Category: news
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Melting Premiere New Single & Music Video “Glare”
Melting have unveiled their new single “Glare,” following recording sessions that took place last October. The track arrives alongside an official music video directed by Karl Steller, streaming via YouTube and Spotify for you now below. Fans of Melting will be able to catch the band’s live debut at The Workers Club on April 17th. Fr… Read More/Discuss on Metal Underground.com -
Listening Now : Arkells – Ride (feat. Grouplove)
Ride finds Arkells and Grouplove locking into a carefree, sunlit groove that feels instantly familiar yet undeniably alive. There is a breezy, almost weightless quality to the track, driven by jangly guitars, pulsing rhythms, and that undeniable vocal chemistry that lifts everything skyward. Beneath its easygoing charm, the song quietly circles something deeper, a reminder that freedom often lives in the simplest moments. It moves like a late afternoon bike ride with nowhere to be, where melody and motion blur into one. Effortless on the surface, but built with heart and intention underneath.
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Listening Now : &Tilly – Make Me
&Tilly slip into temptation’s grey zone with Make Me, a track that does not seek redemption but lingers in the thrill of surrender. Built on a sleek, nocturnal pulse, it moves between alt pop sensuality and shadowy confession, where desire feels less like impulse and more like quiet permission. The vocals hover between control and collapse, capturing that unspoken urge to shift the blame for what we already crave. Nothing erupts, yet everything simmers beneath the surface.
It is a subtle, provocative piece that embraces imperfection and finds beauty in our most human contradictions.
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Listening Now : Plant Dad – i wish ur mine (ft. Jessica Lea Mayfield)
Plant Dad teams up with Jessica Lea Mayfield for i wish ur mine, a disarmingly honest indie pop gem that leans fully into the bittersweet pull of unrequited love. Built on bright, catchy melodies and a warm, guitar-driven backbone, the track balances its infectious, almost carefree sound with a lingering emotional ache. Mayfield’s presence adds a delicate, intimate touch—especially in the standout mid-section—while Plant Dad anchors the song with a conversational, heartfelt delivery. There’s a charming sincerity here that embraces pop’s clichés without apology, turning them into something personal, relatable, and quietly addictive.
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Review LANSDOWNE “Wish You Well”
Lansdowne didn’t exactly flood the rock community with longplayers and other releases. The band premiered with “Blue Collar Revolver” in 2011, and it took until 2023—including a two-year hiatus—to release a second album, “Medicine.” “Medicine” seems to indicate a positive direction, as the band released their next album only three years later. “Wish You Well”… Continue Reading → -
Album Review: Winterfylleth – The Unyielding Season
Album Review: Winterfylleth – The Unyielding Season
Reviewed by Eric Clifford
There’s a trio of British black metal bands that always seem to cluster together in my mind: the dearly-missed Wodensthrone, the stark, haunted vistas of Fen, and of course, Winterfylleth. I’ve long held them in high regard as standard bearers for English black metal, yet it wasn’t until this new album swept mist-wreathed and ethereal into the promo list that I realised how shamefully long I’d left it since I last heard one of their releases in full. There might have been an element of personal mortification to it; Years ago, I was at the front row of one of their shows and I coughed with a mouthful of Carlsberg, drenching singer/guitarist Chris Naughton in substandard Danish lager. The last album of theirs that I own – and therefore almost definitely the last I listened to – was “The Divination of Antiquity”, from 2014! Horrified by this abdication of my patriotic duties, I immediately applied to review their new album, hoping only to restore some scant scintilla of lost honour. Whether the album was good or not was less a factor than the possibility of absolution, and hopefully some of that may be on hand, because as it happens this album isn’t just “good”; it’s monumental.
Their riffs don’t snap out at you with the cold inimical scorn of some black metal; they feel choral if that makes any sense. Encompassing. It’s a direly pretentious way to phrase it, but it’s as though their riffs sing at you with these huge, billowing chord resolutions that merge and flow and thicken together, vast blinding drifts of solemn yet triumphal harmonies that sent chills snaking down my spine. It’s grim too – again, not in the snowbound, frostbitten way that you’d get with immortal for example, but instead with a stoical, dutiful sensibility. As though facing an unkind end not out of necessity but because oaths were sworn to do so. Low graves in wait for warriors of high causes. There’s a pride to it, an attachment to the land, its people, its culture. I don’t mean that in a crass nationalistic sense, so much as an affinity for who we are as people. Vikings. Normans. Romans. Plagues. Latterly, the superficially enticing but otherwise corrosive garbage of reform or MAGA types dressing corruption, self absorption and utter disregard for truth as anything other than the obnoxious nonsense it is. And yet… here we are. There’s a stout resistance to this. Perseverance and fortitude. It speaks to me in a way that I was not sure it’s creators intended – but reading through the promo sheet having heard the album in full, you come to this within the first paragraph: “Winterfylleth’s first offering for their new record label is a reflection and a rebellion against the turmoils tearing individuals apart. It is a cry against the unsustainable weight of fear and pressure being pushed into the world, by the agents of a unresting, and unyielding force for evil”. And I think it says more than my own words ever could that this was obvious simply from the way the album sounds alone.
