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  • Crypts of Golgotha – Disembodied in the Arms of Perdition Review

    Nestled in the underground crevices and rocky terrain of Denver, Colorado, emerging upstarts Crypts of Golgotha rise with the debut full-length, Disembodied in the Arms of Perdition, hellbent on bruising and battering the weak. Formed in 2022, the four-piece have cranked out a busy collection of demos, EPs and split releases before arriving at their debut LP. The term is perhaps used a little loosely in this case, as Crypts of Golgotha strip shit down to the bare essentials, crushing the listener into submission over the course of an all too brief twenty-four-minute beatdown. Boasting an uber chunky style of brutal, groove-infected death, let us dig in to see whether Crypts of Golgotha possess the chops and songwriting smarts to elevate themselves from the overcrowded pack.

    As quickly determined, subtlety is not in the Crypts of Golgotha playbook. Nor are they preoccupied with techy flatulence, shitty interludes or throwaway instrumentals. These dudes cut to the chase, using the almighty power of the riff to drive each rugged, in-your-face composition, packing each meaty slab with enough tempo shifts, cohesion and structural variety to maintain interest. Tight, direct and refreshingly clutter- and gimmick-free, Crypts of Golgotha draws inspiration from classic sources, including the mighty Suffocation, Dying Fetus and Morbid Angel. Outside of the classic fare, Crypts of Golgotha strike a nifty balance of contemporary meets old school influences, recalling the immense weight, riff-based chugs, and uppercutting grooves of modern heavyweights Bloodgutter, Unhallowed Deliverance, and reliable Danish vets, Dawn of Demise.

    Crypts of Golgotha slather their old school ideals with a modern approach, complete with lashings of slammy groove, pit-ready breakdowns, and guttural brutal death, wrapped in a dense, beefy production and darkly gritty underground atmosphere. Sprightly and impactful, Crypts of Golgotha crafted a heavyweight platform of bricks and mortar to expand upon. Roots of budding potential are well established, as Crypts of Golgotha thrive on pummeling the listener into dust, slowing down to bowel-rumbling levels for maximum heaviness, while frequently shifting tempos and rhythmic patterns to ensure the material doesn’t devolve into monotony. Instrumentally heavy opener “Cross on Calvary” spends most of its runtime battering auditory senses through beefy riffs, slick tempo changes, and a devastatingly heavy climax. Featuring impressive quality and consistency, Disembodied in the Arms of Perdition features a rampaging collection of killer tunes, with nary a moment wasted. Brutally rugged riffs, sick dual vox, and gargantuan grooves regularly detonate with crushing, infectious impact (“Disembodied in the Arms of Perdition,” ‘Pummeled into Nonexistence,” “I am Decay”).

    “Wolf and the Knife” draws power from its thick, sinewy basslines, slobber-knocking riffs, and techy, urgent throes, while “Elegy of the Forgotten God” channels the stout power and attitude of classic New York death. The rapid affair concludes with the compellingly riff-stacked and body-slamming grooves of “Order to Comply.” Technically proficient without resorting to flashy showmanship, Crypts of Golgotha sound immensely tight and monstrously heavy. Showcasing a deft handle of songcraft, bolstered by a weighty sack of hammering riffs and gnarly, varied vox to drive momentum, the riffs cycle through brutal and classic death metal influences, cutting a satisfyingly heavy wallop and a brutally infectious streak. Guitars are reinforced by extra beefy tones, mixing sledgehammer heft and sharp clarity. Gabe Sragon (also on vox) and Dominik Dworak wield their axes with confidence and a nasty underground swagger. I would be remiss not to highlight the excellent rhythm section, from Cooper Jones’ ever-present, chunkified bass rumbles to the bulldozing, groove-centric and creative patterns of drummer Joaquin Aragon.

    Strengths comfortably outweigh any nitpicks or weaknesses on Disembodied in the Arms of Perdition. To be expected from a young band’s debut LP, there is naturally room for growth and development in the songwriting department to refine their identity, and occasionally the album could benefit from more frequent bursts of speed. While reluctant to draw a negative of refreshing brevity, the album leaves you wanting more, making for enjoyable replay value, but a feeling an extra few minutes of material would have made for a more fully fleshed-out experience. Otherwise, matching songwriting smarts to compliment the preposterously guttural onslaughts and knuckle-dragging bruteness, Crypts of Golgotha unleashed a confident, delightfully crushing debut, with youth on their side to hone their craft into an even more deadly form of thuggish savagery.

    Rating: 3.5/5.0
    DR: N/A | Format Reviewed: Stream
    Label: DSFP Records
    Website: Bandcamp
    Releases Worldwide: June 26th, 2026

    The post Crypts of Golgotha – Disembodied in the Arms of Perdition Review appeared first on Angry Metal Guy.

