Category: news

The follow-up to last fall’s “Breach”.

The post Commoner’s New Single “Last Exit” Now Streaming appeared first on Theprp.com.

Exhorder drummer Sasha Horn has stepped away from the band after eight and a half years, and frontman Kyle Thomas has opened up about how it happened and why he’s fully at peace with it.

Speaking to Metal Horror Madman, Thomas was measured and warm in his assessment of Horn‘s situation, making clear this was no falling-out (transcribed by Blabbermouth). “It’s been coming for some time, but it finally came to a head, I think after this last tour,” he said. “I feel like Sasha‘s kind of just been in a state of flux for maybe even a couple of years now, trying to figure out who he is and what he’s doing.”

Thomas was quick to separate the personal from the professional. “I don’t wanna get too, too into the personal side of it for him, because that’s his story to tell, not mine. But what an amazing drummer he is. I swear, the only person maybe that I’ve seen hit [the drums] harder than him was Reed Mullin [late Corrosion Of Conformity drummer], and Reed Mullin was a lot bigger than Sasha.”

The decision, as Thomas sees it, comes down to life priorities, something he knows firsthand. “I think he’s come to the point where he’s ready to find himself and focus on his family. He’s got a daughter, and he’s got parents who are not getting any younger. He’s turning 50 this year, and I guess just saying, ‘Maybe I just need a relaunch of myself, just a kind of reset.’”

Thomas drew a direct parallel to his own past when he stepped away from touring while in Alabama Thunderpussy to raise his kids. “I came home broke from a five-week tour where I had strep throat almost the entire tour. And my kids were little. They were missing me. I couldn’t pay my bills. And I just took a look, and I said, ‘I can’t do this. I cannot tour like this anymore. I have to raise my children.’ And so I put all of that on pause for 10 years until my children were adults.”

He added, “Family comes first always. I’m 100% in support of that aspect of Sasha making his decision.”

And for anyone expecting the usual band-breakup drama: “This wasn’t a bad parting. We’ve had bad partings in this band, trust me. And this is not one of them.”

Horn himself confirmed the split in a statement: “After eight and a half years, two albums, and countless touring cycles, it is time for me to permanently step away from my position at Exhorder. All things have come to that split in the path. Best wishes to the guys moving forward. As for myself, I am in search of more time with family, continuing education, and a focus on my own personal creative endeavors. So much love to all of my fans. You mean the world to me. I shall see you again when I’m back out in it. This is not a farewell, this is a time-out.”

Stepping in on a touring basis is Corey Pierce of God Forbid — the only drummer that band ever had. Thomas explained why Pierce rose to the top of the list: “I think the thing that really sealed it for me with Corey, aside from the fact that he’s got a pedigree — he comes from the same background as our original drummer, Chris Nail. They’re both marching-band guys, drum corps, accomplished jazz-style players who read sheet music. Corey told me he was teaching drum corps at 14 years old.”

That background stands in contrast to Horn‘s more instinctive approach. “Sasha was more of a basher, punk-style drummer. Very skilled, could do the things that were required in this band, but he did not play in the kind of traditional style that our original drummer played. So, it was an adaptation, but it worked.” With Pierce, Thomas thinks the drum parts may return closer to their original form.

The early signs are good. “He’s funny. He’s a smart guy, and he’s basically been telling me he’s playing drums, like, three hours a day right now, getting the set prepared. That’s dedication. ‘Cause I’m not playing the guitar three hours a day, I can tell you that.”

Pierce will join Exhorder for “The Tour Of Unsound Minds” next month — the band’s first run through the eastern states in 2026. A permanent replacement for Horn has not yet been named, though the search is underway.

The band also confirmed that, with the two-year touring cycle behind Defectum Omnium now complete, work on their fifth album is set to begin. “Our canvas is clear, and we are excited about following up with our fifth album’s writing process,” the band stated.

Defectum Omnium was released in March 2024 via Nuclear Blast Records. Kyle Thomas is now the sole remaining founding member of Exhorder, a band that has been cited by many as the originator of the riff-heavy power-groove sound that Pantera would later popularise worldwide.