Something that stuck with me was the way Winterfylleth approach chord progressions. There’s an absurdly common one that you will have heard before if you’ve heard almost any amount of music ever – C, G, A minor, F (or a variant of that progression in whatever key you happen to play in). Winterfylleth do use these chords, but on a song like “A Hollow Existence” they instead resolve the progression on a more tormented, minor note. You get the instantly infectious effect of the sequence but instead of the predictable next step they sidestepping your expectations to land on far more sorrowful, thematically appropriate territory. Salted, bitter earth oozing years of accumulated misery. Every other step the band takes through this disconsolate canticle hits the harder for it. The band’s sense of melodicism is so strong, whether they’re opting for diaphanous, maudlin reflection (“Unspoken Elegy”) or enraged defiance (“Perditions Flame”), drums bearing down with that classic kick-snare black metal blast, synths mortaring in the blocks of guitar, bass and drums in this irresistible, onrushing wall of sound. “The Unyielding Season” is just superlative at this, building, building, building, distortion foaming in a saturating deluge, tranquillity in the midsection, an introduction of the melody that hurtles skybound towards the end of the song, layer upon layer of sound, a closing lead line like sunlight harpooning from the heavens. At the height of their powers, Winterfylleth are stunning.
For all that, and despite how undeniably epic it is, at over an hour in length the album does still suffer from a measure of bloat. Paradise Lost are a British institution in their own right but even so the cover of “Enchantment” at the end of the release doesn’t work for me. Stripped of it the album closes on the iron, marching defiance of “Towards Elysium” and the gentle melancholy of “Where Dreams Once Grew” – perfectly, in fewer words. Throwing in a cover version at the end… I don’t know, it feels as though the album attempts to eclipse it’s own valour by substituting someone else’s, it turns an otherwise excellent closure into a false ending, and the clean-sung doom trudge of it is an awkward stylistic pairing with the rest of the album, as well as pushing an already considerable runtime ever further with little benefit in return. Of their own original material though, weaknesses prove elusive, and mostly come down to tweaks I’d prefer opposed to outright problems. Building tension is of course important, and “In Ashen Wake” seems to concur because it spends a lot of time doing it. It’s not bad, granted, but it is one of the few portions of the proper Winterfylleth material that felt as though it could’ve done with a trim – it’s over three minutes before the song kicks into gear, and while it’s effective enough, would it have been impossible to get to the point in, say, two minutes? two and a half?
With the exception of the cover song any other complaints do feel rather toothless. Winterfylleth are massive here, enveloping you in stirring, evocative pieces everywhere from grief to victory to resistance; versatile, but always moving. This drops on the 27th March; so too does another album I had the recent joy of reviewing – “Inexternal Dread” by Rivers Ablaze. That album is a jaw-dropping exercise in progressive black metal, spellbinding in it’s composition and performance. Whether you prefer that album to this is, as ever, a matter of personal preference. All I can say though, is that those of us who like their metal black will be eating like kings on the 27th.
The post Album Review: Winterfylleth – The Unyielding Season appeared first on The Razor's Edge.
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FULCI: Italian Death Metal Crew to Release Risorsero Dalla Tomba E Fu… L’apocalisse! Film Score
photo by Lifeless One —————————————————-
Vinyl Maxi-Single To Be Released May 1st On 20 Buck Spin + Decibel Magazine Tour Nears
Stream FULCI’s Risorsero Dalla Tomba E Fu… L’apocalisse! HERE.
Coming on the heels of the band’s most successful LP, 2024’s Duck Face Killings, FULCI return with a special 12” maxi-single serving as the soundtrack to the short film Risorsero dalla Tomba e Fu… L’Apocalisse! (“They Rose From the Tomb and It Was… The Apocalypse!”).