  • Soothsayer – The Unbinding (Review)

    This is the second album from Irish doom/sludge band Soothsayer. The Unbinding follows on from 2016’s At this Great Depth and 2021’s Echoes of the Earth, heralding the return of the bone-shaking Soothsayer. Across five colossal songs Soothsayer showcase a sound that’s developed, while also retaining what made them so good in the first place. Soothsayer’s … Continue reading “Soothsayer – The Unbinding (Review)”

  • Nonpoint announce new album ‘The Last Word’, share “Is It” music video

    The band will also set out on their ‘The Even More Outta Control Tour’

    Source

  • Halestorm, A Day To Remember, Black Veil Brides, Etc. Members Reveal Their Choices For ‘The Ultimate Heavy Metal Anthem’

    Members of Ice Nine Kills, Skindred, Sleep Theory, Bloodywood and more also offered up their choices.

    The post Halestorm, A Day To Remember, Black Veil Brides, Etc. Members Reveal Their Choices For ‘The Ultimate Heavy Metal Anthem’ appeared first on Theprp.com.

  • Live report SOCIAL DISTORTION & BIRD’S VIEW, Docks, Hamburg, June 30th 2026

    Social Distortion released their new album Born to Kill just a few weeks ago, marking the long-awaited return of a legendary band. After battling cancer, Mike Ness and his bandmates are finally back on the road, touring Europe to promote their upcoming album. The run includes a mix of festival appearances and headlining shows, and tonight… Continue Reading →

  • Interview: Bowling For Soup’s Jaret Reddick and photographer Amy Russell on castles, comebacks, and inflatables

    Backstage at the Glasgow Academy, Jaret Reddick is in high spirits. The pop-punk legends have just come off their biggest ever global headline show at Wembley Arena, and they are now navigating a massive summer UK tour that includes playing actual castles. Joining Jaret is a vital component of the modern BFS machine: photographer, videographer, … Continue reading Interview: Bowling For Soup’s Jaret Reddick and photographer Amy Russell on castles, comebacks, and inflatables

  • Taylor Swift, What Are You Doing?

    Why am I dreading the Swift-Kelce wedding?

  • Reviews: Troy The Band, Nxmad, Martyrs Saint, Soothsayer (Matt Bladen & Adz Redpath)

    Troy The Band – (des) (JPEG2000/London Doom Collective) [Matt Bladen]

    London experimentalists made a mark on me when I saw them at Masters Of The Riff Festival a few years ago. 

    Their brain frying mix of doom, shoegaze, noise coupled with eye bleeding video visuals made for something that at the time caught me off guard but weeks after they were band I thought about most.

    Not a gig but rather an experience that I wasn’t quite ready for but wanted more of. They released their previous album Cataclysm in 2024 and while this was supposed to be a direct follow up, (des) had to become something different when their vocalist left.

    That meant that (des) became a collaboration between artists, the band writing songs and inviting friends to come and sing on them, its also drummer Jack Revans’ first official release with the band and recently they announced Ana-Maria Terr Bordei as their vocals it going forward.

    Recorded with Wayne Adams at Bear Bites Horse Studios, the great and the good of the UK heavy music scene appears here, initially they had the idea of a few vocalists but each track has a different one, making the album a celebration of Troy The Band and their impact on their scene.

    Porous begins the record with a woozy atmosphere and colossal doom riffs, the vocals of Soozi Chamelone (ex-Dead Witches) perfectly suited to this occult doom sound.

    As a side note it’s great to hears Soozi’s vocals on something heavy again and they return for Denial, another grooving doom track which pays homage to Sabbath and also features Matt Sutton of Tayne at the end.

    Journey’s End dials up the psychedelia with some throbbing bass and swirling feedback driven passage through paranoia which features Peter Holland of Elephant Tree and Kay Elizabeth of Black Orchid combining their clean drawls.

    It also has Caine Hemmingway of Believe In Nothing screaming with rage, he comes back on The Moment which is abrasive hardcore with a thick bottom end letting him loose.

    Rage is also the name of the game on Nothing where an angular guitar riff underpins the sludge heaviness and Jake Packham’s (Black Groove) throat shredding vocals. 

    Final track Choke proves to be the heaviest here with Hemmingway, Packham joined by David Burdis of Black Shape and Ryan Denham for an unholy noise of an ending.

    While Holland and Elizabeth get a chance to once again take Troy The Band into the stratosphere with and eight minute journey into the psychdelic stoner reaches of their sound.

    Adding a throbbing bit of distorted groove from bassist Sean Durbin and big fills and jazz timings from drummer Jack Revans as guitarist Sean Burn moves between the ambient and aggressive.