The post EXHORDER’s KYLE THOMAS Explains The Reasons Behind The Departure Of Longtime Drummer SASHA HORN appeared first on Sonic Perspectives.

Magic Tuber Stringband introduced their new album Heavy Water with “Tribute To The Angels,” a traditional folk mirage that bled over into discordant new music without changing costumes. Today the Thrill Jockey signees have more pastoral beauty lined up for us. “Where The Place Becomes Forgetting” forgoes the waves of fiddles in favor of a…

The post Magic Tuber Stringband – “Where The Place Becomes Forgetting” appeared first on Stereogum.

https://www.metalourgio.com/wp-content/uploads/2026/03/Voidchaser-progressive-metal-band-members-2026-e1774470327739-768×385.jpg

I stamp on the vulgar borders

Ignition Wardrobe War

Behold you faceless orders

Ι glow down to my core 

Athens-based dark electronic/minimal synth duo Incirrina take the idea of self-reinvention out of the seminar room and drag it into the club with Mutate, where identity gets rewritten the proper way: through movement, nerve, costume, chemistry, and the sudden blessed shock of seeing yourself from a new angle.

What the duo are after here is plain in the best sense. Mutate is “the celebration of self expression, the overcoming of conformity, the playful search of personal and social identity.” Sure, those are some big stakes, but the song opens like a dare thrown across the dance floor and carries them with real force instead of puffed-up importance. The beat has that lean, nocturnal drive that minimal synth does so well, while the arrangement keeps tightening and opening like a body trying out fresh language. There is pleasure in it, some bite too, and the whole thing gives off the charge of a person trying on a truer self and liking the fit.

Self-construction is never some sterile philosophical exercise. It is social. It is physical. It happens in public sometimes, under lights, among strangers and future friends, with the old codes still barking from the curb. Incirina’s description of the track gets to the heart of it: “A night out becomes the occasion to explore one’s own individuality and uniqueness. There is no pretentious humility, just raw energy on the dance floor. Revelation: we have the right to reconstruct ourselves and also to choose our peers. Transformation and self confirmation is a reality.”

Directed by Alexis Falantas and Fani Maria Chatzi, the video for Mutate keeps the concept clean and sharp. “The protagonist is presented with a choice: holding on to familiarity or indulging his curiosity, opening a door to self-rediscovery. From idly letting days pass by to letting go.”

Beautifully simple, and smart enough to leave room for the viewer’s own history to creep in. A door opens, a life tilts, and suddenly habit looks like a bad landlord.

Watch the video for “Mutate” below:

Together with the single, Incirrina have put their third album Trace up for preorder, and if Mutate points the way forward, then they are making a record about change from the standpoint of hard-earned wisdom. “We celebrate diversity, we work together,” they say. “Not artists but against the odds, artisans and friends. We make music, we share it and reinvent ourselves.”

That’s the spirit, and here it comes with style, muscle, and a little midnight magic.

The album, out 29 May, will be available in two LP versions (black and crystal clear), on CD, a limited cassette and in digital format. Listen to Trace below and pre-order the album here.

Catch Incirrina live:

Follow Incirrina:

• YouTube
• Facebook
• Website
• Instagram

The post “Erupt, Transform, Amaze!” — Athens Dark Synth Duo Incirrina Ignite the Self in Video for “Mutate” appeared first on Post-Punk.com.

