Tavastia – Helsinki, FI
4/08/2026 Spelet – Riga, LV
4/09/2026 B90 – Gdansk, PL
4/10/2026 Sono Centrum – Brno, CZ
4/11/2026 Ragnarök Festival – Lichtenfels, DE
4/12/2026 Majestic Music Club – Bratislava, SK
4/14/2026 Joy Station – Sofia, BG
4/15/2026 Arenele Romane – Bucharest, RO
4/17/2026 Cvetlicarna – Ljubljana, SI
4/18/2026 Metal Franconia – Geiselwind, DE
4/19/2026 Z7 Konzertfabrik – Pratteln, CH
4/21/2026 Gruenspan – Hamburg, DE
4/22/2026 LKA Longhorn – Stuttgart, DE
4/23/2026 Essigfabrik – Köln, DE
4/24/2026 Felsenkeller – Leipzig, DE
4/25/2026 Backstage – München, DE
4/26/2026 Stadsgehoorzaal – Leiden, NL
4/28/2026 Trix – Leiden, DE
4/29/2026 Machine du Moulin Rouge – Paris, FR
5/01/2026 Academy 2 – Manchester, UK * No Abbath
5/02/2026 Incineration – London, UL * No Abbath
The post Vomitory Unleash “Wrath Unbound” with New Single appeared first on MetalSucks.
Tyrannus inhabit the no man’s land between thrash metal, death metal, and black metal, packing a punch while eluding genre conventions. The miasma they cultivate is pungent, but on their new single “ Reignfall,” they cut through it for a more direct method. That’s usually the best one for offense. On “Reignfall,” the Scottish trio commits to thrash metal to take aim at, well, you can infer that from the song’s title. Watch the video below.
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As the first single from Tyrannus’ upcoming sophomore record Mournhold, “Reignfall” flaunts sharp riffs, barking vocals, and a tangible anger derived from this realm, shedding the veils of metaphor, allusion, and symbolism. It’s as if you could hold it in your hands. It also helps that, as a straight-up thrash track, it rips. In the music video, the Cthuluian creature watching the band perform cannot believe its auditory orifices. The jury is out on whether it has ears. You’d assume Tyrannus burned them off with their frenetic soloing. For the most part, Mournhold is more extreme than “Reignfall.” The trio explores darker and more ornate regions there, yet “Reignfall” shows that they are, above all other descriptors and niches, a metal band.
The band comments:
“Reignfall” is the opening statement of Mournhold, leaning heavily into our thrash roots to make something distinctly Tyrannus. It’s us at our most focused, fastest and aggressive; both musically and lyrically, and sets the tone for everything that will follow.
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Mournhold releases May 15 via True Cult Records.
Oh boy. Where does one even start with Morning Star? I’ve been a fan of Këkht Aräkh since the Night & Love tape dropped on Livor Mortis in 2019, and I championed Pale Swordsman off the strength of its first single, so seeing the scene shift regarding this record, the project’s third, has been jarring, to put it lightly. Night & Love and Pale Swordsman both featured what was, at the time, a refreshing and intimate take on black metal that resonated during COVID. Then, Këkht Aräkh’s presentation shifted away from black metal and aligned itself more with the Soundcloud rap aesthetic. I saw the jokes, heard the people taking a stand against the album, and I started to wonder, “Holy hell, was I duped the whole time? Does this guy actually suck?” Pair that public backlash with the “holy shit fr?” SEVENTEEN SONG tracklist, and to say I was apprehensive going into this album would be a drastic understatement.
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I understand why people thought Crying Orc (government name Dmytro Marchenko), the artist behind Këkht Aräkh, was losing the plot when he dropped the “Wanderer” single in 2023, but I’m also not going to grandstand and say that black metal artists should only listen to and be influenced by black metal. I get it, I’m also a white dude born in the ‘90s, I fucked with Yung Lean in 2013 too. The difference is, I wasn’t trying to turn my black metal songs into “Ginseng Strip 666.” Hearing “Still wandering in the night – Pale Swordsman, ØÜGH” as an adlib on “Wanderer” felt like a fucking psyop, and now, three years removed, it feels like memetic warfare.