    Ana-Maria appears here on Adoration Of Ill Luck, showing off her versatile and soulful vocals sound that fits Troy The Band perfectly, in places even sounding like Cher, which is a huge compliment even if it might not sound like one.

    With Ana-Marie behind the mic the future of Troy The Band is safe, until the album they have already written together is done, know that there’s no false promise or wooden horse here, just a collaboration between one of the UK’s noisiest bands and their talent friends. 9/10

    Nxmad – The Second Fall (APF Records) [Matt Bladen]

    The Second Fall carries the legend “recorded and mixed by Joe Clayton at No Studio/mastered by Brad Boatright at Audiosiege” now a sign of a record that will attack you like a belt sander to the face.

    There are few production teams that can get an intense rawness and a polished sophistication, so it’s why they are in demand for any band who come from the hardcore/sludge underground scene and make a lot of noise.

    Nxmad make a lot of noise, be that swaggering sludge grooves, breakneck hardcore blasts or something in between, they shout, scratch claw and brutalise on their new album The Second Fall, released through those denizens of all things heavy APF Records.

    Formed in Manchester all the way back in 2012, they were previously known as Nomad, releasing their debut album Feral in 2019 on APF Records, I remember giving the record high marks, as it took doom to the outer reaches of the genre, with sludge, hardcore and more rougher textures fighting their way through.

    As with a lot of things after 2019, there was a lull, a hiatus and with a change in drummer they have rebranded as Nxmad, getting angrier, much angrier. 

    Offering similar sludge riffery as early Mastodon, where the slow crush of doom is frittered away into a more direct sound that goes for the throat with rampaging tracks such as Vertigo or the angular bite of Bridge Burner.

    After this break Nxmad have gotten a lot more pissed off, streamlining their assault but not reducing its impact, The Second Fall is relentless. Savage from the first moment, there’s very little time to rest or reflect on what you’re listening too, just the expectation of another beating laying around the corner.

    Nomad no more, Nxmad keep the legacy but take their music into nastier places on The Second Fall. 8/10

    Martyrs Saint – From Strength To Strength (Self Released) [Adz Redpath]

    Bristol based Thrashers Martyrs Saint build on old school thrash adding in a modern tinge and a hardcore strength that absolutly rips, this release is fire. 

    These guys have lots in common with the likes of Hatebreed etc and it shows in the best possible way. 

    This release sounds great with a killer production throughout with an especially crushing guitar tone from Amarè Hurley and plenty of bottom end shining through along with some healthy use of samples here and there. 

    The bass and drums here are very strong as you would hope for from this style and the vocals from Brandon Goodair attack the listener at every turn, the e.p.’s title is very very apt indeed.

    The playing and musicianship on display here are adept far beyond the youth of the band and it is undeniably energetic and bouncy throughout and will only improve im sure with every release, this is a band that I hear crush it live and I’m not surprised given the frenetic power on show here. 

    Some more time and even better production could well catapult these guys to the upper echelon of the genres and put them up with the likes on Malevolence etc.

    Im notoriously strict on scoring as many in the reviewing culture so easily give out high scores when they are unwarented and don’t understand the underlying aspects of a release and the industry however in this instance these guys are the future of UK thrash/hardcore scene and I can not reccomend them enough.

    I will be following their socials and reccomend you do also and chekc them out live asap these guys deserve the support. Every track is a banger play it loud and buy their merch. 8/10

    Soothsayer – The Unbinding (Apocalyptic Witchcraft) [Adz Redpath]

    Newly signed to Apocalyptic records Soothsayer are forging ahead with their second full length release The Unbinding, Based out of County Cork in Southwest Ireland. 

    This five piece are a what I would class as an old school doom metal band with hefty influence from the likes of My Dying Bride and Paradise Lost and wearing it on their sleeves serves them well. 

    The Unbinding is a well produced and atmospheric release with a more natural and classic sound, not feeling overproduced or quantised overtly it has character that many are lacking in the current music scene, everything being recorded in a studio as opposed to programmed to infinity and beyond. 

    There is noticeable peaking in the guitar tracks and fluctuations in the drum tempo that speak to a morelive sense in the studio and certain eqing that maybe comes from a less modern metal production and has a more raw aspect built in on purpose.

    The vocals air more on the death side of early doom but with a healthy balance of cleaner more emotive parts. The guitars work well with melodic and doom tones having their own space and balanced with the rhythm section well giving everything a voice within the mix. 

    Soothsayer may not be breaking any new ground stylistically or sound wise with this release in fact quite the opposite as a more classic sound is embraced throughout but It feels right and not forced.

    The final track on this release A Vague Shimmer for me is a true standout on this release and speaks to a band that could progress a lot further musically and if given the right direction and tour slots carve their own space in the doom scene. 