FOR IMMEDIATE RELEASE
Rhinderpest Announces Self-Titled Debut Album Out Now – A Haunting Descent Into Blackened Death Metal

Release Date: March 13, 2026
Genre: Black Metal, Death Metal
FFO: Mortuary Drape, Varathron, Morbid Angel
Label: Apophenion Records
From the shadowy corners of the Pacific Northwest emerges Rhinderpest , a band steeped in the spirit of classic ‘90s extremity, now unleashing their long-awaited self-titled debut album , out now via Apophenion Records.
Blending the savage force of death metal with the eerie, ritualistic atmosphere of black metal, Rhinderpest is more than just a record, it’s an experience. Drawing from the raw, unfiltered energy of genre pioneers while injecting their own theatrical edge, the band crafts a sound that feels both ancient and immediate, like something unearthed rather than created.
Since 2021, Rhinderpest have been carving out a name across the Pacific Northwest with intense, theatrical live performances that blur the line between ritual and chaos. That same energy seeps into every track of this release, capturing a sense of unease, decay, and fleeting existence.


“The inspiration for this album came from visits to strange, forgotten places: crypts, lost mines, abandoned cemeteries, desolate mountain passes. The conclusion we drew from those visits is absurdity; where there is now an apparition passing by, soon it will no longer be. Was it ever real at all?”


That philosophy bleeds into the album’s core, a meditation on impermanence, illusion, and the thin veil between presence and absence. The result is a record that doesn’t just hit hard, it lingers.
The album was mixed by Rich Canut and mastered by Adam Pike , giving it a crushing yet organic sound that stays true to the grit and atmosphere of the underground while still delivering modern sonic weight.
With their self-titled debut now unleashed, Rhinderpest stand ready to stake their claim among the new wave of extreme metal bands honoring the old ways while forging something darker.
For press inquiries, interviews, or coverage, please contact: zach@metaldevastationradio.com

Stream / Support:
Bandcamp: https://rhinderpest.bandcamp.com/

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Instagram: @rhinderpest

Every Single Muscle is the latest dispatch from the prolific and energetic Welsh duo the Bug Club. We heard about it last month when they released lead single “Watching The Omnibus,” and we’re hearing about it again today. There’s another Bug Club single, you see, one that finds them raucously rocking out and harmonizing like…

The post The Bug Club – “Yours (If You Want Me)” appeared first on Stereogum.

Fans of the Alan Parsons Project are getting a wealth of solid audiophile-friendly half-speed sounds and a few extra goodies on the 2026 reissues of three of the band’s most popular albums — The Turn Of A Friendly Card (1980), Eye In The Sky (1982) and Ammonia Avenue (1984).

The Turn Of A Friendly Card is a concept album based on themes of gambling and risk. Across the 10 songs of the original release, we get lead vocalists Chris Rainbow, Lenny Zakatek, Elmer Gantry, with session musicians, guitarists Ian Bairnson and David Paton, and drummer Stuart Elliott. Plus, Alan Parson’s project partner, vocalist and keyboardist Eric Woolfson.

After an anthemic keyboard opening, the disco beat of “May Be A Nice Game To Play,” turns the cards here face up to start the proceedings. The unmistakable arpeggiating keys of “Games People Play,” and another solid beat follows for that hit. Then what is my most favorite of all APP songs: the hit ballad “Time,” sung with perfect breathy aplomb by Woolfson. Two parts of the part-part title-track suite provides a nice palette cleaner to the pop and semi-dance attempts.

This expanded, remastered deluxe edition includes four bonus tracks: a rough mix of “Games People Play,” the arpeggiated keys and great opening harmonies present even in this demo, an early studio attempt at “Time,” a single edit version of “Turn Of A Friendly Card” and an early version of the song “Snake Eyes.” The 12-page booklet included here contains lyrics and sleeve notes featuring quotes from Parsons and Woolfson.

The concept behind Eye In The Sky is related to belief systems. This concept surely informs the album’s hit title track, APP’S biggest hit to date, of somebody looking down at us all. The instrumental ‘Sirius,’ following as the second song, became one of the most used sports intro songs in music history. Musicians here familiar APP alums, lead vocalists Chris Rainbow, The Zombies’ Colin Blunstone, Lenny Zakatek, Elmer Gantry and APP partner Eric Wolfson, with APP stalwarts Ian Bairnson and David Paton and again, drummer Stuart Elliott. Songs like “You’re Gonna Get Your Fingers Burned,” a rare full-out rocker from the project and “Psychobabble” surely move along, with the great piano ballad “Old and Wise” ending the ten. As with The Turn Of A Friendly Card, we get four extra tunes here, including a demo version of ‘Sirius,’ plus again, a “Eye In The Sky,” single edit, and again, a 12-page booklet containing lyrics and sleeve notes featuring quotes from Parsons.