When Morningstar isn’t aping Soundcloud rap aesthetics, the actual metal presented is passable and, at times, pretty good. The production is pillowy and dreamy, atmospherically feeling more like a foggy morning in the spring as opposed to the sunny afternoon vibes you’d expect from similarly lucid artists like Deafheaven or Møl, which is a good thing (blackgaze was a failed experiment, it’s time to move on). Instrumentally, Crying Orc hasn’t made many great strides. He hasn’t become a guitar virtuoso or gotten into metric modulation, but if you liked Pale Swordsman, you shouldn’t have any gripes with his performance. What should be noted is how good the bass guitar sounds here, most notably on the second track “Castle.” The low end is clear and pronounced, which is rare in black metal but feels like a steak dinner when you finally get it.
As with his previous releases, it’s apparent that Këkht Aräkh is forever indebted to the likes of Darkthrone and that he worships at Transilvanian Hunger’s altar, but does every song have to be so mid-paced? It isn’t until the latter half of the record where we start getting hints of speed or aggression. Tracks like “Three Winters Away,” “Vigil,” and “Land av Evig Natt II” demonstrate the strength and command Crying Orc holds when he cuts through the bullshit and plays black metal the way it’s meant to be played; cold and angry, with venom and malice coursing throughout in equal measure.
Unfortunately, with repetition and repeated listens, Morning Star’s errors and missteps become even more glaring. Earlier, I mentioned its titanic seventeen-song track list, and lemme tell you, you feel all seventeen of them. It has a total runtime of just over fifty minutes, but the problem lies in that so many of these songs function more as interludes rather than proper tracks. They’ll run for two or three minutes with sparse instrumentation, usually just a guitar plucking sleepily while Mr. Aräkh sings somberly overtop. When they aren’t immediately memory-holed due to their overabundance and lack of energy, they kill the momentum, to the point where an otherwise good song like “Angest” gets thrown in the bin because Crying Orc stops playing black metal abruptly to end the song on 30 seconds of bedroom guitars for no real reason other than because he could.
One of the main issues with Morning Star is that Marchenko allowed too many outside influences into the creative process. You’ll often see his music labelled as “black metal for TikTok kids” and that’s a fair comparison, considering it’s evident that he draws inspiration from the platform’s viral acts (he’s name dropped artists such as Lil Peep and BONES), and you can also hear the slightest influence from nu metal bands like Deftones (I wouldn’t be surprised if he covers “Sextape” or “House of Flies” eventually). That outside influence is most apparent on the collaborative track “Eternal Martyr” with Bladee. You know the one, you’ve seen the memes. Maybe there’s something to be said for the way Këkht Aräkh was so eager to work with outside influences from a scene so foreign to black metal. There’s an argument to be made for the preservation of “the ways of old” or whatever, about not diluting your craft with music for “normies,” but that argument can easily be brushed aside when you remember just how much techno and electronic music Fenriz and Varg were listening to in the 90s.
Full transparency, I like Bladee. Obviously, Mr. Aräkh does too. That still doesn’t excuse the promotional photo. I mean, come on, Mr. Blad-double-E, a Minnesota Twins hat? Wrong ALC team (GO TIGERS). Getting a Bladee cosign is huge for any underground artist, especially for one who is a genuine fan of the Swedish rapper, but one almost starts to question if the collaboration is in good faith, if it’s for honest musical integrity, or if it’s for bragging rights and a chance to climb some mythical clout ladder (I mean, could you imagine 1349 working with Birdman or Paul Wall in the 2000s?) Musically, “Eternal Martyr” is standard fare for Crying Orc, sad and pillowy black metal with softly sung passages that Bladee handles. I guess Marchenko didn’t want to sing on this one, because Bladee isn’t doing anything that Marchenko hasn’t done elsewhere. While there’s nothing abhorrently wrong with it, that damn promotional photo and Bladee’s lazy inclusion leave a bad taste in the mouth.
Maybe I’m not the target audience, I mean, I thought I was, I’ve liked everything else this dude has made before, but Morning Star doesn’t sit well. Maybe Morrissey was onto something when he asked, “Has this world changed or have I changed?” Has Këkht Aräkh changed or have I? Is this still a project I can enjoy or is it too bogged down by all of this outside bullshit? Are there too many cooks in the kitchen? Am I just not “with it” anymore? I don’t know dude, but I’m not into it.
–Caylen Darling
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Morning Star is available this Friday via Sacred Bones.
We’ve been loving Namasenda’s singles from debut album Limbo, including “Cola” and “White Crest.” Today the Swedish singer has a short, sweet one for us. OK, maybe sweet isn’t the right word. Conceptually, the 95-second “Bad Love” is pretty self-explanatory, and Namasenda gets straight to the point. Its mixture of trance, hyperpop, and delicate PinkPantheress-esque…
The post Namasenda – “Bad Love” appeared first on Stereogum.