Created in collaboration with director Domenico Montixi, the 30-minute film merges paranormal horror with Spaghetti Western atmosphere, drawing direct inspiration from Lucio Fulci’s City Of The Living Dead and Four Of The Apocalypse. The film is set to begin its international festival run soon, with a trailer premiering at FULCICON 2 in Milan, the event organized by the band FULCI to celebrate Lucio Fulci and Italian genre cinema.
photo by Alec Basse The maxi-single features a suite of new FULCI compositions that drift between eerie, cinematic soundscapes evoking the Lovecraftian aura of Fulci’s films, and the band’s signature gore-giallo death metal.
It also includes a special cover of Fabio Frizzi’s “Apoteosi Del Mistero” from City Of The Living Dead. Risorsero dalla Tomba e Fu… L’Apocalisse! further expands the band’s cinematic universe where extreme music and cult horror collide, serving as a uniquely atmospheric release bridging Duck Face Killings, the band’s relentless touring schedule, and the eventual arrival of their fifth full-length album.
Produced by FULCI, recorded at Spvn, mixed and mastered by Stefano Santi, and completed with cover art by Lucas Ruggieri, title card by Caterina Solinas, and layout/design by ascionemagro, the record features guest vocals on “Apoteosi Del Mistero” by Nate Garrett (Spirit Adrift, Neon Nightmare). This is a must-hear release for fans of Cannibal Corpse, Obituary, Merauder, Suffocation, Madball, Goblin, Fabio Frizzi, and Slayer.
FULCI’s Risorsero dalla Tomba e Fu… L’Apocalisse! is now streaming everywhere including YouTube HERE and Bandcamp HERE.
Risorsero dalla Tomba e Fu… L’Apocalisse! will be released as a one-sided 12” vinyl maxi-single on May 1st. Preorder options can be found at the 20 Buck Spin webshop HERE and Bandcamp HERE.
Risorsero Dalla Tomba E Fu… L’apocalisse! Track Listing:
- Risorsero dDlla Tomba e Fu… L’apocalisse!
- Paura che Uccide
- Apoteosi Del Mistero
FULCI is also preparing to return to North America as part of this year’s Decibel Magazine Tour, joining Necrot, Blood Monolith, and headliners Cryptopsy performing their seminal None So Vile album in its entirety. The tour runs from April 30th to May 28th.
FULCI Live:
The Decibel Magazine Tour 2026 w/ Cryptopsy, Necrot, Blood Monolith [tickets/info]:
4/30/2026 Palladium Upstairs – Worcester, MA
5/01/2026 Brooklyn Monarch – Brooklyn, NY
5/02/2026 Baltimore Soundstage – Baltimore, MD
5/03/2026 Decibel Magazine Metal & Beer Fest – Philadelphia, PA
5/05/2026 Masquerade (Hell) – Atlanta, GA
5/07/2026 White Oak Music Hall – Houston, TX
5/08/2026 The Studio – Dallas, TX
5/09/2026 Come And Take It Live – Austin, TX
5/12/2026 The Regent – Los Angeles, CA
5/13/2026 Brick By Brick – San Diego, CA
5/14/2026 Cornerstone – Berkeley, CA
5/16/2026 Hawthorne Theater – Portland, OR
5/17/2026 El Corazon – Seattle, WA
5/20/2026 Oriental Theater – Denver, CO
5/22/2026 Fine Line Music Café – Minneapolis, MN
5/23/2026 Bottom Lounge – Chicago, IL
5/24/2026 Crofoot Ballroom – Detroit, MI
5/25/2026 The Grog Shop – Cleveland, OH
5/26/2026 Preserving Underground – Pittsburgh, PA
5/27/2026 Lee’s Place – Toronto, ON
5/28/2026 Fairmount Theatre – Montreal, QCFULCI:
Jason Dahlke – vocals
Fiore Stravino – vocals
Klem Diglio – bass
Edo Nicoloso – drums
Dom Diego – lead guitar, synth
Ando Ferraiuolo – acoustic and rhythm guitarhttps://www.instagram.com/fulcicult
https://fulcicult.bandcamp.com
https://www.facebook.com/fulciband
Source: EARSPLIT PR
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Accessory – “This Is Not Your Life (Static)”
The Accessory singles have been good. “Calcium“? One of the best songs of the week. “Safeword“? Didn’t make the list, but still great. Now we have “This Is Not Your Life (Static),” a song that somehow feels small and big at the same time. “I wanted to capture that feeling of that moment in love…
The post Accessory – “This Is Not Your Life (Static)” appeared first on Stereogum.