Ammonia Avenue focuses on the public misunderstanding of industrial scientific developments. Starting with semi-hit, mid-tempo flumpy mover of “Prime Time” into another unusual rocker for APP “Let Me Go Home,” players and singers again here include vocalists Chris Rainbow, Colin Blunstone, Lenny Zakatek and Eric Woolfson who sings on four of the tracks, including the mega MTV hit, “Don’t Answer Me.” Session musicians include guitarists Ian Bairnson and David Paton and drummer Stuart Elliott with arrangements by Andrew Powell. And a turn by legend Mel Collins playing sax on “Don’t Answer Me.”

“Dancing on a High Wire,” informed by David Paton’s economical perfectly placed electric bass and Colin Blunstone’s vocal, is a highlight. As are the grand strings, what might be some of Ian Bairson’s best acoustic and electric guitar playing (although he kills throughout here), and another wonderful Woolfson vocal ending the album on its brash title track.

The expanded version includes four bonus tracks including an early rough mix of “Don’t Answer Me,” as well as demo vocals mixes of “One Good Reason,” “Prime Time,” and “Since The Last Goodbye,” alongside a 12-page booklet containing lyrics and sleeve notes with quotes Parsons. Hearing these 80s APP records again reminds me of how powerful and pervasive this unit was, when in actuality, this was less a band and surely always a project that never toured but gave us some great songs.

~ Ralph Greco, Jr.

Purchase
The Turn Of A Friendly Card,
Eye In The Sky &
Ammonia Avenue  

As a wise advertising creative once put it, life comes at you fast. For instance: Ever since I heard about this new Red Xerox compilation, I had plannied to post it on Stereogum on its release date. That day came and went a week ago, and somehow it completely slipped past me. But I get…

The post The New <em>Red Xerox</em> Comp Is Like A High School Yearbook For Chicago’s Young Indie Rock Scene appeared first on Stereogum.

It seems like we’ve got another somewhat anti-consumer thing that people have to consider when buying anything they enjoy, as Black Label Society becomes another band with an anticipated album that’s offering a limited digital bonus track. You may recall that Lamb Of God did this with Into Oblivion and the bonus track “Wire” earlier this month and it’s looking like BLS’ Engines Of Demolition will follow suit.

According to the band, the digital deluxe edition of the forthcoming album will feature two exclusive tracks: “Broken Pieces (Unblackened)” and “Back To Me (Unblackened)”. The catch, however, is that the digital deluxe edition is only available for pre-order until midnight tomorrow. After that, you’re shit outta luck.

It’s very similar to the situation with Lamb Of God’s Into Oblivion, which confused fans so much that the band had to issue a statement explaining what was going on with the bonus track.

With this Black Label Society release, fans are vacillating between frustration, anger, and confusion over the bonus track situation. Some are complaining that they only buy physical media so they were screwed from the start, while othesssady preordered the standard edition because it was the only one available at the time feel like they were duped. It’s not a good look, really.

For the longest time, bonus tracks were used as a way to incentivize people to buy the physical version. Now, it’s just an attempt for bands and record labels to tap into consumers’ sense of FOMO and pushing them into preordering a more expensive version of the album.

And though Black Label Society is also offering some cool physical versions of the album, including a limited edition vinyl that includes even more unique bonus tracks in “Name In Blood (Unblackened)” and “Lord Humungus (Unblackened)”, it might have soured some people to the entire situation.

In a time when people are getting pinched financially, it’s totally reasonable to see why people would be frustrated by this whole ordeal.

The post Black Label Society’s New Album To Offer A Limited Digital Bonus Track That You Could Miss Out On appeared first on MetalSucks.