    I would certainly recommend giving this your time if the aforementioned influences are something that peak your interest as this Is MDB, Turn Loose The Swans era doom done very well and should satisfy that classic hunger for something more raw and classic. 6/10

  • Sigh announce new album ‘Goh-ka’, share details & tour dates

    The album features contributions from Kreator’s Frédéric Leclercq and Opeth’s Mikael Åkerfeldt

    Source

  • BILLY MORRISON Teams With DEXTER HOLLAND For New Single & Video “Never Gonna Change” From Upcoming Album “Hollow”

    Billy Morrison has teamed with Dexter Holland for “Never Gonna Change,” a fiery pop punk anthem that merges raging guitars and a prison-break pace with the unmistakable vocals of The Offspring lead singer. This unstoppably catchy anthem of alienation and rebellion is the latest single from the British guitarist, singer, and songwriter’s album Hollow, out on August 7 via TLG|ZOID distributed by Virgin Music Group.

    “Never Gonna Change” paints a picture of a dysfunctional home life and the feeling of eternal youth—live for the moment, party hard, regret nothing…the battle cry of every generation.

    “‘Never Gonna Change’ is one of those perfect pop-punk slices of rebellion that hopefully spans a couple of generational gaps,” says Morrison. “Teenagers will always feel the same —misunderstood — and Dexter has been one of the most vital voices of teenage angst and rebellion since The Offspring hit the world running in 1984. So when I finished writing this track with Los Angeles-based songwriter Jacob Bunton, it was clear we wanted Dexter to be the voice of the track. Dexter and I recently performed together in Royal Machines [Morrison’s side project], so I dropped him a text and he loved the idea. Thanks to the miracle of modern technology, he was able to record his tracks in the middle of an Offspring tour, and Barry Pointer mixed it all into the killer track we have here.”

    Dexter Holland comments: “Billy Morrison has a great track record and is a good guy, so when he sent me ‘Never Gonna Change’ for a collab, it was an immediate ‘I’m in.’ The song is just the right amount of angst, rebellion, and fun. A summer banger if you ask me.”

    The video for “Never Gonna Change” is an eye-catching visual treat. “The days of a black screen with white text for a lyric video are way behind us, and Mike Savage is creating killer, story-driven lyric videos which fit this track perfectly,” says Morrison. “It’s an easy, fun way to put some appropriate visuals to the song and get the lyrics out there. Mike did a great job on this one.”

    “Never Gonna Change” is the third single from Hollow, following the album’s first release, “Becoming” [featuring Sully Erna of Godsmack & GRAMMY Award winner Nuno Bettencourt of Extreme]. The track peaked at #19 on Billboard’s “Mainstream Rock” chart and marked Morrison’s third Top 20 rock track overall.

    Erna delivers an impassioned and raspy vocal performance on this song about transforming one’s life from darkness to light, and Bettencourt rises to the occasion, ripping pure hellfire on his guest solo.

    Throughout an illustrious career, Billy Morrison has played live in front of millions of fans, collaborated with every A-list rockstar under the sun (even notching a #1 single with the late Ozzy Osbourne), sold his paintings in galleries on multiple continents, and logged hundreds of hours on-air as a radio host for SiriusXM. And yet—some folks wonder, “Who the F%@K is Billy Morrison?” Which is the title of the new short film that answers the question. Directed and edited by Mike Savage, it tells his story through punchy editing, candid footage, and new interviews with Duff McKagan of Guns N’ Roses, Al Jourgensen of Ministry, B-Real of Cypress Hill, Nuno Bettencourt of Extreme, mixer/engineer/producer Barry Pointer, and Morrison himself. Watch the six-minute documentary here.

    Two years ago, Billy Morrison released The Morrison Project via TLG|ZOID distributed by Virgin Music Group. It marked his third solo album (and first since 2015) and produced the #1 Active Rock Song (Mediabase) in America: “Crack Cocaine” featuring Ozzy Osbourne and Steve Stevens and co-written by all three artists. A deluxe edition of the album followed in 2025, and bonus track, “Gods Of Rock and Roll (Orchestral)”—another seismic collaboration with Osbourne and Stevens—landed in the Active Rock Top Ten (Mediabase).

    Hollow will follow the success of The Morrison Project format with 12 songs, half sung by Morrison and half sung by a handful of Morrison’s friends. Guests include Dexter Holland, Marilyn Manson, Chuck D, B Real, Duff McKagan, Steve Stevens, DMC, and the above-mentioned Sully Erna and Nuno Bettencourt, among others. “Forgive Me,” “The Tailor,” “No Suspects,” “Another Day,” “Leave No Trace,” and “Becoming” are among the song titles.

    The post BILLY MORRISON Teams With DEXTER HOLLAND For New Single & Video “Never Gonna Change” From Upcoming Album “Hollow” appeared first on Sonic Perspectives.